A Quote by Rebecca Ferguson
I remember sitting on a bench in New York and sobbing and realising that my ambition to be a singer was making me selfish - I was a mother with two children, and I needed a backup plan.
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I have a backup plan. Everybody should have a backup plan. I am a banker. The day you all get bored of me and don't want to watch my films, I will go back to banking.
I left New York after my mother died and, rather aimlessly, had settled in Istanbul for a change of scene. It was a rather dramatic gesture on my part, since I'd lived in New York for 20 years, but I felt I needed something different - the escalating expense and pressure of New York had begun to weary me.
My family was always very supportive. Whether you're an actor or not, everybody hears the horror stories of people going to L.A. and trying to be an actor, and their dreams are crushed, and they end up working for the IRS. So they were always protective to the point that they wanted me to have a backup plan, which is understandable, but there was always something inside of me that knew: backup plan, schmackup plan.
I always went school with a backup plan. Everything I did was a backup plan because I never was the most talented guy. I wasn't, you know, the superstar at all.
Yeah, I was only in New York from the age of six months until five years old. But my very first memories are all of New York. I remember my first rainbow on a beach in New York. I remember jumping on a bed in New York.
I did my first professional play at 11, and there was really nothing else I ever dreamed of doing. I felt so fortunate that I knew at the age of like, 12, like this is all I want to do for the rest of my life; that's the only play. There's no backup plan. My mom wanted me to go to school and have a backup plan. I'm like 'No, this is the only plan.'
I know it will blow minds, but I plan on finding an apartment in New York. I'll commute to Ottawa, so I can still be Pierre Trudeau's wife and the mother of our three children - but I also want to be a working photographer.
Now almost every artist outside of New York is connected with some school or some museum school, and even in New York the majority are. That's an interesting fact when you take the idea of making money, making a living selling paintings. Only a dozen or two painters do that.
I went to New York in 1974, to either try to get a record deal, get into the New York Art Student League, or be a dancer. So that was my plan. Some plan. And I had no money.
Sometimes people ask me to do stuff in New York, like "Can you read at this thing?" And I say, "Nooo, I can't just get on a plane with these two screaming children - I can't just get rid of them on such short notice and take vacation and fly over to New York."
We all remember where we were and we all remember what we were doing. I had a brother in New York, an uncle, lots of friends in New York. It made me angry, it made me sad; what could I do.
I never had a backup plan. I felt like if I had a backup plan, it was like saying to the universe that I didn't believe in myself.
I had already been a young singer. And once, as a profession, I was a young singer, what you would call a soprano in England, but I was an alto in singing Jewish music in bar mitzvahs and weddings and synagogues throughout New York City because, after Israel, New York is probably the biggest Jewish community in the world.
My mother was incredibly strict, especially when we moved to New York. Compared with most of the American parents, who seemed so relaxed with their children, my mother was virtually a dictator.
A well-defined backup plan is sabotage waiting to happen. Why push through the dip, why take the risk, why blow it all when there's the comfortable alternative instead? The people who break through usually have nothing to lose, and they almost never have a backup plan.
There are “bus bench” workouts and “park bench” workouts. A bus bench and a park bench look exactly the same, but your expectations sitting in them are radically different.
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