A Quote by Saffron Burrows

I had a happier experience of the city as an actress than I had had as a model. — © Saffron Burrows
I had a happier experience of the city as an actress than I had had as a model.
I had no idea about where I was going. I had no sense of art as anything other than a problem to be fixed, you know, an itch to be scratched. I was in that studio trying my best to feel content with myself. I had, like, a stipend. I had a place to sleep. I had a studio to work in. I had nothing else to think about, you know. And that's - that was a huge luxury in New York City.
At that point it certainly would be called abstract. That is to say, you had a model and there'd be one or two or three people there drawing the model but otherwise you had abstractions all around the room, even though the model was in front of you.
During the four years I had spent in New York, I had achieved top status as a model and had worked for the best photographers and designers in the world. I had grown used to hearing that I was exotic and high-fashion.
What made it so special was the city of Houston had never won a sports championship. I think the championship changed people's thinking about their own city. It made them feel like their city had some significance that it hadn't had before.
I am never happier than when I am alone in a foreign city; it is as if I had become invisible.
St. Petersburg, under the czars, had been a grand city. It was a planned city, and it had - there were all these Parisian architects who had been brought in to build the apartment buildings in the center of town.
I have a different kind of experience than other girls had. I've had to face a lot of different styles and adjust to them. I had to face a lot of bad situations and come back. I've had to fight with my eyes swollen shut and my nose broken and bloody.
There [is] a feeling of recognition, as of meeting an old friend, which comes to us all in the face of great artistic experiences. I had the same experience when I first heard an English folksong, when I first saw Michelangelo's Day and Night, when I suddenly came upon Stonehenge or had my first sight of New York City - the intuition that I had been there already.
I had a growing career as a model and an actress in London - I had starred opposite Michael Caine and Sidney Poitier in 'The Wilby Conspiracy' - but everyone told me to stay in Hollywood. This was the place, they said, and I could have a big career. What they failed to mention was that no one would quite know what to do with me.
I had gone to acting school for years. It was the kind of thing I had studied to do. I had worked with good coaches and trained to do this my whole life: to be a realistic actress capable of doing truthful work.
But the people who took the bus didn't experience the city as we experienced the city. The pain made the city more beautiful. The story made us different characters than we would have been if we had skipped the story and showed up at the ending an easier way.
No one would be happier than Luther to be commended by the testimony of the time that he had been neither slack nor deceitful in maintaining the course of truth, but had shown quite enough and even too much vehemence.
I really wanted to go back to the theater, the live theater. That was the thing I had never had a chance to do, even though I had trained to be a stage actress.
On the whole, though I never arrived at the perfection I had been so ambitious of obtaining, but fell far short of it, yet I was, by the endeavor, a better and a happier man than I otherwise should have been had I not attempted it.
I'd had a racist experience as a child at age 10, where people had thrown rocks at me and bottles. I didn't understand. And all it was, was because of the color of my skin, nothing I had done, nothing I had said.
Fairy tales had been her first experience of the magical universe, and more than once she had wondered why people ended up distancing themselves from that world, knowing the immense joy that childhood had brought to their lives.
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