Bijou - Top of the Bill - 1930s
  She Tells on Garbo, pg.3  
cheap and rather tawdry by comparison.
It wasn't really me to put on airs, to be excitable and fluttery, to be late when I'd been brought up
to respect punctuality. I hate crowds. I never go to big parties, I don't even like double dates. I really could say "I tank I go home" myself -- and  mean it. In fact, I often do. But most girls experiment with themselves for a time, try different airs and  graces and poses, as they try on clothes.

It's all right if  the airs and graces don't stick and become a part of you.
She taught me not to borrow from other people. She taught me not to borrow their mannerisms, their eccentricities, their fads, any more than I would borrow their clothes, their cars, their jewels and keep them for myself.

Garbo is always on time on the set - to the minute. She would make anyone else seem pretty silly if he were not at least equally prompt.
She taught me consideration for others. Like many girls, I thought that actresses were sort of special, were exempt from conventional creeds and customs.

Garbo taught me how young and ignorant that point of view really is. By her unfailing promptness, by her courtesy to the men working on the sets, by being always letter-perfect in her lines and by her generosity to those working with her, she gave me a standard I know I shall never lose.
She has no petty fears about footage and camera angles and whether or not she is getting more, as star, than members of the supporting cast. She does her work thoroughly and she expects
others to do the same.

"Whatever simplicity and honesty I put into my role in 'Ah, Wilderness' is due to her. I don't think," said Cecilia, "that I would have been up to it if I hadn't  had the experience of
working  with Garbo. "She taught me poise, too. She taught me how much more  beautiful and impressive it is   to  bear yourself quietly and with dignity and without circus show-off  tactics."                


from Modern Screen, February 1937  

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