I was nothing like her, but I felt I could 'act' Holly. I knew the part would be a challenge, but I wanted it anyway. I always wonder if I risked enough on that one. I should have been a little more outrageous. But at the time, as a new mother, I was about as wild as I could be. If only I were a Method player, huh? But the fact is, I didn't really believe in The Method. I believed in good casting. And I'm still not sure about Holly and me...

Audrey Hepburn

     
Direction
Blake Edwards 
Subject
Truman Capote
Script
George Axelrod
Photography
Franz Planer
Music
Henry Mancini
Actors
Audrey Hepburn George Peppard Patricia Neal Buddy Ebsen
Costume Design
Hubert de Givenchy (gowns: Miss Hepburn)
Edith Head
Pauline Trigere (gowns: Miss Neal)
Set Design
Sam Comer
Ray Moyer
Editing
Howard A. Smith

The film Breakfast at Tiffany’s was released by Paramount Pictures in 1961. Capote had originally picked Marilyn Monroe to play the role of Holly Golightly but Paramount instead chose the waifish Audrey Hepburn to play the part. Capote truly adored Marilyn, one of his best biographical pieces is written about her in The Dogs Bark. Capote and Monroe shared a similar background that helped make him persistent in casting her. They both grew up from desolate childhoods and both had trouble throughout their careers dealing with their fame through drugs and alcohol. And although Capote lived longer than Monroe, they both met with a similar end.

I personally feel that Audrey Hepburn was the better choice, simply because her physical appearance already resembled the thin chicness of Holly and her accent was perfect for the part. I think that perhaps Capote underrated her talent as an actress. Marilyn Monroe’s real-life personality may have been more suited to the role than Hepburn’s but she played the part perfectly.

Capote was most upset with the changes Paramount made in the screen version of his novel. In particular with the change of the ending. Instead of a remembrance of Holly, the narrator ends up convincing Holly to stay in New York with him by making her realize that, like her and her cat, they belong to each other. This totally changed the theme of the story. In the book, Holly is always traveling-searching for a place to belong, a place she never finds.

As a whole, the film translates some of the material from the book elegantly and word for word some scenes are perfect. Like any film that is made from a book, the two should be judged by themselves as separate entities. On it’s own Breakfast at Tiffany’s is a wonderful film that has stood the the test of time and remains a classic.

Audrey Hepburn
         
Audrey Hepburn eats breakfast in the opening scene   Capote with Audrey Hepburn and her husband Mel Ferrer during the making of the film   Shopping at Tiffany's with George Peppard
 
 

Audrey HepburnAlbum CoverThe Music

One of the most memorable components of the film Breakfast at Tiffany's is the extraordinary music composed by Henry Mancini. The film's theme song, Moon River (co-written with lyrisist Johnny Mercer), was hailed as an instant classic. Moon River has been recorded over 500 times and has sold over a million copies of its sheet music. Mancini met director Blake Edwards outside the Universal barbor shop and the two decided to colaberate on the television series Peter Gunn. Mancini's soundtrack album for Peter Gunn was his first to sell a million copies and went on to win him his first two Grammys, including Album of the Year. Edwards next asked Mancini to score Breakfast at Tiffany's in 1961. His score went on to win two Acadamy Awards.
Mancini was heavily inspired by the film’s star Audrey Hepburn. "I kind of knew what to write, at least what track I should I be on, by reading the script," he said. "And Audrey’s big eyes gave me the push to get a little more sentimental than I usually do. Those eyes of hers could carry it I knew that. Moon River was written for her. No one else has ever understood it so completely. There have been more than a thousand versions of Moon River, but hers is unquestionably the greatest. When we previewed the film, the head of Paramount was there, and he said, ‘One thing’s for sure: That fucking song’s gotta go.’ Audrey shot right up out of her chair! Mel Ferrer [Audrey Hepburn’s husband] had to put his hand on her arm to restrain her. That’s the closest I had ever seen her come to losing control."

 

 

 

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Τελευταία ενημέρωση  15/09/2002
 

Πνευματικά δικαιώματα ã 1999 - 2000 - 2001- 2002 από την Eugenia Tesoro and Aimilia Tzafou - όλα τα δικαιώματα που διατηρούνται.