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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 |
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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 |
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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.
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 The
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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