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Billy Wilder on Audrey Hepburn ♥️ “Suddenly there was that dazzling creature, looking like a wide-eyed doe prancing through the forest ... it took exactly five minutes for everybody on that set to fall in love with Audrey.” Music: Frank Sinatra with the Nelson Riddle Orchestra in 1964 ―...

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Hollywood Golden Age of Cinema

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Eliza Doolittle (Audrey Hepburn) amongst high society with zero filter! “Come on. Come on Dover. Come on. Come on Dover. Come on. Come on Dover ... move your bloomin' arse!!!”. Audrey Hepburn at her most iconic in George Cukor’s dazzling 1964 musical comedy My Fair Lady ... an 8x Oscar winner, including Best Picture. Costume designer Cecil Beaton created 1,500 costumes for this movie, with the exception of the pearl white gown Audrey Hepburn wears to the Embassy Ball, an original Edwardian specimen Beaton found in an antique shop. Audrey Hepburn later admitted she would never have accepted the role of Eliza Doolittle if she had known that producer Jack L. Warner intended to have nearly all of her singing dubbed. After making this movie, Hepburn resolved not to appear in another movie musical unless she could do the singing on her own.
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Eliza Doolittle (Audrey Hepburn) amongst high society with zero filter! “Come on. Come on Dover. Come on. Come on Dover. Come on. Come on Dover ... move your bloomin' arse!!!”. Audrey Hepburn at her most iconic in George Cukor’s dazzling 1964 musical comedy My Fair Lady ... an 8x Oscar winner, including Best Picture. Costume designer Cecil Beaton created 1,500 costumes for this movie, with the exception of the pearl white gown Audrey Hepburn wears to the Embassy Ball, an original Edwardian specimen Beaton found in an antique shop. Audrey Hepburn later admitted she would never have accepted the role of Eliza Doolittle if she had known that producer Jack L. Warner intended to have nearly all of her singing dubbed. After making this movie, Hepburn resolved not to appear in another movie musical unless she could do the singing on her own.

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Was ever there a more lovely bit of "La Vie en Rose" that Audrey Hepburn singing to to Humphrey Bogart in "Sabrina" ?
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Harry on how the album should be listened to “[…] And it became really obvious that it was music that was meant to be played and played loud. So I think everyone's different. The experience is the way that they like to experience music. Like I love listening to it alone in my car. I love listening to music with friends, and I think the album is you can have very different, uh, kind of journeys with it depending on how you listen to it. I love listening to it, like sitting still in headphones and listening to it that way. I love listening to it driving. I love being with friends.” - 102,7 KIIS FM
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Harry on how the album should be listened to “[…] And it became really obvious that it was music that was meant to be played and played loud. So I think everyone's different. The experience is the way that they like to experience music. Like I love listening to it alone in my car. I love listening to music with friends, and I think the album is you can have very different, uh, kind of journeys with it depending on how you listen to it. I love listening to it, like sitting still in headphones and listening to it that way. I love listening to it driving. I love being with friends.” - 102,7 KIIS FM

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One of the enduring myths surrounding Sabrina (1954) is that Humphrey Bogart and Audrey Hepburn didn't get along. The reality was far more complicated. The set wasn't exactly a happy one, but the real tension existed between Bogart and director Billy Wilder. Bogart reportedly knew that Wilder's first choice for Linus Larrabee had been Cary Grant, and the relationship between actor and director remained strained throughout production. As Wilder later put it: "Bogart did not hate Audrey Hepburn. Nobody could hate Hepburn. He did not hate William Holden. He hated me! Why? Because he knew I wanted to have Cary Grant but I couldn't get him." Despite the behind-the-scenes friction, the film became one of Hollywood's most beloved romantic classics. Audrey Hepburn shines as Sabrina Fairchild, the chauffeur's daughter who returns from Paris transformed into a sophisticated young woman and finds herself torn between two very different brothers—playboy David (William Holden) and the reserved, business-minded Linus (Humphrey Bogart). More than 70 years later, Sabrina remains a timeless showcase of Audrey Hepburn's charm, elegance, and star power.
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One of the enduring myths surrounding Sabrina (1954) is that Humphrey Bogart and Audrey Hepburn didn't get along. The reality was far more complicated. The set wasn't exactly a happy one, but the real tension existed between Bogart and director Billy Wilder. Bogart reportedly knew that Wilder's first choice for Linus Larrabee had been Cary Grant, and the relationship between actor and director remained strained throughout production. As Wilder later put it: "Bogart did not hate Audrey Hepburn. Nobody could hate Hepburn. He did not hate William Holden. He hated me! Why? Because he knew I wanted to have Cary Grant but I couldn't get him." Despite the behind-the-scenes friction, the film became one of Hollywood's most beloved romantic classics. Audrey Hepburn shines as Sabrina Fairchild, the chauffeur's daughter who returns from Paris transformed into a sophisticated young woman and finds herself torn between two very different brothers—playboy David (William Holden) and the reserved, business-minded Linus (Humphrey Bogart). More than 70 years later, Sabrina remains a timeless showcase of Audrey Hepburn's charm, elegance, and star power.

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Remembering Audrey Hepburn on her 97th birthday! Paramount originally wanted to shoot "Roman Holiday" (1953) in Hollywood. William Wyler refused, insisting it must be shot on location. They finally agreed, but with a much lower budget. This meant the movie would be in black and white, not the expected Technicolor, and he would need to cast an unknown actress as the Princess, Audrey Hepburn. She went on to win an Oscar for the role. (Source: IMDb)
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The glorious close-up face of Audrey Hepburn in "Funny Face".. perfectly set to the lovely Gershwin tune of 'S Wonderful....
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"Embrace the suck. There is just a lot of it that sucks. You have to fall in love with that part if you are doing to do anything great in life. Everybody loves to play, but it's falling in love and embracing the suck along the way that's what separates us." -Dabo Swinney
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Audrey Hepburn singing ‘Moon River’ in ‘Breakfast at Tiffany’s’, 1961. On April 7, 1961, a private screening for ‘Breakfast at Tiffany’s’ was held at the Golden Gate Theatre in San Francisco. Some of the people in attendance were Audrey Hepburn, her husband Mel Ferrer, director Blake Edwards, composer Henry Mancini, and Paramount production chief, Martin Rackin. Once the screening was over, the group went to a nearby hotel to discuss the audience’s reaction. It was there that Martin Rackin made it clear that Audrey’s performance of ‘Moon River’ had to go. Upon hearing this, Audrey shot out of her seat and said, “Over my dead body!” “Mel had to put his hand on her arm to restrain her. That’s the closest I ever saw her come to losing control”, recalled composer Henry Mancini. Audrey knew that the heartfelt melody composed by Henry Mancini was the cornerstone of the movie. To everyone’s surprise, Audrey remained steadfast and refused to let go of the song. Thankfully, ‘Moon River’ wasn’t cut from the movie and went on to win the Academy Award for Best Original Song in 1961. It also won the 1962 Grammy Awards for Record of the Year and Song of the Year.
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Audrey Hepburn singing ‘Moon River’ in ‘Breakfast at Tiffany’s’, 1961. On April 7, 1961, a private screening for ‘Breakfast at Tiffany’s’ was held at the Golden Gate Theatre in San Francisco. Some of the people in attendance were Audrey Hepburn, her husband Mel Ferrer, director Blake Edwards, composer Henry Mancini, and Paramount production chief, Martin Rackin. Once the screening was over, the group went to a nearby hotel to discuss the audience’s reaction. It was there that Martin Rackin made it clear that Audrey’s performance of ‘Moon River’ had to go. Upon hearing this, Audrey shot out of her seat and said, “Over my dead body!” “Mel had to put his hand on her arm to restrain her. That’s the closest I ever saw her come to losing control”, recalled composer Henry Mancini. Audrey knew that the heartfelt melody composed by Henry Mancini was the cornerstone of the movie. To everyone’s surprise, Audrey remained steadfast and refused to let go of the song. Thankfully, ‘Moon River’ wasn’t cut from the movie and went on to win the Academy Award for Best Original Song in 1961. It also won the 1962 Grammy Awards for Record of the Year and Song of the Year.

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