Audrey Hepburn: Reflections on the Silver Screen"},"lengthSeconds":"1674","ownerProfileUrl":"http://

By chance I fell into a period in cinema in which these directors were there and they loved me and that has been a kind of miracle in my career because I had not made that many films but they were all one behind the other four great directors with great actors . I was not an actress when I came to the cinema there was a dance I had no experience I had experience in working hard ballet is a hard discipline those are the things I could bring I was not a heartbreaking beauty I had no way for them to know if I could really act, but in Willie's sensitivity, in Billy's sensitivity, they realized that there was enough there as a human being to take him out and those have been my limitations.

Besides, I've never been able to get Shakespeare back or do it. That kind of thing what I'm really trying to say is that I never became an actress, you know what I'm trying to say that I never did the repertory in the theater or the whole range in films? No, it was some kind of miracle. period of my life where I was in the hands of these people and I was born with something that attracted an audience at that particular time and that's why it never fails to baffle me and at the same time dazzle me in a way that everything has happened that let me suggest to you that what you did on

screen

was not easy to do and you attract men and women like I think no other actress I have ever seen looks up to you and wants to be like you to men.

You are an ideal woman and you can say that you have never done Shakespeare and so on and that is true and I would tell you in all humility that there are different definitions of an actress and that if you want to take a classic definition of someone who can go out and do a spectacular job of Lady Macbeth, well, maybe that's not your cup of tea, yes, but there are people who can't do both, yes, well, there's no one who can do what you can do, you mentioned. the fact that you were trained as a dancer mm-hmm but then you walked away from that career I didn't walk away from it two dollars a night yeah no, you know, I was channeled into something else that was never going to be great dancing I was too Tall didn't have the training he should have had when he was younger because of the war and stuff, but I could have gone with his fingers I had to make a living for some He's more but with a funny face, you danced again, yeah, I knew that dancing with the best was intimidating, really we were all intimidated knowing what a truly excellent artist would be, what state he would be in.

I was very worried. I remember the first time I met Fred. Astaire and that was on the set mm-hmm, can you imagine? I mean, he had a very thin, thin technique, I mean, no, that wasn't a great technician at all and, you know, the opposite cast. He was terribly exciting, but he was very worried. You saw it? One minute I walked onto the set for rehearsal. We only had one working light and one pianist. He was so loved. He knew it very well. I imagine being a sensitive man, how I felt it, but it was fun, it made me relax and before you know it, some music plays and he says: lead your steps and you know, I hope I win.

I can say that I think I became very good friends with Fred and I told him and I never was. Have you ever been scared after that first hour in Roman Holiday? Did you have any feeling when you were filming it that this movie would end up having such an impact on your career, not your work, and then you completely laughed it off? I didn't make any sense those days. I was tremendously new and tremendously young and I was making my first big film, Sorrell, but I wasn't even aware enough yet of the importance of making a film for William Wyler, who William Wyler really was.

I mean, I realized very quickly. I was very new to everything, I mean, it was just four years before I left Harland and a long German occupation, all that stuff where we hadn't been able to keep up with the photographs and I was so far behind and there's so many things. that I wasn't aware of, you know? So let them think a lot about me or the future. I didn't know this would even lead to another movie. You've also talked about Wyler as the man who really discovered you, how did he do it? first he left you where he found you and then what he did to nurture you and help you he came to England looking for a stranger to make the film that's what they decided, which in fact was my only qualification for that film I was working on musicals that had just acquired a agent or rather the agents acquired me and I have done little things for television and also in films to earn a pound or two or a shilling extra in those days was a great help and he actually ordered a lot of tests were done and I I was one of them.

He asked to see me. He met me for just a few minutes just to see me. Let me go to the hotel. Did you stay at Claridge's in those days? And then he left town, but he left. I was in the hands of a wonderful English director called Sorrow Dickenson when he directed this test he was fully aware that I was petrified and didn't know how to go through the desert or anything and what he did, which was very good. and very smart and very lucky for me is that once I played my scene, which I did very poorly at all, he just made me sit there talking, he was next to the camera like he was talking to you now and he asked me questions. about me or whatever I liked and didn't like and I kind of forgot about the camera and spoke sadly and that's the proof that eventually one read and it started, you know, a beautiful career for me, there's a scene at the ending of Roman Holiday towards the end where you have to cry and that was difficult for you, that was really a challenge for you, the last scene in effect in the picture was actually the last scene that we were filming, it was done secretly for one and if you remember Greg and I have to say goodbye in the car and that's it, we have to part ways and clearly I was supposed to cry.

I came in late tonight and I was tired and I played the scene very well and the tears didn't come and I didn't know how to make some things come, I'd never tried it or learned it unless they came perfectly natural and nothing happened and Willie Wyler was He pulled up to our little car and gave me hell. Now he was always so adorable and very gentle with me and like I said, he was bringing out the best in me and everything that he really let me have and I burst into tears and he was surprised to see that that's how he made me cry.

Besides Weiler, there are one or two other people like Billy Wilder and George Cukor. and you've talked about these three men as the people who I think are perhaps more responsible for their career and their work than any other director. Yes, I always hate to say that one is more responsible than the other because it's one thing to get a great start for me. It also means a lot for them to move forward. Yeah, selling it to keep it and I have to thank Stanley Donen for that too. Yes, I'm Blake Edwards and Fred Cinnamon and they go on and on, and now a Hollywood. minute from the pages of the magazine of American film classics, a look at Robert Mitchum and his favorite protagonists, although they only made two films together, their type of woman in Macao Mitchum and Jane Russell formed the 40s of friendship and ignited a chemistry latent on

screen

that will last to live on in Hollywood history, but the voluptuous Russell was not Mitchum's only leading lady and Lorraine's locket set the stage for a series of dangerous co-stars to follow.

Need a match with Ava Gardner in my forbidden past and Jane Greer made the most of what Mitchum has and from the past and the big mysterious and sexy steel a real Hollywood man look for Robert Mitchum Indies and other great classics this month on AMC and for more information about the stars in American movie classics magazine send 1195 to peel Box 206 v Marion Ohio 4-3 305 or call one eight hundred five three five seven seven hundred American movie classics magazine classic Hollywood magazine One writer said that Audrey Hepburn has probably worked with more great leading ladies of our generation than any other actress and that may be true, but what I'm wondering is, from your point of view, as you go from working with a great actor to another, should you somehow change your own rhythm, your style of work apart from the paper, as I said before?

I mean, I never really became an actress in the sense that when you asked me all those questions my only answer was that I wouldn't know, in the sense that, oh yeah, I went from one movie to another, from one director to another. , during one actor, the other, I just walked on set knowing that my lines took everything from there. Now you say you don't prepare for a particular person, which I understand, yes, but for something like waiting until dark, he's not one of my favorites right now, probably because of that. type of role yes, but that is not visa vie another actor no, it is my sister this is to prepare me to be the blind champion of the world right now how do you do that? how do you prepare? that I was in that world exactly Well, that was a part that, you know, I was very happy to do, but it caused me some anxiety for several weeks before we started the movie because the studio wanted me to be blind in some way and rather .

I was anxious about him wearing dark glasses or having a scar nearby and you know, that worried me terribly because like I said, I'm not, I don't like the technique of showing or even being there, I also felt like this would appeal. Pay attention to the fact that I'm not blind if you put makeup on someone, so my hope was to do it from the inside out mm-hmm and somehow convince the audience that I knew, but thank God Audrey Hepburn is not blind, but that's what I thought. something for a fleeting moment could create an illusion of blindness and two wonderful things happened: one was that I spent several weeks going every day to the New York lighthouse the institution for the blind blindfolded me and I learned what it technically meant to be blind to climb and going down elevators to find something you throw on the floor to make a meal to find things in a room but then I had another extraordinary stroke of luck, I would say, but it was a blessing.

I met a young girl who actually had I got blinded and in a short time I'm sorry, just at this moment I don't remember the name, I told her to do something for him, find your way in this room and I sat in my chair and just watched that He had beautiful eyes, dark and bright eyes. there's no way to know but she couldn't see so you don't need the makeup the sunglasses was one thing I really liked I don't want Laurie today I don't need her yes you need her for your shopping you can find her do it yourself if you couldn't I will say what do you have against Gloria Allah the main problem is that she is in love with you which makes me the villain Suzy she is a girl what do you have left in front of you?

I Would Rather in the Dog What is clear to me is that in one or two interviews with this woman you gathered an enormous amount of material about the way she lived her life. I must quickly say that you were not interviewed, she did become a friend, but you had an agenda that went beyond friendship. I wanted to get rid of the technical side before I could play it and that was being convincingly blind in my behavior and having a little bit in each part, which has always helped me a lot. The deal, for example, is the clothes because since I didn't have this technique of being able to deal with the role and you know how it was, it was often a great help to know that you look the part mmm, wasn't the rest like that?

It's not so difficult anymore, but in a very obvious way let's say they say to a period film, well, it was one piece when you wear high waists and little curls and crinoline and whatever it is or isn't is history when you wear a habit. once you are in that nun's habit she is not the typical saint. but you walk differently, you feel something and it's also true if you have crispy taffeta and a fan or whatever. Yes, you walked, if you sit differently, you have all the straps, that's the help of Reno and also in the modern. photos of the day using G machines, you know, lovely simple clothes.

I was wearing a bright little red coat and whatever little hat was there in fashion I felt super and it gave me the feeling of whoever was playing charades or breakfast epiphany o o As I was walking down those stairs for the first time beautifully dressed with my beautiful lady, now actually what you see is just a dress walking around talking to the effect that how could you get lost the last time the origin saw you? You were dirty and you couldn't. speaks correctly in everything that is seen is set in a glorious way the music of the David at the moment when you see no one and around the staircase I come with these absolutely sublime white borders that were genuine because of the way Cecil Beaton had discovered that it was old, yes, I did my hair, I dressed to kill diamonds everywhere, all I had to do was walk and the dress that made me do it is very small, you look beautiful, thank you, no, no , the cream, don't you think? so Higgins is not bad, not bad at all, the clothes as they say he makes the man, but certainly with me they have given me the confidence that I often needed.

Oh Kitty, the classics of American cinema feature Ginger Rogers in her stunning, Oscar-winning performance: guitar, be happy. the love that unites two people if I said that I love you as much as you love me what would it be?You know enough if that were true there would be no love left for anyone in the whole world the broken promise that tears them apart They separate them and make her a lying doll, they always end up with Mary, one of their own kind and, despite everything, there is Kitty Foyle . I'm having this baby, Judas Priest, no one owes Kitty anything for him except Kitty for Ginger.

Rogers and Dennis Morgan, the invincible Kitty Foyle on Wednesday in classics of American cinema. You have worked a lot in recent years for UNICEF. I mean, you've made it a personal mission. This is an organization that is about children from all over the world and I wonder how much of that has to do with what you went through in your own childhood, you grew up during the war, you grew up in an occupied country, you grew up with great difficulties and when you look back at it , is there a thread that you think connects you to that girl?

I've never stopped to think if there's a connection or not, I mean, you don't live your own life that way, maybe if I were writing a book, the singers would have to know how it all happened, but if I'm with UNICEF, for Therefore, if I am concerned about today's children, it is still the same thread, if you want to call it, or reason or quality that I talked about before with directors with actors with people is that yes, I went through a war, surely that worries me. made me a little more aware that some people might not have what it means to be hungry, deprived and so on.

I never think about that when I see a child in Africa. at death's door but what I've always had and maybe what I was born with was an enormous love for people, children, I love them when I was little mm-hm I used to embarrass my mother by trying to get babies out of strollers on the market. You know, that kind of thing, the only thing I ever dreamed of in my life was having my own children, it always comes down to the same thing, not just receiving but desperately wanting to give it and almost needing to get it, it's true. but I had an extraordinary mother, she herself was not a very affectionate person in the sense that today I consider affection, I spent a lot of time looking for it and I found it, she was a fabulous mother but she came from a time that was born in 1900, Victorian influence, still great discipline, expects ethics a lot love inside her I can't always show it I'm very strict I went looking everywhere to find someone who would hug me you know and I found him at my aunt's house and my friends I met that is something that stayed very strong maybe it's my nature I don't know maybe with another mother if it's still the same and from there arises a huge concern and that's the reason why I couldn't refuse to help a Child, if I can, you talked before about watching a script, let's say, waiting until dark and wanting to do that part, but I understand that when you got the script for Breakfast at Tiffany's you had doubts about it and didn't jump into it. project with the same enthusiasm no, that is quite bad.

I had no doubts about breakfast at Tiffany's, yes, some people around me did, but I didn't, why did they have doubts? Remember? Don't know. I think, on the one hand, I don't know. I think Truman Capote was right for the role and I think some people thought it was a different time and it was a little risqué to play a prostitute. I had heard that there was a scene in Breakfast at Tiffany's that actually caused you some pain, I mean, that was a problem for you, right in the scene with the cat because I'm an, I'm an, I'm an animal lover, You know, and I have four dogs now, but I've had it all. in my life and it was terribly difficult to throw that adorable marmalade cat into the rain and he actually didn't want to get out of the taxi and I had to push him and shout at him and everything, a couple of nameless slabs.

We don't belong to anyone, we don't belong to each other, there will be the right kind of place, but a tough guy like you, trash cans, rats, Lord Clem, but fortunately I haven't seen him at the end, when I can go look for him . and there was a marble jack, Wrangler, to pick him up, give him some extra Friskies or whatever they get to be a legend, if you're going to be someone larger than life, be a movie star, what's the downside of that? ? There are times when that lack of privacy ends up just being a disadvantage for you when it really ends up being downright a burden, never a burden and there really isn't a downside, like with everything out there, you know you can't find a problem.

I think the only time it was a little difficult for you. I was, I think, when my second son was born and I lived in Rome at that time and I couldn't take him anywhere, neither to a park nor to the street nor to put him on a terrace without paparazzi and that was very difficult because there again, right? It was me? He was teasing the kid mm-hmm you know, which really drove me crazy and when he got to an age I could take him to the parks and all because he lived in an apartment so photographers would jump out from behind trees. and he had been she may be howling because he was very scared and that was very difficult, but of course, a dear friend who has a beautiful garden in Rome told me to bring his son here with other children as often as I wanted. .

I love having them in the garden. You will make me happy again. I was very lucky. These are the little difficult moments I've had. I can't think of any drawbacks. In the end, what you have given to the people. The screen is already such an extraordinary gift, now you better be careful how I sound. I have an enormous love for Humanity and human qualities and people when they come out, that is perhaps what has crossed the screen to the public, all I can say. for that gift not for me but for all those other people with me it is thank you thank you and I thank you