Fifth Avenue, 5 A.M Part 9

Doing It for Money: All quotations from Geoffrey Shurlock's memos as well as his review of Axelrod's draft are from the Breakfast at Tiffany's Breakfast at Tiffany's Production Code Files in the Special Collections of AMPAS Library. Production Code Files in the Special Collections of AMPAS Library.

5. LIKING IT LIKING IT, 1960.

The Seduction: "Frings was pretty sure..." Shepherd to SW on November 24, 2009. Jurow's description of his meeting at Dinty Moore's and his courtship of Audrey Hepburn in Marty Jurow Seein' Stars Marty Jurow Seein' Stars: A Show Biz Odyssey A Show Biz Odyssey, along with input from Richard Shepherd, helped to rebuild the chronology of events leading up to the moment when Audrey, finally, accepts the part of Holly Golightly. The dialogue is all Jurow's. "Audrey's reluctance was wrapped up in Mel's..." Robert Wolders to SW on October 23, 2009. Interestingly, Jurow never placed Axelrod at the scene, but according to Axelrod, he was absolutely there. Considering the consistency between George's own versions of the story, I'm inclined to believe Axelrod's memory and conclude that Jurow, being of Hollywood, omitted George from the scene for the sake of claiming sole credit for the casting coup.

Changing Partners: "Pressure was brought to bear..." John Frankenheimer in Gerald Pratley, The Films of John Frankenheimer The Films of John Frankenheimer (Golden c.o.c.kerel Press, 1988). (Golden c.o.c.kerel Press, 1988).

Beachside Interlude: "Dearest Audrey, With two such parents..." Truman's letter from Ellen Erwin and Jessica Diamond can be found in The Audrey Hepburn Treasures The Audrey Hepburn Treasures (Atria, 2006). (Atria, 2006).

Mr. Audrey Hepburn: "With the baby I felt I had everything..." Audrey quoted in Joseph Barry, "Audrey Hepburn at 40," (McCall's, July 1969). "It's true that Mel was puritanical in his outlook..." Robert Wolders to SW on October 23, 2009.

Audrey's New Man: For a more extensive discussion of Blake Edwards's career, his handling of Cary Grant on Operation Petticoat, Operation Petticoat, and a fuller a.n.a.lysis of his "Peter Gunn" style, see Sam Wa.s.son, and a fuller a.n.a.lysis of his "Peter Gunn" style, see Sam Wa.s.son, A Splurch in the Kisser A Splurch in the Kisser: The Movies of Blake Edwards The Movies of Blake Edwards (Wesleyan University Press, 2009). "My mother was very Victorian," Audrey Hepburn quoted in a very wonderful interview, certainly among her most candid, broadcast on (Wesleyan University Press, 2009). "My mother was very Victorian," Audrey Hepburn quoted in a very wonderful interview, certainly among her most candid, broadcast on Living Treasures, Living Treasures, 1990. "It was really a big step up for Blake..." Patricia Snell to SW on February 9, 2009. 1990. "It was really a big step up for Blake..." Patricia Snell to SW on February 9, 2009.

Bing Crosby in a Dress: Directing High Time High Time was little more than a paid gig for Blake Edwards, a job. He struggled with the material as well as Bing Crosby himself. Patricia Snell confirmed, "Bing Crosby was very, very difficult. He was having an affair with the French lady [Nicole Maurey] who was in the picture with him. Blake was very, very unhappy on that picture." "It was too cynical..." Blake Edwards quoted in Jean-Francois Hauduroy, "Sophisticated Naturalism: Interview with Blake Edwards," was little more than a paid gig for Blake Edwards, a job. He struggled with the material as well as Bing Crosby himself. Patricia Snell confirmed, "Bing Crosby was very, very difficult. He was having an affair with the French lady [Nicole Maurey] who was in the picture with him. Blake was very, very unhappy on that picture." "It was too cynical..." Blake Edwards quoted in Jean-Francois Hauduroy, "Sophisticated Naturalism: Interview with Blake Edwards," Cahiers du Cinema in English 3 Cahiers du Cinema in English 3 (1966). "With that film we became grownups..." Judith Crist to SW on January 30, 2009. (1966). "With that film we became grownups..." Judith Crist to SW on January 30, 2009.

Jazz: Henry Mancini's autobiography, Did They Mention the Music? Did They Mention the Music? (Cooper Square Press, 1989), written with Gene Lees, lays out Mancini's biographical and artistic orientation quite clearly, and along with conversations I had with Lees himself, considerably advanced my sense of the subject and his place in the history of motion picture music. Where there were gaps, the facts of Mancini's involvement in (Cooper Square Press, 1989), written with Gene Lees, lays out Mancini's biographical and artistic orientation quite clearly, and along with conversations I had with Lees himself, considerably advanced my sense of the subject and his place in the history of motion picture music. Where there were gaps, the facts of Mancini's involvement in Breakfast at Tiffany's Breakfast at Tiffany's were clarified for me by Richard Shepherd, who spoke of "Moon River" with a pa.s.sion and conviction matched only by his love for Audrey Hepburn. were clarified for me by Richard Shepherd, who spoke of "Moon River" with a pa.s.sion and conviction matched only by his love for Audrey Hepburn.

Casting: That Mel Ferrer blocked Tony Curtis from getting the part of Paul Varjak comes to this book by way of Curtis himself. In his book, American Prince American Prince (Harmony, 2008), Curtis, a longtime friend of Edwards's, goes into slightly more detail about why he believes he was kept out of (Harmony, 2008), Curtis, a longtime friend of Edwards's, goes into slightly more detail about why he believes he was kept out of Tiffany's Tiffany's. "Who knows why?" Shepherd to SW on November 24, 2009. Though he didn't address Curtis specifically, during one of our meetings, Edwards admitted to me that George Peppard was not his first choice for the film. He did not explain why. "After coming out of the film..." Blake Edwards quoted in Stephen Michael Shearer, Patricia Neal Patricia Neal: An Unquiet Life An Unquiet Life (The University Press of Kentucky, 2006). On January 27, 2008, Patricia Neal, sitting with me in her New York apartment, told me, laughing, the story of having to dye her hair red so as to visually distinguish her from Audrey. The PR snippet about Vilallonga, dated September 19, 1960 ("He received word from Spain..."), comes by way of the Academy's Special Collection material on (The University Press of Kentucky, 2006). On January 27, 2008, Patricia Neal, sitting with me in her New York apartment, told me, laughing, the story of having to dye her hair red so as to visually distinguish her from Audrey. The PR snippet about Vilallonga, dated September 19, 1960 ("He received word from Spain..."), comes by way of the Academy's Special Collection material on Breakfast at Tiffany's, Breakfast at Tiffany's, held in its Paramount files. Edwards's decision to cast Buddy Ebsen was typical of the director's apt.i.tude for finding the right talent where no one else would think to look. "Casting Buddy Ebsen as Doc Golightly..." Patricia Snell to SW on February 9, 2009. Buddy Ebsen's memoir, held in its Paramount files. Edwards's decision to cast Buddy Ebsen was typical of the director's apt.i.tude for finding the right talent where no one else would think to look. "Casting Buddy Ebsen as Doc Golightly..." Patricia Snell to SW on February 9, 2009. Buddy Ebsen's memoir, The Other Side of Oz The Other Side of Oz (Donovan, 1994), contains the anecdote about the champagne. Frank Inn, a legend among Hollywood animal trainers, is quoted twice in this section. The first, "I have a sitting cat, a going cat..." is from Jon Whitcomb, "On Location with," (Donovan, 1994), contains the anecdote about the champagne. Frank Inn, a legend among Hollywood animal trainers, is quoted twice in this section. The first, "I have a sitting cat, a going cat..." is from Jon Whitcomb, "On Location with," Cosmopolitan Cosmopolitan (February 1961); the second, "He's a real New York type cat..." is from APMAS Special Collections. Paramount Publicity, dated November 23, 1960. (February 1961); the second, "He's a real New York type cat..." is from APMAS Special Collections. Paramount Publicity, dated November 23, 1960.

Yunioshi: I was shocked too. For substantiation, turn to the Paramount Files in the Special Collections of the AMPAS Library. It's all there in wonderful, horrible detail, and there's more of it than I included here.

The Sound of Tulip: Did They Mention the Music? Did They Mention the Music? (Cooper Square Press, 1989) contains many of these details. "Marty and I believed the song..." Richard Shepherd to SW on March 13, 2009. (Cooper Square Press, 1989) contains many of these details. "Marty and I believed the song..." Richard Shepherd to SW on March 13, 2009.

Hubert de Givenchy Undresses Edith Head: The politics of costume design would be an utterly incomprehensible blur to me without the patient guidance of David Chierichetti, who explained the procedures of out-of-studio and out-of-country affiliations between stars and costumers, and in so doing, shed a considerable amount of light on how Edith Head would have come to be so hurt by Audrey. "The 'Costume Supervisor' credit..." David Chierichetti to SW on March 6, 2009. "I was sort of inadvertently thrown..." Blake quoted in Steve Garabino, "The Silver Panther Strikes Again" (New York Times Magazine, August 8, 2001).

An Octave and One: The process by which Mancini arrived at the music for "Moon River" is so well doc.u.mented in the literature of the movies, it seems almost silly to source it; however, Mancini's own account (which appears in print and on film in a number of occasions) is at its best and most thorough in Did They Mention the Music? Did They Mention the Music? (Cooper Square Press, 1989). "Hank brought a 78 record up to our office..." Shepherd to SW on August 24, 2009. (Cooper Square Press, 1989). "Hank brought a 78 record up to our office..." Shepherd to SW on August 24, 2009.

What Johnny Mercer Does in Bed: Deference is due to Wilfrid Sheed, whose dreamy book, The House That George Built The House That George Built (Random House, 2007), when paired with Alec Wilder's bracingly technical (Random House, 2007), when paired with Alec Wilder's bracingly technical American Popular Song American Popular Song (Oxford University Press, 1972), gave me what I needed to see Mercer clearly, as both artist and man. Also, without the biographies of Gene Lees ( (Oxford University Press, 1972), gave me what I needed to see Mercer clearly, as both artist and man. Also, without the biographies of Gene Lees (Portrait of Johnny [Pantheon, 2004]) and Philip Furia ( [Pantheon, 2004]) and Philip Furia (Skylark [St. Martin's Press, 2003]), and the tutorials of Mercer Scholar Robert Dawidoff, the Johnny Mercer file on my computer would be blank. [St. Martin's Press, 2003]), and the tutorials of Mercer Scholar Robert Dawidoff, the Johnny Mercer file on my computer would be blank.

The Little Black Dress: My brief history of black was filtered through several sources. There are many books devoted exclusively to the LBD, but none was more useful to me, or indeed more illuminating, than the historical tour provided by Nancy MacDonnell Smith in her book The Cla.s.sic Ten The Cla.s.sic Ten: The True Story of the Little Black Dress and Nine Other Fashion Favorites The True Story of the Little Black Dress and Nine Other Fashion Favorites (Penguin, 2003). My theories about Audrey's transgressions in black were confirmed and enhanced by two pros, Rita Riggs and Jeffrey Banks, quoted here (on February 13, 2009, and August 15, 2009, respectively), as well as Letty Cottin Pogrebin (quoted later), who saw for herself the transformation that certain women of New York underwent from poofy florals to pitch black glamour. "I was in Paris for the fittings..." Patricia Snell to SW on February 9, 2009. (Penguin, 2003). My theories about Audrey's transgressions in black were confirmed and enhanced by two pros, Rita Riggs and Jeffrey Banks, quoted here (on February 13, 2009, and August 15, 2009, respectively), as well as Letty Cottin Pogrebin (quoted later), who saw for herself the transformation that certain women of New York underwent from poofy florals to pitch black glamour. "I was in Paris for the fittings..." Patricia Snell to SW on February 9, 2009.

6. DOING IT, OCTOBER 2, 1960NOVEMBER 11, 1960 DOING IT, OCTOBER 2, 1960NOVEMBER 11, 1960 Fifth Avenue, Sunday, October 2 Sunday, October 2, 1960 1960, Dawn Dawn: Just about every biography of Audrey Hepburn recounts her sadness and anxiety at having to leave Sean to shoot Tiffany's Tiffany's. Creating the scene was only a matter of filling in the details. Audrey's admiration for Patricia Neal was conveyed to me by Neal herself, who told me on January 27, 2008, that Audrey often told her that she wished she had Neal's talent, that she wanted to be her kind of actress. When I asked him, on November 5, 2009, if Audrey was as timid about acting as she was said to be in the literature about her life, Peter Bogdanovich replied, "Acting was never her favorite thing."

The Northeast Corner of Fifty-seventh and Fifth, Hours Later Hours Later: Edwards's outfit that morning of October 2, 1960, is evident in the photographs of him taken on that day. Ever since his first days as a director, Blake was very much a turtleneck man. For other such details, consult A Splurch in the Kisser A Splurch in the Kisser: The Movies of Blake Edwards The Movies of Blake Edwards (Wesleyan University Press, 2009). His working style, which I attempted to elicit here, is explored there in greater detail. As for Audrey's emotional connection to Givenchy's designs, one can find it doc.u.mented just about anywhere, but the notion of the "armor of love" was pa.s.sed down to me by Sean Ferrer on September 17, 2009, as was the detail about the two versions of the dress, one for walking and one for standing. "The little black dress," he added, "is nothing more than the inner elegance of the person that wears it." (Wesleyan University Press, 2009). His working style, which I attempted to elicit here, is explored there in greater detail. As for Audrey's emotional connection to Givenchy's designs, one can find it doc.u.mented just about anywhere, but the notion of the "armor of love" was pa.s.sed down to me by Sean Ferrer on September 17, 2009, as was the detail about the two versions of the dress, one for walking and one for standing. "The little black dress," he added, "is nothing more than the inner elegance of the person that wears it."

128.54 Carats: Marty Jurow, in Marty Jurow Seein' Stars Marty Jurow Seein' Stars: A Show Biz Odyssey A Show Biz Odyssey, goes into more detail about the negotiation that won him the permission to shoot inside Tiffany's. Information about the famous Schlumberger necklace is readily available, but I relied on Joseph Purtell's The Tiffany Touch The Tiffany Touch (Random House, 1972). (Random House, 1972).

The Diamond in the Sky: The article "On Location with Jon Whitcomb, Audrey (Golightly) Hepburn," Cosmopolitan Magazine Cosmopolitan Magazine (February 1961) furnished me with the many details and complications Planer and his crew encountered lighting and shooting the difficult scene inside Tiffany's. (February 1961) furnished me with the many details and complications Planer and his crew encountered lighting and shooting the difficult scene inside Tiffany's.

Action!: The ordeal of the 220-volt shock, as well as Blake and Audrey's remarks from the section, appeared in Eugene Archer, "Playgirl on the Town" (New York Times, October 9, 1960).

Lunch: Richard Shepherd to SW on March 13, 2009.

George Peppard, in Method and Madness in Method and Madness: I really wanted to give George Peppard a fair shake here, but the more I heard, the harder it became. Even Blake Edwards, who rarely utters an impolitic word, couldn't help but intimate, on one occasion when I spoke with him, that Peppard was a source of frustration for him. Audrey saw it similarly. Her remark, "Of course, all actors have a 'method'...," was taken from "On Location with Jon Whitcomb, Audrey (Golightly) Hepburn," Cosmopolitan Magazine Cosmopolitan Magazine (February 1961). Patricia Neal really cut loose with me on the subject on January 27, 2009, and March 13, 2009. All these years later, she's still seething. Elizabeth Ashley's observation, which I found quite illuminating, "George never was one of those actors...," is from her book (February 1961). Patricia Neal really cut loose with me on the subject on January 27, 2009, and March 13, 2009. All these years later, she's still seething. Elizabeth Ashley's observation, which I found quite illuminating, "George never was one of those actors...," is from her book Actress Actress: Postcards from the Road Postcards from the Road (Fawcett, 1975; with Ross Firestone). Blake Edwards's admission, "I liked George; he was such a ham...," is from (Fawcett, 1975; with Ross Firestone). Blake Edwards's admission, "I liked George; he was such a ham...," is from Patricia Neal Patricia Neal: An Unquiet Life An Unquiet Life, by Stephen Michael Shearer (The University Press of Kentucky, 2006). Patricia Snell's hypothesis, which begins "I think the problem with George...," is from our conversation of February 9, 2009. In the midst of all this, I was comforted to find some sort of explanation. Although it doesn't clear everything up, I hoped Peppard's side of things would provide some healthy complexity. His story, beginning with "My whole world fell apart in one day," is from "Behind the Scenes with Breakfast at Tiffany's Breakfast at Tiffany's" (Screen Stories Magazine, October 1961). I should add that I had a brief conversation with Peppard's son Brad, who was unable to offer more insight. He told me that his father was very careful about keeping his family and work lives far apart. October 1961). I should add that I had a brief conversation with Peppard's son Brad, who was unable to offer more insight. He told me that his father was very careful about keeping his family and work lives far apart.

Audrey & Mel & Blake & Audrey: Patricia Neal's story about Mel and Audrey, which begins "He was very tricky with her, you know...," was taken from our interview of January 27, 2009. Edwards's quotation, "I don't know whether her men had a lasting effect on her career...," comes by way of an extended riff on the subject of Audrey and her men, "Style, Elegance and Bad Luck with Men" (Newsweek, June 28, 1999), in which Edwards laments the needy side to Audrey's disposition and explains how it accounted for her many difficult relationships. Buddy Ebsen's description of Audrey's working style, "No two takes are identical...," is from his memoir, The Other Side of Oz The Other Side of Oz: An Autobiography An Autobiography (Donovan, 1993; with Stephen c.o.x). Audrey's line, "You know, I've had very little experience...," came from Eugene Archer, "Playgirl on the Town" ( (Donovan, 1993; with Stephen c.o.x). Audrey's line, "You know, I've had very little experience...," came from Eugene Archer, "Playgirl on the Town" (New York Times, October 9, 1960). Finally, Edwards's remark, "In those days, everyone fell in love with Audrey," arrived by way of an e-mail exchange dated July 29, 2009. When I quoted Edwards's e-mail to Robert Wolders, he chuckled. His reply, "I can a.s.sure you that there wasn't any of that...," came from our conversation of October 23, 2009.

Throwing a Party to Shoot a Party: "It was indicated in the screenplay..." Blake Edwards in Jean-Francois Hauduroy, "Sophisticated Naturalism: Interview with Blake Edwards," Cahiers du Cinema in English 3 Cahiers du Cinema in English 3 (1966). The rest of the quoted material from this section came directly from my interviews from the original party people. They are Miriam Nelson (interview of February 23, 2009), Fay McKenzie (interview of February 20, 2009), Joyce Meadows (interview of February 26, 2009), and Kip King (interview March 11, 2009). And Shepherd's loving tribute to Audrey, "Everything you have read...," is from our conversation of March 13, 2009. (1966). The rest of the quoted material from this section came directly from my interviews from the original party people. They are Miriam Nelson (interview of February 23, 2009), Fay McKenzie (interview of February 20, 2009), Joyce Meadows (interview of February 26, 2009), and Kip King (interview March 11, 2009). And Shepherd's loving tribute to Audrey, "Everything you have read...," is from our conversation of March 13, 2009.

The End: Patrick McGilligan's interview with Blake Edwards, from Backstory 4 Backstory 4: Interviews with Screenwriters of the 1970s and 1980s Interviews with Screenwriters of the 1970s and 1980s (University of California Press, 2006), started me on the notion that the ending Edwards used in (University of California Press, 2006), started me on the notion that the ending Edwards used in Breakfast at Tiffany's Breakfast at Tiffany's was not written by George Axelrod. That the image of the cage, which Edwards uses to introduce the party scene, and was recapitulated in Fred's famous monologue, led me to believe that Edwards hadn't merely revised Axelrod's scene, but had totally rewritten it. Also, many of Edwards's later films end, like was not written by George Axelrod. That the image of the cage, which Edwards uses to introduce the party scene, and was recapitulated in Fred's famous monologue, led me to believe that Edwards hadn't merely revised Axelrod's scene, but had totally rewritten it. Also, many of Edwards's later films end, like Tiffany's, Tiffany's, on a somewhat unconvincing note of romantic union (see on a somewhat unconvincing note of romantic union (see A Splurch in the Kisser A Splurch in the Kisser: The Movies of Blake Edwards The Movies of Blake Edwards [Wesleyan University Press, 2009]), so when I got the idea that the surviving ending was all Edwards, I was all but positive when I asked Blake, in an e-mail correspondence of July 29, 2009, to confirm my suspicions. He did, though somewhat reluctantly. "How the h.e.l.l did you find out?" he croaked to me on the phone the next day, and added, "I didn't want to go around telling everyone that I had written it. That wouldn't have been nice." Patricia Snell's echo, "Blake shot both endings...," is from our conversation of February 9, 2009. [Wesleyan University Press, 2009]), so when I got the idea that the surviving ending was all Edwards, I was all but positive when I asked Blake, in an e-mail correspondence of July 29, 2009, to confirm my suspicions. He did, though somewhat reluctantly. "How the h.e.l.l did you find out?" he croaked to me on the phone the next day, and added, "I didn't want to go around telling everyone that I had written it. That wouldn't have been nice." Patricia Snell's echo, "Blake shot both endings...," is from our conversation of February 9, 2009.

The Cat in the Alley: "As a woman..." Judith Crist to SW on January 30, 2009.

The Raincoat: "Edith did the raincoat..." Patricia Snell to SW on February 9, 2009.

7. LOVING IT LOVING IT, 1961.

One of Bennett Cerf's Dinner Parties: Joan's story is from Truman Capote Truman Capote: In Which Various Friends In Which Various Friends, Enemies Enemies, Acquaintances, and Detractors Recall His Turbulent Career Acquaintances, and Detractors Recall His Turbulent Career (Doubleday, 1997). (Doubleday, 1997).

One of Billy Wilder's Dinner Parties: We can see now that Blake was right to go for his ending, however unconvincing it might be. It is of a piece with the misty, wistful tone of the picture. George's ending, though it makes more emotional sense than Edwards's, was out of step with the conventions of the romantic comedy of the early 1960s, and as such, had to be forsaken. Both are equally right and equally wrong, but that wouldn't keep George from harboring resentment toward Blake, especially considering his long history of getting screwed out of his own material. Pat Snell's explanation, "What Blake did with the c.o.c.ktail party...," came from our conversation of February 9, 2009. George's anger at the Mickey Rooney segments, "Each time he appeared I said...," can be found in George Axelrod in Screencraft Screencraft: Screenwriting Screenwriting (Focal Press, 2003). What Billy said to Axelrod about leaving New York is paraphrased from (Focal Press, 2003). What Billy said to Axelrod about leaving New York is paraphrased from Backstory 3 Backstory 3 (University of California Press, 1997). Axelrod would repeat the same conversation, with negligible variations, throughout his career. (University of California Press, 1997). Axelrod would repeat the same conversation, with negligible variations, throughout his career.

Mancini Is Ready to Score: Mancini's autobiography, Did They Mention the Music? Did They Mention the Music?, was indispensable here, as was The Sixties The Sixties, Paul Monaco's volume in the History of the American Cinema History of the American Cinema (University of California, 2001). There is simply no way to write about Hollywood without consulting this series. Audrey's letter to Mancini can be found online at http://www-personal.umich.edu/~bcash/music.html. (University of California, 2001). There is simply no way to write about Hollywood without consulting this series. Audrey's letter to Mancini can be found online at http://www-personal.umich.edu/~bcash/music.html.

That f.u.c.king Song: As I state in the book, there are many versions of this story, and most of them credit Audrey with saving "Moon River." In my conversations with Richard Shepherd, I was sure to remind him of this, and he was sure to confirm that he was the one to stand up and speak out. Fay McKenzie's anecdote about Mel Ferrer, "After the preview...," came from our conversation of February 20, 2009. Richard Shepherd's summary, "The song had been an issue for Rackin...," is from March 13, 2009. The quote of Mancini's version of that meeting, "Audrey shot right up out of her chair...," was taken from Warren Harris's Audrey Hepburn Audrey Hepburn: A Biography A Biography (Simon & Schuster, 1994) (Simon & Schuster, 1994) The Kook: The kook stuff was everywhere. "Let's face it now, what is a 'kook'?" from the AMPAS Library's Paramount Publicity Files, October 26, 1960. "When you publicize this unusual role..." from "Behind the Scenes with Breakfast at Tiffany's Breakfast at Tiffany's," Screen Stories Screen Stories (October 1961). "If you're an Audrey Hepburn fan..." from (October 1961). "If you're an Audrey Hepburn fan..." from Photoplay Photoplay (July 1961). "Since Miss Audrey Hepburn has never played..." from the AMPAS Library's Paramount Publicity Files, September 13, 1960. (July 1961). "Since Miss Audrey Hepburn has never played..." from the AMPAS Library's Paramount Publicity Files, September 13, 1960.

The Poster: Robert McGinnis interview with SW on August 5, 2009.

What the Critics Thought: For an authoritative listing of reviews of Breakfast at Tiffany's Breakfast at Tiffany's, consult David Hofstede, Audrey Hepburn Audrey Hepburn: A Bio-bibliography A Bio-bibliography (Greenwood Press, 1994). Weiller's notice in the (Greenwood Press, 1994). Weiller's notice in the New York Times New York Times from October 6, 1961; from October 6, 1961; Variety Variety's review from October 5, 1961; Brendan Gill's glorious New Yorker New Yorker review from October 16, 1961; and Penelope Gilliatt's review can be found in her book, review from October 16, 1961; and Penelope Gilliatt's review can be found in her book, Unholy Fools Unholy Fools (Viking, New York: 1973). Irving Mandell's letter to columnist Hazel Flynn, which includes "The (Viking, New York: 1973). Irving Mandell's letter to columnist Hazel Flynn, which includes "The Tiffany Tiffany picture is the worst of the year...," comes from picture is the worst of the year...," comes from Hollywood Citizen-News Hollywood Citizen-News, February 20, 1962.

Working Girl: Letty Cottin Pogrebin interview with SW on March 6, 2009.

One of Swifty Lazar's Dinner Parties: "Sometime after the movie came out..." Patricia Snell to SW on February 9, 2009. "The book was really rather bitter..." quoted in an interview with Eric Norden, Playboy Playboy (March 1968). Capote's lament, "Oh, G.o.d, just everything..." from (March 1968). Capote's lament, "Oh, G.o.d, just everything..." from Conversations with Capote Conversations with Capote (New American Library, 1985). "Truman was strongly opposed to the screenplay," Richard Shepherd to SW on March 13, 2009.. (New American Library, 1985). "Truman was strongly opposed to the screenplay," Richard Shepherd to SW on March 13, 2009..

One of Akira Kurosawa's Dinner Parties: The incredibly funny, incredibly sad story about Kurosawa, beginning "When I was an agent at CMA...," came from my conversation with Shepherd on March 13, 2009. Mickey Rooney's feelings about playing Mr. Yunioshi have been paraphrased from a remark he made in Bruce Calvert, "Racism in Reel Life" (Sacramento Bee, September 9, 2008), after what was to be a free outdoor screening of Breakfast at Tiffany's Breakfast at Tiffany's was canceled on account of anti-Yunioshi protests. was canceled on account of anti-Yunioshi protests. Ratatouille Ratatouille was screened instead, which, given the chance, I would have protested. Blake Edwards has apologized-publicly, on various editions of the was screened instead, which, given the chance, I would have protested. Blake Edwards has apologized-publicly, on various editions of the Breakfast at Tiffany's Breakfast at Tiffany's DVD-for casting Rooney in the part. DVD-for casting Rooney in the part.

Letty Cottin Pogrebin Goes All the Way: Letty Cottin Pogrebin to SW on March 6, 2009.

The Envelope Please: In Did They Mention The Music? Did They Mention The Music? Mancini describes the events leading up to his Oscar acceptances. He and Johnny Mercer's dialogue was pulled verbatim from the telecast of April 9, 1962. The transcript from the Thirty-fourth Academy Awards can be found at the AMPAS Margaret Herrick Library in Los Angeles. Mancini describes the events leading up to his Oscar acceptances. He and Johnny Mercer's dialogue was pulled verbatim from the telecast of April 9, 1962. The transcript from the Thirty-fourth Academy Awards can be found at the AMPAS Margaret Herrick Library in Los Angeles.

The End of the Romantic Comedy: For more specifics on how Audrey overcame her concerns about Two for the Road Two for the Road and finally accepted the role, consult and finally accepted the role, consult Dancing on the Ceiling Dancing on the Ceiling: Stanley Donen and His Movies Stanley Donen and His Movies (Knopf, 1996). "I must confess to having been uncertain about taking on the role," Audrey writes in her introduction to the book, "but it was Stanley who, through sheer persistence, convinced me to accept it. Freddie Raphael had done a brilliant script, perhaps one that was slightly ahead of its time. It was extremely sophisticated, both in its exploration of the various stages of the man's and woman's infatuation with one another and in the way the story played itself out backward and forward in time." (Knopf, 1996). "I must confess to having been uncertain about taking on the role," Audrey writes in her introduction to the book, "but it was Stanley who, through sheer persistence, convinced me to accept it. Freddie Raphael had done a brilliant script, perhaps one that was slightly ahead of its time. It was extremely sophisticated, both in its exploration of the various stages of the man's and woman's infatuation with one another and in the way the story played itself out backward and forward in time."

8. WANTING MORE, THE 1960S WANTING MORE, THE 1960S.

The Beginning of the Romantic Comedy: "The Audrey I saw during the making of this film..." Stanley Donen quoted in Ian Woodward, Audrey Hepburn Audrey Hepburn (St. Martin's Press, 1984). "Audrey's the one who asked for the divorce" from Lina Das, "Another Audrey," (St. Martin's Press, 1984). "Audrey's the one who asked for the divorce" from Lina Das, "Another Audrey," Mail on Sunday Mail on Sunday (London), November 7, 1999. Judith Crist, (London), November 7, 1999. Judith Crist, New York World Journal Tribune, New York World Journal Tribune, April 28, 1967. Richard Schickel, April 28, 1967. Richard Schickel, Life, Life, May 12, 1967. May 12, 1967.

The First Ms.: Letty Cottin Pogrebin to SW on March 6, 2009.

Adieu Edith: The story about Edith and Audrey's encounter in the commissary is well told in David Chierichetti's Edith Head Edith Head. Rita Riggs's anecdote, beginning "When Gulf + Western bought Paramount," is from our conversation of February 13, 2009.

Truman's Swan Song: Sally Bedell Smith's In All His Glory In All His Glory: The Life & Times of William S. Paley and the Birth of Modern Broadcasting The Life & Times of William S. Paley and the Birth of Modern Broadcasting features what could very likely be the best biographical material that will ever be written about Babe and catalogues her reaction to "La Cote Basque, 1965" in exquisite and painful detail. Naturally, Gerald Clarke's features what could very likely be the best biographical material that will ever be written about Babe and catalogues her reaction to "La Cote Basque, 1965" in exquisite and painful detail. Naturally, Gerald Clarke's Capote Capote tells the same story from Truman's side, and contains, on its final page, a record of his last words. tells the same story from Truman's side, and contains, on its final page, a record of his last words.

About the Author.

SAM Wa.s.sON studied film at Wesleyan University and the USC School of Cinematic Arts. He is the author of studied film at Wesleyan University and the USC School of Cinematic Arts. He is the author of A Splurch in the Kisser: The Movies of Blake Edwards A Splurch in the Kisser: The Movies of Blake Edwards, and the forthcoming Paul on Mazursky Paul on Mazursky. He lives in Los Angeles.

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ALSO BY SAM Wa.s.sON.

A SPLURCH IN THE KISSER: THE MOVIES OF BLAKE EDWARDS.