(music: Moon River) Voiceover: She was special and she was alive, and I think we're going to
find that special quality is going to build
and not a legend, she's already a legend. Voiceover: Her polish seemed
to have been born with her. She spoke beautifully. she walked beautifully. She dressed beautifully, and her manner and
persona was as polished as anyone that I've ever
seen in my entire life on or off the screen. Voiceover: But, if
needed, in order to really become a star, it's an element X
that God gives you or doesn't give you. You've got it, you cannot learn it. God kissed her on her cheek and there she was. (music) Roger: Audrey Hepburn
was an actress, a wonderful one. she was quite unique, but in one way especially, she was different from
most other actors. she never liked to
talk about herself. However, towards
the end of her life, she undertook a mission, to bring the tragic
plight of so many millions of suffering children
to the attention of the rest of the world. She traveled all over the globe on behalf of those children, and for them, she did
talk about herself in Holland, New Zealand,
Australia, New York, and even in Hollywood. So Audrey left a record of
her life in her own words, and what a record it is of a beloved star and
a remarkable woman. Audrey: I was born with
something that appealed to an audience at
that particular time. It never ceases to puzzle and yet also to
dazzle me in a way that everything has happened. So I spent the night
here, with you? Gregory: Well, now,
I don't know that I'd use those words, exactly, but from a certain angle, yes. (giggles) Audrey: How do you do? Gregory: I think I
had the impression this picture was
about me, at first. When I was told by Willie Wyler that an unknown girl, a little dancer from London was going to play the princess, I said, "Well, Willie, no one
has better judgment than you. "Have you seen her on film?" He said, "Let me
show you something." Well, it took about two minutes, and it suddenly came over me that Roman Holiday was
not going to be about me. It was going to be
about the princess. Audrey: I owe Greg a great deal, if not everything, because stars had approval
of costars or coactors. Gregory: Everybody on the
set was in love with her. She'd never put a foot wrong. At that time, it was to be
Gregory Peck in Roman Holiday with Audrey Hepburn. I got on the phone from Rome, and I called my
agent in Hollywood, and I said, "George, it's
gotta be Audrey Hepburn "above the title." He said, "You can't do that. "You've worked years
to get top billing. "You can't give it
away like that." I said, "Oh, yes I can, "and if I don't, I'm going
to make a fool out of myself "because this girl is
going to win the Oscar "in her very first performance." The Mouth of Truth. Legend is that if
you're given to lying, you put your hand in there, it'll be bitten off. Audrey: Ooh, what a horrid idea. Gregory: I said to Willie
before we did it the first time, "Let me do the old
Red Skelton thing, "where I put my hand
in the Mouth of Truth, "and then when I pull
it out, it's like that, "and don't tell her
we're going to do it." Audrey: And so we
played the scene, and Greg put his hand in there, (screams) Gregory: Hello. Audrey: And the scream I
let out was good and proper because ... (laughs) It was very funny, but
it was also very scary. Gregory: I'm sorry,
it was a joke. Audrey: Oh, you've
never hurt your hand. Gregory: Okay? Audrey: Yes. I have to leave you now. I'm going to that
corner there and turn. You must stay in the
car and drive away. Promise not to watch me
go beyond the corner. Just drive away and leave me, as I leave you. Greg and I are about to separate and never ever see
each other again, and it was goodbye, and Willie said, "Now,
I want you to cry "and be really heartbroken." I was heartbroken, but not being very professional, I didn't know how to cry
tears or invent them. It sort of didn't happen in 1, 2, 3, 4, 5 takes, and
there was still no tears. Willie, who'd always
been very gentle and very sweet with me, came over and says, "This is
enought of that, and for ... "sake, you know, are
you going to cry or not? "I mean, are we going
to stay here all night?" I was so upset at him
being so angry with me that I burst into tears
and they shot the scene. Audrey: I don't know
how to say goodbye. I can't think of any words. Gregory: Don't try. And that's how it became Gregory Peck and Audrey
Hepburn in Roman Holiday, and she did win the
Oscar the first time out. Billy: She had not
gone to acting schools. She didn't hear the
word Strasbourg. She did not repeat
in front of a mirror. She just was born with
this kind of quality, and she made it
look so unforced, so simple, so easy. I didn't know what I was doing. I acted instinctively, and have one of the
greatest schools of all, a whole row of great,
great directors. Roger: When I think
of what Audrey brought to all of her performances
was an incredibly honesty, and I think that was
because she herself was an honest person. She hid nothing, and film acting is
about what is going on behind these things, not these two red, white,
and blue ones that I have, but hers were ponds and every emotion
was there in them. Voiceover: Which of
the cities visited did your Highness
enjoy the most? Audrey: Each in its own
way was unforgettable. It would be difficult to ... Rome. By all means, Rome. I will cherish my
visit here in memory as long as I live. Sean: She said, "If I
were to write a book "about my life, it
would start like this. "I was born on May 4th, 1929
and I died 3 weeks later." Her mother was a
Christian Scientist and she had a terrible
attack of a whooping cough, which was so bad at
the age of 3 weeks, that her heart stopped, and it was her mother
that revived her by spanking her and not
giving up on this baby. I think that had an
effect on her whole life. Ian: I remember very
little of her then. She was just the small,
wrinkled monkey face. We were very naughty. We did a lot of tree climbing and I fell out and
she fell out of trees. My mother and Audrey's mother was beautiful, intelligent. Audrey: My mother was born
in 1900, very Victorian, and considered it not proper to make a spectacle
of yourself, you know, and not to talk about yourself. Connie: Audrey's mother, the Baroness Ella van Heemstra, was a remarkable lady, very independent lady. Ian: Her father disappeared at a certain
stage from our lives and Audrey missed him a lot. Audrey: My father leaving
us left me insecure for life, perhaps. I do think there are
things that, you know, that experiences in childhood form you for the
rest of your life. I was 10 when the war broke out. I was alone in England. My mother brought
me back to Holland, where they were living, and this was in sometime in May, when the Germans
marched into Holland. (airplane flying) (bomb explosion) There's so many images
that will never go away. I saw these german
tanks come in for hours, marching, driving. Holland fell after five days. There was a knock on the door, and they took my uncle away, who six months later was
shot and another uncle too, and my brothers
went underground, but a child is a
child is a child who lived by the day. Ian: She drew quite well. She was very keen on
her ballet lessons. Audrey: I was never going
to be a great dancer. I was too tall. I didn't have the training
that I should have had when I was younger, because of the war and so forth. The day we were liberated
was so exciting, and that's when
life started again. As soon as I could, I wanted deperately
to become a dancer, and I got a scholarship in the Rambert Ballet
School in London. Robert: They arrived in London, virtually without
any money at all, and her mother worked
at various jobs to supplement their income. Audrey: I was
working in musicals. I just acquired an agent, or rather the agent acquired me, and I was doing little bits
for television and movies. Laughter in Paradise
was the first one. Audrey: Hello, who
wants a ciggie? Guy: Hello, sweetie. No, I'm smoking
cigars from now on. What about a date
later on this evening. I feel like celebrating. Look, I don't want that old
goat in the telephone box to see us talking. Audrey: Why? Guy: Well, don't think me mad, but just for the moment, I'm not allowed
to talk to women. Audrey: Don't I
count as a woman? Man: Racing's up
by state out here. Still, I don't believe I've ... Audrey: That was
my second movie. Man: Ahh, Chiquita, Chiquita. I hoped I'd see you. You run along and get yourself
that little birthday present. Audrey: Oh, but how
sweet. Thank you. I spoke exactly one
line in that picture. It enabled me to say
for the rest of my life that I'd worked
with Alec Guinness. Audrey: Why Shenton? Nigel: Why anywhere? I can't stay here. The house will be
full of ghosts. Audrey: You do look tired. It may be the only unhappy
picture I ever made because Henry Cass
had it in for me, and he was always criticizing. I was probably terrible in it. How dreadful for you. Rodney, I know what
it's like to be hurt. A sense of loss,
a wounded vanity. All go in time, but the disillusionment
destroys something inside and that goes on forever. Nigel: Of course. You've been through it too. Audrey: Yes, indeed. That should be a bond
between us, Rodney. We both know we can
never love again. Nigel: But we can be
friends, can't we? Audrey: Of course, Rodney dear. If you promise never to
try to make love to me. Nigel: Oh, I promise. Darling, Eve, you're very sweet. Audrey: Oh, Rodney,
don't call me darling. Nigel: Darling. Audrey: That didn't
happen, Rodney. (piano music) Secret People was directed
by Thorold Dickinson. When William Wyler
came to London, he sort of picked
out a few girls and he put Thorold
Dickinson in charge of testing me because
I'd worked with him. He did the test that
got me Roman Holiday. First I did Gigi on Broadway. Robert: She had warned Collette, who had requested
that she do it, that she wasn't
prepared for this that she had not acted and Collette had said to her, "Well, you've had
ballet training, "so you know how to work hard. "You can handle this." Audrey: I really spent
hours every night walking up my room
learning my lines and trying to get ready
for the rehearsal next day. Because I wasn't used to it and didn't know what
was expected of me. Mel: Greg Peck and I
were very close friends, and we had a theater
together, also, in La Jolla, and he said, "I want
you to meet Audrey. "She's very interested
in the theater too." I called, and I heard this
very spritely, gay voice say, "Hello, this is Audrey." She said, "You know,
I saw you in Lili, "and that's really why I
asked Greg to introduce you "to me, because I loved Lili." Eventually, one day, I reread
Ondine by Jean Giraudoux, and I thought this was
an absolutely perfect
part for Audrey. Audrey: Ondine is a very
beautiful love story in which Mel Ferrer
and I appear together. Mel plays the knight-errant, and I play a water sprite. Mel: Audrey announced
to her agents that she was going to
New York to do a play. By then, they had
seen Roman Holiday, and they knew that
they had a client who was going to explode when
this picture was released. They said, "Oh, don't do that. "Supposing you're a failure "and you have this
big success coming up "in a movie with
a top leading man "and a top director." She said, "I like this
play. I want to do it." Audrey came. We did the play. While we were playing it, she won the Academy
Award for Roman Holiday. Voiceover: Hollywood is aglow
for its own crowning event, the annual Academy Awards. Ready to announce
the best actress. Donald: Miss Audrey
Hepburn in Roman Holiday. (crowd applauds) Voiceover: Audrey
Hepburn is in New York, but a big in-person audience
sees her come forward to receive her Oscar
from Jean Hersholt. Audrey: It's too much. I want to say thank
you to everybody who in these past
months and years have helped, guided,
and given me so much. I'm truly, truly grateful
and terribly happy. (audience applauds) Mel: And then six weeks later, she won the Tony Award for
the best actress of the year in New York Theater. Voiceover: Audrey and Mel Ferrer were married in September 1954. (sung) "I reach for you
like I'd reach for a star." (sung) "Worshipping
you from afar." (woman laughing) (sung) "Living with
my silent love." Billy: She was not
playing the Oscar winner. She was humble. I remember the very first
day when she came on the set. When we were just through with
the very first small shot, everybody on the set had
fallen in love with her. John: You better go to your
room and finish your packing. Audrey: Who's that girl, Father? John: Which girl? Audrey: The one
dancing with David? (woman laughing) John: Her name's van
Horn, Gretchen van Horn. Chase National Bank. Sabrina: I hate girls
that giggle all the time. Hubert: One day, someone
told me Ms. Hepburn coming to Paris to
select some clothes, and at that time, I never
heard of Audrey Hepburn. I only know Katherine Hepburn. Of course, I am very impressed to receive Katherine Hepburn, and the door of my house, my couture house
in Paris opened, and of course is lovely,
charming, young, beautiful girl, and it's Audrey. She wants to order a wardrobe for the new movie by
the name of Sabrina. First, of course, is a
great impression by her because she's like a
very fragile animal. You know, she has beautiful
eyes like we know, and she's so skinny, so thin, but this is, of course,
a first image of Audrey. I was at, and she has
exactly the proportion of the model I used
for the collection. Billy: The way she talked,
the way she dressed, I think she and Givenchy
were a magnificent team. William: This is maddening. I know I've seen
that face before. Let me see your profile again. I know I know you. I have a feeling I've
seen you with your father. Wait a minute. Is your
father Admiral Sterett? Audrey: Hardly. William: It's funny, I keep
seeing him in a uniform. Oh, come on. Give us a hint. What does your father do? Audrey: He's in transportation. William: Transportation.
Railroads, New York Central. Audrey: No. William: Planes, TWA. Audrey: No. William: Boats.
United States lines. Audrey: No. William: I pass. Audrey: Automobiles. Billy: The chauffeur's daughter
is going to the big ball and she looked more royal than all the other society
people in New York. William: Oh, Sabrina, Sabrina. Where have you been all my life? Audrey: Right over the garage. William: Right over my car. Right up in that tree. What a fool I was. Audrey: What a
crush I had on you. William: It's not
too late, is it? Audrey: I don't
know, David. Is it? (romantic music) Humphrey: Sabrina. Audrey: Hmm? Humphrey: If David
were here now, you'd expect him to
kiss you, wouldn't you? Audrey: Mm. Humphrey: Here's
a kiss from David. It's all in the family. Stanley: I'll never
forget the way she sounded when she spoke or sang. Audrey: (singing) I
could cry salty tears. Where have I been
all these years. Is it fun? Or should I run? How long has this been going on? There were chills up my spine, and some thrills I can't define. Does it show, and
who would know? How long has this been going on? Stanley: The film is
simply about a girl who didn't believe
that one's appearance or attire was important, and she wanted to go to
Paris for other reasons, and once there, when she
was dressed and coiffed, she went from a
caterpillar to a butterfly. (music) Fred: Heartbreak,
longing, tragedy. That's great! Just
like the movie. Poor Anna Karenina, no, no, not too much steam! You're in love. Now turn around. You're furious at Tristan. That's great! Audrey: It is so
magic because of Richard Avedon's
enormous contribution, you know, the
great photographer. Voiceover: You played that- Audrey: And it is sort of, It's loosely, loosely
based on his life. He was a total consultant
on the picture, and that's why I think
today it holds up so well, because it was very
much ahead of its time. All the pink and the soft focus. Bill: How did you cope
with that incredible, with the gown and
the incredible walk in front of Winged
Victory, right down. Audrey: I think it
was just good luck. I did it once and
didn't break my neck. Tell me when you're ready! Say, 'Go'! Fred: I'm ready. What
are you gonna do? Audrey: Never mind
what I'm going to do. Just say 'Go'! Fred: All right, go! Holy moly! You look fabulous. Audrey I had to run
down those steps and not trip and not look down. I can't stop, take the picture. Fred: STOP! Audrey: I don't want
to stop. I like it. Take the picture,
take the picture! Bill: Audrey was very concerned about working with Fred Astaire, as anybody who was
a dancer would be. Audrey: Fred was so unique, but what was lovely is that he
made you forget about yourself. Obviously, I was terribly
worried about dancing with him. I haven't had that
much experience, and certainly no Fred Astaire, and nor was I Ginger Rogers. I was thrilled at the
idea of doing it with him. I mean, the first minute, he sort of put his
hand around my waist, and we tried something out. It was like floating, you know? Everybody's, every woman's dream to
dance with Fred Astaire, and it happened to me. (singing) 'S wonderful. 'S marvelous. That you should care for me. (instrumental music) Mel: I never saw
her head be turned by the successes she had. She didn't want to be
just an appealing ing nue. She wanted to
constantly reprove that she was a professional, that she was capable
of stretching. She wanted very much
to do War and Peace because of King Vidor. To her, it was,
again, a challenge. Audrey: Clothes,
per se, the costume, whether it's moderate is
terribly important to me as it always has been, perhaps because I didn't
have any technique for acting when I started because I'd never
learned to act. I had to sort of make
believe, like children do. You know how children
get dressed up and make believe
they're somebody else or a grown up? Mel: The way she
wanted to play it, it had to be different
because she had to start as sort of a tempestuous,
rather spoiled young girl who becomes a mature,
saddened, and mature person because of the war, because
of the losses of so many. Henry: Prince Andrei, may I present the
Countess Rostova. Mel: If she looks back at me
and smiles on the next turn, she'll be my wife. Audrey: It's awful!
I'll die waiting a year. It's impossible. No, you know I'll do anything. Whatever you say. Oh, I'm so happy. We have the rest of our lives. What's a year? I can't, you know I can't. I'm going to him. I tell
you, I'm going to marry him! Henry: Whatever he's
told you, he's lying. He's married already. You must leave Moscow. You must never breathe a
word of this to anyone. (knocking on window) Mel: The whole thing came
to the death scene with me and how she changed after that. After Andrei dies in her arms, she becomes a different person. I love you. Audrey: Forgive me. Mel: Forgive what? Audrey: For everything
I have done. Mel: I love you more, better than before. (crying) Voiceover: In the 1957
Love in the Afternoon, Audrey was cast
opposite Gary Cooper. Audrey played a young girl
completely smitten by Cooper, who enacted a world-weary
millionaire playboy. Billy: In Love in the Afternoon,
which we made in Paris, and her father was
a private detective. The way she talked to them. The way they embraced, the way they looked
at each other, it was father and daughter. There was no doubt about it. She made you believe it. That was it. She knew how to embrace a man to make you feel she
had fallen in love. She made it true. She made what she said
and what she felt. She made it so clear that the partner had to
react the proper way. She drew them into reality. She understood the character, and she demonstrated
it to the audience in a very subtle way. You knew always what was
going through her mind. Henry: She played the
younger lady to the older man several times in movies, and I think it was believable
because she had a maturity. You might say she
was vulnerable, but yet she had confidence. She had such self-confidence
in what she was doing that she made all of
these relationships work. Mel: Audrey was
never bothered by the physical hardships
of making a picture. When the idea of the
Nun's Story was floated, going to Africa and going
through tremendous hardship, it was an experience
that she welcomed and that she was able to
derive a great deal from. Voiceover: The Nun's Story
was a significant departure from any role Audrey
had tried before. Audrey: My mother always
impressed it on us. You have to be
useful, to be needed, and to be able to give love. I think that's even more
important than receiving it. It was often an enormous help to know that you look the part, once you're in that
habit of a nun. It's not that you
become a saint, but you feel something. Mel: There's very
little that you can show with just this much
of your face showing, and it's a very
hard thing to do, and she did by doing so little. Audrey: I was very
lucky to, by chance, fall into a period
in movie-making when these directors were
around and wanted me. That has been a sort of
miracle of my career, because I haven't made
that many pictures, but they were all,
one after the other, four great directors
with great actors. Billy: She was born modest. When she talked about
getting an award, getting good reviews,
she will always bring up the help that she got. Connie: She would never
have been tempted to live in Hollywood. Audrey would never come
home and play her character or never take it along with her. It was her career, but that was part of her
life that was at the studio. Voiceover: On January
the 17th, 1960, Audrey's most cherished
dream was realized. Hubert: When Sean was born, for her to have this first
baby is where presence, I'm seeing the
belle of the ball. You know, a great, great joy. Doris: I had a
nickname for Audrey, which was 'Square', and
nobody really knew why. I'll tell you because
it's a nice story. We would say, you know, "You have smaller
feet than I do, "and you're so great looking, "and blah, blah,
and all of that." One day she said to me, "But you see, I'm all fake. "My eyes are small,
and my face is square, "and I fix it all up
by wearing makeup." I said, "Come on, you
don't have a square face. "I mean, you look fantastic." "I'll show you!" So, the next day, she drove by
the hotel at 7 in the morning on her way to the studio and had this wonderful
scarf on and glasses, took them off, and she
said, "Look, you see? "I have no eyes, and
I have a square face." That's how she became
'Square' to me. She was happiest
not wearing makeup and at home with the
dogs and the flowers and giggling away or
going to the movies, not being a movie star at all. Not being this idol for millions
of people all over the world. She had a wonderful quality, which very few people have. She listened, and
she really cared. Hubert: She'd tell me something. I always remember
and very touching. She said, "You know, when
I'd wear a white blouse "or a little suit
you create for me, "I have the feeling
to be protect by your
suit or by your blouse, "and this protection is
very important to me." Sean: She didn't think
she was particularly
beautiful or striking. She did feel that she
was awkward and too thin and maybe not as appealing
as other movie stars, and so she always looked at
the fact that she was so famous as kind of a freak
accident of nature. Audrey: There's a picture
that I always love when it comes on television. It's Breakfast at Tiffany's. I love the dialogue. I love the whole
ambiance of the picture and the fun of it. Dorothy: Holly, d-darling! George: What's that? Audrey: Mag Wildwood. George: Oh? Audrey: She's a model, believe
it or not, and a thumping bore! But just look at the goodies
she brought with her. George: He's all
right, I suppose, if you like dark,
handsome, rich-looking men with passionate natures
and too many teeth. Audrey: I don't mean that one. I mean the other one. George: Huh? Audrey: Rusty Trawler. He happens to be the 9th
richest man in America under 50. George: I was not thought of as
the ideal casting for the man, and Truman Capote who wrote
the book actually thought he should play my part, and many people thought
that other actresses would be more appropriate
for the lady lead, but there was something
innocent about Audrey. I mean, if she was a call girl, she was the most innocent
call girl you ever saw. Blake: Audrey was unique. She had a kind of joyous nature. She was funny and she was dear, and she was disciplined. She was a hard worker, and yet you always
felt comfortable because she made it easy. The camera loved her. There was no way that you
could photograph her badly. She just glowed when
the camera started. Henry: It was necessary to show
that vulnerable side of her, the side of her that
loved her brother, and then when Doc
comes into the film, that side of her, showing
her to be a farm girl. Audrey: Please, Doc.
Please understand. I love you, but I'm just
not Lula Mae anymore. I'm not. (music plays) Henry: It was one of the hardest
songs I ever had to write, the hardest melody
I've ever had to write because I couldn't figure
out what this lady would be singing up there
on the fire escape. What would she sing? Would she sing a pop tune? Would she sing something
with a blues thing in it? It took me almost a
month to figure it out. Once I went to the piano, once I got [bom beem bam], then I was home, but that took
a long time to get to that. Without Audrey, there
would have been no [bum-bum-bum]. Never. Audrey: (singing)
You heartbreaker. Wherever you're goin',
I'm goin' your way. Two drifters off
to see the world, there's such a lot
of world to see. We're after the same. Rainbows end, waitin'
round the bend. My huckleberry friend,
moon river and me. My huckleberry friend,
moon river and me. Henry: There have been
over a thousand recordings at last count, probably more now of Moon River
throughout the world, and just about every
singer has done it. I always have to go
back to the original because Audrey sang that song with an honesty and such
a dedication to the words. She knew what she was doing. She knew what the words were. Blake: We previewed
in San Francisco and adjourned to a hotel
to discuss the results of what was obviously
a very good preview, and we all deferred to this
new Paramount president who paced the room
and puffed on a cigar. His first utterance was, "Well, I'll tell you one thing. "We can get rid of that song." (laughs) To Audrey's everlasting credit, she stood up and said,
"Over my dead body." And so the song stayed in. George: Of course I had no
idea what her voice was like. I had no idea what
the picture was like until I saw it in the preview and saw the
beautiful photography and heard that
magnificent theme, and then watched Blake
Edwards make magic. George: Holly, I'm
in love with you. Audrey: So what. George: So what? So plenty. I love you, you belong to me. Holly: No, people
don't belong to people. George: Of course they do. Holly: I'm not going to let
anyone put me in a cage. George: I don't want
to put you in a cage. I want to love you! Holly: It's the same thing. George: No, it's not! Holly. Audrey: I'm not Holly.
I'm not Lula Mae either. I don't know who I am. I'm like Cat, here. We're a couple of no-name slobs. We belong to nobody, and
nobody belongs to us. We don't even belong
to each other. Stop the cab. (thunder) (rain pouring) What d'ya think? This ought to be the
right kind of place for a tough guy like you. Garbage cans, rats
galore.(cat meowing) SCRAM! I said take off! Beat it! Let's go. Oh, Cat! (cat meows) (music: Moon River) Cat! Cat! (sung) Moon River and me. Dominique: Oh, Thank you. Cary: Do we know each other? Audrey: Why? Do you
think we're going to? Cary: I don't know.
How would I know? Audrey: Because I already
know an awful lot of people. Until one of them dies,
I couldn't possibly
meet anyone else. Cary: Well, if anyone goes on
the critical list, let me know. Audrey: Hm. Quitter. Cary: What? Audrey: You give up
awfully easy, don't you? Stanley: Cary Grant
and Audrey Hepburn, two people who will never
be bettered on the screen and who seem to be
the epitome of beauty and handsomeness and culture. (jazzy music) Audrey: Cary, that's a
lovely souvenir in my life. Unlike some people might think, he was really a very
reserved, very sensitive, very quiet person. Cary: Here you are. Audrey: Where? Cary: On the street
where you live. Audrey: How about once
more around the park. Cary: How about
getting out of here. Come on, child, out. Audrey: Won't you
come in for a minute? Cary: No, I won't. Audrey: I don't bite, you
know, unless it's called for. Cary: How would you
like a spanking? Audrey: How would you
like a punch in the nose? Stop treating me like a child. Cary: Well then, stop
behaving like one. Now, if you want to tell me
what's troubling you, fine. If not, I'm tired, it's late,
and I want to go home to bed. Oh! Audrey: Do you know
what's wrong with you? Cary: No, what? Audrey: Nothing. Stanley: Cary was afraid
that he was getting too old to play romantic
character situations, and he felt Audrey was so
much younger than he was, which she was, of course, so we changed the
script slightly to make her more the aggressor and him being reluctant
to give himself because he thought he
was too old for her. Cary: Uh oh, okay. Knock it off. Now, come on,
Reggie, listen to me. Audrey: Oh, here it comes. The fatherly talk. You forget I'm already a widow. Cary: So was Juliet at 15. Audrey: Mm, but I'm not 15. Cary: Well, that's the
trouble. You're too old for me. Stanley: I don't know anyone
who's lived in those years who doesn't sort of think of Cary Grant and Audrey
Hepburn as the most enchanting of people, and to be able to have
them together in a movie was beyond anybody's dreams. Cary: Hasn't it occurred to you
that I'm having a tough time keeping my hands off you? Oh, you should see your face. Audrey: What's the
matter with it? Cary: It's lovely. Audrey: Oh. Cary: Now what's the trouble? Audrey: I'm not hungry anymore. Isn't it glorious? Adam! Cary: It's all right. Come and look. Audrey: Hey, you don't
look so bad in this light. Cary: Why do you think
I brought you here. Audrey: I thought maybe
you wanted me to see the kind of work the
competition was turning out. Cary: Pretty good, huh? Audrey: Mm. Cary: I taught them
everything they do. Audrey: Oh, did they
do that kind of thing way back in your day? Cary: Sure. How do
you think I got here. Audrey: Not allowed
to kiss back, huh? Cary: Oh, no. Doctor said it was
bad for my thermostat. Well, when you come on,
you come on, don't you? Audrey: Well, come on! (music plays) Audrey: Walking down
those steps, stairs, for the first time, beautifully
dressed in My Fair Lady. Last time the audience
saw you, you were grimey and couldn't speak properly, and around the staircase I come, in this absolutely
sublime white ball dress, where all I had to do
was walk down the stairs. The dress sort of made me do it. (Music: "I Could Have
Danced All Night") Wilfrid: Miss Doolittle,
you look beautiful. Audrey: Thank you,
Colonel Pickering. Wilfrid: Don't you
think so, Higgins? Rex: Not bad, not bad at all. (sung) I could have
danced all night. (sung) I could have
danced all night, (sung) and still
have begged for more. (sung) I could have
spread my wings, (sung) and done
a thousand things (sung) I've never done before. (sung) I'll never know
what made it so exciting. (sung) Why all at once,
my heart took flight. (sung) I only know when
he began to dance with me. (sung) I could have
danced, danced, danced (sung) all night. (church bells) Audrey: They don't
look very happy. Albert: Why should they? They just got married. Stanley: It was a part that was more about the difficulties
of being married than any other movie,
I think, she made. The others that I made
were more about the, sort of, blush of romance. Most of her pictures were
about that euphoric feeling of just falling in love. Two for the Road was
about the difficulties
after that euphoria. (laughs) Albert: What happened to your
slick friend in the Alfa Romeo? Audrey: I told him I
was in love with you, so he put me down. Albert: I warn you. Audrey: Don't. Stanley: Probably the scene
which is more satisfying from her point of view is when she comes back to to the character that
Albert Finney is playing after having left him and had
an affair with another man. Albert: You humiliate me and you come back. Audrey: That's right. Albert: Thank God. (crying) (instrumental music) Are you sure you
remember which one I am? Audrey: Oh. Stanley: She showed
enormous learning, enormous talent in
expressing that scene. Hubert: Like everyone knew, Audrey had two marriages. She's, I know, very,
very in love with Mel, and she suffered, and I'm sure Mel suffered
himself of the separation. Voiceover: Audrey and Mel Ferrer were divorced in November 1968. The following year, she
married Italian psychiatrist Dr. Andrea Dotti. Henry: I remember I
visited her in Rome, and she was pregnant
at the time, and I came to her
flat and she said, "Oh, let me make
you some pasta." She was laying
down on the couch, and it seems that she had to, in order to have the child
that she was bearing, she couldn't move
around very much. Audrey: One thing I
dreamed of in my life was to have children of my own. It always boils down
to the same thing of not only receiving love, but wanting
desperately to give it, and you almost need to give it. Voiceover: Audrey was ecstatic when her second son, Luca, was born on February
the 8th, 1970. Without fanfare, Audrey
had quietly retired
from making films. She had won one Academy Award. She had also won four
nominations as best
actress for Sabrina, the Nun's Story, Breakfast at Tiffany's and Wait Until Dark. It was time for something else. Audrey: I sort of more or
less withdrew from pictures to take care of both my sons. Voiceover: She had a wonderful
relationship with her children. Wonderful with
Sean and with Luca. She was a real, real mother. Audrey: Sure, I would have
liked to have been able to do a bit more,
few more movies, but I hate to think how
I would have felt today if I hadn't known my children. Connie: Then she came
out of retirement. I think Luca was about 4 or 5 when she made Robin and
Marian to please her children. I must say, she
wanted to make a film that they would love to see. (horses galloping) Sean: Hello? (cow moos) Sean: John, you go in. I never really said goodbye. She might be angry. Better yet, leave
it for another day. Audrey: You there! What in hell do you want? Sean: This is Kirkley Abbey? Audrey: Right you are,
and I'm the abbess. Who are you? Sean: Good God, it's Marian. Audrey: Robin. Sean: Marian, what are
you doing in that costume? Audrey: Living in it. Sean: Well, I've come
home to you, Marian. The wars are over. I'm here. Audrey: Well, it's
Mother Jennett now, and you can trot right
back to Jerusalem. Sean: You're angry. Audrey: Not with you. I haven't thought
of you in 20 years. Sean: Well, give me a smile then and invite me in. Audrey: Come back
tomorrow. I'll be gone. The sheriff's coming for me, and I'm off to prison. The reason it appealed to
me is that our fairy tales and stories and children's
stories and legends always stop with "and then
they lived happily ever after." You never know what
happened to them. No? You get this lovely story, and
then there's this last line. This pictured appealed
to me so much. I thought it was such a
poetic idea to, yes, find out what happened to
Robin Hood and Marian. Audrey: Were there many
women on your great crusade? Sean: Lots Audrey: Don't tell me. Sean: As you wish. Audrey: How many? Sean: But they all
looked like you. Audrey: Am I old and ugly? Am I nothing you'd want? (music) Henry: Age, of course, caught
up with Audrey finally. She knew that the parts
being offered to her were not going to
be of the quality of let's say the Tiffany's,
or all of the early things that she had her
youth going for. Voiceover: Audrey
and Dr. Andrea Dotti were divorced in 1982. Robert: When they broke apart, she suffered immensely
for her children with Luca, as with Sean. She was absolutely determined
that they would have the full benefit of
their father's affection. Connie: It always made
me very happy that Audrey met Robbie
Wolders at my home, and they were both Dutch, and they were both
happy to see each other, and it became such a warm
and lasting relationship. Robert: We grew up just about
30 miles away from one another. We never met, needless to say. It would've been nice if we had. Billy: The difficulty
of stars, naturally, is what do they do
if they're 50 or 55? Well, there are some that
they're born actresses, and it's their life, but what does a former
honest-to-goodness star do? Audrey Hepburn chose
a wonderful 3rd act, and she was made by
God for this job. Voiceover: She joined
UNICEF officially as a good will
ambassador in 1988. Audrey: I can personally
do very little, but I can contribute to
a whole chain of events, which is UNICEF, and that's a marvelous feeling. It's like a bonus to me
towards the end of my life, and if this career has given me, has left me with
something very special, it's the fact that it's left
me with this whatever it is, this voice, this curiosity
people have still to see me, to talk to me ... which I can use for
the good of children. What could be nicer? I did emerge from the last
war along with hundreds, thousands of other
children in Holland with very poor health because
of years of malnutrition. UNICEF did come in right
after the liberation with food and clothing
and surely that's made me a little more aware than
somebody who might not know what it means to be hungry,
deprivations of food. Never do I think of that
when I see a child in Africa who is at death's door, but what I've always had, and
maybe that I was born with was an enormous love
of people, children. I loved them when I was little. I used to embarrass my mother by trying to pick babies
out of prams at the market. Richard: The only thing that
would have compelled her to go and sit in
front of the cameras and sit in front
of the microphones, which she didn't like,
in fact she hated it, was because there was a
higher good to be served. For her, that higher
good was UNICEF, which meant, really, children. Audrey: If you deny
childhood, you deny life. They can't speak
up for themselves, so we must. But it's like, how
do you define love? It's a very, very deep feeling, but it's I think the most
important force of life. Roger: When she traveled about, seeing what she did, she didn't reflect
that to the children. All they saw was a warm,
compassionate joyous face. She brought joy. She didn't paint a
completely black picture. She gave the children hope. She hid from them what
was going on inside her. It doesn't do to show a
person who is suffering that you're terribly
upset by it all. You have to, say,
give them a feeling, "Ah, things are going
to be wonderful," because there's kids. It didn't matter
where they were. They didn't know who Audrey
Hepburn, movie star, was. All they knew was here was
a very nice, loving lady who brought joy
and cared for them. Robert: Our last UNICEF
mission was to Somalia. Audrey was so eager
to make the trip because she was so very
aware of the necessity to describe to the public
the horrors of the situation. Connie: Her last trip to Somalia
must have been so painful. I think the interview she did
with Charlayne Hunter-Gault, she raised the cause of Somalia
more than any other person when she returned and
expressed her grief and despair at their suffering. Audrey: I've seen it happen, and I'm filled with
a rage at ourselves. I don't believe in
collective guilt, but I do believe in
collective responsibility. Sean: The graciousness
and the simplicity with which she lived her life was really like she's
had a second chance, a second lease on life, having been saved by what
was UNICEF after the war. I think that's the reason
why she went back to UNICEF at the end of her life
and decided to give back. (music) Robert: Never, no real signs, no warning signs of the illness until we had been
back for several weeks in the middle of October. Hubert: I talked with her
at the end of this life. She's serene, and
she's very calm. She's accepted the
illness because she knows in her, she accomplished
everything with perfection. Robert: When the
doctors had told us, and of course we
refused to believe them, but they had told us that
there wasn't much time. Sean and Luca and I decided that we would try to
go home for Christmas, knowing what this
would mean to Audrey. On Christmas Eve, Audrey
was able to calm down for a few hours, and when
we went to bed later on, she told me that this had been
the best Christmas of her life. She died less than
a month later. Gregory: She was a most
extraordinary natural actress, but not even so much an actress as a person of
great, great quality, great depth, great
intelligence, great humor. A wonderful, wonderful lady. I treasure, in my
recollections of my career, those six months that
we spent in Rome, probably the happiest experience
that I had making movies. Doris: I think what came through Audrey was this sort
of inner beauty. Everybody has said it so often and something came
through those eyes, which she said she didn't have. That inner beauty
came out all the time in whatever she did
and whatever she said. Billy: Audrey was
known for something which I think has disappeared. That is elegance, and it's
grace, and it's manners. Things that make
you a lady or not. Things that you cannot
take a course in. You're born with it or not. God kissed her on her
cheek, and there she was. Audrey: (singing)
We're after the same. Rainbows end, waitin'
round the bend. My huckleberry friend. Moon River and me. (music playing)
