Audrey Hepburn: Remembered | The Hollywood Collection (Full Biography)

(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.