Audrey Hepburn Breakfast At Tiffany's Quotes

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We named the bar The Bar. "People will think we're ironic instead of creatively bankrupt," my sister reasoned. Yes, we thought we were being clever New Yorkers - that the name was a joke no one else would really get, like we did. Not meta-get ... But our first customer, a gray-haired woman in bifocals and a pink jogging suit, said, "I like the name. Like in Breakfast at Tiffany's and Audrey Hepburn's cat was named Cat.
Gillian Flynn (Gone Girl)
The baby boom produced a fresh batch of American youngsters -- teenagers they were called -- and they were suddenly coming of age. But until Roman Holiday, it was hard for them to see themselves in the movies. What Audrey offered -- namely to the girls -- was a glimpse of someone who lived by her own code of interests, not her mother's, and who did so with a wholesome independence of spirit.
Sam Wasson (Fifth Avenue, 5 A.M.: Audrey Hepburn, Breakfast at Tiffany's, and the Dawn of the Modern Woman)
I want to still be me when I wake up one fine morning and have breakfast at Tiffany's
Holly Golightly
Those without color—say, dressed in all black—can go about almost unnoticed. Where the rainbow is conspicuous, their darkness acts as a kind of camouflage, masculine by contrast, and allows them to watch without being watched. It’s the choice of someone who needs not to attract. Someone self-sufficient. Someone more distant, less knowable, and ultimately, mysterious. Powerful.
Sam Wasson (Fifth Avenue, 5 A.M.: Audrey Hepburn, Breakfast at Tiffany's, and the Dawn of the Modern Woman)
We don't want to make a movie about a hooker," he assured her, "we want to make a movie about a dreamer of dreams.
Sam Wasson (Fifth Avenue, 5 A.M.: Audrey Hepburn, Breakfast at Tiffany's, and the Dawn of the Modern Woman)
I’m a writer I guess....I’m still waiting for the big one!” Breakfast at Tiffany’s Learn by doing! A cal poly motto quote
Audrey Hepburn
There were human beings and there was Audrey Hepburn.
Sam Wasson (Fifth Avenue, 5 A.M.: Audrey Hepburn, Breakfast at Tiffany's, and the Dawn of the Modern Woman)
I like the name. Like in Breakfast at Tiffany’s and Audrey Hepburn’s cat was named Cat.
Gillian Flynn (Gone Girl)
Like every fiction, Holly Golightly was a composite of multiple nonfictions.
Sam Wasson (Fifth Avenue, 5 A.M.: Audrey Hepburn, Breakfast at Tiffany's, and the Dawn of the Modern Woman)
I like the name. Like in Breakfast at Tiffany’s and Audrey Hepburn’s cat was named Cat.’ We
Gillian Flynn (Gone Girl)
Audrey Hepburn in Breakfast at Tiffany’s. Kim Novak in Vertigo. Those women moved under a gauze of smoke and intrigue. Most exhilaratingly, they did not apologize for themselves.
Lisa Taddeo (Three Women)
Breakfast at Tiffany's was one of the earliest pictures to ask us to be sympathetic toward a slightly immoral young woman. Movies were beginning to say that if you were imperfect, you didn’t have to be punished.
Sam Wasson (Fifth Avenue, 5 A.M.: Audrey Hepburn, Breakfast at Tiffany's, and the Dawn of the Modern Woman)
Everything you have read, heard, or wished to be true about Audrey Hepburn, doesn’t come close to how wonderful she was. There’s not a human being on earth that was kinder, more gentle, more caring, more giving, brighter, and more modest than Audrey. She was just an extraordinary, extraordinary person. Everyone should know that.
Sam Wasson (Fifth Avenue, 5 A.M.: Audrey Hepburn, Breakfast at Tiffany's, and the Dawn of the Modern Woman)
Everybody loved Audrey, she was so sweet and unassuming and nice to everybody. Some stars go to their dressing rooms between takes, but she didn’t.
Sam Wasson (Fifth Avenue, 5 A.M.: Audrey Hepburn, Breakfast at Tiffany's, and the Dawn of the Modern Woman)
A movie without music is a little bit like an aeroplane without fuel. However beautifully the job is done, we are still on the ground and in a world of reality. Your music has lifted us all up and sent us soaring. Everything we cannot say with words or show with action you have expressed for us. You have done this with so much imagination, fun, and beauty. - Audrey Hepburn, to Henry Mancini
Sam Wasson (Fifth Avenue, 5 A.M.: Audrey Hepburn, Breakfast at Tiffany's, and the Dawn of the Modern Woman)
Perhaps her abruptness was merely part of her personality, for she had the appearance of the worst kind of bureaucrat, the aspiring one, from blunt, square haircut to blunt, clean fingernails to blunt, efficient pumps. But perhaps it was me, still morally disoriented from the crapulent major’s death, as well as the apparition of his severed head at the wedding banquet. The emotional residue of that night was like a drop of arsenic falling into the still waters of my soul, nothing having changed from the taste of it but everything now tainted. So perhaps that was why when I crossed over the threshold into the marble foyer, I instantly suspected that the cause of her behavior was my race. What she saw when she looked at me must have been my yellowness, my slightly smaller eyes, and the shadow cast by the ill fame of the Oriental’s genitals, those supposedly minuscule privates disparaged on many a public restroom wall by semiliterates. I might have been just half an Asian, but in America it was all or nothing when it came to race. You were either white or you weren’t. Funnily enough, I had never felt inferior because of my race during my foreign student days. I was foreign by definition and therefore was treated as a guest. But now, even though I was a card-carrying American with a driver’s license, Social Security card, and resident alien permit, Violet still considered me as foreign, and this misrecognition punctured the smooth skin of my self-confidence. Was I just being paranoid, that all-American characteristic? Maybe Violet was stricken with colorblindness, the willful inability to distinguish between white and any other color, the only infirmity Americans wished for themselves. But as she advanced along the polished bamboo floors, steering clear of the dusky maid vacuuming a Turkish rug, I just knew it could not be so. The flawlessness of my English did not matter. Even if she could hear me, she still saw right through me, or perhaps saw someone else instead of me, her retinas burned with the images of all the castrati dreamed up by Hollywood to steal the place of real Asian men. Here I speak of those cartoons named Fu Manchu, Charlie Chan, Number One Son, Hop Sing—Hop Sing!—and the bucktoothed, bespectacled Jap not so much played as mocked by Mickey Rooney in Breakfast at Tiffany’s. The performance was so insulting it even deflated my fetish for Audrey Hepburn, understanding as I did her implicit endorsement of such loathsomeness.
Viet Thanh Nguyen (The Sympathizer (The Sympathizer #1))
I settle on a vintage ivory silk tube. The dress is sleeveless and goes straight to the floor with a high waist and two layers of a sheer organza overlay that flutter slightly when I walk. A band of the same see-through fabric covers each shoulder, then flows down my back in a streamer. I feel like Audrey Hepburn in Breakfast at Tiffany's €”and sort of silly for loving it, but I do. When I come out of the dressing room, Rachel catches her breath and squeals like I've tried on my wedding dress.
Aaron Hartzler (What We Saw)
Have another drink honey, it was right there all along.
Sam Wasson (Fifth Avenue, 5 A.M.: Audrey Hepburn, Breakfast at Tiffany's, and the Dawn of the Modern Woman)