Audrey Hepburn Movie Quotes

Everything I learned I learned from the movies.

As a matter of fact, I rather feel like expressing myself now.

Blair liked to think of herself as a hopeless romantic in the style of old movie actresses like Audrey Hepburn and Marilyn Monroe. She was always coming up with plot devices for the movie she was starring in at the moment, the movie that was her life.

Viv, I just made you wild-caught Alaskan salmon baked with mango chutney, on a bed of garlic red potatoes and arugula. While talking about an Audrey Hepburn movie. I think you are maybe falling in love with me.

Viv: I don't really know how to break this to you. But I think you are maybe falling in love with me. Jonah: Viv, I just made you wild-caught Alaskan salmon baked with mango chutney, on a bed of garlic red potatoes ans arugula. While talking about an Audrey Hepburn movie. I think you are maybe falling in love with me.

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.

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.

best Hitchcock films not made by Hitchcock. Here we go: Le Boucher, the early Claude Chabrol that Hitch, according to lore, wished he’d directed. Dark Passage, with Humphrey Bogart and Lauren Bacall—a San Francisco valentine, all velveteen with fog, and antecedent to any movie in which a character goes under the knife to disguise himself. Niagara, starring Marilyn Monroe; Charade, starring Audrey Hepburn; Sudden Fear!, starring Joan Crawford’s eyebrows. Wait Until Dark: Hepburn again, a blind woman stranded in her basement apartment. I’d go berserk in a basement apartment.

Double Indemnity, Gaslight, Saboteur, The Big Clock . . . We lived in monochrome those nights. For me, it was a chance to revisit old friends; for Ed, it was an opportunity to make new ones. And we’d make lists. The Thin Man franchise, ranked from best (the original) to worst (Song of the Thin Man). Top movies from the bumper crop of 1944. Joseph Cotten’s finest moments. I can do lists on my own, of course. For instance: best Hitchcock films not made by Hitchcock. Here we go: Le Boucher, the early Claude Chabrol that Hitch, according to lore, wished he’d directed. Dark Passage, with Humphrey Bogart and Lauren Bacall—a San Francisco valentine, all velveteen with fog, and antecedent to any movie in which a character goes under the knife to disguise himself. Niagara, starring Marilyn Monroe; Charade, starring Audrey Hepburn; Sudden Fear!, starring Joan Crawford’s eyebrows. Wait Until Dark: Hepburn again, a blind woman stranded in her basement apartment. I’d go berserk in a basement apartment.

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.

During the dance, she made polite conversation, the kind beautiful young women make with dukes during waltzes in old movies. She held herself very straight, like Audrey Hepburn, whom all women idolize and men never think about.

There was, I believe," he said finally, when his search came up negative, "a young woman. At one time." Aha. I pictured Audrey Hepburn for some reason. You know, in that movie that's always on, the one where she played a nun. Maybe Father Dom and his one true love had met in priest and nun school! Maybe their love had been forbidden like in the movie! "Did you know her before you took your, um, orders, or whatever they're called?" I asked, trying to sound casual. "Or after?" "Before, of course!" He sounded shocked. "For heaven's sake, Susannah." "I was just wondering.

Le Boucher, the early Claude Chabrol that Hitch, according to lore, wished he’d directed. Dark Passage, with Humphrey Bogart and Lauren Bacall—a San Francisco valentine, all velveteen with fog, and antecedent to any movie in which a character goes under the knife to disguise himself. Niagara, starring Marilyn Monroe; Charade, starring Audrey Hepburn; Sudden Fear!, starring Joan Crawford’s eyebrows. Wait Until Dark: Hepburn again, a blind woman stranded in her basement apartment. I’d go berserk in a basement apartment. Now, movies that postdate Hitch: The Vanishing, with its sucker-punch finale. Frantic, Polanski’s ode to the master. Side Effects, which begins as a Big Pharma screed before slithering like an eel into another genre altogether. Okay. Popular film misquotes. “Play it again, Sam”: Casablanca, allegedly, except neither Bogie nor Bergman ever said it. “He’s alive”: Frankenstein doesn’t gender his monster; cruelly, it’s just “It’s alive.” “Elementary, my dear Watson” does crop up in the first Holmes film of the talkie era, but appears nowhere in the Conan Doyle canon.

I’m a twenty-six-year-old woman who has been married for nine months. My husband is forty. His wedding proposal was terribly romantic, like something out of a movie starring Audrey Hepburn. He is kind and funny. I do love him. And yet … He’s only the second person I’ve been in a serious relationship with. Throughout the wedding planning process I had second thoughts about settling down so young, but I didn’t want to hurt or embarrass him by calling off the wedding. There are so many experiences I fear I’ll miss out on by staying married to someone older. I want to apply for the

Shopping at the Dandelion Co-op made me feel European. Very Audrey Hepburn as Sabrina in Paris (that movie played a few weeks ago in the park). River picked out goat cheese to spread on crispy-crusted French bread for the picnic, and olives, and a jar of roasted red peppers, and a bar of seventy percent dark chocolate, and a bottle of sparkling water. He bought some things for himself too: organic whole-fat milk, another crunchy baguette, glossy espresso beans (which were roasted by Gianni's family and sold all over town), bananas, Parmigiano-Reggiano, fat brown eggs, extra-virgin olive oil, and some bulk spices. I watched River as he shopped. Closely. I watched him breathe in deep the gorgeous roasted smell of the espresso beans before he ground them. I watched him open the egg carton and stroke the brown shells before closing it again. I watched him slip his slim fingers into the barrel of bright purple-and-white cranberry beans, unable to resist the urge, just like me. I always had to put my hands in the pretty, speckled beans. Always.

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

While timing was only part of the issue with Doris Day, it would be a key reason why, from the mid-1950s onward, good people were unable to appear in good musicals. An original like Never Steal Anything Small was unsuccessful on every level—and heinous in its waste of Jimmy Cagney’s talent—while skillful adaptations like Silk Stockings and Bells Are Ringing flopped resoundingly. As fewer opportunities arose, they were sometimes attended by the questionable notion that dubbing solves all problems. This is why Rossano Brazzi and Sidney Poitier could look great, in South Pacific and Porgy and Bess, and sound ostensibly like the opera singers who were doing the actual vocalizing. While dubbing had been present from the very beginning, it achieved some kind of pinnacle from the mid-fifties to the late sixties. Hiring nonsinging names like Deborah Kerr and Rosalind Russell and Natalie Wood and Audrey Hepburn, even nonsinging non-names like Richard Beymer, was viewed as a form of insurance, conviction be damned.8 Casting for name recognition instead of experience has long been part of the film equation, and it cuts both ways. It may, for example, have seemed more astute than desperate to put Lee Marvin and Clint Eastwood into Paint Your Wagon, despite the equivocal results. Nicole Kidman in Moulin Rouge! was far less a musical player than a photogenic, aurally enhanced artifact, and many people left Mamma Mia! wondering if Pierce Brosnan’s execrable singing was intended as a deliberate joke. In contrast with these are the film people who take the plunge with surprising ease.

Movie composer Henry Mancini, stimulated by Audrey to write ‘Moon River’ and ‘Charade’ and ‘Two for the Road’, always maintained that if you listened carefully to these three songs you could almost determine who inspired them. They were all imbued, he said, with Audrey’s inimitable wistfulness – ‘a kind of slight sadness’.