“Intimate Audrey,” an exhibition on the life of Audrey Hepburn to celebrate her 90th anniversary, was launched last May in Brussels, where Ms. Hepburn was born on May 4, 1929 (in Elsene/Ixelles, to be precise). And now, the exhibition, a tender and moving tribute created by her son Sean Hepburn Ferrer has come home: it just opened its doors at the Exhibition North Hall of the Beurs van Berlage in Amsterdam.
Sean Hepburn Ferrer (b. 1960) is Ms. Hepburn’s eldest son; his father is actor-director-producer Mel Ferrer (1917-2008). They were married from 1954 till 1968.
Tickets for the Amsterdam exhibition of “Intimate Audrey”—from November 1, 2019, to January 31, 2020—are available here. All the profits will go to EURORDIS—Rare Diseases Europe.
With approximately 40,000 visitors, the exhibition was a huge success in Brussels, keeping in mind that the city welcomes approximately 1,600,000 people each year. Amsterdam has 17,000,000 visitors each year, so a metropolis such as Amsterdam is a totally different environment.
After his mother passed away in January 1993 at age 63, Mr. Ferrer did a few exhibitions to celebrate and honor his mother. But this one is different, though. “Intimate Audrey” offers a much more personal perspective of her life. It brings you closer to the woman behind the screen legend or the fashion icon and makes you understand better who she really was. Hundreds of original photographs and reprints, memorabilia, dresses, accessories, fashion drawings, videos, humanitarian writings, and objects from her films, including the Vespa scooter from “Roman Holiday” (1953), make you understand that Ms. Hepburn, one of the most legendary screen stars of all time, lived a simple and humble life. An important feature of the exhibition is a reproduction of a cherry blossom tree, a reminder of the farmhouse his parents bought in Tolochenaz, Switzerland, in 1963.
I had the honor of meeting Mr. Ferrer in Amsterdam once again, three years after we had met in Florence, Italy, for an earlier in-depth interview when he talked about his mother as the actress, the style icon, and the humanitarian. And even though he was on a tight schedule when we met in Amsterdam, as the final preparations were being made before the exhibition’s opening the following day, it was another thrilling experience to spend time with him and talk about “Intimate Audrey.”
Mr. Ferrer, as the titles point out, the book you wrote, “Audrey Hepburn: An Elegant Spirit” [2003, a New York Times bestseller] was a spiritual biography, while the exhibition “Intimate Audrey” is an intimate story. Is that correct?
Yes, they’re very similar in nature, but “Intimate Audrey” is more than an exhibition, it’s a living biography. Ten years ago, Rodrigue Laurent, a press agent in marketing for films in both Paris and Brussels, called me up and said, ‘Let’s do a wonderful exhibition for your mother’s 80th birthday,’ and we opened ten years later in May of this year in Brussels to celebrate her 90th birthday anniversary. Of course, it’s a dream for us now to be here now in Beurs van Berlage in Amsterdam. My mother was born in Brussels and spent her first years there, then she went to London to go to boarding school to perfect her English, and then she came back here hoping to escape World War II, but unfortunately, that didn’t happen.
How did “Intimate Audrey” come about?
We have done several exhibitions over the years, including “Timeless Audrey” which traveled all over the world. In one of its last installations, I was at the Hauptbahnhof in Berlin, sitting in one of those theater chairs which have survived many installations and have been with us. I was looking at my emails, and I watched this elegant couple—tall, elegantly dressed, and with their coats over their arms; they were walking, leaning down, looking at things, and reading all the captions, and it just hit me in that moment. I thought, ‘That’s where Audrey Hepburn is.’ She’s beyond the physical envelope, she’s now in concepts, in writings, ideas, photographs, speeches… That’s when the early wheels started to turn to create “Intimate Audrey,” and it seemed like the perfect time to do to celebrate her 90th anniversary. And now that we have been able to follow her biographical parcours; it’s very satisfying and wonderful for all of us.
It’s very interesting to see that “Intimate Audrey” indicates there’s so much more than the Hollywood glamour and glitter that we’ve all got used to over the years.
Actually, that was the cornerstone: I wanted to bring home the woman, and not the Hollywood icon or the fashion icon. The purpose for that is that you find yourself on the other end of the exhibition—when you’re outside, back in the street—and you say to yourself, ‘You know, this woman who was such a big star, and such an important humanitarian, really lived a very humble life in a little white cotton dress.’ And maybe in there belies the secret of why she is still so much beloved today. That is maybe because we perceive her as being one of us, rather than one of them. When you look at Elizabeth Taylor, she’s one of them: she’s the goddess from Hollywood, she’s in the pantheon of Hollywood. But when you see my mother, maybe you perceive her more as the girl next door who is going out into the world, and we’re rooting for her, she’s coming from us. She came from nothing, she lost everything during the War, she had to fight her way—and everybody knows that story—she kept those roots, and you can find them throughout her life story, whether it’s in the way she treated people on the set, or because she was always a professional and on time, why she chose to live in a farmhouse in Switzerland instead of a mansion in Hollywood, why she worked for UNICEF towards the end of her life. If you put all of those pieces together, that is what you discover in this living biography.
If you look at what’s happening on social media, the numerous accounts linked to her life and her work, the countless photographs shared and liked all the time, she was almost an influencer avant-la-lettre.
Of course. She and my father understood the power of communication, but it’s also because her persona wasn’t just good for Hollywood: she was also good for the fashion industry, for the beauty industry, and she lend herself to that. So it was a natural progression that she was asked to do multiple layouts for Vogue or Harper’s and pose for these famous photographers. With over eight hundred photographs, putting this exhibition together was a difficult process because there are literally tens of thousands of images to choose from. Her work as a model was infinitely larger than the seventeen lovely films that we all like more or less—most of them, they were mostly all good. I have been curating her image and her estate for about twenty-five years now, since she passed away, creating these series of non-profits, cutting and editing all of these clips, working all over these slideshows, and that wonderful little soundtrack that you hear at the beginning in the tunnel—when you put those pieces together, they become very powerful. But still today, I will find on the internet a picture that I have never seen before, and I think, how can that be? I mean, I have seen everything, and still to this day, I am surprised to see a photo here and there that I have never seen before. Not a photo from a shoot that I didn’t know that photo of, but a completely new setup with clothes I have never seen before. It’s just incredible. So this was not an accident, this was planned. My grandmother was a very strategic woman. She was the first manager of Audrey Hepburn who, after the War and as a single mother, brought this young girl to London, without any money, no power, no connection—nothing. And then when my mother met my father, she was already standing on her two feet, he was the one who took it over and became the producer of her career, while wonderful agents and directors surrounded her. But they had the foresight, they knew there was great value to that, and they knew it in part because people like Richard Avedon [1923-2004] wanted to photograph her. And so this wonderful kind of organic thing sort of developed into probably one of the most photographed women of the twentieth century.
Do you have any demographics of the “Intimate Audrey” exhibition in Brussels?
Demographic wise it’s across the boards from young adults all the way to their grandparents, and they all loved it. I also feel that, here in Amsterdam, there’s a wonderful sense of ownership, of proprietorship over my mother, if I may say it that way. They feel she’s a girl from here, they know she’s theirs, and when you walk through the exhibition, there’s no doubt that she’s Dutch. When you see the pictures of her as a sixteen-year-old, she’s a Dutch girl in every way. But I’m already very happy because I know now the exhibition works, and that I know from Brussels. People came in and walked out in tears; they were emotional and had to tell us what they had experienced. There was even a man—I was there that day—he walked into the tunnel, and then he came back out after he had heard the soundtrack of her voice. I said, ‘No, no, you have to walk to the end and walk around behind the screen, and then you see what’s happening behind Hollywood.’ But he said, ‘No, you don’t understand. I thought I was going to see an exhibition, but this is very powerful. I need to sit down for a moment.’
When Audrey Hepburn came to her city of birth Brussels in 1959 to promote the release of Fred Zinnemann’s “The Nun’s Story,” she was interviewed by Pros Verbruggen for Flemish television. The interview was conducted in Dutch.
So you’d like “Intimate Audrey” to be an emotional experience?
Let me tell you something. Some people asked me, ‘Why doesn’t it say the names of the people on the photographs and the dates?’ If I invite you for a drink and you come over to my house and see the photographs in my living room, there are no names or dates, but you will see the photographs of my parents: you can look into their eyes, and that’s how you will learn who they are. So with the exhibition, just come with me, take the leap with me, trust me, go through it, and in the end, people tell me, ‘Oh, you were right. It’s a completely different experience.’ It removes that glass between her and her audience; you feel like you’re in her house, and you walk around like it’s a personal visit and a personal experience. That’s enough of a success for me. If we can reduplicate that and people love it here as well, that would be wonderful.
Being the son of famous parents, has it always been easy for you to share them with the rest of the world?
Well, I was very fortunate because I didn’t grow up in a Hollywood family or in Hollywood—not the place and not the state of mind. My mother stopped working when I had to go to school, so I didn’t grow up with a famous mother. She gave up her career to be a full-time mother. She always woke me up in the morning, made me breakfast and took me to school. She never made a big deal about it, and I never thought I was a big deal. In other words, I grew up in a normal family. So I’m sharing her because she went beyond beauty, beyond elegance. She was a symbol of elegance of the spirit [also the title of Mr. Hepburn’s book]. It’s nice to share that, especially in this time when we’re surrounded by a lot of inelegant people running our government, to give people hope and tell them that it’s possible to achieve something without hurting someone or taking someone’s place. I think that’s a good and legitimate reason to share. But we also share because there is a demand: people are interested, they constantly look online, my mother is everywhere. Just walk around any city, she’s everywhere, one way or another. I always played this three-minute game with my children: wherever we went, we had three minutes to find a photograph of my mother in a hair salon, a restaurant, a hotel… When we were in Brussels for the exhibition, we rented four really nicely made-up Airbnb apartments, right behind the Galleries Royales Saint-Hubert [a.k.a. Koninklijke Sint-Hubertusgalerijen]. We had one apartment for my wife and I and three for the staff. Each one had three huge black and white photographs of my mother—and one in the lobby. She’s becoming decor. That thing that we did with Ikea, which started fifteen years ago, I think they sold hundreds of thousands of photographs. So she’s becoming part of our culture. Very much like children love dinosaurs because they are somehow in our memory—somewhere, you know—maybe Audrey Hepburn is somewhere in there as well, I don’t know where, but somehow she means something.
An impression of the exhibition “Intimate Audrey”
You already mentioned your father, and of course he’s a key figure in “Intimate Audrey.” But he is often overlooked, isn’t he?
Yes. I mean, my father was a difficult man, but because they were divorced, I didn’t get to fully understand or realize how much he had touched her public until she died. I didn’t realize the role that my father played. My mother always said, ‘Your father was the producer of my career.’ If you look at her body of work and how he organized it, her short career of seventeen films lasted from 1953 till 1966—those are the years that they were married. And look where we are today, we’re still talking about her. My father had a vision and had a fantastic taste, also from a literary standpoint. He was educated, he went to Princeton University, he understood literature, he understood the value of good material, and he knew how to produce: you need and the best writer and the best director and the best makeup man and the best cameraman and this and that to create something that is perfect. It’s only as strong as its weakest link. Apart from the fact that he’s my father and I can’t create this beautiful family story without having him in these beautiful photographs, he’s also in the exhibition because he played such an important role.
Don’t you think he was underestimated as an actor and as a filmmaker?
No, as an actor, I would disagree because he was tense and wooden. He knew it, although he was a wonderful costume actor. He could fence, he could ride a horse, he could do all these things. To this day, this scene in “Scaramouche”  is the longest fencing scene in cinema history. During that era, he was an elegant and very capable action hero, in a way. But he was wooden. I think the best performance of his life is in that video in the friend’s capsule, after the tree [“Intimate Audrey” exhibition], when he talks about my mother, and he gets emotional. For the first time, he lets emotion through. I guess when you get to that age, and that time in your life, you can let go a little bit. He came from a very tough upbringing, he had a difficult youth and sort of had to put every piece together. But he was a wonderful producer, also an okay director and a good writer, but mostly a fantastic producer, I think.
Isn’t it difficult for you emotionally to be in the spotlights all the time, curating your mother’s image? I mean, to all of us, she’s Audrey Hepburn, but to you, she’s your mother.
You learn to separate. My mother died at eight o’clock in the evening on January 20, 1993. She was sixty-three. We had a wonderful relationship, not just as mother and son, but we also had a great friendship. I miss her, but this is the reality we all have to go through. But she left us this wonderful legacy which is also in her intellectual property, the roles she created, the costumes she created with [fashion designer] Hubert de Givenchy [1927-2018]. She could draw, she knew what she wanted, she wanted the essence and purified everything: she created the look. And so, she left this incredible body of work. She wrote, as an Ambassador for UNICEF, all those speeches, there are thousands of pages. I just put up a dozen pages, but there’s thousands of pages. She gave speeches for UNICEF into her sixties, and she would still go up on stage and shake like a leave. She was always right there.
“Intimate Audrey” is beautifully constructed, with chapters like in a book, and your mother’s story is told in chronological order. It almost feels like you’re watching a film. Was that the concept you had in mind originally?
I’m not an exhibition maker, but I was hoping to touch people because I’m a filmmaker. So I tell stories, and in the end, the preparation is just like a movie, the production is just like a movie, and you tell your story just like a movie. That’s maybe why it’s not like a graphic exhibition, it’s not thought with the brain, it’s thought with the heart.
Speaking of the heart, what would you consider the legacy your mother left you and your family?
Because this is something that has become a family culture and it grows like a tree, I’d like to think that it’s this wonderful generosity, acceptance, and humility to say that we’re all in this together. If someone needs help, you extend your arm as much as you can. This started with my grandmother, then it continued with my mother, who passed it on to my brother and I, and now to my children. My daughter is already working with UNICEF and the UNHCR. That is our family culture. I don’t like the word charity because we’re beyond charity now. The effort has to be to restore people’s rights. We went to these countries; they had cultures, we tried to impose our cultures and take resources, now we have to help them to rebuild their identity and give these people the right tools. Because nobody needs charity. They want a tool—whether it’s a shovel to a computer for a young child in Africa—everybody wants to stand on their own two feet. We see already that the face of socially responsable work is changing. Charity was a one-way street which kept these people on their knees, and now we see a whole new breed of organizations and benefit corporations: today they’re bringing the non-profit work into everyday life—not just at Thanksgiving or at Christmas when you feel guilty that you send money to those children in Africa. You actually make the young generation part of that, every day, whether it’s cleaning up the river or the environment. There’s a million things that need to be done, and they’re all just as important as taking the trash to recycling. They’re all equal because they’re interconnected, and they affect everyone. There’s nothing free. Just like you hear the person crying in the apartment next door, it’s the same thing that we’re doing to our environment: we are all connected, and so we’re all in this together. I think that’s the bottom line.
Beurs van Berlage, Amsterdam
October 31, 2019
On March 29, 1993, two months after Ms. Hepburn had passed away, Sean Hepburn Ferrer accepted the Jean Hersholt Humanitarian Award on her behalf, after a moving introduction by her “Roman Holiday” co-star Gregory Peck
1. THE FILMS OF AUDREY HEPBURN
NEDERLANDS IN ZEVEN LESSEN, a.k.a. DUTCH IN SEVEN LESSONS (1948) DIR Charles Huguenot van der Linden, Heinz Josephson PROD Charles Huguenot van der Linden, Heinz Josephson, Harold Goodwin, George Julsing, Jack Dudok van Heel SCR Charles Huguenot van der Linden, Heinz Josephson CAM Peter Staugaard, Piet Schrikker ED Rita Roland MUS CAST Sanny Day, Pia Beck, Wam Heskes, Greet Vogels, Koes Koen, Audrey Hepburn (KLM Stewardess), A. Viruly
ONE WILD OAT (1951) DIR Charles Saunders PROD John Croydon SCR Vernon Sylvaine, Lawrence Huntingdon (play by Vernon Sylvaine) CAM Robert Navarro ED Margery Saunders MUS Stanley Black CAST Robert Hare, Stanley Holloway, Vera Pearce, Andrew Crawford, Irene Handl, June Sylvaine, Constance Lorne, Audrey Hepburn (Hotel Receptionist), Roger Moore
LAUGHTER IN PARADISE (1951) DIR – PROD Mario Zampi SCR Jack Davies, Michael Pertwee (story by Jack Davies, Michael Pertwee) CAM William McLeod ED Guilio Zampi MUS Stanley Black CAST Fay Compton, George Cole, Alastair Sim, John Laurie, Joyce Grenfell, Beatrice Campbell, Guy Middleton, Hugh Griffith, Audrey Hepburn (Cigarette Girl), Sebastian Cabot
THE LAVENDER HILL MOB (1951) DIR Charles Crichton PROD Michael Balcon SCR T.E.B. Clarke CAM Douglas Slocombe ED Seth Holt MUS Georges Auric CAST Alec Guinness, Stanley Holloway, Sidney James, Alfie Bass, Marjorie Fielding, Edie Martin, Audrey Hepburn (Chiquita), Robert Shaw
YOUNG WIVES’ TALE (1951) DIR Henry Cass PROD Victor Skutezky SCR Anne Burnaby (play by Ronald Jeans) CAM Erwin Hillier ED Edward B. Jarvis MUS Philip Green CAST Joan Greenwood, Nigel Patrick, Derek Farr, Guy Middleton, Athene Seyler, Helen Cherry, Audrey Hepburn (Eve Lester), Irene Handl
SECRET PEOPLE (1952) DIR Thorold Dickinson PROD Sidney Cole SCR Thorold Dickinson, Wolfgang Wilhelm (story by Thorold Dickinson) CAM Gordon Dines ED Peter Tanner MUS Roberto Gerhard CAST Valentina Cortese, Serge Reggiani, Charles Goldner, Audrey Hepburn (Nora), Angela Fouldes, Megs Jenkins, Irene Worth, Bob Monkhouse
MONTE CARLO BABY, a.k.a. NOUS IRONS TOUS À MONTE CARLO (1952) DIR Jean Boyer, Jean Jerrold PROD Ray Ventura SCR Jean Boyer, Alex Joffé, Jean Jerrold, Serge Véber CAM Charles Suin ED Fanchette Mazin MUS Paul Misraki CAST Ray Ventura, Henri Génès, Georges Lannes, Philippe Lemaire, Danielle Godet, John Van Dreelen, Audrey Hepburn (Linda Farrell / Melissa Farrell), Marcel Dalio, Suzanne Guémard, André Dalibert
ROMAN HOLIDAY (1953) DIR – PROD William Wyler SCR Dalton Trumbo, John Dighton, Ian McLellan Hunter CAM Frank F. Planer, Henri Alekan ED Robert Swink MUS Georges Auric CAST Gregory Peck, Audrey Hepburn (Princess Ann), Eddie Albert, Hartley Power, Harcourt Williams, Margaret Rawlings, Tullio Carminati
SABRINA (1954) DIR – PROD Billy Wilder SCR Billy Wilder, Samuel A. Taylor, Ernest Lehman (play by Samuel A. Taylor) CAM Charles Lang Jr. ED Arthur P. Schmidt MUS Frederick Hollander CAST Humphrey Bogart, Audrey Hepburn (Sabrina Fairchild), William Holden, Walter Hampden, John Williams, Martha Hyer, Joan Vohs, Marcel Dalio, Frances X. Bushman, Marion Ross
WAR AND PEACE (1956) DIR King Vidor PROD Dino De Laurentiis SCR Mario Soldati, Gian Gaspare Napolitano (adaptation by King Vidor, Mario Camerini, Bridget Boland, Ivo Perilli, Robert Westerby, Ennio De Concini; novel by Leo Tolstoy) CAM Jack Cardiff ED Leo Cattozzo MUS Nino Rota CAST Audrey Hepburn (Natasha Rostova), Henry Fonda, Mel Ferrer, Vittorio Gassman, Herbert Lom, Oskar Homolka, Anita Ekberg, Helmut Dantine, John Mills
FUNNY FACE (1957) DIR Stanley Donen PROD Roger Edens SCR Leonard Gershe CAM Ray June ED Frank Bracht MUS George Gershwin, Ira Gershwin, Leonard Gershe, Roger Edens CAST Audrey Hepburn (Jo Stockton), Fred Astaire, Kay Thompson, Michel Auclair, Robert Flemyng, Dovima, Suzy Parker, Sunny Harnett
LOVE IN THE AFTERNOON (1957) DIR – PROD Billy Wilder SCR Billy Wilder, I.A.L. Diamond (novel ‘Ariane’ by Claude Anet) CAM William C. Mellor ED Leonid Azar MUS Franz Waxman CAST Gary Cooper, Audrey Hepburn (Ariane Chavasse), Maurice Chevalier, John McGiver, Van Doude, Lise Bourdin, Olga Valéry, Franz Waxman, Louis Jourdan (narration)
GREEN MANSIONS (1959) DIR Mel Ferrer PROD Edmund Grainger SCR Dorothy Kingsley (novel by William Henry Hudson) CAM Joseph Ruttenberg ED Ferris Webster MUS Bronislau Kaper CAST Audrey Hepburn (Rima), Anthony Perkins, Lee J. Cobb, Sessue Hayakawa, Henry Silva, Nehemiah Persoff
THE NUN’S STORY (1959) DIR Fred Zinnemann PROD Henry Blanke, Fred Zinnemann [uncredited] SCR Robert Anderson (book by Kathryn C Hulme) CAM Franz F. Planer MUS Franz Waxman ED Walter Thompson CAST Audrey Hepburn (Gabrielle van der Mal [Sister Luke]), Peter Finch, Dame Edith Evans, Dame Peggy Ashcroft, Dean Jagger, Mildred Dunnock, Beatrice Straight, Colleen Dewhurst
THE UNFORGIVEN (1960) DIR John Huston PROD James Hill SCR Ben Maddow (novel by Alan LeMay) CAM Franz F. Planer ED Russell Lloyd MUS Dimitri Tiomkin CAST Burt Lancaster, Audrey Hepburn (Rachel Zachary), Audie Murphy, John Saxon, Charles Bickford, Lillian Gish, Albert Salmi
BREAKFAST AT TIFFANY’S (1961) DIR Blake Edwards PROD Martin Jurow, Richard Shepherd SCR George Axelrod (novel by Truman Capote) CAM Franz F. Planer ED Howard A. Smith MUS Henry Mancini CAST Audrey Hepburn (Holly Golightly), George Peppard, Patricia Neal, Buddy Ebsen, Martin Balsam, John McGiver, Mickey Rooney
THE CHILDREN’S HOUR (1961) DIR – PROD William Wyler SCR John Michael Hayes (play by Lillian Hellman) CAM Franz F. Planer ED Robert Swink MUS Alex North CAST Audrey Hepburn (Karen Wright), Shirley MacLaine, James Garner, Miriam Hopkins, Fay Bainter, Karen Balkin, Veronica Cartwright
CHARADE (1963) DIR – PROD Stanley Donen SCR Peter Stone (story by Peter Stone, Marc Behm) CAM Charles Lang Jr. ED James Clark MUS Henry Mancini CAST Cary Grant Audrey Hepburn (Regina Lampert), Walter Matthau, James Coburn, George Kennedy, Dominique Minot, Ned Glass, Stanley Donen, Mel Ferrer, Peter Stone
PARIS WHEN IT SIZZLES (1964) DIR Richard Quine PROD George Axelrod SCR George Axelrod (story ‘La fête à Henriette’ by Julien Duvivier, Henri Jeanson) CAM Charles Lang Jr., Claude Renoir ED Archie Marshek MUS Nelson Riddle CAST William Holden, Audrey Hepburn (Gabrielle Simpson / Gaby), Grégoire Aslan, Raymond Duvaleix, Michel Thomas, Noël Coward, Tony Curtis, Mel Ferrer
MY FAIR LADY (1964) DIR George Cukor PROD Jack L. Warner SCR Alan Jay Lerner (book by Alan Jay Lerner; play by George Bernard Shaw) CAM Harry Stardling Sr. ED William H. Ziegler MUS André Previn CAST Audrey Hepburn (Eliza Doolittle), Rex Harrison, Stanley Holloway, Wilfrid Hyde-White, Gladys Cooper, Jeremy Brett, Theodore Bikel, Mona Washbourne, Betty Blythe
HOW TO STEAL A MILLION (1966) DIR William Wyler PROD Fred Kohlmar SCR Harry Kurnitz (story by George Bradshaw) CAM Charles Lang ED Robert Swink MUS Johnny Williams CAST Audrey Hepburn (Nicole), Peter O’Toole, Eli Wallach, Hugh Griffith, Charles Boyer, Fernand Gravey, Marcel Dalio, Jacques Marin
TWO FOR THE ROAD (1967) DIR – PROD Stanley Donen SCR Frederic Raphael CAM Christopher Challis ED Richard Marden, Madelèine Gug MUS Henry Mancini CAST Audrey Hepburn (Joanna Wallace), Albert Finney, William Daniels, Eleanor Bron, Claude Dauphin, Nadia Grey, George Descrieres, Gabrielle Middleton, Jacqueline Bisset, Judy Cornwell
WAIT UNTIL DARK (1967) DIR Terence Young PROD Mel Ferrer SCR Richard Carrington, Jane-Howard Carrington (play by Frederick Knott) CAM Charles Lang ED Gene Milford MUS Henry Mancini CAST Audrey Hepburn (Susy Hendrix), Alan Arkin, Richard Crenna, Efrem Zimbalist Jr., Jack Weston, Robby Benson, Mel Ferrer
ROBIN AND MARIAN (1976) DIR Richard Lester PROD Denis O’Dell SCR James Goldman CAM David Watkin ED John Victor Smith MUS John Barry CAST Sean Connery, Audrey Hepburn (Maid Marian), Robert Shaw, Richard Harris, Nicol Williamson, Denholm Elliott, Ian Holm
BLOODLINE (1979) DIR Terence Young PROD Sidney Beckerman, David V. Picker SCR Laird Koenig (novel by Sidney Sheldon) CAM Freddie Young ED Bud Molin MUS Ennio Morricone CAST Audrey Hepburn (Elizabeth Roffe), Ben Gazzara, James Mason, Romy Schneider, Omar Sharif, Claudia Mori, Irene Papas, Michelle Philips, Maurice Ronet, Gert Fröbe, Gabrielle Ferzetti
THEY ALL LAUGHED (1981) DIR Peter Bogdanovich PROD Blaine Novak, George Morfogen SCR Peter Bogdanovich, Blaine Novak CAM Robby Müller ED Scott Vickrey, William C. Carruth CAST Audrey Hepburn (Angela Niotes), Ben Gazzara, John Ritter, Dorothy Stratten, Patti Hansen, Blaine Novak, Sean Hepburn Ferrer, Glenn Scarpelli, Antonia Bogdanovich, Alexandra Bogdanovich, Elizabeth Peña, Peter Bogdanovich
ALWAYS (1989) DIR Steven Spielberg PROD Steven Spielberg, Frank Marshall, Kathleen Kennedy SCR Dalton Trumbo, Jerry Belson, Frederick Hazlitt Brennan (story ‘A Guy Named Joe’ by Chandler Sprague, David Boehm) CAM Mikael Salomon ED Michael Kahn MUS John Williams CAST Richard Dreyfuss, Holly Hunter, John Goodman, Brad Johnson, Audrey Hepburn (Hap), Roberts Blossom, Keith David, Marg Helgenberger
SAUCE TARTARE (1949) DIR Audrey Cameron PROD Walton Anderson SCR Matt Brooks MUS Allan Gray CAST Jessie Matthews, Claude Hulbert, Renee Houston, Muriel Smith, Jack Melford, Joan Heal, Audrey Hepburn, Jean Bayless
MAYERLING (1957) DIR Anatole Litvak PROD Fred Coe CAST Audrey Hepburn (Maria Vetsera), Mel Ferrer, Raymond Massey, Diana Wynyard
LOVE AMONG THIEVES (1987) DIR Roger Young PROD Robert A. Papzian SCR Stephen Black, Henry Stern CAM Gayne Rescher ED James Mitchell MUS Arthur B. Rubinstein CAST Audrey Hepburn (Baroness Caroline DuLac), Robert Wagner, Patrick Bauchau, Jerry Orbach, Brion James, Samantha Eggar, Christopher Neame
BBC NIGHT THEATRE (1951) DIR William Templeton CAST (episode ‘The Silent Village’) Becket Bould, Peter Bull, Andrew Cruickshank, Audrey Hepburn (Celia), Anthony Ireland, Glyn Lawson, Joyce Redman, Jack Watling
CBS TELEVISION WORKSHOP: RAINY DAY IN PARADISE JUNCTION (1952) CAST Audrey Hepburn, Paul Langton, Carmen Matthew
A WORLD OF LOVE (1971, UNICEF documantary special) PROD Alexander Cohen HOSTS Bill Cosby, Audrey Hepburn, Shirley MacLaine, Richard Burton, Julie Andrews, Barbra Streisand, Harry Belafonte
GARDENS OF THE WORLD, PARTS I-VI (1993) DIR Bruce Fanchini PROD Janis Blacksleger HOST Audrey Hepburn; Michael York (narration)
2. THE FILMS OF SEAN HEPBURN FERRER
INCHON (1981) DIR Terence Young ASSIST DIR Sean Hepburn Ferrer PROD Sidney Beckerman, Mitsuhari Ishii PROD ASSIST Sean Hepburn Ferrer SCR Robin Moore, Laird Koenig (story by Robin Moore, Paul Savage) CAM Bruce Surtees ED John W. Holmes, Peter Taylor, Dallas Sunday Puett, Michael J. Sheridan MUS Jerry Goldsmith CAST Laurence Olivier, Jacqueline Bisset, Ben Gazzara, Toshirô Mifune, Richard Roundtree, David Janssen, Kung-won Nam, Gabriele Ferzetti, Rex Reed, Omar Sharif
THEY ALL LAUGHED (1981) DIR Peter Bogdanovich ASSIST TO DIR Sean Hepburn Ferrer PROD Blaine Novak, George Morfogen SCR Peter Bogdanovich, Blaine Novak CAM Robby Müller ED Scott Vickrey, William C. Carruth CAST Audrey Hepburn, Ben Gazzara, John Ritter, Dorothy Stratten, Patti Hansen, Blaine Novak, Sean Hepburn Ferrer (Jose), Glenn Scarpelli, Antonia Bogdanovich, Alexandra Bogdanovich, Elizabeth Peña, Peter Bogdanovich
STRANGERS KISS (1983) DIR Matthew Chapman ASSIST DIR Sean Hepburn Ferrer PROD Douglas Dilge ASSOC PROD Sean Hepburn Ferrer SCR Matthew Chapman, Blaine Novak (original idea by Blaine Novak) CAM Misha Suslov MUS Gato Barbieri CAST Peter Coyote, Victoria Tennant, Blaine Novak, Dan Shor, Richard Romanus, Linda Kerridge
GROWING PAINS, a.k.a. BAD MANNERS (1984) DIR Robert Houston ASSIST DIR Sean Hepburn Ferrer PROD Kim Jorgenson SCR Robert Houston, Joseph Kwong CAM Jan de Bont MUS Ron Mael, Russell Mael, Michael J. Lewis CAST Martin Mull, Karen Black, Anne De Salvo, Murphy Dunne, Pamela Adlon, Georg Olden, Michael Hentz, Edy Williams
GOOD TO GO (1986) DIR – SCR Blaine Novak PROD Sean Hepburn Ferrer, Douglas Dilge CAM Peter Sinclair ED Kimberly Logan, Gib Jaffe, D.C. Stringer MUS Billy Goldenberg CAST Art Garfunkel, Robert DoQui, Harris Yulin, Reginald Daughtry, Richard Brooks, Paula Davis, Anjelica Huston
TREASURE OF THE MOON GODDESS (1987) DIR José Luis García Agraz ASSIST DIR Sean Hepburn Ferrer PROD Eric Weston, Gerald Green SCR Eric Weston, Asher Brauner (story by J.P. Dutilleux) CAM Tim Ross ED Anthony J. Ciccolini III, Gabrielle Gilbert Reeves MUS Victor O. Hall, Stephen Metz CAST Asher Brauner, Don Calfa, Linnea Quigley, Joann Ayers, Danny Addis, Eric Weston
IRONWEED (1987) DIR Hector Babenco PROD Marcia Nasatir, Keith Barish ASSOC PROD Sean Hepburn Ferrer SCR William Kennedy (also novel) CAM Lauro Escorel ED Anne Goursaud MUS John Morris CAST Jack Nicholson, Meryl Streep, Caroll Baker, Michael O’Keefe, Diane Venora, Fred Gwynne, Tom Waits
OLD GRINGO (1989) DIR Luis Puenzo SUPERVISION 2ND UNIT Sean Hepburn Ferrer PROD Lois Bonfiglio SCR Luis Puenzo, Aida Bortnik (novel by Carlos Fuentes) CAM Félix Monti ED Glenn Farr, William M. Anderson, Juan Carlos Macías MUS Lee Holdridge CAST Jane Fonda, Gregory Peck, Jimmy Smits, Patricio Contreras, Jenny Gago, Gabriela Roel, Sergio Calderón
EYE OF THE WINDOW (1991) DIR Andrew V. McLaglen ASSIST DIR Sean Hepburn Ferrer PROD Daniel Carillo EXEC PROD Sean Hepburn Ferrer SCR Joshua Sauli (book by Gérard de Villiers) CAM Arthur Wooster ED Luce Grunenwaldt MUS Yvan Jullien, Hubert Rostaing CAST Mike Marshall, Benjamin Feitelson, Richard Young, Paul L. Smith, Elvira Neustaedl, Erwin Strahl, Nabila Khashoggi, Mel Ferrer, F. Murray Abraham, Patrick Macnee
PRETTY HATTIE’S BABY (1991) DIR Ivan Passer PROD Sean Hepburn Ferrer SCR Rod McCall (story by Fauna Hodel) CAM Tony Imi ED Christopher Cibelli CAST Alfre Woodard, Charles S. Dutton, Jill Clayburgh, Bobby Hosea, Tess Harper, Alison Elliott
BLOOD IN, BLOOD OUT (1993) DIR Taylor Hackford ASSIST DIR Sean Hepburn Ferrer PROD Taylor Hackford, Jerry Gershwin SCR Floyd Mutrux, Jimmy Santiago Baca, Jeremy Iacone (story by Ross Thomas) CAM Gabriel Beristain ED Fredric Steinkamp, Karl F. Steinkamp MUS Bill Conti CAST Damian Chapa, Jesse Borrego, Banjamin Bratt, Enrique Castillo, Victor Rivers, Delroy Lindo, Tom Towles, Carlos Carrasco, Billy Bob Thornton, Rio Hackford
RACEHOSS (2001) DIR Sean Hepburn Ferrer SCR Albert Race Sample
ONE SHOE MAKES IT MURDER (1982) DIR William Hale ASSIST DIR Sean Hepburn Ferrer PROD Mel Ferrer TELEPLAY Felix Culver (novel by Eric Bercovici) CAM Terry K. Meade ED Jerry Young MUS Bruce Broughton CAST Robert Mitchum, Angie Dickinson, Mel Ferrer, José Térez, John Harkins, Howard Hesseman
CLOUDSTREET (2011) DIR Matthew Saville PROD Greg Hadrick, Brenda Pam EXEC PROD Sean Hepburn Ferrer, Kim Vecera, Des Monaghan, Bob Campbell, Kirk M. Hallam SCR Tim Winton, Ellen Fontana CAM Mark Wareham ED Geoff Hitchins MUS Byrony Marks CAST Kerry Fox, Geoff Morrell, Stephen Curry, Essie Davis, Helen Doig, David Bowers, Kelton Pell
OTHER TV CREDITS
BIOGRAPHY (1987) SPECIAL THANKS Sean Hepburn Ferrer
AMERICAN MASTERS (1999) SPECIAL THANKS Sean Hepburn Ferrer
THE WORLD’S MOT PHOTOGRAPHED (2005) STILL PHOTOGRAPHS PROVIDED BY Sean Hepburn Ferrer
DARCY BUSSEL’S LOOKING FOR AUDREY (2014) SPECIAL THANKS Sean Hepburn Ferrer
AUDREY HEPBURN REMEMBERED (1993) DIR – PROD – SCR Gene Feldman, Suzette Winter CAM Phil Gries ED Richard Harkness CAST (as themselves) Richard Attenborough, Sean Connery, Stanley Donen, Blake Edwards, Mel Ferrer, Sean Hepburn Ferrer, Hubert de Givenchy, Henry Mancini, Roger Moore, Gregory Peck, George Peppard, Elizabeth Taylor, Connie Wald, Billy Wilder, Robert Wolders
HOLLYWOOD LEGENDEN (2004) DIR Eckhart Schmidt CAST (as themselves) Peter Bogdanovich, Ray Bradbury, Jeff Bridges, Tony Curtis, Angie Dickinson, Sean Hepburn Ferrer, Richard Fleischer, Tippi Hedren, Rock Hudson, Danny Huston, Samuel L. Jackson, Jerry Lewis, Lora Luft, Juanita Moore, Don Murray, Kim Novak, Sidney Poitier, Mickey Rooney, Eva Marie Saint, Omar Sharif, Rod Steiger, Gloria Stuart, Esther Williams
AUDREY HEPBURN: EIN STAR AUF DER SUCHE NACH SICH SELBST (2004) DIR Gebo von Boehm CAST (as themselves) Mel Ferrer, Sean Hepburn Ferrer, Hubert de Givenchy, Gregory Peck, Robert Wolders
ONE DAY SINCE YESTERDAY: PETER BOGDANOVICH & THE LOST AMERICAN FILM (2014) DIR Bill Teck PROD Victor Barraso, Brett Ratner CAM Bill Teck ED Mario de Varona CAST (as themselves) Wes Anderson, Antonia Bogdanovich, Sashy Bogdanovich, Jeff Bridges, Colleen Camp, Sean Hepburn Ferrer, Ben Gazarra, Frank Marshall, Todd McCarthy, Cybill Shepherd, Louise Stratten, Quentin Tarantino
LIVING THE BLUES (2010) DIR Larry Banks, Tim Buffy EXEC PROD Sean Hepburn Ferrer
BREAKFAST AT TIFFANY’S: THE MAKING OF A CLASSIC (2006) PROD Selina Lin ED Derek Degenhardt CAST Emily Dougherty, Sean Hepburn Ferrer, Pamela Keogh, Cynthia Rowley, Richard Shepherd, Robert Wolders
SO IT’S AUDREY! A STYLE ICON (2006) PROD Selina Lin. ED Derek Degenhardt CAST Emily Dougherty, Sean Hepburn Ferrer, Pamela Keogh, Cynthia Rowley, Richard Shepherd, Robert Wolders
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