(costar, Roman Holiday)

Most people think of Audrey Hepburn as regal. I like to think of her as spunky. It was my good luck to be her first screen fellow, to hold out my hand and help her keep her balance while she made everybody in the world fall in love with her.

(director, Breakfast at Tiffany's)

The last time I saw Audrey was in a flower shop in Gstaad, where we both had homes. I ran after her, slipped on a pile of flowers and broke my ankle. "Oh, dear, Blackie, what have you done?" she asked. "Obviously I'm not the first or the last person to fall at your feet," I responded. I dare say all of the men who worked with her fell in love with Audrey. You couldn't help it. She was somebody who comes along whose friendship you cherish.

(composer, "Moon River," theme song from Breakfast at Tiffany's)

"Moon River" was written for her. No one else has ever understood it so completely. There have been more than a thousand versions of "Moon River," but hers is unquestionably the greatest. When we previewed the film, the head of Paramount was there, and he said, "One thing's for sure. That f——-g song's gotta go." Audrey shot right up out of her chair! Mel Ferrer had to put his hand on her arm to restrain her. That's the closest I have ever seen her come to losing control.

(costar, Bloodline and They All Laughed)

During the filming of Bloodline, the cast had a midnight spaghetti party, and Liza Minnelli gave a very adulatory toast about Audrey. In response, Audrey got on the table and started dancing, leaping with joy. It came out of her sweetness, out of her being embarrassed by the praise. I thought it was charming, better than any words. Speaking words would have made her cry. So she danced. How she danced around the spaghetti plates I don't know, but she didn't break one of them.

She did not overdress. She was rather subdued in what she wore. She had this air of the princess. When you've got it, you don't need much. I never heard a vulgar word come out of Audrey. I never heard anyone be vulgar in front of Audrey.

(designer and friend)

Audrey knew herself perfectly—the qualities as well as the flaws she perceived herself as having. I had not dressed her for a film since she became devoted to UNICEF, but I continued to make some of her evening dresses and day wear. She once told me, "When I talk about UNICEF in front of the television cameras, I am naturally emotional. Wearing your blouse makes me feel protected." It was one of the most touching compliments she gave me.

(director, Robin and Marian)

We arranged the shooting to accommodate her younger son's school holidays, which was very important to her because she was concerned that she spend as much time with him as possible.

She had been accustomed to being dressed by Givenchy, and she had one costume in the picture made out of oven-glove material, so it must have been a terrible shock to her to think, after eight years away from the screen, "Is this what the world of film has come to?" She took it with immense good grace.

(founder, American Film Institute)

Once, at the Kennedy Center Honors' tribute to Cary Grant, Rex Harrison, introducing Audrey, said in his most elegant manner and voice, "Ladies and gentlemen, Miss Katharine Hepburn." The set opened and Audrey, looking like a princess at whatever age she was at the time, came gracefully downstage and bowed deeply, taking the standing ovation. She never felt it necessary to correct him. For this man of great poise and aplomb, it was a rare embarrassing moment. He was intent on recapturing the words, but there was no way to do it.

(costar, The Unforgiven)

In Mexico during the shooting, Audrey made me a gray wool poncho that I still wear every day during the winter. Now I'll never take it off.

I remember when Audrey fell off her horse, the only thing she was worried about was that they get to Mel Ferrer to tell him before the press got word of it. She wasn't concerned about the pain. It was just so that Mel heard first.

(writer, Bloodline)

She had a quality no other actress had: a curious combination of lady and pixie. She was a joy to work with—enormous talent and no ego.

(costar, The Children's Hour)

Audrey was the kind of person who when she saw someone else suffering tried to take their pain on herself. She was a healer. She knew how to love. You didn't have to be in constant contact with her to feel you had a friend. We always picked up right where we left off. She tried to teach me how to dress, and I tried to teach her how to be eloquently profane!

(executive producer of the PBS program Gardens of the World with Audrey Hepburn)

She never considered herself a good gardener. She liked to talk about how good she was at pulling weeds. But that's because she was just so modest.

We all know Audrey Hepburn is a great legend. But what she was more than that was a great human being. When you were with her you felt prettier, better about yourself and your own possibilities.

(director, Funny Face, Charade, Two for the Road)

People don't realize how educated she was. She spoke several languages fluently. She had a wonderful speaking voice—extremely cultured, with wonderful pronunciation. She was a joy to listen to. She never raised her voice, so you were drawn in, you had to listen carefully, and you wanted to.

She embraced everyone as an acquaintance, but very few people were admitted to her inner circle. She had the ability to keep people at a distance without being in the least bit rough or unkind. Her magnetism was so extraordinary, though, that everyone wanted to be close to her. It was as if she placed a glass barrier between herself and the world. You couldn't get behind it easily. It made her remarkably attractive.

(wife of UNICEF commissioner Prince Sadruddin Aga Khan)

As a child, seeing suffering around her, that awakened her to compassion. Instead of making her bitter, as it did some, it made her generous, giving. The surprising thing is that she was like that with everyone. Every gesture was gracious, every word. She wasn't ever trying to impress you. She was just like that.

(singer and friend)

I wrote my first and only fan letter to her when she was in Ondine on Broadway. I loved her dearly. I was her No. 1 fan. Once, I happened to have a room next to hers at the Pierre Hotel in New York City. I was having a rough time, and she sat up with me and talked the whole night. Years later, when she wasn't even nominated for an Oscar for My Fair Lady, I saw her at a dinner party, and she came over to me with tears in her eyes and asked, "Are you still my No. 1 fan?"

(costar, Two for the Road)

At the cast party every male member of the crew—and there were two crews, one English, one French—wanted to dance with her. She danced until she had blisters on her feet. She must have been exhausted—but she made sure they all got their dance.

(designer and friend)

We spent every New Year's Eve together for the past 10 years—except this last year.... You could invite Audrey to shows, dinners, parties: She would decline most of the time.... I remember when she came to the funeral of my mother, flying in just for the day. She was an angel, a very close person; she did not need to show off her friendship—but you knew she was there.

(scriptwriter, Gardens of the World)

The happiest times for anyone who visited Audrey at Tolochenaz were the meals. She made wonderful salads. She fed her dogs buttered toast for breakfast every morning, which they loved. It was clear that one didn't interrupt the joy of a meal for, say, a phone call. But once her dog Tuppena had something caught in his throat. I was amazed at Audrey and Robbie's concern. For 40 minutes everything stopped. They stayed with Tuppena until they were sure he was OK.

(costar, They All Laughed)

The first time I met her she was having a small dinner party at a friend's house. Her son Sean went to pick up the other guests, and the host was upstairs getting dressed. I was left all alone with her in the kitchen. I was totally starstruck, but I tried to rein it in. She was lovely, so warm and thoughtful, talking to me while she stirred her pot of pasta. She had her own personal style. She was not created by a studio. She didn't need to be invented. She simply was.


Even on the day she died, her thoughts were with the children. She rallied for the last time and wanted to know if there had been any messages from UNICEF about the children in Somalia. Mummy believed in love. She left us with peace.