By Sam Wasson

“Reads like conscientiously crafted fiction…[Wasson] incorporates the reader from pre-production to on-set feuds and conflicts, whereas additionally noting Hepburn’s influence on type (Givenchy’s little black dress), Hollywood glamour, sexual politics, and the recent morality. Capote could were entranced.” — Publishers Weekly (starred evaluation)

“Sam Wasson’s beautiful portrait of Audrey Hepburn peels backs her candy facade to bare a way more complex and engaging lady. He additionally captures a desirable turning element in American history— whilst ladies began to loosen their pearls, and their inhibitions. I wolfed this book.” — Karen Abbott, writer of Sin within the moment urban

Fifth street, five A.M. by way of Sam Wasson is the 1st ever entire account of the making of Breakfast at Tiffany’s. With a solid of characters together with Truman Capote, Edith Head, director Blake Edwards, and, in fact, Hepburn herself, Wasson immerses us within the the USA of the past due fifties, ahead of Woodstock and contraception, while a not-so-virginal woman by means of the identify of Holly Golightly raised eyebrows around the state, altering model, movie, and intercourse, for sturdy. With scrumptious prose and substantial wit, Wasson can provide us from the penthouses of the higher East aspect to the swimming pools of Beverly Hills offering Breakfast at Tiffany’s as we have now by no means obvious it before—through the eyes of these who made it.

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Extra resources for Fifth Avenue, 5 A.M.: Audrey Hepburn, Breakfast at Tiffany's, and the Dawn of the Modern Woman

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Before the discovery of a definite concrete form that, ; in the scenarist's opinion, will affect the spectator from the screen, the abstract idea of a reform has no creative value and cannot serve as a key-stone In the constitution of the action ; but these key-stones are necessary ; they establish the hard skeleton remove the danger of those blank gaps that 41 and may PUDOVKIN always occur if some important stage ment of the scenario be treated in the developcarelessly and abstractly. Neglect of this element in the work of final filmic polishing may occasion inexpressive material unsuitable for plastic treatment and thus 5 may 3 destroy the whole construction.

The film possesses essentially specific and highly methods by means of which the spectator effective can be made to notice each separate detail (mud, wind, behaviour of driver, behaviour of fare), showing them one by one, just as we should describe them in separate sequence In literary work, and not just " 5* " two men on a wagsimply to note bad weather, 10 gon/* This method is called constructive editing. Something of the kind is used by certain scenariowriters In interpolating into their description of a scene " a so-called close-up" thus, "a village street on a church holiday.

Tide " : Imagination^ Mironitch; the door rattles in the wind. 33 A scenario written in this way, already divided into separate scenes and with titles, forms the first phase of filmic overhaul. But it is still far from the workingscript, referred to above, already fully prepared for 50 ON there Is a whole series shooting. Note of details characteristic for the given scene and emphasised by their literary form, such as, for example, " " " a sinking in the mud/* sadly the driver/' 5 " a in soldier's cloak/ the piercpassenger, wrapped " none of these details will reach the ing wind spectator if they are introduced merely as incidentals in shooting the scene as a whole, just as it Is written.

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