Behind the Scenes: Controversies and Secrets of 'Breakfast at Tiffany's'

Few films have become as deeply woven into pop culture as Breakfast at Tiffany's. The image of Audrey Hepburn, clad in a Givenchy black dress outside Tiffany & Co. with a cigarette holder and a pastry, remains an enduring symbol of 1960s Hollywood. However, the production of this cinematic staple was far from the effortless fantasy it appears, marked by disagreements, improvisation, and elements that almost didn't make the final cut.

Casting and On-Set Tensions

Director Blake Edwards reportedly had significant reservations about casting George Peppard as Paul Varjak. According to Sam Wasson's book "Fifth Avenue, 5am," Edwards "begged" producers not to cast Peppard, citing clashes over creative interpretations of scenes. These disagreements occasionally escalated, with actress Patricia Neal recalling an incident where an argument between Edwards and Peppard nearly turned physical, requiring her intervention. Peppard's tendency to overanalyze scenes also reportedly "annoyed and unnerved" Hepburn.

Unique Filming at Tiffany & Co.

Securing permission to film inside the iconic Tiffany & Co. Fifth Avenue flagship store was an unprecedented feat. In 1960, the store opened its doors on a Sunday for the first time since the 19th century to accommodate the production. This extraordinary logistical operation involved 75 technicians, 24 extras, numerous store employees and executives, and 40 armed guards to prevent theft. The cost for this single day of filming reportedly amounted to $45,000, a substantial sum for the era, due to double-time pay for workers.

The Elaborate Party Scene

The memorable party scene, set in Holly Golightly's apartment, took approximately a week to film on a Paramount soundstage. Edwards intentionally cast actors rather than extras, seeking individuals who could improvise. The production supplied an abundance of cigarettes (60 cartons), drinks, and party food. To create a thick haze of smoke, a beekeeper's smoker was even employed. The scene was largely improvised, and on the final day of shooting, Edwards replaced the non-alcoholic beverages with real champagne.

Iconic Elements and Their Value

Hubert de Givenchy designed Holly's unforgettable black satin gown, continuing his collaboration with Hepburn. Three versions were made; one later sold at Christie's for approximately $923,000, setting a world auction record for a film dress at the time.

The exterior of Holly's apartment, a townhouse at 169 East 71st Street in New York City, was famously filmed at a real Upper East Side brownstone. While interior scenes were shot on a soundstage, the townhouse itself was later sold in June 2015 for $7.4 million.

Mickey Rooney's Regrets

Mickey Rooney later expressed deep regret over his portrayal of Mr. Yunioshi, the Japanese landlord. In his memoir, he called the role "downright ashamed" and suggested that director Blake Edwards also harbored regrets. However, Rooney's stance shifted over time; when protests arose over the character's depiction during a 2008 screening, he defended his performance, stating he was hired to play the character in an exaggerated manner and had received no complaints for over 40 years.

"Moon River" Nearly Cut

Henry Mancini's melody for "Moon River," with lyrics by Johnny Mercer, was written specifically for Hepburn. Despite its eventual iconic status, there was pressure from Paramount executives after a preview screening to remove the song entirely. While the exact quote is debated, the story goes that either Hepburn or producer Richard Shepherd staunchly defended the song, preventing its removal. The gamble paid off, with Mancini and Mercer winning an Academy Award for Best Original Song in 1962.

Hepburn's Guitar Performance

Hepburn's intimate performance of "Moon River" on her fire escape, accompanied by her guitar, was a key scene. To make Holly's strumming appear authentic, Hepburn dedicated time to learning to play the guitar specifically for the role. While she had singing experience, she worked with an instructor to ensure her fingering and movements looked convincing on camera, aiming for a performance that felt natural for the character.

Director Change

John Frankenheimer was initially slated to direct the film, announced in January 1959. He worked with screenwriter George Axelrod in the early stages, but by 1960, Blake Edwards had taken over. Reports suggest this change was due to concerns from Hepburn's representatives and the studio regarding Frankenheimer's directorial style. Edwards, whose career was gaining momentum, ultimately helmed the project, and Hepburn later credited him with convincing her to accept the role of Holly Golightly.