Behind the Scenes of "Breakfast at Tiffany's": On-Set Feuds, Near Misses, and Enduring Glamour

Sixty-five years after its release, "Breakfast at Tiffany's" remains an indelible icon of 1960s Hollywood, celebrated for Audrey Hepburn's timeless portrayal of Holly Golightly, Hubert de Givenchy's elegant designs, and the memorable melody of "Moon River." However, the production of the beloved film was far from the effortless fantasy it appears, marked by on-set disputes, logistical hurdles, and creative compromises.

Director Blake Edwards reportedly clashed frequently with star George Peppard, who was cast as Paul. Edwards allegedly pleaded with producers not to cast Peppard, and their disagreements over scene interpretations often led to heated exchanges. Patricia Neal, who played Mrs. Emily Eustace, recalled intervening when an argument between Edwards and Peppard escalated to a near-physical confrontation. Peppard's tendency to overanalyze scenes also reportedly unnerved Hepburn.

Filming at the iconic Tiffany & Co. flagship store on Fifth Avenue required an extraordinary logistical operation. Tiffany's, which rarely opened on Sundays, made an exception in 1960, granting the production unprecedented access for a single day of filming. This involved approximately 75 technicians, 20 Tiffany employees, 30 executives, and 40 armed guards to prevent theft. The cost for this single day of shooting was reportedly $45,000, a substantial sum for the era, due to double-time pay for workers.

The memorable party scene in Holly's apartment, filmed on a Paramount soundstage, took nearly a week to complete. Edwards specifically cast actors rather than extras, encouraging improvisation. The production supplied an abundance of cigarettes, drinks, and party food, and a beekeeper's smoker was used to create the dense cigarette smoke haze. On the final day of filming the scene, Edwards replaced the non-alcoholic beverages with real champagne.

One of the most enduring elements of the film, Holly's black Givenchy gown, became a record-breaker when one of the three made for the film was auctioned in 2006 for approximately $923,000, far exceeding its presale estimate and setting a world auction record for a film dress at the time.

Beyond the costumes, even the exterior of Holly's apartment building, a townhouse on Manhattan's Upper East Side, garnered significant attention. The four-story brownstone, which served as the backdrop for exterior shots while interiors were filmed on a soundstage, was eventually sold in 2015 for $7.4 million.

Mickey Rooney, who portrayed Holly's landlord, Mr. Yunioshi, later expressed deep regret over his performance, calling it "downright ashamed" in his memoir. He suggested that director Blake Edwards also harbored reservations about the character. However, in later years, particularly in response to protests that led to a film screening cancellation in 2008, Rooney defended his portrayal, stating he was hired to perform the role in an exaggerated manner and had not received complaints for decades.

"Moon River," the film's signature song, almost didn't make it into the final cut. Despite Henry Mancini's melody being written specifically with Hepburn in mind and Johnny Mercer crafting the lyrics, some within Paramount felt the song should be removed after an initial preview screening. While accounts differ on who delivered the decisive line, the song was ultimately retained, going on to win an Academy Award for Best Original Song in 1962 and a Grammy for Song of the Year.

Hepburn's intimate performance of "Moon River" on her fire escape, while strumming a guitar, required her to learn to play the instrument. Although she had singing experience, she worked with a guitar instructor to ensure her fingering and movements appeared authentic on screen, aiming for a convincing portrayal of Holly accompanying herself.

The directorial reins for the film also saw a change. John Frankenheimer was initially attached to direct when the project was announced in 1959. However, by 1960, Blake Edwards had taken over. Later accounts suggested this change was influenced by concerns from Hepburn's representatives and the studio regarding Frankenheimer's directorial style. Ultimately, Edwards, whose recent successes included, became the director, and Hepburn credited him with persuading her to accept the role of Holly Golightly.