Fifth Avenue, 5 A.M.: Audrey Hepburn, Breakfast at Tiffany's, and the Dawn of the Modern Woman by Sam Wasson

Author:Sam Wasson
Language: eng
Format: mobi, epub, pdf
Tags: , Pop Arts, Performing Arts, Social Science, cinema, Social History, Films, Women's Studies, 1929-1993, History & Criticism, Film & Video - History & Criticism, Hepburn, TV & Radio, Motion Pictures (Specific Aspects), Breakfast at Tiffany's (Motion picture), pop culture, Entertainment & Performing Arts, Film: Book, Film And Society, History, Film & Video, Women's Studies - History, Cinema, History - General History, General, Audrey, Film & Video - General, Biography & Autobiography, Film
ISBN: 9780061774157
Publisher: HarperCollins
Published: 2010-06-22T07:00:00+00:00

THE SOUND OF TULIP

Henry Mancini, meanwhile, was despondent. It was true that his talents as a songwriter were unproven, but based on the success of “The Peter Gunn Theme,” Mancini knew he was up to the task. Lyrics or no lyrics, Broadway or Texas, a tune is a tune, and he could write them. So what if his name didn’t mean standards? This was an opportunity he wasn’t ready to pass up. Writing scores for the movies had never been the most lucrative aspect of composing for Hollywood, but attaching one’s name to a song, which might go on to numerous recordings and return substantial royalties, was another matter entirely.

Hank called his agent. He told him he wanted to negotiate, to go back in there and raise a little hell. Mancini expected to hear knuckles cracking in preparation, but all he heard was silence. Though cautious, his agent’s point was a good one. From Capote to Audrey to Blake, all was in place for a major motion picture. Take what you got, he told his client, and don’t go around looking ungrateful. Still, that didn’t cut it. Far from settling him, the promise Hank’s agent saw in Breakfast at Tiffany’s only encouraged Mancini that he was right to push for the song. Rather than go back to Rackin himself (Mancini was humble to the point of being shy), he applied to Blake, and respectfully asked him, as a friend, to go see Shepherd and Jurow instead. If they heard what he came up with and liked it, then great, they’d put it in the movie and trust that Rackin would come around; if not, not. All it would cost them was time. Blake obliged, and to Mancini’s great delight, so did the producers. “Marty and I believed the song absolutely should not have been about New York City,” Shepherd said. “It was about this girl from Tulip, Texas, and needed to sound like it.”

Here was Hank’s shot. He’d write for Audrey. He’d write directly into her range.

Download

Copyright Disclaimer:
This site does not store any files on its server. We only index and link to content provided by other sites. Please contact the content providers to delete copyright contents if any and email us, we'll remove relevant links or contents immediately.