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kinda_like_shaft's review against another edition
4.0
Even though I've never seen the movie and actually just finished reading the story, I enjoyed this book enormously. Now I'll watch the movie...
gina_gina's review against another edition
3.0
I would give this 2.5 stars if I could. For me, this book fell between the two ratings. An interesting history and analysis of the film -- from script to impact. I think I would have enjoyed this more if it were a more academic book.
aarrick's review against another edition
4.0
It's not everyday that you get a window into the inner workings of a movie so beloved and so endeared. People don't realize what it takes to make a movie, and this book does a great job of showing every aspect of the creation of Breakfast at Tiffany's. From the book penned by Truman Capote, to the rights purchased by the studio, creation of a screenplay, orchestration of a soundtrack, and the casting of the right actors, it is all detailed in this book. If you ever wondered how "Moon River" was created, why Blake Edwards was chosen to be the director, or how Audrey Hepburn felt about playing Holly Golightly, it's all here. I thoroughly enjoyed reading about it and now I want to see the movie again!
forevererinyoung's review against another edition
4.0
A gem of a book. Transports you back in time and is a must read for any Breakfast at Tiffany's fan.
jenny_cazzola's review against another edition
4.0
I generally am not a fan of Capote, I didn't care for the movie (except for the dress), but reading this book has made me want to both read, and watch; this time from a different perspective. The author gives a detailed account of the details behind, and the making of Breakfast At Tiffany's as well as the impact it had on the women of the early '60s. An easy, fun read. I enjoyed it on my Kindle.
mindthebook's review against another edition
3.0
För något år sedan satt jag på Logan i Boston, med denna nyinköpta bok i ena handen och ett glas champagne i den andra. Så bör den läsas, inser jag nu.
När 50-tal blev 60-tal. Underrrubriken "the dawn of the modern woman" väckte sociologiska förhoppningar, men det är mer glitterati än genus. Vem kände vem, vem hade på sig vad, vilka lunchade eller jazzklubbade med vilka etc. etc.
Det sirliga språket stör och varför så melodramatisk ton, t.ex. "The cutting room floor is a graveyard." om det alternativa slutet. Överanvändningen av franska låneord har jag förstås ömt överseeende med: crème de la crème, cause célèbre, beau, chic, allure, élan, gamine, fracas, rendezvous, au moment, accoutrements...
Intressant att ta del av castingprocessen och föreställa sig hur (mycket sämre) filmen blivit med de andra föreslagna skådespelarna. Den fruktlösa jakten på en method acting cat. Det blev till slut många katter som fick spela Cat, eftersom katter ofta nöjer sig med att kunna ett trick.
En bokomslagsillustratör fick i uppdrag att designa filmaffischen:
"The art director told me that all they wanted was a single figure, just this girl standing, but with a cat over her shoulder, and that she would be holding her long cigarette holder. They sent me a few movie stills to work with and I said, 'Sure, why not?' [...] He told me they wanted to establish that Breakfast at Tiffany's was a movie about the city. They wanted a couple embracing with the skyline in the background, which they wanted to contrast with the elegance in the main figure of Audrey. But the main thing was the cat. They really wanted that cat in there."
När 50-tal blev 60-tal. Underrrubriken "the dawn of the modern woman" väckte sociologiska förhoppningar, men det är mer glitterati än genus. Vem kände vem, vem hade på sig vad, vilka lunchade eller jazzklubbade med vilka etc. etc.
Det sirliga språket stör och varför så melodramatisk ton, t.ex. "The cutting room floor is a graveyard." om det alternativa slutet. Överanvändningen av franska låneord har jag förstås ömt överseeende med: crème de la crème, cause célèbre, beau, chic, allure, élan, gamine, fracas, rendezvous, au moment, accoutrements...
Intressant att ta del av castingprocessen och föreställa sig hur (mycket sämre) filmen blivit med de andra föreslagna skådespelarna. Den fruktlösa jakten på en method acting cat. Det blev till slut många katter som fick spela Cat, eftersom katter ofta nöjer sig med att kunna ett trick.
En bokomslagsillustratör fick i uppdrag att designa filmaffischen:
"The art director told me that all they wanted was a single figure, just this girl standing, but with a cat over her shoulder, and that she would be holding her long cigarette holder. They sent me a few movie stills to work with and I said, 'Sure, why not?' [...] He told me they wanted to establish that Breakfast at Tiffany's was a movie about the city. They wanted a couple embracing with the skyline in the background, which they wanted to contrast with the elegance in the main figure of Audrey. But the main thing was the cat. They really wanted that cat in there."