conversations.from: human
conversations.value: What could be a title for a book about Hepburn, Audrey, Hepburn's with the genre: Biographies & Memoirs, Arts & Literature?
conversations.from: assistant
conversations.value: A title for this book could be 'Audrey Hepburn'
conversations.from: human
conversations.value: Give me the first three paragraphs for this book.. Start with the sentence 'Audrey Hepburn
  Audrey Kathleen Ruston was born on Rue Keyenveld in Ixelles, a municipality in Brussels, Belgium, in the early morning hours of May 4, 1929'.
conversations.from: assistant
conversations.value: Audrey Hepburn
  Audrey Kathleen Ruston was born on Rue Keyenveld in Ixelles, a municipality in Brussels, Belgium, in the early morning hours of May 4, 1929. Her family had recently moved from London. The family surname was changed by Audrey's father to Hepburn-Ruston in homage to the Hepburn family name, which had recently died out. Audrey would later drop the Ruston surname.
  Audrey was the only child of Joseph Victor Anthony Ruston (1889–1980), a Bohemian (the Czech Republic)-born Englishman of Irish, French, English, and Austrian descent with an erstwhile career in finance, and his second wife, Baroness Ella van Heemstra (1900–1984), a Dutch aristocrat, whose parents (Audrey's grandparents) were Baroness Elbrig van Asbeck and Baron Aernoud van Heemstra who had Dutch, Hungarian, and French heritage.
  The Baron and Baroness van Heemstra traveled internationally in service to the Netherlands' Queen Wilhelmina. Audrey had two half-brothers by her mother's first marriage: Jonkheer Arnoud Robert Alexander Quarles van Ufford (1920– 1979) and Jonkheer Ian Edgar Bruce Quarles van Ufford (1924–2010), known more succinctly as Alexander and Ian.
conversations.from: human
conversations.value: Give me three more paragraphs.. End with the sentence ' Included in this category are Peter O'Toole, Alan Arkin, Cary Grant, James Garner, and Albert Finney.'.
conversations.from: assistant
conversations.value: Audrey was accepted wholeheartedly by Andrea's family and tried to accept her role as the wife of an Italian man who felt it his right to have female relationships outside of is marriage, even though he had captured the love and admiration of one of the most accomplished and desirable women in the world,.
  The marriage lasted 13 years, officially ending in 1982, although Audrey began a relationship with the Dutch actor Robert Wolders, the widower of actress Merle Oberon, in 1980. Robert Wolders would be Audrey's loving companion until her death in 1993. In the last years of WWII, although Robby (as Audrey called him) lived near her family in a suburb of Arnhem, they did not know each other. Nevertheless, their shared childhood experiences bonded them.
  From very early in her career, worked opposite the crème de la crème of male leads. Eight of her co-stars earned Best Actor Oscars in their lifetimes: Gregory Peck, Humphrey Bogart, William Holden, Henry Fonda, Gary Cooper, Peter Finch, Burt Lancaster, and Rex Harrison. Others were nominated for the Best Actor Oscar, but didn't get the nod. Included in this category are Peter O'Toole, Alan Arkin, Cary Grant, James Garner, and Albert Finney.
conversations.from: human
conversations.value: Give me the last paragraph.
conversations.from: assistant
conversations.value: Many thanks to the official website (www.audreyhepburn.com) for important details regarding Audrey's life and her sweeping contributions to 20th century culture, style, and humanitarianism.
conversations.from: human
conversations.value: Give me the first four paragraphs for this book.
conversations.from: assistant
conversations.value: Audrey Hepburn
  During her term as, first, a postulant, then a novice, Gabrielle, now Sister Luke, struggles to come to terms with her vows of obedience, finding it agonisingly difficult to bury her natural streak of independence, or the intense pride she takes in her work. Her superiors, realising that she is not yet at one with what they call 'the religious life', place every kind of disciplinary obstacle in her way before finally despatching her to the Congo where she assists Dr Fortunati, the dishevelled, outspoken and inspirationally brilliant medical man who runs the Congo hospital. She impresses him with her exceptional skills and her individuality; in turn, he adds to the inner struggles of her conscience by voicing his own doubts about her suitability for convent life.
  After a bout of TB, from which she recovers, Sister Luke — who has won an exceptional degree of love and devotion from the native people, and from her fellow sisters — is sent back to Belgium as escort to a seriously ill patient. She finds the resumption of life in the cloisters almost intolerable, but all thoughts of a return to Africa are halted by the outbreak of war. Finally sent as a surgical assistant to a hospital on the Holland-Belgium border, she finds herself behaving contrary to her orders by aiding a Resistance worker. When she receives word that her beloved father has been killed in a Nazi ambush, unchristian feelings of hatred against the enemy assail her. After seventeen years of struggle, she decides to go out into the world to work for the underground movement.
  It is easy to see why Audrey was drawn to the story, and particularly responsive to its close associations with her own past. She formed a strong bond with Marie-Louise Habets, who worked privately with her on the conduct of a nun's life and taught her many things, including correct handling of surgical instruments for the hospital scenes.
  Location work was scheduled for Belgium, but the Sisters of Charity convent and the Bishop of Bruges refused permission to film on the actual premises. The accomplished Alexander Trauner, entrusted with the production design, reconstructed the convent and chapel, right down to the statuary, at Rome's Cinecittà studios. It is almost impossible to identify them as sets, so realistically were they built. For the long segment in the Congo, the unit was to be based in Stanleyville, travelling up-river from there to an actual leper colony which Sister Luke must visit in the course of her duties. To Audrey's delight, Franz Planer was to photograph the film and, once again, her request was granted for Alberto and Grazia de Rossi to take care of her make-up and hair.
conversations.from: human
conversations.value: Delete the last sentence.
conversations.from: assistant
conversations.value: Audrey Hepburn
  During her term as, first, a postulant, then a novice, Gabrielle, now Sister Luke, struggles to come to terms with her vows of obedience, finding it agonisingly difficult to bury her natural streak of independence, or the intense pride she takes in her work. Her superiors, realising that she is not yet at one with what they call 'the religious life', place every kind of disciplinary obstacle in her way before finally despatching her to the Congo where she assists Dr Fortunati, the dishevelled, outspoken and inspirationally brilliant medical man who runs the Congo hospital. She impresses him with her exceptional skills and her individuality; in turn, he adds to the inner struggles of her conscience by voicing his own doubts about her suitability for convent life.
  After a bout of TB, from which she recovers, Sister Luke — who has won an exceptional degree of love and devotion from the native people, and from her fellow sisters — is sent back to Belgium as escort to a seriously ill patient. She finds the resumption of life in the cloisters almost intolerable, but all thoughts of a return to Africa are halted by the outbreak of war. Finally sent as a surgical assistant to a hospital on the Holland-Belgium border, she finds herself behaving contrary to her orders by aiding a Resistance worker. When she receives word that her beloved father has been killed in a Nazi ambush, unchristian feelings of hatred against the enemy assail her. After seventeen years of struggle, she decides to go out into the world to work for the underground movement.
  It is easy to see why Audrey was drawn to the story, and particularly responsive to its close associations with her own past. She formed a strong bond with Marie-Louise Habets, who worked privately with her on the conduct of a nun's life and taught her many things, including correct handling of surgical instruments for the hospital scenes.
  Location work was scheduled for Belgium, but the Sisters of Charity convent and the Bishop of Bruges refused permission to film on the actual premises. The accomplished Alexander Trauner, entrusted with the production design, reconstructed the convent and chapel, right down to the statuary, at Rome's Cinecittà studios. It is almost impossible to identify them as sets, so realistically were they built. For the long segment in the Congo, the unit was to be based in Stanleyville, travelling up-river from there to an actual leper colony which Sister Luke must visit in the course of her duties.
conversations.from: human
conversations.value: Give me five more paragraphs.
conversations.from: assistant
conversations.value: Principal photography commenced in August, with Cukor shooting in sequence to assist Audrey in the gradual transition from ugly duckling to swan. At Audrey's request work was carried out on a closed set, with only Mel, and her close friends Givenchy and Doris Brynner allowed in as visitors. With her nerves stretched to breaking point, Audrey couldn't bear anybody to be in her eyeline during a take. Blacks were hung, behind which the crew, with some difficulty, had to crouch. The atmosphere was not improved by the strained relationship between Beaton, an elegant English dandy, reputedly anti-Semitic, and the rough-tongued Jewish-born Cukor. There was an unstated rivalry between them for possession of Audrey, and matters came to a head when, while Beaton was photographing Audrey one day, the director ordered him off the set.
  The fissures in Audrey's marriage were now becoming a matter of public knowledge. Although she continued to put a good face on her relationship with her husband, and seemed still to be dependent on him, they were overheard quarrelling in her dressing room. With all the attendant stresses, it was a bitter blow when, after months of hard work and with all her songs recorded, she was finally told that she would, after all, have to be almost entirely dubbed. To add insult to injury, an underling was despatched to break the news. For the first and last time in her professional life Audrey, distraught, walked off the set. When she returned, it was with a gracious apology.
  Audrey lost eight pounds in weight, and Cukor and Warner became worried about her health. At much financial cost to the production, she was given a couple of days off to sleep. Yet, throughout all these terrible difficulties, she kept her personal unhappiness to herself and retained the outward dignity and grace for which she was renowned. She eschewed the trappings of grandeur consonant with her position as a million-dollar star, riding the bicycle given her so many years before by Billy Wilder. She also bought and presented Rex Harrison with a similar vehicle.
  On 22 November 1963, during the filming of a large crowd scene, Cukor was given news that President Kennedy had been assassinated. The stricken director found himself unable to speak to the assembled company. An equally shocked Audrey came to the rescue. Grabbing a hand-microphone and controlling her own evident emotion, she said, 'The President of the United States is dead. Shall we have two minutes of silence to pray or do whatever you feel is appropriate.' After the silence, she added, 'May he rest in peace.' Efforts then to continue with the filming proved futile, and work was suspended for the rest of the day.
  The story itself and the brilliant score and lyrics have proved timeless and indestructible. Rex Harrison's Higgins transcends his own stage original. The sets and costumes are lavish, the supporting roles well taken, and there is much enjoyment to be had from the film. The exterior scenes, however, are uncomfortably 'stagy' and unconvincing, and the 'fair lady' herself succeeds in only half of her performance.
conversations.from: human
conversations.value: Give me the last five paragraphs.
conversations.from: assistant
conversations.value: The tributes from her colleagues, many of them devoted friends, were equally eloquent. Gregory Peck was 'deeply shocked and distressed'; Roger Moore, another star-turned-UNICEF-worker, declared that 'she was that rare thing in Hollywood — a star who genuinely cared about others before herself.' Her friend and fellow UNICEF ambassador Sophia Loren called her a 'great beauty who enriched the lives of millions,' while to Ronald Reagan she was 'a legend, a true great who will be greatly missed'. George Peppard said, simply, 'A silver bell has been silenced.'
  It was a small, simple and private ceremony, conducted by the now eighty-three-year-old Pastor Endiguer, who had married Audrey and Mel Ferrer and christened Luca. The Dutch airline tycoon Martin Schroeder brought a bouquet of white '' tulips, a variety that had been named after her. Those present included Alain Delon, Roger Moore, Doris Brynner, Prince Sadruddin Aga Khan, executives of UNICEF, and a noticeably grief-stricken Mel Ferrer.
  Sean Ferrer, speaking at the funeral, said, 'Mother believed in love, that it could heal, fix, mend and make everything all right in the end.' Her last thoughts before she slipped peacefully away, he told the mourners, were for the suffering children of Somalia.
  Among the profusion of beautiful floral tributes nestled a simple bouquet which bore the inscription 'From all the world's children.'
  This perhaps summed up, as much as anything could, one aspect of a remarkable person, who had lived a remarkable life.