Audrey Kathleen Ruston Hepburn

Paris When It Sizzles (1964) reteamed Hepburn with William Holden nearly ten years after Sabrina. The Parisian-set screwball comedy, called "marshmallow-weight hokum", was "uniformly panned" but critics were kind to Hepburn's creation of Gabrielle Simpson, the young assistant of a Hollywood screenwriter (Holden) who aids his writer's block by acting out his fantasies of possible plots, describing her as "a refreshingly individual creature in an era of the exaggerated curve." Critical reception was worsened by a number of problems that plagued the set behind the scenes. Holden tried, without success, to rekindle a romance with the now-married actress; that, combined with his alcoholism made the situation a challenge. Hepburn, after principal photography began, demanded the dismissal of cinematographer Claude Renoir after seeing what she felt were unflattering dailies. Superstitious, she also insisted on dressing room 55 because that was her lucky number (she had dressing room 55 for Roman Holiday and Breakfast at Tiffany’s) and required that Givenchy, her long-time designer, be given a credit in the film for her perfume.
"Not since Gone with the Wind has a motion picture created such universal excitement as My Fair Lady," wrote Soundstage magazine in 1964, yet Hepburn's landing the role of Eliza Doolittle in the 1964 George Cukor film adaptation of the stage musical sparked controversy. Julie Andrews, who had originated the role in the stage show, had not been offered the part because producer Jack Warner thought Hepburn or Elizabeth Taylor more "bankable" propositions. Initially refusing, Hepburn asked Warner to give it to Andrews but, eventually, Hepburn was cast.
Further friction was created when, although non-singer Hepburn had sung with "throaty charm" in Funny Face and had lengthy vocal preparation for the role in My Fair Lady, her vocals were dubbed by Marni Nixon. A dubber was required because Eliza Doolittle's songs were not transposed down to accommodate Hepburn's "low-mezzo voice" (as Nixon referred to it). Upset, when first informed, she walked out. She returned the next day and apologized to everybody for her "wicked behavior". Although Hepburn had lip synced to her recorded tracks during filming, Nixon looped her vocals in post-production and was given multiple attempts to match Hepburn's lip movements precisely.
Overall, about 90% of her singing was dubbed despite being promised that most of her vocals would be used. Hepburn's voice remains in one line in "I Could Have Danced All Night", in the first verse of "Just You Wait", and in the entirety of its reprise in addition to sing-talking in parts of "The Rain in Spain" in the finished film. When asked about the dubbing of an actress with such distinctive vocal tones, Hepburn frowned and said, "You could tell, couldn't you? And there was Rex, recording all his songs as he acted ... next time —" She bit her lip to prevent her saying more. She later admitted that she would have never have accepted the role knowing that Warner intended to have nearly all of her singing dubbed.