0:00:02 > 0:00:04In September 1944,
0:00:04 > 0:00:10a young girl set out on a dangerous secret mission in war-torn Holland.
0:00:12 > 0:00:16The battle to liberate Arnhem was at its height.
0:00:20 > 0:00:26Working for the Dutch Resistance, the girl was trying to out-wit the Nazis
0:00:26 > 0:00:29and take a message to a stranded British airman.
0:00:30 > 0:00:37In the woods outside the city, she found the British paratrooper and quickly traded information.
0:00:41 > 0:00:45But on her way home, her luck ran out.
0:00:45 > 0:00:47A German soldier stopped her.
0:00:47 > 0:00:51She had to hold her nerve at all costs.
0:00:51 > 0:00:55If the Germans discovered her true purpose, she'd be arrested and shot.
0:00:58 > 0:01:04Looking at her ID photograph, the soldier would have seen little more than a child.
0:01:04 > 0:01:07The girl coolly played the innocent.
0:01:07 > 0:01:12A born actress, she was also a born survivor.
0:01:12 > 0:01:19The girl in the photograph would grow up to be one of the world's most enigmatic Hollywood stars,
0:01:19 > 0:01:21Audrey Hepburn.
0:01:49 > 0:01:52I am a very stylish girl.
0:01:52 > 0:01:54How do I look?
0:01:54 > 0:02:00Throughout the 1950s and 60s, images of Audrey Hepburn dazzled the world.
0:02:00 > 0:02:06One of the most popular actresses of her time - she was more than just a Hollywood movie star.
0:02:06 > 0:02:13Waif-like, refined, and worldly, she was also a new kind of fashion icon.
0:02:15 > 0:02:19Hepburn became famous for her cool, composed and stylish image.
0:02:19 > 0:02:23But few people were aware of the childhood experience of terror
0:02:23 > 0:02:27and loss hidden beneath the surface of her enchanting smile.
0:02:29 > 0:02:36There is an extraordinary difference between the pictures of her as an adult and of a child.
0:02:36 > 0:02:40There is a great innocent trusting quality
0:02:40 > 0:02:42and the guilelessness,
0:02:42 > 0:02:46that wonderful smile always remained on the face
0:02:46 > 0:02:51but it took on facets of fragility and wistfulness.
0:02:51 > 0:02:54The soul was always on her face.
0:02:58 > 0:03:02Audrey Hepburn was born on 4th May 1929
0:03:02 > 0:03:07to an Anglo-Irish businessman, Joseph Hepburn-Ruston
0:03:07 > 0:03:12and Ella van Heemstra, an impoverished Dutch Baroness.
0:03:12 > 0:03:19Her parents came from very different backgrounds but they shared the same political beliefs.
0:03:19 > 0:03:22Her father was a British Fascist.
0:03:22 > 0:03:26He was a member of the Union of British Fascists,
0:03:26 > 0:03:28he was an admirer of Oswald Moseley
0:03:28 > 0:03:31and he was a rather dreadful person.
0:03:33 > 0:03:37As fascism spread through Europe, Hepburn's parents were involved in
0:03:37 > 0:03:40fund-raising and recruitment for the cause.
0:03:40 > 0:03:47In May 1935, Joseph Hepburn-Ruston walked out on his family.
0:03:47 > 0:03:50The young Audrey was devastated.
0:03:51 > 0:03:54Audrey stated that her father leaving the family,
0:03:54 > 0:03:59had left a bigger mark on her than anything else in her life because,
0:03:59 > 0:04:05in effect, it felt like she had been deserted. She never quite overcame that.
0:04:05 > 0:04:11This is one of only a few photographs ever taken of Audrey with her father before he left.
0:04:13 > 0:04:17Gently holding his hand, her smile untroubled and innocent,
0:04:17 > 0:04:21this was a picture she would keep with her for the rest of her life.
0:04:28 > 0:04:33In September 1939, as war broke out, Audrey's mother fatefully decided
0:04:33 > 0:04:37it would be safer to take her home to Holland.
0:04:37 > 0:04:43On May 10th 1940, German troops advanced across the Dutch border.
0:04:43 > 0:04:47In just five days, Holland was crushed.
0:04:49 > 0:04:55Photos taken at the beginning of the war show a family that would be torn apart by the Nazis.
0:04:59 > 0:05:01Some were forced into hiding,
0:05:01 > 0:05:05and her uncle was shot for plotting against the Germans.
0:05:08 > 0:05:15Audrey's mother's support for fascism crumbled and within weeks she too had decided to join the Resistance.
0:05:17 > 0:05:21Audrey also threw herself into the struggle.
0:05:23 > 0:05:29Little Audrey managed to contribute in her way to the Dutch resistance movement.
0:05:29 > 0:05:34Of course the Nazi's confiscated cars and kept close watch on adults, but kids were allowed to keep
0:05:34 > 0:05:40their bicycles so she could bike back and forth and take messages here and there to people.
0:05:42 > 0:05:47As well as delivering messages, Audrey was also dancing and acting
0:05:47 > 0:05:52in fundraising performances for the resistance, right under the nose of the Nazis.
0:05:52 > 0:05:58This photo, taken in 1940, captures her in one of her first acting roles.
0:06:00 > 0:06:05The performances of course would have to be held in the dark with all the curtains shut
0:06:05 > 0:06:10so the Germans wouldn't know what was going on and no-one was allowed to applaud,
0:06:10 > 0:06:14and the wonderful statement Hepburn made was that the performances
0:06:14 > 0:06:21she loved and remembered most in her life were those for which the ending was greeted by no applause at all.
0:06:21 > 0:06:25But the Nazis were stepping up their efforts to catch spies.
0:06:25 > 0:06:30The stakes were rising in Audrey's game of subterfuge.
0:06:30 > 0:06:35When she came face to face with the soldier in September 1944,
0:06:35 > 0:06:38she knew she was risking her life.
0:06:38 > 0:06:43She was performing the role of a perfectly nice, harmless girl,
0:06:43 > 0:06:49and gets off scot free with what might have been her first great performance.
0:06:52 > 0:06:55Audrey had survived.
0:06:55 > 0:06:58But there was worse to come.
0:07:00 > 0:07:05The last terrible winter of the war was known in Holland as 'the Hunger Winter'.
0:07:07 > 0:07:14Literally, literally, every scrap of food had been removed from the town by the Germans.
0:07:14 > 0:07:18And so there was nothing for the populous, and people were eating
0:07:18 > 0:07:23tulip bulbs, grass, whatever you could find and many died.
0:07:25 > 0:07:29Like many children, Audrey suffered jaundice, anaemia
0:07:29 > 0:07:35and a chronic blood disorder, all diseases caused by malnutrition.
0:07:35 > 0:07:38On the verge of starvation, Audrey spent the last month
0:07:38 > 0:07:42of the war hiding from the Nazis at home in the cellar.
0:07:51 > 0:07:58When Arnhem was liberated in April 1945, Audrey tasted her first proper food in months.
0:07:58 > 0:08:03She would never forget the joy she experienced that day.
0:08:03 > 0:08:05Right after the war,
0:08:05 > 0:08:10I was one of thousands of very hungry youngsters
0:08:10 > 0:08:12and not all that well,
0:08:12 > 0:08:15through malnutrition of many years,
0:08:15 > 0:08:17and it was UNICEF
0:08:17 > 0:08:24that came in with food packages and I opened up a can of condensed milk and ate the lot.
0:08:24 > 0:08:29The young Audrey had narrowly escaped death by starvation.
0:08:29 > 0:08:35But her body would never fully recover from the infamous 'Hunger Winter'.
0:08:36 > 0:08:40She was so weak that she had to even give up dancing,
0:08:40 > 0:08:45which was particularly sad for her because she was hoping and wanting to be a ballet performer,
0:08:45 > 0:08:52and when the war finally ended she found that she was probably not going to be able to dance any more.
0:08:54 > 0:08:58Photographs of Audrey taken after the war show a smiling teenager,
0:08:58 > 0:09:02eager to put the horrors of the past behind her.
0:09:02 > 0:09:07But beneath the cheerful smile, her face now shows the vulnerability
0:09:07 > 0:09:13which would one day captivate some of the greatest photographers in the world.
0:09:18 > 0:09:24In 1948 Hepburn moved to London and found work performing in cabaret in the West End.
0:09:27 > 0:09:33She was just another girl in the chorus line, but photographers were already drawn to her,
0:09:33 > 0:09:37and she was selected to appear in many of the publicity stills.
0:09:42 > 0:09:47A casting director soon picked Hepburn out from all the other dancers for her first small role
0:09:47 > 0:09:50in a British movie, Laughter in Paradise.
0:09:50 > 0:09:53Hello.
0:09:53 > 0:09:56- Who wants a Tiggie? - Hello sweetie.
0:09:56 > 0:10:01Right from the start, Hepburn was cast in a series of frivolous comedies,
0:10:01 > 0:10:04a world away from the horrors of her recent experience.
0:10:04 > 0:10:06Again.
0:10:08 > 0:10:11Then in October 1950,
0:10:11 > 0:10:13her past began to catch up with her.
0:10:13 > 0:10:18Her first significant role was as a young ballerina in The Secret People,
0:10:18 > 0:10:23a dark thriller about two sisters caught up in wartime resistance.
0:10:23 > 0:10:27In the process of filming this, the director told her that what she should do
0:10:27 > 0:10:30was to channel some of her own experiences
0:10:30 > 0:10:35from being a young girl who wanted to be a ballet dancer, in hiding in World War Two.
0:10:35 > 0:10:38She did channel that, and it was very painful.
0:10:38 > 0:10:41No... Oh!
0:10:41 > 0:10:45Audrey Hepburn would never again agree to play a role
0:10:45 > 0:10:49that drew directly on her harrowing wartime experience.
0:10:49 > 0:10:51The blood, it won't stop!
0:10:52 > 0:10:59But her memories of the war would help to secure her spectacular debut in Hollywood.
0:11:04 > 0:11:12In 1951 Paramount Pictures auditioned her for the leading role in the romantic comedy, Roman Holiday.
0:11:14 > 0:11:19During the screen test, she was again reminded of the time in her life she wanted to forget.
0:11:19 > 0:11:22Now, tell us about the war.
0:11:22 > 0:11:25I did give performances to
0:11:25 > 0:11:29collect money for the Underground, which always needed money.
0:11:29 > 0:11:31What about the Germans, what did they do about it?
0:11:31 > 0:11:34They didn't know about it.
0:11:34 > 0:11:37In trying to laugh off her past, Audrey had given a glimpse
0:11:37 > 0:11:44of the playful, strong-willed but vulnerable quality that director William Wyler was looking for.
0:11:44 > 0:11:47He was convinced he had found his star.
0:11:51 > 0:11:56She's a princess, she's beautiful, and confidentially, she's a pixie.
0:11:56 > 0:12:00This enigmatic combination would become Audrey Hepburn's signature.
0:12:00 > 0:12:05Loved by audiences, producers and photographers.
0:12:09 > 0:12:12Hollywood photographer, Bob Willoughby was assigned to photograph
0:12:12 > 0:12:16Hepburn on the marathon publicity shoot for Roman Holiday.
0:12:19 > 0:12:23He would never forget the first moment he saw her.
0:12:23 > 0:12:29Out comes from the dressing room, this girl all in white voile, a beautiful young lady.
0:12:29 > 0:12:32And I thought, "Oh, boy," cos I hadn't seen the film,
0:12:32 > 0:12:36I don't think anyone had at that point had seen the film
0:12:36 > 0:12:39and I thought, "that's something else!"
0:12:43 > 0:12:47When I look at children, there's an innocence about them
0:12:47 > 0:12:53that hasn't been corrupted, and the beauty Audrey has was quite like that.
0:12:53 > 0:12:58When the shoot was finally over Hepburn was exhausted, but Willoughby
0:12:58 > 0:13:04couldn't stop taking shots of her, even as she was leaving the studios.
0:13:04 > 0:13:12It was like getting out of school for her and so she's bouncing along the street and I followed her.
0:13:12 > 0:13:15And I said, "Can I come back to your hotel?"
0:13:16 > 0:13:19Willoughby was fascinated by the charming new star.
0:13:19 > 0:13:26He followed her taxi back to the hotel and persuaded her to let him take a few more informal shots.
0:13:28 > 0:13:32She was very gracious. I helped her carry her clothes back to her hotel room.
0:13:32 > 0:13:34I have pictures of her
0:13:34 > 0:13:37on the bed reading a letter.
0:13:37 > 0:13:42And I put her in the window, and she had some azaleas.
0:13:42 > 0:13:44I love those pictures.
0:13:44 > 0:13:46Willoughby was hooked.
0:13:46 > 0:13:52He became one of Audrey Hepburn's most trusted photographers, working with her for the rest of her life.
0:13:54 > 0:14:01He would eventually get close enough to capture the inner sadness behind her enigmatic eyes.
0:14:01 > 0:14:07Audrey Hepburn's debut performance in Roman Holiday won her an Oscar.
0:14:07 > 0:14:12Within ten years of starving in the cellar in Arnhem, she had conquered Hollywood.
0:14:18 > 0:14:21With the new star came a new look.
0:14:23 > 0:14:27Hepburn's sophisticated yet childlike persona and boyish figure,
0:14:27 > 0:14:31redefined the Hollywood standards of beauty.
0:14:31 > 0:14:34Her physique was characterised first of all, of course,
0:14:34 > 0:14:39by her great thinness, and secondly by the fact that she was very small-chested,
0:14:39 > 0:14:43which went totally against the vogue of the day,
0:14:43 > 0:14:46which was full-bosomed and blonde.
0:14:46 > 0:14:49There was Jayne Mansfield, there was Marilyn Monroe -
0:14:49 > 0:14:52the very obvious big American women.
0:14:54 > 0:14:58I think Audrey became role model because she offered them an alternative.
0:14:58 > 0:15:00It was another way of dressing,
0:15:00 > 0:15:04another way that a woman could present herself
0:15:04 > 0:15:06in a beautiful way to the world.
0:15:06 > 0:15:11Few people had any idea that Audrey Hepburn owed her world famous figure
0:15:11 > 0:15:16to the long-term effects of war time starvation.
0:15:16 > 0:15:21By the mid 50s, Hepburn was one of the most photographed women in the world.
0:15:21 > 0:15:24And Hollywood had fallen in love.
0:15:24 > 0:15:28She was repeatedly cast as the vulnerable young girl
0:15:28 > 0:15:32in search of a father figure to take care of her.
0:15:32 > 0:15:33Humphrey Bogart in Sabrina,
0:15:33 > 0:15:37Gary Cooper in Love in the Afternoon,
0:15:37 > 0:15:40and Fred Astaire in Funny Face.
0:15:40 > 0:15:41Please sit down.
0:15:41 > 0:15:44Leave me alone!
0:15:44 > 0:15:48This was harmless escapism for both the audience and the star.
0:15:50 > 0:15:54But Hepburn's childhood suffering was never far from the surface.
0:15:58 > 0:16:03She hadn't seen her real father for 20 years.
0:16:05 > 0:16:13In 1954, Hepburn married one of her older leading men, the actor and director Mel Ferrer.
0:16:15 > 0:16:20Bob Willoughby captured some of their intimate moments together on the set of Green Mansions.
0:16:20 > 0:16:25There's a picture of them, she's going to make up and he's going
0:16:25 > 0:16:29to look at rushes or something, and they're holding hands until...
0:16:29 > 0:16:34they're...just the fingers, their arms are reaching out, they didn't wanna leave each other.
0:16:34 > 0:16:44I think being deserted by her father left her with the fear that anyone that she loved might leave her.
0:16:44 > 0:16:47It made her uncertain about life.
0:16:47 > 0:16:50Willoughby's photographs reveal an air of melancholy
0:16:50 > 0:16:57that the public would never see, a private Audrey still struggling with the void left by her father.
0:16:58 > 0:17:03She was sad, a little wistful. There were times she was alone, she felt.
0:17:03 > 0:17:08And there's pictures of her sitting alone on the sound stage, in all the greenery.
0:17:08 > 0:17:16But that was the only time that I've ever seen this, this kind of inner light go out.
0:17:16 > 0:17:20Hepburn had found out after the war that her father was living in Ireland.
0:17:20 > 0:17:26Eventually, with her husband's support, she found the courage to contact him.
0:17:26 > 0:17:32This photograph was taken on the day they met each other for the first time in over 20 years.
0:17:35 > 0:17:41Hepburn grips her father's arm and smiles as if a lifetime of loss had been erased.
0:17:41 > 0:17:47But once again, the smile for the camera struggles to conceal a deeper pain.
0:17:48 > 0:17:51When she finally did see her father again,
0:17:51 > 0:17:53he turned out to be so removed
0:17:53 > 0:17:57she continued to feel that she did not have a father.
0:18:05 > 0:18:09A photograph of Hepburn with someone else's father,
0:18:09 > 0:18:14bears witness to another meeting, which would once again force her to face up to her past.
0:18:20 > 0:18:26Director George Stevens was planning a film version of Anne Frank's Diary.
0:18:26 > 0:18:33He thought Hepburn was ideal for the part of Anne Frank, but she had serious reservations.
0:18:33 > 0:18:37It was just too emotional a thing for her to be able to do,
0:18:37 > 0:18:41and she said, "We were both adolescent girls locked up in a few rooms,
0:18:41 > 0:18:44"couldn't go outside, terrified all the time."
0:18:44 > 0:18:48Claustrophobia, all the things that Anne Frank suffered and wrote about
0:18:48 > 0:18:53so beautifully in her diaries were things that Audrey identified with.
0:18:53 > 0:18:59Stevens pulled out all the stops to try to get her to take the part.
0:18:59 > 0:19:05Finally, he even asked Anne Frank's father, Otto Frank to meet up with her and try to persuade her.
0:19:07 > 0:19:11Hepburn still felt unable to overcome her fear of the role.
0:19:11 > 0:19:16But she would always keep the photograph of their meeting on her dressing table,
0:19:16 > 0:19:19alongside the one of her own father.
0:19:22 > 0:19:26Having turned her back on her tragic past once more, Hepburn threw herself
0:19:26 > 0:19:33into another romantic comedy, playing the role of a New York society prostitute.
0:19:36 > 0:19:41If you know the story by Truman Capote, it's actually a pretty rough story about a prostitute
0:19:41 > 0:19:45and hustling and trying to pay her rent and so on.
0:19:45 > 0:19:49But then Audrey got the role and they made a movie out of it and she became like,
0:19:49 > 0:19:53the romantic prostitute, the prostitute who wore Givenchy.
0:19:53 > 0:19:59Audrey Hepburn as Holly Golightly, who typifies and glorifies the glamorous playmates
0:19:59 > 0:20:03of the glitter and shimmer of New York as it has never been captured before.
0:20:05 > 0:20:09Hepburn transformed the role of a prostitute into an image of goodness,
0:20:09 > 0:20:12vulnerability and innocence.
0:20:13 > 0:20:20Photographs of her as Holly Golightly would become her most enduring and defining image.
0:20:21 > 0:20:28By the mid 60s, at the peak of her career, Audrey Hepburn could do no wrong.
0:20:28 > 0:20:34But then she was offered the part of Eliza Doolittle in the musical My Fair Lady.
0:20:34 > 0:20:37It was assumed it would go to Julie Andrews who created it on Broadway.
0:20:37 > 0:20:40She was a great success, a beautiful singer.
0:20:40 > 0:20:44But Jack Warner cast Audrey Hepburn and when they asked him why he said,
0:20:44 > 0:20:51"because the difference between Julie Andrews and Audrey Hepburn is fifteen million dollars."
0:20:51 > 0:20:53So Audrey Hepburn got the part.
0:20:53 > 0:20:58The country is furious because Julie didn't get the role.
0:20:58 > 0:21:04For the first time in her career, Hepburn found herself demonised by both critics and the public.
0:21:04 > 0:21:11But photographer and designer, Cecil Beaton, was delighted with the casting of Audrey Hepburn.
0:21:11 > 0:21:17He was transfixed by what he described as her young and sad eyes.
0:21:19 > 0:21:23Beaton set out to photograph Hepburn in every one of the hundreds of
0:21:23 > 0:21:27dresses he had designed for the production.
0:21:33 > 0:21:37The session went on for 48 hours.
0:21:37 > 0:21:41Beaton had never taken so many pictures in a single shoot
0:21:41 > 0:21:44and ended up with a total of 350 exposures.
0:21:46 > 0:21:51While Beaton organised his photo shoot like a military operation,
0:21:51 > 0:21:55Bob Willoughby was taking some more informal photographs.
0:21:59 > 0:22:03# All I want is a room somewhere
0:22:03 > 0:22:07# Far away from the cold night air
0:22:07 > 0:22:10# With one enormous chair
0:22:10 > 0:22:14# Oh wouldn't it be lovely... #
0:22:14 > 0:22:17Willoughby unwittingly captured a defining shot
0:22:17 > 0:22:21of one of the most difficult episodes in Hepburn's career.
0:22:21 > 0:22:25The photograph of her singing to the playback,
0:22:25 > 0:22:31you can see in the background the cameras being set up for the next shot,
0:22:31 > 0:22:37and you can see in the left foreground the sound engineer playing the Luverly track,
0:22:37 > 0:22:41and she's lip-syncing to the pre-recorded music.
0:22:41 > 0:22:44# I would never budge till spring... #
0:22:44 > 0:22:49Meanwhile behind her back, Warner and the studio
0:22:49 > 0:22:55are whispering amongst themselves, "She can't do it, we have to have her dubbed."
0:22:55 > 0:22:57But they didn't tell Audrey
0:22:57 > 0:23:02and finally Audrey finds out and gets mad, gets upset, of course, as she would.
0:23:02 > 0:23:09My Fair Lady was the best of roles and the worst of roles that Audrey Hepburn ever played.
0:23:09 > 0:23:12# Loverly, loverly... #
0:23:12 > 0:23:17I must say I take my hat off to all the marvellous people in Hollywood
0:23:17 > 0:23:23who can twiddle all the knobs and make one voice out of two.
0:23:23 > 0:23:26I guess that it must be your voice in Just You Wait, Henry Higgins.
0:23:26 > 0:23:28Yes, quite a lot of it.
0:23:28 > 0:23:32And maybe the higher soprano was one where you got a little help?
0:23:32 > 0:23:36That's right because I'm not a soprano. I'm not a singer.
0:23:36 > 0:23:41But Hepburn was again trying to hide her true feelings.
0:23:41 > 0:23:45She was hurt and disappointed when the film won Oscar nominations
0:23:45 > 0:23:50in all major categories apart from one - Best Actress.
0:23:50 > 0:23:51That year's winner?
0:23:51 > 0:23:57Julie Andrews for her performance in Mary Poppins.
0:23:57 > 0:23:59Hepburn was tired.
0:23:59 > 0:24:06And the fragility of her slender physique was now beginning to take its toll.
0:24:06 > 0:24:12Before she started that film she rested for two months just to get her health back.
0:24:12 > 0:24:15And there were times that she wasn't scheduled to do any close-up
0:24:15 > 0:24:20photography because it would show in her face, she was that sensitive.
0:24:20 > 0:24:21I mean, she was fragile.
0:24:25 > 0:24:30Behind the scenes, her relationship with Mel Ferrer was also in trouble.
0:24:30 > 0:24:37After 14 years of marriage and eight years after the birth of their son Sean,
0:24:37 > 0:24:39they divorced in 1968.
0:24:39 > 0:24:45Hepburn now retreated from the snapping cameras of Hollywood for some rest and privacy.
0:24:47 > 0:24:52She married Italian psychiatrist Andrea Dotti in 1969
0:24:52 > 0:24:56and had a second son, Luca, a year later.
0:24:56 > 0:25:03Her second marriage didn't last but in 1979, she met the Dutch actor Robert Wolders.
0:25:03 > 0:25:07Someone who knew exactly what she had been through as a child.
0:25:07 > 0:25:13Well, ironically Audrey and I lived not more than half an hour away from each other during the war years,
0:25:13 > 0:25:15occupied Holland.
0:25:15 > 0:25:20We talked a great deal about our common past.
0:25:20 > 0:25:26We realised that the occupation had left certain...marks on us.
0:25:26 > 0:25:33A certain type of ironic humour that we both had,
0:25:33 > 0:25:36which again harked back to the war years where we
0:25:36 > 0:25:39managed to somehow find humour
0:25:39 > 0:25:43in the most dreadful of situations.
0:25:43 > 0:25:46Hepburn was coming to terms with her past.
0:25:46 > 0:25:52The girl in the wartime ID photo had been on a remarkable journey.
0:25:52 > 0:25:56She had been photographed every step of the way.
0:25:59 > 0:26:06But the photograph she would love best of all was yet to be taken.
0:26:06 > 0:26:13In 1988, Hepburn became Goodwill Ambassador for the UN Children's Fund UNICEF.
0:26:13 > 0:26:18On her first mission to Ethiopia she met UNICEF photographer John Isaac.
0:26:18 > 0:26:21She knew what suffering was all about,
0:26:21 > 0:26:27she had felt it and that showed in her pictures and her reactions.
0:26:27 > 0:26:30For Audrey, she didn't mind the flies,
0:26:30 > 0:26:34she didn't mind what kind of disease they carried
0:26:34 > 0:26:37or whatever problems they had, she was there to help them.
0:26:40 > 0:26:46Her partner, Robert Wolders, travelled with her across the world.
0:26:46 > 0:26:51Audrey was touched by the role that UNICEF had played in her life at the end of the war.
0:26:51 > 0:26:58She understood the hunger that food cannot satisfy, the emotional hunger that the child has.
0:27:00 > 0:27:04When you see some of the photographs that John took and that I took,
0:27:04 > 0:27:09you'll see that she is constantly mobbed by children, be it in the Sudan or in Bangladesh.
0:27:09 > 0:27:13And this is what happens if you learn to read and write.
0:27:15 > 0:27:17There's one photograph.
0:27:17 > 0:27:20It's a group of Bangladeshi children surrounding her,
0:27:20 > 0:27:24and I think at least half a dozen somehow are touching her.
0:27:26 > 0:27:35On returning from what would be her final UNICEF trip to Somalia in 1992, Hepburn was diagnosed with cancer.
0:27:35 > 0:27:41On 20th January 1993, she died at the age of 63.
0:27:43 > 0:27:47Of all of the pictures taken of Audrey Hepburn
0:27:47 > 0:27:50she said this was her favourite.
0:27:50 > 0:27:55It's a photograph which shows a face that no longer had anything to hide.
0:27:55 > 0:27:59She was in the midday sun and she was carrying
0:27:59 > 0:28:02this little girl on her back, and I'd shot with a flash you know.
0:28:02 > 0:28:05So you can see all her wrinkles.
0:28:05 > 0:28:11An American photo magazine wanted to do a special issue on celebrities favourite pictures.
0:28:11 > 0:28:16So I called her and I said, Audrey, they're asking whether they could do
0:28:16 > 0:28:20a little bit of airbrushing, do you want that to be done?
0:28:20 > 0:28:24So right away she said, "Hey Johnny, don't.
0:28:24 > 0:28:30"Tell them not to mess with my face, I earned every one of those wrinkles."
0:28:30 > 0:28:35# Moon River
0:28:35 > 0:28:39# Wider than a mile
0:28:39 > 0:28:47# I'm crossing you in style someday
0:28:47 > 0:28:53# Oh, dream maker
0:28:53 > 0:28:57# You heartbreaker
0:28:57 > 0:29:02# Wherever you're going
0:29:02 > 0:29:06# I'm going your way... #