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Audrey Hepburn's face was made for the camera.

'Faces' became more than a film. It became a way of life, a film against the authorities and the powers that prevent people from expressing themselves the way they want to, something that can't be done in America, that can't be done without money.

Here's what's interesting about Katharine Hepburn: she was born a girl but identified as a boy, so she shaved her head and rechristened herself Jimmy.

A face is a road map of someone's life. Without any need to amplify that or draw attention to it, there's a great deal that's communicated about who this person is and what their life experiences have been.

I studied all about Gauguin. He was a banker. He was a banker who - he used to paint on Sundays. And one day he hated himself for painting on Sundays.

My favorite Hepburn moment is in 'Sabrina,' when she steps off a boat in white shorts and a plaid shirt. Chic, classic, and unfussy.

I've always loved those portraits that Alfred Stieglitz did of Georgia O'Keeffe over several years, which really convey the idea that there's not one image that can capture a woman, because we're changing all the time.

Audrey Hepburn, for me, was the end-all, be-all style icon.

What, when drunk, one sees in other women, one sees in Garbo sober.

Worldly faces never look so worldly as at a funeral. They have the same effect of grating incongruity as the sound of a coarse voice breaking the solemn silence of night.