Deleted Scene: Although it's never explained why Holly is wearing a bed sheet at her cocktail party, an earlier scene (cut before release) established she'd been taking a bath and had to improvise a gown on the spur of moment. The cut scene was featured in a Life magazine pictorial shortly before film was released.
Fake American: Audrey Hepburn, though her foreign accent is explained as a result of speech lessons. In the movie the accent is so she can casually pass herself off as a Fake Brit, to make her more marketable as an aspiring actress.
Old Shame: Both Richard Shepherd and Blake Edwards had regretted of casting Mickey Rooney in yellowface. Rooney himself stated if he'd known that so many people would be offended, he would never have taken the role, but otherwise didn't regret his performance itself, saying they had much fun during the shooting and everyone at Hollywood (including Asians!) had congratulated him upon the release of the movie, with the criticizing only coming much later.
In an episode of Seinfeld, George joins a book club where he is supposed to read the novella but is too lazy to (despite its brevity). He rents the movie instead and is humiliated later on when he mentions that Holly hooks up with Paul at the end. He should have known about Adaptational Sexuality.
The film also gave its name to a One-Hit Wonder90s song by Deep Blue Something where the song's protagonist, who is on the verge of breaking up with his girlfriend, uses the film as a common ground to maintain their relationship.
During Glee's episode "New York" in Season 2, Kurt and Rachel dress up and have breakfast in front of Tiffany's, with "Moon River" playing on the soundtrack. Rachel reveals her decision to attend school in NYC.
Throw It In: In the scene were Holly pushes Cat out of the taxi, he recoils from the wet pavement and tries to back into the car, forcing Holly to push him out a second time. This was obviously just the natural reaction of the cat, but makes the scene twice as painful.
Wag the Director: Not surprisingly considering his intensity, George Peppard didn't make many friends on the set. He and Blake Edwards locked horns many times throughout the filming, almost coming to blows on at least one occasion. No matter what kind of direction he was given, Peppard would end up playing the scene as he thought it should be played, which didn't endear him to anyone. Even Patricia Neal, with whom Peppard had been friendly in the past, noticed a change in the actor-and not for the better. Peppard, she felt, had been "spoiled." Peppard felt from the get-go that Neal's character was too dominant. "He wanted things as he wanted them," she later said of Peppard. "I dominated him a lot more in the script and he didn't want to be seen in that condition...His character was written with a battered vulnerability that was totally appealing, but it did not correspond to George's image of a leading man. He seemed to want to be an old-time movie hunk."
Truman Capote envisioned Marilyn Monroe as Holly Golightly, but she declined on the advice of her drama coach Lee Strasburg, who told her that playing a call girl would be bad for her image. Shirley MacLaine and Kim Novak also passed on the role. Amazingly, Audrey Hepburn was the fourth choice for her most iconic role, and Capote was not pleased, having written the character with Monroe in mind. Jane Fonda was also considered.
John Frankenheimer was originally set to direct, but Audrey vetoed him, as she'd never heard of him.
A stage musical adaptation starring the powerhouse duo of Mary Tyler Moore and Richard Chamberlain was struggling in previews, so the producers made the mistake of bringing in Edward Albee to punch it up. Albee turned the show into a bizarre meta-narrative where Holly is a fictional character created by Paul who takes on a life of her own, and it was such an obvious disaster in the making that the crew made the unprecedented move of cancelling it before it was ever open to the public.