Anthony Perkins once recalled the strange and tender bond Audrey Hepburn formed with a baby deer while filming Green Mansions in 1959. The fawn, named Pippin and affectionately called “Ip,” was not just a studio animal brought in for a few scenes. Under director Mel Ferrer’s instructions, Hepburn was asked to take the tiny creature home so it would grow comfortable enough to follow her naturally on camera.
What began as a practical filmmaking decision soon became something far deeper. Hepburn, still emotionally fragile after suffering a miscarriage, poured her gentleness into caring for the 15-pound fawn. Ip slept near her in a custom bathtub bed, followed her around the house, and even accompanied her on errands, including trips to the Beverly Hills supermarket.
Perkins watched the transformation with amazement. Hepburn did not treat the deer like a prop. She fed it, comforted it, protected it, and allowed it to become part of her daily life. The fawn responded with complete trust, trailing behind her as if she truly were its mother.
For six months, during the demanding production of Green Mansions, Hepburn’s home life revolved around Ip. The bond reflected one of the qualities that made her so beloved: a rare ability to offer tenderness even while carrying private pain. To the outside world, she was a glamorous screen icon. To that small deer, she became safety, warmth, and family.
The story remains one of the most unusual and touching chapters in Hepburn’s life, showing that her grace was not limited to the camera. It lived in the quiet moments, beside a fragile animal who needed her.