Her strong commitment to animal rescue began in 1969 while she was shooting two films in Africa and was introduced to the plight of African lions. In an attempt to raise awareness for wildlife, she spent nearly eleven years bringing Roar (1981) to the screen. She started her own non-profit organization, the Roar Foundation, in 1983 to support The Shambala Preserve, an 80-acre (32 ha) wildlife habitat which enables her to continue her work in the care and preservation of lions and tigers. Hedren has also traveled worldwide to set up relief programs following earthquakes, hurricanes, famine and war. She was instrumental in the development of Vietnamese-American nail salons in the United States.
Hedren was born on January 19, 1930, in New Ulm, Minnesota, to Bernard Carl and Dorothea Henrietta (née Eckhardt) Hedren. For much of her career, Hedren's year of birth was reported as 1935. In 2004, however, she acknowledged that she was actually born in 1930 (which is consistent with the birth registration index at the Minnesota Historical Society). Her paternal grandparents were Swedish immigrants, while her maternal ancestry is German and Norwegian. Her father ran a small general store in the town of Lafayette, Minnesota, and gave her the nickname "Tippi". When she was four, she moved with her parents to Minneapolis.
As a teenager, Hedren took part in department store fashion shows. Her parents relocated to California while she was a high school student. On reaching her 20th birthday, she bought a ticket to New York City where she joined the Eileen Ford Agency. Within the year she made her unofficial film debut as an uncredited extra in the musical comedy The Petty Girl. In interviews she refers to The Birds, her first credited role, as her first film. Although she received several film offers during that time, Hedren had no interest in acting as she knew it was very difficult to succeed. She had a highly successful modeling career during the 1950s and early 1960s, appearing on the covers of Life, The Saturday Evening Post, McCall's and Glamour among others. In 1961, after seven years of marriage to the actor Peter Griffith, Hedren divorced and returned to California with her daughter, Melanie Griffith, and rented an expensive home in Sherman Oaks. "I thought I could continue my career as it had been in New York. I thought everything would be just fine, and it wasn’t. So I thought, well, I don’t type, what shall I do?"
On October 13, 1961, she received a call from an agent who told her a producer was interested in working with her. When she was told it was Alfred Hitchcock who, while he was watching The Today Show, saw her in a commercial for a diet drink called Sego, she agreed to sign a seven-year contract. During their first meeting, the two talked about everything except the role he was considering her for. Hedren was convinced for several weeks it was for his television series, Alfred Hitchcock Presents. Hitchcock later said, "I was not primarily concerned with how she looked in person. Most important was her appearance on the screen, and I liked that immediately. She has a touch of that high-style, lady-like quality which was once well-represented in films by actresses like Irene Dunne, Grace Kelly, Claudette Colbert, and others but which is now quite rare."
Hitchcock put Hedren through an extensive color screen test that lasted two days and cost $25,000, doing scenes from his previous films, such as Rebecca, Notorious and To Catch a Thief with actor Martin Balsam. According to Balsam, Hedren was very nervous but studied every line, did every move she was asked to, and tried to do everything right. Hitchcock asked costume designer Edith Head to design clothes for Hedren's private life and he personally advised her about wine and food. He also insisted for publicity purposes that her name should be printed only in single quotes, 'Tippi'. The press mostly ignored this directive from the director, who felt that the single quotes added distinction and mystery to her name. Hitchcock was impressed with Hedren. As production designer Robert F. Boyle explained, "Hitch always liked women who behaved like well-bred ladies. Tippi generated that quality."
Afterward, Hedren was invited to lunch with Hitchcock, his wife, Alma, and Lew Wasserman, head of Universal, at one of Hitchcock's favorite restaurants, Chasen's. There she was presented with a golden pin of three birds in flight, adorned by three tiny seed pearls, and was asked by Hitchcock to play the leading role in his upcoming film The Birds. "I was so stunned. It never occurred to me that I would be given a leading role in a major motion picture. I had great big tears in my eyes", Hedren later recalled.
The Birds (1963) was Hedren's screen debut. Hitchcock became her drama coach, and gave her an education in film-making as she attended many of the production meetings such as script, music or photography conferences. Hedren said, "I probably learned in three years what it would have taken me 15 years to learn otherwise." She learned how to break down a script, to become another character, and to study the relationship of different characters. Hedren portrayed her role of Melanie Daniels as Hitchcock requested. She said, "He gives his actors very little leeway. He'll listen, but he has a very definite plan in mind as to how he wants his characters to act. With me, it was understandable, because I was not an actress of stature. I welcomed his guidance."
During the six months of principal photography, Hedren's schedule was tight, as she was only given one afternoon off a week. At first, she found the shooting "wonderful". Hitchcock told a reporter, after a few weeks of filming, that she was remarkable, and said, "She's already reaching the lows and highs of terror." Nonetheless, Hedren recalled the week she did the final bird attack scene in a second-floor bedroom as the worst of her life. Before filming it, she asked Hitchcock about her character's motivations to go upstairs, and his response was, "Because I tell you to." She was then assured that the crew would use mechanical birds. Instead, Hedren endured five solid days of prop men, protected by thick leather gloves, flinging dozens of live gulls, ravens and crows at her (their beaks clamped shut with elastic bands). In a state of exhaustion, when one of the birds gouged her cheek and narrowly missed her eye, Hedren sat down on the set and began crying. A physician ordered a week's rest. Hitchcock protested, according to Hedren, saying there was nobody but her to film. The doctor's reply was, "Are you trying to kill her?" She said the week also appeared to be an ordeal for the director.
Universal's executives, who did not back Hitchcock's decision to hire Hedren in the first place, were impressed with her performance and Wasserman described it as "remarkable". While promoting The Birds, Hitchcock was full of praise for his new protégée, and compared her to Grace Kelly. "Tippi has a faster tempo, city glibness, more humor [than Grace Kelly]. She displayed jaunty assuredness, pertness, an attractive throw of the head. And she memorized and read lines extraordinarily well and is sharper in expression." The film was screened out of competition in May at a prestigious invitational showing at the 1963 Cannes Film Festival. Hedren's performance was praised in Variety's review: "Aside from the birds, the film belongs to Hedren, who makes an auspicious screen bow. She virtually has to carry the picture alone for the first forty-five minute stretch, prior to the advent of the first wave of organized attackers from the sky. Miss Hedren has a star quality and Hitchcock has provided her with a potent vehicle to launch her career". Hedren received the Golden Globe Award for New Star of the Year, tied with Elke Sommer and Ursula Andress. Her role as Melanie Daniels was named by Premiere magazine as one of the greatest movie characters of all time.
Hitchcock was so impressed with Hedren's acting abilities he decided to offer her the leading role of his next film, Marnie (1964), a romantic drama and psychological thriller from the novel by Winston Graham, during the filming of The Birds. Hedren was stunned and felt extremely fortunate to be offered to play "such a complicated, sad, tragic woman", and later said, "I consider my acting, while not necessarily being method acting, but one that draws upon my own feelings. I thought Marnie was an extremely interesting role to play and a once-in-a-lifetime opportunity". She voiced doubts about her ability to play that demanding role, but Hitchcock assured her she could do it. As opposed to The Birds, where she had received little acting guidance, for this film Hedren studied every scene with Hitchcock.
Hedren recalled Marnie as her favorite of the two films she did with Hitchcock for the challenge of playing an emotionally battered young woman who travels from city to city assuming various guises in order to rob her employers. During the filming, Hitchcock was quoted as saying about Hedren, "an Academy Award performance is in the making". On release, the film was greeted by mixed reviews and indifferent box-office returns, and received no Oscar nominations. Of Hedren's performance in this film, Variety wrote, "Hedren returns in a particularly demanding role. Miss Hedren, undertaking a role originally offered Grace Kelly for a resumption of her screen career, lends credence to a part never sympathetic. It’s a difficult assignment which she fulfills satisfactorily". Hedren later said that Marnie was "ahead of its time" because "people didn't talk about childhood and its effects on adult life. It was taboo to discuss sexuality and psychology and to put all that into a film was shocking". Despite its original lukewarm reception, the film was later acclaimed and described as a "masterpiece" and Hedren's performance is now highly regarded as one of the finest in any Hitchcock film. Richard Brody of The New Yorker wrote in his 2016 review of the film "Hedren's performance is one of the greatest in the history of cinema."
Marnie was the second and last collaboration between Hedren and Hitchcock. In 1973, she admitted that a major life-style difference caused a split in their relationship. "He was too possessive and too demanding. I cannot be possessed by anyone. But, then, that's my own hangup". In 1983, author Donald Spoto published his second book about Hitchcock, The Dark Side of a Genius, for which Hedren agreed to talk about her relationship with the director in detail for the first time. The book was controversial as several of Hitchcock's friends claimed the Hitchcock portrayed in the book was not the man they knew. For years after its release, Hedren was not keen to talk about it in interviews but thought the chapter devoted to her story was "accurate as to just what he was". Hedren later explained her long silence before telling her story, "It was embarrassing and insulting–there were a lot of reasons why I didn't want to tell the story. I didn't want it to be taken advantage of, twisted, turned and made into an even uglier situation than it was".
According to Spoto's book, Hitchcock brought in two members of his crew during the filming of The Birds and asked them to keep careful watch on the activities of Hedren, "when she left the set - where she went, who she visited, how she spent her free time". He then advised her on what she should eat, whom she should see, and how she should live. He told the cast and crew they were not allowed to talk to her. Hedren's co-star in The Birds, Rod Taylor, later remembered, "Hitch was becoming very domineering and covetous of 'Tippi,' and it was very difficult for her. No one was permitted to come physically close to her during the production. 'Don't touch the girl after I call "Cut!"' he said to me repeatedly". Hitchcock also attempted, on one occasion, to grab and violently kiss Hedren in the back of a car as they drove on to the set. Hedren told his assistant, Peggy Robertson, and the studio chief, Lew Wasserman, that she was becoming very unhappy about the whole situation. "But he was Alfred Hitchcock, the great and famous director, and I was Tippi Hedren, an inexperienced actress who had no clout". She decided she could not quit her contract because she was afraid to be blacklisted and unable to find work. Hedren's own daughter, Melanie Griffith, remembered that while Hedren was doing The Birds, she thought Hitchcock was taking her mother away from her. "Suddenly, I wasn't allowed even to visit my mom at the studio".
During the filming of Marnie, Hedren found Hitchcock's behavior toward her increasingly difficult to bear as filming progressed. "Everyone–I mean everyone–knew he was obsessed with me. He always wanted a glass of wine or champagne, with me alone, at the end of the day. He was really isolating me from everyone". Hedren's co-star in Marnie, Diane Baker, later recalled, "She was never allowed to gather around with the rest of us, and he demanded that every conversation between her and Hitch be held in private... Nothing could have been more horrible for me than to arrive on that movie set and to see her being treated the way she was". Hitchcock revealed to Hedren one day he had a recurring dream where she came up to him and said, "Hitch, I love you–I'll always love you". When she heard this, Hedren replied "But it was a dream. Just a dream", and excused herself from his presence. She believed Hitchcock had no consideration for her feelings and remembered she was humiliated after he asked her to touch him, just before shooting a scene. "He made sure no one else could hear, and his tone and glance made it clear exactly what he meant". Hedren asked Hitchcock's permission one day to travel to New York to appear on The Tonight Show where she was supposed to be presented an award as the Most Promising New Star. Hitchcock refused, according to his biographer, because he claimed the break would affect her performance. It was during that meeting that he apparently "made an overt sexual proposition" that Hedren "could neither ignore nor answer casually, as she could his previous gestures". In Spoto's third book about Hitchcock, Spellbound by Beauty (2008), Hedren revealed that Hitchcock actually made offensive demands on her. "He stared at me and simply said, as if it was the most natural thing in the world, that from this time on, he expected me to make myself sexually available and accessible to him–however and whenever and wherever he wanted". Hitchcock's demands led to a "horrible, horrible fight", according to Hedren. "He made these demands on me, and no way could I acquiesce to them".
Hedren then told him Marnie would be their last film together and later recalled how Hitchcock told her he would destroy her career. "I said I wanted to get out of my contract. He said: 'You can’t. You have your daughter to support, and your parents are getting older'. I said: 'Nobody would want me to be in this situation, I want to get out'. And he said: 'I’ll ruin your career'. I said: 'Do what you have to do'. And he did ruin my career. He kept me under contract, paid me to do nothing for close on two years". Hedren felt so humiliated she called the director a "fat pig" in front of people on the set. Hitchcock made only a comment about it to his biographer, John Russell Taylor: "She did what no one is permitted to do. She referred to my weight". The two communicated only through a third party for the rest of the film. According to Marnie's screenwriter, Jay Presson Allen, Hitchcock was "mad" for Hedren. She felt unhappy for both and described the situation as "an old man's cri de coeur", adding that Hitchcock had a "Pygmalion complex about Tippi". She advised Hedren to finish the film and then get on with her life and be happy. Hedren's hairdresser, Virginia Darcy, even told Hitchcock he should not be possessive with Hedren. "Tippi felt rightly that she was not his property, but he'd say, 'You are, I have a contract'". Although Hitchcock thought he might mend fences with Hedren and make another film with her, she refused to reconsider her decision. Hedren's contract terms gave Hitchcock the final say as to any work she could take on and he used that power to turn down several film roles on her behalf. She was particularly disappointed when French director François Truffaut told her he had wanted her for one of them. In 1966, Hitchcock finally sold her contract to Universal Studios after Hedren appeared in two of their TV shows, Kraft Suspense Theatre (1965) and Run for Your Life (id.). The studio ultimately released her from her contract after she refused to appear on a television Western for them.
In 2012, The Girl, an HBO/BBC film about Hedren and Hitchcock's relationship, based on Donald Spoto's 2009 book Spellbound by Beauty: Alfred Hitchcock and His Leading Ladies, was released. When she was first told about the project, Hedren said she had mixed feelings about it, "To be still alive and have a film made about you is an awesome and incredibly frightening experience". Hedren and Hitchcock were respectively portrayed by Sienna Miller and Toby Jones. Although she was thrilled with the choice of Miller, Hedren was worried she would not be portrayed "as strong a character as I was–and still am. I had to be extremely strong to fight off Mr. Hitchcock". She described the moment she saw the film as "probably one of the most involved, emotionally tense 90 minutes that I have ever lived". Upon the film's release, Hedren said although she believed the film accurately portrays Hitchcock's behavior towards her, the time constraints of a 90-minute film prevented telling the entire story of her career with him. "It wasn't a constant barrage of harassment. If it had been constantly the way we have had to do it in this film, I would have been long gone". She recalled there were times she described as "absolutely delightful and wonderful”, and insisted that “Hitchcock had a charm about him. He was very funny at times. He was incredibly brilliant in his field". The film was controversial, as others who knew and worked with Hitchcock responded to it negatively. Kim Novak, who worked on Hitchcock's Vertigo (1958), disputed Hitchcock's portrayal as a sexual predator in The Girl: "I never saw him make a pass at anybody or act strange to anybody. And wouldn't you think if he was that way, I would've seen it or at least seen him with somebody? I think it's unfortunate when someone's no longer around and can't defend themselves". Novak previously described Hitchcock as a gentleman and, when asked about reports of his behavior, she said, "Maybe I just wasn't his type".
Hedren herself was asked why her account of sexual harassment contrasted with the many interviews she gave about her time with Hitchcock, her presence at the AFI Life Achievement Award ceremony honoring him in 1979, and her presence at his funeral. She explained that, "He ruined my career, but he didn't ruin my life. That time of my life was over. I still admire the man for who he was". She also said, "I've been able to separate the two. The man who was the artist. I mean, what he gave to the motion picture industry can never be taken away from him and I certainly wouldn't want to try. But on the other side, there is that dark side that was really awful".
Hedren's first feature film appearance after Marnie was in A Countess from Hong Kong (1967), starring Marlon Brando and Sophia Loren. She was told by writer-director Charlie Chaplin that she was offered a major supporting role as Brando's estranged wife and had to accept the role without reading the script. However, when she arrived in England where the filming took place, she finally received the script and realized that her part was little more than a cameo. Hedren was "a little bit upset about the whole thing" and asked Chaplin why he lied to her. "Every actor in the world was asking if they could do this film, to just do a walk-on, without even being paid for it. When I said, 'Why didn't you just tell me that it was a cameo? I would have done this film anyway,' he said, 'I didn't think you would come,' which was very sweet. He was a very clever man." Hedren asked Chaplin to expand the role and, although he tried to accommodate her, he could not, as the story mostly takes place on a ship, which Hedren's character boards near the end of the film. In the end, she remained in the film and later said that it was both amusing and strange to work with Chaplin. She found him to be a very serious man and loved his approach to directing. She later said, "I wish someone would have been allowed to do a documentary. The way he directed was unlike anyone I ever saw. He acted out all the parts himself. He did Sophia's part, then Marlon's part, then mine, and then he'd say, "Okay, now you can do it." Which would be impossible, to mimic the master. It was incredible. None of us believed it. Marlon hated it."
After the release of A Countess from Hong Kong, Hedren's career was described as "spectacular" by the press. She told a reporter at the time, "I don't want to wait myself out of this business, but working for Hitch and Charlie has been very special to me, and now I'm going to wait for something special to come along". In 1968, she signed on to do the American Civil War drama Five Against Kansas with Farley Granger and Jeffrey Hunter but the project was never realized. In 1968, Hedren returned to film as a socialite who helps her boyfriend (played by George Armstrong) catch a killer, in Tiger by the Tail. From 1970 to 1971, she guest-starred twice on The Courtship of Eddie's Father. She agreed to take part in Satan's Harvest (1970) and Mister Kingstreet's War (1973) – which were shot back-to-back despite the discrepancy in their release dates—for the sole reason that they were being filmed in Africa. In 1973, Hedren played a teacher of an experimental sex school in The Harrad Experiment, which starred James Whitmore and Don Johnson – the latter of whom would later become the husband of her daughter, Melanie Griffith. Hedren felt that the film "deals with vital themes - themes like the decline in importance of ideas like possession and jealousy and, by inference, marriage. I have four teenage children and I think this picture says some valuable things to them." She confessed at the time she was occasionally depressed because she wasn't doing any major films and told a magazine, "My husband just cancelled all the trade magazines because he felt I should cut off the source of my discontent. He's the type who won't stand for sustained down feelings".
In 1969, during the filming of Satan's Harvest in Africa, Hedren and then-husband Noel Marshall watched a pride of lions move into a house after a game warden moved out. Hedren later said, "We were delighted with the way they adapted themselves to living there. And they were so funny we knew we had an idea for a picture." Back home, Marshall wrote a script for a film originally titled Lions, Lions and More Lions based on their experience. The film was later retitled Roar and centered on a family's misadventures in a research park filled with lions, tigers, and other wild cats. Hedren played the lead role and co-starred her daughter, Melanie Griffith, Marshall, and his own sons, Jerry and John. Hedren and Marshall attempted to rent Hollywood animals for a nine-month shoot. However, upon approaching animal trainers for support, they were discouraged and nobody would rent them thirty or forty lions, as the script required, because of their natural tendency to fight. The couple was suggested to start collecting and training their own exotic beasts for the purposes of the film, as Ron Oxley, an animal trainer, told them that "to get to know about lions, you’ve got to live with them for a while". They started to raise a lion cub, Neil, in their Sherman Oaks house and made sure the animal slept in their bed. In 1971, their life was documented by Life photographer Michael Rougier, who pictured the lion with the whole family inside and outside the house, from Hedren's daughter's bed to the living room to the swimming pool. After complaints from their neighbors, Hedren and Marshall bought a ranch outside of Los Angeles, in Acton, that would serve as the set for Roar. They got permission there to rescue and raise several lions, tigers, a couple of African elephants and other exotic felines.
Filming started in 1974 and took five years just to complete the photography. Every scene involving lions was improvised and shot with four or sometimes eight cameras. More than a hundred people worked on the film as well as more than a hundred and fifty untrained lions, tigers, leopards and cheetahs. During production, no animals were hurt but over seventy members of the cast and crew were mauled. According to Marshall's son, John, "You’re fine with lions and tigers as long as you don’t show any fear. The problem is that the plot required us to show fear. These animals who had learned to respect us were totally confused when we started acting terrified." Cinematographer Jan de Bont had his scalp lifted by a lion, resulting in 220 stitches. Hedren received a fractured leg and also had scalp wounds, which occurred after an elephant bucked her off its back while she was riding it. She was also bitten in the neck by a lion and required 38 stitches; this incident can also be seen in the film. Melanie Griffith was also attacked, receiving 50 stitches to her face; it was feared she would lose an eye, but she recovered and was not disfigured. Marshall was attacked so many times that he eventually was diagnosed with gangrene. In one of those incidents, he was clawed by a cheetah when protecting the animals during a bushfire that occurred in 1979. All animals were evacuated though it took several years for him to recover from his injuries. In 1978, a big flood destroyed the movie sets and killed three of the lions. The project was set back several years. Hedren later said they were all determined to finish the film: "We were so sure the film was going to be a success that we thought everything (financing the ranch and the lions, etc.) would take care of itself."
Roar was released worldwide in 1981 with the exception of the United States because, according to Hedren, "The United States distributors wanted the lion's share of the profits, and we thought it ought to go to the beautiful animals that made the movie." The film cost $17 million and grossed only $2 million. However, the film was a turning point in Hedren's life. In 1983, she established the non-profit organization The Roar Foundation, to take care of the big cats; as she later explained, "After our movie was over, it was unconscionable to see the animals go any place else. We said we would become a foundation so that we can take in donations so that we can keep the cats here, and that is what we did." Roar was later re-released in 2015 but Hedren declined to discuss it as she felt that promotion for the film was filled with "inaccuracies". However, she expressed regrets at letting a fully grown lion live with her family in the 1970s, saying they were "stupid beyond belief to have that lion in our house. We should never have taken those risks. These animals are so fast, and if they decide to go after you, nothing but a bullet to the brain will stop them."
After Roar, Hedren accepted any low-budget television or cinema role that could help bring funds to her foundation in order to provide protection, shelter, care and maintenance for the animals at the Shambala Preserve. In 1982, she co-starred with Leslie Nielsen in Foxfire Light. During the 1980s, she appeared in several television series, including Hart to Hart in 1983 and the late-night horror series Tales from the Darkside in 1984. In the 1985 pilot episode of The New Alfred Hitchcock Presents, she made a brief appearance as a waitress in a bar who berates a customer, played by her daughter Melanie Griffith. In 1990, she had a non-speaking, minor part as a wealthy widow romanced by Michael Keaton in the film Pacific Heights (1990), which also starred her daughter. That same year, she had a role on The Bold and the Beautiful, a daytime soap opera she said she was "proud to have in my resume".
In 1994, Hedren lamented, "People think that I'm no longer interested in acting and only interested in working with the animals. Obviously I have given that impression, but it is not how I feel. I think I'm a good actor. I think I look OK. I don't understand why I'm not working all the time." That same year, she appeared in the made-for-cable sequel, The Birds II: Land's End, in a role different from the one she had played in the original. She was however disappointed that she didn't get a starring role and admitted before the film's release, "I wish that it was more than a cameo. I think they made a mistake by not doing that. But it has helped me to feed my lions and tigers." When asked about what could have been Hitchcock's opinion, she answered: "I'd hate to think what he would say!" In a 2007 interview, Hedren said of the film, "It's absolutely horrible, it embarrasses me horribly."
From 1994 to 1996, Hedren had a guest-starring role in Dream On. The sitcom gave her "the opportunity to do comedy. I’d never done comedy before and it was just wonderful for me to be able to do that. Everybody just thought of me as a serious actress so I owe that to John Landis (the executive producer), giving me that opportunity". In 1996, she played an abortion rights activist in Alexander Payne's political satire Citizen Ruth with Laura Dern. In 1998, she co-starred alongside Billy Zane and Christina Ricci in I Woke Up Early the Day I Died, a film she felt was "incredible". "I must say I really love that film. It was a unique kind of film to do also, because of the fact that it had no dialogue in it. It was very, very different". That same year, she guest-starred in a special episode titled "Psychodrama" of the television series Chicago Hope, that paid tribute to the Hitchcock movies. Hedren's character, Alfreda Perkins, was a reference to Alfred Hitchcock and actor Anthony Perkins, who starred in the director's 1960 film Psycho.
After appearing in a number of little-exposed films between 1999 and 2003, Hedren had a small but showy role in the 2004 David O. Russell comedy I Heart Huckabees, as a foul-mouthed attractive older woman who slaps Jude Law in an elevator. She felt that the director, who had a reputation for being difficult, was "totally crazy" but also, "very interesting. I was able to work well with him". She also added it was a strange experience as, "While we were filming, I thought, "How is he going to edit this?" Because all of a sudden, he’d be like, "Now I’m going to do it this way," and you’d think, "How is he going to edit this? How is this going to work?" But he made it work." In 2006, Hedren was a cast member of the short-lived primetime soap opera Fashion House with Bo Derek and Morgan Fairchild and continued to guest-star in television series such as The 4400 (2006) and CSI: Crime Scene Investigation (2008). In 2012, Hedren and her daughter Griffith guest-starred together on an episode of Raising Hope. That same year, she appeared in Free Samples, an indie film where she had a supporting role as an old movie star. In 2013, she made an appearance as herself in the fourth-season finale of Cougar Town.
Hedren published her autobiography, Tippi: A Memoir, co-written with Lindsay Harrison, in 2016 through William Morrow and Company, as she felt it was "about time I stop letting everyone else tell my story and finally tell it myself."
A Louis Vuitton ad campaign in 2006 paid tribute to Hedren and Hitchcock with a modern-day interpretation of the deserted railway station opening sequence of Marnie. Her look from The Birds (1963) inspired designer Bill Gaytten to design for John Galliano Pre-Fall 2012 collection.
Naomi Watts stated that her character interpretation in Mulholland Drive (2001) was influenced by the look and performances of Hedren in Hitchcock films. Watts and Hedren both appeared in I ♥ Huckabees (2004) but didn't share any scenes together. Off-screen, the film's director David O. Russell introduced them both, and Watts said of Hedren: "I was pretty fascinated by her then, because people have often said we're alike." Watts dressed up as Hedren's title character from Marnie for a photo shoot for March 2008 issue of Vanity Fair. In the same issue, Jodie Foster dressed up as Hedren's character, Melanie Daniels, from The Birds.
In 1981, Hedren produced Roar, an 11-year project that ended up costing $17 million and starring dozens of African lions. "This was probably one of the most dangerous films that Hollywood has ever seen", remarked the actress. "It's amazing no one was killed." During the production of Roar, Hedren, her husband at the time, Noel Marshall, and daughter Melanie were attacked by lions; Jan de Bont, the director of photography, was scalped. Hedren later co-wrote Cats of Shambala (1985) about the experience. Roar made only $2 million worldwide. Hedren ended her marriage to Marshall a year later in 1982. The film directly led to the 1983 establishment of the non-profit Roar Foundation and Hedren's Shambala Preserve, located at the edge of the Mojave Desert in Acton, California, between the Antelope Valley and the Santa Clarita Valley 40 miles (64 km) northeast of Los Angeles. Shambala currently houses some 70 animals. Hedren lives on the Shambala site and conducts monthly tours of the preserve for the public. In a 2015 interview with ABILITY Magazine, Hedren emphasized that there is no human contact with the animals and that all of the cats are spayed and neutered, since they are being raised in captivity.
She took in and cared for Togar, a lion that belonged to Anton LaVey, after he was told by San Francisco officials that he couldn't keep a fully grown lion as a house pet. Shambala became the new home for Michael Jackson's two Bengal tigers, Sabu and Thriller, after he decided to close his zoo at his Neverland Valley Ranch in Los Olivos. Thriller died in June 2012 of lung cancer.
On December 3, 2007, Shambala Preserve made headlines when Chris Orr, a caretaker for the animals, was mauled by a tiger named Alexander. Several documentaries have focused on Shambala Preserve, including the 30-minute Lions: Kings of the Serengeti (1995), narrated by Melanie Griffith, and Animal Planet's Life with Big Cats (1998), which won the Genesis Award for best documentary in 1999. The animals at the preserve served as the initial inspiration for the life's work of artist A.E. London, who started her career working for Hedren.
In 1952, Hedren met and married 18-year-old future advertising executive Peter Griffith. Their daughter, actress Melanie Griffith, was born on August 9, 1957. They were divorced in 1961. On September 22, 1964, Hedren married her then-agent Noel Marshall, who later produced three of her films; they divorced in 1982. In 1985, she married steel manufacturer Luis Barrenechea, but they divorced in 1995. Hedren was engaged to veterinarian Martin Dinnes from 2002 until their breakup in mid-2008. In September 2008, Hedren told The Sunday Times "I’m waiting for someone to sweep me off my feet.”
Hedren played a role in the development of Vietnamese-American nail salons in the United States. In 1975, while an international relief coordinator with Food for the Hungry, she began visiting with refugees at Hope Village outside Sacramento, California. When she learned the women were interested in her manicured nails, she employed her manicurist to teach them the skills of the trade and worked with a local beauty school to help them find jobs. Hedren's work with the Vietnamese-Americans was the subject of Happy Hands, directed by Honey Lauren, which won Best Documentary Short at the Sonoma International Film Festival in 2014. CND and Beauty Changes Lives Foundation (BCL) have announced the BCL CND Tippi Hedren Nail Scholarship Fund to support professional nail education and will be administered starting January 1, 2014.
Hedren suffered from severe and persistent headaches for a long time and therefore was unable to accept several projects, including a television series produced by and starring Betty White. After she got a titanium plate put in her neck, she improved and then agreed, with the blessing of her doctor, to take the part of a dying woman in the soap opera Fashion House. While she was rehearsing a scene, a gallon of water fell from the ceiling onto her head. The headaches returned after the incident and persisted. Hedren filed a suit to receive recompense following her inability to work. Hedren's lawyer, Joseph Allen, made a mistake in his discussions with the defendants that allowed them to block him from filing suit. Hedren sued Allen for malpractice. In 2013, The Hollywood Reporter reported that Hedren had been awarded a $1.5 million settlement, including $213,400 for past lost earnings and $440,308 for future lost earnings, against her former lawyer. Hedren was hurt by the report since she had not collected the award. She gave an interview to explain that her former lawyer does not have the money to pay her, and discussed how the report put her in a difficult situation since her foundation was in dire need of funds. She explained that she has to raise $75,000 monthly just to keep it going. "Chances are I won't ever even see the money, and that what hurts so badly, that in all of this pain and suffering that publication ran with a swift and not researched story, which told people around the world who have been so gracious and thoughtful about sending donations, that I no longer needed them."1964: Most Promising Newcomer Award by Photoplay
1964: Golden Globe Award for New Star of the Year - Actress (shared with Ursula Andress and Elke Sommer)
1994: Life Achievement Award in France at The Beauvais Film Festival Cinemalia
1995: Life Achievement Award in Spain, La Fundación Municipal de Cine
1995: The Helen Woodward Animal Center's Annual Humane Award
1996: Founder's Award from the American Society for the Prevention of Cruelty to Animals
1997: Lion and Lamb Award from Wildhaven
1999: Woman of Vision Award from Women of Film and Video in Washington, D.C.
1999: Presidential Medal for her work in film from Hofstra University
1999: Humanitarian Award at the Las Vegas International Film Festival
2000: Best Actress in a Comedy Short Award in the short film Mulligans! at the Method Fest, Independent Film Festival
2002: Best Actress Award for the short film Tea with Grandma from the New York International Independent Film Festival
2003: Received a star on the Hollywood Walk of Fame
2003: Women of Los Angeles Annual Hope is a Woman Honor
2004: PAWS Companion for Life Award
2004: Best Actress Award for the short film Rose's Garden from the Los Angeles TV Short Film Festival
2004: Animal Rights Advocacy Award at Artivist Film Festival
2005: Living Legacy Award
2006: Conservationist of the Year—Dino Award from the Las Vegas Natural History Museum
2007: Lifetime Achievement Award—Riverside Film Festival
2007: Jules Verne "Nature" Award — the 1st Annual Jules Verne Adventure Film Festival of Los Angeles
2008: Academy of Art University's 2nd Epidemic Film Festival Award
2008: Jules Verne Legendaire Award
2008: Thespian Award-La Femme Film Festival
2009: "When a Woman Wills She Will!" Award by the Woman's Club of Hollywood
2009: Workhouse's first Lifetime Achievement in the Arts Award
2009: Received the First Star on the Orinda Theater Walk of Fame
2010: Received the Lifetime Achievement Award at the 24th Annual Genesis Awards show from the Humane Society
2010: BraveHeart Award
2010: Who-Manitarian Award
2011: Lifetime Achievement Award from the Hollywood Chamber of Commerce at its 90th Annual Installation & Awards Luncheon
2011: "The Women Together Award" from the United Nations
2011: Vietnamese-American Marton Saint Award from the Boat People SOS Organization
2011: Omni Youth Humanitarian/Career Achievement Award
2012: Honorary Masters of Fine Arts Degree from the New York Film Academy
2012: Mayor Career Achievement Award from Starz Denver Film Festival
2013: Legacy of Style Award
2013: "People Helping People" Award by the Touching Live TV Award Show, broadwayworld.com; accessed November 14, 2015.
2014: Lifetime Achievement Award from Bel-Air Film Festival
2014: Special Recognition Award from Acton Women's Club
2014:The Women's International Film & Television Showcase Foundation International Visionary Award, thewifts.org; accessed November 14, 2015.
2015: Choreography of Desire (A Tribute to Tippi Hedren) by the Vienna International Film Festival, viennale.at; accessed November 14, 2015.
2015: Believe, Achieve, Empower Award
2017: The Icon Award