Playing the extroverted girl was the hardest thing I ever did." She was nominated for an Academy Award for Best Actress for her performance. The same year, Hepburn also starred in William Wyler's drama "The Children's Hour" (1961), in which she and Shirley MacLaine played teachers whose lives become troubled after two pupils accuse them of being lesbians. Bosley Crowther of "The New York Times" was of the opinion that the film "is not too well acted", with the exception of Hepburn, who "gives the impression of being sensitive and pure" of its "muted theme". "Variety" magazine also complimented Hepburn's "soft sensitivity, marvelous projection and emotional understatement", adding that Hepburn and MacLaine "beautifully complement each other". Hepburn next appeared opposite Cary Grant in the comic thriller "Charade" (1963), playing a young widow pursued by several men who chase the fortune stolen by her murdered husband. The 59-year-old Grant, who had previously withdrawn from the starring male lead roles in "Roman Holiday" and "Sabrina", was sensitive about his age difference with 34-year-old Hepburn, and was uncomfortable about the romantic interplay. To satisfy his concerns, the filmmakers agreed to alter the screenplay so that Hepburn's character was pursuing him. The film turned out to be a positive experience for him; he said, "All I want for Christmas is another picture with Audrey Hepburn." The role earned Hepburn her third, and final, competitive BAFTA Award, and another Golden Globe nomination. Critic Bosley Crowther was less kind to her performance, stating that, "Hepburn is cheerfully committed to a mood of how-nuts-can-you-be in an obviously comforting assortment of expensive Givenchy costumes." Hepburn reunited with her "Sabrina" co-star William Holden in "Paris When It Sizzles" (1964), a screwball comedy in which she played the young assistant of a Hollywood screenwriter, who aids his writer's block by acting out his fantasies of possible plots. Its production was troubled by several problems. Holden unsuccessfully tried to rekindle a romance with the now-married Hepburn, and his alcoholism was beginning to affect his work. After principal photography began, she demanded the dismissal of cinematographer Claude Renoir after seeing what she felt were unflattering dailies. Superstitious, she also insisted on dressing room 55 because that was her lucky number and required that Hubert de Givenchy, her long-time designer, be given a credit in the film for her perfume.