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Fellini On Fellini
"Provides a well-rounded view of Fellini. . . . The material interestingly helps clarify Fellini's film work, and his fans will enjoy this stimulating and intellectual 'biography.'"--Library Journal
One of the greatest Italian filmmakers, Federico Fellini (1920-1993) created such masterpieces as La Strada, La Dolce Vita, 8 1/2, Juliet of the Spirits, Satyricon, and Amarcord. His prodigious body of work evokes Pirandello, existentialism, "the silence of God," as well as show business. Critics have accused him of being a charlatan, hypocrite, clown, and demon, and have hailed him as a magician, poet, genius, and prophet.
Fellini on Fellini is a fascinating collection of his articles, interviews, essays, reminiscences, and table talk, carefully arranged to chart the progress of his life and work. There are boyhood memories of his hometown, Remini, and his highly improbable beginnings as a scriptwriter for Rossellini; letters to Jesuit priests and Marxist critics defending his first international success, La Strada; anecdotes and revelations about the making of La Dolca Vita, 8 1/2, and The Clowns; and insights into all aspects of filmmaking. Here, Fellini reveals, as no one else can, a rich digest of his brilliant and controversial career.
One of the greatest Italian filmmakers, Federico Fellini (1920-1993) created such masterpieces as La Strada, La Dolce Vita, 8 1/2, Juliet of the Spirits, Satyricon, and Amarcord. His prodigious body of work evokes Pirandello, existentialism, "the silence of God," as well as show business. Critics have accused him of being a charlatan, hypocrite, clown, and demon, and have hailed him as a magician, poet, genius, and prophet.
Fellini on Fellini is a fascinating collection of his articles, interviews, essays, reminiscences, and table talk, carefully arranged to chart the progress of his life and work. There are boyhood memories of his hometown, Remini, and his highly improbable beginnings as a scriptwriter for Rossellini; letters to Jesuit priests and Marxist critics defending his first international success, La Strada; anecdotes and revelations about the making of La Dolca Vita, 8 1/2, and The Clowns; and insights into all aspects of filmmaking. Here, Fellini reveals, as no one else can, a rich digest of his brilliant and controversial career.
192 pages, Paperback
First published January 1, 1976
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About the author
Federico Fellini
195 books161 followersFederico Fellini was an Italian film director and screenwriter known for his distinctive style, which blends fantasy and baroque images with earthiness. He is recognized as one of the greatest and most influential filmmakers of all time. His films have ranked highly in critical polls such as that of Cahiers du cinéma and Sight & Sound, which lists his 1963 film 8 1⁄2 as the 10th-greatest film.
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Displaying 1 - 27 of 27 reviews
April 4, 2021
"No producer has ever controlled my work and I have always done what I wanted. I fight to get the sort of conditions in which I can work in peace. This is probably down to my selfishness: if I can't do what I want, I'd sooner do nothing."
"I believe everything I'm told. I love hearing about amazing things. My capacity for marvelling is boundless. I am not blasé about anything."
"The nine months in Rome under the Germans was really something; even someone who stayed in bed all day with his eyes closed and ears plugged could feel the fear that never let up, day or night. But the script (for Rossellini's Rome, Open City) came out well precisely because it reflected this atmosphere. I saw the preview. I was very, very moved. I was enormously disturbed, shocked, that the preview should be a flop because of the annoyance and indifference of the audience - those idiotic distributors of MGM films."
"After La Strada I had scores of offers. To make Il Bidone, which I was then planning? No. To make Gelsomina on a Bicycle or anything with Gelsomina in the title. They didn't realise that in La Strada I has already said all I wanted to say about Gelsomina. They all wanted Gelsomina. I could have earned a fortune selling her name to doll manufacturers, to sweet firms; even Walt Disney wanted to make an animated cartoon about her. I could have lived off Gelsomina for twenty years! Why this insistence on sequels? Have they have so little imagination?"
"I love being alone with myself, and thinking. But I can be alone only among people. I can think only if I'm pushed and shoved, surrounded by difficulties, with questions to answer, problems to solve, wild beasts to tame. That warms me, sets me up."
"The movie business is macabre. Grotesque. It is a combination of a football game and a brothel."
December 9, 2016
This collection of assorted thoughts by Italian director Federico Fellini is amazingly deep, at times contradictory, and illuminating, showing how "Everything and nothing in [his] work is autobiographical."
This work opens with one of Fellini's best known essays, "Rimini, my home town," in which the great poet reflects on his past and the wacky cast of figures that made up his boyhood in Rimini, many of whom appear as caricatures in the film Amarcord, from Gradisca the prostitute to his boyhood friend, Titta, to his reflections on the changes of the seasons, his "absurdly repressive education" and the role of the cinema in the town. In this essay, Fellini reflects, "I don't like going back to Rimini. . . . I cannot see Rimini as an objective fact, that's it. It is a dimension of my memory, and nothing more. And in fact, when I am in Rimini, I always find myself assailed by ghosts that have already been filed away, put in their place."
As a director known for a desire to control, often referred to by others and himself as a "puppet-master," it is not surprising that confronting his past causes the filmmaker so much inner turmoil. Due to the unpredictability of nature, which, like the past, is something beyond the director's control, we find that he loves manufactured sets and studio lighting over natural options: "My light will never be sunlight. I believe in constructing daylight, and even the sea, in a studio. In Amarcord, I built the sea. And nothing is truer than the sea on the screen. It is the sea I wanted, which the real sea would never have given me."
The sea, an important setting for many of his films, and notably for the endings to two of his most celebrated classics, La Strada and La dolce vita, we find in the book is something that mesmerized Fellini, and is a source of many haunting memories from his youth. He writes: "I lived my life apart, a lonely life . . . to justify my fear of bathing suits, and my incapacity to enjoy myself like the others who went splashing into the sea (perhaps that is why I find the sea so fascinating, as an element I have never conquered: the place from which come our monsters and ghosts)." Can't the same be said of many of our fears and the phantoms from our past --they fascinate us, terrify us because of our inability to conquer them? It is perhaps for this same reason that we often find Fellini exploring the topic of religion too, which he says "always had something terrifying about it."
In this work Fellini discusses many of his important themes, interpretations of his works (up to Amarcord), his thoughts on censorship and his fascination with the circus and clowns. But, while a worthwhile read that offers some more insights to the world of the great Italian director, the best way to really experience Fellini is to watch his films, for as he states in this work, "I don't want to demonstrate anything; I want to show it." Fellini's work (like much of Bergman's or Buñuel's for that matter)is all about the image and what it conveys, images that once seen affect the audience (or so the director hopes) and become seared in our memories.
This work opens with one of Fellini's best known essays, "Rimini, my home town," in which the great poet reflects on his past and the wacky cast of figures that made up his boyhood in Rimini, many of whom appear as caricatures in the film Amarcord, from Gradisca the prostitute to his boyhood friend, Titta, to his reflections on the changes of the seasons, his "absurdly repressive education" and the role of the cinema in the town. In this essay, Fellini reflects, "I don't like going back to Rimini. . . . I cannot see Rimini as an objective fact, that's it. It is a dimension of my memory, and nothing more. And in fact, when I am in Rimini, I always find myself assailed by ghosts that have already been filed away, put in their place."
As a director known for a desire to control, often referred to by others and himself as a "puppet-master," it is not surprising that confronting his past causes the filmmaker so much inner turmoil. Due to the unpredictability of nature, which, like the past, is something beyond the director's control, we find that he loves manufactured sets and studio lighting over natural options: "My light will never be sunlight. I believe in constructing daylight, and even the sea, in a studio. In Amarcord, I built the sea. And nothing is truer than the sea on the screen. It is the sea I wanted, which the real sea would never have given me."
The sea, an important setting for many of his films, and notably for the endings to two of his most celebrated classics, La Strada and La dolce vita, we find in the book is something that mesmerized Fellini, and is a source of many haunting memories from his youth. He writes: "I lived my life apart, a lonely life . . . to justify my fear of bathing suits, and my incapacity to enjoy myself like the others who went splashing into the sea (perhaps that is why I find the sea so fascinating, as an element I have never conquered: the place from which come our monsters and ghosts)." Can't the same be said of many of our fears and the phantoms from our past --they fascinate us, terrify us because of our inability to conquer them? It is perhaps for this same reason that we often find Fellini exploring the topic of religion too, which he says "always had something terrifying about it."
In this work Fellini discusses many of his important themes, interpretations of his works (up to Amarcord), his thoughts on censorship and his fascination with the circus and clowns. But, while a worthwhile read that offers some more insights to the world of the great Italian director, the best way to really experience Fellini is to watch his films, for as he states in this work, "I don't want to demonstrate anything; I want to show it." Fellini's work (like much of Bergman's or Buñuel's for that matter)is all about the image and what it conveys, images that once seen affect the audience (or so the director hopes) and become seared in our memories.
February 24, 2009
"O opera de arta ia fiinta intr-o singura si unica exprimare, care ii este proprie: gasesc transpunerile monstruoase, ridicole si aberante. De obicei preferintele mele se indreapta spre subiecte originale, scrise pentru cinema. Cred ca cinematograful nu are nevoie de literatura, n-are nevoie decit de autori cinematografici, vreau sa spun de oameni care se exprima in ritmuri, in cadente specifice cinematografului. Filmul este o arta autonoma care n-are nevoie de transpuneri, care in cea mai buna ipostaza vor fi, intotdeauna numai ilustrative. Fiecare opera de arta nu traieste decit in dimensiunea in care a fost conceputa, in care se exprima. Ce poate imprumuta dintr-o carte? Situatii. Dar situatiile, in sine, n-au nici o semnificatie. Conteaza sentimentul prin care sint exprimate situatiile, imaginatia, atmosfera, lumina: in sfirsit, interpretarea lor. interpretarea literara a unor intimplari n-are nimic de-a face cu interpretarea cinematografica a acelorasi intimplari. Este vorba de doua modalitati de exprimare complet diferite."
***
"Marcello. Dragul, admirabilul Marcello Mastroiani, prietenul credincios, devotat, intelept, un prieten cum gasesti numai in romanele scriitorilor englezi. Marcello si cu mine ne vedem foarte putin, aproape niciodata. Poate ca este una din cauzele prieteniei noastre care nu cere nimic, nu obliga, nu conditioneaza nimic, nu stabileste reguli si frontiere. O prietenie adevarata, frumoasa, bazata pe o salubra lipsa de incredere reciproca."
***
"Ultima intrebare: ce mai ai de spuns intr-un viitor film?
Nu stiu. Dupa atitia morti si inmormintari, dupa toate, dupa atitea satisfactii adunate din darimaturi si ruine mi-ar placea sa multumesc anumitor persoane, in majoritate femei care, dupa fiecare din filmele mele, cu o infatisare timid-dezamagita, cu o invitatie plina de speranta mi-au repetat mereu: "
[dupa acest interviu a mai facut inca 3 filme. nici unul nu e o poveste de dragoste.:]
***
"Marcello. Dragul, admirabilul Marcello Mastroiani, prietenul credincios, devotat, intelept, un prieten cum gasesti numai in romanele scriitorilor englezi. Marcello si cu mine ne vedem foarte putin, aproape niciodata. Poate ca este una din cauzele prieteniei noastre care nu cere nimic, nu obliga, nu conditioneaza nimic, nu stabileste reguli si frontiere. O prietenie adevarata, frumoasa, bazata pe o salubra lipsa de incredere reciproca."
***
"Ultima intrebare: ce mai ai de spuns intr-un viitor film?
Nu stiu. Dupa atitia morti si inmormintari, dupa toate, dupa atitea satisfactii adunate din darimaturi si ruine mi-ar placea sa multumesc anumitor persoane, in majoritate femei care, dupa fiecare din filmele mele, cu o infatisare timid-dezamagita, cu o invitatie plina de speranta mi-au repetat mereu: "
[dupa acest interviu a mai facut inca 3 filme. nici unul nu e o poveste de dragoste.:]
May 21, 2021
Beautiful, comical essays. "Rimini, my Hometown" is a rich recall of his childhood and early adulthood. The entire book is a very rewarding read, from a master, from a time when great art in film was valued. A needed break from the flat, propagandistic nature of the "content" we're offered today as entertainment. Fellini reaches a deeper, more meaningful level of artistry. He gave his life to that purpose. You can't say that about any contemporary director or writer in film today.
October 3, 2008
به تازگي فيلم شهر زنان را ديدم و خيلي علاقمند شدم كارهاي بيشتري از اين فيلمساز ببينم در فيلم شهر زنان با وجوداينكه با دنيايي از تمثيل و زبان نشانه و در قالب يك كابوس ديدگاه مردانه را نسبت به جنس زن نقد و بعضا" مورد انتقادقرار داده بود با اين حال به نظر من تصويري اغراق شده از فمينيسم ارائه كرده بود و شايد اين تنها نقطه ضعفي بود كه مي توانستم به آن اشاره كنم
February 5, 2016
The director of "La Dolce Vita," oft quoted but rarely seen, gets lucid about his life in pictures and love of the circus.
Like the worst of lovers, Fellini can never watch one of his films once the process of making them is through. I also use his "types of clown" breakdown so often that it's become irritating.
Like the worst of lovers, Fellini can never watch one of his films once the process of making them is through. I also use his "types of clown" breakdown so often that it's become irritating.
August 31, 2016
Read this on holiday in Italy, borrowed from the wonderful house library we were staying in. Whether the original conversations were done by post, phone or person, Fellini's use of language is extraordinary. A truly charming and infuriating character, he has to be revered for his unique films and take on Italian coastal, Rome and circus life.
October 31, 2013
You know how sometime you just want to read a short essay by someone really smart who's done something really interesting?
This is your book.
This is your book.
November 28, 2024
“Mini-skirts aren’t a new sexual invitation, it’s all a mistake. Girls wear them whose legs are skinny and, if anything, best kept hidden. That means, then, that they wear them for another reason. It is we, and we alone, who superimpose on them what we have within ourselves, which grew out of our absurdly repressive education, because we want a woman to do everything she does for some lubricious purpose, a purpose that just isn’t there, and that we have simply invented.” -p.38
“Nothing is sadder than laughter; nothing more beautiful, more magnificent, more uplifting and enriching than the terror of deep despair. I believe that every man as long as he lives is a prisoner of this terrible fear within which all prosperity is condemned to founder, but which preserves even in its deepest abyss that hopeful freedom which makes it possible for him to smile in seemingly hopeless situations. That’s why the intention of the real—that is, the deepest and most honest—writers of comedy is by no means only to amuse us, but wantonly to tear open our most painful scars so that we feel them all the more strongly.” -p.54
“I do not want to have a fixed idea about life. The only thing I want to know is: Why am I here? What is my life? I am not sure of anything outside of my work. The older I become, the less I know. I do not follow a particular system of working or of living. I just live. I just do things.” -p.58
“Censorship is a way of admitting our own weakness and intellectual insufficiency.
Censorship is always a political tool: certainly not an intellectual one. Criticism is an intellectual tool: it presupposes a knowledge of what it judges and opposes.
Criticism does not destroy; it puts an object in its proper place among other objects.
To censor is to destroy, or at least to oppose the process of reality.” -p.84
“Cinéma-vérité? I prefer ‘cine-mendacity’. A lie is always more interesting than the truth. Lies are the soul of showmanship and I adore shows. Fiction may have a greater truth than everyday, obvious reality. The things one shows need not be authentic. As a rule, they are better if they aren’t. What must be authentic is the feeling one is trying to see and to express.” -p.100
“Every detail is an opening on to a world of its own. You may see a tiny tail poking out through a hole, tug at it, and out comes an elephant.” -p.104
“The clown is the incarnation of a fantastic creature who expresses the irrational aspect of man; he stands for the instinct, for whatever is rebellious in each one of us and whatever stands up to the established order of things. He is a caricature of man’s childish and animal aspect, the mocker and the mocked. The clown is a mirror in which man sees himself in a grotesque, deformed, ridiculous image. He is man’s shadow. And so he will be forever.” -p.123
“My film ends with the two figures meeting and going off together. Why is such a situation so moving? Because the two figures embody a myth which lies in the depths of each one of us: the reconciliation of opposites, the unity of being.” -p.124
“I was moved and I admired the poor man dressed as a funny man, whom I realized was a free, amazing being, needing very little to live on and able to survive the most incredible disasters, able to rise from the most frightful calamities, pass unharmed through mockery and contempt and to the very end maintain an unflagging optimism: amused and amusing as only one under heaven’s protection could possibly be.” -p.144
“I am not a ‘therapeutic’ artist, my films don’t suggest solutions or methods, they don’t put forward ideologies. All I do is bear witness to what happens to me, interpret and express the reality that surrounds me. If, through my films—that is, recognizing themselves in them—people come to an equal awareness of themselves, then they have achieved the state of clear-sighted detachment from themselves which is essential in making new choices, in bringing about changes.” -p.150
“I believe—please note, I am only supposing—that what I care about most is the freedom of man, the liberation of the individual man from the network of moral and social convention in which he believes, or rather thinks he believes, and which encloses him and limits him and makes him seem narrower, smaller, sometimes even worse than he really is. If you really want me to turn teacher, then condense it with these words: be what you are, that is discover yourself, in order to love life. To me, life is beautiful, for all its tragedy and suffering, I like it, I enjoy it, I am moved by it. And I do my best to share this way of feeling with others.” -p.157~158
—————————
9/10.
“Nothing is sadder than laughter; nothing more beautiful, more magnificent, more uplifting and enriching than the terror of deep despair. I believe that every man as long as he lives is a prisoner of this terrible fear within which all prosperity is condemned to founder, but which preserves even in its deepest abyss that hopeful freedom which makes it possible for him to smile in seemingly hopeless situations. That’s why the intention of the real—that is, the deepest and most honest—writers of comedy is by no means only to amuse us, but wantonly to tear open our most painful scars so that we feel them all the more strongly.” -p.54
“I do not want to have a fixed idea about life. The only thing I want to know is: Why am I here? What is my life? I am not sure of anything outside of my work. The older I become, the less I know. I do not follow a particular system of working or of living. I just live. I just do things.” -p.58
“Censorship is a way of admitting our own weakness and intellectual insufficiency.
Censorship is always a political tool: certainly not an intellectual one. Criticism is an intellectual tool: it presupposes a knowledge of what it judges and opposes.
Criticism does not destroy; it puts an object in its proper place among other objects.
To censor is to destroy, or at least to oppose the process of reality.” -p.84
“Cinéma-vérité? I prefer ‘cine-mendacity’. A lie is always more interesting than the truth. Lies are the soul of showmanship and I adore shows. Fiction may have a greater truth than everyday, obvious reality. The things one shows need not be authentic. As a rule, they are better if they aren’t. What must be authentic is the feeling one is trying to see and to express.” -p.100
“Every detail is an opening on to a world of its own. You may see a tiny tail poking out through a hole, tug at it, and out comes an elephant.” -p.104
“The clown is the incarnation of a fantastic creature who expresses the irrational aspect of man; he stands for the instinct, for whatever is rebellious in each one of us and whatever stands up to the established order of things. He is a caricature of man’s childish and animal aspect, the mocker and the mocked. The clown is a mirror in which man sees himself in a grotesque, deformed, ridiculous image. He is man’s shadow. And so he will be forever.” -p.123
“My film ends with the two figures meeting and going off together. Why is such a situation so moving? Because the two figures embody a myth which lies in the depths of each one of us: the reconciliation of opposites, the unity of being.” -p.124
“I was moved and I admired the poor man dressed as a funny man, whom I realized was a free, amazing being, needing very little to live on and able to survive the most incredible disasters, able to rise from the most frightful calamities, pass unharmed through mockery and contempt and to the very end maintain an unflagging optimism: amused and amusing as only one under heaven’s protection could possibly be.” -p.144
“I am not a ‘therapeutic’ artist, my films don’t suggest solutions or methods, they don’t put forward ideologies. All I do is bear witness to what happens to me, interpret and express the reality that surrounds me. If, through my films—that is, recognizing themselves in them—people come to an equal awareness of themselves, then they have achieved the state of clear-sighted detachment from themselves which is essential in making new choices, in bringing about changes.” -p.150
“I believe—please note, I am only supposing—that what I care about most is the freedom of man, the liberation of the individual man from the network of moral and social convention in which he believes, or rather thinks he believes, and which encloses him and limits him and makes him seem narrower, smaller, sometimes even worse than he really is. If you really want me to turn teacher, then condense it with these words: be what you are, that is discover yourself, in order to love life. To me, life is beautiful, for all its tragedy and suffering, I like it, I enjoy it, I am moved by it. And I do my best to share this way of feeling with others.” -p.157~158
—————————
9/10.
Read
February 18, 2023I don't normally give much attention to autobiographical works. If I read them at all it's as a means of "topping off" what I want to know on a subject and then moving on.
So along comes this assortment of notes and writings (dating roughly from 1960-1973) by Fellini and I'm blindsided. He could embellish, forget things, or outright fabricate the entire account and I wouldn't be any less entertained or thankful for the travels as a reader. Saddened by film theory one minute, admiring the circus the next, or writing of things long past, he's all over the place and I've rarely read an author so seemingly enjoying the reader's company, as if this is a real chance for him to throw some sense of his excitement towards life up and out of the written page. As he mentions, "I have an infinite capacity for amazement, and I don't see why I should set up a pseudo-rational screen to protect me from being amazed."
If you've seen the films there's nothing radically NEW to be discovered here. The same life, color, and "Auguste" manner is as present on screen as in these pages. Maybe then it's Fellini on a more conversational level. No human kalaidoscope marching or dancing across the frames of film, but rather the straightforward, energetic gestures of a mature artist wishing you to enjoy (and wrestle with) your creative life as much as he's enjoyed (and wrestled with) his own.
So along comes this assortment of notes and writings (dating roughly from 1960-1973) by Fellini and I'm blindsided. He could embellish, forget things, or outright fabricate the entire account and I wouldn't be any less entertained or thankful for the travels as a reader. Saddened by film theory one minute, admiring the circus the next, or writing of things long past, he's all over the place and I've rarely read an author so seemingly enjoying the reader's company, as if this is a real chance for him to throw some sense of his excitement towards life up and out of the written page. As he mentions, "I have an infinite capacity for amazement, and I don't see why I should set up a pseudo-rational screen to protect me from being amazed."
If you've seen the films there's nothing radically NEW to be discovered here. The same life, color, and "Auguste" manner is as present on screen as in these pages. Maybe then it's Fellini on a more conversational level. No human kalaidoscope marching or dancing across the frames of film, but rather the straightforward, energetic gestures of a mature artist wishing you to enjoy (and wrestle with) your creative life as much as he's enjoyed (and wrestled with) his own.
June 6, 2018
A collection of Fellini's interviews, articles, thoughts etc that make up a type of biography - we read about him growing up in Rimini, his first steps in the movie world, and lots of other events that don't really read like a novel but exerts, flashes of Fellini and mostly his ideas. The most interesting aspect of this book, in my opinion, was the insights given about making a movie. I loved reading about Fellini's techniques, the use of a studio rather than real life settings, how dialogue is incorporated into his movies, the importance of the frame, the lighting, the atmosphere, an actor's face and movements. Watching a few of his movies afterwards, made the book even more interesting.
June 16, 2021
A fascinating series of writings from the master director himself. The opening section on his boyhood. manages to take in Amarcord, 8 1/2, i Vitteloni and La Strada. However, just something about the autobiographical format felt wrong from Fellini. It felt truly honest, not what I was expecting. After all, the documentary on his life was called, "I am a born liar". The most interesting chapters for me were letters he wrote in reply to a priest asking about Nights of Cabira and another exchange with a Marxist critic. It feels so odd to be reading these utterly sincere writings from someone whose biggest influence was the circus. Still, enthralling.
May 18, 2023
postdrome migraine I serve my useless critique. fellini's life was bathed in carnivalesque reverie much like this autobiography. he was a very flawed swellhead with a masterful eye for the cine lens. quite enjoyed his reckoning in every respect. but I would not read twice.
June 2, 2023
This fat mf loved clowns! Great collection of writings from the master of maximalist cinema, Fellini himself. See him get mad at critics, pontificate on the circus and it's relation to cinema and life and also ruminate on his hometown! It's great!
April 3, 2024
Skimmed these barely interesting ramblings about locations/vibes growing up and filmmaking - he is creating scenes and thinks the circus is rad. But he refers to “chinamen” a few times which turned me off.
January 19, 2021
Interesting insights from a great filmmaker.
November 16, 2021
Loved this so much! Similar to his best films, this interview with Fellini is a beautiful, poetic, nostalgic, and very humorous take on life.
January 31, 2024
homem sábio mas racista
Read
April 6, 2025I believe everything I’m told
I love hearing about amazing things
My capacity for marveling is boundless
I love hearing about amazing things
My capacity for marveling is boundless
December 12, 2025
Es un libro bastante interesante donde uno puede aprender mucho sobre la filosofía que tenía Fellini sobre la vida y sobre el arte de hacer películas. No fui fan de la traducción.
July 19, 2021
Carismáticas e bastante peculiares, estaS vidaS e históriaS do grande Fellini. Para quem o admira, só reforça o fascínio.
March 1, 2017
"Fellini: Nu-mi mai amintesc prea bine cine a zis ca prin vise individul exprima partea sa cea mai secreta, mai misterioasa si neexplorata corespunzand inconstientului; colectivitatea, umanitatea face acelasi lucru prin intermediul creatiei artistilor. Productia artistica nu ar fi altceva decat activitatea onirica a umanitatii; pictorul, poetul, romancierul sau regizorul ar avea functia de a elabora, a organiza, cu talentul lor, continutul inconstientului colectiv, exprimandu-l, infatisandu-l in pagina, pe panza sau pe ecran. Cred ca daca aceasta viziune a lucrurilor este justa, orice problema artistica dispare. Se poate epuiza inconstientul, poate avea limite? Se pot sfarsi visele?"
December 10, 2012
Illustrous writer is Fellini. This is a collection of essays which vary from autobiographical to film-theoretical. Very interesting reading especially to those who wonder what kind of man did the movies.
September 22, 2014
Excellent insight, and a humbling approach to the thought process behind a great film. He never seems to stumble on technique, reflecting on this or that that's difficult about directing. Rather, he reflects on the mental challenges to telling a story in a resonant way.
September 30, 2009
6 stars
September 14, 2021
Una excelente lectura para quienes admiran a Fellini, sean cineastas o no.
July 3, 2013
Some parts were translated into Mongolian on artfilm.mn
Displaying 1 - 27 of 27 reviews