However, Fellini denied Ponti's role in its success and said that " La Strada was made in spite of Ponti and De Laurentiis ".

That same year, he gave a typically energetic and revealing interview to Canadian filmmaker Damian Pettigrew for Fellini: I'm a Born Liar ( 2002 ), a cinematic portrait of the maestro that was nominated for Best Documentary at the European Film Awards, Europe's equivalent of the Oscars.

" Jay Cocks of Time Magazine considered it " some of the finest work Fellini has ever done-which also means it stands with the best that anyone in film has ever achieved.

He went on to work with a number of acclaimed and diverse directors including, Sergio Leone ( The Good, the Bad and the Ugly, Once Upon a Time in the West and Once Upon a Time in America ), Roman Polanski ( Death and the Maiden and Bitter Moon ), Louis Malle ( Lacombe, Lucien ), Jean-Jacques Annaud ( The Name of the Rose ), and Federico Fellini, whose last three films he photographed.

Among his collaborators on the magazine ’ s editorial board were the future director Ettore Scola, Marxist theorist and scriptwriter Cesare Zavattini, and Bernardino Zapponi, a future Fellini screenwriter.

Described as “ the determining moment in Fellini ’ s life ”, he enjoyed steady employment between 1939 and 1942, interacting with writers, gagmen, and scriptwriters that eventually led to opportunities in show business and cinema.

His African adventure, later published in Marc ’ Aurelio as " The First Flight ", marked “ the emergence of a new Fellini, no longer just a screenwriter, working and sketching at his desk, but a filmmaker out in the field ”.

Aware of Fellini ’ s reputation as Aldo Fabrizi ’ s “ creative muse ”, Rossellini also requested he try to convince the actor to play the role of Father Giuseppe Morosini, the parish priest executed by the SS on April 4, 1944.

One reviewer declared that Fellini had “ not the slightest aptitude for cinema direction ”.

To incarnate the role ’ s “ intense, tragic face ”, Fellini ’ s first choice had been Humphrey Bogart but after learning of the actor ’ s lung cancer, chose Crawford after seeing his face on the theatrical poster of All the King ’ s Men ( 1949 ).

The scandal provoked by Turkish dancer Haish Nana ’ s improvised striptease at a nightclub captured Fellini ’ s imagination: he decided to end his latest script-in-progress, Moraldo in the City, with an all-night “ orgy ” at a seaside villa.

Bernhard ’ s focus on Jungian depth psychology proved to be the single greatest influence on Fellini ’ s mature style and marked the turning point in his work from neorealism to filmmaking that was “ primarily oneiric ”.

Condemned as a “ public sinner ” for La Dolce Vita, Fellini responded with The Temptations of Doctor Antonio, a segment in the omnibus Boccaccio ' 70.

Fellini told her that he hoped to convey the three levels “ on which our minds live: the past, the present, and the conditional-the realm of fantasy ”.

" Critic Giovanni Grazzini, reviewing for the Italian newspaper Corriere della Sera, described Fellini as " an artist at his peak " and the film as the work of a mature, more refined director whose “ autobiographical content shows greater insight into historical fact and the reality of a generation.

The Blackboard received many international awards including the “ Federico Fellini Honor Award ” from UNESCO and “ Francois Truffaut Award ” from Italy.

The New York Times film critic Bosley Crowther praised Fellini ’ s “ brilliantly graphic estimation of a whole swath of society in sad decay and, eventually, a withering commentary on the tragedy of the over-civilized … Fellini is nothing if not fertile, fierce and urbane in calculating the social scene around him and packing it onto the screen.

Framed as a response to critics ’ complaints about Fellini ’ s having ( like his director-protagonist ) “ nothing to say ”— complaints, that is, about the auteur ’ s “ self-indulgence ” and the film ’ s lack of substance and legible “ social engagement ”— Miller ’ s 8½ contended that the film mapped out “ two ways ”: “ In one direction lies the man, marked out by his fearful shortage of being and meaning ; in the other lies style, which never acknowledges, unless it be to destroy, any order besides its own to which it is required to be sufficient.

: For every “ strong ” style — I mean one, like Fellini ’ s, of blatantly insufficient substance — marks a refusal to come to terms with a: world whose social organization it lets us perceive, in specific ways as intolerable.

In his typically dialectical ( and inimitably stylish ) way, Miller thus made the case for Fellini ’ s ( Barthesian ) “ nothing to say ,” and for the continued relevance of 8½ ’ s programmatic irrelevance.

For Miller, Fellini ’ s style, like Austen ’ s, capitalized on a condition of scarcity and turned blatant insufficiency to profit ; this style combined negative refusal with “ positive offensive ” and derived strength from weakness.

* 1974: Je me souviens ( Mia Malinconia et Je me souviens, version instrumentale, du film Amarcord de Federico Fellini, 45 tours Deram )

He has been directed by Federico Fellini ( La voce della luna, 1990 ), with Roberto Benigni ), Lina Wertmuller ( Io speriamo che me la cavo, 1992 ), by Ermanno Olmi ( Il segreto del bosco vecchio, 1993 ), by Mario Monicelli ( Cari fottutissimi amici, 1994 ), and by Gabriele Salvatores ( Denti, 2000 ).

In his book Word and Phrase Origins, Robert Hendrickson writes that Fellini took the name from an Italian dialect word that describes a particularly annoying noise, that of a buzzing mosquito.

Although Fellini adapted key events from his childhood and adolescence in films such as I Vitelloni ( 1953 ), 8½ ( 1963 ), and Amarcord ( 1973 ), he insisted that such autobiographical memories were inventions: " It is not memory that dominates my films.

The Federico Fellini Airport in Rimini is named in his honour.

Fellini ’ s work is referenced on the albums Fellini Days ( 2001 ) by Fish and Funplex ( 2008 ) by the B-52's with the song Juliet of the Spirits, and in the opening traffic jam of the music video Everybody Hurts by R. E. M.

is: Federico Fellini

An important point to note is that out of Scorsese's selection of Italian films from a select group of directors ( Federico Fellini, Luchino Visconti, Vittorio De Sica, Michelangelo Antonioni ) Rossellini's films form at least half of the films discussed and analyzed, highlighting Rossellini's monumental role in Italian and world cinema.

Italian filmmaker Federico Fellini directed four Best Foreign Language Film Academy Award – winning motion pictures during his lifetime, a record that remains unmatched as of 2007 ( if Special Awards are taken into account, then Fellini's record is tied by his fellow countryman Vittorio De Sica ).

A director like Federico Fellini is thus considered to have never officially won an Academy Award of Merit during his lifetime, even though four of his films received the Foreign Language Film Award ( the only Academy Award that Fellini personally won was his 1992 Honorary Award ).

An art city with ancient Roman and Renaissance monuments, Rimini is the hometown of the famous film director Federico Fellini as well.

It is served by the Federico Fellini Airport, airport of Rimini and San Marino.

Among the chief narrative changes Fellini makes to the Satyricon text is the addition of a hermaphroditic priestess, who does not exist in the Petronian version.

Nino Rota ( December 3, 1911 – April 10, 1979 ) was an Italian composer and academic who is best known for his film scores, notably for the films of Federico Fellini and Luchino Visconti.

Production designer Ferretti afterwards compared Gilliam to his former director, saying, " Terry is very similar to Fellini in spirit.

Fellini is a wilder liar, but that's the only difference!

* April 11 – Rome, as only he could see it, is presented in Fellini, a Director's Notebook, an NBC special.

Amarcord is a 1973 Italian comedy-drama film directed by Federico Fellini, a semi-autobiographical coming-of-age tale about Titta, an adolescent boy growing up among an eccentric cast of characters in the village of Borgo San Giuliano ( situated near the ancient walls of Rimini ) in 1930s Fascist Italy.

It is an Our Town or Under Milk Wood of the Adriatic seaboard, concocted and displayed in the Roman film studios with the latter-day Fellini ’ s distaste for real stone and wind and sky.

When Mr. Fellini is working in peak condition, as he is in Amarcord ( the vernacular for " I remember " in Romagna ), he somehow brings out the best in us.

: This article is about Giovanni Pastrone's 1914 silent film ; for the Federico Fellini film, see The Nights of Cabiria.

The word " paparazzi " is an eponym originating in the 1960 film La Dolce Vita directed by Federico Fellini.

Charlotte Chandler ( the pen name of Lyn Erhard ) is an American biographer and playwright who has written biographies of Groucho Marx, Federico Fellini, Billy Wilder, Bette Davis, Joan Crawford and Alfred Hitchcock.

La Dolce Vita (; Italian for " the sweet life " or " the good life ") is a 1960 comedy-drama film written and directed by the critically acclaimed director Federico Fellini.