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.

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.

She was the wife and muse of the Italian film director Federico Fellini, in whom she found an artistic equal and collaborator.

Fellini, la Grande Parade exposition on the work of Federico Fellini in the Galerie nationale du Jeu de Paume | musée du Jeu de Paume in Paris

In November 1942, Fellini was sent to Libya, occupied by Fascist Italy, to work on the screenplay of I cavalieri del deserto ( Knights of the Desert, 1942 ), directed by Osvaldo Valenti and Gino Talamo.

He became involved with Italian Neorealism when Roberto Rossellini, at work on Stories of Yesteryear ( later Rome, Open City ), met Fellini in his shop proposing he contribute gags and dialogue for the script.

A major discovery for Fellini after his Italian neorealism period ( 1950 – 1959 ) was the work of Carl Jung.

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 ”.

Infused with the surrealistic satire that characterized the young Fellini ’ s work at Marc ’ Aurelio, the film ridiculed a crusader against vice who goes insane trying to censor a billboard of Anita Ekberg espousing the virtues of milk.

Producer Alberto Grimaldi, prepared to buy film rights to all of Castaneda ’ s work, then paid for pre-production research taking Fellini and his entourage from Rome to Los Angeles and the jungles of Mexico in October 1985.

For Intervista, produced by Ibrahim Moussa and RAI Television, Fellini intercut memories of the first time he visited Cinecittà in 1939 with present-day footage of himself at work on a screen adaptation of Franz Kafka ’ s Amerika.

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.

In one famous scene, Allen's character, in line to see a movie with Annie, listens to a man behind him deliver misinformed pontifications on the significance of Fellini and Marshall McLuhan's work.

They continued to work together for decades, and Fellini recalled:

Wong stands as the leading heir to the great directors of post-WWII Europe: His work combines the playfulness and disenchantment of Godard, the visual fantasias of Fellini, the chic existentialism of Antonioni, and Bergman's brooding uncertainties.

" 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.

" 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.

While in Paris, Taymor worked with masks for the first time and immersed herself in film, especially the work of Fellini and Kurosawa.

His centrality to Ray's work is akin to other key collaborations in the history of cinema — Mifune and Kurosawa, Mastroianni and Fellini, De Niro and Scorsese, DiCaprio and Scorsese, Max von Sydow and Ingmar Bergman, Jerzy Stuhr and Kieślowski.

Questions of style and of its relationship to shame were also at the center of Miller ’ s next book-length work, an essay on Federico Fellini ’ s 8½.

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.

Fellini was born on January 20, 1920 to middle-class parents in Rimini, then a small town on the Adriatic Sea.

Deciding on a career as a caricaturist and gag writer, Fellini travelled to Florence in 1938 where he published his first cartoon in the weekly 420.

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.

Fellini and Ruggero Maccari, also on the staff of Marc ’ Aurelio, began writing radio sketches and gags for films.

Not yet twenty and with Fabrizi ’ s help, Fellini obtained his first screen credit as a comedy writer on Mario Mattoli ’ s Il pirata sono io ( The Pirate's Dream ).

Fellini welcomed the assignment as it allowed him " to secure another extension on his draft order ".

Fellini and Giulietta hid in her aunt ’ s apartment until Mussolini's fall on July 25, 1943.

After the Allied liberation of Rome on June 4, 1944, Fellini and Enrico De Seta opened the Funny Face Shop where they survived the postwar recession drawing caricatures of American soldiers.

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.

Working as both screenwriter and assistant director on Rossellini ’ s Paisà ( Paisan ) in 1946, Fellini was entrusted to film the Sicilian scenes in Maiori.

Establishing a close working relationship with Alberto Lattuada, Fellini co-wrote the director ’ s Senza pietà ( Without Pity ) and Il mulino del Po ( The Mill on the Po ).

Fellini also worked with Rossellini on the anthology film L ' Amore ( 1948 ), co-writing the screenplay and in one segment titled, " The Miracle ", acting opposite Anna Magnani.

After travelling to Paris for a script conference with Rossellini on Europa ' 51, Fellini began production on The White Sheik in September 1951, his first solo-directed feature.

Fellini directed La strada based on a script completed in 1952 with Pinelli and Flaiano.

Based partly on stories told to him by a petty thief during production of La strada, Fellini developed the script into a con man ’ s slow descent towards a solitary death.

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 ).

During the autumn, Fellini researched and developed a treatment based on a film adaptation of Mario Tobino ’ s novel, The Free Women of Magliano.

Produced by Dino De Laurentiis and starring Giulietta Masina, the film took its inspiration from news reports of a woman ’ s decapitated head retrieved in a lake and stories by Wanda, a shantytown prostitute Fellini met on the set of Il Bidone.

Fellini cast American actor Broderick Crawford to interpret the role of an aging swindler in Il Bidone.

In early 1989 Fellini began production on The Voice of the Moon, based on Ermanno Cavazzoni ’ s novel, Il poema dei lunatici ( The Lunatics ’ Poem ).

* Il Casanova di Federico Fellini ( 1976 )

Il film ' Amarcord ' di Federico Fellini.

She appeared in the Academy Award-winning Italian film Il Casanova di Federico Fellini, in a TV movie called Side Show, and in a Canadian / American documentary film called Being Different.

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 ).

* Il Casanova di Federico Fellini ( 1976 ) by Federico Fellini ( restored version )