Producer Fellini should have looked at some of the old silent films where they really had parties!!

Apparently Fellini caught the crowd when its parties had begun to pall.

To play the role of a vagabond rogue mistaken by Magnani for a saint, Fellini had to bleach his black hair blond.

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 statue of Christ flown by helicopter over Rome to Saint Peter's Square was inspired by an actual media event on May 1, 1956, which Fellini had witnessed.

Under pressure from his producers, Fellini finally settled on 8½, a self-referential title referring principally ( but not exclusively ) to the number of films he had directed up to that time.

Giving the order to start production in spring 1962, Fellini signed deals with his producer Rizzoli, fixed dates, had sets constructed, cast Mastroianni, Anouk Aimée, and Sandra Milo in lead roles, and did screen tests at the Scalera Studios in Rome.

In 2009 Loren stated on Larry King Live that Fellini had planned to direct her in a film shortly before his death in 1993.

The actress, Carmilla Salvatorelli ( not " Carmello "), was " a little midget " Anger had met through Federico Fellini.

It was Fassbinder's first effort to create what he declared he aspired to: a cinematic statement of the human condition that would transcend national boundaries as the films of Michelangelo Antonioni, Ingmar Bergman and Federico Fellini had done.

The year before another film had already been made, hence the addition of the name Fellini to the title.

Varietys Deborah Young reviewed the film after seeing it at the 1995 Cannes Film Festival, praising it as " a steamroller circus that leaves the viewer dazed and exhausted, but mightily impressed ", adding that " if Fellini had shot a war movie, it might resemble Underground ".

He also appeared in Damian Pettigrew's award-winning documentary, Fellini: I'm a Born Liar ( 2002 ), offering insights into the mind and working methods of Italian director Federico Fellini whom Stamp had worked with in the 1960s.

Unbeknownst to him, Katharine Hepburn was in the audience, and after seeing it and liked it, she wrote to Fellini saying she had seen a wonderful show based on his movie.

Fellini claimed that Ekberg stood in the cold water in her dress for hours without any trouble while Mastroianni had to wear a wetsuit beneath his clothes-to no avail.

Film critic Roger Ebert considers it Fellini ’ s best film and lists it in his Top 10. He mentioned in his " great movies " review of the film that " Fellini and Marcello had taken a moment of discovery and made it immortal ".

During this time she had a chance encounter with director Federico Fellini, which led to a small part in Roma ( 1972 ).

In 1982, Tommy Tune, with whom she had worked in Hollywood / Ukraine, hired her as his assistant on Nine, the musical version of the Federico Fellini film 8½.

Fellini and screenwriter Sergio Amidei suggested to Rossellini that, instead of two short documentaries, he should make one feature film that combined the two ideas, and in August 1944, just two months after the Allies had forced the Nazis to evacuate Rome, Rossellini, Fellini, and Amidei began working on the script for the film.

In later days, when acceptance of alternative canons of cinema had grown, Midi Minuit Fantastique sometimes dealt with more mainstream subject matter with profiles on Samuel Fuller, Otto Preminger or Federico Fellini.

In 1924, Fellini started primary school in an institute run by the nuns of San Vincenzo in Rimini, attending the Carlo Tonni public school two years later.

Polish director, Wojciech Has, whose two major films, The Saragossa Manuscript ( 1965 ) and The Hour-Glass Sanatorium ( 1973 ) are examples of modernist fantasies, has been compared to Fellini for the sheer " luxuriance of his images ".

Manara also completed two stories working with another of his heroes, Federico Fellini.

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.

In Mussolini ’ s Italy, Fellini and Riccardo became members of the Avanguardista, the compulsory Fascist youth group for males.

Federico Fellini (; January 20, 1920 – October 31, 1993 ) was an Italian film director and scriptwriter.

His father, Urbano Fellini ( 1894 – 1956 ), born to a family of Romagnol peasants and small landholders from Gambettola, moved to Rome in 1915 as a baker apprenticed to the Pantanella pasta factory.

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

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 ).

* Federico Fellini ( film director, 1920 – 1993 )

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.

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

* Many works of Federico Fellini ( 1920 – 1993 )

* 1976 – Casanova directed by Federico Fellini

* Antonino Faà di Bruno ( actor ) ( 1910 – 1981 ) appeared in films by Pasolini ( Pigsty ), Fellini ( Amarcord ) and Comencini ( La donna della domenica ).

* Rimini – Federico Fellini Airport

In July 1991 and April 1992, Fellini worked in close collaboration with Canadian filmmaker Damian Pettigrew to establish " the longest and most detailed conversations ever recorded on film ".

Among the major artistic films of this era were La città delle donne, E la nave va, Ginger and Fred by Fellini, L ' albero degli zoccoli by Ermanno Olmi ( winner of the Golden Lion at the Venice Film Festival ), La notte di San Lorenzo by Paolo and Vittorio Taviani, Antonioni's Identificazione di una donna, and Bianca and La messa è finita by Nanni Moretti.

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.

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.

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.

In 1950 Fellini co-produced and co-directed with Alberto Lattuada Variety Lights ( Luci del varietà ), his first feature film.

Under the title, I disegni di Fellini ( Fellini ’ s Designs ), he published 350 drawings executed in pencil, watercolours, and felt pens.

( 1998 ), a Spanish novel by Puerto Rican writer Giannina Braschi, features a dream sequence with Fellini that was inspired by 8½.

** Italian National Syndicate of Film Journalists Silver Ribbons for Best Cinematography in B & W ( Gianni Di Venanzo ), Best Director ( Federico Fellini ), Best Original Story ( Fellini and Flaiano ), Best Producer ( Angelo Rizzoli ), Best Score ( Nino Rota ), Best Screenplay ( Fellini, Pinelli, Flaiano, Rondi ), and Best Supporting Actress ( Sandra Milo )