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.

When Yeston went to ask permission to make the show a musical, Fellini told him he already received a letter from Hepburn and gave him permission.

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

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

Other additions Fellini makes in his filmic adaptation: the appearance of a minotaur in a labyrinth ( who first tries to club Encolpius to death, and then attempts to kiss him ), and the appearance of a nymphomaniac whose husband hires Ascyltos to enter her caravan and have sex with her.

Although they never met, Cartwright kept a journal of the trip and later wrote a one-woman play called In Search of Fellini, partially based on her voyage.

Through her acquaintance with Marcello Mastroianni, she met Federico Fellini and in 1962 Fellini offered her the position of assistant director on 8½.

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.

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.

She was cast by Fellini, who picked her after seeing her photographs, in the radio plays he was writing at the time.

Masina made her film debut in an uncredited role in Rossellini's Paisà ( 1946 ), credit for the script being given to Fellini.

She received her first screen credit in Lattuada's Without Pity ( 1948 ), which was another adaptation by Fellini and played opposite John Kitzmiller.

Several months after her marriage to Fellini, in 1943, Masina suffered a miscarriage after falling down a flight of stairs.

She spoke Polish to her maternal grandmother and watched movies of Federico Fellini and Satyajit Ray with her cinephile dad.

During the last three weeks of shooting, Fellini experienced the first signs of severe clinical depression.

The film is composed of three vignettes, directed by Roger Vadim, Louis Malle and Federico Fellini and starring Alain Delon and Brigitte Bardot.

Noël would later act for Italian director Federico Fellini, appearing in three of his films.

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.

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.

" 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.

As Fellini said in his interview to Time magazine, “ Paparazzo … suggests to me a buzzing insect, hovering, darting, stinging .” There is a similarity with the Italian word " pappataci " a name for a small mosquito.

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.

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

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.

Fellini eventually found work as a cub reporter on the dailies Il Piccolo and Il Popolo di Roma but quit after a short stint, bored by the local court news assignments.

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 ).

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.

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

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.

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.

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.

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.