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Intervista

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238:. Fellini introduces the Japanese to the female custodian of Cinecittà (Nadia Ottaviani) but she succeeds in putting off the interview by disappearing into the deserted backlot of Studio 5 to gather dandelions to make herbal tea. Meanwhile, Fellini's assistant director (Maurizio Mein) is on location with other crew members at the Casa del Passeggero, a once cheap hotel now converted into a drugstore. Fellini wants to include it in his film about the first time he visited Cinecittà as a journalist in 1938 during the Fascist era. Past and present intermingle as Fellini interacts with his younger self played by aspiring actor, 242:. After the crew reconstruct the facade of the Casa del Passeggero elsewhere in Rome, a fake tramway takes young Fellini/Rubini from America's Far West with Indian warriors on a clifftop to a herd of wild elephants off the coast of Ethiopia. Arriving at Cinecittà, he sets off to interview matinee idol, Katya, a character representing the actress 225:. A nighttime set is prepared for a sequence that Fellini defines as “the prisoner’s dream” in which his hands grope for a way out of a dark tunnel. With advancing age and weight, Fellini is finding it difficult to escape by simply flying away, but when he does, he contemplates Cinecittà from a great height. 249:
Seamlessly, the illusion takes over the realities of moviemaking as the viewer is thrown into two feature films being directed by tyrannical directors. But only for a short while; for the rest of the film, Fellini and his assistant director (Maurizio Mein) scramble to recruit the right cast and build
228:
The next morning, Fellini accompanies the Japanese TV crew on a brief tour of the studios. As they walk past absurd TV commercials in production, Fellini's casting director presents him with four young actors she's found to interpret Karl Rossmann, the leading role in the maestro's film version of
29: 254:, a fictitious adaptation that Fellini uses as a pretext to shoot his film-in-progress. This allows Fellini/Rubini to go back and forth in time to experience filmmaking first-hand including disgruntled actors who failed their auditions, 283:
concludes with Fellini’s voiceover, “So the movie should end here. Actually, it’s finished.” In response to producers unhappy with his gloomy endings, the Maestro ironically offers them a ray of sunshine by lighting an arc lamp.
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Film 2 is filmed autobiography: while interviewed by the Japanese, Fellini evokes memories (real or invented) of his first visit to CinecittĂ  in 1938 as a young journalist commissioned to interview a female matinee
608:"I came to interview an actress named Greta Gonda and it was the first interview I conducted, the first time I went to Cinecittà, and the first encounter with an actress I liked very much.” Fellini, 1928: 1918: 595:, Fellini explained that the “first time I visited Cinecittà, I was 18 years old, a journalist from Rimini who considered Cinecittà as something legendary.” In Fellini, 549: 1680: 1898: 272:
scenes, screen tests of Kafka’s Brunelda caressed in a bathtub by two young men, and an inconvenient thunderstorm that heralds the production collapse of
1645: 851: 1284: 1933: 567: 1908: 747: 1550: 1183: 694: 1903: 1293: 1135: 972: 1445: 1248: 1923: 1486: 1428: 1518: 844: 644:, Carlo Testa argues that “autobiography wins out over the transposition of literature into film.” Cf. Testa, "Cinecittà and 482:
Film 1 is a television news report: Japanese journalists arrive on the set to interview Fellini and his crew preparing sets,
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subsumes all three films, making them cohere into the Maestro’s portrait of himself and cinema.
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with an attack by bogus Indians on horseback wielding television antennae as spears.
268: 239: 95: 486:, searching for actors, inspecting photographs, and shooting screen tests. Fellini, 221:
for a news report on his latest film, Fellini takes the viewer behind the scenes at
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Maria Teresa Battaglia as Recruited Actress at Train Station
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threads four films into one or a film-within-four-films:
246:. with whom he had conducted his very first interview. 1625: 1392: 1301: 1210: 1071: 868: 474:Blurring the line between documentary and fiction, 365:
Roberta Carlucci as Recruited Actress in the Subway
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Index


Federico Fellini
Federico Fellini
Gianfranco Angelucci
Federico Fellini
Anita Ekberg
Marcello Mastroianni
Federico Fellini
Sergio Rubini
Tonino Delli Colli
Nicola Piovani
Cannes
Federico Fellini
TV crew
CinecittĂ 
Kafka's
Amerika
Sergio Rubini
Greta Gonda
Marcello Mastroianni
Mandrake the Magician
Anita Ekberg
La Dolce Vita
Federico Fellini
Sergio Rubini
Antonella Ponziani
Lara Wendel
Antonio Cantafora
Anita Ekberg
Marcello Mastroianni

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