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"O opera de arta ia fiinta intr-o singura si unica exprimare, care ii este proprie: gasesc transpunerile monstruoase, ridicole si aberante. De obicei preferintele mele se indreapta spre subiecte originale, scrise pentru cinema. Cred ca cinematograful nu are nevoie de literatura, n-are nevoie decit de autori cinematografici, vreau sa spun de oameni care se exprima in ritmuri, in cadente specifice cinematografului. Filmul este o arta autonoma care n-are nevoie de transpuneri, care in cea mai buna
Beautiful, comical essays. "Rimini, my Hometown" is a rich recall of his childhood and early adulthood. The entire book is a very rewarding read, from a master, from a time when great art in film was valued. A needed break from the flat, propagandistic nature of the "content" we're offered today as entertainment. Fellini reaches a deeper, more meaningful level of artistry. He gave his life to that purpose. You can't say that about any contemporary director or writer in film today.
The director of "La Dolce Vita," oft quoted but rarely seen, gets lucid about his life in pictures and love of the circus.Like the worst of lovers, Fellini can never watch one of his films once the process of making them is through. I also use his "types of clown" breakdown so often that it's become irritating.
Read this on holiday in Italy, borrowed from the wonderful house library we were staying in. Whether the original conversations were done by post, phone or person, Fellini's use of language is extraordinary. A truly charming and infuriating character, he has to be revered for his unique films and take on Italian coastal, Rome and circus life.
You know how sometime you just want to read a short essay by someone really smart who's done something really interesting?This is your book.
A collection of Fellini's interviews, articles, thoughts etc that make up a type of biography - we read about him growing up in Rimini, his first steps in the movie world, and lots of other events that don't really read like a novel but exerts, flashes of Fellini and mostly his ideas. The most interesting aspect of this book, in my opinion, was the insights given about making a movie. I loved reading about Fellini's techniques, the use of a studio rather than real life settings, how dialogue is
Carismáticas e bastante peculiares, estaS vidaS e históriaS do grande Fellini. Para quem o admira, só reforça o fascínio.
I don't normally give much attention to autobiographical works. If I read them at all it's as a means of "topping off" what I want to know on a subject and then moving on. So along comes this assortment of notes and writings (dating roughly from 1960-1973) by Fellini and I'm blindsided. He could embellish, forget things, or outright fabricate the entire account and I wouldn't be any less entertained or thankful for the travels as a reader. Saddened by film theory one minute, admiring the circus
"Fellini: Nu-mi mai amintesc prea bine cine a zis ca prin vise individul exprima partea sa cea mai secreta, mai misterioasa si neexplorata corespunzand inconstientului; colectivitatea, umanitatea face acelasi lucru prin intermediul creatiei artistilor. Productia artistica nu ar fi altceva decat activitatea onirica a umanitatii; pictorul, poetul, romancierul sau regizorul ar avea functia de a elabora, a organiza, cu talentul lor, continutul inconstientului colectiv, exprimandu-l, infatisandu-l in...
Excellent insight, and a humbling approach to the thought process behind a great film. He never seems to stumble on technique, reflecting on this or that that's difficult about directing. Rather, he reflects on the mental challenges to telling a story in a resonant way.
"No producer has ever controlled my work and I have always done what I wanted. I fight to get the sort of conditions in which I can work in peace. This is probably down to my selfishness: if I can't do what I want, I'd sooner do nothing.""I believe everything I'm told. I love hearing about amazing things. My capacity for marvelling is boundless. I am not blasé about anything." "The nine months in Rome under the Germans was really something; even someone who stayed in bed all day with his eyes cl...
This collection of assorted thoughts by Italian director Federico Fellini is amazingly deep, at times contradictory, and illuminating, showing how "Everything and nothing in [his] work is autobiographical." This work opens with one of Fellini's best known essays, "Rimini, my home town," in which the great poet reflects on his past and the wacky cast of figures that made up his boyhood in Rimini, many of whom appear as caricatures in the film Amarcord, from Gradisca the prostitute to his boyhood
به تازگي فيلم شهر زنان را ديدم و خيلي علاقمند شدم كارهاي بيشتري از اين فيلمساز ببينم در فيلم شهر زنان با وجوداينكه با دنيايي از تمثيل و زبان نشانه و در قالب يك كابوس ديدگاه مردانه را نسبت به جنس زن نقد و بعضا" مورد انتقادقرار داده بود با اين حال به نظر من تصويري اغراق شده از فمينيسم ارائه كرده بود و شايد اين تنها نقطه ضعفي بود كه مي توانستم به آن اشاره كنم
A fascinating series of writings from the master director himself. The opening section on his boyhood. manages to take in Amarcord, 8 1/2, i Vitteloni and La Strada. However, just something about the autobiographical format felt wrong from Fellini. It felt truly honest, not what I was expecting. After all, the documentary on his life was called, "I am a born liar". The most interesting chapters for me were letters he wrote in reply to a priest asking about Nights of Cabira and another exchange w...
Loved this so much! Similar to his best films, this interview with Fellini is a beautiful, poetic, nostalgic, and very humorous take on life.
Interesting insights from a great filmmaker.
Illustrous writer is Fellini. This is a collection of essays which vary from autobiographical to film-theoretical. Very interesting reading especially to those who wonder what kind of man did the movies.
6 stars
