His sophistication works because it is the creation of someone who doesn't have it. His films are a small-town boy's dream of the big city. Orson Welles cuttingly declared, 'his limitation - which is also the source of his charm - is that he's fundamentally very provincial. Having already modelled Sweet Charity (1968) on Nights of Cabiria (1957), Bob Fosse also drew on 8½ for All That Jazz (1979) and Rob Marshall followed suit with Nine (2009).Īuteurs as different as Wojciech Has, Emir Kusturica, Tim Burton, Terry Gilliam and David Lynch have all acknowledge their debt to Fellini. Stanley Kubrick cited I Vitelloni (1953) as his favourite film and its imprint can be seen on such Hollywood rites of passage as Martin Scorsese's Mean Streets (1973), George Lucas's American Graffiti (1974), Joel Schumacher's St Elmo's Fire (1985) and Barry Levinson's Diner (1987).Ī huge fan of Italian cinema, Scorsese has also listed Fellini's study of a gnawing creative crisis, 8½ (1963), as one of his all-time Top 10 films and its impact is evident in a range of pictures from Arthur Penn's Mickey One (1965), Rainer Werner Fassbinder's Beware of a Holy Whore (1971) and François Truffaut's Day For Night (1973) to Woody Allen's Stardust Memories (1980), Tom DiCillo's Living in Oblivion (1995) and Peter Greenaway 8½ Women (1999). He came to embody fantasy and imagination and, in the process, influenced generations of future film-makers. As biographer Peter Bondanella noted, the terms 'Felliniesque' and 'Fellinian' have become 'synonymous with any kind of extravagant, fanciful, even baroque image in the cinema and in art in general'. We start with a profile of Federico Fellini, the maverick maestro who was nominated for 12 Academy Awards in a career that helped define Italian cinema for half a century.įew directors have left such a deeply personal mark on cinema as Federico Fellini. In the new Instant Expert series, Cinema Paradiso offers essential guides to the artists and artisans who have called the shots on the best films ever made. Grazie.Although stars get all the adulation, it's directors who have shaped cinema history. Thank you, dearest Giulietta, and please, stop crying.
Let me make only one name of an actress who is also my wife. I would like naturally, first of all, to thank all the people that have worked with me. In these circumstances it's easy to be generous and to thank everybody. I want to thank all of you to making me feel in this way. I come from a country and I belong to a generation for which America and movies were almost the same thing, and now to be here with you, my dear Americans, make me feel at home. What I can say, well, I really did not expect it, or perhaps I did but not-but wait-but not before another twenty-five years. I would like to have the voice of Domingo to say a long, long thanks. If one here to feel a little bit uncomfortable, that's only me.
Presenter: Sophia Loren, Marcello Mastroianniĭate & Venue: MaDorothy Chandler Pavilion Winner: To Federico Fellini in recognition of his place as one of the screen's master storytellers.
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