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For me, Fellini was like a watermelon. It is there. A watermelon cannot die.
When I'm on stage, it's really intense. My mind is going a million miles an hour, trying to remember my act, trying to say it all the right way. It's funny how different it looks and how it's happening. There are three Fellini circuses in my head, and outwardly it looks like I'm going to get a bagel.
It was I who made Fellini famous, not the other way around.
With 'Brick' there was the Dashiell Hammett influence, and with 'Brothers Bloom' there was a really strong Fellini influence - both those movies wore that on their sleeve.
I loved all movies, literally. I certainly loved 'Shane' and 'Roxie Hart.' Later on, when I was less of a kid, I loved 'L'Avventura' and 'Persona' and all Fellini movies and like everybody else I loved John Ford. Then and now, I loved Preston Sturges, maybe above anyone.
I was influenced by Ray Harryhausen and Lotte Reiniger, with her twitchy, cutout animation, which I happened to see at a very young age, but also by the Warner Bros. cartoons, 'Tom and Jerry,' and of course Disney. And also by Fellini's 'Giulietta of the Spirits' and Kurosawa's 'Ran.' And by other American illustrators and painters.
When I first saw a Fellini movie, I came out of the movie theatre and decided to become a lawyer! I thought to myself, it's impossible to make something so beautiful!
My star was kind of fading towards the end of the '60s and suddenly I got this call from Fellini, who just appeared to kind of love me!
My mother is like a character who escaped from the set of a Fellini film. She's a whole performing universe of her own. Activists would run a mile from her because they could not deal with what she is.
New York's like a boxing match. In Hollywood, it's like a Fellini movie or something.
Certainly for my father, there were great times, good times, not-so-good times. He might be shooting a Fellini film for six months, then not working for two months. I'm used to that dynamic.
'La Notte' is my favorite of the Antonioni pictures and my favorite work of the master cinematographer Gianni di Venanzo, who also shot '8 1/2' for Fellini.
I was influenced by European movies, old Fellini, old Kurosawa - any sort of foreign film.
I like so many different directors: Scorsese, Coppola, Cassavetes, Jarmusch, Gus van Sant, Woody Allen and the greats like Fellini, Bergman, Tarkovsky and among current filmmakers von Trier, Ang Lee, Wong Kar-wai.
Alejandro Gonzalez Inarritu
In a sense, 'Schmidt' is the most Omaha of my films. But have I gotten it right? I'm not sure. Did Fellini get Rome right? Did Ozu get Tokyo right?
I think about a Richard Avedon photo series, the kind of faces he gets of real people, which I find so captivating. Fellini was also great in filling his films with this ambiance, this environment, sometimes chaotic and carnival-like, but people's faces were always amazing.
Fellini belongs to nature.
My favorite favorites are people like Bunuel, Fellini and Charlie Chaplin.
Fellini and Bunuel changed my life for me, they are my favourites. If it is true that movies are dreams, both of them, Fellini and Bunuel were shooting in a dream way.
I see wonderful films by Bertolucci, Visconti, and Fellini.
There are beauty icons that I can never be like, sorta like a Gena Rowlands - I'll never have that look. I love Giulietta Masina, the great Fellini actress. But I'm probably more Seymour Cassel. Or somewhere between Lou Reed and Nora Ephron?
I could spend my whole life photographing circuses. They combine everything I'm interested in - they're ironic, poetic, and corny at the same time. There's also something about a circus that's magical, sentimental, and almost tragic, like a Fellini film.
Mary Ellen Mark
With Fellini, the fear dropped out of my work because it was such a happy experience... hanging out with Fellini, having pasta on the set with Fellini, and going out with Fellini!
But, I'm a big Johnny Cash and a big Lou Reed fan and a Fellini fan.
Well, Fellini... there is always Fellini.
William Arthur Ward
Martin Luther King, Jr.
Image of the Moment
The more articulate one is, the more dangerous words become.
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