“We’ve been approached countless times and asked to consider everything from remakes and re-imaginings to prequels and sequels.
How did it happen? Through Francesca Fellini, niece of Federico Fellini and the last blood descendent of the Fellini family. The project will be financed and produced by AMBI with Italian producer Daniele Di Lorenzo through his production company LDM Productions banner. Considered one the best films of the era, La Dolce Vita won the Palme d’Or at the 1960 Cannes Film Festival. Federico Fellini’s estate just closed an option agreement with AMBI Group principals Andrea Iervolino and Monika Bacardi to do a “homage” film on the filmmaker’s 1960s classic La Dolce Vita which starred Marcello Mastroianni and Anita Ekberg. Others will shrug and say, they did it with Lolita. How has Federico Fellini inspired your work? What's your favorite Fellini film? Let us know in the comments.Some may call it heresy. Video is no longer available: Be sure to check out Cinephilia and Beyond's post, which contains more Fellini resources, photos, and videos. He goes on to explain that we as people are all "grotesque," but Fellini was a master at finding beauty in the grotesque by pulling back presuppositions and judgements in his films, and just allowing these "ugly" things to be human. Maybe reading what he said isn't the best way to grasp his point, but you can see and hear him talk about this at the 10:13 mark in the video.
From an aesthetic point of view, if he is a creator expressing himself with hands and they appear beautiful. For me, the judgement is not that - vulgarity or beauty - from an aesthetic point of view - things from a modern point of view it's very vulgar. When asked what fascinates him so much about "beauty" and "ugliness," Fellini replies: Below is a video of an early interview between Scorsese and Charlie Rose in which the two discuss Fellini's influence on the Mean Streetsfilmmaker:Īs usual, Cinephilia and Beyond has shared some excellent material on Fellini - an 1972 interview with Fellini entitled The Secret World of Federico Fellini. In it, the director explains his cinematic style, but also touches on something about his aesthetic that is so poignant and uncharacteristically forthright.
His films have become iconic, La Strada(1954), La Dolce Vita(1960), and Amarcord(1973) to name just a few, and have inspired a great number of great filmmakers, including Martin Scorsese. His work is characterized by their fantastical nature and use of "The Fool" as his protagonist - stylistic choices that weren't well received in his own country, which was, at the time, in the throes of the neorealistic movement. His cinematic worlds of good-natured fools, early neorealist screenplays, and carnivalesque studies of society and human nature, blend and war to form the universe in which Fellini's unique sensibilities abide.įellini began his career as a screenwriter in the early 1940s, eventually writing for Italian neorealist filmmaker Roberto Rossellini - ironic considering the direction in which he took his own films. With so many classics to his name, including his masterpiece 8 1/2(1963), which covers subject matter that is often thought to be impossible to do well, making a film, the flamboyant director has become one of the most celebrated filmmakers of all time. The term "master filmmaker" gets thrown around quite a bit, but I can say without hyperbole that Italian director Federico Fellini is in fact a master filmmaker.