Quotes of All Topics . Occasions . Authors
Fellini belongs to nature.
Well, Fellini... there is always Fellini.
It was I who made Fellini famous, not the other way around.
I see wonderful films by Bertolucci, Visconti, and Fellini.
But, I'm a big Johnny Cash and a big Lou Reed fan and a Fellini fan.
My favorite favorites are people like Bunuel, Fellini and Charlie Chaplin.
For me, Fellini was like a watermelon. It is there. A watermelon cannot die.
When you first start out, you want to be Fellini, or you want to be Bergman.
Fellini was a little lofty for a teenage boy, but certainly he was a huge influence.
New York's like a boxing match. In Hollywood, it's like a Fellini movie or something.
I was influenced by European movies, old Fellini, old Kurosawa - any sort of foreign film.
I'm a huge fan of Italian new realism, work by directors like Fellini and Vittorio De Sica. Their image of women is 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!
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?
There was a film that really affected me, 'La Strada' by Fellini, where Anthony Quinn and Giulietta Masina travel around on his little motorcycle thing.
'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.
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!
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.
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.
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!
Mr Fosse was obviously influenced by Brecht and Weill, as well as Bergman and Fellini, and you could see the influence of vaudeville and African American hoofing - and Fred Astaire, too.
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.
You could not imitate Fellini. His beauty was above anything else, but that intelligence was typically Italian. This helped me to realise that I had to create something that was distinctively Japanese.
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.
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.
A friend, Sean Cunningham, who went on to do 'Friday the 13th,' was given a small budget to produce a scary movie, and he told me to write something. I'd never seen a horror film in my life; I'd fallen in love with Fellini.
The cinematic language and interior destiny of each Iranian film-maker is different. The international influences on them vary from Rossellini to Fellini, Akira Kurosawa to Hou Hsiao-hsien, but there is a strong sense of solidarity.
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?
One day, I read an extremely vague ad looking for someone interested in working in film. Seeing as I loved watching films, I replied, and I found myself working for this guy who did his own personal editing of scenes from Antonioni and Fellini films.
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.
I spend a lot of time in Paris, in Milan, and in New York, and Rome is a little bit different. There is something in Rome, incredible, like in a Fellini movie. Everybody's screaming and laughing very loud. It's something that can give me more energy in terms of freedom.
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 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.
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.
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.