A semi-creative state of trance the one experienced for all his life by Federico Fellini. It is sure of it Paolo Villaggio when in an interview published in the book written by Ottavio Ciro Zanetti Tre Passi nel Genio Fellini tra Fumetto, Circo e Varietà Three Steps Into the Genius Fellini among Cartoon, Circus and Variety Foreword by Nicola Piovani, introduces to the reader the biggest, most incredible and visionary director that the italian cinema has ever had.This genius of creativity was also a sensitive person, someone in grade to "see" the unknown; he had constantly visions of people, creatures; they were there for him for searching for someone in grade to give them that corporeality that in opposite case they wouldn't never had; waiting for him and for his numerous sketches and cartoons, strips where, at first they would have had visibility; and later on the big screen.
Fellini in fact was born as a cartoonist when he left his city for Rome, starting to be introduced soon at people like Steno, Zavattini and other big names of the environment of cinema.
What attracted Fellini and the creatures and visions he had were the most diversified people; but not people of an elite, as researched by Visconti. In this land of dreams, populated by colors, creatures of every sorta, there were most of the time common people in common daily situations, and sometimes surreal ones as for example when a man will discover later that he was dead. Travel is a current thematic for Fellini.
Absolutely attracted by Circus and Variety maybe also because two worlds in grade to present illusion, these worlds would have been largely used by the director. There is a constant happiness, a constant joy in a circus and in a variety and joy and happiness and youth and time seems blocked in that worlds.
He knew Walt Disney one of his heroes when in American for La Strada, and invited by Disney Fellini experienced a memorable day. He told anyway that who inspired him the most were the cartoons published in Il Corriere dei Piccoli, The Corriere of Little Ones, an italian magazine dedicated to children. One of his favorite characters Mandrake.
Fellini loved all his actors, extras included, with which he loved to continue to collaborate.
With him the logical scheme of a movie didn't exist anymore, and there wasn't a proper end.
He didn't love clowns a lot because they put him in a bad mood; they remembered him people he had known when little. People without a part of their body, or crazy people or people who during the war scared him to death but he won this fear putting them on the big screen.
Fellini tried to give vision to his movies at first not using the camera, no, but visualizing through cartoons, strips and sketches characters, situations, and changing continuously the movie also when in motion.
There wasn't a real script, tell people in this fascinating book, there was the genius, inventing, giving the chance of living the moment to the actors, because he had seen something else, somewhere on his mind.
He also wasn't satisfied when the product in post-production and in the phase of being dubbed. "Federico you can't whisper, the voice will be recorded" someone told him and Fellini: "Who cares?"
Discussions took place because of these interference with new lines for the characters. Not the old ones. New ones.
Sure he wasn't never alone, because this fertile imagination followed and accompanied him for his entire existence giving voices after all to an immense imaginary world he could see.
Not only: another fact needs needs to be told.
After the sad departure of Federico Fellini, it was shocking and pretty abrupt, it was published his oneiric book of dreams that could be re-baptized "The Oneiric Comedia by Federico Fellini". He loved after his numerous dreams during the night to put down what he saw giving bodies to characters, situations later used also in his movies. In his youth he had read various books By Carl Gustav Jung the most known students by Freud and although he had read Freud as well, the first one played a big role in the rest of his existence, because of his massive important theory of dreams and his meaning; Jung marked not just the day, but also the nights of Fellini populated by people, places, characters all the times different.
While Claudia Cardinale protagonist of 8 e mezzo considers with an adjective Fellini, magical, friends admit that his sensitivity was incredibly high, in particular Nicola Piovani tells in an interview about Fellini's experience with music, that to Fellini it was like to enter in a different state of mind, in grade of scare him to death, because touched him in profundity. He could cries for few notes, told Piovani.
Dante Ferretti one of our biggest characters in the USA, he worked with Terry Gilliam, Tim Burton, Martin Scorsese and more, started his career with the Satyricon by Federico Fellini and tells that to him Fellini meant his green card, and his possibility of working in another country. "My diplomatic passport" admits Ferretti.
Other interview involves Milo Manara, Maurizio Millenotti, Jean Gili.
It's a magical book this one, I highly suggest it to you.
I thank Marsilio for the physical copy of the book.
Anna Maria Polidori
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