In 'Roma,' I wanted to get across the idea that underneath Rome today is ancient Rome. So close. I am always conscious of that, and it thrills me. Imagine being in a traffic jam at the Coliseum! Rome is the most wonderful movie set in the world... As was the case with many of my film ideas, it was inspired by a dream.
Interpretation
Fellini expresses the timeless connection between modern Rome and its ancient history, highlighting the city's cinematic allure.
In this quote, Federico Fellini reflects on the profound connection he feels between contemporary Rome and its ancient past. He emphasizes how the city's rich history is always present, even in mundane moments like being stuck in traffic. This idea of a living history inspires him and serves as a backdrop for his creativity, suggesting that every location is steeped in stories that can be captured through the art of film.
In practice
This quote could be used in a film-making seminar to discuss the inspiration behind location choices.
I’m just a storyteller, and the cinema happens to be my medium. I like it because it recreates life in movement, enlarges it, enhances it, distills it. For me, it’s far closer to the miraculous creation of life than, say, a painting or music or even literature. It’s not just an art form; it’s actually a new form of life, with its own rhythms, cadences, perspectives and transparencies. It’s my way of telling a story.
Talking about dreams is like talking about movies, since the cinema uses the language of dreams; years can pass in a second, and you can hop from one place to another. It's a language made of image. And in the real cinema, every object and every light means something, as in a dream.
No critic writing about a film could say more than the film itself, although they do their best to make us think the oppposite.
A created thing is never invented and it is never true: it is always and ever itself.
What's important is the way we say it. Art is all about craftsmanship. Others can interpret craftsmanship as style if they wish. Style is what unites memory or recollection, ideology, sentiment, nostalgia, presentiment, to the way we express all that. It's not what we say but how we say it that matters.
We can all pretend to be cynical and scheming, but when we’re faced with purity and innocence, the cynical mask drops off.
For me, the intellect is always the guide but not the goal of the performance. Three things have to be coordinated, and not one must stick out. Not too much intellect because it can become scholastic. Not too much heart because it can become schmaltz. Not too much technique because you become a mechanic.
It is my feeling that a story is not finished until it is read, and that the reader finishes it through his or her life experience, prejudices, worldview and thoughts.
Some people wish above all to conform to the rules, I wish only to render what I can hear.
My introduction to art history was like everybody else's. You see an art history book that has works by Rembrandt and Leonardo da Vinci and Michelangelo. Yes, these things are great. But I don't see a reflection of myself in any of these things I'm looking at.
There's no particular class of photograph that I think is any better than any other class. I'm always and forever looking for the image that has spirit! I don't give a damn how it got made.
The first time I started choreographing was in the dark, in my living room, with the lights completely out, to some popular music on the radio. I put the radio on full blast and I started moving. I didn't know what it looked like. I didn't want to see it... I had to start in the dark.
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