To my delight, Federico had seen Dans la ville blanche (1983) by Swiss director Alain Tanner. Enthusiastic about Bruno Ganz’s performance, he also was impressed by the film’s startling visual poetry of Lisbon achieved by transferring inferior film stock onto 35mm. It was exactly this kind of uncomplicated technical innovation that inspired Federico during the writing of Attore. Conceived in 1992, Attore focused on the craft and the psychology of actors. Having completed a film treatment with roles for Mastroianni, Giulietta Masina, and Paolo Villagio, Fellini was now wondering if he should provide Marcello with a home movie camera to be used in a loosely Shakespearian sense that all the world’s a film set. The 8mm footage of intimate memories of the theatre from his Rimini childhood would then be transferred to 35mm – a most intriguing idea that would have been a new departure for the Maestro had he lived to bring it to the screen.
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On Fellini’s last film project, AttoreDamian Pettigrew
» Damian Pettigrew - all quotes »
Fellini has sometimes been accused of not being interested in the work of other directors but I never found this accusation to hold true. The Federico I knew was not only a voracious reader but extremely interested in hearing about international directors, most notably, Nanni Moretti, Pedro Almodovar, David Lynch, Spike Lee, Akira Kurosawa, David Cronenberg, Wim Wenders, Woody Allen, Martin Scorsese and Stanley Kubrick. Clearly, part of the pleasure of discussing these directors was the stimulus for new ideas that their latest films gave him. Although we never explored Portuguese film in any depth, the films of Manoel de Oliveira and Joao César Monteiro genuinely fascinated Federico. At the urging of Mastroianni, he went to see A Divina Comédia (1991), Oliveira’s superb allegory about Western civilization, and returned enthralled. He had long been obsessed by the theme of insane asylums and Oliveira’s masterful blend of philosophy and religion appealed to him at a time in his life when such questions as death and resurrection had become pressing concerns. I do not know where or in what format Federico saw Monteiro’s Recordaçoes de Casa Amarela (1989) but it was a film he described as “deliriously eccentric, a satirical bizarrie that Bunuel would have adored".
Damian Pettigrew
For this game, we shot it just like it as if it was a film so there wasn't that much different from doing a film other than some technical things for the costume that had to be done so they could transfer the footage later and make it look animated.
Josie Maran
Some of the acting is better than the film deserves. Make that all of the acting. Actually, the film stock itself is better than the film deserves. You know when sometimes a film catches fire inside a projector? If it happened with this one, I suspect the audience might cheer.
Roger Ebert
For me, a director is more important than a big banner. A great director can do wonders. Of course, banners do matter because, ultimately, after all the hard work you put it, the film must release. This will happen only if you work with a good banner or a producer who markets your film well, gives the director whatever he wants, and releases the film.
Rani Mukerji
I am here to act, entertain and make good films. I don't want to work hard for a film which does not even get released. I will cooperate with my director and help him make a good film. I get disappointed if my co-actors don't put in as much as I do. Today I am looking for banners and costars who have the same goal as me --- to work towards making a good film with dedication. I have made mistakes in my career, but that is just the learning process.
Rani Mukerji
Pettigrew, Damian
Petty, Tom
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