Monday, October 22, 2018 Text is available under the CC BY-SA 3.0 licence.

Harlan Ellison

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It is my hope that all of you who walk down the street with an iPod plugged into your head are hit by a Seven Santini Brothers moving van. I look down on a lot of you … not because you’re not terrific people, but because you’re not stupid, you’re ignorant. Big difference. Ignorance is never having seen a film by Akira Kurosawa. It’s not knowing who Guy de Maupassant is. …By the way if I miss, during the evening, saying something offensive to you, insulting your sexual proclivity, your physical disability, your race, your religion, your sex, anything, please, raise your hand. I’ll get to you, I promise. I’ll say something really nasty.

 
Harlan Ellison

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[I miss] the warmth of the [Italian] people: it is very easy to communicate with them, while the French are not such extroverts. On the other hand, there is a vibrant film industry in France: at least two hundred films are produced there, and the job opportunities are many. Unfortunately, the Italian film industry does not compare.

 
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The antagonism between science and religion, about which we hear so much, appears to me to be purely factitious — fabricated, on the one hand, by short-sighted religious people who confound a certain branch of science, theology, with religion; and, on the other, by equally short-sighted scientific people who forget that science takes for its province only that which is susceptible of clear intellectual comprehension; and that, outside the boundaries of that province, they must be content with imagination, with hope, and with ignorance.

 
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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".

 
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But existing society has chosen to persecute this race which should furnish its choice allies, and what have been the consequences?
They may be traced in the List outbreak of the destructive principle in Europe. An insurrection takes place against tradition and aristocracy, against religion and property. Destruction of the Semitic principle, extirpation of the Jewish religion, whether in the Mosaic or in the Christian form, the natural equality of man and the abrogation of property, are proclaimed by the secret societies who form provisional governments, and men of Jewish race are found at the head of every one of them. The people of God coöperate with atheists; the most skilful accumulators of property ally themselves with communists; the peculiar and chosen race touch the hand of all the scum and low castes of Europe! And all this because they wish to destroy that ungrateful Christendom which owes to them even its name, and whose tyranny they can no longer endure.

 
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