As the French composer and film theorist Michel Chion notes: “We reach a point where voices… begin to acquire a sort of autonomy in a baroque and decentered profusion.” Dubbing was the norm in most Italian pictures during the director’s long career, but with Fellini it assumed a poetic quality.
If he felt an actor’s voice didn’t match their physiognomy, or if he wanted a voice to contrast sharply with the actor’s appearance (say, for comic effect), he would change it.Īll of the performers who worked with him knew that the lines they delivered on set would more often than not be modified in post-production. With sound as with image, Fellini was keen to oversee every last detail. The whirling visuals are matched by equally free-floating and entirely post-synchronised soundscapes, which layer dialogue, sound effects and music.
Fellini’s films are often bustling with movement, his characters moving in and out of teeming frames, some freely breaking the fourth wall – as in the famous final shot of Nights of Cabiria (1957), in Amarcord (1972) and elsewhere in his filmography.įellini’s characters often break the fourth wall, as in Amarcord (1972) Huge collection, amazing choice, 100+ million high quality, affordable RF and RM images. Like many of the major moments in his life, he reimagined it for the big screen, in 1987’s Intervista, a picture originally conceived to mark the studio’s 50th anniversary.įellini always envisioned his films as journeys, and it’s clear that inside or outside the studio, with or without protagonists at their centre, most of his works have a restless, wandering quality – something the director claimed was influenced by his collaborations with Rossellini. Find the perfect federico fellini and giulietta masina stock photo. Like a painter with his canvas, Fellini told Gili, the filmmaker “is able to put together colours and tones, controlling distances, transparencies and perspectives”.įellini first stepped into Cinecittà as a young journalist in the late 1930s, shortly after the studios had opened. In a 1986 interview with Positif’s Jean Gili, he affirmed his belief that the studio is the only place where the filmmaker can recreate exactly what he or she has cooked up in their imagination. Although his early films blended some location shooting with studio work, the director became increasingly attracted to the idea of building his filmic worlds from scratch and exerting complete control.
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When in Rome: Satyricon (1969) was one of many Fellini films to shoot at Cinecittà studiosįew filmmakers knew how to keep Cinecittà busy like Fellini.