Federico Fellini Quotes

All art is autobiographical; the pearl is the oyster's autobiography.

If there were a little more silence, if we all kept quiet...maybe we could understand something.

You have to live spherically - in many directions. Never lose your childish enthusiasm - and things will come your way.

No matter what happens, always Keep your childhood innocence. It's the most important thing.

Life is a combination of magic and pasta.

I don’t like the idea of “understanding” a film. I don’t believe that rational understanding is an essential element in the reception of any work of art. Either a film has something to say to you or it hasn’t. If you are moved by it, you don’t need it explained to you. If not, no explanation can make you moved by it.

Don't tell me what I'm doing; I don't want to know.

Even the most miserable life is better than a sheltered existence in an organized society where everything is calculated and perfected.

Censorship is advertising paid by the government.

We must get beyond passions, like a great work of art. In such miraculous harmony. We should learn to love each other so much to live outside of time... detached.

Put yourself into life and never lose your openness, your childish enthusiasm throughout the journey that is life, and things will come your way.

We can all pretend to be cynical and scheming, but when we’re faced with purity and innocence, the cynical mask drops off.

I don't believe in total freedom for the artist. Left on his own, free to do anything he likes, the artist ends up doing nothing at all. If there's one thing that's dangerous for an artist, it's precisely this question of total freedom, waiting for inspiration and all the rest of it.

An artist is a provincial who finds himself somewhere between a physical reality and a metaphysical one. It’s this in-between that I’m calling a province, this frontier country between the tangible world and the intangible one. That is the realm of the artist.

The only place where you can be a dictator and still be loved is on the movie set

There is abundant testimony that if we choose love rather than self, we gain immeasurably.

Georgian film is a completely unique phenomenon, vivid, philosophically inspiring, very wise, childlike. There is everything that can make me cry and I ought to say that it (my crying) is not an easy thing.

There is no end. There is no beginning. There is only the passion of life.

و لكن البحث عن الحب لا يضمن العثور عليه، كما أن منح الحب لا يضمن تلقيه

Objects and their functions no longer had any significance. All I perceived was perception itself, the hell of forms and figures devoid of human emotion and detached from the reality of my unreal environment. I was an instrument in a virtual world that constantly renewed its own meaningless image in a living world that was itself perceived outside of nature. And since the appearance of things was no longer definitive but limitless, this paradisiacal awareness freed me from the reality external to myself. The fire and the rose, as it were, became one.

Going to the cinema is like returning to the womb; you sit there still and meditative in the darkness, waiting for life to appear on the screen. One should go to the cinema with the innocence of a fetus

Experience is what you get while looking for something else.

Happiness is simply a temporary condition that proceeds unhappiness. Fortunately for us, it works the other way around as well. But it's all a part of the carnival, isn't it?

All art is autobiographical.

اذا كنت أعرف شيئاً، فإني أعرف أني لا يمكن أن أكون شخصاً آخر

Only the early Fitzgerald was great. Then came an orgy of brutal realism

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.

I even see the cinema itself as a woman, with its alternation of light and darkness, of appearing and disappearing images

I’m a liar, but an honest one. People reproach me for not always telling the same story in the same way. But this happens because I’ve invented the whole tale from the start and it seems boring to me and unkind to other people to repeat myself.

Chaque langue voit le monde d’une manière différente.

أنا لا أتذكر أيام المدرسة جيدًا. لقد اختلطت كلها، فصار العام كأنه يوم، واليوم كأنه تكرارٌ للأيام السابقة كلها. لكن لم تكن حياتي في المدرسة.ففي أثناء الدروس كنت أشعر دائمًا وكأني أفتقد شيئًا أكثر أهمية، شيئًا أروع من أي شيء يُعرف في غرف الصف.

No.. no questo tipo no, non è capace. Questo vuole prendere tutto, arraffare tutto, non sa rinunciare a niente; cambia strada ogni giorno perché ha paura di perdere quella giusta, e sta morendo, come dissanguato.

Jung acompanha-nos à porta do incognoscível e deixa que vejamos e comprendamos por nós próprios.

Borges is particularly stimulating to a man who works in the cinema, because the unusual thing about his writing is that it is like a dream, extraordinarily farsighted in calling up from the unconscious complete images in which the thing itself, and its meaning, coexist - exactly as happens in a film. And, just as happens in dreams, in Borges the incongruous, the absurd, the contradictory, the arcane and the repetitive, although as powerfully imaginative as ever, are at the same time illumined like the careful details of something larger, something unknown, and are the faultless elements of a cruelly perfect, indifferent mosaic. Even the fact that Borges's work is strangely fragmentary makes me think of a broken dreamlike flow; and the heterogeneous quality of his work - stories, essays, poems - I prefer to see not as the union of the multiple threads in a greedy, impatient talent, but as a mysterious sign of unending change.

Fate is written in the face.

Loneliness is a heavy burden, but i'd rather be alone than make compromises.

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.

When I felt I was dying, these past few days, things were no longer anthropomorphic. The telephone, which looks like a sort of upturned black snake, was merely a telephone. Every thing was just a thing. The couch, which looked like a big square face drawn by Rubens, with buttons on the cover like wicked little eyes, was just a couch, rather shabby but nothing more. At such a time things don’t matter to you; you don’t bathe everything in your presence, like an amoeba. Things become innocent because you draw away from them; experience becomes virginal, as it was for the first man when he saw the valleys and the plains. You feel you are set in a tidy world: that is a door and it behaves like a door, that is white and behaves like white. What heaven: the symbolism of meanings loses all meaning. You see objects which are comforting because they are quite free. But suddenly you are flung into a new form of suffering because, when you come to miss the meaning of, say, a stool, reality suddenly becomes terrifying. Everything becomes monstrous, unattainable.

نحن لا نتحكم في ذكرياتنا، و واحدنا لا يملك ذكرياته بل هي التي تملكه

A created thing is never invented and it is never true: it is always and ever itself.

Nothing is more honest than a dream.

One doesn't remember one's own life chronologically, the way it happened, what was most important, or even what seemed most important. We are not in control of our memories. One doesn't own one's memories. One is owned by them.

„Мисля, че животът крие повече от онова, което знаем или някога ще узнаем. Религиозното, мистичното, психичното, чудодейното; съдбата, предназначението, съвпадението. Страната на име Неизвестното. Зная, че понякога ми се смеят и подиграват за готовността да възприемам всичко от А до Я, от астрологията до ясновидството, от Юнг до спиритическите сеанси и кристалните топки, но обещанието за чудеса ме омайва. Подигравачите и мърморковците не ме спират. Нека си живеят, вкоренени в земното, онези, които считат, че всичко трябва да има прагматично научно обяснение. Не желая да познавам хора, които не могат да кажат; „Представяш ли си!“ в отговор на някакво вдъхновяващо благоговение, необяснено явление. Мисленето наужким е най-важният вид мислене. Човек се развива натам, накъдето може да се развие, без да взема предвид вече известното.

Често ме питат дали Марчело е вторият ми Аз. Марчело Мастрояни е много неща за много хора. За мен той не е вторият ми Аз. Той е Марчело, актьор, който пасва съвършено на онова, което искам от него, и може да се огъва на всички страни подобно на човека-„каучук“. Като приятел е съвършен – той е от онези приятели, които се срещат в английската художествена литература, където от благородни съображения мъже, които са едни за други като братя, залагат живота си един за друг. Нашето приятелство е такова или там както си го представяте – защото ще трябва да си го представите, тук като в реалния живот, освен когато работим заедно, никога, ама практически почти никога не се виждаме. Вероятно това е една от причините приятелството ни да е съвършено, понеже всеки от двамата може да си въобразява, че другият е винаги на разположение. Не сме се проверявали никога,. Вярвам в него повече, отколкото на себе си, защото знам, че аз самият всъщност не съм приятел, на когото би могло да се разчита. Може би Марчелино ми вярва повече, защото познава по-добре себе си. Помежду ни никога не е имало неискреност. Играем, но без претенции. В искрената игра си има своеобразна истина.

… the conjunction of Beethoven’s last symphonic masterpiece with crucial works or events in the lives of so many other outstanding artists made 1824 a particularly fertile year…. The fact that the Ninth Symphony, Byron’s death, Pushkin’s Boris Gudunov and “To the Sea,” Delacroix’s Massacres at Chios, Stendhal’s Racine and Shakespeare, and Heine’s Harz Journey and North Sea Pictures all futhered, in one way or another, Romanticism’s rear-guard action against repression underlines the significance of that speck of time. And perhaps these brief glances at those artists and their states of being at that moment will have helped to remind readers—as they reminded this author—that spiritual and intellectual liberation requires endless internal warfare against everything in ourselves that narrows us down instead of opening us up and that replaces questing with certitude. Nearly two centuries later, the world still overflows with people who believe that truth not only exists but that it is simple and straightforward, and that their truths—be they political, religious, philosophical, moral, or social—constitute The Truth. Federico Fellini’s characterization, a generation ago, of the fascist mentality as “a refusal to deepen one’s individual relationship to life, out of laziness, prejudice, unwillingness to inconvenience oneself, and presumptuousness” describes the obedient adherents of most prefabricated beliefs, everywhere and at all times. The others—the disobedient, the nonadherents, those who think that the world is not easily explained and that human experience does not fit into tidy little compartments—are still fighting the eternally unwinnable War of Liberation. Until our sorry species bombs or gluts itself into oblivion, the skirmishing will continue, and what Beethoven and company keep telling us, from the ever-receding yet ever-present past, is that the struggle must continue (pp. 110-11).

„Понякога се срещахме по ресторантите. Той винаги ядеше много. Забелязах това, защото изпитвам естествен афинитет към хората, които обичат да ядат. Винаги можете да различите онзи, който обича да яде, не по количеството храна, което поглъща, а по густото, с което го прави, понеже има вид на човек, изпитващ истинско удоволствие. Затова отначало забелязах Мастрояни именно поради тази наша ресторантска хармония с него.

Понякога завиждам на живописците. Когато ме посети Балтус, той ми каза, че ми завиждал, задето правя изкуство, което се движи. Аз пък му завиждах, защото можеше да работи всеки божи ден от живота си. Трябваха ми само бои, платно и малко супа.

Quisiera decirles, muchachos, que cada cual cuenta sólo aquello que conoce.

Cinema is a collaboration where everyone tries to erase everyone else’s work.

Миний сэтгүүлч ч гэж бас юу байх билээ. Гэсэн ч эргэлзээнгүй анхны минь ажил юм даа. Америк кинон дээр гардаг шиг дэгжин хүрэмтэй хүн тэнд байгаагүй ч "Хүссэнээ хийгээд амьдраад байж болох юм" гэсэн итгэл тэр үед л анх төрсөн. Харин Ромд очих тухай бодол намайг амар тайван байлгаагүй тул тэнд дөрөвхөн сар л ажилласан юм.

Харин хүсэн хүлээсээр очиход Ром хот урмыг минь хугалсан удаагүй.

Бас эрт гэрлэхгүй гэхдээ тэднээс зай барьдаг байв. Эцэг эх шигээ ахуй амьдралд хүлэгдэхгүйг, надад зэхсэн хувь тавилан хаа нэгтээ бий бол түүнийгээ олохыг хүссэн. Эрх чөлөө гэдэг надад юм бүхнээс үнэтэй.

Өөрийгөө олны анхаарлын төвд байгааг мэдрэх бүртээ би улам бүрэг болж, хоолоо олохын тулд л ийм зүйл хийж байна гэж бодохоос дотор зарсхийдэг.

Хүмүүс надаас "Жаргалтай сайхан амьдарсан уу?" гэж асуух нь олонтаа. Би үргэлж "Илүү хүсэх юмгүй. Санаснаараа, бүрэн дүүрэн амьдарсан." гэж хариулдаг. Аз жаргал гэдэг хөдөлшгүй, хэзээд зуураад байж болох барьцтай эд биш юм даа.

Зөвхөн өөрийгөө баясгах гэж кино хийдэг гэсэн шүүмжлэлийг би олонтаа сонсож байлаа. Тэгж дүгнэсэн хүмүүст би харин ч талархана. Учир нь тэдний зөв юм. Хүн бүрийн санаанд нийцэх гэж хичээвэл хэний ч сэтгэлд хүрэхгүй, хүссэнээрээ хийж байж л кино бүтээнэ. Тэгэхээр эхлээд өөрийнхөө сэтгэлд нийцэх, өөрөө өөртөө таалагдах нь чухал юм. Миний сэтгэлд хүрсэн зүйл бусдад ч мөн таалагдвал ажлаа үргэлжлүүлж болно гэсэн үг.

Өрөөлд таалагдахыг хичээдэг хүн хэзээ ч урлан бүтээгч болж чадахгүй. Тийм хүн өөрийн гэсэн бүхнээ энд тэнд зольж явсаар эцэст нь өөрийгөө нэг мөр алдана.

Амьдрал дээр ч, уран бүтээлд ч гэнэн цайлган, зүггүй зангаа алдахгүй байх нь чухал юм. Жижигхээн сүүл байна гээд татчихвал аварга том заан гараад ирвэл догь биз дээ. Ерөөс юм бүхнийг хүлээн зөвшөөрөхөд бэлэн байж сурах хэрэгтэй.

Гэхдээ тэр энэ мэт бодлоо хөндлөнгийн хүний дэргэд хэлдэггүй байв. Гэртээ байхдаа л намайг шүүмжилнэ. Харин кино гарч, айхтар амжилт ололгүй өнгөрсний дараа Жульетта өмнө нь хэлж байсан нэг ч үгээ давтаж хэлээгүй, тэр үеийг дурсаагүй юм. Надад гомдоллож, "Хэлээгүй юү!" гэж ганц ч дуугаараагүй билээ.

Киноны талаар олон юм ярьж, эцэс төгсгөлгүй шинжиж дүгнэх нь угтаа бол кино аллага юм.

Алдахаас айна гэдэг хүнийг барьж хорьдог, хамгийн бат бөх, хамгийн аюултай чөдөр тушаа юм. Төгс зүйл мөрөөдөж, юм бүхний тохироо бүрдэхийг хүлээж суухаар оноолт газраа чөлөөтэйхэн сэлгүүцэж байхгүй яав даа гэж одоо харамсаж сууна. Алдсан ч хүн гар хумхин сууж биш, харин юу ч хамаагүй хийж, хөдөлж байгаад алдах нь дээр юм. Тэгвэл ядаж л хожим харамсахгүй билээ.

Амьдрал бол ид шид, паста хоёрын уран сэтгэмж болоод бодит байдал хоёрын нэгдэл билээ.

different language is a different vision of life.” —Federico Fellini

A different language is a different vision of life.” —Federico Fellini

This morning I met a woman with a golden nose. She was riding in a Cadillac with a monkey in her arms. Her driver stopped and she asked me, “Are you Fellini?” With this metallic voice she continued, “Why is it that in your movies, there is not even one normal person?” —FEDERICO FELLINI

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.” ~ Federico Fellini

A different language is a different vision of life.

Kes teab, kust see vastikus sita vastu. - See on niisamuti meie produkt nagu mõttedki! (Carlini, otsides kuivkäimla vedela ja paksu sisse sukeldudes krahvinna sõrmust)

Tallis mängivad Bobo ja ta vend eesliga. Poisid toksivad luuavarrega looma munade pihta. Nad naeravad. Eesel lööb takka üles, kabjahoobid lähevad aina raevukamaks. Läbi väikese ukse talli tagaseinas on näha tibudega kana mööda minemas. Bobo kutsub venda. "Tule. Situme siia ja pühime siis tibudega perset." Nad jooksevad uksest välja. Kumbki püüab kinni kolm-neli tibu.

Sa meeldid mulle." "Sitta ma sulle meeldin." "Sa oled ilus." "Persse see ilu.

Il bello sarebbe meno ingannevole e insidioso se cominciasse a venir considerato bello tutto ciò che dà un'emozione, indipendentemente dai canoni stabiliti.

Ognuno ha la faccia che gli compete, non può averne un'altra: e tutte le facce sono sempre giuste, la vita non sbaglia.

Each moment presented may be your last, so fill it up until you vomit

Directed By: Federico Fellini Starring: Marcello Mastroianni, Anouk Aimee

I became burdened…with useless baggage that I now want off my back. I want to uneducate myself of…worthless concepts, so that I may return to a virginal personality…to a rebirth of real intent and of real self. Then I won’t be lost in a collective whole that fits nobody because it’s made to fit everybody. Wherever I go, from the corner of my eye, I see…people moving in groups, like schools of fish… This is one of the things I fear more than anything else. I loathe collectivity. Man’s greatness and nobility consists in standing free of the mass. How he extricates himself from it is his own personal problem and private struggle.