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WE APOLOGIZE TO THE AUDIENCE
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FOR THE QUALITY OF SOME IMAGES
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TAKEN FROM CUT OR UNRELEASED MATERIAL
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DUE TO DEFECTS IN THE ORIGINAL VIDEOS
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I remember that the first signs
of the film
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00:00:29,864 --> 00:00:34,169
came from a small piece of news
that had struck me,
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regarding the funeral of a famous singer.
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00:00:37,672 --> 00:00:42,110
She had asked to be cremated,
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00:00:42,210 --> 00:00:44,612
and had left instructions in her will
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concerning the ritual
to scatter her ashes.
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00:00:47,849 --> 00:00:49,718
This news had captured my attention.
14
00:00:49,818 --> 00:00:51,720
We spoke about it with Tonino Guerra,
15
00:00:51,820 --> 00:00:55,890
and after starting off on a labyrinthine,
chaotic path,
16
00:00:55,990 --> 00:00:58,960
we gradually managed
to bring the story into focus.
17
00:00:59,060 --> 00:01:04,632
The script took a very short time
to write, just a couple of weeks.
18
00:01:04,733 --> 00:01:06,768
How was your relationship
with Tonino Guerra?
19
00:01:06,868 --> 00:01:11,005
Excellent. We're on the same page.
I had already made Amarcord with him.
20
00:01:11,106 --> 00:01:13,308
We've known each other for 40 years.
21
00:01:13,408 --> 00:01:16,544
We work together
22
00:01:16,644 --> 00:01:20,849
in a very complementary and free way.
23
00:01:20,949 --> 00:01:24,319
There are no problems.
24
00:01:24,419 --> 00:01:26,654
I've mostly had good relationships
with writers.
25
00:01:26,755 --> 00:01:28,757
- First of all because...
- He's from your area.
26
00:01:28,857 --> 00:01:31,860
No, besides Tonino,
I meant more in general:
27
00:01:31,960 --> 00:01:35,029
with Flaiano, Pinelli,
Bernardino Zapponi, Brunello Rondi.
28
00:01:35,430 --> 00:01:39,100
- I've always had very—
- Is it also a relationship of complicity?
29
00:01:39,200 --> 00:01:43,438
Yes, our complicity comes
from allowing ourselves to be plunged,
30
00:01:43,538 --> 00:01:45,373
consciously or maybe not,
31
00:01:45,607 --> 00:01:51,379
into a vaguely Vitelloni-like
after-school atmosphere.
32
00:01:51,479 --> 00:01:52,580
Like having to do homework.
33
00:01:52,680 --> 00:01:56,251
We tackle things with a rather boorish
and shrewd attitude,
34
00:01:56,351 --> 00:01:58,553
just trying to get them done,
one way or another.
35
00:01:58,653 --> 00:02:04,459
This vague atmosphere, which I find
to be nurturing and not inappropriate,
36
00:02:04,559 --> 00:02:09,097
is what turns the relationship
into a form of playful friendship.
37
00:02:09,197 --> 00:02:11,666
Therefore,
working is no longer just a job.
38
00:02:11,766 --> 00:02:15,703
I never manage to build
a definitive screenplay.
39
00:02:16,604 --> 00:02:19,874
This is also because, having worked
for many years as a screenwriter,
40
00:02:19,974 --> 00:02:22,777
and having written many scripts
before becoming a director,
41
00:02:23,745 --> 00:02:27,715
I have the ambition and presumption
of being able to fix things on the spot,
42
00:02:27,816 --> 00:02:33,421
even if I start production on a film
without having a fully defined script.
43
00:02:33,822 --> 00:02:37,992
There comes a time in which I need
to start looking the film in its face.
44
00:02:38,092 --> 00:02:40,228
FELLINI RACCONTA 2 - DIARY OF A FILM
45
00:02:43,798 --> 00:02:48,403
AND THE SHIP SAILS ON
46
00:02:49,637 --> 00:02:50,872
FELLINI TO STARBOARD
47
00:02:50,972 --> 00:02:54,175
The anticipated announcement
came unexpected in Cinecittà's Stage 5,
48
00:02:54,275 --> 00:02:57,612
this time Fellini and his ship
are hoisting the anchors.
49
00:02:57,712 --> 00:03:00,181
...a certain relevance
on a personal level too.
50
00:03:00,281 --> 00:03:05,353
I'm getting on in years.
I've turned 60, so —
51
00:03:05,453 --> 00:03:07,055
- Is today the 13th?
- Yes.
52
00:03:07,155 --> 00:03:10,925
Great! Everything is following
the most catastrophic signs!
53
00:03:12,594 --> 00:03:17,131
No less than seven sets will be used
to reconstruct the famous ship.
54
00:03:17,232 --> 00:03:21,035
The huge boilers of the engine room
are almost full-scale.
55
00:03:22,170 --> 00:03:25,840
Powerful pneumatic hammers
support a large platform
56
00:03:26,174 --> 00:03:28,877
where the central hall
of the ship is built:
57
00:03:28,977 --> 00:03:31,546
thanks to an electronic device,
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00:03:31,646 --> 00:03:33,948
these hammers will help simulate
the oscillation and rolling
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00:03:34,048 --> 00:03:35,583
of the steamship on the waves.
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00:03:45,193 --> 00:03:48,997
None of the characters who populate
the ship will be played by famous actors.
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00:03:49,097 --> 00:03:50,765
There's a specific reason for this.
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00:03:50,865 --> 00:03:52,500
None of them are celebrities.
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00:03:52,600 --> 00:03:56,537
I made this choice deliberately.
64
00:03:57,171 --> 00:03:58,907
As the film tells a story
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00:03:59,007 --> 00:04:03,044
which supposedly took place
more than one hundred years ago,
66
00:04:04,045 --> 00:04:08,816
I thought that, since it's the story
of people who have disappeared,
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00:04:08,917 --> 00:04:12,053
on whom we have no more information,
since they've all turned to dust,
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00:04:12,420 --> 00:04:16,557
unknown faces could increase
a sense of curiosity
69
00:04:16,658 --> 00:04:18,626
and return these characters
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00:04:19,127 --> 00:04:23,131
to their dimension as unknown people
who have vanished.
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00:04:25,466 --> 00:04:28,436
The story emerges slowly.
72
00:04:28,836 --> 00:04:31,639
Finally,
Fellini explains the sense of the film.
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00:04:31,739 --> 00:04:36,344
"Today," says the director,
"we live in a world of hyper-information,
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00:04:36,444 --> 00:04:38,012
and this world conditions us."
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00:04:38,112 --> 00:04:41,849
I think the heart of the film,
the sense of the film refers
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00:04:42,317 --> 00:04:47,522
to the need to subconsciously desire
a piece of news
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00:04:47,755 --> 00:04:50,191
concerning an event so...
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00:04:52,226 --> 00:04:54,329
immense and devastating,
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00:04:54,429 --> 00:04:59,000
that we can hope for it to provoke
some kind of reaction within us.
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00:04:59,100 --> 00:05:02,370
Naturally, the film doesn't have
such an apocalyptic tone.
81
00:05:02,470 --> 00:05:06,040
It's a very funny, comical
and adventurous story.
82
00:05:06,140 --> 00:05:08,276
I also hope it will be fun
for the audience,
83
00:05:08,376 --> 00:05:11,446
even if its heart aims
84
00:05:11,546 --> 00:05:15,583
to expose a theme
that I think concerns us all.
85
00:05:16,017 --> 00:05:18,319
We start in two days' time,
in an outdoor set,
86
00:05:19,287 --> 00:05:23,124
built in a space in the Tiburtino area...
87
00:05:24,158 --> 00:05:27,862
where we will try to recreate
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00:05:27,962 --> 00:05:30,498
the Port of Naples
from one hundred years ago.
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00:05:30,765 --> 00:05:34,335
Out of the shot! Clear the area.
Come on. Action!
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00:05:47,582 --> 00:05:51,319
The long delay
in beginning work on this film
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00:05:51,419 --> 00:05:54,655
is due to the fact
that Italian cinema in general
92
00:05:55,256 --> 00:05:59,060
is going through quite a dramatic
and deep crisis.
93
00:05:59,160 --> 00:06:04,065
Therefore, this project was also affected
by the delays...
94
00:06:05,433 --> 00:06:09,837
stagnation and resistances of a situation
that involves cinema as a whole,
95
00:06:09,937 --> 00:06:11,773
not this film in particular.
96
00:06:12,106 --> 00:06:15,676
I am the glorious victim
of myths and legends
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00:06:16,277 --> 00:06:20,848
for which I thank my friends in the press.
I mean that sincerely, without irony.
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00:06:20,948 --> 00:06:22,950
Some claim that I don't talk
about the film
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00:06:23,051 --> 00:06:24,952
because I don't know what I'm making.
100
00:06:25,286 --> 00:06:28,356
On the contrary, Fellini is well aware
of what he wants to do.
101
00:06:28,756 --> 00:06:31,492
However, he's usually very mysterious.
Why is that?
102
00:06:31,592 --> 00:06:36,297
My tendency to resist revealing
or talking about my films
103
00:06:36,697 --> 00:06:39,067
isn't the result of vanity
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00:06:39,167 --> 00:06:42,470
or a desire to provoke despair
in my friends, the journalists.
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00:06:42,570 --> 00:06:46,574
It isn't skillfully designed
to create a feeling of curiosity
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00:06:46,674 --> 00:06:50,311
or suspense about the film.
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00:06:50,411 --> 00:06:54,282
It's a resistance related
to very profound reasons.
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00:06:54,382 --> 00:06:58,953
I feel as if I'm invited to gossip,
to snitch
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00:06:59,053 --> 00:07:03,191
and provide information
about something I don't yet fully know,
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00:07:03,291 --> 00:07:05,293
something that has every right to remain
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00:07:05,726 --> 00:07:09,030
in a more private and intimate dimension.
112
00:07:09,430 --> 00:07:11,032
It makes me feel indiscreet.
113
00:07:13,201 --> 00:07:14,202
Come forward.
114
00:07:15,470 --> 00:07:16,471
Smile.
115
00:07:17,605 --> 00:07:19,006
Move away.
116
00:07:20,341 --> 00:07:21,442
Come forward.
117
00:07:24,479 --> 00:07:26,547
Smile, they're taking your photograph!
118
00:07:28,249 --> 00:07:29,784
Put your hands on your hips.
119
00:07:30,118 --> 00:07:32,687
Smile. Look backwards.
120
00:07:32,787 --> 00:07:35,456
Look here again. Smile.
121
00:07:35,556 --> 00:07:38,793
Now go very slowly.
122
00:07:39,093 --> 00:07:41,295
Look straight ahead. Smile with joy.
123
00:07:41,395 --> 00:07:43,531
Go on, take him away.
124
00:07:45,266 --> 00:07:48,236
No. You're giving away that he's coming.
You shouldn't.
125
00:07:48,336 --> 00:07:50,905
- When I feel him grab me.
- No, later!
126
00:07:51,005 --> 00:07:55,042
You shouldn't look when he comes near.
You should be smiling!
127
00:07:55,143 --> 00:07:57,612
- Alberto, come here!
- It's Attilio!
128
00:08:00,681 --> 00:08:01,949
Did you do a good job?
129
00:08:02,517 --> 00:08:04,886
This is how you must grab him, okay?
130
00:08:04,986 --> 00:08:08,122
You don't like talking about the story
before the film is released —
131
00:08:08,222 --> 00:08:09,590
I'm unable to do so faithfully.
132
00:08:09,690 --> 00:08:14,829
The relationship between creator
and creation is very secret and intimate.
133
00:08:14,929 --> 00:08:16,964
- And fragile. Delicate.
- Yes, fragile. Delicate.
134
00:08:17,064 --> 00:08:21,202
It's constantly placed in doubt,
repudiated.
135
00:08:21,302 --> 00:08:23,404
It can suddenly turn dim and disappear.
136
00:08:23,504 --> 00:08:28,743
One morning, you feel that your film
won't greet you. It turns its back on you.
137
00:08:29,143 --> 00:08:31,879
On other mornings, it meets you festively.
138
00:08:32,280 --> 00:08:36,517
What does "telling a story" mean?
A story is nothing. It's merely a story.
139
00:08:36,851 --> 00:08:42,190
It's revealing the feelings
behind the story that embarrasses me.
140
00:08:42,290 --> 00:08:45,726
It makes me feel embarrassed,
but also totally reluctant and resistant.
141
00:08:45,993 --> 00:08:47,962
Therefore,
I prefer to make up another story.
142
00:08:48,296 --> 00:08:50,598
I often do this with my friends
in the press.
143
00:08:51,165 --> 00:08:52,900
But then I feel bitter, because I realize
144
00:08:53,000 --> 00:08:56,037
that the story I made up
is better than the one I'm working on.
145
00:09:34,909 --> 00:09:35,710
Pull it up!
146
00:09:35,810 --> 00:09:37,878
Careful with the tubes. Okay.
147
00:09:37,979 --> 00:09:40,014
- Action, Vittorio!
- No, no! Wait a moment!
148
00:09:40,114 --> 00:09:41,782
Look over here. Smile.
149
00:09:42,550 --> 00:09:46,087
Raise your head as soon
as you put your hand on the ship's wheel.
150
00:09:48,055 --> 00:09:49,523
I've brought a camp kitchen.
151
00:09:49,624 --> 00:09:53,594
I must say that,
of all the stages a film goes through
152
00:09:53,694 --> 00:09:56,831
before its actual production,
153
00:09:56,931 --> 00:10:00,201
casting is the most torturous,
154
00:10:00,301 --> 00:10:03,671
despite being the most fascinating:
155
00:10:04,705 --> 00:10:08,709
in the end, a face must carry the sense,
156
00:10:08,809 --> 00:10:10,978
the message, the story.
157
00:10:11,946 --> 00:10:14,682
In this film, more than others,
158
00:10:15,049 --> 00:10:18,419
the need to choose with extreme precision
159
00:10:18,519 --> 00:10:21,322
was particularly present:
160
00:10:21,422 --> 00:10:23,391
you see a series of faces,
161
00:10:23,758 --> 00:10:26,627
and you give each of them —
162
00:10:27,695 --> 00:10:31,699
Your imagination assigns them a story,
163
00:10:31,799 --> 00:10:34,702
situations, feelings, tics,
164
00:10:35,303 --> 00:10:38,639
without actually knowing if they're exact.
165
00:10:38,973 --> 00:10:42,943
This film aims to restore in the viewer
166
00:10:43,044 --> 00:10:46,380
the mysterious and ineffable charm
transmitted by photography.
167
00:10:46,914 --> 00:10:49,817
If you browse through a photo album
of people you don't know,
168
00:10:49,917 --> 00:10:53,688
especially if they are dead people,
from the previous century,
169
00:10:54,088 --> 00:10:56,257
you're immediately pervaded,
170
00:10:56,357 --> 00:11:00,728
attracted by interest
in stories that you don't know,
171
00:11:01,095 --> 00:11:04,565
but are hinted at by the face,
172
00:11:04,665 --> 00:11:06,967
the attire, the attitude.
173
00:11:07,068 --> 00:11:10,538
Going back to these characters,
the cast includes some members,
174
00:11:10,638 --> 00:11:15,076
like Peter Cellier and Barbara Jefford,
who are excellent English theater actors,
175
00:11:15,176 --> 00:11:18,612
highly experienced and capable
of going from Shakespeare to...
176
00:11:19,547 --> 00:11:21,482
- To Fellini.
- ...to Fellini!
177
00:11:21,582 --> 00:11:24,585
Other cast members aren't actors at all.
178
00:11:24,685 --> 00:11:26,354
They're people you found in Naples.
179
00:11:26,454 --> 00:11:27,855
What issues do you face
180
00:11:27,955 --> 00:11:31,025
when working simultaneously
with great professionals
181
00:11:31,125 --> 00:11:33,561
and people who can barely mutter a word?
182
00:11:34,462 --> 00:11:38,532
I must confess I've never had issues
with actors.
183
00:11:38,632 --> 00:11:41,602
If a character has been chosen
184
00:11:41,702 --> 00:11:44,438
according to what a face expresses,
185
00:11:44,905 --> 00:11:47,708
and that's the face of an actor,
that's good,
186
00:11:47,808 --> 00:11:51,812
as we can enjoy a professional
relationship and understanding.
187
00:11:52,346 --> 00:11:56,450
Sometimes, it's also easier to explain
the needs of a character to an actor.
188
00:11:57,385 --> 00:12:00,488
If it's not an actor,
but just the character,
189
00:12:00,588 --> 00:12:02,590
perhaps, in a certain way,
that's even better:
190
00:12:02,690 --> 00:12:06,560
he'll move with his own autonomy
and spontaneity.
191
00:12:07,294 --> 00:12:11,198
Therefore, I leave that margin...
192
00:12:14,034 --> 00:12:16,203
for spontaneous expression
193
00:12:16,837 --> 00:12:20,441
which I believe is the essential condition
194
00:12:20,908 --> 00:12:26,380
for characters, initially conceived
on a cold page of the script,
195
00:12:26,714 --> 00:12:31,519
to rediscover the personal
and unpredictable elements
196
00:12:31,619 --> 00:12:34,555
each human being bears within itself,
197
00:12:34,655 --> 00:12:37,324
making it a unique and unrepeatable type.
198
00:12:37,892 --> 00:12:39,326
I deeply admire actors.
199
00:12:39,427 --> 00:12:45,065
Ever since I was a child,
I envisioned actors as semi-divine beings.
200
00:12:45,166 --> 00:12:48,068
The first time I understood
what actors were,
201
00:12:48,602 --> 00:12:51,105
I thought they lived
in the magical dimension
202
00:12:51,205 --> 00:12:54,408
beyond the theater curtain:
203
00:12:54,508 --> 00:12:59,213
in those lights, environments,
strange gardens,
204
00:12:59,680 --> 00:13:01,649
or living rooms, or mansions.
205
00:13:02,149 --> 00:13:04,785
I also thought they remained dressed up
even after the show.
206
00:13:05,252 --> 00:13:08,589
I can explain this fantasy
with the fact that I was six or seven.
207
00:13:08,689 --> 00:13:10,090
Maybe even younger.
208
00:13:10,658 --> 00:13:13,093
I thought their faces
were of different colors,
209
00:13:13,194 --> 00:13:16,197
their eyes were longer
and their eyebrows were blacker.
210
00:13:16,297 --> 00:13:18,065
They had curls and wigs,
211
00:13:18,165 --> 00:13:19,900
and extraordinary voices:
212
00:13:20,301 --> 00:13:22,870
I thought they were supernatural beings,
213
00:13:22,970 --> 00:13:29,443
to the extent that I identified them
with their character.
214
00:13:29,543 --> 00:13:31,445
And this still conditions me.
215
00:13:31,545 --> 00:13:34,482
So I think that in the evening,
after shooting,
216
00:13:34,582 --> 00:13:35,683
they're still the character.
217
00:13:35,783 --> 00:13:37,318
Or maybe their life stops,
218
00:13:37,418 --> 00:13:41,322
and they're deposited like worn clothes
219
00:13:41,422 --> 00:13:44,859
in a hotel room wardrobe,
ready for collection the next day,
220
00:13:44,959 --> 00:13:47,928
when production vehicles
will take them to the theater
221
00:13:48,028 --> 00:13:51,165
and they'll be returned to life
as the spotlights are lit.
222
00:13:51,732 --> 00:13:53,934
Scene 34/13, first take!
223
00:13:54,668 --> 00:13:57,304
Slowly look at the hand, Fiorenzo. Smile.
224
00:13:57,671 --> 00:13:58,739
Take it.
225
00:14:03,110 --> 00:14:06,280
Fiorenzo, slowly lower your head
while smiling.
226
00:14:07,581 --> 00:14:09,183
Lower your head, and smile.
227
00:14:09,283 --> 00:14:11,785
Look at the hand, Fiorenzo.
228
00:14:12,586 --> 00:14:13,821
Smile. Take it.
229
00:14:15,089 --> 00:14:16,257
Good, that's it.
230
00:14:17,358 --> 00:14:18,826
That's good.
231
00:14:20,361 --> 00:14:25,266
This film attempts
an apparently anti-cinematic operation:
232
00:14:25,366 --> 00:14:30,638
to avoid the pre-fabricated novel,
a story planned beforehand.
233
00:14:30,971 --> 00:14:34,375
Preparing an original script
is naturally indispensable,
234
00:14:34,475 --> 00:14:39,613
not just to gain a clear view
of the story you want to tell,
235
00:14:40,047 --> 00:14:41,949
but also for organizational matters.
236
00:14:42,049 --> 00:14:45,719
You're well aware that materializing
that which inhabits
237
00:14:45,986 --> 00:14:49,924
the foggy and chaotic sphere
238
00:14:50,558 --> 00:14:52,459
of imagination,
239
00:14:52,826 --> 00:14:56,297
is an advanced mathematical operation.
240
00:14:57,231 --> 00:15:02,469
It requires absolute precision.
It's like sending a missile into orbit.
241
00:15:02,570 --> 00:15:07,608
Not that I'm trying to cast
a legendary and romantic halo
242
00:15:07,708 --> 00:15:10,144
on the working of creativity.
243
00:15:10,811 --> 00:15:14,882
Careful over here! Spray the walls!
244
00:15:14,982 --> 00:15:18,452
Go on! Slightly less!
Go! Be careful over there!
245
00:15:18,852 --> 00:15:21,388
Ready? Go!
246
00:15:21,655 --> 00:15:23,324
No more smoke!
247
00:15:24,425 --> 00:15:25,392
No more smoke!
248
00:15:25,492 --> 00:15:29,063
Now focus on the water!
249
00:15:30,531 --> 00:15:32,032
Go with flames over there!
250
00:15:34,702 --> 00:15:35,936
Up front, here!
251
00:15:36,036 --> 00:15:41,041
We need to prepare it
a second before shooting!
252
00:15:44,912 --> 00:15:46,580
In the end, for this film,
253
00:15:46,680 --> 00:15:50,851
I chose to use well-known music:
254
00:15:50,951 --> 00:15:54,421
the music of great classical composers,
255
00:15:54,521 --> 00:15:57,024
and opera in particular.
256
00:15:57,124 --> 00:15:59,760
The film features music by Verdi, Rossini,
257
00:16:00,728 --> 00:16:04,298
Tchaikovsky, Bellini, Schubert.
258
00:16:05,099 --> 00:16:09,136
In my total ignorance of musical matters,
259
00:16:09,536 --> 00:16:14,708
I went searching for the striking
and indestructible emotions,
260
00:16:15,142 --> 00:16:20,714
whether seductive or saddening,
261
00:16:21,015 --> 00:16:23,517
I have received from music
over the course of my life.
262
00:16:23,617 --> 00:16:27,321
So this film features
all the musical pieces
263
00:16:27,488 --> 00:16:32,559
I listened to as a defenseless child,
an adolescent, and later on in life.
264
00:16:32,626 --> 00:16:34,128
Camera!
265
00:16:34,895 --> 00:16:36,664
Serious faces, okay?
266
00:16:37,097 --> 00:16:38,866
Can you hear me? When I say "Action!"
267
00:16:38,966 --> 00:16:42,469
you count one, two, three,
and then you look down.
268
00:16:42,703 --> 00:16:44,438
And keep smiling.
269
00:16:45,239 --> 00:16:47,541
Scene 29/24, first take!
270
00:16:48,575 --> 00:16:52,613
Sea movement. Playback.
271
00:16:53,814 --> 00:16:55,816
Go with the ship!
272
00:16:56,250 --> 00:16:57,518
Motion!
273
00:16:59,186 --> 00:17:02,389
Sea motion. Stop there.
274
00:17:28,549 --> 00:17:30,417
During these long months of preparation,
275
00:17:31,285 --> 00:17:34,588
I enjoyed the possibility of discovering
276
00:17:34,688 --> 00:17:37,491
something a viewer of the film
may not imagine:
277
00:17:37,591 --> 00:17:42,029
the immense work that you —
278
00:17:42,129 --> 00:17:44,698
I don't know if other directors do this,
279
00:17:45,399 --> 00:17:49,903
but you work on every tiny detail
composing the picture of your film.
280
00:17:50,003 --> 00:17:52,606
I believe, perhaps a little emphatically,
281
00:17:52,706 --> 00:17:58,679
that cinema is an art that shares
the same needs as other arts.
282
00:17:58,779 --> 00:18:03,984
You'd never tell a writer, "I'm surprised
you insert the adjectives yourself,
283
00:18:04,084 --> 00:18:07,020
the adverbs, the apostrophes,
the full stops."
284
00:18:07,121 --> 00:18:09,289
You're not letting the editor
or typographer —
285
00:18:09,389 --> 00:18:11,625
As if these things could be left
to others!
286
00:18:11,725 --> 00:18:16,630
You wouldn't ask a painter if he added
the green parts of a painting himself.
287
00:18:16,730 --> 00:18:20,667
For example, I saw that when you needed
some armchairs for a scene,
288
00:18:20,768 --> 00:18:25,672
you asked for one armchair
in particular to be remade many times.
289
00:18:26,106 --> 00:18:31,445
Each time, you found it too small
or that its backrest was too low.
290
00:18:31,945 --> 00:18:38,652
Of course. Cinema,
differently than writing or painting,
291
00:18:39,086 --> 00:18:43,023
has a need for greater realism,
292
00:18:43,423 --> 00:18:45,826
because the characters move and speak.
293
00:18:46,160 --> 00:18:48,829
In cinema, a gunshot
is an actual detonation.
294
00:18:48,929 --> 00:18:50,430
It makes you jump.
295
00:18:50,998 --> 00:18:54,902
If you write,
"The gun fired. A shot was heard,"
296
00:18:55,002 --> 00:18:57,371
the reader will hear the shot
297
00:18:57,471 --> 00:18:59,473
within a sphere
298
00:18:59,573 --> 00:19:04,912
where he receives the expression
and interiorizes it, dilates it.
299
00:19:05,012 --> 00:19:09,316
But in cinema, a gunshot is an explosion.
It makes you jump.
300
00:19:09,750 --> 00:19:11,185
Or someone on an armchair —
301
00:19:11,285 --> 00:19:14,655
So I'm speaking of the need
to be expressive,
302
00:19:14,755 --> 00:19:17,491
in the expressionist sense of the word,
303
00:19:17,591 --> 00:19:21,128
allusive, yet at the same time
quite concrete, credible.
304
00:19:21,695 --> 00:19:26,200
The episode you're referring to,
which also makes me a little embarrassed,
305
00:19:26,300 --> 00:19:30,304
as this armchair story makes me feel
like a furniture builder, went as follows:
306
00:19:30,804 --> 00:19:33,473
this library needed large armchairs,
307
00:19:33,574 --> 00:19:38,679
suitable for welcoming
a reader's meditations.
308
00:19:38,779 --> 00:19:41,281
And we're speaking of readers
from a hundred years ago.
309
00:19:41,381 --> 00:19:44,985
That armchair needed to be the armchair.
310
00:19:45,085 --> 00:19:46,286
That's what it's about:
311
00:19:47,221 --> 00:19:51,758
when you write,
you can write "the armchair."
312
00:19:51,859 --> 00:19:54,528
When you're making cinema,
you can't have the armchair.
313
00:19:54,628 --> 00:19:58,832
It's up to you to turn an armchair
into the armchair.
314
00:19:58,932 --> 00:20:03,470
At the same time, it must appear to be
that specific armchair in everyone's eyes.
315
00:20:03,570 --> 00:20:08,575
We may be boring our viewers
with this rambling about armchairs.
316
00:20:08,675 --> 00:20:10,277
But armchairs are very important!
317
00:20:10,344 --> 00:20:11,778
Indeed so!
318
00:20:12,212 --> 00:20:16,917
Here's Fellini in the massive library
of his reconstructed ocean liner.
319
00:20:17,951 --> 00:20:21,054
He's preparing a scene
with an elderly English actor:
320
00:20:21,154 --> 00:20:24,024
one of the many in his huge cast.
321
00:20:25,158 --> 00:20:30,664
Was assembling this cast
yet another challenge, filled with doubts?
322
00:20:31,298 --> 00:20:33,934
- Was it a troublesome process?
- I can't stand —
323
00:20:34,334 --> 00:20:35,736
In a shot,
324
00:20:36,236 --> 00:20:38,205
even one with crowds of people,
325
00:20:38,305 --> 00:20:43,277
I can't stand it if even the last face
of an extra in a corner of the frame
326
00:20:43,377 --> 00:20:47,147
is one I didn't choose,
haven't seen or don't know.
327
00:20:47,247 --> 00:20:51,718
If I don't know why I chose it,
the reasons behind that choice,
328
00:20:52,419 --> 00:20:57,991
I'm unhappy.
My conscience doesn't feel right.
329
00:20:58,859 --> 00:21:03,297
I need to appropriate,
possess, beget, control,
330
00:21:03,397 --> 00:21:06,867
to be responsible for everything
that appears in the shot:
331
00:21:06,967 --> 00:21:11,338
- faces, furniture, tapestry, colors.
- But above all, faces.
332
00:21:11,672 --> 00:21:14,775
I think it's dangerous,
in a story like this one,
333
00:21:15,175 --> 00:21:19,947
for the audience to recognize an actor
and remember him from another film.
334
00:21:20,047 --> 00:21:24,384
Every actor is associated
with a previous film,
335
00:21:24,484 --> 00:21:27,321
with its story, costumes, makeup.
336
00:21:28,355 --> 00:21:33,560
As the characters of my story
have all disappeared, passed away,
337
00:21:34,127 --> 00:21:37,664
I needed faces
that would immediately communicate
338
00:21:37,764 --> 00:21:41,435
a sensation of something alien, unknown.
339
00:21:41,535 --> 00:21:46,340
A feeling we have when we look
at photographs of people who have died.
340
00:21:46,740 --> 00:21:49,476
Photographs of dead people
are extraordinarily fascinating.
341
00:21:49,576 --> 00:21:53,347
They are vague, phantasmal testimonies
342
00:21:53,780 --> 00:21:56,149
of something that was, but is no more.
343
00:21:56,249 --> 00:21:57,617
They are extremely fascinating.
344
00:21:57,718 --> 00:22:03,223
Due to the simple fact of having died,
even the roughest face of a dead person
345
00:22:03,323 --> 00:22:06,693
acquires extraordinary authority
and charm.
346
00:22:07,627 --> 00:22:11,465
Obviously, I couldn't cast dead actors
for the film.
347
00:22:11,565 --> 00:22:13,567
I couldn't build
a cast of deceased people.
348
00:22:13,800 --> 00:22:17,671
As I couldn't highlight the fact that time
has canceled certain faces,
349
00:22:18,238 --> 00:22:23,543
I focused on the unfamiliarity created
by distance, by different nationalities.
350
00:22:24,311 --> 00:22:27,314
Here's a view of the stern
of Fellini's great ship,
351
00:22:27,814 --> 00:22:30,784
during one of the last shooting sessions
on this set.
352
00:22:32,686 --> 00:22:35,022
Ever since he imagined it,
353
00:22:35,856 --> 00:22:39,960
the director meticulously drew
this massive set.
354
00:22:42,996 --> 00:22:47,367
It was conceived, designed and written,
just like the whole story of this ship.
355
00:22:47,467 --> 00:22:51,705
We proceeded by sectors, by segments,
356
00:22:51,805 --> 00:22:56,410
to build the ship
and all of its various structures.
357
00:22:56,510 --> 00:23:01,181
The deck, the stern, the prow,
the hall, the engine room,
358
00:23:01,281 --> 00:23:03,417
were all built here,
in Stage 5 at Cinecittà.
359
00:23:03,517 --> 00:23:05,552
Where sea sickness is not common,
360
00:23:05,652 --> 00:23:09,656
but the set features
a wave system, if I'm not mistaken.
361
00:23:09,756 --> 00:23:15,328
Yes, we had an engineer build a system
that simulates
362
00:23:16,063 --> 00:23:18,999
the oscillation and rolling of the sea,
363
00:23:19,099 --> 00:23:20,333
So do people really get seasick?
364
00:23:20,434 --> 00:23:23,136
I was slightly worried.
This machinery is so perfect,
365
00:23:23,236 --> 00:23:26,940
that it feels as if you really are
aboard a ship at sea.
366
00:23:27,040 --> 00:23:29,076
- I'm prone to seasickness.
- There you go!
367
00:23:29,176 --> 00:23:32,312
On the first day of rehearsals,
when we weren't yet shooting,
368
00:23:32,412 --> 00:23:35,382
and almost nobody from the cast or troupe
was around,
369
00:23:36,149 --> 00:23:41,421
when this massive platform started moving,
370
00:23:41,521 --> 00:23:44,224
I had a moment of bewilderment,
as I felt a bit dizzy.
371
00:23:44,324 --> 00:23:46,827
I thought,
"How will I direct an entire film,
372
00:23:47,394 --> 00:23:50,130
with this feeling of imbalance?"
373
00:23:51,064 --> 00:23:52,732
Ultimately, as always occurs,
374
00:23:52,833 --> 00:23:57,571
work is so protective and therapeutic
375
00:23:58,038 --> 00:24:01,241
that it removes any discomfort,
any hindrance.
376
00:24:01,341 --> 00:24:03,944
- You got used to it.
- I remember that in some occasions,
377
00:24:04,044 --> 00:24:06,880
I came to Cinecittà
with a temperature of 38° Celsius,
378
00:24:06,980 --> 00:24:10,317
and all I needed to do was enter
the magical atmosphere of the spotlights,
379
00:24:10,417 --> 00:24:12,152
be among the members of the troupe,
380
00:24:12,252 --> 00:24:16,089
and be forced to step
into the clothes of the director,
381
00:24:16,189 --> 00:24:19,860
that all my symptoms would disappear.
Temperature, illness, headaches.
382
00:24:19,960 --> 00:24:23,763
They say every ship meets its storm,
383
00:24:23,864 --> 00:24:26,900
iceberg, sea monster or whale.
384
00:24:27,000 --> 00:24:31,037
That's the fun of traveling.
A fully safe journey,
385
00:24:31,371 --> 00:24:36,143
completely protected from any sudden
386
00:24:37,144 --> 00:24:40,313
and unexpected incident
would no longer be a journey.
387
00:24:41,081 --> 00:24:43,483
What about your ocean liner?
388
00:24:43,583 --> 00:24:45,919
No, everything went fine.
Our navigation was serene,
389
00:24:46,019 --> 00:24:49,623
apart from typical incidents
that happen whenever you make a film.
390
00:24:49,723 --> 00:24:51,758
Like going over budget
by a few billion lire.
391
00:24:52,159 --> 00:24:56,263
That's the minimum that can happen.
It's expected from the start.
392
00:24:57,831 --> 00:25:01,334
In Cinecittà's Stage 5, Fellini
has announced the end of production
393
00:25:01,434 --> 00:25:03,036
for his film And the Ship Sails On,
394
00:25:03,136 --> 00:25:05,772
exactly four months
after another press conference,
395
00:25:05,872 --> 00:25:08,341
during which he announced its beginning.
396
00:25:08,909 --> 00:25:14,748
The film was made
in 14 weeks, as expected.
397
00:25:14,848 --> 00:25:16,483
The press conference wasn't called
398
00:25:16,583 --> 00:25:19,920
to highlight this fact
as something exceptional.
399
00:25:20,020 --> 00:25:24,191
Many films have been made
400
00:25:24,291 --> 00:25:25,959
within the expected time frame.
401
00:25:26,059 --> 00:25:29,029
Nowadays it's more difficult,
because the production of a film,
402
00:25:29,129 --> 00:25:30,931
and especially a big film like this one,
403
00:25:31,031 --> 00:25:36,503
despite all the sessions,
meetings and forecasts —
404
00:25:37,003 --> 00:25:42,008
A journey like this can lead you
on unknown routes, variable seas...
405
00:25:42,108 --> 00:25:45,345
A good metaphor,
since the film's about a ship.
406
00:25:45,445 --> 00:25:49,549
It was quite a heavy, claustrophobic film:
407
00:25:50,417 --> 00:25:55,722
I've always shot in Cinecittà.
I've always made my films in the studio,
408
00:25:55,822 --> 00:25:58,792
because I believe it's the place
that's best suited to making a film.
409
00:25:58,892 --> 00:26:02,195
But when making other films,
we'd spend a couple of days in Ostia,
410
00:26:02,295 --> 00:26:03,463
Fregene, Maccarese.
411
00:26:03,563 --> 00:26:05,966
I never took my troupe very far.
412
00:26:06,066 --> 00:26:10,036
They often ask me, "Will we make it
as far as Viterbo this time?"
413
00:26:10,136 --> 00:26:13,206
This time we didn't. We entered Stage 5,
414
00:26:13,306 --> 00:26:17,677
and the furthest we went was
from Stage 5 to Stage 7, from 7 to 12,
415
00:26:17,777 --> 00:26:20,080
from 12 back to 5.
416
00:26:20,880 --> 00:26:26,219
So after four months
of slightly forced cohabitation,
417
00:26:26,319 --> 00:26:29,489
this led to a sensation of heaviness,
418
00:26:29,589 --> 00:26:32,492
which dissolved yesterday evening,
with the end of the film.
419
00:26:32,592 --> 00:26:35,095
Actually, I'm already starting
to feel nostalgic.
420
00:26:41,501 --> 00:26:43,103
CINEMA IN VENICE
421
00:26:44,104 --> 00:26:47,607
This table, where filmmakers
traditionally sit
422
00:26:47,707 --> 00:26:49,876
for morning press conferences,
423
00:26:50,210 --> 00:26:54,447
was today supposed
to welcome Federico Fellini,
424
00:26:54,547 --> 00:26:58,385
but the room is empty instead.
425
00:26:59,019 --> 00:27:03,089
Fellini then flew in from Rome
in the early afternoon with his wife.
426
00:27:03,423 --> 00:27:06,626
He kept the time
of his arrival in Venice secret,
427
00:27:06,726 --> 00:27:10,697
but hadn't anticipated Alitalia computers
recording the data of his booking,
428
00:27:10,797 --> 00:27:13,700
that were cunningly consulted
by journalists and photographers.
429
00:27:13,800 --> 00:27:19,339
So he was met at the Marco Polo Airport
by the usual army of excited reporters.
430
00:27:20,573 --> 00:27:23,677
Yesterday, Fellini had sent
a telegram to Gian Luigi Rondi,
431
00:27:23,777 --> 00:27:27,514
apologizing for his absence
at the press conference.
432
00:27:27,914 --> 00:27:30,517
He added that "Relentless, demanding
433
00:27:30,617 --> 00:27:32,886
and even affectionate questions
from journalists
434
00:27:32,986 --> 00:27:36,990
have always plunged me
into an abyss of discomfort.
435
00:27:37,290 --> 00:27:41,461
I don't want to provide interpretations
of what I've made, and am unable to."
436
00:27:43,396 --> 00:27:46,666
Fellini's ship has finally landed
at the Lido.
437
00:27:46,766 --> 00:27:49,903
The title obviously invites such puns.
438
00:27:50,236 --> 00:27:53,173
The Fellini of his 18th film
is a brand-new director.
439
00:27:53,807 --> 00:27:57,544
Federico, The White Sheik
was presented in Venice in 1952.
440
00:27:57,644 --> 00:27:59,813
I was the first to interview you,
and I said,
441
00:27:59,913 --> 00:28:02,582
"Finally, Italian cinema
will have a great director."
442
00:28:02,682 --> 00:28:06,586
More than 30 years have elapsed
from 1952 to today.
443
00:28:07,387 --> 00:28:10,390
- What has changed for you?
- Can't you see? My hair's gone!
444
00:28:10,457 --> 00:28:11,424
DIRECTOR
445
00:28:11,524 --> 00:28:15,495
My hands tremble.
I stutter and can't concentrate,
446
00:28:15,595 --> 00:28:17,864
so could you please repeat the question?
447
00:28:17,964 --> 00:28:20,066
Fellini arrived in Venice a few hours ago,
448
00:28:20,166 --> 00:28:22,736
and said he is happy
to be at a festival yet again,
449
00:28:23,069 --> 00:28:25,739
but, in line with his character,
he also revealed
450
00:28:25,839 --> 00:28:29,042
his doubts and fears.
451
00:28:30,276 --> 00:28:35,815
I hope that the film I see this evening
is the same one I left 15 days ago...
452
00:28:35,915 --> 00:28:37,350
That nobody's changed it!
453
00:28:37,450 --> 00:28:39,886
I'm not worried about the film changing,
454
00:28:39,986 --> 00:28:41,755
but there's always —
455
00:28:41,855 --> 00:28:46,159
A cinematic creation,
a film, in other words,
456
00:28:47,227 --> 00:28:48,495
appears to resemble,
457
00:28:48,595 --> 00:28:52,999
rather than an eternally unchangeable
artistic creation,
458
00:28:53,099 --> 00:28:55,602
a living person.
459
00:28:55,702 --> 00:28:59,272
Someone who is affected
460
00:28:59,372 --> 00:29:03,376
by the moments
and places one meets him.
461
00:29:03,877 --> 00:29:05,779
If you take the same film
462
00:29:05,879 --> 00:29:07,881
and watch it this evening at the festival,
463
00:29:07,981 --> 00:29:11,217
or in the cutting room,
or in a month's time in New York
464
00:29:11,317 --> 00:29:14,254
or in Bergamo, or in a provincial theater,
465
00:29:14,821 --> 00:29:17,457
at a certain time of day,
or with specific people,
466
00:29:17,857 --> 00:29:21,027
and it will completely change its looks,
just like a person
467
00:29:21,127 --> 00:29:23,730
who you meet in different places
or at different times.
468
00:29:24,197 --> 00:29:26,332
This is why I say that I hope
this evening's film
469
00:29:26,433 --> 00:29:31,671
is the same one I left 15 days ago:
470
00:29:32,138 --> 00:29:33,907
that it has the same —
471
00:29:34,507 --> 00:29:37,076
That it represents me
as completely and totally
472
00:29:37,177 --> 00:29:40,113
as I thought it did two weeks ago.
473
00:29:41,014 --> 00:29:43,783
There's always the risk
of a film changing its face,
474
00:29:43,883 --> 00:29:49,389
of it suddenly becoming arrogant,
boring or impatient.
475
00:29:50,123 --> 00:29:53,526
Sometimes, the film also becomes
the mirror of its audience.
476
00:29:54,127 --> 00:29:56,329
Yesterday was a very intense day,
477
00:29:56,429 --> 00:29:59,599
spent almost entirely within
the comfortable Grand Hotel
478
00:29:59,833 --> 00:30:02,335
and, in the evening,
in the nearby Novelli Theater
479
00:30:02,435 --> 00:30:06,606
for the national premiere
of his latest film, And the Ship Sails On.
480
00:30:07,740 --> 00:30:09,943
Many thought he wouldn't show up.
481
00:30:10,043 --> 00:30:12,846
But finally, alongside Giulietta Masina,
482
00:30:12,946 --> 00:30:14,981
he overcame his shyness
483
00:30:15,081 --> 00:30:18,618
and faced a "laid-back, festive
and familiar" atmosphere,
484
00:30:18,718 --> 00:30:21,120
as the great Federico
ironically described it,
485
00:30:21,221 --> 00:30:23,723
during his sophisticated press conference.
486
00:30:23,823 --> 00:30:28,394
Next, he appeared on Domenica In,
and Federico seemed perfectly at ease.
487
00:30:28,495 --> 00:30:31,831
Thank you for accepting this invitation.
488
00:30:31,931 --> 00:30:35,902
I know that Federico Fellini doesn't enjoy
cameras and interviews, is it true?
489
00:30:36,836 --> 00:30:40,773
I'd promised you that sooner or later
I'd appear. Here I am!
490
00:30:40,874 --> 00:30:42,942
Here I am in Rimini.
There's the Grand Hotel.
491
00:30:44,310 --> 00:30:45,979
I'm always slightly uneasy,
492
00:30:46,079 --> 00:30:50,950
because one of the forms
of alienation in my job
493
00:30:51,050 --> 00:30:54,854
is to think that the things
one has used in a film,
494
00:30:54,954 --> 00:30:59,893
people, objects,
even environments or entire cities,
495
00:30:59,993 --> 00:31:05,131
have been canceled after serving
their purpose in the story.
496
00:31:05,231 --> 00:31:09,302
So I'm surprised that the Grand Hotel,
which is in many of my films,
497
00:31:09,402 --> 00:31:12,071
is still standing. I'm joking.
It actually reassures me.
498
00:31:12,639 --> 00:31:15,975
It's a very warm and tender
point of reference,
499
00:31:16,709 --> 00:31:18,845
as well as being nostalgic
and stimulating.
500
00:31:18,945 --> 00:31:22,181
So I'm very happy to be here,
surrounded by friends,
501
00:31:22,649 --> 00:31:25,385
who want to celebrate me
although I don't deserve it,
502
00:31:26,185 --> 00:31:30,823
with triumphal arches, obelisks,
fireworks...
503
00:31:30,924 --> 00:31:35,461
"This city evokes
a sleepy and murky charm."
504
00:31:35,562 --> 00:31:38,531
Not everything I say in interviews
should be taken literally!
505
00:31:38,631 --> 00:31:42,435
- Otherwise, I'll always be on trial!
- Of course.
506
00:31:42,535 --> 00:31:47,006
I don't know. Maybe I was referring
to a curious and peculiar characteristic
507
00:31:47,106 --> 00:31:48,875
of the town where I was born,
508
00:31:48,975 --> 00:31:52,045
which is perfectly split
into two time periods,
509
00:31:52,145 --> 00:31:53,279
which almost transform it.
510
00:31:53,379 --> 00:31:55,048
There's a summertime Rimini,
511
00:31:55,148 --> 00:32:00,787
flooded with life, phantasmagoric,
a city that has nothing to envy Las Vegas
512
00:32:00,887 --> 00:32:02,889
or certain major American beaches.
513
00:32:03,156 --> 00:32:06,092
Then, when fall comes, Rimini changes.
514
00:32:06,192 --> 00:32:10,463
It disappears, changes pace
and becomes another city.
515
00:32:10,964 --> 00:32:13,900
When I said "sleepy and murky charm,"
516
00:32:14,000 --> 00:32:16,769
I was probably referring to wintertime:
517
00:32:16,869 --> 00:32:19,706
to the fascination
of this sort of incubation
518
00:32:19,806 --> 00:32:23,910
in preparation for a new solar explosion.
519
00:32:25,111 --> 00:32:30,283
Federico Fellini temporarily left Rimini
in 1936,
520
00:32:31,017 --> 00:32:34,253
and when he returned in 1946,
he no longer recognized the city.
521
00:32:35,021 --> 00:32:37,724
- I couldn't recognize it?
- You found it had changed.
522
00:32:38,291 --> 00:32:41,661
Well, the war had taken place
in the meantime,
523
00:32:41,761 --> 00:32:44,063
and those were terrible years.
524
00:32:44,564 --> 00:32:49,702
Rimini was also among the most martyrized
and tormented towns during the war.
525
00:32:49,802 --> 00:32:55,041
I think that, after Cassino,
it was the most bombed town in Italy.
526
00:32:55,141 --> 00:32:56,542
It was truly in ruins.
527
00:32:56,643 --> 00:33:01,781
I remember that when I returned
after the long and atrocious war,
528
00:33:02,215 --> 00:33:03,683
it was very shocking.
529
00:33:03,783 --> 00:33:07,587
The city no longer existed,
it was a sea of debris.
530
00:33:08,321 --> 00:33:10,323
When I got off that black train
531
00:33:10,423 --> 00:33:12,759
and was surrounded
by the lunar white of the debris,
532
00:33:12,859 --> 00:33:18,631
what really got to me
was the sound of a voice calling a woman.
533
00:33:18,731 --> 00:33:23,069
The woman's name was Vesperina,
a typical name in our region.
534
00:33:23,169 --> 00:33:27,607
Hearing that accent,
that dialect amidst the desolation
535
00:33:27,707 --> 00:33:32,111
touched my heart and moved me intensely.
536
00:33:32,512 --> 00:33:35,248
Rimini then bounced back quickly.
537
00:33:35,748 --> 00:33:39,752
I think that's part of the spirit
of the local people.
538
00:33:40,286 --> 00:33:44,590
These are very fervent,
laborious and active people.
539
00:33:45,358 --> 00:33:48,127
Shall we browse through your photo album
540
00:33:48,227 --> 00:33:51,164
and look at some images
from your childhood?
541
00:33:52,432 --> 00:33:53,866
Is that okay with you?
542
00:33:54,300 --> 00:33:57,437
That depends. Are we starting
with ones where I'm laying on a goatskin
543
00:33:57,537 --> 00:34:00,873
- with my bottom in the air?
- No, we removed those ones!
544
00:34:00,973 --> 00:34:02,842
That's me with my brother Riccardo.
545
00:34:02,942 --> 00:34:05,912
- Where are you?
- What should I say? "What a pretty child?"
546
00:34:06,012 --> 00:34:09,549
Well, he is a pretty child, it's true.
Both of them.
547
00:34:09,982 --> 00:34:12,351
- Let's keep going. Next image.
- Let's go.
548
00:34:12,452 --> 00:34:16,456
- Here you are for your First Communion.
- A classic photo: the First Communion.
549
00:34:16,789 --> 00:34:18,624
Yes, these images
do feature classic moments.
550
00:34:18,725 --> 00:34:20,693
- Of course.
- Let's keep going. Next image.
551
00:34:20,793 --> 00:34:23,996
If we're supposed to get to recent ones,
we're going to be here all day!
552
00:34:24,097 --> 00:34:27,266
Yes, we'll still be looking
at photos at midnight!
553
00:34:27,366 --> 00:34:29,102
Let's comment on this one.
554
00:34:30,103 --> 00:34:32,672
Here, as you can see,
I'm wearing a partisan uniform.
555
00:34:36,042 --> 00:34:41,347
This type of uniform was unavoidable.
556
00:34:41,848 --> 00:34:43,583
This is when I was an Avanguardista.
557
00:34:43,683 --> 00:34:49,422
I could narrate my own personal resistance
to fascist conditioning...
558
00:34:49,522 --> 00:34:51,224
- What do you mean?
- Maybe another time.
559
00:34:51,324 --> 00:34:52,725
Here's another photo.
560
00:34:52,825 --> 00:34:55,261
- I'm in high school in this one.
- In high school.
561
00:34:55,361 --> 00:34:58,231
That's Bertini, nicknamed King Kong.
As you can see.
562
00:34:58,297 --> 00:34:59,265
Why?
563
00:34:59,365 --> 00:35:02,068
If you zoom in on him, you'll see why.
564
00:35:02,168 --> 00:35:05,104
He looked a lot like a monkey.
565
00:35:05,438 --> 00:35:08,107
It was typical in schools
566
00:35:08,207 --> 00:35:11,511
that everyone had a nickname.
567
00:35:11,611 --> 00:35:14,280
I was dubbed Gandhi
because I was extremely thin.
568
00:35:14,380 --> 00:35:16,549
Extremely thin.
Is this photo in Rimini or...
569
00:35:16,649 --> 00:35:20,920
In this one I'm thin because I was hungry.
It's from my early days in Rome.
570
00:35:21,854 --> 00:35:23,689
As you can see, I was almost a beggar.
571
00:35:24,090 --> 00:35:26,959
Here's an important image
for the history of entertainment.
572
00:35:27,059 --> 00:35:28,094
Yes, with Aldo Fabrizi.
573
00:35:28,194 --> 00:35:32,799
He was a sort of good ogre,
a big brother, a journey companion,
574
00:35:32,899 --> 00:35:34,267
during my early days in Rome.
575
00:35:34,367 --> 00:35:36,035
And you wrote sketches for him.
576
00:35:36,135 --> 00:35:39,605
Yes, I wrote jokes,
sketches and short songs.
577
00:35:39,705 --> 00:35:42,575
I've done all sorts of things.
I left nothing out.
578
00:35:42,909 --> 00:35:48,147
I went through the classic, American-style
period of the "self-made man."
579
00:35:48,247 --> 00:35:49,715
- Right.
- I never sold newspapers,
580
00:35:49,816 --> 00:35:52,852
but if cinema keeps sinking,
I may end up doing that too.
581
00:35:52,952 --> 00:35:55,121
We hope not, obviously.
582
00:35:55,221 --> 00:35:57,857
What is the meaning of the province
for Federico Fellini?
583
00:35:57,957 --> 00:36:01,561
One can be a man from the province,
without being a provincial man.
584
00:36:03,462 --> 00:36:08,868
I've answered this question
with all the films I made.
585
00:36:10,436 --> 00:36:12,471
I think...
586
00:36:13,673 --> 00:36:18,878
my roots are based in very fertile,
587
00:36:18,978 --> 00:36:21,247
deep and stimulating grounds.
588
00:36:22,682 --> 00:36:27,820
To the extent that I never was able
to consider as reductive
589
00:36:27,887 --> 00:36:30,790
or belittling
590
00:36:30,890 --> 00:36:35,428
the definition some critics
used for my films:
591
00:36:35,528 --> 00:36:38,364
"films by a provincial man."
592
00:36:38,998 --> 00:36:43,536
However, this province,
this Romagna where I was born...
593
00:36:45,204 --> 00:36:46,973
must have unlimited boundaries,
594
00:36:47,073 --> 00:36:49,909
as I see these "provincial films"
are appreciated in New York,
595
00:36:50,009 --> 00:36:51,911
Brazil, India, everywhere!
596
00:36:52,011 --> 00:36:55,948
So this Romagna must basically be
as big as the globe itself.
597
00:36:56,048 --> 00:36:57,783
We can say,
"The whole world is a province."
598
00:36:57,884 --> 00:36:59,285
Yes, let's say so.
599
00:37:10,663 --> 00:37:12,965
Plume in the summer wind
600
00:37:13,633 --> 00:37:16,302
Waywardly playing
601
00:37:16,869 --> 00:37:19,572
Ne'er one way swaying
602
00:37:19,672 --> 00:37:22,575
Each whim obeying
603
00:37:23,075 --> 00:37:25,711
Plume in the summer wind
604
00:37:25,811 --> 00:37:28,447
Waywardly playing
605
00:37:28,547 --> 00:37:34,086
Ne'er one way swaying
606
00:37:34,186 --> 00:37:36,622
Each whim obeying
607
00:37:37,023 --> 00:37:40,559
Three "average viewer" questions
for Federico Fellini on his latest film.
608
00:37:40,660 --> 00:37:42,762
As is the case for inspired works,
609
00:37:42,862 --> 00:37:45,798
And the Ship Sails On is a film
that can be read on multiple levels.
610
00:37:45,898 --> 00:37:48,501
Critics saw it as a metaphor
for the journey of life,
611
00:37:48,601 --> 00:37:50,336
an allusion to the twilight of a society,
612
00:37:50,770 --> 00:37:53,839
an allegory of fears
of an atomic catastrophe,
613
00:37:53,940 --> 00:37:56,809
an argument on art and mass media,
614
00:37:56,909 --> 00:38:01,447
a cry of alarm comforted by tenacious hope
in the resources of nature.
615
00:38:01,547 --> 00:38:03,849
Among all these possible interpretations,
616
00:38:03,950 --> 00:38:06,185
which do you find
to be the most legitimate
617
00:38:06,285 --> 00:38:08,955
and closest to your artistic intentions?
618
00:38:09,055 --> 00:38:12,792
Is that all?
I thought there were many more!
619
00:38:13,125 --> 00:38:15,928
Each of them has its own justification.
620
00:38:16,028 --> 00:38:19,632
I think a film, a book, a painting,
621
00:38:19,732 --> 00:38:25,304
any artistic expression by an artist
who has his own vision of the world
622
00:38:25,938 --> 00:38:28,741
and offers it honestly and in good faith,
623
00:38:29,542 --> 00:38:32,445
even if dazzled by a dose
of the subconscious
624
00:38:32,545 --> 00:38:35,982
or irrationality he may have poured
into his work —
625
00:38:38,317 --> 00:38:41,454
Interpretations are authorized
and legitimate.
626
00:38:42,688 --> 00:38:46,125
This is why I'm so diffident and resistant
627
00:38:46,792 --> 00:38:51,097
when it comes to positioning myself
between the audience and the film,
628
00:38:51,197 --> 00:38:54,734
in an attempt to provide readings,
629
00:38:54,834 --> 00:38:58,337
or interpretations, explanations.
630
00:38:58,437 --> 00:39:02,174
I feel as if I'm depriving the film
631
00:39:02,274 --> 00:39:04,577
of its most secret charm:
632
00:39:04,677 --> 00:39:10,082
that it can appear different
to every single viewer.
633
00:39:10,449 --> 00:39:14,720
Thus, I think that all interpretations
have their own justifications,
634
00:39:14,820 --> 00:39:19,892
as they are all borne
of the strictly private relationship
635
00:39:19,992 --> 00:39:23,763
the spectator, the onlooker, the viewer,
636
00:39:23,863 --> 00:39:26,899
enjoys with the film, in this case,
637
00:39:26,999 --> 00:39:31,771
or in any case, with an author's work.
638
00:39:32,204 --> 00:39:36,042
Although the journalist-narrator
forecasts optimistic hypotheses
639
00:39:36,142 --> 00:39:38,044
of many people
being rescued from the ship,
640
00:39:38,144 --> 00:39:41,180
the epilogue of the film
shows us merely two survivors,
641
00:39:41,280 --> 00:39:44,150
aboard a tiny Noah's Ark:
642
00:39:44,250 --> 00:39:47,620
The journalist himself
and the female rhinoceros,
643
00:39:47,720 --> 00:39:50,022
whose milk is fortunately excellent.
644
00:39:50,122 --> 00:39:54,093
What symbol should we see
in this provident animal? Is there one?
645
00:39:54,627 --> 00:39:56,228
You can see anything you want in it.
646
00:39:56,328 --> 00:40:01,934
Obviously, not everything an artist does
is planned and rationalized.
647
00:40:02,401 --> 00:40:06,238
Of course,
every tiny detail can be interpreted.
648
00:40:06,338 --> 00:40:10,776
As in the case with dreams,
where every single element,
649
00:40:10,876 --> 00:40:14,814
the general atmosphere and the details
650
00:40:15,247 --> 00:40:17,083
each have a meaning,
651
00:40:17,950 --> 00:40:20,486
the same is true for images in films:
652
00:40:20,586 --> 00:40:23,489
just like in dreams,
all it takes is a little good will,
653
00:40:23,589 --> 00:40:25,691
and we can assign everything
an interpretation.
654
00:40:25,991 --> 00:40:27,293
I will once again repeat
655
00:40:27,393 --> 00:40:30,696
that I'm uncomfortable
standing there with a ruler,
656
00:40:30,796 --> 00:40:33,499
like a teacher in an elementary school,
657
00:40:33,599 --> 00:40:39,138
and pointing out where Ireland,
Greenland and the Arctic Ocean are.
658
00:40:39,805 --> 00:40:44,143
I'd much prefer for the film to speak,
for it to communicate directly,
659
00:40:44,243 --> 00:40:46,479
on a conscious or subconscious level,
660
00:40:47,079 --> 00:40:51,750
its message, its myths, its fable,
661
00:40:52,618 --> 00:40:55,187
what it wants to say.
662
00:40:56,188 --> 00:40:59,525
Average viewers complain that,
in Fellini's more uncompromising films,
663
00:40:59,625 --> 00:41:03,462
there are not enough likable
and positive characters
664
00:41:03,562 --> 00:41:05,464
with whom they can identify.
665
00:41:05,564 --> 00:41:07,533
In And the Ship Sails On, for example,
666
00:41:07,633 --> 00:41:09,702
with the exception of the journalist,
667
00:41:09,802 --> 00:41:13,305
the girl who falls for the Serbian
terrorist and very few others,
668
00:41:13,405 --> 00:41:17,243
the characters are mostly ridiculous,
grotesque, arrogant,
669
00:41:17,776 --> 00:41:20,746
petty, depraved or simply unpleasant.
670
00:41:21,080 --> 00:41:23,082
Why was this choice made?
671
00:41:23,182 --> 00:41:26,519
Doesn't Fellini worry
it may disappoint his audience?
672
00:41:27,019 --> 00:41:30,089
I don't find these characters
vile or unpleasant.
673
00:41:30,189 --> 00:41:31,857
They are just characters.
674
00:41:32,391 --> 00:41:37,463
If I'm representing a society, a humanity,
675
00:41:37,997 --> 00:41:42,968
I think I'm forced to differentiate it,
676
00:41:43,369 --> 00:41:47,740
not just to build different masks
and psychological types,
677
00:41:47,840 --> 00:41:52,044
but to represent
the world that surrounds us,
678
00:41:52,144 --> 00:41:56,549
where people are motivated by vanity,
childishness, selfishness...
679
00:41:57,516 --> 00:41:58,784
arrogance.
680
00:41:59,919 --> 00:42:01,921
I find that each of them,
681
00:42:02,021 --> 00:42:07,459
in representing a personality trait...
682
00:42:08,460 --> 00:42:11,263
of the human being, deserves sympathy.
683
00:42:11,363 --> 00:42:13,232
Fellini's ship has landed
at the Quirinal Palace.
684
00:42:13,332 --> 00:42:16,302
Indeed, Pertini requested
that the great director's latest film
685
00:42:16,402 --> 00:42:19,572
be projected in the small theater
of the Presidency of the Republic.
686
00:42:19,972 --> 00:42:24,343
Following normal practice,
only a few qualified guests were invited.
687
00:42:24,443 --> 00:42:29,114
Among those who watched the film
in the Quirinale,
688
00:42:29,582 --> 00:42:31,550
were the Minister of the Interior,
Scalfaro,
689
00:42:31,650 --> 00:42:34,086
Fellini, of course, with Giulietta Masina,
690
00:42:34,186 --> 00:42:38,490
plus Agnes and Zauli, representing RAI,
that coproduced the film.
691
00:42:39,225 --> 00:42:41,994
It's a distraction for me.
I can't go to the cinema.
692
00:42:42,728 --> 00:42:47,366
My collaborators won't allow me to.
They say I can go to the theater,
693
00:42:47,766 --> 00:42:49,902
but in the cinema,
the lights are switched off,
694
00:42:50,002 --> 00:42:52,771
and anyone can come in or out.
695
00:42:52,871 --> 00:42:54,506
So it could be dangerous.
696
00:42:54,607 --> 00:42:56,875
But we know you were particularly anxious
to see this...
697
00:42:56,976 --> 00:43:02,381
That's right. This is a director
I have always loved.
698
00:43:03,182 --> 00:43:06,318
He has inventiveness, fantasy, and so on.
699
00:43:06,418 --> 00:43:09,255
I have always loved his work deeply.
700
00:43:09,355 --> 00:43:13,559
Is Fellini excited about
this presidential viewing?
701
00:43:13,659 --> 00:43:16,829
I'm always excited when watching
one of my films,
702
00:43:16,929 --> 00:43:19,398
especially in this setting.
703
00:43:19,498 --> 00:43:21,166
We now enjoy this pleasant ritual.
704
00:43:21,267 --> 00:43:25,537
I have the honor of presenting my film
to the President every other year,
705
00:43:25,638 --> 00:43:28,440
and I hope this custom continues forever.
706
00:43:28,540 --> 00:43:30,342
AND THE SHIP SAILS ON
707
00:43:31,844 --> 00:43:35,214
The ship of Italian cinema
is taking on water, or so they say.
708
00:43:35,314 --> 00:43:40,219
I think cinema has entered
an extremely serious crisis.
709
00:43:40,319 --> 00:43:45,524
I think the device
we are appearing on right now
710
00:43:46,125 --> 00:43:47,092
in viewers' homes,
711
00:43:47,192 --> 00:43:50,696
if they haven't already switched channel
with that other device of theirs,
712
00:43:50,796 --> 00:43:55,034
has formed and brought up
713
00:43:55,901 --> 00:44:00,472
an ocean of impatient,
714
00:44:00,572 --> 00:44:04,176
indifferent, distracted
and vaguely racist viewers.
715
00:44:04,276 --> 00:44:07,680
That little device is an execution squad.
716
00:44:07,780 --> 00:44:10,549
It removes your face,
takes away your speech, erases you.
717
00:44:10,649 --> 00:44:12,885
Watching four films at the same time
718
00:44:13,252 --> 00:44:16,588
may appear to be the endeavor of a genius,
719
00:44:16,689 --> 00:44:19,925
of someone possessing
who knows what superpowers.
720
00:44:20,459 --> 00:44:24,296
In truth, it's nothing more than
the inability to pay a little attention
721
00:44:24,697 --> 00:44:25,698
to whoever is speaking,
722
00:44:25,798 --> 00:44:29,735
inability to let oneself be seduced
and enchanted by a story.
723
00:44:31,236 --> 00:44:33,672
Cinema was exactly this,
724
00:44:33,772 --> 00:44:38,110
hypnotic and ritualistic suggestion.
725
00:44:38,210 --> 00:44:41,480
It was an almost religious experience.
You would go out,
726
00:44:42,414 --> 00:44:45,718
park the car somewhere and get in line.
727
00:44:45,818 --> 00:44:49,355
There were a whole series of rituals.
The tickets, the curtain, ushers,
728
00:44:50,089 --> 00:44:53,092
looking at the semi-illuminated crowd,
recognizing some friends.
729
00:44:53,192 --> 00:44:56,061
Then the lights would dim,
the screen would light up,
730
00:44:56,161 --> 00:44:58,664
and thus began the revelation,
the message.
731
00:44:59,198 --> 00:45:02,101
This was an ancient, perennial ritual,
732
00:45:02,201 --> 00:45:04,002
which may have changed form and means,
733
00:45:04,103 --> 00:45:05,637
but it was still the same.
734
00:45:06,305 --> 00:45:08,207
You were there to listen.
735
00:45:08,640 --> 00:45:09,608
Today, people —
736
00:45:09,708 --> 00:45:13,912
Today I find that all of this
has been completely destroyed.
737
00:45:14,012 --> 00:45:16,982
- This attitude is missing.
- Some people prefer to watch television.
738
00:45:17,082 --> 00:45:19,852
Yes, but they have no respect.
With their little device,
739
00:45:19,952 --> 00:45:22,721
a sort of laser that erases and removes.
740
00:45:23,122 --> 00:45:25,924
As soon as the contents don't feature
741
00:45:26,425 --> 00:45:30,562
sensationalist hooks,
742
00:45:30,662 --> 00:45:32,030
they immediately skip.
743
00:45:32,131 --> 00:45:36,769
You jump from a film to a soccer game,
from a soccer match to a quiz show,
744
00:45:36,869 --> 00:45:39,037
from a quiz show
to an advertisement for diapers.
745
00:45:39,671 --> 00:45:42,641
I think this way of listening to a speaker
746
00:45:42,975 --> 00:45:44,977
is villainous.
747
00:45:45,077 --> 00:45:49,047
Naturally, the speaker in question
will be humiliated and mortified,
748
00:45:49,448 --> 00:45:53,218
in a position
where nobody is listening to him.
749
00:45:53,318 --> 00:45:54,887
And yet, this is what has occurred.
750
00:45:55,387 --> 00:45:57,723
I think we're living
751
00:45:57,823 --> 00:46:03,562
in such an anxious, threatened
and frightful historical season,
752
00:46:03,929 --> 00:46:07,499
that we feel we can't intervene,
753
00:46:07,599 --> 00:46:09,868
interfere or bear any weight
754
00:46:09,968 --> 00:46:13,972
when it comes to general determinations.
755
00:46:14,072 --> 00:46:19,711
It would appear that all that's left
for an artist, if I may use this word,
756
00:46:19,812 --> 00:46:25,083
for a creator, is the role of the witness:
757
00:46:25,184 --> 00:46:26,919
he has the duty of bearing witness.
758
00:46:27,019 --> 00:46:29,388
It's all right not to choose an ideology,
759
00:46:29,488 --> 00:46:32,391
not to pick a side of any kind,
760
00:46:32,691 --> 00:46:36,929
but commitment to a lucid awareness
of what is going on
761
00:46:37,029 --> 00:46:41,667
is, in my opinion, a duty we all share.
762
00:46:41,767 --> 00:46:45,938
During the crash with the battleship,
you detach from the film,
763
00:46:46,038 --> 00:46:49,308
you move back and distance yourself.
764
00:46:49,708 --> 00:46:52,711
- I was wondering why.
- I don't distance myself.
765
00:46:52,811 --> 00:46:55,681
- Is it reassuring?
- It still has to do with being a witness.
766
00:46:56,582 --> 00:46:58,016
This catastrophe...
767
00:46:59,685 --> 00:47:03,789
conceived and built on the screen,
768
00:47:04,323 --> 00:47:06,358
doesn't aim
769
00:47:06,458 --> 00:47:10,729
to menacingly announce
770
00:47:10,829 --> 00:47:15,300
any immediate apocalypses,
nor does it attempt,
771
00:47:16,068 --> 00:47:21,840
more or less arrogantly,
to recommend an attitude or a choice.
772
00:47:22,841 --> 00:47:27,312
Therefore, in that point,
I think the author of the film, Fellini,
773
00:47:27,412 --> 00:47:31,783
shows that he has no possibility
774
00:47:31,884 --> 00:47:37,389
of providing
an immediate ideological judgment
775
00:47:37,656 --> 00:47:42,461
so he shows he is merely a narrator,
776
00:47:42,561 --> 00:47:44,763
someone who is telling this story.
777
00:47:44,863 --> 00:47:48,867
The sense and conclusions
of the story are entrusted
778
00:47:49,434 --> 00:47:52,538
to each individual viewer.
779
00:47:52,638 --> 00:47:54,506
- Personally, I —
- It's a gesture of —
780
00:47:55,240 --> 00:48:01,547
I think I interpret it
as a gesture of modesty, humility,
781
00:48:01,647 --> 00:48:05,083
and even a way
of admitting my limitations.
782
00:48:05,150 --> 00:48:06,618
I'm a director.
783
00:48:06,718 --> 00:48:11,723
I didn't tell this story
to frighten people, nor to preach,
784
00:48:12,257 --> 00:48:13,959
because I am just a director.
785
00:48:14,059 --> 00:48:16,395
See? The set is fake!
786
00:48:16,495 --> 00:48:21,133
The witness can find salvation,
if he is a witness,
787
00:48:21,233 --> 00:48:24,603
and in his role as a witness,
by drinking rhino milk.
788
00:48:24,703 --> 00:48:27,372
I'm not here to advertise rhino milk,
789
00:48:27,472 --> 00:48:29,374
which I don't think is even on the market.
790
00:48:30,108 --> 00:48:34,846
I've been asked so many times
what the rhinoceros means.
791
00:48:34,947 --> 00:48:37,683
People even stop me on the street and say,
792
00:48:37,783 --> 00:48:40,586
"I liked the film,
but I didn't understand the rhinoceros."
793
00:48:40,686 --> 00:48:43,822
I still haven't prepared a funny answer,
794
00:48:44,156 --> 00:48:48,293
nor one that may solve
this distressing query.
795
00:48:48,660 --> 00:48:50,462
We may say,
796
00:48:50,562 --> 00:48:54,967
in maybe too irresponsibly
psychoanalytical a way,
797
00:48:55,067 --> 00:48:57,169
that the protagonist, Orlando,
798
00:48:57,269 --> 00:49:00,339
survives because
his good faith as a witness,
799
00:49:00,439 --> 00:49:03,842
his good faith in recording good and evil,
800
00:49:03,942 --> 00:49:07,379
right and wrong, life as it is,
801
00:49:07,713 --> 00:49:12,684
is the attitude of someone
who is nourished
802
00:49:12,784 --> 00:49:15,354
even by the monstrous aspects of life,
803
00:49:15,454 --> 00:49:19,224
by its deformed and bestial aspects.
804
00:49:19,691 --> 00:49:23,295
Indeed,
he claims that rhino milk is delicious.
805
00:49:23,829 --> 00:49:29,668
It actually annoys me to translate it
into such heavily pedagogic terms,
806
00:49:30,168 --> 00:49:35,841
but since it appeared to be an issue
for so many viewers,
807
00:49:35,941 --> 00:49:39,177
I'd like to tell them,
"Try drinking rhino milk,
808
00:49:39,277 --> 00:49:43,348
and you'll see your boat won't sink.
809
00:49:43,448 --> 00:49:46,551
It'll miraculously stay afloat,
810
00:49:46,652 --> 00:49:52,257
thanks to this acceptance of obscure
and irrational aspects of yourselves."
811
00:49:52,357 --> 00:49:54,960
- We'd like to thank you. I'm grateful.
- No, I thank you.
812
00:49:55,694 --> 00:49:57,863
- Do you want to re-watch it now?
- What?
813
00:49:57,963 --> 00:50:00,866
- The interview.
- Just a little.
814
00:50:00,966 --> 00:50:03,068
Okay, let's watch it.
815
00:50:03,602 --> 00:50:09,274
Don't talk. If this is a listening spot,
you should listen, not talk!
816
00:50:09,374 --> 00:50:11,376
Can I please hear
what the dottore is saying?
817
00:50:11,476 --> 00:50:12,978
FELLINI RACCONTA 2
DIARY OF A FILM
818
00:50:13,078 --> 00:50:17,149
See? I have this whole hand movement
that's typical of Italians when speaking.
819
00:50:20,285 --> 00:50:25,624
The dottore is speaking.
He's speaking. You're listening. Yes.
820
00:50:26,425 --> 00:50:28,994
Next time —
You don't have to answer this,
821
00:50:29,628 --> 00:50:33,198
you answer instead.
What's the next film you're doing?
822
00:50:33,298 --> 00:50:36,301
- Do you know yet?
- We don't. We'd like —
823
00:50:36,401 --> 00:50:39,371
You weren't supposed to talk.
You're listening to me.
824
00:50:39,471 --> 00:50:42,674
I'm just pretending to talk
so you can occasionally nod.
825
00:50:43,642 --> 00:50:45,577
Dottore, can you say something?
826
00:50:45,944 --> 00:50:50,148
- Me?
- Yes. Just move your arm and hand,
827
00:50:50,248 --> 00:50:53,952
anyway your voice won't be audible here.
828
00:50:54,186 --> 00:50:55,353
There you go.
829
00:51:06,498 --> 00:51:08,333
I can move my leg too.
830
00:51:08,433 --> 00:51:10,535
There you go, raise a leg!
831
00:51:11,937 --> 00:51:12,938
It's a ballet!
832
00:51:15,440 --> 00:51:17,709
WE APOLOGIZE TO THE AUDIENCE
833
00:51:17,809 --> 00:51:20,178
FOR THE QUALITY OF SOME IMAGES
834
00:51:20,278 --> 00:51:22,948
TAKEN FROM CUT OR UNRELEASED MATERIAL
835
00:51:23,048 --> 00:51:25,250
DUE TO DEFECTS IN THE ORIGINAL VIDEOS
67630
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