A Quote by Anita Ekberg

It was I who made Fellini famous, not the other way around. — © Anita Ekberg
It was I who made Fellini famous, not the other way around.
Fellini is a just a province kid. Rome exists for Fellini, not the other way around.
With Fellini, the fear dropped out of my work because it was such a happy experience... hanging out with Fellini, having pasta on the set with Fellini, and going out with Fellini!
I grew up with my grandfather [Elia Kazan] being famous in a way that's not like Beyoncé, but famous in a relative way. It made me feel weird about the way that we treat people that are famous, and it made me feel weird about fame in general.
Fellini and Bunuel changed my life for me, they are my favourites. If it is true that movies are dreams, both of them, Fellini and Bunuel were shooting in a dream way.
Fellini was [David] Lynch's master and his biggest idol, and he believed in Fellini's view that film is a dream, it's not reality. It's all about delving into the unconscious.
Nature is made in such a way as to be able to be understood. Or perhaps I should put it-more correctly-the other way around, and say that we are made in such a way as to be able to understand Nature.
Well, Fellini... there is always Fellini.
Fellini was more in love with breasts than Russ Meyer, more wracked with guilt than Ingmar Bergman, more of a flamboyant showman than Busby Berkeley... Amarcord seems almost to flow from the camera, as anecdotes will flow from one who has told them often and knows they work. This was the last of his films made for no better reason than Fellini wanted to make it.
Who's famous anymore? No one. There are these comedians that are famous in a weird way. There are comedians, like Anjelah Johnson and Russell Peters, [who] are unbelievably famous, but in a way they're selling out 1,000-person stadiums.
To evoke the classic period of Italian cinema in a little film seemed like a great, fun thing to do. I had relations to that period. I had known Fellini and I had known Antonioni. I had made a movie with Antonioni and I had visited Fellini in his studios. So, it seemed like something worthwhile doing. You bring yourself to that mythical cinema.
These days, with 'American Idol' and all the other reality shows, young people become famous overnight, and that can be very difficult to handle, the way photographers follow you around and study your every move.
I never wanted to be famous. I want to be more famous than I am so I can get the roles. I hate losing the roles. I was famous more for being around people who were famous, and I hate that kind of fame.
I became an actor, and because I had success as an actor, I became famous. I was acting for quite a while before I got famous; television made me famous. I guess that it's television that is responsible for everybody's desire to be famous.
I can read a crowd pretty well. I know what to play and know how to keep it interesting for them and for myself as well. Most of the other DJs are more like producers so they become famous because they make hits and then they start DJ-ing. But I'm more from the other way around.
With a few exceptions, Fellini's films have failure and despair running through them: Life continues, but I can't imagine 'Felliniesque' as an exclusively uplifting adjective. Fellini's best films are the ones that distill this essence -- the paradoxical quality of melancholic ecstasy, a surreal, bittersweet vitality -- to perfection.
Poetry, I'm often told, is something made of words. I think it really goes the other way around: words are made of poetry.
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