A Quote by Anita Ekberg

When the film was presented in New York, the distributor reproduced the fountain scene on a billboard as high as a skyscraper. My name was in the middle in huge letters, Fellini's was at the bottom, very tiny. Now the name of Fellini has become very great, mine very little.
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!
Ingmar Bergman is a long way from me, but I admire him. He, too, concentrates a great deal on individuals; and although the individual is what interests him most, we are very far apart. His individuals are very different from mine; his problems are different from mine - but he's a great director. So is Fellini, for that matter.
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.
I think independent movies are actually very challenging right now, because it was this huge scene and it was great for a few years. Then, it was totally co-opted by the studios. Now, it's become very corporate, the independent scene.
I spend a lot of time in Paris, in Milan, and in New York, and Rome is a little bit different. There is something in Rome, incredible, like in a Fellini movie. Everybody's screaming and laughing very loud. It's something that can give me more energy in terms of freedom.
My name is very important to me. I'm representing the Wade name. I've got the name on the back of my jersey when I play. I walk around with that name. That's my family name, the name my son will grow up with. So it's very important to me to keep the level of maturity that I have.
Fellini is a just a province kid. Rome exists for Fellini, not the other way around.
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.
I guess bittersweet is probably my favorite tone, as a lover of Woody Allen and Federico Fellini and the French New Wave. You know, old Hollywood, sad movies. I guess it's my picture of suburban life, a lot of it being very, very lonely. I wanted to have that infused into the feeling of it.
There is a new way with very very tiny fiber optics, which give an enormous high resolution. There are many many thousand fibers, very very close together with a very small diameter.
The Pixar name means more than any other name. It's very important to us to keep that name at a high level.
Well, Fellini... there is always Fellini.
When you work in film, you learn to appreciate a distributor. You can have this great little film, but if you don't have a distributor, you are sitting in your living room with a great little film.
Fellini was a little lofty for a teenage boy, but certainly he was a huge influence.
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.
Leonardo Dicaprio didn't change his name, Emilio Estevez didn't change his name. But every case is different. I only have one reference of what my career was and I was very, very blessed and very, very lucky, and it got started very quickly after college. And I only know that by going with Roday.
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