A Quote by Scott McClanahan

Fellini is a just a province kid. Rome exists for Fellini, not the other way around. — © Scott McClanahan
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!
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.
It was I who made Fellini famous, not the other way around.
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.
Well, Fellini... there is always Fellini.
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.
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.
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.
Rome is a very loony city in every respect. One needs but spend an hour or two there to realize that Fellini makes documentaries.
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.
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.
In a sense, 'Schmidt' is the most Omaha of my films. But have I gotten it right? I'm not sure. Did Fellini get Rome right? Did Ozu get Tokyo right?
There was a film that really affected me, 'La Strada' by Fellini, where Anthony Quinn and Giulietta Masina travel around on his little motorcycle thing.
I would love to be that woman in a scarf and large glasses pretending I'm in a Fellini movie, but that's just not my reality.
Fellini belongs to nature.
Fellini, Kurosawa, and Bunuel move in the same field as Tarkovsky. Antonioni was on his way, but expired, suffocated by his own tediousness.
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