He obsesses over his devotion to wife Giulietta Massina and her anger towards his mistresses, perceived and actual. It is no coincidence that these film dreams became more prominent at the same time he started keeping the notebook.Īs in 8 ½, there are frequent appearances by his artistic collaborators: actors Marcello Mastroianni and Anita Ekberg, composer Nino Rota, costume designer Danilo Donati, his secretary Liliana Betti, art director Piero Gherardi, and producer Dino de Laurentiis. This is a mighty rich research tool.Īnyone who has seen a Fellini film knows the importance dreams played in his artistic landscape. The pages are scanned and reproduced to include every smudge and ink stain showing through pages. It’s sized at a hefty 9 7/16″ x 13″, the size of the first notebook, with top-grade paper tinted to approximate the aged hues of the originals. Rizzoli has now released these journals in an almost ridiculously lavish package.
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After his death in 1993, the two books were stored in a vault in Rome, until the Federico Fellini Cultural Association was able to purchase them through a complex process that involved his six legal heirs and an arcane legal process that, related by Association director Vittorio Boarini in an additional essay, played like an ancient Masonic ritual. The first lasts from November 1960 to 2 August 1968 and the second covers February 1973 to 1982 and includes some loose pages from 1990. The director eventually filled up two notebooks. The entries were garnished with pen and marker sketches and watercolor paintings.
#Federico fellini the book of dreams free
The idea was to free the psyche through the charting of these subconscious thoughts. He would write down his memories of his dreams as soon as he awoke. But this is how I should draw myself.”Īccording to an essay by biographer Tullio Kezich included with the recent release of Federico Fellini: The Book of Dreams, he started it as part of his Jungian psychotherapy. Here, this is how I see myself and that’s how I’ll draw myself in the dreams I write down in this book. I have hair and I’m thinner, just like I was 20 or 30 years ago. He starts by describing himself with accompanying drawings: “In my dreams I almost always see myself from behind. Federico Fellini in the documentary Fellini: I’m A Born Liarįederico Fellini wrote the first entry in his dream book on 30 November 1960, between the making of La dolce vita and 8 ½. Sometimes people are so immersed in that reality they dream only at night - but by then it’s too late for images.” The insensitive dreamer risks spending his days doing nothing, surrounded by brittle, evanescent things.
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And you shouldn’t completely abandon yourself to the pleasure of this night spectacle. Of course, you shouldn’t ask your dreams for instant or constant help in changing your daily behavior. They are the small and big myths that help people to understand. Together with Martin Scorsese, Raffaele Donato, Thierry Fremaux, and Alberto Luna he founded the World Cinema Foundation, which brings together about twenty great international directors for the restoration of third-world films.“Dreams are fairy tales that we tell ourselves. In 1986 he created, together with Nicola Mazzanti, Il Cinema Ritrovato an event dedicated to the history of cinema and the activity of film libraries.
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Gian Luca Farinelli has been director of the Cineteca of Bologna since 2000. He has overseen numerous cinema events, such as MystFest, EuropaCinema, and RomaFictionFest. Felice Laudadio is president of the Fondazione Centro Sperimentale di Cinematografia in Rome.
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It will be published in collaboration with the Municipality of Rimini as well as the Museo Nazionale del Cinema, the Centro Sperimentale di Cinematografia, and the Cineteca di Bologna (the three main Italian institutions in the field of cinema). Currently out of print, this new edition will include a critical introduction, as well as updated graphic design. From the late 1960s until 1990, the great director used this diary to represent his nocturnal visions in the form of drawings or, as he himself described them, scribbles, rushed and ungrammatical notes. A highly colorful journey into the boundless territory of a genius s imagination, this is a work that added a fundamental element to the study of Federico Fellini and his creative experience.