“A major discovery for Fellini after his Italian neorealism period (1950–1959) was the work of Carl Jung. After meeting Jungian psychoanalyst Dr. Ernst Bernhard in early 1960, he read Jung’s autobiography, Memories, Dreams, Reflections (1963) and experimented with LSD. Bernhard also recommended that Fellini consult the I Ching and keep a record of his dreams. What Fellini formerly accepted as “his extrasensory perceptions” were now interpreted as psychic manifestations of the unconscious. Bernhard’s focus on Jungian depth psychology proved to be the single greatest influence on Fellini’s mature style and marked the turning point in his work from neorealism to filmmaking that was “primarily oneiric”.”

From: Federico Fellini – Wikipedia

“His actors often seem to be dancing rather than simply walking. I visited the set of his “Fellini Satyricon,” and was interested to see that he played music during every scene (like most Italian directors of his generation, he didn’t record sound on the set but post-synched the dialogue). The music brought a lift and subtle rhythm to their movements.”

From: 8 1/2 movie review & film summary (1963) | Roger Ebert

“By the time of “Casanova,” Fellini had more or less forsaken actuality, with its risks and smuts, for the controllable universe of the studio—specifically, for the cavernous soundstages of Cinecittà, in Rome. (It was opened, in 1937, by Mussolini.) There, for “Amarcord,” he re-created Rimini, swaths of the original having been flattened by wartime bombs. For “Roma” (1972), he built half a kilometre of highway, four lanes wide, with billboards and rest stops, ignoring or defying the fact that, if he wanted real roads, he had only to step outside. “And the Ship Sails On” (1983) took place on an ocean liner, which never left the safe haven of Cinecittà, and, for “The Voice of the Moon,” Fellini said, “I felt it was necessary to build an entire country,” complete with “a piazza, a church, a discothèque, a town hall, a shopping mall.” He had attained the status of a creator, summoning small worlds to comply with his imaginings. As he once remarked, “God may not play dice, but he enjoys a good round of Trivial Pursuit every now and again.””

From: A Hundred Years of Fellini