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With 'Brick' there was the Dashiell Hammett influence, and with 'Brothers Bloom' there was a really strong Fellini influence - both those movies wore that on their sleeve.
For me, Fellini was like a watermelon. It is there. A watermelon cannot die.
My star was kind of fading towards the end of the '60s and suddenly I got this call from Fellini, who just appeared to kind of love me!
When I'm on stage, it's really intense. My mind is going a million miles an hour, trying to remember my act, trying to say it all the right way. It's funny how different it looks and how it's happening. There are three Fellini circuses in my head, and outwardly it looks like I'm going to get a bagel.
I was influenced by Ray Harryhausen and Lotte Reiniger, with her twitchy, cutout animation, which I happened to see at a very young age, but also by the Warner Bros. cartoons, 'Tom and Jerry,' and of course Disney. And also by Fellini's 'Giulietta of the Spirits' and Kurosawa's 'Ran.' And by other American illustrators and painters.
Certainly for my father, there were great times, good times, not-so-good times. He might be shooting a Fellini film for six months, then not working for two months. I'm used to that dynamic.
I loved all movies, literally. I certainly loved 'Shane' and 'Roxie Hart.' Later on, when I was less of a kid, I loved 'L'Avventura' and 'Persona' and all Fellini movies and like everybody else I loved John Ford. Then and now, I loved Preston Sturges, maybe above anyone.
It was I who made Fellini famous, not the other way around.
When I first saw a Fellini movie, I came out of the movie theatre and decided to become a lawyer! I thought to myself, it's impossible to make something so beautiful!
I like so many different directors: Scorsese, Coppola, Cassavetes, Jarmusch, Gus van Sant, Woody Allen and the greats like Fellini, Bergman, Tarkovsky and among current filmmakers von Trier, Ang Lee, Wong Kar-wai.