{"@context":"http://iiif.io/api/presentation/3/context.json","id":"https://uoregon.aviaryplatform.com/iiif/5717m05q3r/manifest","type":"Manifest","label":{"en":["Interview with Federico Fellini [1/4-in. magnetic audiotape], September 1965"]},"logo":"https://d9jk7wjtjpu5g.cloudfront.net/organizations/logo_images/000/000/029/original/uo-logo-hires.png?1580744881","metadata":[{"label":{"en":["Description"]},"value":{"en":["1 sound tape reel : 3 3/4, 1 7/8 ips; 5 in. (Physdesc)"]}},{"label":{"en":["Format"]},"value":{"en":["1 sound tape reel(s) (analog)"]}},{"label":{"en":["Identifier"]},"value":{"en":["Coll 458 (Collection Call Number)","JB0015 (Digital Object ID)"]}},{"label":{"en":["Date"]},"value":{"en":["September 1965 (Creation)"]}},{"label":{"en":["Source Metadata URI"]},"value":{"en":["https://scua.uoregon.edu/repositories/2/archival_objects/345388"]}},{"label":{"en":["Agent"]},"value":{"en":["Fellini, Federico"]}}],"summary":{"en":["1 sound tape reel : 3 3/4, 1 7/8 ips; 5 in."]},"provider":[{"id":"https://uoregon.aviaryplatform.com/aboutus","type":"Agent","label":{"en":["University of Oregon Libraries"]},"homepage":[{"id":"https://uoregon.aviaryplatform.com/","type":"Text","label":{"en":["University of Oregon Libraries"]},"format":"text/html"}],"logo":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/organizations/logo_images/000/000/029/original/uo-logo-hires.png?1580744881","type":"Image"}]}],"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/public/images/audio-default.png","type":"Image","format":"image/png"}],"items":[{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270","type":"Canvas","label":{"en":["Media File 1 of 3 - Coll458_jb0015_Fellini_01.mp3"]},"duration":3380.16653,"width":640,"height":360,"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/public/images/audio-default.png","type":"Image","format":"image/png"}],"items":[{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270/content/1","type":"AnnotationPage","items":[{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270/content/1/annotation/1","type":"Annotation","motivation":"painting","body":{"id":"https://aviary-p-universityoforegonlibraries.s3.wasabisys.com/collection_resource_files/resource_files/000/262/270/original/Coll458_jb0015_Fellini_01.mp3?1739214527","type":"Audio","format":"audio/mpeg","duration":3380.16653,"width":640,"height":360},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270","metadata":[]}]}],"annotations":[{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270/transcript/76699","type":"AnnotationPage","label":{"en":["AUTO_TRINT_Coll458_jb0015_Fellini_01.mp3 [Transcript]"]},"items":[{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270/transcript/76699/annotation/1","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e I am dog determined to find out details about these stupid details, you know. Okay, well, why don't we go eat then?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270#t=4.31,12.15"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270/transcript/76699/annotation/2","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e Okay. All right. He do the.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270#t=12.51,16.309"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270/transcript/76699/annotation/3","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Good one say that he doesn't demand exceedingly difficult things of his people. Perhaps that his his his equity is much more important.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270#t=18.42,28.88"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270/transcript/76699/annotation/4","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Oh, no. No. Oh no no no no no no.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270#t=31.9,35.87"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270/transcript/76699/annotation/5","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e 15 year old enough to know more. Oh I think he I think yeah. Actually. Yes. And not.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270#t=36.12,44.22"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270/transcript/76699/annotation/6","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e You coming into it. For none. For a person who has no experience in cinema for example. To move up to a certain point and put their toes on the little peg. Without looking at it, say a line, and then move someplace else to another little peg without looking at it. I think for a non-actor with no experience, that's already a double concentration, along with the natural stage fright of most people who is coming? I think that is asking. But since he does have such graciousness and pure charm of persuasion and is a magician, I guess he just hypnotizes. Could.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270#t=45.33,96.49"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270/transcript/76699/annotation/7","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Could you tell me a scene that you saw or that you heard? Told how he worked with someone to persuade them to overcome?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270#t=97.87,109.54"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270/transcript/76699/annotation/8","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Well, I mean, think of all the fantastic tracking shots that are in the press conference at the tower in the end of eight and a half. I look at the cameras on a track and in for a moment. The camera becomes the. Of Marcello Mastroianni, who is arriving for the press conference. And all these fantastic faces are swirling in front of him and jumping out of the way. Look, there we are. Are you glad I did not lose it?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270#t=112.09,142.74"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270/transcript/76699/annotation/9","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e But get well if you go wrong. No. Can you? You go. Did you both. On the level? I guess.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270#t=143.31,151.95"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270/transcript/76699/annotation/10","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e You know she's going.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270#t=152.49,152.94"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270/transcript/76699/annotation/11","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e To try. To get it. You know. Not necessarily meant that you give you a Michelangelo cut on the. It will take us put it in via zoom in question.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270#t=153.09,170.55"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270/transcript/76699/annotation/12","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e And yet it it has.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270#t=170.94,171.72"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270/transcript/76699/annotation/13","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Even the avatar of the. At the minute. I had a joke. I don't know both of you and your fathers.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270#t=171.93,179.35"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270/transcript/76699/annotation/14","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e Or whatever you know are up to you at all. You mean all. Of them? I understood everything.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270#t=179.89,191.05"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270/transcript/76699/annotation/15","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e And I agree. You might want to leave.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270#t=192.94,196.48"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270/transcript/76699/annotation/16","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e Lucky guy, but I'm going to need to be doing a hospital for.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270#t=196.99,201.09"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270/transcript/76699/annotation/17","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e It in a minute. There's a lot.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270#t=201.46,205.36"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270/transcript/76699/annotation/18","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e More to do that. The angel wants to go his way. In spite of the fact that I want to.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270#t=205.81,213.28"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270/transcript/76699/annotation/19","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Go to the shoulder and.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270#t=213.37,214.09"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270/transcript/76699/annotation/20","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e You know, the least expensive, but also much prettier. Yeah, yeah, I know. Yeah.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270#t=214.53,222.74"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270/transcript/76699/annotation/21","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Well, I do. I hope you didn't think I was too stupid asking.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270#t=225.34,227.95"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270/transcript/76699/annotation/22","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e For saying, oh, let's just go down and go get put through the mail, especially just before a picture opens. And that's when he's got a million things, you know, to do with the picture itself.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270#t=228.55,242.51"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270/transcript/76699/annotation/23","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e And and then suddenly all the genius from everywhere on earth comes. So, you know, logically, he wants to make it brief and.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270#t=243.02,250.34"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270/transcript/76699/annotation/24","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e To the point. Yeah.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270#t=250.49,251.42"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270/transcript/76699/annotation/25","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e That's funny. You do get it. Get get him to see things that he at first he.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270#t=257.839,261.69"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270/transcript/76699/annotation/26","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e Just renounces everything. And you can't see a thing about it.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270#t=262.04,265.43"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270/transcript/76699/annotation/27","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e And it's very interesting. He is Rosie. Rosie is very, very interested in trying to get nearer a kind of an exterior reality. You know, the world, the way people act, the way people do. Really. In order to get that Gregory at the. Also Fellini seems to be using the existence of the people for something that he's up to, something that's meaningful to him, that he really doesn't know. But he knows that if he uses.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270#t=270.56,297.16"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270/transcript/76699/annotation/28","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e That person or that piece of that car, it'll you you'll have that whatever it is that he feels you need or they want.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270#t=297.61,306.76"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270/transcript/76699/annotation/29","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e This idea of wanting to put in somebody who didn't have a role in the film, rewriting, put it out, you know.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270#t=307.45,312.13"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270/transcript/76699/annotation/30","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Well, for me personally, Fellini, Fellini is a far greater realist than Rossellini. Wrestling has the appearance of reality, but it seems to me that Federico has something far more interesting, which is the accidental quality of destiny.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270#t=313.78,330.7"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270/transcript/76699/annotation/31","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e You know? How do you mean? Accident?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270#t=332.11,337.09"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270/transcript/76699/annotation/32","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Or I mean so suddenly a face comes in. Who is it? Oh, yeah. I mean, Rossellini knows from the beginning. So this kind of me already a static quality. I love his films. Many of his films.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270#t=338.56,353.03"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270/transcript/76699/annotation/33","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e I love him. But.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270#t=353.27,354.53"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270/transcript/76699/annotation/34","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e I don't think I have the sense of the hundred possibilities behind every unturned stone that I have in Fellini's work. And for me, Fellini is much more Mediterranean than Rossellini. For me, Rossellini, in a strict adherence to your kind of exterior reality. To me, he becomes very methodical, very precise, and therefore the German spirit, really, rather than the Mediterranean spirit. I mean, I have to know the real thing, that Mediterranean art is a sense of life. Or, if you like, a sense of fun, wouldn't you say? And this is the one thing that Fellini has on a high level for fun. And it's a real sense of metamorphosis. Possibilities. Surprises. Alexander McQueen. Queens of iniquity.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270#t=358.19,416.8"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270/transcript/76699/annotation/35","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e This is an interesting quote from Eugene Walter's article for Atlantic Monthly dealing with. Reading. Which I'm reading at his home. It hasn't been published. It'll be out in December. And having to do with some of Fellini's background during the war years, when the syndicated comic strips from America could no longer reach Italy, Fellini worked for a house in Milano, which invented new series of comic adventures for such heroes as Mickey Mouse and Dick Tracy, and he drew hundreds of these cheerfully pirated strips for the Italian newspapers. After the war, he went to Rome. He lived there by drawing on the spot Caricatures and cafes along the Via Veneto. Fellini still draws constantly, doodling faces and figures while he listens to soundtrack takes or sketching his conception of characters to help him and chase in casting a film. He has worked. He has worked in vaudeville to writing skits and songs for one of those small troupes that did two a day tours of the provincial cinemas. It was in that period that he made the acquaintance of composer Nino Rota, who has written the music for all of Fellini's films. He's also worked at this time with actor Aldo Fabrizio. This goes toward his sense of caricature, and he's looking for the the line of the face that the significance of the face in it. And half the hero's mistress, Carla, Sandra, Milo talked mostly in comic strips, and the hero spoke back to her in this same highly special dialect full of wow, Zoe, why I'm a week.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270#t=419.17,523.559"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270/transcript/76699/annotation/36","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e It would help us look what no one ever does. The thing that says.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270#t=525.74,530.85"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270/transcript/76699/annotation/37","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e Has nothing to do to help us look. How do you mean, I don't understand. Well, a private detective who's dressed as a priest speaks her beautiful fashion courtesy. No, it doesn't do the appearance. But he's busy with foreign companies. And basically, that's why I'm talking about the new film. How did you. I forget you haven't seen. That one. How? And I know in front of.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270#t=531.48,565.59"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270/transcript/76699/annotation/38","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e The first script that for Julia to disability. Which Fellini sent to the producer. He wrote. As is my habit, working slowly but surely in the labor of preparation, I reserve the right to revise, sharpen, change or substitute scenes characters to enrich situations, to determine the rhythm of the film, the dialog to create a climate sometimes comic, sometimes anguished, sometimes astonished. I should like to point out that the film must be a complete stylistic reconstruction of reality, in order to obtain a special and evocative atmosphere, that the characters must be rendered in such a way as to achieve a neat and unequivocal precision. Do you say that you used a priest and then you completely mixed up the the no stereotypes?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270#t=565.65,616.04"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270/transcript/76699/annotation/39","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Yes, the thing with the people, as did when you see them. But then they need the talk.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270#t=617.3,621.53"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270/transcript/76699/annotation/40","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e No, behave like stereotypes. And this is part of the eternal irony that he's getting a feel.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270#t=622.1,628.49"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270/transcript/76699/annotation/41","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e He likes to mix stereotypes so that the stereotypes clash.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270#t=630.89,634.07"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270/transcript/76699/annotation/42","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e So the stereotypes and not stay. Yeah.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270#t=634.97,636.53"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270/transcript/76699/annotation/43","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e But to you who you see, you're constantly being put on the wrong track. By the way, by appearance, I know you're accustomed to being surprised by the mysterious unpredictability of human beings. I think this is something he's doing over and over, you know? I mean, for example, the sensitivity of Del Zunino in the crowd when we see her as the waif and stray, we're not really prepared for the Greek sensibility or sensitivity. We don't know, prepared for that. Nor are we in any way prepared for. You know, over and over. We're not prepared for what people do or what people say. How am I going to.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270#t=637.67,686.01"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270/transcript/76699/annotation/44","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Kick that chair. So. Well, I I'm I'm fascinated by Fellini the man and Fellini the myth. And I think that to approach either one, you have to consider an awful great deal about the Mediterranean and the accumulation of ideas, images, etc., which are in the Mediterranean scenery, mental scenery warehouse. I think I think it's a mistake to take off from like American ideas of and and interest in psychoanalysis, psychological questions and problems. I think it's a mistake to take off directly from that springboard, rather than to see a little of the older way of dealing with all the ifs in the human brain. And I think that, therefore, of its metamorphoses is the the best guidebook to Fellini, because it. What is it really? It's about the disguises of the gods, the extraordinary, unforeseen developments in every situation that's we're really all about. And it's an attempt on the part of the myths or a collective attempt to put some order on chaos. And then the the point of it has embroidered the codified myths. And I think that that's the place to see, you see, because Fellini is, yes, getting at the internal things, which calls the externals to be. But also there's a lot of embroidery, which is just Fellini. And all of this makes the charm of his films. And I think very few people see how much irony and humor. I think the reels, the Fellini in sense of humor is not hits you on the head with a big stick at all. It's in a little throwaway phrase or a little throw away expression or like that. And there's far more humor, really, than I think critics outside, perhaps of the Italian language. Ever see attribute that part to the fact that quite often the dubbing of the subtitling, even though marvelously accurate and oh, somehow has been done by someone not close enough to Fellini to see these things he has in mind like that.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270#t=688.29,844.63"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270/transcript/76699/annotation/45","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e You were going to tell me about the. You were going to tell me about this scene of the the tracking shots that you watched of the at the press conference at eight. And I had.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270#t=847.6,858.4"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270/transcript/76699/annotation/46","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e To keep to keep things flexible. He loves long shots where sometimes he has 3 or 4 scenes in a single shot, and the camera's all over the place. That's why I as of eight light camera. And what do you mean You used to like you. Maybe in the airplane. I don't know anything mechanical. I just know that when you come on the set, you don't see the camera. If you go into a Hollywood set, you see a large steel structure, which is the camera with its boom or its whatever. But the Fellini one is a little machine running on some tracks. And the the the cameraman and the assistant and the person who pushes the little way. I can tell people have worked with him, even forever. And he he raises a finger and they know this and that. But when he makes these several scenes on one shot, everything is ruined if one person is out. But but he has such a charming way of saying with nicknames, with terms of endearment. And to all these people who are not actors, it's they can't go wrong in a kind of way.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270#t=858.91,926.03"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270/transcript/76699/annotation/47","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e How does he how does he get them? Then do what do you want? What do you can you remember what he said to somebody there? What do you do in that scene?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270#t=926.9,933.49"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270/transcript/76699/annotation/48","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e He says, for example, to a girl. Tesoro or Celine or any of the terms he uses. He says things like. Stay, Lena. Now, if you don't move your head back or forward or whatever. When I raise my little finger, your carpaccio will be cut off in this scene. Your noggin, your noggin won't show in this scene. Now, when I say three, you must smile. And such a pretty smile, as you know. And that all these. These things like that. And he. I think it's because he charms people and they want to do their best, not only for themselves, but for him. You know, it's Uncle Federico magic circus. And. Well, I think he's a magician. Far more than a psychologist. I do.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270#t=935.14,995.33"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270/transcript/76699/annotation/49","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e You don't think that he understands people in your own standing?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270#t=995.75,1001.03"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270/transcript/76699/annotation/50","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Oh, but but yes, of course I do. But as a poet, I suppose I don't think. I don't think he's calculating. He's often said to be calculating. I don't think he is. I think he has. I think it's the three eyes. Instinct, imagination, intuition rather than anything from books or experience. I think if even if he'd never made a film, I think if he suddenly came from Rimini and was still only a writer, and someone put a camera in his hand and said, make a film, I think it would be a good film. I think it would be a fascinating film because he has this. He has this point of view which is entirely his own, and this, this real way of making things happen.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270#t=1001.75,1044.71"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270/transcript/76699/annotation/51","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e You.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270#t=1051.0,1051.0"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270/transcript/76699/annotation/52","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e Can you recall a scene that you watched from the moment where you began to make the scene?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270#t=1051.75,1056.58"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270/transcript/76699/annotation/53","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Well, 100, 100 years, both as an actor and as a hanger on on the set. But what what do you want to know exactly? You know.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270#t=1057.39,1064.8"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270/transcript/76699/annotation/54","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e Not a method that is common to everything, but.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270#t=1066.75,1069.57"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270/transcript/76699/annotation/55","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e How you work on one scene, sort of. From start to finish, you take your own scene. So if you played an eight and a half.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270#t=1070.14,1076.05"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270/transcript/76699/annotation/56","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Well, the thing that I noticed was that you gave no direction.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270#t=1078.06,1080.37"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270/transcript/76699/annotation/57","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e The props starting at the very first, you were there on the set.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270#t=1081.99,1084.27"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270/transcript/76699/annotation/58","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Arrived at. That was my first day's work on the film. I arrived at 7:00. This was all being shot in a eucalyptus grove in the country right at 7:00. I had no idea what I was to wear, what I was to play, what I was to say. I knew I was kind of a journalist, but that was all a vague idea. I met Fellini wandering through the trees and he said, oh, good evening, how are you? Etc., etc. he said, has he given you your lines? And I said, shivering, no. And he said, well, marilla's over there, and she has them. And he shouted through the trees, Mirella and Mirella said Federico. And he said, give you Jean his lines. And she shouted back, is he going to recite in English or Italian? Federico said, oh, Italian, as if you know, like that. So she came running and gave me the lines and he said, go and learn them, because we shoot in an hour. So I rushed to the costume tent and said, what am I going to wear? What I'm going to wear? I brought all my summer clothes and said, oh yes, you're with this. And what they need this necktie and everything is all right.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270#t=1084.81,1149.41"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270/transcript/76699/annotation/59","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e They had a costume plan.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270#t=1150.07,1150.97"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270/transcript/76699/annotation/60","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e No, no, I brought all my clothes and then they chose. So then I rushed and sat down on the tree and learned my lines well. And when the scene came and the time came to shoot just by accident, the first shot for that evening happened to be a line of mine. I was terrified, of course, because of the great feeling in all that. Although I had known him slightly, I had never worked with him, and I was, you know, naturally nervous. I wanted to do my best and etc. so he was so charming and said, now you sit there and also something else. Marcello Mastroianni, who need not have stirred himself since theoretically the line was directed to him simply to be nice. He set where he was supposed to sit. Just. We had just met just then. We were talking on the set and he said, in the most charming and natural way, sat down opposite me at the table with the scene was even though he was not in the shot, which again, is another thing which the cooperation and the real good manners of Italian actors. It's not really like the Hollywood thing, where the star never speaks to the second player, and the second player never speak to the player in the player never speaks to the extra. Italy, theoretically, a recently royalist country is much more democratic in making films than America, which has not been royalist country for two centuries. I think this is just something that has happened that way. I don't think it is intentional or anybody's part. It's again, all accidental. Anyway, Federico said, now you turn your kaput, show your noggin this way. And you say the line. And he said, make the little smile that you sometimes make a half smile. So I made a sad effort at a little half smile and he said, ironical, ironical. Of course I was thinking, oh my God, how am I going to be a hierarchical, you know, with like that? Not that I have not had experience as an actor, I have, I have been in the theater all my life, but am so impressed and was so impressed with Fellini that I was debonair. Anyway, then. Then I caught on immediately to the fact that he doesn't really direct you. He throws out one little marvelous hint with each bit of rehearsal and with each shot.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270#t=1151.62,1299.78"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270/transcript/76699/annotation/61","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e But you retook this several times.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270#t=1300.65,1302.24"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270/transcript/76699/annotation/62","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e We did maybe four run through some of the lines because the camera was moving and all that. And then I think four shots. But he adds, every time something this time he says, pick up your spoon, which I had in my hand. Theoretically, I was playing with fruit, so I'll pick up the spoon, he said, and wave it at Marcello when he passes there, even though we don't see much of moving, it's the camera moving. He says, wave it when you say the line. Well, of course it's this marvelous thing. You see, if I had rehearsed waving a spoon. But then it would have been a dead gesture. You just pick up the spoon and wave it. So I picked up the spoon and waved it. It was like that so that I was perfectly at ease in my lines, reciting in Italian, which I then didn't know maybe as well as I know now. And but the spontaneity came in, these little hints thrown out at the last minute. Always.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270#t=1302.75,1364.98"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270/transcript/76699/annotation/63","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e And so this proceeded to the add things for each take.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270#t=1365.64,1368.88"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270/transcript/76699/annotation/64","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Oh, yes. After the spoon did he ate something? Yes, yes, yes. Things were. I didn't think about it. And then he stops when he thinks it's what he wants. Then always he does one extra one that tries to be the same as the one he wanted just to have.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270#t=1369.72,1384.51"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270/transcript/76699/annotation/65","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e He did he never give you any indication about your line reading or anything like that?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270#t=1385.41,1389.22"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270/transcript/76699/annotation/66","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e He he said once a little faster and he said, once they accentuate this word otherwise.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270#t=1390.27,1396.99"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270/transcript/76699/annotation/67","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e Like that. Did you feel that you were a natural to or did you feel.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270#t=1399.29,1402.68"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270/transcript/76699/annotation/68","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Very, very disturbed? Jenny, you're not bothered? Well, you. No, I was never disturbed. But I've been in the theater really? Since childhood. And if you give me the lines, I'm going to. You know them as best I can. I felt later that maybe I would like to have known what type of character he thought I was playing. But when I saw the film, I realized that he had made me play the type of character that he thought I was playing. Yeah. And and many of my, many of my friends, if you did not recognize me at all, just by one of those, I was a personage from the Fellini catalog and.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270#t=1403.37,1449.21"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270/transcript/76699/annotation/69","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e And not yourself.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270#t=1449.61,1450.17"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270/transcript/76699/annotation/70","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e And not myself.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270#t=1450.62,1450.95"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270/transcript/76699/annotation/71","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e And yet he had done nothing to help.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270#t=1451.67,1453.26"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270/transcript/76699/annotation/72","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e You build the character or anything. These are just these these little things. And it was all set up and determined.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270#t=1453.5,1460.74"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270/transcript/76699/annotation/73","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e And it was he he directed you not by working on you psychologically for it to get to make you develop the character, but by adding. Details, physical.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270#t=1461.7,1476.19"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270/transcript/76699/annotation/74","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Detail. He starts, he starts, I would say with. With you. And certainly the you that turns out in the part is 20 other things unforeseen. But he does start years with you're still aware that your something. He might take a person's smile and use it out of all proportion. Somebody may have a little smile where one side of the mouth is higher than the other. So let's say maybe he uses that 23 times in a scene, so you get the impression of a terribly nervous person with this nervous smile. Or maybe someone has a natural smiling face and he he says, you know. Look like you looked when you came on the set early this morning. You look tired and sleep. Been disgruntled, I think. Look, be look like that to the person. Looks like that. You see, he'd be built on what he has seen out of the corner of his eye about you.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270#t=1476.58,1542.86"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270/transcript/76699/annotation/75","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e How have you seen him have problems? If he wants you to look like you came on the set, and you can't for your life cannot find out what it was?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270#t=1544.63,1552.19"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270/transcript/76699/annotation/76","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Oh, well, then he shows you because he's a perfect mimic and remembers, if you remember again, your metamorphosis or your mythology. The mother of all nine muses is who is memory. And he has incredible everything he's ever seen you do or say or all that he you filed in his mind. And this is another characteristic of him. I think most directors are not as slow to come at you. Most directors feel themselves much more feel Marshalls, and I think he feels himself as the ringmaster of a circus of extremely rare and delicate beasts. And Pittsburgh. What if one of them dies? It would take several expeditions to replace it. You see what I mean? I think that's his thing. I mean, if one had to. If one had to think of the opposite of Fellini, I think we would name a certain Otto P. Yeah. Who is famous for causing actors to have nervous breakdowns On the other hand, Fellini is famous for causing actors to suddenly go off and plant rose gardens or start new roles or do something they've never done before in their life. And he's the great corrupt in the most heavenly sense. Now I'm just Guido Alberti, who played the producer in eight and a half, is really a very wealthy manufacturer of a very delicious Italian liqueur called Strega. And it's he who gives the Trager prize and most cultivated, charming and delightful man who always was stage drunk. But after he played the producer for Fellini, he really has become an actor. In the new film, there's a medium called Professor Genius who Now wishes to give up his lifelong work as a medium and as a clairvoyant, and be an actor forever. Miss Adrian Gale, who played Sarafina, was a music student who wanted to sing opera. Now she's an actress. And you see in me a simple minded writer from the South who never dreamed of doing anything but writing poetry and fiction. But I could no more stay away from the set with Adriano. Federico Fellini's working than I could fly. So in that sense, he's the great character, but in the same sense, a very frock defying talent. It's it's it's Diego crossed with Zig field. No, wait. I have to take you for that.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270#t=1552.4,1734.52"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270/transcript/76699/annotation/77","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e You only wanted to work with me, but he didn't destroy my neck.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270#t=1735.21,1741.48"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270/transcript/76699/annotation/78","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e 20, George. And? But.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270#t=1742.61,1747.0"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270/transcript/76699/annotation/79","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e From what I understand, he didn't spend much time to charm you. He just brought you into it.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270#t=1750.16,1755.92"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270/transcript/76699/annotation/80","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Oh, he knows when people are already charmed. Because he's got those goo goo eyes. Byzantine parts in garlic, part colostrum. And people either swoon dead away when they meet him or they don't. And. I swooned long before I met him. But when I was in Paris, I saw La Strada was the first film I'd seen from him. And it was the first film that gave me a sense of Italy in modern times, which no other Italian film gave me. I had a sense of. The unsettled condition of Italy after the war and all that from films like The Bicycle Thief and Shoeshine. But La Strada gave me a physical, concrete sense of Italy, but also the political or mysterious thing. It was the first thing. It made me feel something about Italy, as well as see something about Italy. And I thought, well, I must go to Rome. I want, I wanted already to know the Italian language, and I thought the one person I most want to meet on earth after seeing that film is Federico Fellini. And it was seven years after that before I met him. But I'm not in a hurry. I come from Alabama, and one of the things, perhaps, that that makes me get along with him well is that I have a kind of curiosity and that I'm not in a hurry, is it? You know, it must. Things must be right for this and that. But most people are prepared to swoon. And he looks at, I mean, if he sees that in inwardly they are swooning. He knows it already he can, but they will stand on their head naked in the middle of the Piazza di Spagna if he asks them to. So he doesn't have to work at it. If, on the other hand, he sees a diabolical face or an angelic face that is either too innocent or too corrupt to swoon, he makes the effort to charm the angelic or to frighten the diabolic. And in a way that he can.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270#t=1756.19,1896.68"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270/transcript/76699/annotation/81","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e You've seen him do this?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270#t=1897.97,1898.63"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270/transcript/76699/annotation/82","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Oh, yes. Yes. There's really no one who won't. Who can't eventually be made to eat out of his hand. He's the. He's the magician.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270#t=1899.68,1910.57"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270/transcript/76699/annotation/83","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e Could you. You tell me and tell me a story that. Something you see.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270#t=1912.34,1919.27"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270/transcript/76699/annotation/84","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Well, look at Adra. Gail, who played Sarah. Gina, a music student from Fresno, California. He advertised for plump ladies to play the mistress of Marcello Mastroianni in eight and a half. She was in Milano studying opera and someone in the hotel in the HBO go. Wish she was staying with Pynchon and said, oh, Adra, look, Fellini's advertising for plump types. You must go, we must go. And so she went and all that and all that. But meantime, Sandra miller was pregnant, so she was plump and she was given the part. But apparently Federico remembered Abigail and and liked something about. And so he thought, well, I'll make her the. Oh, yeah. So she could be the surrogate now because he'd already written the role. No, but there was a surrogate. This was based on a real incident of his childhood. And in every one of his films, somewhere is the Jolly fit for the jolly fat woman who represents, I suppose, Mother Earth. I don't know what she represents. Anyway, so it was completely transformed bit by bit. I mean, she's blond. She's basically a shy person. Oh, great sense of fun and all that, but mostly suppressed and all that. But, I mean, she became this fantastic figure. And for many people, that one of the most memorable images of the film.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270#t=1924.38,2011.72"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270/transcript/76699/annotation/85","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e How did he work on that?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270#t=2012.26,2014.3"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270/transcript/76699/annotation/86","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Just this thing of charm and heart. We were there at the end when.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270#t=2014.96,2019.97"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270/transcript/76699/annotation/87","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e He recalled some of the things he said to her, but here she she came. She was shy.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270#t=2021.65,2026.0"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270/transcript/76699/annotation/88","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e All she had was problems.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270#t=2026.63,2027.41"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270/transcript/76699/annotation/89","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Well, also talent, I think, because she couldn't have sung either without some acting style somewhere and without a feeling for performance. Because after all, she's as far from Ida. She is from Sardinia. Well, if, for example, she was always saying, oh my God, I hope my mother never sees this film. But then another thing that Federico does is that there's always music throughout every scene while it's being shot.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270#t=2028.97,2056.53"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270/transcript/76699/annotation/90","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e He plays music.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270#t=2057.04,2057.489"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270/transcript/76699/annotation/91","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e And during the filming of eight and a half, there actually was a orchestra playing on set throughout the shooting of the film. I think there was maybe, maybe two episodes, but they were recorded bits that were played, but everything was done. But there really was a live band. I mean, all of the hotel, all of the nightclub there was the either the band of the nightclub playing, even though it had nothing to do with the scene or a combo playing somewhere, or if there was music, you don't really need it. And for someone like Sarah, Gina, particularly being a musical person, you give her a kind of rumba or whatever it was she was dancing and naturally she she feels this and something comes from the music as well.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270#t=2058.12,2102.53"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270/transcript/76699/annotation/92","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e And he director in the actions she did particular movements.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270#t=2104.0,2107.0"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270/transcript/76699/annotation/93","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Oh yes. He told her a dance and he told her a sexy dance and he told all this and of course he knew he knows it. He knew exactly what he was doing, choosing her. Because if you remember, she's sexy, but is not the least bit of a vulgarity. There's nothing embarrassing. It's all marvelous. A real whore being put before the camera and told to do this might be pathetically embarrassing. You see the charade Gina was. Endearing. And there was an idea of of life, of of energy. Which was most endearing, most rewarding, which is what he wanted, what you were supposed to see, I suppose, from the point of view of the little boys.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270#t=2107.81,2156.93"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270/transcript/76699/annotation/94","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Didn't she? Didn't she objected to this?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270#t=2158.22,2160.5"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270/transcript/76699/annotation/95","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Well, she protested my lip, but but her great line was, oh, my God, I hope my mother never sees this film. But I mean, she did what he after. She's professional. She was hired to play a part. And slowly but surely, this marvelous invention took shape. And if you met her, and you ought to meet her and talk to her, since she's American, you should be easily approachable. I think you might get a very interesting thing from her. I think she could tell you more about it than I can.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270#t=2162.9,2191.52"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270/transcript/76699/annotation/96","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e In some of the other scenes that you did in the film, other than the one that just talking the seeing, did it continue the same way? Were there other changes? Was there scenes more, more difficult than just sitting and saying one line and.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270#t=2192.93,2205.89"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270/transcript/76699/annotation/97","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Waving a spoon? Well, I mean, there was one famous scene in the hotel lobby when it's one shot that has seven complete scenes, the camera picks up a lady with two bozos or Dalmatians or something. Coming in the front door of the hotel, you go as far as the elevator with her. Out of the elevator comes a cardinal with his secular and religious secretary. You follow him for a moment. You pick up some old men who are coming to be seen by the director, Marcelo. You pick up the producer, his mistress, and the production manager coming down the stairs of the elevator. Then you see the French actress and her agent. Then you see the American journalist and his little wife. It's one take. You could imagine the difficulties of getting all those people's attention. And through an echo of hotel lobby.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270#t=2206.01,2264.02"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270/transcript/76699/annotation/98","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e He cannot have worked on this, as you said, without saying things to people particularly. How did he regulate?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270#t=2265.01,2270.38"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270/transcript/76699/annotation/99","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Well, the marks were put for them and all that. What I remember principally in that scene, he was saying, no, no, no, you mustn't look at the mark. You must feel the mark. You must remember where the mark is. You mustn't look at them. And but the people but then the people more or less knew this was.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270#t=2271.97,2294.66"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270/transcript/76699/annotation/100","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Did he do many rehearsals?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270#t=2296.04,2297.21"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270/transcript/76699/annotation/101","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Because we rehearsed all day before taking one day of rehearsal to I remember, and again the next morning, and then the takes.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270#t=2297.83,2305.25"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270/transcript/76699/annotation/102","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Those rehearsals were with camera or with.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270#t=2305.67,2307.5"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270/transcript/76699/annotation/103","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Oh, yes. Oh, the camera is an actor in a Fellini film. The camera rehearses everything with the actors. There's not a single bit that the camera is not rehearsing.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270#t=2307.86,2318.0"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270/transcript/76699/annotation/104","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e He doesn't rehearse beforehand and then set up the camera and then rehearse.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270#t=2318.99,2322.53"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270/transcript/76699/annotation/105","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Or he might set up the camera just like a frame or something. He might. But usually the camera rehearse just because. If you remember, everything is in movement. There's no such thing as a static camera. Maybe one close up or something. But the camera is always moving like a like an actor.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270#t=2323.16,2339.82"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270/transcript/76699/annotation/106","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e And it was. He said that. He said that in the interview that cameras, lights, microphones are all a part of the show. And this is, this is the part of the reality that we're we're making.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270#t=2341.2,2352.93"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270/transcript/76699/annotation/107","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Yes. And so they are. And. And he he always indicates this. Really. Sometimes the camera is the eye of a character. Sometimes the camera is the eye of the innocent.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270#t=2353.56,2369.34"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270/transcript/76699/annotation/108","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e But he tells the person this.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270#t=2369.73,2371.26"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270/transcript/76699/annotation/109","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e No, no no, no. He said he indicates this, you know, but I mean, for example, when when the cameras. Marcelo's, for example, in entering the press conference and these, all these faces jumping in front of them and jumping away, you know. Oh, no, he doesn't tell them the cameras. Marcelo's. I just tell them where they are and what they're doing.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270#t=2372.12,2398.04"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270/transcript/76699/annotation/110","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e What else can you remember about this complicated scene you were describing that you rehearsed all day? He. He gave. Did he give anything more than just the simple directions of where to go and what to do, and then to not look at the pegs and field them? Or did he did he did he bring any kind of criticism according to on the playing of it?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270#t=2407.43,2428.64"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270/transcript/76699/annotation/111","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Oh, yes. As always, he added a little thing before each shot. He added a little here and a little there of. You know, clutched your hand bag this time or at this time Lift your glass and take a drink. He built it. You know, like pieces of music.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270#t=2429.36,2453.46"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270/transcript/76699/annotation/112","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e With physical gestures.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270#t=2455.89,2456.58"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270/transcript/76699/annotation/113","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Yes, but the lines were not that important because the scene was the idea of how many people were claiming the time and attention of Marcelo. And the dialog really was not that important. The important thing was the the interruptions of these people and their faces coming toward either giving a great smile to or wanting something. You know, all of that.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270#t=2457.54,2480.79"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270/transcript/76699/annotation/114","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e He asked for the smile. Yes. Oh, yes. Yes. Did did he ever find something you didn't like? And how would he. How would when he didn't like something.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270#t=2481.42,2491.95"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270/transcript/76699/annotation/115","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e How would he go about correcting it? You know what?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270#t=2492.49,2497.41"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270/transcript/76699/annotation/116","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Well, there's some people that he knows well enough to shout out. He never shouts unkind and he never screams. Just do it like that. But he would say, my clothes are fine. What are you doing? Treasurer, what are you doing? No, no, your head mustn't go that way. Don't move your head away from this. You must be here. You must be there. The noggin. And there's always. Even if he's shouting, which is very real. Or if he's impatient, which is very rare. They're always the terms of endearment and the funny words that take the sting off of it. And then it's all, if he's irritated, it's all made. Maybe five of the scenes in one shot have gone right, and then somebody does it wrong on the, you know, in the middle toward the end of a long shot like that, and then he'll stomp his foot a bit. But but a calm, a director I have never, never encountered.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270#t=2498.79,2550.62"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270/transcript/76699/annotation/117","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e In cases like this with people speaking several languages.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270#t=2556.2,2558.57"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270/transcript/76699/annotation/118","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e The 27 nationalities in Eight and a half. Something like 17, I think, in Julietta.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270#t=2559.29,2567.28"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270/transcript/76699/annotation/119","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e How did he direct the people of these different nationalities?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270#t=2568.48,2570.49"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270/transcript/76699/annotation/120","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Well, because he knows French. He knows English. He has a few German word. There's always somebody among the 27 nationalities who could contact somebody to learn some of the others. So funny it, you know.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270#t=2571.9,2588.76"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270/transcript/76699/annotation/121","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e So if I understand, I think the the keys to Fellini's. Unconscious approach is first, his ability to establish a friendship, a relationship, and to force people to want to please him.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270#t=2590.26,2608.5"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270/transcript/76699/annotation/122","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e He creates, first of all, the atmosphere. It's the atmosphere. This is the film.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270#t=2609.34,2613.48"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270/transcript/76699/annotation/123","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e This is the.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270#t=2614.02,2614.62"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270/transcript/76699/annotation/124","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Film, the film. He creates an atmosphere which absolutely he creates. He does have, as he says, a psychic thing with the designer. And the design, of course, has seen what he wants. All right. The thing is set up. The people arrive whom he's already charmed, and the excitement of really fun. After you've waited a year or two years in the preparation to finally go and do your bit, well, it's very exciting, as you can imagine. And that's that's why I say it's like a party. It really is, though. Federico Fellini on New Year's Day of 1965, says now, Mr. Blue. Next Christmas I'm having this marvelous party. Marcello Mastroianni is going to come, and a new comedy is going to come. And of course, you're going to come, too. So why don't you put it in your engagement book for next Christmas, a year from now? Are you disposed? Will you be free? Can you come up because everybody said, oh heavens, yes, I'll record, share it by date. Book it. What? So you arrive on the set and what do you see? You do not see the serious professional attitude that you would get with the Hollywood people. First of all, the Hollywood people are so pressured from above, from below, from left, right, etc. that the fund set does not exist. I'm sure it did in the 20s and the 30s when great American films were made, and when indeed the director knew everybody, and his great Aunt Minnie, who was passing through town, did play a guest in the hotel scene. And it was all like that and was set up like, all right, people arrive. Now, among the people arriving on this people set. Everybody sees somebody else they know or immediately meets somebody who is in the same world. For example, in Juliet of the spirit, there are several Russians. The Russians arriving on set, find other Russians, and right away they have something to talk about. Up there was a Polish fabric designer who plays the nurse in this film. Right away she met some English friends of hers on the set. There were three poets in one scene. Real life poets. All that. There were several models from various countries. It is a most considerate and thought out guest list. And immediately everybody is at home. Immediately everybody makes friends with everybody immediately there is something quite electrical. But this has been made on a empty, cold, gray soundstage by the fact that Mr. Fellini wants this. And from the beginning, he's chosen the people that's made the atmosphere. He's made it.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270#t=2614.74,2800.46"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270/transcript/76699/annotation/125","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Music playing at this time.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270#t=2800.58,2801.75"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270/transcript/76699/annotation/126","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e They have an orchestra. If not. If not at that first moment. There is always an electrician so happy that he is singing because of that shot or that film is beginning. And what about the set? Is there a set this up? Is it? The set is up. Of course, shooting is to begin. Well, it's so agile, I'm telling you. I've worked in small parts under Blake Edwards, Vincent Minnelli, some experimental films done here and there with some bits and pieces in Paris that no one's ever heard of. I have never walked down to a set and felt this extraordinary. Sense of relief. A sense of creative energy. You know, bubbling, sizzling. I feel of a Fellini, a first day shooting that if the power plant failed. There must be some way just to harness the enthusiasm of all concerned and make everything light up.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270#t=2802.44,2877.07"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270/transcript/76699/annotation/127","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e So once he's got this going for it, then he really has to say nothing more other than give mechanical and instructions and and add physical detail.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270#t=2881.15,2893.78"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270/transcript/76699/annotation/128","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Exactly. When Fellini says to somebody, you're going to be in my film. He already has. Given what? Perhaps Max Reinhart would have spent two months of solemn discussion on the stage explaining. Because first of all, anybody who is in a Fellini film has seen a Fellini film or they wouldn't have come to be in a film. So there you are.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270#t=2894.41,2923.67"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270/transcript/76699/annotation/129","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e And he doesn't get it. He does give sometimes a text ahead of time to learn.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270#t=2927.03,2930.69"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270/transcript/76699/annotation/130","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e How to tell somebody who. I mean, like Marcello Mastroianni, for example, or. I mean, you can't shoot too well. Some of the lines of that scene. Yes, when I arrived on the set. And but for example, I play another, I play in the Juliet, I played in a scene which is not which is no longer in the film because there's always something which goes by the booth. But I played an art photographer who was showing lent and slides at a party. Slides really, you know, close ups of flowers on it. And all he said was now you are not for typing and make up what you would say, you know, explaining the slides and all that and all that. But then it might be back up what you would say. But then I'd worked with him enough that he knew what I could do, you know. Yeah. And and again, it was nothing improvised, really. All right. So I said some things, but what I said came from being in that situation, in that thing and the.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270#t=2931.53,3006.74"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270/transcript/76699/annotation/131","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e While he was shooting, or did you rehearse what you were going to say?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270#t=3007.29,3010.17"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270/transcript/76699/annotation/132","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e No, no, I like that. I made it up and we did. We went through it once or twice and then then he shot, but it really came from out of him. I mean, even though but there was nothing improvised. You see, he keeps saying that he doesn't improvise. And this is true. He doesn't improvise. He does, however, take advantage of every possibility for spontaneity. But it's not improvization. Improvization is where you have an idea and some stock characters or some characters, and it's all made up. That's not it. The end with Fellini, the atmosphere is so strong and his his feeling for what the final and total meaning of the whole wall is going to be so clear. Really, from the beginning, he pretends that he doesn't know how it's going to come out, or whether the character's going to be an actor or a writer or this or that. But the flavor he has from in his head from the beginning, I would say, and everything must be true to that. So there's really no improvization. There's just no such thing as improvization. And after all, if he's worked two years to prepare a film, how could it be improvization?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270#t=3011.22,3083.21"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270/transcript/76699/annotation/133","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e When? When you were saying your lines and these were things that just came to your mind as you said it.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270#t=3084.52,3088.47"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270/transcript/76699/annotation/134","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e In that situation, and also blossoming under the tutelage of Federico Fellini.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270#t=3088.74,3094.08"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270/transcript/76699/annotation/135","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e He had conditioned.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270#t=3095.61,3095.88"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270/transcript/76699/annotation/136","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e He had conditioned me. And I must say, it was delightful fun. It was. It was a piece of knowledge. Nothing to do with me. Really?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270#t=3096.81,3109.32"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270/transcript/76699/annotation/137","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Oh, yeah. And yet you didn't feel like you were playing someone else?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270#t=3111.93,3115.65"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270/transcript/76699/annotation/138","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Well, I thought I was playing someone else, but. But it felt. It felt easier, you know? I mean, you didn't do.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270#t=3117.15,3121.98"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270/transcript/76699/annotation/139","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Research on the part. You didn't try to build the character or things like that. No.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270#t=3122.52,3127.66"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270/transcript/76699/annotation/140","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e I built on. The setting on the characters played by Sandra Milo and a number of other people in the scene. I mean, all this and the setting itself gave gave the clue, you know, to I mean, I knew by her apparition, by the set, by everything what the flavor was. I mean, how could one not know influenced you? It was almost unconsciously, you know, it gave me everything I needed to know to to do that. But this was all set up by him, you see. And. All I can say is play a part with Fellini.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270#t=3130.43,3175.49"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270/transcript/76699/annotation/141","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e What was very close to what I was after here. Just the fact that this whole atmospheric conditions. The person in spite of himself.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270#t=3175.97,3183.05"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270/transcript/76699/annotation/142","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Practically. Yes. I am not an art photographer. It is extremely unlikely that I would ever be. You know that's not true. I might be at a party of of the wealthy mistress of a Greek shipping magnate. A party in which they are playing a game, which they're setting up the atmosphere of a bordello because one of the ladies in this household is an ex whore from the street from a motel, and. I don't think I would ever be in my life explaining art photographs in this setting. This is a situation in which, if I were given this as an improvization to do, I would indeed sit down quietly and think for a moment or so. What is this situation? What is this person? But since Mr. Federico Fellini has set up the whole atmosphere, since he is a magician, and since he also is able to give you so much without any idea of your being given it. He said, all right, now you are not photographer explaining these Latin slides. They're going to be flashed on that thing over there. And so you you say, so you explain this? So I did. I became that based entirely on the atmosphere, the atmosphere, the other characters, the set. And the fact also. His his confidence that I would do exactly what he wanted. There. You see.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270#t=3183.44,3283.09"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270/transcript/76699/annotation/143","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e And did you find yourself sort of saying things that surprised you even when.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270#t=3284.56,3290.32"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270/transcript/76699/annotation/144","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e No, I'm a writer. Nothing dredged up from the subconscious would ever amaze me. No, no, no. I looked at the slides and I thought of what? Of the sort of mishmash that pretentious photographers say. That's what I thought of, you know, words like phrases like dynamic symmetry or cosmic scene criminal. Those are the phrases that came into my head, phrases I would never use, but that's what came into my head in that setting, in that circumstances and being given this spiritual goose by Federico Fellini.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270#t=3290.56,3330.69"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270/transcript/76699/annotation/145","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Very good. I think that that's the key to this whole work.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270#t=3332.28,3334.32"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270/transcript/76699/annotation/146","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e And the spiritual goose.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270#t=3334.77,3336.3"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270/transcript/76699/annotation/147","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Excuse me. I wonder if anyone ever told. And look at me. She'd gotten a spiritual goose.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270#t=3338.26,3343.17"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270/transcript/76699/annotation/148","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Or you may even have goose at her. Literally. Because Federico loves to pet and fondle people. And it really has nothing to do with sex. I think another part of his secret is that unlike a great many film directors, after all these years, he's still in love with the human race.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270#t=3348.15,3368.46"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270/transcript/76699/annotation/149","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e So I think you.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270#t=3372.84,3373.5"}]},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270/transcript/76699","type":"AnnotationPage","label":{"en":["English [Transcript]"]},"items":[{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262270/transcript/76699/annotation/150","type":"Annotation","motivation":"subtitling","body":{"type":"TextualBody","value":"https://d9jk7wjtjpu5g.cloudfront.net/file_transcripts/associated_files/000/076/699/original/trint_Coll458_jb0015_Fellini_01_transcript.vtt?1740614984","format":"text/vtt","language":"en"},"target":"https://d9jk7wjtjpu5g.cloudfront.net/file_transcripts/associated_files/000/076/699/original/trint_Coll458_jb0015_Fellini_01_transcript.vtt?1740614984"}]}]},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271","type":"Canvas","label":{"en":["Media File 2 of 3 - Coll458_jb0015_Fellini_02_p1.mp3"]},"duration":3664.03918,"width":640,"height":360,"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/public/images/audio-default.png","type":"Image","format":"image/png"}],"items":[{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271/content/1","type":"AnnotationPage","items":[{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271/content/2/annotation/1","type":"Annotation","motivation":"painting","body":{"id":"https://aviary-p-universityoforegonlibraries.s3.wasabisys.com/collection_resource_files/resource_files/000/262/271/original/Coll458_jb0015_Fellini_02_p1.mp3?1739214531","type":"Audio","format":"audio/mpeg","duration":3664.03918,"width":640,"height":360},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271","metadata":[]}]}],"annotations":[{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271/transcript/79524","type":"AnnotationPage","label":{"en":["AUTO_TRINT_Coll458_jb0015_Fellini_02_p1.mp3 [Transcript]"]},"items":[{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271/transcript/79524/annotation/1","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Now, that's what I mean. I've printed a book now. It is a very long interview about everything. So if you read that book, you can find anything you want to your question. That's what I told you. I made the book, I made it on purpose. No, no, I mean I made intention in the book. Just to have not more interview with anybody. Because in this book there is written anything about my work, about any... Have you seen it? Uh, the Giulietta? No, the book about Giuliettas.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271#t=10.4,45.19"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271/transcript/79524/annotation/2","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Not the big two. The curio that Tulio wrote with you. I've seen it, but of course I can't read it yet, because I don't think you can.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271#t=45.91,53.61"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271/transcript/79524/annotation/3","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e Is that to be translated into English, has that been translated? Yes, yes, yes.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271#t=55.92,59.72"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271/transcript/79524/annotation/4","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Well, I don't think we need to have a long interview, but I'll tell you, I just wanted to talk to you personally and see what you might be able to come up with relating to the way you work with your interpreters, I mean your actors and non-actors. Uh, I'm, uh, I am not a journalist.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271#t=61.03,85.89"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271/transcript/79524/annotation/5","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e And I understand very, very, book about it.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271#t=87.11,89.35"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271/transcript/79524/annotation/6","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e But I am trying to make this book, and the book is a way for me of just meeting directors and organizing my thinking and finding out things that might help me in my own work. And I'm hoping to find some of the things that have been bothering me. I've worked with non-actors, you know, and with people. How to get more out of them, how to develop them, and I'm very interested in how you approach people and how you work with them, you see, what you say.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271#t=89.45,134.8"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271/transcript/79524/annotation/7","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 4:\u003c/strong\u003e I'm sorry.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271#t=136.68,138.08"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271/transcript/79524/annotation/8","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Why you don't read that book? Because in that book there is an answer to all the questions about that. You know, sometimes it is very tiring to answer all the same kind of questions. Or answer the same kind of question.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271#t=141.44,154.61"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271/transcript/79524/annotation/9","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e What kind of a question would you like that you haven't answered? Tulio said something to me.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271#t=155.87,163.15"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271/transcript/79524/annotation/10","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e But I know that Tullio has said to you anything you need about this problem. Tulli said to me, listen, this gentleman would like to meet you, and he had a very long talking with me just about my way to work. So you are a little bit sad to insist about things that you know very well. Well, no, there's one thing I would like to... But you know, I have no system, I can not talk about my work in the meaning of the system, what is your system, what is the way to approach, because I have not system.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271#t=163.33,206.44"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271/transcript/79524/annotation/11","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e I-I-I don't think so","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271#t=206.78,208.02"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271/transcript/79524/annotation/12","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e things that comes different any day. So the only system that I have it is to try to understand what is the new problem, what is a new aspect of human being. I don't recognize to myself system, I mean technical system, especially with people, especially with the human being.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271#t=207.58,232.82"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271/transcript/79524/annotation/13","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Well, I understand that, but, uh, nevertheless, there's some... But you are, are you in it?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271#t=235.5,239.96"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271/transcript/79524/annotation/14","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e Yeah, he did a very interesting job in Algeria, which was one of the most interesting places in the world.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271#t=242.12,247.48"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271/transcript/79524/annotation/15","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e It's in a quarter of an hour","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271#t=248.79,249.91"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271/transcript/79524/annotation/16","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e No, I'm not an actor, in a way, I had wanted to be an actor once, once, but I found myself very bad, you know, and there was this problem of existing, you know, in front of, and I would be, I would find myself bothered, so I, and later became interested in films as a director, and, I made a few films, and my own difficulties as an actor made me more interested in how to help other people, you know, exist in front of the camera, to live in front of the cameras.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271#t=252.67,291.34"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271/transcript/79524/annotation/17","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e I repeat, I have no system. The only thing that I try to obtain is to put everybody in a very happy condition. Everybody feels at home, everybody feels like in a big joke. Nothing of professional, nothing of technical, nothing serious. Nothing of very impegnado","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271#t=291.68,322.78"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271/transcript/79524/annotation/18","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e and","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271#t=324.15,324.15"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271/transcript/79524/annotation/19","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e I don't want that my actor or people who are not actors, I don' want that they know about the picture, I want them to read the script. I want to talk personally, privately with each one, but not about the picture. Just about himself, about us, about our picture, about work, just to try to understand and to know better which kind of person he is. Is he? And... So the only effort that I do is, and for me it's not an effort, is to create an atmosphere of like a big voyage altogether, una scampagnata, do you say scampagna?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271#t=325.7,378.27"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271/transcript/79524/annotation/20","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e But really, a party. A party. Let's have a party! An escape.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271#t=379.99,388.41"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271/transcript/79524/annotation/21","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e So if everybody feels home, everybody feels to be just himself, so I have the best, I have the most authentic part of his reality. That's the only thing. It depends character by character, It depends what I need in that moment, but... I have no system, no system. If you think that I don't want that the actors read the script, and they come and they say just ten minutes before, I write some line, and many times I say to the actors, say what you want, or what you will say in this situation, or many times, I oblige people to say just numbers, one, two, three, four, five, because I have not lines. I know that some line... Will be good in this situation. But in that moment, I have not write the line in my mind. And if I had the line, the actor is not able to, the actor means that people isn't, that character is not be able to say exactly. So why I have to lose time? Me, to make him nervous, to try to obtain a thing that is not very, such important. Because it is the only thing it is that he moves his lips and when In that moment that side in that shot shot Are the things are much more important that the line are more important shade online the angle of the camera The face of who say but this the line is just to move lips so it's I don't know, it depends day by day, situation by situation.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271#t=390.82,504.76"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271/transcript/79524/annotation/22","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Can you think of a problem that you had in, for instance, Julieta, which I haven't seen, of course, or in one of your other films where you had a particular problem to get what you wanted from a performer?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271#t=506.5,517.34"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271/transcript/79524/annotation/23","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e I like to have a problem and to try to arrange ourselves. That is a typical Italian expression. It means to put yourself... In that situation, to don't come with a fixed idea about life, about work, about things, but to try to understand what the situation asks to you in that moment. Arrangarsi means to try and do exactly what in this particular moment life wants. What will you explain better, because it is so difficult?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271#t=519.909,556.92"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271/transcript/79524/annotation/24","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e It's the idea to fling yourself into it without preconceived ideas.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271#t=557.06,562.7"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271/transcript/79524/annotation/25","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e I understand, though, that you prepare for quite a while beforehand.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271#t=563.45,565.71"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271/transcript/79524/annotation/26","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Yes, but I prepare a picture is always a logistic thing, it is like a battle, it's like to make an invasion, so something has to be prepared. But my preparation is not the kind of preparation that concerns exactly the real problem of the picture. But it is a preparation. Who try to understand what will be the picture, to try to understanding in which direction the picture will go. It's not a real preparation, it is a psychological preparation. It is like to prepare an atmosphere for an evocation, like a priest or like a magician. I try to do anything, I think, I mean perfumes. Fog, everything, prayers, anything to create an atmosphere in which the picture can born. So my preparation is not very logic. For example, I see maybe 2,000 people. I don't need 2,00 people for my picture. Even if I have in my mind what the solution for an actor, I would like to see people and people and to talk with people because I have the feeling that talking with people, they give me a tale, a cut of air, something that I know or I photograph and I have the feeling, that all the world cooperated to the birth of the picture. That is not a system. It is just a psychological way to do, good for me and maybe terrible for another one.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271#t=567.03,691.29"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271/transcript/79524/annotation/27","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Well, I was wrong to propose this as a kind of a, I want to know your secret, your system, because I know there is none, but nevertheless, because you're a man, you're Federico Fellini, you have an approach to particular things, which is unconscious, which yourselves, and I would like, I would sort of like to find the details, some of the things that define how you have, because when we see it-","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271#t=692.45,719.35"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271/transcript/79524/annotation/28","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e But the details are very contradictory, because sometimes they are suggested by a superstition feeling of life, and at the time it is only a very fanatic, fanatic and also not very sincere love for the technique point of view, you know.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271#t=718.62,741.54"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271/transcript/79524/annotation/29","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e K. S. H. Madhig said to me that you have become very fascinated by...","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271#t=745.59,749.99"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271/transcript/79524/annotation/30","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e You are American, my friend, you are American.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271#t=750.6,752.0"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271/transcript/79524/annotation/31","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e American. American. I've been speaking French since I've been here. I slipped back into it. I went to EDEC in Paris. Kezic told me that you had become very fascinated by magic and by your readings of Jung, and I would like to know what fascinated you, and why did it attract you?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271#t=751.83,777.6"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271/transcript/79524/annotation/32","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e But I am fascinated from everything, you know, it's magic, it is only attraction for the mystery of life. I think it is such a human thing. I cannot understand how is possible to have not interest for mystery and so forth. After all, I am an artist and so my attraction for mystery is principally in a fantastic dimension. It is not like a scientist. It's not the same kind of interest that a scientist or a mystic can have. You know, it is all my curiosity, it's always... As always suggested, conditioned from fantasy, from imagination. And for what concern Jung, I have read some book, like I have some book of Freud, like I read some other author, nothing special in that direction. And anyway, my interest is always an interest of amateur, it's not... But it seems to me that...","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271#t=777.95,870.94"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271/transcript/79524/annotation/33","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e That you move very closely in this line of this mystery, this sort of very vague demarcation between fiction and reality and that you manage to make this transition with your performers.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271#t=871.51,890.93"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271/transcript/79524/annotation/34","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e But I think that any man, any creature moves himself in this double dimension. Life is this, life is that. It's just to pass through memory, nostalgia, presentiment and dreams and sensuality.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271#t=891.84,910.34"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271/transcript/79524/annotation/35","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e But very often you arrive after you've created this association with your performers before and you say you try to establish this party atmosphere and so forth. You find that once you arrive on a set that the party atmosphere, once you arrived on son.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271#t=912.45,933.09"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271/transcript/79524/annotation/36","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e When a level","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271#t=933.15,933.99"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271/transcript/79524/annotation/37","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e This party atmosphere is difficult to maintain, once you have cameras, lights...","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271#t=935.319,940.32"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271/transcript/79524/annotation/38","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e But the important thing is to succeed, that also camera and lamps belong to the party. It is a special party, certainly. It's a party where the lamps are very important, I have very important guests, and they saw the camera and saw me and saw all the technicians, all the electricians. You have not to take the word in a very narrow sense, it's a way to say, it is a way to say to try to explain the atmosphere, what I want, what I like and to me it happens with enough spontaneity without to reach it, is to try to maintain an atmosphere of... Of feast of","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271#t=941.64,1001.81"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271/transcript/79524/annotation/39","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e Please do that, please do that.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271#t=1003.55,1004.47"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271/transcript/79524/annotation/40","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e But to maintain this, nevertheless, this requires a great deal of work on your part, does it To keep this thing going, because it seems to me that people get frozen, they get tired, they get... Run down by the routine of filming and very few films managed to maintain the spontaneity of life in front of the camera the way yours does and for this reason I am unique","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271#t=1007.62,1035.19"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271/transcript/79524/annotation/41","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 4:\u003c/strong\u003e Bye.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271#t=1039.43,1039.43"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271/transcript/79524/annotation/42","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e I don't know what that is, but yes, sure, you know, it's, I don' want that you think that when I'm shooting, everybody laughs, everybody eats spaghetti, everybody drinks, that's not the part in that direction. It's a manner to work, a way to work would try to understand in any moment What? In which direction the picture is going, in which directions the picture is growing. And for that reason I want to maintain my disponibility and not to have in my mind fix Fix and Have you understand what this is?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271#t=1040.56,1106.17"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271/transcript/79524/annotation/43","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Who that is. You are inspired quite often by just the visual characteristics of the people you choose, are you not? Do you want to accent, dress up?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271#t=1106.96,1121.36"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271/transcript/79524/annotation/44","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e It depends, you know. I am obliged to repeat what I said at the beginning of this interview. It depends. Sometimes I see a character, a face, for which there is no part in my picture, there is not role, there is nothing. But I like that face anyway, that face gives me something, so I invent a new part. I knew we never had it. I knew that that face has something to do with my picture. Anyway, it's good in the panorama of the picture. So even if I didn't know, even if I don't know what to do,","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271#t=1123.03,1168.12"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271/transcript/79524/annotation/45","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e even if he doesn't know what to make them do, what to have them do.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271#t=1172.03,1174.53"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271/transcript/79524/annotation/46","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Finally, I write something. I write a new role. That is the case in which a face inspired me something. It is difficult for me to express myself in a language that I don't know because I'm obliged just to choose the 50 words that I know and to try to say everything with those words.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271#t=1176.49,1211.59"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271/transcript/79524/annotation/47","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Well, I'm very grateful that you've talked to me. If this really upsets you, I don't want to continue. But I'm...","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271#t=1214.74,1222.54"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271/transcript/79524/annotation/48","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e No, I have to talk for ten minutes with this gentleman and then after we can go on. Alright, fine. Thank you.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271#t=1222.32,1229.24"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271/transcript/79524/annotation/49","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e We'll just call a trial.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271#t=1230.84,1231.94"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271/transcript/79524/annotation/50","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Two.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271#t=1233.29,1233.29"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271/transcript/79524/annotation/51","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 4:\u003c/strong\u003e Beep, beep, beep.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271#t=1236.67,1237.07"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271/transcript/79524/annotation/52","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Well, I really don't want to make this a torture chamber, but I'd like to...","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271#t=1239.219,1244.54"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271/transcript/79524/annotation/53","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e Thank you very much.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271#t=1244.02,1245.3"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271/transcript/79524/annotation/54","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e What would you like to have? What should I have being in Italy for the first time? Have a Negroni. What do you mean first time. It's the first I've come to Italy. You've been in Venice, no? Well Venice and then Rome, but it's my first time... Have a negroni... Negronii. Do you good? Okay. Wonderful for breakfast. Negronie. Negrone.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271#t=1247.09,1267.15"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271/transcript/79524/annotation/55","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e You too? Mineral water. Whiskey would be water. Mineral Water. American mineral water or Italian mineral water? Mineral and Italian mineral.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271#t=1269.71,1278.27"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271/transcript/79524/annotation/56","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e You","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271#t=1283.44,1283.44"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271/transcript/79524/annotation/57","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e He gave me a cappuccino, with two crisps. So, Miralino's water and a Necroni.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271#t=1290.53,1295.23"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271/transcript/79524/annotation/58","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e We were talking, and Mr. Waller mentioned that all the tie-ins are actors and therefore they are very easily moved into fiction from everyday life, they can intuit it. Do you feel that?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271#t=1297.36,1319.0"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271/transcript/79524/annotation/59","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e I didn't understand anything","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271#t=1319.71,1320.25"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271/transcript/79524/annotation/60","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e I would I","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271#t=1321.02,1321.64"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271/transcript/79524/annotation/61","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Yeah, sure, that's right.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271#t=1331.17,1331.91"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271/transcript/79524/annotation/62","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e That's true, that's true","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271#t=1331.97,1359.13"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271/transcript/79524/annotation/63","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e I don't know why the Italians are more naturally exhibitionist. I don' know what are the psychological reasons and why, I don't know. But that is a fact, that from an Italian is much more extroverso. And so he can do that. Maybe because Italian... For the way that so it is a nice way that everybody lives out in the streets living in the street Everybody has to make a little show to don't be confused in the collectivity of the human Situation maybe that it is one of the reason because when you are in a crowd and if you want to to different different Differentiate yourself from all the other you have to put a little head you have two walk in a certain way And so all the crowd just to all the individual of the crowd Just to appear an individual everybody make a little show and that may be it's one of the reason why the talents are much More extrovert Another reason may be Also for the wazer, for the Swiss wazers, people live in the street and the square, and so they have to talk to each other, because they live all together. Talking to eachother, you have to just try to say interesting things, if you want to appear to yourself more interesting than the other one with which you are talking. So it is a competition to which is more interesting thing you are saying, and that is another reason. And as a reason for which maybe tennis are more naturally actors than as the people who lives close in houses and outside the range of the time and so that becomes an interiority at deep depths. Do you agree?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271#t=1360.38,1484.26"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271/transcript/79524/annotation/64","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e What about the Italian actor, though? People tell me that the theatrical actor has lost his spontaneity. He isn't as extroverted. He can't make this passage between reality and fiction.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271#t=1486.18,1500.58"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271/transcript/79524/annotation/65","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e This is another question, this is another thing. The Italian theater does not exist for another reason, because we have not an Italian language, French, American, you have a national language, but in Italy that does not exist, the Italian language does not exist. We have not. Real language who express in a alive way our Italian word from the north to the south of Italy. That is the reason for which the slang theater, the dialect theater, is the only vital theater of Italy. De Filippo, Musco, Govi. And even the Italian writers, I mean, the good Italian writers they write in dialect. Pirandello was a big play writer. He wrote in dialect, this way to express himself. That is the reason for which the Italian actors on this stage who are not dialectal, they are just academic, cold.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271#t=1502.96,1586.66"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271/transcript/79524/annotation/66","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e What problem? Do you use some of the Italian actors in your films?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271#t=1590.4,1594.4"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271/transcript/79524/annotation/67","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e I have no problem. I can take Lorenzo Olivier if he wants to come to make a picture with me. And the one who is passing in the street and try to put them together and to have a very important dialog. If the man that is passing the street, for me, has the right face, is the right character, for I mean, he's a bit... I am not talking about, I'm not judging the value, certainly, Loris Olivier is a great actor, and just one, he's just a man who is passing in the street. But for what I want at the ending result, I have a difference.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271#t=1596.25,1643.01"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271/transcript/79524/annotation/68","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e But are you going to talk to him like an actor, give him a text, let him read it? To who? To an actor like Laurence Olivier. Are you going... Said it.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271#t=1645.78,1655.22"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271/transcript/79524/annotation/69","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e When I have a real actor, I have to put myself in the psychological condition to understand that I am talking with a real an actor and to know what he likes to say, which things likes to be pleased and things like to be solletticato, pleased. For that reason I say it depends case by case, character by character, situation by situation.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271#t=1654.89,1689.32"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271/transcript/79524/annotation/70","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Uh, when you, if you're using Italians, you can profit from this ability.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271#t=1692.22,1696.44"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271/transcript/79524/annotation/71","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Anyway, I have never chosen an actor because he was a good actor. I have chosen actor because his face was good for me, not because I knew that he also He's also a very good actor. I'm fine, it's a good cooperation, a good thing. But I have never taken an actor because he was a good actor, I've taken actor because...","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271#t=1697.08,1724.75"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271/transcript/79524/annotation/72","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e How did you work with Richard Beishart? Now here we have someone who's not, I know, twice, and these are the best performances he's ever given, in Il Bidoni and in La Strada. And he seemed to have become Italian. Now for a rather Nordic-looking American actor who has as many complexes as Americans have. Who is uncapable, really incapable of really believing in his existence. I'd like you to tell me somehow, what you, how you worked with bass art.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271#t=1726.31,1768.95"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271/transcript/79524/annotation/73","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e I work very well with this person, because he is a very nice man, a gentleman, a very sweet creature, very intelligent, and with very precious things. He is like a child, he has an infantile quality of enthusiasm, the possibility to be surprised. To be. To astonish himself about it. Also because he is a very good actor, so I work in a very good way. What about what were you saying before, the transformation of an American? When, I don't know, when a face is right, there is no problem of nationality, you know. If I see for me that this, the face of Brodery Grosfor, of Anthony Quin, of Richard Abbey, they were right in the atmosphere of my picture, the question of the problem of the different nationality does not exist no more.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271#t=1770.34,1854.27"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271/transcript/79524/annotation/74","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Do you give them sometimes gestures that would be more Italian?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271#t=1855.79,1858.87"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271/transcript/79524/annotation/75","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Well, no, not that, but sometimes I try to catch some American gestures, you know, for example. I remember that Tony Queen sometimes make always like, ah, like this, that's a typical American gesture. So I say, don't do it, no more this, and... But I don't say to him to do like this or to make Italian gesture. I just, my attention was... Concentrated to throw out the American gesture.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271#t=1859.17,1894.0"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271/transcript/79524/annotation/76","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e I noticed, however, that the bass heart seemed to do very naturally the gesture of goodbye, which is typically Italian, this thing, there's a couple of places where he does that.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271#t=1897.68,1912.98"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271/transcript/79524/annotation/77","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Well, because he's an intelligent man, so he has a sense of observation and... Sense of observation? Very good.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271#t=1913.35,1922.77"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271/transcript/79524/annotation/78","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Yes, very good ending. In Il Bidone, there is a beautiful scene where Broderick Crawford confronts the... Invalid girl at the side of the house and she and he treats her with some kindness and she begins to cry and he feels the hypocrisy of his of his position at that moment there's a I was wondering how you work with the scene. With Rod? No, with Roderick Crawford, but also with the girl. Was this girl an actress?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271#t=1922.99,1977.74"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271/transcript/79524/annotation/79","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e She was an American actress, her name was...","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271#t=1978.57,1981.11"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271/transcript/79524/annotation/80","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e And this is even more so because here now, we're not dealing with an Italian who can easily cry or something. Americans can't cry. Ahem!","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271#t=1981.75,1989.31"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271/transcript/79524/annotation/81","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e She was a little American actress, I don't remember her name. She married an American photo reporter called... Guy? Hayden? No. I don't remember. She was an American actress.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271#t=1989.75,2004.52"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271/transcript/79524/annotation/82","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e When I saw the scene, I was sort of...","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271#t=2005.27,2007.01"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271/transcript/79524/annotation/83","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Hormone G, Hormon Gil, H... It's a very well known photo report. Tell me, tell me. Ah yes, did you explain it?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271#t=2008.45,2016.35"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271/transcript/79524/annotation/84","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 4:\u003c/strong\u003e I'm going to go right back in and check.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271#t=2016.77,2018.29"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271/transcript/79524/annotation/85","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Well, I'll explain it to you later. Are you going to the supermarket? Bye, I'm leaving you.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271#t=2018.64,2023.1"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271/transcript/79524/annotation/86","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e And I was wondering if you could tell me just how you approach the scene and... I don't remember. There's quite a development in your films. I was wonder if you can talk about the evolution of your way of working, approaching your work or the kind of subjects that you're choosing from your first experiences with Rossellini. In the... In the room of U of A, the open city, and things like this.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271#t=2025.99,2058.59"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271/transcript/79524/annotation/87","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Well, but obviously I was just a screenplay writer, I followed the picture. In that time I didn't think to become a director, you know, I thought to go on like a screen-play writer. The evolution, I don't think I have an evolution. I think you're kidding me.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271#t=2059.25,2082.29"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271/transcript/79524/annotation/88","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e You'll have to excuse my...","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271#t=2084.19,2085.65"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271/transcript/79524/annotation/89","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e So, what need in your bum?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271#t=2088.67,2090.11"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271/transcript/79524/annotation/90","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e But, I mean, there's a...","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271#t=2092.68,2093.5"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271/transcript/79524/annotation/91","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e I don't want to appear modest, just to make a joke about myself, that it is always a very good thing to do. Evolution, not in the way to do, I don´t feel, I think that 10 years ago, 15 years ago when I started the first picture, and now the evolution is on the plane of to have more possession. To see better not only the technique point of view of things, but to know better the expression of movies, I believe.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271#t=2093.48,2137.44"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271/transcript/79524/annotation/92","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 4:\u003c/strong\u003e Position.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271#t=2140.76,2140.76"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271/transcript/79524/annotation/93","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e No, for example, in the first picture, I think that the movie's director had his first picture He shoots more, he makes more shots of the things, you know, going on you know better what it's really essential things you have to take from a scene. I remember that ten years ago, maybe I make more shots of Pichac. More shots. More shots of it.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271#t=2142.19,2177.79"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271/transcript/79524/annotation/94","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 4:\u003c/strong\u003e You speak very good English. No, no, no. No, I'm just laughing.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271#t=2178.76,2180.36"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271/transcript/79524/annotation/95","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Now, I don't shot very much, I make 2-3 shots, I won't shoot very much. That may be an evolution I think.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271#t=2182.39,2192.91"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271/transcript/79524/annotation/96","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e But your subject matter also has moved further and further away from a kind of a liberal interpretation of... You're thinking of like, oh, sorry.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271#t=2193.56,2205.02"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271/transcript/79524/annotation/97","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Not like movies, director, I mean.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271#t=2205.04,2206.66"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271/transcript/79524/annotation/98","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Yeah, also in your subject, the same themes are there and you see them, they all come pouring out in eight and a half.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271#t=2207.06,2217.7"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271/transcript/79524/annotation/99","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e I think that I am making always the same picture, I have not the feeling really to change, I think that the original interest is always the same, maybe change the way to treat the same argument, but... What has always, what moves me to make a picture, contract apart, is always to... To try to understand what, why a man, it's difficult to express, I say that in Italian. Mi sembra che il motivo ancora così che ispira proprio i miei filmi si è in definitiva sempre lo stesso, tentare di vedere, di analizzare. What are the causes that have led a man to be what he is and what can be the way of liberation from certain conditions of education?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271#t=2218.64,2293.95"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271/transcript/79524/annotation/100","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e He thinks that the motive, which he expresses over and over again, is what has led a man to be himself, all the conditioning which has led him to this point, and what is the path of liberation for this individual. He thinks this is the theme that he treats over and","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271#t=2296.12,2314.68"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271/transcript/79524/annotation/101","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Anyway, I don't think that the theme is very important. Yes, you need and also needs to have an ideology and needs to to have a point of study, but that it is only a psychological necessity just to work. But I think that important things is... The way that you make, the way that you say an idea, the ways that you say a story. Not the story, not the idea. Ideas can be wrong, you can change the idea after two years, but what is important is the way, that you see things.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271#t=2315.65,2362.18"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271/transcript/79524/annotation/102","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Your way has changed since El Chico Blanco, since L'Vitalone. L' Vitalone was the first film I saw of yours. I saw it in 1956. I was very taken with it, but it was still very much, it seemed related to a kind of neorealism from the after the war, in the way the image looked and the way you follow the people.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271#t=2364.98,2390.46"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271/transcript/79524/annotation/103","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e I think that my interests have moved from an external observation to an internal observation.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271#t=2390.17,2399.91"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271/transcript/79524/annotation/104","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e He's always been interested in the exterior of things and trying to find how to show the content, the interior aspect.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271#t=2402.52,2411.06"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271/transcript/79524/annotation/105","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e So you've moved more and more toward the interior? More and more?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271#t=2415.0,2418.84"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271/transcript/79524/annotation/106","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e Now it's more towards the inner part than the outer part.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271#t=2419.89,2424.81"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271/transcript/79524/annotation/107","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e See I think so Also, the last pictures that I've done is a landscape, an interior landscape of a woman. It is a portrait of a women seen more inside than outside.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271#t=2425.29,2444.21"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271/transcript/79524/annotation/108","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Already in Cabiria, we sense a great difference from La Estrada. Cabiría is even further in this direction. Then Dorce Vita, however, was a change, back to a kind of a look at the world around. But then with Eight and a Half, you came back to much more interior. What ... What difference does this make in your way of approaching the performers, this evolution of style, this evolution in the way in which you're expressing it, this evolution toward an interior, did it not bring in different things that you were expecting from your performers, that you looked for in your performers? Do you understand?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271#t=2447.41,2504.13"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271/transcript/79524/annotation/109","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e What do you say if, in this evolution, from the external observation...","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271#t=2505.61,2508.89"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271/transcript/79524/annotation/110","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e Yes, now you are waiting for another possibility for the reactor, which is the first one.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271#t=2509.04,2516.08"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271/transcript/79524/annotation/111","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e That is not the problem that concerns the actor, it's a problem that concern me. The actors are always material, you know. I don't think that I change, I choose now different faces. I don' think so. Yes, I understand how you put the problem, the question, but this is not a matter that concerns the actors, it is a matter concerning me.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271#t=2518.1,2550.0"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271/transcript/79524/annotation/112","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e It's very well your question, but it's not a thing it has to do with the actors, it has to do completely with him.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271#t=2551.16,2556.32"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271/transcript/79524/annotation/113","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e The fact that I have changed, that I make more fantastic stories, in the sense that they are inner stories, they are more oniric stories that have to do with the inner aspect of a character, this does not condition the choice, that I changed style in the choice of the faces.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271#t=2557.39,2578.33"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271/transcript/79524/annotation/114","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e Though his style may have changed in the film, it doesn't at all change the manner in which he chooses this face or that face.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271#t=2579.46,2586.3"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271/transcript/79524/annotation/115","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e I think that I have always chosen faces in the same sense, to have a face. Who express, with the first appearance, everything about him, just a mask, you know, a stylized face. If I have a system, if I have style in choosing faces, I think that this style It's always a baroque style, I mean everything has to be expressed in that face. I like to have a very expressive face, you know, like a little bit, a kind of expressive expression, which is so stylized that sometimes it's near to a caricature, in the sense that has to express in a very... In a very convincing way, immediately, suddenly.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271#t=2587.98,2661.92"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271/transcript/79524/annotation/116","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e I understand. In a way, you want the physical appearance to express the emotion or the quality of the character without asking the actor or the performer to do it. Yeah, sure, sure.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271#t=2666.47,2679.59"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271/transcript/79524/annotation/117","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Ever happen. I choose faces with the same... For example, I choose faces, like I'm choosing the set, a table, a tree, a flower, a certain kind of light, you know, very expressive. I don't know if I've explained myself.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271#t=2682.73,2709.9"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271/transcript/79524/annotation/118","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e And the costumes you put on the people, they've become more and more... Expressive and less and less natural","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271#t=2710.73,2720.7"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271/transcript/79524/annotation/119","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Yes, I have a very good collaborator, named Piero Gerardi, who is the...","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271#t=2724.57,2732.09"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271/transcript/79524/annotation/120","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e It is on.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271#t=2734.96,2735.3"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271/transcript/79524/annotation/121","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Designer and with this and with which I work in a very syn...synt...syntenia, you see.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271#t=2735.54,2743.14"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271/transcript/79524/annotation/122","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e In perfect stupi- in perfect...","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271#t=2743.15,2744.57"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271/transcript/79524/annotation/123","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e He knows me very well and he has a congenial taste about it. So, yes, for me it's very important to choose a tale to an actor or the way he dresses, just because he has to appear perfect in little details in the direction that he has to express an archetype. Archetype of what I want to say.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271#t=2745.9,2777.28"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271/transcript/79524/annotation/124","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Do you find it sometimes, that once you have chosen a face who is right for you, that that person is nevertheless a person that can't move, that is very difficult to perform? Shit","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271#t=2778.82,2796.28"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271/transcript/79524/annotation/125","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e happens very often, but that is not a problem for me, because if sometimes I have to convince myself that I had made a mistake choosing that face, because the face was alright in the moment that I've chosen, in my office, but when it came on the set, it changed, Because sometimes, for example, the preparation of my picture... The time that I need to find a producer sometimes is so long that people really change, the people that I've chosen a year before sometimes once happened to me that one has even changed sex Yes, yes, yes. During La Dolce Vita I have chosen a man and after one year and a half when I really start and I was looking for him, he became a female. The father came crying to me and said, terrible things happened to my son, now he's a daughter. So, no, But it is exceptional, it doesn't happen very often. But if I have to realize that I was wrong, and now the character that I've chosen and with which the production signed the contract is completely different, it appears to me in a different way when I choose it. Try to change the bad things, the defects, I try to use the defects and to do, to change things, to accept. Is the real heaviness, the reality of that guy, of that girl, of the man that I've chosen. I try to accept for what he is now, not for what I thought he was. And so things go well again.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271#t=2798.78,2935.95"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271/transcript/79524/annotation/126","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Can you give me an example that's less extreme?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271#t=2937.55,2940.13"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271/transcript/79524/annotation/127","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e One thousand examples, you know, taking people who have never hacked, that could happen very, very often that you have made, you have had a wrong impression because you have chosen in a certain particular moment, sometimes it's not changed. Him, but you are changing in front of him, so you have looked at him with a certain kind of sympathy and now when you see him again and he is on the sets, you find that he is very antipathetic, he is not sympathetic, he's completely different and his reality is just that, not what you thought six months before, that you have seen him in a particular condition. Many example, many example... For example, sometimes I have chosen a girl because I saw that his face was very sexy. And when I am on the set, I discovered that girl is... She has nothing to do with sex. She is very cold. So I tried to change. I tried... To keep what she really is. Even changing the story sometime, even changing, you know, certainly that has to happen and that is possible to do with, not with the principal actors, because if you make a big mistake with the principle actor of your picture, that is, you are obliged to change. But it never happened to me, it's never. It never happens that I have to change actors, even a small actor, even in a small phase that I've chosen, until now, no. You adapt yourself to what you feel is their reality. How do you find it? I'm not completely sincere when I say that I try to accept what the person is. Yes, and I have to accept sometimes. Sometimes I make any kind of magician transformation, you know. I dress women like men, I dress men like women.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271#t=2940.35,3102.19"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271/transcript/79524/annotation/128","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e What does that correspond to when you're thinking, why do you do that? For instance, one of the scenes, a marvelous scene in Vita Loni, we saw that he is dressed in that funny dress after the ball.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271#t=3104.17,3118.61"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271/transcript/79524/annotation/129","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Well, that was a special situation, that it was a masquerade. No, but I have dressed, for example, in Height and Half, all the priests of the college sequence, they were all women, all women dressed like priests. That was not only to have fun, but because I, for a ball, for little kid, for, when And I was a boy. Humanity were not only male and female, but male, female and priest. Like it was a third sex, a third aspect to be in life. So that sequence was concerning about the memory of the college I thought that to take all women and to dress like men, that was good just to try to give this strange feeling that a little boy has for a priest who dresses like a woman.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271#t=3118.46,3193.05"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271/transcript/79524/annotation/130","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e In La Luce Vita, it was the first time that we'd ever seen her like this. Usually she was being very severe, remember in her earlier films, the short hair, a very ascetic sort of woman. She'd been characterized in France by her roles in the Rideau-Croix-Moisy.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271#t=3199.02,3218.7"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271/transcript/79524/annotation/131","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e But I go very very very rare to see movies so I have no I am not conditioned when I choose face or actors I'm not conditioned from the souvenir of pictures that they have done I never saw Anouk and me like you are saying I saw just a picture a photo of Anouc very well-dressed and like a You can. And I choose R for this photo, not because I've seen R in picture in that way that you were saying before.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271#t=3219.26,3253.67"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271/transcript/79524/annotation/132","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Did you, do you do essays, tests with your actors?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271#t=3256.89,3262.33"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271/transcript/79524/annotation/133","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Yeah, sometimes I just lose time, just to put myself in the preparation of the picture, just to oblige the production to give to the production the feeling that I am ready, that the picture is done. The text, yes, are not necessary in the sense that one believes for me, to try to see that this face is photogenic or this makeup is good. Yes, a little bit also for this reason, but I make test the first week just like an allenamento, you see.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271#t=3263.2,3303.77"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271/transcript/79524/annotation/134","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e To really to, I mean.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271#t=3304.65,3306.05"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271/transcript/79524/annotation/135","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e You amuse yourself. No, no, it's not you amuse, like it too. You know, a box, a fighter, before to make... Warm-up, warm-up. Warm- up, warm up. In that sense, to know the new electrician, to know better the new workers, and to try to smell the atmosphere of the new production, of the set. To put, you know, I make a few pictures, I make pictures, I need two years, I need to years and a half, so they are long period. Oveeeeee of distance between a picture and a picture. So when I finish a picture, and I become out of the atmosphere of making pictures, sometimes I am so out of this particular atmosphere that sometimes I am also surprised when see a big picture that they've done I even I even don't... I'm surprised. I don't see that I make that picture, no, I do, but how? How? I want to say, when I spend some time with a film, I am surprised I can't understand how I managed to do it, to make all that effort to keep so many people together This means that I am so out of the film that when I have to start with the new one to get out of this strangeness I need This week I feel like I'm on a rollercoaster","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271#t=3306.08,3410.93"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271/transcript/79524/annotation/136","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e After a long period between the films, when he sees, when he thinks of the film he's just made, he thinks, how on earth can I have made that film? How can I've done all of that work? How could I have kept all those people working together and all that? And so in order to get himself back into the feeling of this, he has a week of tests and etc etc, and the point he made of knowing the crew he's going to work with also. Which is, I think, an important point that he made.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271#t=3412.29,3443.58"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271/transcript/79524/annotation/137","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e You have to go there. Well, thank you very much. I still feel that the mystery is still there, so you're... There is no mystery, you know. Because, you, know, American directors are very, very worried about the way their actors, whether their actor is going to be able to act or not, and here you're not worried at all. You say you can make anyone act.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271#t=3444.99,3469.21"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271/transcript/79524/annotation/138","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e But that's true that-","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271#t=3470.83,3471.71"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271/transcript/79524/annotation/139","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e It's not the boot ads, it's the choice.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271#t=3471.86,3473.62"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271/transcript/79524/annotation/140","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e So I say that every body","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271#t=3473.18,3474.44"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271/transcript/79524/annotation/141","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e So, nevertheless, there's something in your relationship with those people that makes them act. You say, all right, I establish a very good relationship.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271#t=3474.9,3484.86"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271/transcript/79524/annotation/142","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e But when I have decided that this table, the face of Gene Walther, your microphone, this glass, this sky, that has to do with my picture, things are right for the picture. There is no more problem. I only to make the fatigue to put all that thing together. But if I suggest myself... In a fanatic way. But I have not to make that kind of effort. I am really convinced that now all these things and people and words and eyes and smile and flowers, that are right for my picture. I only have to shoot.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271#t=3486.51,3534.44"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271/transcript/79524/annotation/143","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e You're convinced, but are the people?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271#t=3535.02,3536.74"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271/transcript/79524/annotation/144","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Yes, because if your convenience is so strong that becomes a good oxygen, a good hair for all the atmosphere, people breathe the right atmosphere and they are right. You think that is a very mysterious way to do it.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271#t=3538.28,3559.61"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271/transcript/79524/annotation/145","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Well, there aren't many people who do that. Of course, as you say, that's why you're a Fellini. I'm kidding.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271#t=3560.2,3566.98"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271/transcript/79524/annotation/146","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e No, but anyway, I don't want to appear mysterious, you know, really I cannot say nothing more of that.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271#t=3568.77,3577.19"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271/transcript/79524/annotation/147","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Do you improvise on the set with the people? Do you have them improvise in the sense of an actor studio scene or something like that? No.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271#t=3580.52,3589.34"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271/transcript/79524/annotation/148","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e No, I am not an improviser, in that sense, no. That is a big mistake when they say that I improvise. I don't improvise them things. I am just, I try to be always with big disponibility to what happens around me. That is not to improvise, that is just to accept. Or the little suggestion that the life gives to you. That is not an improvisation. It is exactly the contrary of the improvisation.\"","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271#t=3589.71,3629.85"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271/transcript/79524/annotation/149","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e So, you have things that you want. You want to get from that actor a particular moment, a particular look in the eye, a look in his eyes.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271#t=3631.089,3637.589"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271/transcript/79524/annotation/150","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Yes, I want in a very fanatic, it depends, maybe sometimes that I make hundred times the same things and I rehearse hundred times just because I want the three fingers of the act of state just one here, the other here and the other.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271#t=3637.47,3659.529"}]},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271/transcript/79524","type":"AnnotationPage","label":{"en":["English [Transcript]"]},"items":[{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262271/transcript/79524/annotation/151","type":"Annotation","motivation":"subtitling","body":{"type":"TextualBody","value":"https://d9jk7wjtjpu5g.cloudfront.net/file_transcripts/associated_files/000/079/524/original/trint_Coll458_jb0015_Fellini_02_p1_transcript.vtt?1747070355","format":"text/vtt","language":"en"},"target":"https://d9jk7wjtjpu5g.cloudfront.net/file_transcripts/associated_files/000/079/524/original/trint_Coll458_jb0015_Fellini_02_p1_transcript.vtt?1747070355"}]}]},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262277","type":"Canvas","label":{"en":["Media File 3 of 3 - Coll458_jb0015_Fellini_02_p2.mp3"]},"duration":687.96082,"width":640,"height":360,"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/public/images/audio-default.png","type":"Image","format":"image/png"}],"items":[{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262277/content/1","type":"AnnotationPage","items":[{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262277/content/3/annotation/1","type":"Annotation","motivation":"painting","body":{"id":"https://aviary-p-universityoforegonlibraries.s3.wasabisys.com/collection_resource_files/resource_files/000/262/277/original/Coll458_jb0015_Fellini_02_p2.mp3?1739214738","type":"Audio","format":"audio/mpeg","duration":687.96082,"width":640,"height":360},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262277","metadata":[]}]}],"annotations":[{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262277/transcript/79506","type":"AnnotationPage","label":{"en":["AUTO_TRINT_Coll458_jb0015_Fellini_02_p2.mp3 [Transcript]"]},"items":[{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262277/transcript/79506/annotation/1","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Do this has to remain exactly in this position and if I want that I am Fanatic than all the other director in the world I think but in the same moment maybe that a big scene with a very important movement I When I have Estabilito the ring in which things this movement Maybe that I shoot once and I say to the actor do what you want don't you know it depends case by case So maybe they have some time a very fanatic and very rigor rigorose","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262277#t=5.28,45.26"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262277/transcript/79506/annotation/2","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Read the rest.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262277#t=46.4,46.74"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262277/transcript/79506/annotation/3","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Like, mathematical movement, exactly, things, a little shade of just here, because I know that that is exactly the thing that needs for to express what... Some other time, in other situation, I am even very approximative, very, very... Because I knew that the heart of the thing is not in the mathematics. Aspect of this thing, but it is just in the chaotic thing.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262277#t=47.08,77.93"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262277/transcript/79506/annotation/4","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e What did you say to that girl in Il Bidoni to make her cry? Or did she cry or did you add something?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262277#t=82.41,87.43"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262277/transcript/79506/annotation/5","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e She was a very good actress, I remember only that. She was really a very very good actor. If he cried in the picture, I suppose that I obliged her to cry.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262277#t=88.44,97.22"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262277/transcript/79506/annotation/6","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e You would ask.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262277#t=98.55,98.91"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262277/transcript/79506/annotation/7","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Yeah, sure.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262277#t=99.59,99.81"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262277/transcript/79506/annotation/8","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e And let us in try to make her sad.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262277#t=100.66,103.2"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262277/transcript/79506/annotation/9","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Sure, sure, sure.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262277#t=103.36,104.7"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262277/transcript/79506/annotation/10","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e You don't use the technique of actually working upon the person to make them sad, or make them cry, or anything like that?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262277#t=105.35,111.33"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262277/transcript/79506/annotation/11","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e No, that's a very long system, you know, it's... And if you do that, you need a kind of cooperation of the actor who is always very dangerous. Actors, for me, they have not to know very much about where they are doing. They have to be. They have be. Right first of all and they have to have the feeling that they are real the person but i don't i don' want to involve the ectocy non voglio che l'attore venga a avere una collaborazione dell'attor ma anche qui caso per caso non posso dirlo","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262277#t=111.54,153.21"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262277/transcript/79506/annotation/12","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e But basically you don't want to","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262277#t=154.71,156.33"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262277/transcript/79506/annotation/13","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e For example, Marcello Mastroianni, he never read the script. He didn't know the script, also because they were not the real script. He didn' t know the scripts? No, no. But I have talked with Marcelo for nights and nights about myself, about himself. We try to become very close friends, you know, and after things are much more easy if you know very well. For that reason I put a lot of attention at what the actors make during the lunch, for example.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262277#t=156.21,197.46"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262277/transcript/79506/annotation/14","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e Action you make.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262277#t=198.28,198.98"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262277/transcript/79506/annotation/15","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e No, no, I mean, I put a lot of attention at what my actors, at what they do when they are not working, but durante la pausa.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262277#t=199.39,209.27"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262277/transcript/79506/annotation/16","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e During the pauses between shots, he's very interested in the behavior.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262277#t=209.97,214.89"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262277/transcript/79506/annotation/17","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e I like to eat with them, I like talk, I love to observe, because maybe three days after I say to an actor, do exactly what you have done the other day when you have said to my assistant or when you were drinking that way. You find that they can find that again?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262277#t=214.66,232.86"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262277/transcript/79506/annotation/18","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e Godard told me he couldn't do that. He tried to do that with Bardeau and that Bardeaux couldn't recall.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262277#t=233.71,239.05"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262277/transcript/79506/annotation/19","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Well, I repeat again that I have no system, you know, it depends case by case, case by case. Normally you don't. The only thing that I can say that I am not, I have never regret. To have chosen an actor or another one. At the end, I thought that all the people that is in my picture is wonderful, is just unique, and there is no, I have done the best choice.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262277#t=241.07,269.91"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262277/transcript/79506/annotation/20","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e Do you explain sometimes some things to an actor or to a non-actor, what you want of them?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262277#t=271.63,277.29"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262277/transcript/79506/annotation/21","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e I prefer to show them what they have to do, or sometimes I say to him, let me see what... You know, it's impossible for me to say exactly what I do, because it depends. Sometimes I'm obliged to show just the way to breath, every little thing. Sometimes I don't need. I don't need, the actor that I've chosen, the human material that I have chosen, is so perfect that he has just to move, he has nothing to move. I have just to say, go at the sign, look here and look here. But I have even to don't say the line in this way or move yourself in this way because if you take a tiger, for example, a beast, an animal, an elephant The only thing that you need to say to the elephant come from here until here, but the way that he moves, the way he breathes, how he go up with his proposes, it's a thing that the elephant do much better than me. And so with some actor, it's silly that I try to say them what they are to doing when they do that in such wonderful way. That's... Never be too good. All right.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262277#t=277.52,365.97"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262277/transcript/79506/annotation/22","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e Thank you very much.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262277#t=366.27,366.81"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262277/transcript/79506/annotation/23","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Thanks to you, good luck. I hope to meet you. But do you live in Paris or New York? No, New York.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262277#t=366.94,370.3"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262277/transcript/79506/annotation/24","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e No, New York. I'll be in New York in a minute.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262277#t=369.71,371.71"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262277/transcript/79506/annotation/25","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Maybe we come for the opening at the first week of November.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262277#t=371.43,377.63"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262277/transcript/79506/annotation/26","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e Well, I'll be there","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262277#t=378.28,378.86"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262277/transcript/79506/annotation/27","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e If you know where I am in Biciotelli, you call me. Alright, fine, I'd love to meet you. Goodbye, good luck to you. Thank you very much.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262277#t=379.32,386.62"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262277/transcript/79506/annotation/28","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e I'll come back in a second.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262277#t=389.54,390.78"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262277/transcript/79506/annotation/29","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e I'll quit, then I'll call back in a minute.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262277#t=392.07,393.87"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262277/transcript/79506/annotation/30","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Well, I think, I don't know. I think it was pretty great. Oh, you have a marvelous interview, sir. You have a marvelous interview, Sir.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262277#t=395.82,402.26"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262277/transcript/79506/annotation/31","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e Everything he said, I thought, was very revealing finally, you know, really quite something. I was wondering if you could add any of your own observations from an anecdotal standpoint? This was Eugene Walder.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262277#t=403.41,421.11"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262277/transcript/79506/annotation/32","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e No, not really, you know, I think he explains himself very well, I think.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262277#t=421.97,427.23"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262277/transcript/79506/annotation/33","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e Or even if you could confirm with more evidence, he was a little bit, the anecdotes evidently are the same.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262277#t=429.37,436.77"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262277/transcript/79506/annotation/34","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Well, the long period that he takes in casting, I think, is already very significant, because he will see the same person maybe three times, come back in a month, he says, come back six months, he said. The fact that he always wants the person and the photograph of the person together, the fact that all of the preparation of the film takes such a long time, I think I think that part of his secret is in this great deliberation in preparing, you know, so by the time he actually arrives at shooting the scene, everything has been so set up, even down to the fact that he knows all the electricians, he knows down to all the last little person in the wardrobe department, it's all been set up.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262277#t=437.45,490.05"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262277/transcript/79506/annotation/35","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e What do you, have you observed in the way Fellini establishes a relationship, the first relationship with people, for instance, how he met you and how he became friends with you, a man almost always establishes relationships in something of the same way. This seems to be the key to his ability to make them pass from their life to the life in front of the camera. Without to He's very easy It's something which he would not be able to explain as well as someone else.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262277#t=492.06,524.96"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262277/transcript/79506/annotation/36","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Well, but he's, I think unlike most film directors, he has angelic patience and if he sees something in a person then he really is willing to let it bloom over a period of years. And after all, you have to remember he started as a writer. His curiosity is not only the immediate curiosity of a theater man, but also a much more evolving thing of a literary person. It's a... I think it's all a question of patience.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262277#t=527.29,570.23"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262277/transcript/79506/annotation/37","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e Well, when he meets a person, does he try to get to know them immediately?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262277#t=571.04,574.42"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262277/transcript/79506/annotation/38","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e We immediately establishes a sympathetic relation if it's somebody that he's interested in or somebody who attracts his attention. But I think he's one of those... He's a slow bloomer. And I think that all the people that he really... I think, I have the impression that all the people he really likes and really works with well and all, that it's something that's evolved over a very long period of time. And after all, he's 18 different people in himself. How is that? Well, he is. I've met three of them. I hope to meet the other 50. No, I mean.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262277#t=577.58,623.66"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262277/transcript/79506/annotation/39","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e I think there was everybody on the south stage.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262277#t=624.68,626.32"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262277/transcript/79506/annotation/40","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Yes, of course.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262277#t=627.17,627.99"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262277/transcript/79506/annotation/41","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e Could you give me some details about what he calls a party?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262277#t=629.66,632.8"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262277/transcript/79506/annotation/42","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e What I said, the fact that he knows everybody by name, this to me is absolutely incredible. He has either the first or last name of maybe even 300 people. This to me, is extraordinary. It shows he has a good memory, but also it shows great consideration and politeness, which I would say is exceedingly rare among directors of films. After all, most of them are pressured from... Producers and the stars and God knows what all, but he is in charge of the situation and this is I think because he has put his mosaic together piece by piece from the beginning. So by the time he really gets to shoot the thing he knows everybody, everybody knows him. There's mutual respect which is","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262277#t=636.46,683.38"}]},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262277/transcript/79506","type":"AnnotationPage","label":{"en":["English [Transcript]"]},"items":[{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141761/file/262277/transcript/79506/annotation/43","type":"Annotation","motivation":"subtitling","body":{"type":"TextualBody","value":"https://d9jk7wjtjpu5g.cloudfront.net/file_transcripts/associated_files/000/079/506/original/trint_Coll458_jb0015_Fellini_02_p2_transcript.vtt?1747070073","format":"text/vtt","language":"en"},"target":"https://d9jk7wjtjpu5g.cloudfront.net/file_transcripts/associated_files/000/079/506/original/trint_Coll458_jb0015_Fellini_02_p2_transcript.vtt?1747070073"}]}]}]}