But in certain cases I end up by accepting, because there are friends who insist I do interviews.
I’m reluctant to give interviews because I believe we should avoid them and I’m trying to hold to this sane decision. Because of the anxiety I had about doing this interview, I woke up voiceless this morning, unable to make a sound!
You should know I’m more a poet than a journalist. You don’t like to give interviews and it’s difficult for a journalist to get one. “Really, we should chat about other things,” he told me. Courteous, cordial, gifted with a good sense of humor, Fellini, who is mistrustful of journalists – and who loves paradox and ambiguity – kindly tried not to talk about this mistrust. I talked about this and other things with Fellini in his Rome studio sometime after his last film, La Voce della Luna (The Voice of the Moon). They are for seeing,” Fellini reminds anyone who persists in undervaluing the aim of his aesthetic orientation. What is this reality, which contains everything that happens? Where is it? In us? Outside of us? In our memory, which turns into myth? In the real events that seem like dreams or in dreams that materialize in an immense farce wherein existence is the tragicomic appearance? Like Pirandello before him, Fellini meditates on the ease with which we cross the borders that supposedly mark the difference between reality and appearance.Īs in the short film The Interview, which he made for Italian television, Fellini identities a film director with the demiurge of a Great Spectacle. Yet, paradoxically, the most surreal of Italian directors invites us to reflect on reality. The Master speaks on life, art, and Carlos Castanedaįederico Fellini’s fantasy world, which has become more dreamlike over the years, shows us the spectacle of life.
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