As I went round this exhibition I wanted to get beyond Fellini’s fertile imagination and the iconic fountain scene from La Dolce Vita (1960). I wanted to discover how he saw his Italian world.
So I wandered around the exhibition several times watching the various film clips and examining the other exhibits. In the end, I chose four scenes that portrayed more than a thousand paintings ever could. For me that is Fellini. In a short scene he could capture an entire city, culture or era without any particular need for words. To my amazement he shot most of his work in the studio, even the motorway scene in Roma (1972). “For me the studio is the place where the images you have in your imagination can be made in a totally controlled way, as a painter does on a canvas with his brush.” This is a man who let his imagination run wild but was most particular about how the fruits of his mind’s eye were portrayed.