Italian filmmaker (1920–1993)
Federico Fellini (20 January 1920 – 31 October 1993) was a highly esteemed and influential Italian film director. Fellini's films typically combine memory, dreams, and fantasy. Among the best known of his films are La Strada, La Dolce Vita, 8½, and Amarcord.
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I don’t like the idea of “understanding” a film. I don’t believe that rational understanding is an essential element in the reception of any work of art. Either a film has something to say to you or it hasn’t. If you are moved by it, you don’t need it explained to you. If not, no explanation can make you moved by it.
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„Понякога се срещахме по ресторантите. Той винаги ядеше много. Забелязах това, защото изпитвам естествен афинитет към хората, които обичат да ядат. Винаги можете да различите онзи, който обича да яде, не по количеството храна, което поглъща, а по густото, с което го прави, понеже има вид на човек, изпитващ истинско удоволствие. Затова отначало забелязах Мастрояни именно поради тази наша ресторантска хармония с него.
„Мисля, че животът крие повече от онова, което знаем или някога ще узнаем. Религиозното, мистичното, психичното, чудодейното; съдбата, предназначението, съвпадението. Страната на име Неизвестното. Зная, че понякога ми се смеят и подиграват за готовността да възприемам всичко от А до Я, от астрологията до ясновидството, от Юнг до спиритическите сеанси и кристалните топки, но обещанието за чудеса ме омайва. Подигравачите и мърморковците не ме спират. Нека си живеят, вкоренени в земното, онези, които считат, че всичко трябва да има прагматично научно обяснение. Не желая да познавам хора, които не могат да кажат; „Представяш ли си!“ в отговор на някакво вдъхновяващо благоговение, необяснено явление. Мисленето наужким е най-важният вид мислене. Човек се развива натам, накъдето може да се развие, без да взема предвид вече известното.
When I felt I was dying, these past few days, things were no longer anthropomorphic. The telephone, which looks like a sort of upturned black snake, was merely a telephone. Every thing was just a thing. The couch, which looked like a big square face drawn by Rubens, with buttons on the cover like wicked little eyes, was just a couch, rather shabby but nothing more. At such a time things don’t matter to you; you don’t bathe everything in your presence, like an amoeba. Things become innocent because you draw away from them; experience becomes virginal, as it was for the first man when he saw the valleys and the plains. You feel you are set in a tidy world: that is a door and it behaves like a door, that is white and behaves like white. What heaven: the symbolism of meanings loses all meaning. You see objects which are comforting because they are quite free. But suddenly you are flung into a new form of suffering because, when you come to miss the meaning of, say, a stool, reality suddenly becomes terrifying. Everything becomes monstrous, unattainable.
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