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Wes Anderson narrates Fellini: The most musical of all the directors
Wes Anderson, the director of movies such as The Tenenbaum, The life aquatic Did, the Grand Budapest Hotel or Moonrise Kingdom, seven times nominated for an Oscar and winner of a Golden Globe, in one of his rare interviews says Federico Fellini, the influence of the Italian master on his film and his amazement at the masterpieces of the director.

Maybe he does not think the same way, but I think there are two Fellini: a more neo-realist, and then, starting from Amarcord or maybe even a little before, a markedly more original, more clearly influenced by his drawings, highly imaginative. In Amarcord, speaks to us of Rimini, in reality, it is a reinvention in total. In the Satyricon, we are on the sea, but even here we immediately realize that is the fruit of his personal vision. Before being a director was a writer, drawing comics, then a screenwriter, and in the end it came to directing. In his first captures the work of a real writer and it is amazing to see how the subsequent films, with their load visual, are more the result of a director and a writer. This, however, reminds you that these are not the cartoons and in their being so elaborate and fantastic, they always have a depth which combines his past experiences, his memories and his feelings.

Fellini drew probably to communicate with itself. I am certain that his hand had a fundamental part in the genesis of his films, especially aprtire from the 70s. A movie like Roma could have had a screenplay made of drawings, with notes in the margin that explained what would happen. In Amarcord each character could start from, and maybe he did really, a caricature, a drawing. Those characters are invented, starting from the actors, although I am sure they were inspired by real people. Are caricatures but they become real people, which proves the feelings. La dolce vita, I think it is based on drawings but on a real report

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