Damian Pettigrew: News

“Fellini was a man of many selves and contradictions: he quoted Dante with genuine emotion while executing pornographic doodles on the table napkin then balked at paying the lunch bill while handing out millions of lire to the beggars of Rome. Although he boasted he was heterosexual, he nonetheless directed one of the greatest bisexual films of all time. He was Mr. Cool as well as the Nutty Professor. He contains multitudes and the journey to his center never ceases. Quite simply, you end up cherishing an Onion Man with no center. Federico really had a rough time of it but pretended otherwise and had the grace never to expose his personal problems in public. And then there are the films that continuously generate new meanings. For example, 8 1/2 contains alembicated allusions to Hamlet of tremendous power and beauty that resonate in the mind long after the film is over.”

Damian Pettigrew

On Fellini's personality, in Indiewire (April, 2003)

Beauty , Quotes , Problem , Time

“One of the key topics, for me, is a study of the individual in relation to crowds and to power. A film essay on crowd psychology would avoid commentary (it has become the madness of secondary discourse in many documentaries) and rely wholly on sound and image. Ideally, it would try to provide us with new concepts on the nature of society, on violence, and on the political bestiality of our times that is linked to the way the media has become a plague of words and images stripped of substance. It is a plague infecting our lives and, as a consequence, the history of nations with all that is sensational, random, and confused.”

Damian Pettigrew

On key topics in the documentary genre, Sundance Channel Interview (July 2004)

Way , History , Nature , Study

“We lunched in Fregene: grilled sardines sprinkled with parsley and lemon. Federico ate daintily, like someone with no appetite. The beach was deserted, the wind brisk. In the distance stood the abandoned lighthouse he filmed for 8 1/2. Like someone about to propose a toast, he stood up and "recited" from King Lear :
Hark! Have you heard the news? The king fell off a cliff.
O horrible! Were you very close to him?
Indeed, sir. Close enough to push.
We laughed until he brusquely sat down again, scraping the fish scales off his fingers, staring at the age spots that covered his hands. The beautiful adolescent waitress asked for his autograph. He drew himself as a man-lion in a hat and scarf with huge paws chasing her, and signed it "Féfé." We spent the afternoon visiting Ostia and returned to Rome in a sweltering twilight. He asked to be driven home for a change of clothes. We invited Giulietta, who wore a green velvet turban, to join us for dinner. (Had she already lost her hair from chemotherapy?) Graciously, she declined while smoking cigarette after cigarette. At Cesarina's, Federico drew hilarious, pornographic sketches on the table napkin saying, "If you have not made love today then you have lost a day!"”

Damian Pettigrew

The entire restaurant was at his feet. He was twenty years old now and as thin as Kafka. He was Rome. He had adopted us the way Rome adopts everyone, and we loved him.
On Fellini's final years
Federico Fellini: Sou um Grande Mentiroso (2008)

Love , Age , Beauty , Way

“In a synchronistic way, the Jungian term of great significance for Carolyn Carlson, her art is in accord with Hölderlin's phrase, "Poetically, man dwells on this earth." After the century of Fascism, we enter the brave new world of the digital era where bombs are grafted inside the body in a corruption of the word spiritual that Malraux never imagined. For Carlson, the question is no longer, "How to live together?"”

Damian Pettigrew

but rather, "How to live poetically our dwelling place?"
On the art of Carolyn Carlson, France Culture interview (December 2012)

World , Art , Way , Imagination

“Fellini has sometimes been accused of not being interested in the work of other directors but I never found this accusation to hold true. The Federico I knew was not only a voracious reader but extremely interested in hearing about international directors, most notably, Nanni Moretti, Pedro Almodovar, David Lynch, Spike Lee, Akira Kurosawa, David Cronenberg, Wim Wenders, Woody Allen, Martin Scorsese and Stanley Kubrick. Clearly, part of the pleasure of discussing these directors was the stimulus for new ideas that their latest films gave him. Although we never explored Portuguese film in any depth, the films of Manoel de Oliveira and Joao César Monteiro genuinely fascinated Federico. At the urging of Mastroianni, he went to see A Divina Comédia (1991), Oliveira’s superb allegory about Western civilization, and returned enthralled. He had long been obsessed by the theme of insane asylums and Oliveira’s masterful blend of philosophy and religion appealed to him at a time in his life when such questions as death and resurrection had become pressing concerns. I do not know where or in what format Federico saw Monteiro’s Recordaçoes de Casa Amarela (1989) but it was a film he described as “deliriously eccentric, a satirical bizarrie that Bunuel would have adored."”

Damian Pettigrew

On Fellini’s favorite directors
Federico Fellini: Sou um Grande Mentiroso (2008)

Life , Death , Pleasure , Religion

“To my delight, Federico had seen Dans la ville blanche (1983) by Swiss director Alain Tanner. Enthusiastic about Bruno Ganz’s performance, he also was impressed by the film’s startling visual poetry of Lisbon achieved by transferring inferior film stock onto 35mm. It was exactly this kind of uncomplicated technical innovation that inspired Federico during the writing of Attore. Conceived in 1992, Attore focused on the craft and the psychology of actors. Having completed a film treatment with roles for Mastroianni, Giulietta Masina, and Paolo Villagio, Fellini was now wondering if he should provide Marcello with a home movie camera to be used in a loosely Shakespearian sense that all the world’s a film set. The 8mm footage of intimate memories of the theatre from his Rimini childhood would then be transferred to 35mm – a most intriguing idea that would have been a new departure for the Maestro had he lived to bring it to the screen.”

Damian Pettigrew

On Fellini’s last film project, Attore
Federico Fellini: Sou um Grande Mentiroso (2008)

World , Home , Idea , Departure