Marcello Mastroianni

Pretty much everyone has seen director Federico Fellini's La Dolce Vita.

It's the 1960 film with Anita Ekberg and Marcello Mastroianni.

Now, is there another more famous and memorable scene from Italian cinema than that Trevi Fountain midnight romp? I mean, who can visit or even think about this iconic Roman fountain without conjuring up that scene, even if you haven't seen the full three-hour movie? While the fountain scene lasts only about two minutes in the film, it took a week of filming in early March of 1959 under chilly Roman skies.

Ekberg, the consummate Swede, had no problem frolicking in freezing waters in her skimpy dress for hours without complaining, but Mastroianni was less accustomed to icy water.

Speriamo che le cose cambino, possiamo solo dire quello.

E speriamo che Chiara Mastroianni, che è attesa oggi alla Campari Lounge per ricevere il One Minute, One Minute to Midnight Award, magari venga anche a trovare Fred.

Cioè faremo, è in programma un passaggio di Chiara Mastroianni da noi.

Non si sa, non lo sa neanche Martina.

Se non lo sa Martina, siamo messi male.

Però una gran bella sceneggiatura.

Sì, mi è piaciuto.

Chiara Mastroianni non ha una parte importante, però una parte fondamentale che-

[singing] Antonioni, Mastroianni, Fellini, Pasolini.

Billy Wilder, Lana Turner, Rainer Werner Fassbinder.

Marlene Dietrich, Ernst Lubitsch, Jane Austen, Charles Chaplin.

Il loro Robert Pattinson.

Allora, eh, vi, vi volevo ricordare che Lee Chang-dong, come dicevamo già prima, è, è già venuto a Venezia, nel 2002 addirittura ha vinto il gran premio della regia e la, la, la sua attrice del momento aveva vinto il premio Mastroianni, quindi sono degli habitué.

Eh, habitué, insomma, con dei salti importanti tra, tra, tra l-i decenni, però insomma sono già stati a Venezia.

C'è un film italiano di cui vi parliamo fra po-- italiano fino a un certo punto, comunque un regista che ha un nome italiano che però ha-

So I wanted to tell about this story in a comic way, where we can laugh about the absurdity of violence.

And I was thinking about a film that was very important for me, Étoile Scola, Une Journée Particulière, with Mastroianni.

And this film was very important for me because It was a very beautiful story of friendship, of love, of solitude, loneliness of two persons in this small apartment while we were listening Mussolini discourse, the violence of the outdoor how they managed to create this word of peaceful word, this meeting of these two characters, isolated characters.

I was really inspired by this mise-en-scene for A Quarter to Thursday because I used this feeling of demonstration that happened outside and the sound of helicopter during all the film, a feeling of people, of demonstration, of violence, of expression, also of repression, but outside, but in the film it's focusing on these three characters who are mainly indoors, trying to survive and to fight for for what they are dreaming of.

And And he told me about the experiences he had making those movies I was grown up with.

And he was telling me, working with Marcello Mastroianni, So I looked into his eyes and I saw the whole Hungarian cinema history.

And he has very blue eyes.

He's a great storyteller as well.

[upbeat music] Antonioni, Mastroianni, Fellini, Pasolini, Billy Wilder, Lana Turner, Rainer Werner Fassbinder, Marlene Dietrich, Ernst Lubitsch, Jane Austen, Charles Chaplin, François Truffaut, Jean-Pierre Léaud, Belmondo, Brigitte Bardot.

[upbeat music] La manie du cinema.

Cinémania.

Yeah.

Uh, and it comes out in, in, uh, La Dolce Vita, where Marcello Mastroianni is the main character.

He's a reporter.

So Anita Ekberg, the kind of Jayne Mansfield, Marilyn Monroe figure shows up, and he's completely in love, falls completely in love with this, uh, idol.