Zapponi brought his experience as a writer and knowledge of Casanova to the project. While de Laurentiis searched for another international name (he also considered both Michael Caine and Jack Nicholson) to sell the picture to the US, Fellini started writing the script with his collaborator Bernardino Zapponi.
Unfortunately, Mastroianni was unavailable. He wanted Marcello Mastroianni-an actor he could depend on. Robert Redford has sex appeal ergo Redford is Casanova.įellini baulked at the choice. One can see the cartoon logic-world’s greatest lover must have considerable sex appeal. He considered Marlon Brando, then Al Pacino, before finally deciding on the newly crowned “world’s sexiest man” Robert Redford to play Casanova. Indeed, he favored an American actor to play the lead. He knew with Fellini’s name attached to a film about Casanova, he could break the American market. “After this film, the moody and unreliable part of me, the undecided part that was constantly seduced by compromise-the part of me that didn’t want to grow up-had to die.”įellini was also aware that he perhaps subconsciously placed all his fears and the “anxiety face in this film,” adding that “Perhaps the film was fed by fears.” This unease sapped Fellini’s confidence and led him to believe he should have let this film project go as he feared Casanova would be “the worst film I have ever made.”ĭe Laurentiis was aware of Fellini’s misgivings but chose to ignore them. He saw in him some of his own negative traits which he hoped he could exorcise by making this damned film. Fellini probably never had any intention of making a film about the great lover as he loathed Casanova. He used it as a ploy to raise money for his other film projects- Yes, yes, I’ll make ‘Casanova’ one day but now, now I want to make this….whichever film was his latest obsession.
#Federico fellini bbc movie
That summer, in need of money and a desire to keep working, Fellini agreed to make a movie on the life of Casanova for producer Dino de Laurentiis.įellini had often hinted that he would one day make a film about Casanova. And Fellini was about to turn fifty-three which, by his own estimation, was on the back slice of life. Too many friends were ill or dying his private life was the focus of the paparazzi with claims of affairs with various young starlets his relationship with his wife Giulietta was almost at an all-time low-though she continued to appear with the great director at functions like, as one acquaintance suggested, a politician’s wife out canvassing voters and his usual life of extravagance was severely curtailed as the tax man was after him for non-payment of taxes. Give someone else a go.For a man as superstitious as Federico Fellini the omens of 1973 were not good. He thinks “it might be time for me to move on. “I’ve been knocking it out for two years now and I’m starting to notice that the good ideas, the real zingers, are becoming harder and harder to come by.” He suffers from weeks when, “no matter how you slap your forehead, nothing will come”. “I’m running out of things to write about in this column”, he informs us. One more columnist in search of an idea …Īnd the 2015 Federico Fellini prize, awarded annually to the writer or director most self-referentially mired in the problems of producing something, goes already – nem con – to Tim Key on the Indy mag. Except that it isn’t, quite, because the controller of BBC2 says he will be showing Clarkson scenes recorded earlier – and anyway, Clarkson will be back: “It is serious and unfortunate what happened, but there is no ban on Jeremy being on the BBC.”īut if there is indeed no ban, and if indeed new chunks of unseen Clarkson in Gear can and will be shown anyway, what on earth is the point of looking around for someone else to front the show? As his whole team of mates quits, you have to wonder, nay shriek: why?
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Y ellow card red card – or three-card trick? Jeremy Clarkson punches a hapless producer and, after much chewing of the cash cow cud, gets ceremonially dumped from Top Gear, his stint on the current series cut artificially short.
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