Good evening.
You here already? Go home to bed.
Aha! The chief!
Health and yearning for the cavalier
Here she is!
It's arriving.
Bring the arc closer.
More. There you go.
Federico! They're here.
Good evening.
Excuse us, please, signor fellini.
We know our appointment for the interview is tomorrow morning,
but a little birdie told us that you'd be here tonight.
- That little birdie was you? - No, federico. I knew he'd say that!
He's right.
Come on! Easy, boy!
Give it here.
- He won't come up. - Sir, aren't you coming up?
No, I trust you guys. I can imagine it from here.
When you see the soundstage roofs, stop and let me know.
What did I tell you?
The megaphone. They can't hear us from up there.
Romano, come forward. Light the mini-arcs.
Now turn them on me.
Romano, go up as we go.
Aim the jumbo at the pines.
Fiammetta, Daniela, get out of the way.
Roberto, go to your booth.
We need to get it higher than those pines.
Can you see stage 57? Can you see the roof of stage 5?
Maurizio, answer me!
We mounted lights on that other crane
to create the general effect of moonlight.
We have to go higher to see the stages!
May we ask what you're filming now?
I was thinking this film could open with a dream.
The classic dream where you're flying.
You must have dreams like that in Japan as well.
Yes, of course!
Tonino, zoom slowly forward,
as if the camera was gliding over the soundstages.
There's stage 5!
It's beautiful from up here!
We can even see the Roman aqueduct!
And the tuscolana!
But everything's shaking!
We need more smoke up there.
The megaphone stopped working.
The batteries.
Menicuccio! Menicuccio!
This dream led me into a dark place.
Disturbing, but somehow familiar.
I moved slowly
in that deep gloom.
My hands touched a wall
that seemed endless.
In other films, in dreams like this,
I would've flown away. But this time, who knows,
being older, heavier,
I had trouble getting off the ground.
I finally managed to do so,
and I was hovering high in the sky.
But the landscape I glimpsed below through gaps in the clouds...
What was it?
The university?
The municipal hospital?
It looked like a prison, a fallout shelter.
At last I recognized it:
Cinecitta.
Maybe I had this dream because I knew 1d be meeting you tomorrow morning.
By the way, if traffic or something delays me,
start anyway.
Interview maurizio mein, my assistant. He knows much more than I do.
An assistant director's essential tools:
Whistle...
And megaphone.
Nowadays, it's a lost art.
Assistants all become directors.
Remaining an assistant is really heroic,
something almost against nature.
Like a man who decides to stay an adolescent forever,
refusing to grow up and become an adult.
These are the psychological problems of a high-risk profession.
And when it's fellini you're working for -
maurizio, federico's coming!
Excuse me for a second.
Hi, piero. Everything's fine.
The Japanese would like to ask you a few questions.
- Morning, sir! - Chiodo, come on.
- Clear out! - He called me! He wants me!
- Had any more dreams? - When? How are you, everything okay?
- Where'd she go? Ah, here she is! - Now the first question is:
What does cinecitta mean to you?
Is it just a movie studio, or is it more?
And if it's more, how is it more?
- How is it more? What a start! Frankly... - Sir, I'm right here.
I see you! Stay right there.
See how he treats me?
- Shall I pick out some of them for a test? - Just a minute.
I found the ideal ones this time: Giancorso, Alfredo, Antoine.
And a surprise. I bet you can't...
- He's a girl. - How did you...
- What's your name? - Sophie.
French?
Three, four. One, two, jump! Three, spin around! Five, six...
Did you make that? For your film?
- No, no. It must be a commercial. - Lovely.
Try imperial! Click, click, click! It does the trick!
Jump higher! Jump!
You're not in time!
Where do I put the gas, boss?
One, two, three. Fire!
Akaryu!
It's a comfort for me to know cinecitta exists.
It's a fortress, or perhaps an alibi.
Yes, perhaps an alibi.
Nadia!
She can talk to you about cinecitta more knowledgeably than I can.
- Morning. - Nadia, these people are from Japanese TV.
Good morning.
They want an interview. “With me?
You could introduce her as a vestal virgin of the city of cinema.
You see, she's in charge of the film archive
where cinecitta preserves its memories from its founding until today.
No big deal!
Will you talk with them?
I've got work to do. I have to have my cappuccino.
I'm late already.
Having a cappuccino is part of your job?
When do we start, sir?
Soon! We'll start soon!
Let's follow her. Let's go to the bar and do some work.
Maurizio, I couldn't care less about the role.
- Nobody's looking at me. - I need to be near him.
- Chiodo must always be at his side. - How do I look?
You can't just leave him on his own.
A nice double bed on a dark stage.
- What could be better for a director? - He needs protection, comforting, care.
If this guy gets sick, we all go hungry!
Where everything is done from scratch.
You must provide a start, light and life for everything.
- You feel like god. - Speak for yourself!
Nadia, where are you going?
Nadia! Where are you going?
I really have to be going. The boss is looking for me.
Nuns! To the set!
Nuns! Let's move it!
Now turn and yell, "Nadia, when am I invited to dinner?"
Excuse us, miss. Are you going to the archives now?
No, I'm picking some chicory.
Do you have chicory in Japan?
We know that fellini has shot all of his films at cinecitta.
Are any of his sets still standing?
No, he gets to take them home once filming's done.
Where's the famous pool used in Ben-hur?
I think it used to be over there,
where they shot Ben-hur, quo vadis, the naval battle in Cleopatra.
You see all those apartment buildings surrounding us?
They build them overnight.
Pretty soon, they'll overrun this whole place.
This is chicory!
What do you do with it?
If you saute it with garlic and red pepper, it's to die for!
My grandma used to say that chicory tea...
He says it's bitter.
That's what makes it good. It's a nice kind of bitter.
It's just like the romans. They act tough, but they're sweethearts.
How about going into business exporting chicory to Japan?
I have to go now, sorry.
Thanks a lot.
Have a good day at work.
Signor fellini, when was the first time you came to cinecitta?
Well, it was many years ago, in 1940. During the war.
I was a reporter then. I was there to interview a famous actress.
We had to catch a blue tram near the station
in front of an old daytime hotel, the casa del passeggero.
Are you getting the sign?
Get a full shot from over here.
- Want the first floor windows too? - Why not.
Come in, gino. This is maurizio. The place is disappointing.
The casa del passeggero isn't accessible. It's changed owners.
I don't know. Arabs, I think.
Should I come back? Hello, gino? Over.
Yes, fellini's here with me at the depot. Over.
Come back then.
Box lunches, my ass! Get over here! Fast!
Have you heard from Peter?
Here he is.
Behind the communist paper you'll find good old Peter.
This is the legendary notarianni,
old friend and executive producer.
He must've made 300 films. He started out with the lumiére brothers.
Even earlier.
Just now the Japanese asked me how I get along with producers.
I told them it's a total, reciprocal distrust.
- That's a perfect reply. - These won't hold up. Everything's rotted.
Notarianni!
- Hi, tonino! - The lights have to go on the mounts.
We'll need a lot.
Tell Mr. millozza here. There's never enough light here.
Calm down, tonino.
Tonino, these trusses won't hold.
Like I said, we need mounts.
Hey, boss, remember that great pizzeria near the p/azzetta where we used to eat?
Listen to that echo! “Where's Christian?
Christian, take some shots of the interior of the tram cars.
There's a dead cat! What a smell!
Done?
Now go down there! Take a few full shots, from over there.
Here's the little tram that used to go to cinecitta.
I must have taken it a million times.
Tonino, when was the first time you went to cinecitta?
1938.
First time he was here, the tram was pulled by horses!
Hey, wise guy, you wanna get kicked out?
Terzano and I used to come here on our bikes.
Do you remember him?
- Tonino, I'm 20 years younger than you. - Yeah, right, 20 years.
Here we go.
Just look at that. You'd think it was a holdup.
Who's that with maurizio?
Maurizio.
Fellini, I met this lady near the station. I thought we could test her for brunelda.
- Morning. - Brunelda? That's an idea.
Excuse us, ma'am. Perhaps we're too brash.
It must have seemed like a kidnapping.
Take some photos of her.
Maurizio, brunelda is blonde, you know.
- Are we shooting here, chief? - Yes, that's right.
- It's decided then? - Like there wasn't anyplace easier.
I think I'll choose this spot.
If we add some scenery, a canopy and a couple of sets,
we can try to reconstruct the casa del passeggero here.
Hey! Taking a break? Come help us out here!
Right there! Where the stairs begin!
Now anchor it!
The platform is crooked!
Pull the cable!
Just wait and see, Sergio. That's your name, right?
In no time, you'll feel right at home.
Excuse us, we're trying to follow every step.
Of course.
Should I look into the camera?
Which character do you play in this film?
- Who do I play again? - Some nice, little character.
- Didn't anyone tell you? - I still don't know.
- I think you should just be yourself. - Put the hat down! Give it to me!
No, not in here! Translate, please. They're working here.
Have a little Patience and interview them later.
- Is our Olga here treating you well? - It's his first time, he's pretty nervous.
He'd like to know who he's playing.
Of course. We'll explain it all.
You are a reporter, a young reporter.
You've been sent by your editor to interview a star actress at cinecitta.
Turn that radio off! How can you people work with this racket?
Now, Sergio, this reporter is very excited
because it's his first visit to cinecitta
and the star he's supposed to interview is a woman he's always dreamed of.
Massimo, I almost forgot, is that pimple ready?
Yes, it's ready. “Well done.
I want him to have a little bump on his nose.
Of course, he couldn't leave the kid alone.
That's enough, Olga.
He was too cute.
He looks even better like that. And he's the right age for a pimple!
I'm not doing this as a whim or to be cruel to Sergio.
You see, if someone like you is about to interview a beautiful woman
with a pimple on his nose,
- he'll feel embarrassed, mortified. - Of course.
And that's how I want the character to feel.
It'll help you as an actor. That's why I did it.
Come on! Come on!
There! Stop beside the other truck!
Sergio, antonella, that's enough for now. Follow me, please.
You're gorgeous!
He's an anomaly. Like everything we do in cinema, luckily.
- Would you come and shoot in Brazil? - Of course I would!
Follow me, please.
Line up, side by side.
Just like that, thank you.
You'll lead the procession later.
How am I going to tell him?
Listen, fellini.
- What is it? - That actor from Naples.
- He called and says he can't come today. - Who's not coming?
The big one who was to play the fascist leader.
The fat guy.
Now you tell me? Five minutes before shooting?
- We just found out! - And now what?
Calg, fabiana, calo, vittorio. Here they are.
What do I do now?
Having to foresee everything is no fun.
On that point, I agree with fellini.
The beauty of this profession is in foreseeing the unforeseeable
and getting screwed anyway.
No worries. The makeup people are with us.
- The makeup people need to go to rubini. - Load those water cases!
Let us up!
Wait, let me on first. I know where they sit.
Your shirt, sir.
Here's the plan: Leave two places free in the front.
The girls are in back with their parents. Everybody here?
Where's my seat, mom?
The fascist is missing!
I can hardly walk. Ouch!
Federico, I can't walk in these boots. It's impossible.
You're perfect! Thank god that actor couldn't come.
- I stuffed them with cotton. - You'll be seated anyway.
- The shame, plus the torture for free. - I've outdone myself.
You look astonishingly credible.
He's all bald, like his comrades!
Come on up!
Here's your seat, by the window.
- I can't stop laughing. - Where's my seat?
- It's all unbuttoned. It's not nice. - He's fine. Where's my megaphone?
Thank you. Now.
Take away the steps, maurizio.
Are the policemen ready? You, get ready to leave.
- Turn it around! - I'm coming with you.
- I'm getting on board the Toyota! - Gino, let's go!
- Federico, I'm sitting in front. - Do as you please.
Damn, I was supposed to make a call.
Gino, call the lawyer...
No, I'll call later. Let's go!
I'm very proud of this line.
We built it in record time.
Sir.
- Are you an actor? - No.
Yes, you're an actor!
Are you an actor?
Esmeralda, come here!
You want a good slap?
Are you an actor, young man?
- No, I'm a journalist, I guess. - Bravo.
It's a profession of great responsibility, as you are surely aware.
Yes, of course.
I also started out as a reporter.
And, as you well know, so did he.
- Really? - Yes...
You hear that?
Those voices express the same joy of the workers who made this land fertile
in the days of Julius Caesar.
If you sing, your voice
is a Harmony of peace
that spreads and says
that if you seek a happy life you must live up here
to us!
Hooray for the beautiful workers of the pontine marshes!
Hooray for the beautiful workers of the vineyard!
Comrade, with fascist ardor...
Thank you, beautiful people from the farms of Italy.
Take this too.
- How beautiful. - It's for you.
Has it been washed?
- Want some? - Yes, thanks.
- We waited for you for ages! - So sweet!
Thank you!
Comrades, in expressing my admiration and pride,
I would like to join you...
Here's a kiss from my mom too! She can't walk.
In your joyous toil.
Let me hug you for just a moment!
But duty calls me elsewhere.
Long live Italy!
Not again! It's deliberate!
I told them to keep the donkey tied up!
Now where do I find the damn farmer?
Move, will you?
Who'll lend me a hand?
Go find your owner. He's a bigger jackass than you are!
Every morning it's the same farce.
Comrades!
It's really something, isn't it?
Beautiful.
Niagara! Niagara!
I tell you, young man, Italy leaves nothing to be desired.
- Not even waterfalls. - It's true.
Signori, look up there! Indians!
A brave race, but treacherous.
I wonder why they don't exterminate all of those tribes.
They could save just a few specimens for their films.
- Do you know abyssinia, young man? - No.
- Magnificent land, our empire. Go there! - I know, I know.
Anyway, since we've sighted elephants,
it means we must be arriving at cinecitta.
Of course I can't exactly swear
that the trip to cinecitta was exactly like that back then.
Maybe it was even more adventurous, more exciting, I don't remember.
Here we are!
Well...
My name is antonella.
Perhaps we'll make this trip together again sometime.
Allow me to introduce my fiance.
- Nice to meet you. - It's a real pleasure.
You know, it's a very important day for me.
I'm doing a screen test, and I'm a bit nervous.
I wonder how it'll go.
Won't you wish me luck?
- Of course! Best of luck. - Goodbye.
As for that pretty blonde girl who made the trip here with me,
I never heard of her again.
Good luck!
Stay here and be ready.
I almost forgot. The big fascist who traveled with us
was met in front of the studios by a large handsome car.
And if memory serves me correctly, following behind several elephants,
I entered cinecitta for the first time.
- Good morning. - Just a minute. Stop right there.
I have an appointment. With whom?
- I'm doing an interview. - An interview? And your name?
- My newspaper called. My name is rubini. - Rubini. I'll go take a look.
See if we've got a rubini.
He's here.
Go ahead.
Thank you.
Hey! What are you doing? I can't push them myself!
Let's go!
Keep the procession going!
The bride!
Throw the petals!
Throw the petals! More!
Higher!
Keep the distance!
Keep the same distance!
Slow down a bit!
Forward, like that. Go!
Who's that guy?
- What's he doing there? - What's he doing?
Get down! Down! Lower!
- Throw them higher, like a tornado! - Hit them with the fans! Come on!
Cut! Cut!
- From the top! - Places, everyone!
Places! Another take.
Back to your places!
Tell him you can't run.
- Where's the bride? Get the bride ready! - We're shooting another one!
Music! Music!
Pick up the tempo!
Shout, "Rolf!" Shout, "Rolf!"
That's enough. Stop there.
I'm coming down. Help me.
Careful, sir.
- Help him. - Slow.
He doesn't need help, he's spry as a cricket.
I'm holding you, sir, don't worry. There you go.
- His shoes. - I have them.
- Get his shoes, hurry! - Give him his shoes.
- Where are my shoes? - Here they are.
- Let me help. - Maybe some confetti stuck to the lens.
We'll see it in the dailies.
Print it? “All of it.
Would you like a mineral water, a beer?
- A pear. - As you wish.
- He wants a pear. - There's only an apple.
- What? - A peach.
Would you like a nice, juicy peach?
I want a pear.
- A plum? - A pear.
- Go to the grocery store out front. - A pear! A pear!
A pear! A pear!
He wants a pear!
Well done, I almost cried too.
Was I all right, sir? How did I do?
Are you satisfied? Tell me. The tear in my eye, could you see it?
Not bad. It'll do.
- Where's the groom? - I'm here.
Listen!
Please be quiet! Nuisance!
He's a little nervous, you know. “What an asshole!
- You're running towards love, happiness. - Are we rehearsing? Now?
I'll show you the way.
- Follow me. Come, come! - It bothers me.
Don't worry. I got it.
I was supposed to do it, but I can't ride a horse.
You were wonderful.
- Truly. - Would you like my doctor's address?
- Who's that boy? - Nobody.
Smile.
Helga!
Go on, embrace one other.
- Rolf! - Helga!
No! More excitement! More passion!
Watch me. Rolf!
Helga!
Go, like that!
Scene 42, take seven!
Ready? Let's have the petals! Action!
Hold it! The lunch boxes are here!
Stop!
Hey, Nico, shall I get a plate for you, too?
I'll be over there by the fountain.
- Let's sit over there. - I'll take that, miss.
I don't want water. Get me a bottle...
- Thanks, bring it here, in the sunshine. - Immediately.
- Here we are. Thank you. - There.
Pericle, can you get me one of those too?
White!
Hey, kid, do me a favor and get me a lunch box for the lady.
What lady?
Katia.
Of course. Right away. I'll take care of it.
If you want the white, stand on the left. The others on the right.
The price list is here!
- Thank you. You're so nice. - Here you go. Katia venis, right?
- She feels better today and wants to work. - I'm to see her for an interview.
- Does she know? - She said 12:00 P.M.
All right, I'll show you the way.
What happened? A little argument with the wife?
Now, may I ask you a few questions?
For example, what's in her lunch box?
It's good.
She gives it to me without opening it. I give it to my sister-in-law.
- Do you work with Katia? - I'm her dresser, yes.
Did you work on the film where she plays an aviator?
No. She had sent me away. Later, she called me back.
She's all right, but since he came along, she acts like an empress.
In spite of his boots and plumes, he falls in line when he sees her.
- Don't tell her I told you that. - Don't worry.
They're working on a colossal production.
No smoking
can I take a look?
Hey, cesare.
What is it?
Why don't you go fuck yourself?
For that pimple, try bread soaked in milk.
It'll go away overnight.
- Thanks. - Don't mention it.
Hey, cesare, I was thinking.
What?
Why don't you go fuck yourself?
Say, kid, we've got to get going.
Hey, cesare.
You know who I ran into? Old snotty.
- You know what he said? - No.
He said you should go fuck...
I just tossed back a beer in one go
and now I feel sick.
- How do you feel? - Like I was better off before!
So she says to me, she says, "well?"
"Well what?" I say. Some manners.
I just got some fruit. For you too.
- Any tangerines? - No tangerines.
Go buy them if you want some.
Give me some porchefta instead.
You going for eggs? I'll come along.
There's a peasant out there who's fallen in love with her.
He brings her fresh eggs and she drinks them raw.
- It's still warm! Here's her egg. - The lady sends you a kiss!
- Thanks, darling. - I like the signora so much.
You hear that?
I do.
Send her over here someday!
- Who is it? - It's me, with the lunch box.
Come in.
- Is there a role for me? - Chiodo, the film's set in the '40s.
- Don't I fit in the '40s? - No, you don't.
- When will I? - I don't know. When we get back to 1986.
- When is that? - I don't know.
Shall we send a copy of this description to villa medici?
Fellini, these two kids are from the conservatory.
- You remember? - Good.
Have you read kafka's amerika?
If all goes well, you'll have to read it. Follow maurizio.
- Bye, thanks. - Thanks, and good luck.
Right this way. We'll take your measurements.
So we've seen our young reporter enter the trailer,
and there, all by himself in there,
he's waiting to meet the star who seems to excite him so much.
Rubini, you hear me?
- I hear you! - How's it going?
Just fine. But I'm not by myself in here.
- So0 how does it say this "boar" goes? - No. That's a different one.
For this one it says, "when the 'lingam' is made to rotate inside,
it's called 'churning."”
I love to churn!
Good morning.
Look at this one. "When the 'lingam'..."
You weren't here yesterday. You missed the lesson.
Do you know the Kama Sutra?
In India, our friend here is called the "lingam."
And what's the other thing called?
The "yoni."
So when the lingam, introduced into the yoni,
starts moving in and out, in and out rapidly,
without interruption
and, above all, without extraction -
- that's the important part. “What do we have?
- We have "the sparrow's flutter!" - You mean, "we used to have."
"The sparrow's flutter!"
What a charming image!
Who's there? Who'd you let in here?
Signora, it's the reporter at 12:00.
And in front of a stranger - if you'll pardon me -
in front of a reporter, you talk this filth?
- Katia, but it's a holy book. - It's 10,000 years old.
Eroticism on a religious plane.
Freezing one minute, boiling the next!
Can't they fix it? It's torture!
I told production, but they just play dumb.
I heard a story about you!
Well, spread it around.
Cinema magazine, I never miss an issue. But I have a complaint.
I sent you guys two poems, but you didn't publish them.
Good morning, signora.
Isn't the heat killing you?
My egg!
The pin!
Want to try it?
- This is my entire lunch. - No, thanks.
Look, I don't believe in interviews.
Look at garbo. Have you ever seen her give interviews?
The sweetie.
On the other hand, we must help those who are just starting out, mustn't we?
Otherwise, as the saying goes, they never get past
the "dear sir or madam" stage.
But only on one condition.
- My secretary Francesca must be present. - Yes, of course.
She's heard me so often with you reporters,
so if I can't think of the right answer,
she'll remember it and tell me.
Why, he's just a kid, our reporter.
I thought I might begin the piece
by saying that when you were in the shower there, amidst the steam,
I imagined you just like tiepolo's Venus.
Do you know tiepolo?
I doubt one can know everybody.
That's for sure.
Do you believe in dreams?
I had one last night that I'd be ashamed to tell you about.
You said you don't like interviews. I understand.
Because I, myself, feel uncomfortable asking you questions.
But there's one I want to ask.
How can a person be so beautiful?
Believe me, I'm dazzled.
Beautiful? Some of you writers disagree.
One critic wrote that I look like a man. Maybe wishful thinking.
My grandmother was beautiful!
I don't have her photo, but she was my spitting image.
For a movie actress, beauty is less important than talent.
Naturally, if she's fortunate enough to have both,
well, so much the better!
How did you first discover your calling?
When did it first occur to you that you'd lead the life of an actress?
- Even as a child, they said I was pretty. - No, thanks.
They said I was like a little angel.
In the religious processions they always included her as a cherub.
I can imagine.
Yes, but unless you feel a true calling, it's hopeless.
- You're right. - Won't you have any?
So many men would give anything to be here in my place right now.
- You think so? - Oh, yes. I'm so lucky.
Young man, just get this one thing through your head.
The whole secret is in the eyes, as you can see.
A girl can have the greatest "yoni" in the world - pardon me, my dear -
but if her eyes aren't properly made-up, it's all over.
Write that down!
When you see an actress in close-up...
Eyes shut.
When -
close. Eyes shut.
When you do a close-up -
open them!
You need to feel her eyes swallow you up! Write that down!
And write that we've both been here since 5:00 A.M.
So it's a life of sacrifice?
That's what art demands.
Excuse me, may I ask one last question?
When you're not acting, what do you do?
An actress lives in her roles.
- It's a prison. - And you never break free?
That depends...
Depends on the latest "lingam."
The costume's here.
- Ah, the maharani costume! - Time to go.
If you'll allow me. Excuse me.
Everybody out now! The signora has to dress. Out!
It'll look great on her!
I wanted to see it with your hair untied.
Young man, take a nice walk. Thanks.
Just a minute, please.
The signora usually reads all interviews before publication.
Remember, write only what I said.
Word for word.
There you go, turn it that way.
- Walk slowly, Katia, you'll rip the veil! - A little more to the right.
- Hold it here. - Move over.
Like that.
The same music for six days in a row. I can't take it anymore.
Young man.
Hey, you, young man!
Who? Me?
Come here.
Hello.
This thief here tells me you're a reporter. Is that so?
Had a good look around? You know what this circus is costing me?
I could've built four apartment buildings.
The rent alone would have brought in a fortune.
But making movies, to be honest, is much more fun.
Sir, we've already managed to reduce the budget by more than 50 percent.
Young man, answer me this.
Have you ever seen anyone who looks more like a thief
than this production manager here?
- Don't say such things. - But I really appreciate you!
A thief who looks like a thief is an honest person.
Unless he's tricking you, right?
That guy makes me laugh so hard.
Every time I look at him - look at the dumb face on him.
The director says he's stupid.
- I think he's good. - Thanks.
You asshole!
Just who do you think you are?
You've kept us waiting for three whole hours!
I can't stand this oafish imbecile anymore.
Give me that! I can't see myself.
You and your stupid asshole rich friends!
- He's talking about me. - No, he isn't, chief.
Did you hear how many times he said "asshole"?
Enough to cover everybody, even you, who just wandered in here.
Poor Italy!
It is tough, for sure.
But here in Rome, everybody's an asshole.
Incredible!
We're slightly more polite in Milan.
Look.
You mustn't write about these outbursts, eh?
Artists have their temperaments, of course.
But this one goes too far.
Enjoy your lunch, pierone!
Want some, boss?
No, enjoy it. And toast my health.
Smile! Keep in time!
Hip! Keep in time! Hip!
Now we'll have to waste another two hours to get that damn salad bowl on her head!
Do you at least remember your lines, sweetheart?
I know your silly lines.
He's the one who doesn't know that he's finished playing god up there.
One word from me, and he'll be exiled.
You know why he yells all the time? He's in love.
- He asked for it. - How could you miss that? Head over heels!
Don't make me ill. That queer dwarf?
He's crazy about you, like everybody.
Okay, concubine, start singing. Sing!
Then say your line to the maharaja.
Maharaja, you know what to say next?
Don't insult me.
I learned it two months ago. Just listen.
And the hundred golden cupolas that shine light...
My heavenly maharani.
Some manners! Some noblemen! And those officers!
This is an outrage! It's indecent!
The more he yells, the less he works. And tomorrow, we'll still be here.
Why do I allow you to work?
Bring in the dancing girls! Graceful!
Katia, you're on. Go on.
Into the water!
And say your line! Your line!
I bow to the glory of the maharaja, splendor of dergalesh.
Please accept with favor, my loyal, ardent devotion.
And now, the beautiful Katia climbs up the ladder
and enters the canopy, bowing low.
They'll see my behind.
Big deal! It won't be the first time you've shown it off!
With the stride of a tigress...
Slow, soft,
and swaying.
That shine light on the cily of chhavi...
Sway those hips!
Why else would we have you climb up that ladder?
What's wrong? Now what is it?
Do me a favor. Go over to that bitch and see what the problem is.
What's going on?
- Oh, my head! - She doesn't feel well.
She needs to go to bed earlier!
It's ruining her makeup.
Call the makeup artist!
Aurelio, go see what's going on up there.
Now we're going to rehearse the elephant salute.
- When I say "trunks," up they go. - Okay, good.
Ready? Trunks!
One. Two.
What's with that trunk?
I knew it! I knew it!
Get me down!
Down! I want to get down!
There! Are you satisfied?
Can't you see we're all making asses of ourselves here?
And it's all your fault! Your cheapskate production!
It's revolting! A disgrace!
- Sir, the megaphone - - Out of my way!
You promised me real elephants!
The circus is in sicily. You know how much they asked?
You should've paid for them if you wanted to work with me.
Or go back to laying bricks, your true calling!
Stop right now or I'll have you arrested! You criminal!
You bum! You're making a mistake!
- Sir, we'll just glue it back on. - A big mistake!
Yeah, signing a contract with you! That was my biggest mistake!
Out, everybody! I quit!
- I've had enough. - You'll injure me, sir.
This film is finished.
- No, you're finished. I'll ruin you! - He's crazy.
- Take it easy. Have a cup of coffee. - Stuff your coffee!
I swear he'll never work in this business again.
Never again, never again, never again!
Who cares?
It would be a blessing never to work with the likes of you again!
You're what's ruining cinema.
I'm going to Germany.
You should go to the loony bin!
I've had enough of you!
Excuse me. “What?
I appreciate the temperament, but you forgot something.
What?
You were supposed to knock over the first elephant, not the third.
- We'll do it again? - Of course we'll do it again.
- I got mixed up. We'll do it again. - This is the elephant to knock down.
The shot was framed so it would fall right towards the camera.
Ah, there you are. I was wondering where you went.
Hello.
Mr. fellini, we'd like to know one thing about your films.
What would that be?
Where do you find all the strange faces?
What are you taking pictures of?
Need a face like mine?
To hell with him! Who cares?
And your mother?
My mother? She never could stand him.
Miss.
Excuse me, miss.
- May we take your picture? - But why?
You have such a beautiful face. Striking!
Wouldn't you like to see what it's like to make a movie? Even out of curiosity?
I'm maurizio mein, fellini's assistant. You know him?
We need faces for the characters of kafka's amerika.
We're adapting it into a film.
I happen to think it's a fantastic idea, don't you?
Hey, look at Elvis's face. Looks like he has a toothache.
What's your guess on sampdoria vs. Atalanta?
- A draw or an away win? Me, too. - Come on, you can come in, ladies.
Follow me. Right this way.
Did you know they don't pay you for screen tests?
- It's too tight. - Couldn't you wear something else?
So why did I get up at 5:00 A.M.? At least they can see I'm stacked.
Maurizio here. I'm coming in with eight women.
- I'll send them to wardrobe. - Shall we follow?
Ladies, there! Wardrobe.
I'll be with you later. I'm going to set design.
That way! Everyone that way!
I was here two years ago, but nothing came of it.
I worked in a factory that made French fries.
I worked as a taster.
A fry here, a fry there...
- I put on 90 pounds. - Here's another one.
- Mr. donati. - Can't you see I'm busy?
Fine as silk.
Ma'am, excuse me. Come in. Sit down.
- I'm late, I have to renew my license. - Yeah, I understand.
- Besides, the part calls for a blonde. - Yes, but he wants to see brunettes too.
"Shall I raise the curtain?"
Repeat the line. Repeat it.
Stefano, get up.
Massimo, you move to the other side. Go down. Lower.
Tonino!
He's over there.
Tonino! What are you doing?
- Are you shooting? - Of course! What are you up to?
Brunelda eats, sleeps, and keeps making love.
- I see, a man-eater. - That's right.
- How do you play one? - What's up?
Excuse me. It says here that brunelda gets bathed.
- What? - Her lover gives her a bath, like a baby.
No, no. I don't do nude scenes.
With all due respect to Mr. fellini, I've never done nude scenes and won't -
and it's not because I couldn't.
It's a nice part, beautiful, but...
Is maurizio mein here? Hello.
You know what a window costs?
You listed ten. Let's drop it to four.
- It's not that big of a price difference. - That's what you think.
Look at me.
A frightening expression, aggressive and fierce,
but also sweet.
You have to be animalistic, bestial.
That's it!
The quivering nostril. That's the key.
That can solve everything.
- That's good. - Hello.
Yes, I'm listening.
Stage 2, set design.
- Is it for me? - What communiqué?
Gino, you better take this.
I'll pass you to the head organizer.
I have no clue what he wants. “Who is it?
Hello?
Who's speaking?
Who is this?
It's of no importance? Who said that?
Hung up.
Excuse me, everybody. Would you mind leaving?
I forgot I had an appointment here at 10:00 A.M.
Outside, please.
You two as well. Thanks.
The accountants are coming.
- That's just what we needed. - Just leave. Thanks.
Antonello, take them to the bar. It's on us.
A miracle.
Not a word to anybody, understand? Nobody, is that clear?
- Understood. - I bet.
This woman's face will be on big posters all over town.
We just got a terrible call. It's me, maurizio.
They've planted a bomb in stage 2.
We have to sound the alarm. Gino doesn't want to, but I disagree.
- Call management... - Just as I thought.
Maurizio, let's go to the bar.
- Some chamomile tea will do you good. - Of course.
Come along.
- We better close that, right? - Yeah, close it.
You know, gino, I think the right thing...
- How long will it take the police? - Nearest station is on the tuscolo.
Gino, I don't agree with you. We should alert the studio management.
Some idiot's playing a prank. “What if it isn't?
- Get those people out of here. - Stand back.
- Nobody is to leave the premises! - No coming through here. Stand back.
Chiodo, they're looking for you!
Who took the call?
- Mr. gino millozza. - That's me.
- 10 minutes ago. We were working. - Is this stage 2?
That's the door. I got everybody out.
Cordon off the areal! Right now! Don't let anyone in!
Passacantando, you go check the people at the bar.
So you took the call in here?
Yes, where the art directors work.
Please close the door and stay outside.
Did the caller speak Italian?
Mr. gino took the call, not me.
Any sort of foreign accent?
Italian.
Did you hear any coins drop?
That is, do you think they called from a public phone?
I don't think so.
Is this the first time you've received a threatening call?
No, it happens often in this line of work, especially to gino.
But never involving bombs.
Will somebody take me to studio management?
- Yes, I'll take you. - Thank you.
You check the hall and the upper floor.
They searched everywhere,
but didn't find anything.
I felt a bit let down, disappointed.
So we resumed our work upstairs in the production offices.
So you think 40 years in the theater count for nothing.
Faces, sure!
Of course you need to have the right face.
But do you think the talent and experience of an actress
who spent 40 years on the stage all over Italy are good for nothing?
That it's even a drawback?
Since when has being an actor become a flaw?
The director may be talented, but actors, real actors,
- are what the movies are all about. - You're right, ma'am.
But we're looking for some very specific types.
Here's llaria. It's the third time she's come.
- Fellini wanted to see her again. - But he needs to be looked after.
We couldn't do without -
chiodo, just let me work, will you?
I'm working too. I gotta see the boss.
You won't let me talk to him 'cause you know he wants me around.
No, countess. There's no news. We'll call you.
He said, "chiodo, you stick close to me."
In case he needs a coffee, a glass of water, a cigarette.
- He doesn't smoke! - Doesn't matter.
- The poor guy always needs something. - Of course.
These guys have ditched him! Abandoned him!
Ceccacci, will you get chiodo off my back?
What's wrong with my test? My accent?
You said the character is a foreigner.
Ma'am, these things happen with films.
Fellini felt the part was better suited to someone else.
I really wanted this role. They even renewed my visa.
It's fine, you can stay in Rome, the world's loveliest city,
and we'll find something for you, isn't that right, maurizio?
Hello?
Out of all the films Mr. fellini has made,
I've never worked in a single one.
Me neither.
- Though as an actor, I grow constantly. - Good for you.
He even called me one time to play a corpse.
Maurizio, look here.
This lovely boy's a stage actor. Should I show him to fellini?
I went everywhere!
The conservatory, the public library, religious schools,
the Polish, Hungarian, and czechoslovakian embassies, everywhere!
What drugstore?
If the character isn't in this bunch, then I don't know what he wants.
Excuse me. Is the director here?
I came because everyone says I'm the fellini type.
And so?
Let me put it this way, I've always had a certain tendency.
Ever since I was a kid, when I see a funeral, I burst into tears.
- I cry more than anybody else. - So?
Watch. I can even do it now. The tears come right out.
I can tear up just like that.
Well done. But we're only looking for certain characters right now.
Use my brother, if I'm not right.
He's way better than this bunch, for sure.
Does he also cry at funerals?
No, he used to dress up as a woman and make us laugh.
My whole family's like that. You can take your pick.
Here we are. We're back.
Did you bring a photo with a name and address?
He's got it right there. Give it to him.
I snapped it myself. I took plenty that day.
What is this? There must be 200 people here.
It was a grand wedding. People came all the way from ancona.
- He's next to his uncle. He's waving. - That's me!
Can't use it. Take it back.
I have many more. It was a great reception.
I'm sure. And you?
Me? You wanted fat people, so I came.
But we need fat women, not...
Then find something for me. I'm here.
We've met, now it's up to you.
What's up to us?
To do right by him. Unfortunately...
I brought him here, too.
Hello?
I can't believe the calls I'm getting today.
Are you an actress, ma'am?
- No, she's a widow. - For three years.
I'm sorry, I don't see what we can -
- maurizio. “What?
They've all agreed! What now?
You only need a few scenic elements
to recreate the atmosphere of an American street.
It'll still cost a fortune.
And you're saying you want to shoot at dusk.
Yes, it's dawn when Karl takes brunelda to the casino.
Gino, why not a nice, gray day? Forget about dusk.
And forget about the construction costs, too?
It isn't any better. It actually hurts more than before.
Not even Hollywood has costumes like these.
- Gorgeous. - And I can reproduce them.
- Well done, danilo. - Genuine, but with imagination.
You know what? We'll use big blowups.
This one is fabulous!
We could print them life-size.
Or some smaller ones and some larger ones.
We need to know if she'll be in the film.
For the dates, to work out a schedule.
She's been waiting for a week, federico. You've got to ask her today.
- Who's there? - It's me, fellini.
- What is it? - Nothing. Everything's under control.
We're taking photos of everyone.
Sir, I'm still here.
What for? You shouldn't be! Get out, chiodo!
- What did he say? - To leave, chiodo. Get lost!
- By the way, I saw marcello. - Tell me more, maurizio.
He's shooting downstairs.
He'll come up and say hello when he can. “What is that?
What's happening?
- Hey, snaporaz! - Hey, guys!
You're in trouble, right? The usual financial problems?
Run out of money? Or even worse, sexual issues?
Do not fear! Mandrake's here!
Just two taps of this stick, and up stands your dick!
- Daniela, let's go see marcello! - Hurrah!
I gotta see this!
- Isn't that dangerous? - Marcello, I need to speak with you!
Bye! Wait a second!
- Later. - I'll come down.
I'll see you downstairs.
Scrub, scrub, scrub it clean
scrub, scrub, scrub it clean
marcello, you look great like that.
You like it? A commercial!
- They don't even ask me anymore. - You're lucky!
- Have you met Sergio? - The young fellini?
Couldn't I have played him for you? Sorry.
- Ah, the sax! - Does she play your old girlfriend?
- One of them. - Of course.
He says you play sax very well. I've had an idea for the finale.
- I'll tell you later. - Don't listen.
Look, it's a good thing you're here. I wanted to ask you...
Come with me a minute.
- You're taking a break, right? - I think so.
Do you really play that thing? Sit down.
- A musician? - Sort of.
Gino!
Gino, I'm going now! Marcello's coming with me.
Just be sure to go.
Sergio, you come too. Bye, antonella. Remind me, eh?
- Okay, bye! - You'll see, it's a nice surprise.
It should fit.
What's this tree for?
We thought a small floral tribute...
Marcello, please, the cigarette.
I forgot.
I can't breathe. Open the window.
I can't breathe if I'm not smoking.
Mr. mastroianni, hideo says he'll stop you smoking in 15 minutes.
It's taken me 40 years to achieve three packs a day,
and you want to ruin everything in 15 minutes?
Toshiro mifune, the actor, was a big smoker.
Hideo touched his nose, and he quit.
He hates smokers now.
So you get convulsions like the maestro here if I smoke?
- No. - That's something.
But I don't like smoking...
Or drinking.
But how about women?
Oh, yes, a lot, but...
But? But what?
To be perfectly honest, what I like best is jerking off.
It's an exercise that aids concentration and stimulates fantasy.
Moreover, I'd even say it develops a novelist's turn of mind.
My experiences, for example... Excuse me.
They were like novels in installments.
There were always new characters, who introduced other new ones.
"Meet my sister. This is my cousin.” "my pleasure. Please, enjoy."
Where are we going?
We're almost there. We'll go straight back.
Pietro, is this the right road?
Sir...
I'm confused too, I've only been here once before.
Stop for a minute and ask this priest.
Excuse me, father. Villa pandora?
You're on the wrong road.
I thought so.
Where should we go?
Is that mastroianni?
Sure is.
This way. I'll lead you.
We're almost there.
That's it. Goodbye.
The chief's here!
Federico, didn't you tell her?
She says she's not expecting anyone and won't let anyone in.
Of course we told her. The production called her.
How many animals does she own? What a racket!
- What's with marcello? Is he all right? - Did you tell her it's me?
Let me try.
I'll unleash the dogs and call the police.
Anita, it's federico.
I've brought some friends.
- Can't you open up? - What's going on? Where are we?
What federico? What are you doing here, you liar?
You said for Christmas in 1981 that you'd come see me.
Now I won't open, darling!
Anita, open the gate. I have a nice surprise for you.
She has to open it.
I have to get back to cinecitta. They're waiting for me there.
- Just a minute. I'm here to see Anita. - Anita?
I should've told you.
- Anita Ekberg? - Yes.
I haven't seen her since la dolce vita. It must be 26 -
I'm opening the gate. Watch out for the dogs, they're fierce.
Stay in the car. I'm opening it.
Brace yourselves. We're going in. She's opening the gate.
She says to stay in the car.
These are lions.
You get out.
Ya-ya, come.
Pandora, Tonga, come here.
Come on. Get in the house.
There she is.
I'm so excited!
What does she need dogs for?
She's stupendous, like a gladiator.
Federico, then it's true.
It is you!
- What a triumphant vision! - I'm delighted.
- What about this dog? - Don't worry, I'm here.
My beauty, how are you? Come, let me hug you.
- Who's this? - Sergio rubini, a young actor.
He's playing a part in my -
he says that since he was 12,
he's had a recurring dream of being embraced by Anita Ekberg.
- Give me a hug. - Anita, thank you!
Sergio, that's enough!
- But who else is in there? - Guess.
What a beautiful surprise!
Another big liar!
- You're right about that. - Marcello.
You look better dressed up as mandrake.
Scrub, scrub, scrub it clean!
May I? Thank you.
Just a minute. Where are the scars?
What scars?
Then they lied to me.
I heard you'd had a minimum of three face-lifts.
No, not yet. Still too soon.
- Maybe when I'm 80. - You're nearly there, my love.
Can you two hug again?
My dear friends, all I can offer you is some good wine and roasted chestnuts.
- What more could we want? - Shall we go?
The lady's inviting us.
Let's go. Well, Sergio?
- You like my country place? - She's nice, too.
We should come every weekend.
My terrace is upstairs. When it's clear, you can see the whole sea.
I'll have a drink too, for once.
We all talk about living in the country, but -
may I use the phone?
Please, come in.
He says there are no women like that in Japan. It's true.
- Sit wherever you like. - Ah, the fireplace is lit.
But no shells on the floor.
Make yourselves at home.
Good for you, Giovanna, pass the chestnuts.
Giovanna's my great friend, you know?
- Look out, they're hot. - Marcello, sit over there.
You get to work too. Open some bottles. I'll be right back.
- This is nice. - She's still beautiful.
- What? - She's still a beautiful woman.
- Beautiful? She's mythic! - These are roasted perfectly.
- What more could you want? - Ah, chestnuts.
Do they still make Chestnut flour?
I dreamed of you, mastroianni.
I'm from your hometown.
- Where were you born? - Ferentino.
But this wine is light, almost pediatric.
Where am I?
I told you, in the hospital.
In the hospital! How can you tell so many lies?
Open the bottle instead! Go on!
The more it hurts, the better it is!
You're as beautiful as ever, Anita.
Signor mastroianni, hideo says you must try his anti-smoking massage.
Non-smokers are the ones who cause the most trouble.
You'll look younger, for your Japanese fans.
- What's the magician saying? - Lie down.
Go ahead.
- If this works, I'll sue him. - Are you scared of trying?
He'll make all the smoke come out of your ears!
I'm already suffering withdrawal pains.
Will you be able to get up?
When hideo lifts his hands from your stomach, say...
I ouder.
When he lets go of your nose, say...
With a woman like that you have to...
You have to what?
Oh, nothing.
I think I deserve a reward.
- Mr. mastroianni! - The cure clearly worked.
Sorry to disappoint you, hideo.
But I'd have felt worse had you succeeded.
Friends, if you'll allow me,
I'd like to perform a little trick
in honor of our beloved hostess.
O, magic wand of mandrake,
heed my command at once
and take us back to the glories of the past!
Who are you? A goddess?
The great mother, the fathomless sea, our home?
Are you Eve, the first woman to appear on the earth?
There are many questions I'd still like to ask you, Anita.
For instance,
do you have any schnapps?
Fuck you, marcellino!
Don't make me laugh, my mustache will come off.
I'll get some. I need a drink myself.
Bring that shack forward! There, menicuccio.
Steady, don't let it wobble! Like that.
I'll tell you when to stop.
A little more, a little more.
Here at stage 14,
we'll shoot one of the most important sequences.
Excuse me a moment.
The screen tests for the characters of kafka's amerika.
Stop there!
Doing screen tests.
We wanted to show what it means to shoot a test,
why we choose one face over another,
what it means to be photogenic, what its secrets are,
why one person is and another isn't.
- Danilo! Where's danilo? - Is the gramophone still there?
Put the gramophone on this table.
- Here in front. - Put it where he says.
Danilo, can you come here a minute?
- Danilo! - I'm here, federico.
Now, you, turn that mirror until it catches the 10,000 light.
Like that.
- Come on, fix this. - Leave me alone. It's a bad day.
Miranda, keep an eye on her.
Federico, what do you think of the cabinets?
I saw them, danilo. They're beautiful.
One, two. One, two, three.
Good, Sergio. Bravo!
Everybody dance to the "Charleston"!
Maria Teresa and the other lady too!
Everybody, keep to the beat. You too, nello.
Dance as you push the tub!
- There you go! - I feel like my mom!
Good, keep playing.
- He should have used Ekberg. - He didn't ask her.
Towards the camera. Keep dancing, smiling.
At first one thinks of a film's development,
then the film itself leads you in other directions.
And you realize that certain scenes, certain characters,
no longer belong to the story as it's being realized.
He said he'd test me too for this "brunelda."
Don't I look like her? She's robust...
We'd seen dozens of boys for "Karl."
We'd looked at schools, special academies,
religious schools, the conservatory.
Fellini wanted a delicate, spiritual face, yet full of life.
Look, I'd like you to make the same gestures.
When I say "get up,” you both get up.
Get up. Come over here.
The same gestures, in unison.
Fix your pom-poms, jackets and hair.
Smile, look at the camera.
Nadia, call maurizio.
Maurizio, turn around. Turn towards Nadia.
What do you want?
Listen. What is it?
Come here.
What am I supposed to do?
They called you. So just wait. They'll tell you.
When? Doesn't the fairy godmother of cinecitta have a costume?
- When's the fitting? - Fairy? What are you talking about?
Godmother, vestal virgin - whatever I am.
- Nello, a moment. - Get back here!
- Everyone on stage! - Our Nadia's kind of disappointed.
I was stupid to trust you.
You're right, but take my advice.
Be patient, just wait. You're all a bunch of clowns!
Didn't you hear me?
Fellini, who are you starting with?
I don't know, with the lady who was crying earlier.
Ambra. Come here, you're first.
Sit on the sofa.
Hello. You're familiar with the character?
Just what you told me about her.
A former singer, of ample proportions,
overbearing, childish, gluttonous,
self-pitying, complaining.
It's hot.
Now testing for brunelda's character.
Give the lady a fan too.
Bring on the delamarche pair, both of them.
- Look towards her. Greet her. - I need to cool off.
This young man, what's his name? Tell me his name.
- Cruciani. - Cruciani, eat your sardines.
What's the name of the first delamarche?
Carniti, look here. Smile at the lady.
At the others too, who are waiting.
Carefully twirl your mustache.
Now, look into the camera, smooth your hair.
Touch your hair and look into the camera.
Smile, with a seductive look, more of a scoundrel.
I know you don't like them, but your character loves sardines.
Tonino, right there. Good.
Signora, let them lead you to the tub.
The other one too. What's his name?
You too, carniti. Both of you help her.
Like a big baby doll, into the tub.
You go on eating sardines.
And say your line.
- Pour the oil into the palm of your hand. - With a white dress and a red umbrella.
Lick your fingers. You really lust for sardines.
You're insane about sardines!
Take another one.
Good, good!
Here's our beautiful Roberta. Not scared now?
I'll feed you your lines, don't worry.
Smile, look straight ahead.
Look straight ahead now, just like that.
You go on caressing her, caressing her.
And you, cruciani, lick your lips like a hungry dog.
- I told you. She's envious, arrogant... - Mr. maurizio?
Excuse me. Can we stay here?
Keep back with that light. It's annoying.
Fellini, can the Japanese stay?
Mr. fellini, one more question.
Will you shoot kafka's amerika in America?
Now, you guys over there, open the gate.
And you, push the wheelchair.
Your hand, ma'am. Wave!
You two, stand on either side of the door. Like that.
Exit.
- Michel, what's the matter, come on! - The kid can't make it.
Fine, then go and help him.
Are you done with those cut-outs yet?
Come closer with that wheelchair.
Now what are you doing?
We're continuing the screen test.
This is the American street which Karl walks down
with brunelda in the wheelchair towards the whorehouse.
Whorehouse? Where's the whorehouse?
- How should I know? - I knew it since yesterday.
The atmosphere is good. This is the light I wanted.
You said in the finale I'd be standing in a cemetery for famous dead actors.
The vestal virgin projecting the movies of the great actresses of the past.
- We aren't doing that? - We aren't.
- It was nice. - It was nice, sure, but bad luck.
There goes your cemetery. We cut the scene.
Maurizio, this one looks like you.
I thought it was you.
Romano, cut the lights before everything blows up.
It's raining!
Somebody up there loves us! We can go home in 15 minutes.
- Tonino, what'll we do? - Wait a moment. It might let up.
Cut the juice!
Should we get to a shelter, sir?
Wait! Don't run away!
Maurizio, call them back!
- Stop! Everybody! - Make them come back!
Back to your positions!
Come here, Daniela!
We're shooting!
Back to your positions!
Bring it forward! Marco, you take shelter!
Ma'am, your hair. Please.
Listen to me! Keep going!
Bring the tarp here!
Turn it around. Put it between the scaffolds.
Where are the benches?
Unload those benches!
Right there. Sit down. Put it down.
Come here! Sit down!
Come on, Maria Teresa, get inside. Your hair is a mess!
Tonino, come here!
Tonino, come inside. Don't be a hero!
You stay outside.
Go take a shower!
Where's my chair?
Who took my chair?
It's the model my brother-in-law designed.
Okay, give my shoe back now.
- Now, all together. - I don't know the song.
Ready, go!
Roberta! Roberta!
Roberta, what's this all about?
I don't know. They're picking on me.
- I disagree. - We'll be here till nighttime.
That time I cooked for you at my place. How was my carbonara?
What? When did you ever invite me over?
The tarp's going to crack.
If you come to le murelle, I'll make you a proper carbonara.
- Nobody makes it better. - You've been saying this for three years.
You'll see.
Coffee!
It's almost dawn!
It's dawn.
They'll attack now.
They're coming.
It's them.
Take this. It's loaded.
We must not let them win!
Bastards!
You'll never get us!
Stop!
That's good, stop!
Was it okay, sir? Did you like it?
You were great. Thank you. Very good.
We've wrapped it!
- Is that it? - How did it go?
I don't know. Don't ask me.
- He said stop. - Do we have to come back tomorrow?
The film's over, I said.
Merry Christmas!
Yeah, right, merry Christmas.
Hello, gino, can you hear me?
- Merry Christmas! - Thank you! Best wishes!
Goodbye. Thank you!
Thank you! Best wishes.
You're way too easy to work with.
Goodbye, tonino! Best wishes!
Here. Merry Christmas.
- Thanks, miss. Merry Christmas. - Merry Christmas!
Hey, you guys!
Somebody give me a push. I'm stuck.
Come here, push me!
- They gave me this! - I'm coming, uncle's little darling.
- Push Mel! - I'm pushing!
- Switch to neutral. - I'm already in neutral!
How about a date?
- Goodbye! - This is mine.
Goodbye, take care of yourself!
Merry Christmas!
Merry Christmas, sir!
Goodbye, farewell!
Thank you!
Hello, gino? Maurizio here. Over.
Maurizio!
- I can hear you. - We've wrapped this one, too.
We can go home!
Let's go home, then.
- So long, gino. - Best wishes.
Same to you.
The film should end here.
In fact, it's over.
And I hear the words of an old producer of mine.
"What? Without the faintest hope or ray of sunshine?
Give me at least a ray of sunshine,” he would beg when viewing my films.
A ray of sunshine?
Well, I don't know. Lets try.
Take one!