Editing Federico Fellini (section)

==Notes==
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{{efn
| name = bondanella-1978
| {{harvnb|Bondanella|1978|p=167}}. In his study of ''Fellini Satyricon'', Italian novelist [[Alberto Moravia]] observes that with "the oars of his galleys suspended in the air, Fellini revives for us the lances of the battle in Eisenstein's ''[[Alexander Nevsky (film)|''Alexander Nevsky'' (film)]]''.
}}
{{efn
| name = fellini-pettigrew-2003
| {{harvnb|Fellini|Pettigrew|2003|p=87}}. Buñuel is the auteur I feel closest to in terms of an idea of cinema or the tendency to make particular kinds of films.
}}
{{efn
| name = fellini-pettigrew-marx-brothers
| {{harvnb|Fellini|Pettigrew|2003|pp=17–18}}. Roberto Rossellini walked into my life at a moment when I needed to make a choice, when I needed someone to show me the path to follow. He was the stationmaster, the green light of providence... He taught me how to thrive on chaos by ignoring it and focusing on what was essential: constructing your film day by day. In ''Fellini on Fellini'', the director explains that his "meeting with Rossellini was a determining factor... he taught me to make a film as if I were going for a picnic with friends".
}}
{{efn
| name = stubbs-2006
| {{harvnb|Stubbs|2006|pp=152–153}}. One of Cabiria's finest moments comes in the movie's nightclub scene. It begins when the actor's girlfriend deserts him, and the star picks up Cabiria on the street as a replacement. He whisks her away to the nightclub. Fellini has admitted that this scene owes a debt to Chaplin's City Lights (1931). Peter Bondanella points out that Gelsomina's costume, makeup, and antics as a clown figure had "clear links to Fellini's past as a cartoonist-imitator of Happy Hooligan and Charlie Chaplin.
}}
}}