Federico Fellini once said in Rolling Stone magazine – ‘Talking about dreams is like talking about movies, since the cinema uses the language of dreams; years can pass in a second and you can hop from one place to another’
If you ever watch one of his films, you’ll know how much the man loved dreams; in the words of Curtis 50 cent Jackson ‘like the fat kid love cake’. Not only was he all too interested in his friend’s dreams but fanciful kid that he must have been, Federico Fellini named the four corners of his room after movie theatres – ‘the show started as soon as I shut my eyes’
His demi-mondeish work weaves itself between states of perception at one point looking outwards, then in, along the midnight streets of Rome, into a church, a circus tent, perhaps the home of a regional prostitute, then back at the audience.
This was clearly, an unquieted mind. It is no surprise then, that Fellini belongs to the legions of tortured artistic minds that felt the need to throw themselves prostrate onto the therapist’s couch and indulge their horrible thoughts about mothers. It was Ernst Bernhard, Fellini’s particular therapist, who recommended that Fellini keep a record of his dreams.
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