![]() That same year, he laid all his cards on the table, adapting Petronius’s comic novel Satyricon into a feature film, and releasing it intractably under his own name. ![]() NBC commissioned Fellini to do an hourlong documentary ( Fellini: A Director’s Notebook) on his own work, which was broadcast in 1969. He wasn’t shy about using his own name to commercial ends. And so the template is set – Fellini would continue to make films about himself, but largely under the guise of someone else’s perspective. His follow-up, Juliet of the Spirits, is an equally indulgent affair that serves loosely as an apology to his wife (Giulietta Masina, who also stars in the film), on whom he cheated for more or less the entirety of their marriage the resulting film is as much his fantasy (sexual extravagance) as hers (Masina had a keen interest in the psychic realm). Most directors are fortunate to be recognized for putting their “touch” into an accepted format. The autobiographical 8½basically ensured his films would be permanently inseparable from himself, the sort of commercial accomplishment of which most film directors can only dream. By the late 1960s, Federico Fellini had more or less permanently transitioned from filmmaker to icon.
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