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1968 - Archive of correspondence between Federico Fellini and Daniel Selznick regarding Satyricon and The Voyage of G. Mastorna Archive of three typed letters signed from Federico Fellini to Daniel Selznick (along with carbons of Selznick's several letters in reply, as well as an associated memo), written in 1968 and 1969, making reference to "Satyricon" and more specifically to "The Voyage of G. Mastorna," a film project very dear to Fellini that held great interest for Selznick as well -- but was never produced. Mastorna loomed over the second half of Fellini's career, the masterpiece that was perpetually in revision and on the director's mind. Marcus Perryman, in his introduction to The Journey of G. Mastorna: The Film Fellini Didn't Make (Berghahn Books, 2013) writes: "[Fellini] shrouded the film in mystery partly to keep open the option of making it. Every new project he worked on after his 'Satyricon' had first to get past the recurring thought, illusion or delusion of 'Mastorna.' After the initial failure, Fellini tinkered with the script for the next ten years. He came close to returning to it after 'Il Casanova,' which his analyst considered to be an important step in his self-therapy and one that 'Mastorna' would have extended further. "By his own admission, he repeatedly plundered the script for his new films: for the airport scene and award ceremony in 'Toby Dammit,' for the pope's regalia in 'Fellini Roma,' for verbatim inclusions and characters in 'Amarcord.' 'Prova d'orchestra' investigates the world of orchestral music, to which Mastorna belongs, albeit focusing more on the conductor as dictator than the musician as acolyte; 'La città delle donne' has numerous affinities with the unmade film. The bus and motel in 'Mastorna' are very much like Ginger's bus and motel and 'Mastorna' includes one of Fred's dance routines. Some said 'Ela nave va' was 'Mastorna' in disguise. . Fabrizio Borin calls Mastorna the character Fellini 'thought about, continually returned to, abandoned, repudiated, sought out, feared, hated and never created." Daniel Selznick, the son of David O. Selznick, is best known as a producer for films such as Peter Bogdanovich's Targets (1968) and various documentaries about Hollywood. His association with his father allowed him many opportunities to meet and correspond with numerous actors, actresses, and directors of note. Two letters in English, one in Italian, the latter with typed translation. 8 ½ x 11 in. Varying stock, all folded for mailing, NEAR FINE [Attributes: Signed Copy]
      [Bookseller: Walter Reuben, Inc.]
Last Found On: 2017-02-21           Check availability:      IberLibro    


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