Federico Fellini and Ingmar Bergman, two of the most important film directors in international cinema, discuss a joint project. They come from completely different worlds, but have some important points in common. Fellini's film, Satyricon is in the spotlight at the Venice Film Festival of 1969.

Italian TV is broadcasting from the set of Fellini's Satyricon in Cinecittà as well as from the show, Canzonissima, a well-known variety TV show being hosted in this case, by Mina (one of Italy's most famous pop singers).

For the filming of a scene from Satyricon, Fellini, on the set at Cinecittà, patiently rehearses with an actor who's supposed to count from one to four.

Fellini gives us his personal views on tempo libero, (free-time). Whatever you do, don't show up if you have an appuntamento (appointment) with him!

Fellini looks back and admits that he didn't believe he had what it takes to be a film director. Here we see him in action. He definitely had what it takes.

A precious moment in the middle of a shoot with Fellini and his crew.

"Starvation gastronomy " describes the humble origins of Italian cuisine. Inventing recipes based on whatever was available in the territory resulted in regional dishes that have become famous today.

Fellini loves working with Marcello Mastroianni. He tells us why, and in doing so, tells a great story about a fake bullet wound.

Federico Fellini, having won three Oscars, talks about the Academy Awards and how they represent the goal of every filmmaker both in the U.S. and abroad. He goes on to talk about American cinema as mythical, legendary.

Fellini discusses the reception of 8½ in Russia, and his hopes for the film at the 1964 Oscars.

Fellini talks about being an artist and about not being afraid to face one's doubts in order to carry out a mission.

At the Cannes festival, Fellini talks about La Dolce Vita, as does Georges Simenon, president of the jury, who proclaimed its success by standing up and applauding.

Ninetta is in prison, condemned to death, and things are looking very bleak, indeed. Don't worry though; in the end, love and justice win out, and everyone except the magistrate lives happily ever after.

Fellini is at Cannes for the festival and screening of La Dolce Vita. He tells of his ironic encounters with unusual characters, who complain about the oddity of Fellini's movie characters.

Federico Fellini discusses Marcello Mastroianni's role as "everyman" in La Dolce Vita. He encourages viewers to see Mastroianni's "passions, hopes, fears and cowardice, and anguish and sleaziness" as similar to their own.