We open a new chapter in L’arte della cucina (the Art of Cooking). Here the focus is on Milan, and the fruit and vegetable market where it all starts.

Gualtiero put some very fancy lamps in his new restaurant, but it stayed almost empty for a good while. He didn't give up, nor did he stoop to using the techniques a New York restaurant used when it opened.

Fashion designer Chiara Boni talks about Milan in the seventies. Gualtiero Marchesi talks about combining tradition with innovation in both his art and his kitchen. Gastronomer Eugenio Medagliani talks about how at the beginning, people understood very little about this "nouvelle cuisine."

The sixties and seventies were magical years for Milan. Fashion design started undergoing important changes, and people started talking about food!

Gualtiero's friends continue telling the story of the 1970s, when he finally opened his restaurant, on the via Bonvesin de la Riva in Milan. It was rough.

Marchesi recounts how he transformed some dark basement rooms in Milan into a modern style restaurant that eventually made history.

After lots of searching, Gualtiero Marchesi finally finds a place that could work as the restaurant of his dreams.

Gualtiero's mind was working on his new cuisine, creating new dishes, but first he had to find a suitable place for a restaurant. Not an easy task!

The great chef, Gualtiero Marchesi, invites us to keep on dreaming, and to believe in our dreams. He takes us into his own dream, which has to do with cuisine as art. Consequently, the way in which food is presented takes on special importance.

Gualtiero Marchesi is an artist, using food to express his creativity. He's also headstrong, and doesn't easily accept other people's ideas. Step by step, he shows us how to make his famous open ravioli, beautiful to look at, and wonderful to taste!

This is the last segment of a series of interviews focused on one of the greatest film directors of all time. Fellini, in saying he doesn't have much to say, says it all.

Fellini talks about Rimini, his hometown, and how his memories, dreams and fantasies of that place are connected to his films.

To please a reporter, Fellini sits and describes a typical day spent at Chianciano Terme, where he has gone for its healing thermal waters. Chianciano happens to have inspired one of his best known films, and he still sees it as a movie set. Fellini goes on to reminisce about Sundays in Rimini, and admits that his memories are a mix of fact and fantasy.

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.

Naples was chosen for the Earth Day Italy celebration. The choice had special meaning in light of the problems Naples has had in the past regarding waste management.

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.