Gualtiero Marchesi talks about his experiences in Paris, learning from the chefs there. Actually, he already knew much of what was taught to him, because he'd had chefs in his family who were well-versed in both every day and fancy fare. He, on the other hand, was looking for something new and different.

Giovanni Ballarini talks about Paris being the capital of haute cuisine, and about the birth of bourgeois cuisine at the time of the French Revolution. Chef Mariasole Capodanno talks about her experiences, as a young girl, with real French cuisine and how even the presentation was so amazing. Neapolitan and Sicilian cooking came out of the work of chefs who had been employed during the reign of the Bourbons, especially in Naples and Sicily, where the chefs were called Monsù, or Monzù a corruption of the French, Monsieur.

Eugenio Medagliani, expert on the world of Italian cuisine, talks about the days when Gualtiero Marchesi wasn't yet very well known, but refused to make pasta dishes. He describes a trip they made together through the desert from L.A. to Las Vegas where Gualtiero started getting inspired about pasta.

Art critic Gillo Dorfles talks about Milan in the fifties, sixties and seventies, and how, thanks to the war and to fascism, it developed as it did. Gualtiero Marchesi talks about the high standards of his cuisine, and some of the personalities who frequented his restaurant.

Ciro Immobile, offense player, talks about his fantastic season with the Turin team. He now plays offense with the Borussia Dortmund team and with the national Italian team.

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.

Is beauty in the eye of the beholder? That's what they say--but to Gualtiero Marchesi, that's not necessarily so. Sometimes beautiful is beautiful, period. As we've seen in other segments, cooking as an art form is a topic that's close to this chef's heart.

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.

Gualtiero Marchesi talks about the chef as an artist, and how different chefs can be recognized by their distinctive artistic styles. In defending the choice of simple, genuine food, he goes on to talk about the art of slicing, and how it used to be "performed" right in the dining room.

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.

Some artists, including Gualtiero Marchesi, talk about the past: horse-drawn carts for delivering produce, artists exchanging news from abroad before the widespread use of telephones, tripe for breakfast, still-life paintings reflecting the food of the times and its preparation. There's even talk of the desire to eat paintings! Buon appetito!

Martina has almost completed her degree at the university, which will qualify her to work in the juvenile courts. She would like to evaluate the situations and problems of kids, especially immigrant minors, who have trouble in school and in their social lives, and to help them adjust. Follow the interview by Serena.

In this segment, cooking is seen as an art form, starting with a white plate as the artist's canvas...

When does an artist become an artist? Join Gualtiero Marchesi in his musings on art and the art of cooking in this new chapter.