From la nouvelle cuisine, which at its beginnings was reserved for fancy restaurants and connoisseurs and was looked upon with some scepticism, important lessons could be learned about cooking methods and the quality of the food itself.

The beginnings of La Nouvelle Cuisine (French: the new cuisine) are likened to the Impressionists, abandoning mythical themes, and painting directly from nature. La Nouvelle Cuisine focused on the quality of the food itself. Marchesi was in tune with this idea, and at the same time, knew he'd found true artistry in the Troisgros brothers in Dijon, when he went to work with them in the late sixties.

What Gualtiero Marchesi learned from the Troisgros brothers in Roanne, was, above all, the importance of simplicity.

Gualtiero Marchesi had the opportunity to witness the beginnings of "nouvelle cuisine" in France before it arrived in Italy. The Troisgros family, with whom he worked, were famed for their innovative cooking. Their restaurant was in an area with no gastronomic legacy, and they had to rely on their skill, rather than on characteristic local ingredients.

Alberto Capatti talks about his first culinary experiences as an Italian in France, not knowing how to choose wine, etc. Gualtiero Marchesi talks about how he sought to take the elements he admired in French cuisine and apply them to his own style of cooking in Italy.

Alberto Capatti shares his memories of the grand restaurants of Paris in the sixties. Velvet curtains, low lighting, fires in the fireplaces, ten kinds of cheese — a far cry from what would become known as "nouvelle cuisine."

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.