Federico Fellini (on the left), Michelangelo Antonioni (on the right) and Donald Sutherland (in the center) discussing “Casanova”. Fellini seems ready – ready with two fists. Antonioni giving him a generous smile. And Donald Sutherland is already well inside his role. He is talking with the two of the greatest directors in the name of great super-historical character.


How difficult to explain Casanova – look at Fellini and then look at Federico’s eyes, not only eyes, but face and gesticulation. Can Donald Sutherland first of all become – Casanova, but then second of all become Fellini, or another way around – first become Fellini and then – Casanova? It looks like he ought to and he will.


The first acquaintance. No need to laugh at Casanova because his task is to awaken “her” – making “her” alive. Fellini and Sutherland’s great and unbelievable task! It’s not like the creation of robots – technological miracles! And it’s not like using people like robots for money. It’s awakening the dead or sleeping creature into a humane one. To transform a servant into partner, companion and colleague, loveliness into love, love into lovemaking, lovemaking into loving.


Among Casanova’s magical attributes people have already seen his amazing little creature. It’s the metal bird that represents Casanova’ erotic fantasies, readiness and potency. The bird is metal-hard. And it is a shining-metal body. And it has a voice made of metal – the voice of the bird’ body-ness.


When it happened for the first time Casanova was devastated. To just say – he was overwhelmed – he was over-turned – would be too poorly address it.


Amour needs delicateness, amour needs gentle step-by-step-ness, and amour needs amour-ness. Look at the woman’s hand which is not touching Casanova’s body, not yet body, not yet.


The kiss needs distance. When man’s kiss touches lips, the lips of the woman not opens – woman’s hand still not touching man’s body. Only light in the bedroom is loses light of contrast. This light became – of morning.


Lovers are sharing movements – dancing and distanced touching. Everything here is only moments, it is just a return of a return. It is just a turning of a turning. It’s just a representing of a representation.


Fellini is not only teaching Donald Sutherland, he is teaching himself and the doll – how to be human. They’re also teaching themselves how to learn to become human, to be gently human.


Federico is grateful to Donald, while Donald is in tears being next to Federico, near forever – near together, near art, near creativity.

Beautiful monsters never leave art but art never leaves the beautiful monsters


MM 1 (magnificent monsters)


BM 2 (beautiful monsters)


BM 3


BM 4


No one can resist the moment of bragging, even Donald Sutherland’s Casanova


Margarethe Clementi plays the “exquisite” nun in “Casanova” by Federico


BM 5 (Beautiful monster in “Casanova”). She is trying to outdo Margarethe Clementi and is doomed in triumphant vanity.