"Fellini is a deep, deep master of film. As time goes by I adore him more and more. La strada is quite perfect. It is like “The Ancient Mariner.” A haunting film for all time; one cannot insult innocence without a lifetime of cost. I don’t know why it is, but it is so, a spiritual truth, that both Coleridge and Fellini knew and tell in their respective stories. Fellini is the most fluent filmmaker of them all. His shots and storytelling are so at ease and elegant, it’s as if he’s thinking his shots through a camera in his mind and straight onto a screen. I went to his funeral in Rome in 1993, where people in the crammed huge Piazza Republica gathered to salute farewell. It was also a time when no one wanted to see a Fellini film. Every year since then his legacy appears more remarkable and more incomparable."

"This felt like a dream, like being on acid again, like a new and technically ambitious cousin of “Last Year at Marienbad.” I enjoy thinking about the experience of watching it, probably more than the film itself. I was distracted, I kept looking for seams — where did they cut and stitch this together? How can it possibly be a single take? I’d rather have gotten lost in the world, which only happened after the fact as we drove home and tried to put into words what the film was actually about (and for weeks, I tried to figure out what the synopsis would be if I were to write one). I’m still not sure I love this film, but I am in awe of the ambition involved, and of the eerie tone, which never faltered. In particular the sound of those distant singing children. They were so haunting and dreamlike, I can’t recall the melody but I can still hear the feeling."