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Marcello Mastroianni
Birthday:
28 September 1924
Birth Name:
Marcello Vincenzo Domenico Mastrojanni
Height:
176 cm
Biography
[referring to Robert De Niro in Raging Bull (1980)] By nature the actor is a kind of wonder who can allow himself to change personalities. If you don't know how to do this, it's better to change professions. I think it's ridiculous to imagine that to play a taxi driver or a boxer you have to spend months and months 'studying' the life of cabdrivers and the w...
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[referring to Robert De Niro in Raging Bull (1980)] By nature the actor is a kind of wonder who can allow himself to change personalities. If you don't know how to do this, it's better to change professions. I think it's ridiculous to imagine that to play a taxi driver or a boxer you have to spend months and months 'studying' the life of cabdrivers and the weight of fighters.
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[Observation, 1962] I have nothing against Hollywood. But today's best films are being made in Italy. So why should I leave Rome?
[Observation, 1962] I have nothing against Hollywood. But today's best films are being made in Italy. So why should I leave Rome?
On his role in La notte (1961): I was a little bit disappointed because I felt that the character, this writer suffering a crisis, was a little bit conventional. Perhaps I would have preferred him to be more angry, more cynical, but then I probably wouldn't have been able to play him anyway. I suppose I felt that I had an example of a writer before me: my fr...
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On his role in La notte (1961): I was a little bit disappointed because I felt that the character, this writer suffering a crisis, was a little bit conventional. Perhaps I would have preferred him to be more angry, more cynical, but then I probably wouldn't have been able to play him anyway. I suppose I felt that I had an example of a writer before me: my friend, Ennio Flaiano. And somehow or other, I don't know why, I felt that this writer should be like him, which obviously wasn't what Antonioni intended. So there was a sort of incomprehension between me and the director. As I went along I lost of that joy, that enthusiasm I had felt which had made me want to do the film. This was the state of mind I was while I was making the film. I would liked to be closer to Antonioni but it wasn't possible. I don't know if it was my fault or whether it was because he (and it is something he has always said) prefers not to have much interaction with the actors.
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Each year we look for a big name that is attractive to the public and pleasant for the girls.
Each year we look for a big name that is attractive to the public and pleasant for the girls.
I made theater very important in the beginning of my career.
I made theater very important in the beginning of my career.
(Talking about actors) Theater actors like to change character roles. They don't like to always do the same thing.
(Talking about actors) Theater actors like to change character roles. They don't like to always do the same thing.
(on his views of women) Woman is the sun, an extraordinary creature, one that makes the imagination gallop. Woman is also the element of conflict. With whom do you argue? With a woman, of course. Not with a friend, because he accepted all your defects the moment he found you. Besides, woman is mother-have we forgotten?
(on his views of women) Woman is the sun, an extraordinary creature, one that makes the imagination gallop. Woman is also the element of conflict. With whom do you argue? With a woman, of course. Not with a friend, because he accepted all your defects the moment he found you. Besides, woman is mother-have we forgotten?
I only exist when I am working on a film.
I only exist when I am working on a film.
They come for you in the morning in a limousine; they take you to the studio; they stick a pretty girl in your arms... They call that a profession? Come on!
They come for you in the morning in a limousine; they take you to the studio; they stick a pretty girl in your arms... They call that a profession? Come on!
(When asked what keeps him going in his theatrical endeavors) In front of a camera, I feel solid, satisfied. Away from it I am empty, confused.
(When asked what keeps him going in his theatrical endeavors) In front of a camera, I feel solid, satisfied. Away from it I am empty, confused.
I don't understand why these Americans have to suffer so much to identify with their characters. Me, I just get up there and act. It's great fun. There's no suffering in it.
I don't understand why these Americans have to suffer so much to identify with their characters. Me, I just get up there and act. It's great fun. There's no suffering in it.
I am not a sex addict.
I am not a sex addict.
To play Tarzan - at my age, with a big belly; even Cheetah with white hair. We've had enough strong and beautiful Tarzans! - at 60
To play Tarzan - at my age, with a big belly; even Cheetah with white hair. We've had enough strong and beautiful Tarzans! - at 60
Marcello Mastroianni
Marcello Mastroianni was born in Fontana Liri, Italy in 1924, but soon his family moved to Turin and then Rome. During WW2 he was sent to a German prison camp, but he managed to escape and hide in Venice. He debuted in films as an extra in Marionette (1939), then started working for the Italian department of "Eagle Lion Films" in Rome and joined a drama club, where he was discovered by director Luchino Visconti. In 1957 Visconti gave him the starring part in his Fyodor Dostoevsky adaptation Le notti bianche (1957) and in 1958 he was fine as a little thief in Mario Monicelli's comedy I soliti ignoti (1958). But his real breakthrough came in 1960, when Federico Fellini cast him as an attractive, weary-eyed journalist of the Rome jet-set in La dolce vita (1960); that film was the genesis of his "Latin lover" persona, which Mastroianni himself often denied by accepting parts of passive and sensitive men. He would again work with Fellini in several major films, like the exquisite 8½ (1963) (as a movie director who finds himself at a point of crisis) and the touching Ginger e Fred (1986) (as an old entertainer who appears in a TV show). He also appeared as a tired novelist with marital problems in Michelangelo Antonioni's La notte (1961), as an impotent young man in Mauro Bolognini's Il bell'Antonio (1960) , as an exiled prince in John Boorman's Leo the Last (1970), as a traitor in Paolo and Vittorio Taviani's Allonsanfàn (1974) and as a sensitive homosexual in love with a housewife in Ettore Scola's Una giornata particolare (1977). He was nominated for the Academy Award for Best Actor three times, for Divorzio all'italiana (1961), Una giornata particolare (1977), and Oci ciornie (1987). During the last decade of his life he worked with directors, like Theodoros Angelopoulos, Bertrand Blier and Raoul Ruiz, who gave him three excellent parts in Trois vies et une seule mort (1996). He died of pancreatic cancer in 1996.
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