Federico Fellini now interpreted as psychic manifestations of the unconscious. Bernhard's focus on Jungian depth psychology proved to be the single greatest influence on Fellini's mature style and marked the turning point in his work from neorealism to filmmaking that was "primarily oneiric". As a consequence, Jung's seminal ideas on the "anima" and the "animus", the role of archetypes and the collective unconscious directly influenced such films as "8½" (1963), "Juliet of the Spirits" (1965), "Fellini Satyricon" (1969), "Casanova" (1976), and "City of Women" (1980). Other key influences on his work include Luis Buñuel, Charlie Chaplin, Sergei Eisenstein, Buster Keaton, Laurel and
Fellini Satyricon his crew. His words end in mid-sentence, as does Petronius's book, when a distant island appears on the horizon and the film cuts abruptly to frescoes of the film's characters on a crumbling wall. Fellini's project saw competition from another film titled "Satyricon", released the same year. Producer Alfredo Bini had registered the "Satyricon" title in 1962. When Fellini and his producer Alberto Grimaldi started work on their film, Bini contracted Gian Luigi Polidoro to direct his own version. Grimaldi sued Bini to halt the competing film, but lost; as a result, Fellini's picture was titled "Fellini Satyricon" to distinguish