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: I'm a Born Liar piece of film in its own right. The interviews, recorded in the year before the director's death, are often eloquent – Fellini's long sentences actually take you somewhere – and Pettigrew and his colleagues provide a surrounding texture of film excerpts and freshly shot footage that has the density of one of the Maestro's own movies, without the excess". Michael Wilmington of the "Chicago Tribune" felt it was crafted for the happy few but "a must for Fellini lovers... Seeing Fellini again in the flesh and in his films is, as always, a pleasure and a teasing mystery - "Fellini: