two-thirds were Latino, and the rest were Caucasian, African American and Asian
On a gray Saturday in January 1964, the first of three snow-socked days in Washington, D.C., 10 men wearing dark suits and white name tags assembled for a press conference in a State Department auditorium
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The notion of a three-ring circus that Fellini and many of his critics have frequently invoked in relation his work seems less operative, however, whenever he concentrates his camera on individual details and effects, and a comparison with Jacques Tati is particularly instructive (all the more so considering the directors increasing use of isolated Tatiesque gags)
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