Fellini always liked small and unimportant things. That short film had to become a creative piece of evidence of the passage from “Mastorna” to the following “Satyricon”. It was meant as a series of notes, small talk, notes, just a "cacatina" (niece piece of shit), as Federico called it. The screenplay was promptly written. The beginning of the film would show the impressive remains of “Mastorna”’s production design, as if they were coming from a shipwreck. They were, in fact, real Roman remains. A group of stray hippies lived where. We made this up, in oder to emphasize a crazy atmosphere; “Mastorna” was their city, "which was named Dementia". So I wrote a ‘fake’ poem, attributed to one of those fake tramps (some authors or some Cinémathéques went on periodically asking me for the original text or the name of the author of those verses for years, and I had to tell them it was a ‘fake within a fake’).