For several weeks during the summer of 1961, Federico went on playing with Anita in the perfect reproduction of the EUR building prepared by production designer Piero Zuffi. The Corriere dei Piccoli–like story became a Swiftian satire, an allegoric moral tale challenging the Philistines. Peppino’s character is obsessed with Anita’s explosive image. However, Anitona (Anita’s nickname) is tense. She’s no longer the happy-go-lucky Viking of La Dolce Vita. She’s an international movie star now, and she is well aware of this. Her new concerns have changed her personality: she is more difficult to deal with. Fellini would no longer have been able to ask her either to dance barefoot in Caracalla throughout the night or to get fully dressed into the Trevi Fountain. Actually, of all the people inhabiting the miniature EUR building, Anita is apparently the one having the least fun. Some people said she was upset because she didn’t know that her part was supposed to be only a picture on a living billboard, and she wanted a real role to play. Anitona spends most of her time in her trailer watching TV, but when she’s on the set and Fellini shows her how to walk along the miniature houses and streetlights, she embodies the eternal feminine again, as she did in La Dolce Vita.