Ostensibly, the film's title could refer to the Japanese crew's pursuit of Fellini, Rubini's pursuit of the movie star, the actors Fellini's underlings interview for the faux film within the film, or Fellini's existential filmic interview of himself, but that's about all that one can make of the title, for none of the interviews has any real import. And the concept is far more interesting than the result.

The most celebrated sequence in the film comes a good three quarters into the picture, where Marcello Mastroianni, portraying a magician from a TV commercial, and Anita Ekberg - who has blown up into a human helium balloon so large that she can only fit into towels, not dresses, and is a sad, unwitting parody of her earlier feminine glory - entertain Fellini and his crew at her estate outside of Rome, and Mastroianni conjures up images of the two of them from their famous Trevi Fountain scene in the great La Dolce Vita (1959). Not even that iconographic footage can save this film, for Ekberg's and Mastroianni's reunion and interactions are as fake and mannered as this whole film, and seeing Fellini at his height only underscores how far this film is from that earlier masterpiece.

The DVD, put out by Koch Lorber Video has only a theatrical trailer that says nothing of the film; it is Fellinian, to be sure, but hermetic. The film is in a 1.85:1 aspect ratio, and subtitled in gold. There is a fifty minute long documentary on Fellini and the film that is a bit self-indulgent, although not nearly so as the film itself. As we see Fellini interviewed and winning award after award, he is asked what the film is about, and he says it's a light film about life as a filmmaker. In effect, he admits there's nothing to it, and no real reason to see it. This is what happens to old artists — they simply run out of juice, and instead of nobly packing up their bags, they selfishly plow on.

Bad films like Intervista or Saraband deny younger, more vigorous, directors the funds and entrée into the art form that the form needs to grow and persuade and move. These films are wastes of time — especially this one at just under two full hours (far too long) — and money, and only sully their creators' names.

This mockumentary vanity project, which started as a television film, was written by Fellini and Gianfranco Angelucci, and there's not a single moment that has depth nor truth. Even worse, the film is wholly void of humor and fun, unless one feels that characters screaming at each other in Italian stereotypes, or crewmen telling each other to go fuck themselves is funny. And, if one has not seen earlier Fellini films much of the humor, if one dare call it that, will mean nothing.