(1957), and La Dolce Vita (1960). With Alberto Lattuada, he co-directed Luci del varietà (Variety Lights) (1950). His two short segments included Un'Agenzia Matrimoniale (A Marriage Agency) in the omnibus film L'amore in città (Love in the City) (1953) and Le Tentazioni del Dottor Antonio from the omnibus film Boccaccio '70 (1962). The working title for was La bella confusione (The Beautiful Confusion) proposed by co-screenwriter, Ennio Flaiano, but Fellini then "had the simpler idea (which proved entirely wrong) to call it Comedy". According to Italian writer Alberto Arbasino, Fellini's film used similar artistic procedures and had parallels with Musil's novel The Man Without Qualities (1930). The film is unusual in that it is a film about making a film, and the film that is being made is the film that the audience is viewing. An example is the dream sequence of "Guido's Harem" where Guido is bathed and carried in white linen by all the women from the film, only to have the women protest for being sent to live upstairs in the house when they turn 30, and "Jacquilene Bonbon" does her last dance. The Guido's Harem scene is immediately followed by the "Screen Test" depicting the same actors in a theater, each taking the stage for a screen test, being chosen to act for the very scene the audience just watched. This mirror of mirrors is further emphasized at the end where the director Guido sits at the table of the press conference, where the entire table is a mirror reflecting the director in it. Production In an October 1960 letter to his colleague Brunello Rondi, Fellini first outlined his film ideas about a man suffering from a creative block: "Well then—a guy (a writer? any kind of professional man? a theatrical producer?) has to interrupt the usual rhythm of his life for two weeks because of a not-too-serious disease. It's a warning bell: something is blocking up his system." Unclear about the script, its title, and his protagonist's profession, he scouted locations throughout Italy "looking for the film" in the hope of resolving his confusion. Flaiano suggested La bella confusione (literally The Beautiful Confusion) as the film's title. Under pressure from his producers, Fellini finally settled on , a self-referential title referring principally (but not exclusively) to the number of films he had directed up to that time. Giving the order to start production in spring