Fellini and Aldo Fabrizi. The Fascist regime collapsed in 1943, and two months after the liberation of Rome (4 June 1944), Rossellini began preparing the anti-fascist Roma città aperta (Rome, Open City, 1945), with Fellini assisting on the script. Fabrizi played the role of the priest, while Rossellini self-produced, filming commencing in January 1945. Most of the money came from credits and loans, and film had to be found on the black market. This dramatic film was an immediate success. It has been called the first film of the Neorealist Trilogy, the second title of which was Paisà (1946), produced with non-professional actors, and the third, Germany, Year Zero (1948), was sponsored by a French producer and filmed in Berlin's French sector. In Berlin also, Rossellini preferred non-actors, but he was unable to find a face he found "interesting"; he placed his camera in the centre of a town square, as he did for Paisà, but was surprised when nobody came to watch. As he declared in an interview "in order to really create the character that one has in mind, it is necessary for the director to engage in a battle with his actor which usually ends with submitting to the actor's wish. Since I do not have the desire to waste my energy in a battle like this, I only use professional actors occasionally". One of the reasons for success is supposed to be Rossellini's rewriting of the scripts according to the non-professional actors' feelings and histories. Regional accent, dialect, and costumes were shown in the film as they were in real life. After his Neorealist Trilogy, Rossellini produced two films now classified as the 'Transitional films': L'Amore (1948) (with Anna Magnani) and La macchina ammazzacattivi (1952), on the capability of cinema to portray reality and truth (with recalls of commedia dell'arte). In 1948, Rossellini received a letter from a famous foreign actress proposing a collaboration: Dear Mr. Rossellini, I saw your films Open City and Paisan, and enjoyed them very much. If you need a Swedish actress who speaks English very well, who has not forgotten her German, who is not very understandable in French, and who in Italian knows only "ti amo," I am ready to come and make a film with you. Ingrid Bergman With this letter began one of the best-known love stories in film history, with Bergman and Rossellini both at the peak