...kinda.

Over at FirstShowing.net, Will Schiffelbein puts Synecdoche and 8 1/2 side-by-side, with interesting results.

"All the world's a stage, And all the men and women merely players: They have their exits and their entrances; And one man in his time plays many parts." -William Shakespeare, from As You Like It.

While it is often cliché to quote Shakespeare, no words ring more true when attempting to analytically examine two films that share more than just themes and narrative elements: Frederico Fellini's 1963 classic 8½ and Charlie Kaufman's 2008 enigmatic film Synecdoche, New York. Aren't all men merely playing out the destiny given to them, taking cues and direction while slowly losing grip on one's own life?

Men simply create an artificial dialogue, feigning love and hate, all the while waiting for the final curtain call. It is with this idea in mind that Fellini crafted a work that transcends the normal conventions of film with a narrative that speaks volumes about the bounds of conventional morality, the burden of Catholic guilt, and the pressures of creating something real and beautiful on a commission. Kaufman's film, Synecdoche, New York borrows heavily from 8½, particularly with regard to its treatment of life's struggles in relation to love and happiness. So much so, that its themes provide further insight into Fellini's original work. Which themes are best portrayed in each film? Was Synecdoche simply a literal re-imagining of 8½? Pardon the inevitable philosophy and psychoanalysis, but stick with me. I promise it'll be worth it. (Source)

I remember, back in the day, Adaptation was compared to 8 1/2 a lot, too.

Thanks to Alex for the link!