That's funny bc the word"paparazzi" derived from paps in Rome back in the 60's when they hounded HW movie stars.
close, it’s from a movie. imo paparazzo/paparazzi has one of the most interesting word origins you can have:
A news photographer named Paparazzo (played by Walter Santesso in the 1960 film La Dolce Vita directed by Federico Fellini) is the eponym of the word paparazzi. In his book Word and Phrase, Robert Hendrickson writes that Fellini took the name from an Italian dialect word that describes a particularly annoying noise, that of a buzzing mosquito. As Fellini said in his interview to Time magazine, “Paparazzo … suggests to me a buzzing insect, hovering, darting, stinging." Those versions of the word’s origin are confirmed by Treccani, the most authoritative Italian encyclopaedia, but sometimes contested. For example, in the Abruzzo dialect spoken by Ennio Flaiano, co-scriptwriter of La Dolce Vita, the term paparazzo refers to the local clam, Venerupis decussata, and is also used as a metaphor for the shutter of a camera lens.
Further, in an interview with Fellini’s screenwriter Flaiano, he said the name came from the book Sulla riva dello Jonio (1957), a translation by Italian poet Margherita Guidacci of By the Ionian Sea, a 1901 travel narrative in southern Italy by Victorian writer George Gissing. He further states that either Fellini or Flaiano opened the book at random, saw the name of a restaurant owner, Coriolano Paparazzo, and decided to use it for the photographer. This story is further documented by a variety of Gissing scholars and in the book A Sweet and Glorious Land: Revisiting the Ionian Sea (St. Martin’s Press, 2000) by John Keahey, and Pierre Coustillas.
By the late 1960s, the word, usually in the Italian plural form paparazzi, had entered English as a generic term for intrusive photographers. A person who has been photographed by the paparazzi is said to have been "papped”.
(C/P from wiki, but other sources brought up the same info, just less well written)
I don’t believe in total freedom for the artist. Left on his own, free to do anything he likes, the artist ends up doing nothing at all. If there’s one thing that’s dangerous for an artist, it’s precisely this question of total freedom, waiting for inspiration and all the rest of it.
Spirits of the Dead (1968), a French-Italian horror anthology of 3 macabre tales by Edgar Allan Poe directed by Roger Vadim, Louis Malle and Federico Fellini, starring James Robertson Justice, Peter Fonda, Jane Fonda, Brigitte Bardot, Alain Delon and Terence Stamp. Strange, surreal and indulgent, it wears its pop art macabre late-60s ludicrousness on its gothic sleeves with style.