Answer the question at the end by quoting:

Newhart was born on September 5, 1929 at West Suburban Hospital in Oak Park, Illinois. His parents were George David Newhart (1899-1986), a part-owner of a plumbing and heating-supply business, and Julia Pauline (nee Burns; 1901-1991), a housewife. His mother was of Irish descent and his father was of English, Irish, and German ancestry. One of his grandmothers was from St. Catharines, Ontario, Canada.
Newhart is known for his deadpan delivery and a slight stammer which he incorporated early on into the persona around which he built a successful career. On his TV shows, although he got his share of funny lines, he worked often in the Jack Benny tradition of being the "straight man" while the sometimes rather bizarre cast members surrounding him got the laughs. Newhart, however, has stated that "I was not influenced by Jack Benny" in terms of his style or persona, and cites George Gobel and the comedy team of Bob and Ray as his initial writing and performance inspirations.  Several of his routines involve hearing one-half of a conversation as he speaks to someone over the phone. In a bit called "King Kong", a rookie security guard at the Empire State Building seeks guidance as to how to deal with an ape that is "between 18 and 19 stories high, depending on whether there's a 13th floor or not." He assures his boss he has looked in the guards' manual "under 'ape' and 'ape's toes'." Other famous routines include "The Driving Instructor", "The Mrs. Grace L. Ferguson Airline (and Storm Door Company)", "Introducing Tobacco to Civilization", "Abe Lincoln vs. Madison Avenue", "Defusing a Bomb" (in which an uneasy police chief tries to walk a new and nervous patrolman through defusing a live shell discovered on a beach), "The Retirement Party", "Ledge Psychology", "The Krushchev Landing Rehearsal", and "A Friend With a Dog."  In a 2012 podcast interview with Marc Maron, comedian Shelley Berman accused Newhart of plagiarizing his improvisational telephone routine style.  However, in interviews both years before and after Berman's comments, Newhart has never taken credit for originating the telephone concept, which he has noted was done earlier by Berman and -- predating Berman -- Nichols and May, George Jessel (in his well-known sketch "Hello Mama"), and in the 1913 recording "Cohen on the Telephone". The technique would later also be used by Lily Tomlin, Ellen DeGeneres, and many others.

Any thing else notable about his style?

Several of his routines involve hearing one-half of a conversation as he speaks to someone over the phone.



Answer the question at the end by quoting:

La Strada (lit. "The Road") is a 1954 Italian drama film directed by Federico Fellini from his own screenplay co-written with Tullio Pinelli and Ennio Flaiano. The film portrays a naive young woman (Giulietta Masina) bought from her mother by a brutish strongman (Anthony Quinn) who takes her with him on the road. Fellini has called La Strada "a complete catalogue of my entire mythological world, a dangerous representation of my identity that was undertaken with no precedent whatsoever."
Fellini secured financing through the producers Dino De Laurentiis and Carlo Ponti, who wanted to cast Silvana Mangano (De Laurentiis' wife) as Gelsomina and Burt Lancaster as Zampano, but Fellini refused these choices. Giulietta Masina had been the inspiration for the entire project, so Fellini was determined never to accept an alternative to her. For Zampano, Fellini had hoped to cast a nonprofessional and, to that end, he tested a number of circus strongmen, to no avail. He also had trouble finding the right person for the role of Il Matto. His first choice was the actor Moraldo Rossi, who was a member of Fellini's social circle and had the right type of personality and athletic physique, but Rossi wanted to be the assistant director, not a performer. Alberto Sordi, the star of Fellini's earlier films The White Sheik and I Vitelloni, was eager to take the role, and was bitterly disappointed when Fellini rejected him after a tryout in costume.  Ultimately, Fellini drew his three leading players from people associated with the 1954 film Donne Proibite (Angels of Darkness), directed by Giuseppe Amato, in which Masina played the very different role of a madam. Anthony Quinn was also acting in the film, while Richard Basehart was often on the set visiting his wife, actress Valentina Cortese. When Masina introduced Quinn to her husband, the actor was disconcerted by Fellini's insistence that the director had found his Zampano, later remembering: "I thought he was a little bit crazy, and I told him I wasn't interested in the picture, but he kept hounding me for days." Not long afterwards, Quinn spent the evening with Roberto Rossellini and Ingrid Bergman, and after dinner they watched Fellini's 1953 Italian comedy-drama I Vitelloni. According to Quinn: "I was thunderstruck by it. I told them the film was a masterpiece, and that the same director was the man who had been chasing me for weeks."  Fellini was particularly taken with Basehart, who reminded the director of Charlie Chaplin. Upon being introduced to Basehart by Cortese, Fellini invited the actor to lunch, at which he was offered the role of Il Matto. When asked why by the surprised Basehart, who had never before played the part of a clown, Fellini responded: "Because, if you did what you did in Fourteen Hours you can do anything." A great success in Italy, the 1951 Hollywood drama starred Basehart as a would-be suicide on a hotel balcony. Basehart, too, had been greatly impressed by I Vitelloni, and agreed to take the role for much less than his usual salary, in part because he was very attracted by Fellini's personality, saying: "It was his zest for living, and his humor."

Who did he want to cast?
Masina played the very different role of a madam. Anthony Quinn was also acting in the film, while Richard Basehart was often on the set visiting his wife,