Question: Norman Clifford Louis O'Neill OAM (19 February 1937 - 3 March 2008) was a cricketer who played for New South Wales and Australia. A right-handed batsman known for his back foot strokeplay, O'Neill made his state debut aged 18, before progressing to Test selection aged 21 in late 1958. Early in his career, O'Neill was one of the foremost batsmen in the Australian team, scoring three Test centuries and topping the run scoring aggregates on a 1959-60 tour of the Indian subcontinent which helped Australia win its last Test and series on Pakistani soil for 39 years, as well as another series in India. His career peaked in 1960-61 when he scored 181 in the Tied Test against the West Indies, and at the end of the series, had a career average of 58.25.

Standing six feet tall, O'Neill was compared to Don Bradman upon his entry into Test cricket. At his best, he was a dynamic stroke maker who was a crowd favourite because of his ability to score at a high pace, in particular with his power off the back foot. He was noted for his nimble footwork, which he used to negate spin bowling; however this slowed in his later career as he put on weight. O'Neill particularly liked to sweep the slower bowlers. He often put too much emphasis on his right hand, allowing a large space between his hands on the bat handle, and then turning his right shoulder too square towards the bowler. The renowned English batsman and captain Wally Hammond said that O'Neill was the best all-round batsman he had seen since World War II. O'Neill's tall build, strength and good looks also drew comparison to his boyhood idol Keith Miller. Despite the comparisons to Bradman, O'Neill was much taller and broader, and was often impetuous whereas Bradman was known for his patience and lack of rashness. O'Neill was also criticised for hitting across the line early in his innings.  O'Neill was highly regarded for his style and entertainment values. Teammate Alan Davidson said "once set he was the most exhilarating player you'd ever want to see--he was dynamite. He'd play attacking shots off balls other people would only think of defending. He had wonderful skill and technique. His shots off the back foot down the ground off fast bowlers--you can't really describe how good they were." His captain for Australia and New South Wales, Richie Benaud said that he was "one of the greatest entertainers we've had in Australian cricket". O'Neill's style led the British writer EW Swanton to say "the art of batting, he reminded us, was not dead, merely inexplicably dormant" Wisden opined that "A high innings by O'Neill is a thing of masterful beauty. His stroking is delectable, immense in its power."  Later in his career, O'Neill became a nervous and superstitious batsman, particular at the start of an innings. He wrote "batting is a lonely business" in his 1964 autobiography Ins and Outs, opining that he sometimes found first-class cricket to be "depressing and lonely".  He was regarded as an excellent fieldsman at cover, with a powerful and accurate throw, described by Wisden as a "dream throw" honed from a junior career as a baseballer. He was named as utility player in the 1957 All Australian baseball team, and his ability was such that he was approached by Major League Baseball scouts. Before the retirement of Neil Harvey, he and O'Neill fielded in tandem in the covers and the pair were regarded as the finest fielding combination of the time.

Using a quote from the above article, answer the following question: Did any of his teammates comment about his play style?
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Answer: Teammate Alan Davidson said "once set he was the most exhilarating player you'd ever want to see--he was dynamite.


Question: 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."

Using a quote from the above article, answer the following question: Who was the director?
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Answer:
Fellini