Problem: Background: Richard Hirschfeld Williams (May 7, 1929 - July 7, 2011) was an American left fielder, third baseman, manager, coach and front office consultant in Major League Baseball. Known especially as a hard-driving, sharp-tongued manager from 1967 to 1969 and from 1971 to 1988, he led teams to three American League pennants, one National League pennant, and two World Series triumphs. He is one of seven managers to win pennants in both major leagues, and joined Bill McKechnie in becoming only the second manager to lead three franchises to the Series. He and Lou Piniella are the only managers in history to lead four teams to seasons of 90 or more wins.
Context: In 1977, he returned to Montreal as manager of the Expos, who had just come off 107 losses and a last-place finish in the NL East. Team president John McHale and general manager Jim Fanning had been impressed with Williams' efforts in Boston and Oakland, and thought he was what the Expos needed to finally become a winner.  After cajoling the Expos into improved, but below .500, performances in his first two seasons, Williams turned the 1979-80 Expos into pennant contenders. The team won over 90 games both years--the first winning seasons in franchise history. The 1979 unit won 95 games, the most that the franchise would win in Montreal. However, they finished second each time to the eventual World Champion (the Pittsburgh Pirates in 1979 and the Philadelphia Phillies in 1980). Williams was never afraid to give young players a chance to play, and his Expos teams were flush with young talent, including All-Stars such as outfielder Andre Dawson and catcher Gary Carter. With a solid core of young players and a fruitful farm system, the Expos seemed a lock to contend for a long time to come.  But Williams' hard edge alienated his players--especially his pitchers--and ultimately wore out his welcome. He labeled pitcher Steve Rogers a fraud with "king of the mountain syndrome" - meaning that Rogers had been a good pitcher on a bad team for so long that he was unable to "step up" when the team became good. Williams also lost confidence in closer Jeff Reardon, whom the Montreal front office had acquired in a much publicized trade with the Mets. When the 1981 Expos performed below expectations, Williams was fired during the pennant drive on September 7. With the arrival of his easy-going successor Jim Fanning, who restored Reardon to the closer's role, the inspired Expos made the playoffs for the only time in their 36-year history in Montreal. However, they fell in heartbreaking fashion to Rick Monday and the eventual World Champion Los Angeles Dodgers in a five-game NLCS.
Question: What else was he known for
Answer: After cajoling the Expos into improved, but below .500, performances in his first two seasons, Williams turned the 1979-80 Expos into pennant contenders.

Problem: Background: 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."
Context: In later years, Fellini explained that from "a sentimental point of view," he was "most attached" to La Strada: "Above all, because I feel that it is my most representative film, the one that is the most autobiographical; for both personal and sentimental reasons, because it is the film that I had the greatest trouble in realizing and that gave me the most difficulty when it came time to find a producer." Of all the imaginary beings he had brought to the screen, Fellini felt closest to the three principals of La Strada, "especially Zampano." Anthony Quinn found working for Fellini invaluable: "He drove me mercilessly, making me do scene after scene over and over again until he got what he wanted. I learned more about film acting in three months with Fellini than I'd learned in all the movies I'd made before then." Long afterwards, in 1990, Quinn sent a note to the director and his co-star: "The two of you are the highest point in my life -- Antonio."  Critic Roger Ebert, in his book The Great Movies, has described the current critical consensus as holding that La Strada was the high point of Fellini's career and that, after this film, "his work ran wild through the jungles of Freudian, Christian, sexual and autobiographical excess". (Ebert, himself, disagrees, seeing La Strada as "part of a process of discovery that led to the masterpieces La Dolce Vita (1960), 8 1/2 (1963) and Amarcord (1974)".)  The years since its initial release have solidified the high estimation of La Strada. It holds a 97% rating on the review aggregator website Rotten Tomatoes from 31 reviewers who, on average, scored it 8.7 on a scale of 10. Its numerous appearances on lists of best films include the 1992 Directors' poll of the British Film Institute (4th best), the New York Times "Best 1,000 Movies Ever Made", and the "Greatest Films" list of They Shoot Pictures, Don't They (# 67) - a website that statistically calculates the most well-received movies.  In 1995, the Catholic Church's Pontifical Commission for Social Communications issued a list of 45 films representing a "...cross section of outstanding films, chosen by a committee of twelve international movie scholars." This has come to be known as the Vatican film list, and includes La Strada as one of 15 films in the sub-category labeled Art. Pope Francis, has said it is "the movie that perhaps I loved the most," because of his personal identification with its implicit reference to his namesake, Francis of Assisi.
Question: Who were some of the characters in La Strada ?
Answer:
Anthony Quinn found working for Fellini invaluable: "He drove me mercilessly, making me do scene after scene over and over again until he got what he wanted.