Problem: Motion City Soundtrack was an American rock band that formed in Minneapolis, Minnesota in 1997. The band's line-up consisted of vocalist and guitarist Justin Pierre, lead guitarist Joshua Cain, keyboardist Jesse Johnson, bassist Matthew Taylor, and drummer Tony Thaxton.

Motion City Soundtrack was formed in Minneapolis, Minnesota in 1997 by singer-songwriter Justin Pierre and guitarist Joshua Cain. Previously, the duo had separately played in a number of bands. Cain was in a group named the Saddest Girl Story, and recruited Pierre to join as a singer. He was subsequently in a band called Boxcar, and following its dissolution, he and Pierre founded Motion City Soundtrack together. The band's name was created by Cain's brother, Brian. Their early days were difficult, as they found it hard to break out of their local scene. When they could get weeks off from their jobs, they would tour. According to Cain, the members of the band soon realized that there "wasn't really anywhere to play [shows] in Minneapolis", and that they would have to "tour all the time" to rise in popularity. In its early years, the group went through several lineup changes. Through these, Cain and Pierre would often have to take over keyboard duties during shows. The group's first release was a 7" single, "Promenade / Carolina", released in 1999. Their next two releases, both extended plays--Kids for America and Back to the Beat--were released the following year.  Over the course of the early 2000s, the band continued to tour and shuffle through members. In late 2001, while touring in Milton, Pennsylvania with the band Submerge, they convinced two of its members--bassist Matthew Taylor and drummer Tony Thaxton--to join Motion City. Thaxton initially took about a year to convince to join the band. Jesse Johnson, a friend and co-worker of Cain's, joined the band as keyboardist just three weeks before the band recorded their first album. Johnson had never played the keyboard before but Cain taught him the parts that had already been written. After their first attempt at self-recording an album failed, the band culled together $6,000 to record with producer Ed Rose, best known for his work with the Get Up Kids. They recorded much of their debut album, I Am the Movie, in ten days. Initial copies were hand-packaged inside floppy disks, which were sold out of the back of their tour van for a year.  The band began receiving offers from various record labels, including Universal, Triple Crown Records, and Drive-Thru Records, and they performed at industry showcases. Meanwhile, Brett Gurewitz, founder of Epitaph Records, learned of the band from members of the group Matchbook Romance. He attended four of their shows in Los Angeles that Pierre later regarded as among his worst, as his voice was poor from constant touring. While they were interested in Universal, they chose to sign to Epitaph as they felt the contract was less restrictive and more honest. Eli Janney from Girls Against Boys helped the band secure management and a lawyer. Motion City became part of a slew of Epitaph signings, including Matchbook Romance, Scatter the Ashes and From First to Last, amid concerns the Southern California label had strayed too far from its roots, and seemed "a little too emo."

Did they record any other albums or singles?

Answer with quotes: They recorded much of their debut album, I Am the Movie, in ten days.

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."
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.
Answer this question using a quote from the text above:

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.