Background: Caesar was the youngest of three sons born to Jewish immigrants living in Yonkers, New York. His father was Max Ziser (1874-1946) and his mother was Ida (nee Raphael) (1887-1975). They likely were from Dabrowa Tarnowska, Poland. Reports state that the surname "Caesar" was given to Max, as a child, by an immigration official at Ellis Island.
Context: Steve Allen claimed, "Sid's was the show to which all comedy writers aspired. It was the place to be." While Caesar did not write his dialogue, he made all final decisions. His writers, such as Mel Brooks, felt they "had a great instrument in Caesar that we could all play, and we played it very well." As for Caesar, Nachman describes him basically as an "inspired idea man who allowed the writers to take more risks" than other TV shows. Woody Allen remembers that "...you wrote situations," instead of jokes, as in "This Is Your Story" with Carl Reiner, a parody of the popular TV show This is Your Life. It was said to be "Caesar's personal favorite" sketch.  In many cases, sketch dialogue was not even written down, but simply indicated by describing a scene, as in, "Sid does man coming home from business mad." Sometimes, said Larry Gelbart, it was "organized chaos," and when watching the writers create from offstage, felt, "...it was a religious experience." To Mel Brooks, "it was a zoo. Everyone pitched lines at Sid. Jokes would be changed fifty times." Naturally there were some explosive episodes: "Mr. Caesar once dangled a terrified Mr. Brooks from an 18th-story window until colleagues restrained him. With one punch, he knocked out a horse that had thrown his wife off its back, a scene that Mr. Brooks replayed in his movie Blazing Saddles."  Neil Simon recalled that after writing out a sketch and giving it to Caesar, "Sid would make it ten times funnier than what we wrote. Sid acted everything out, so the sketches we did were like little plays." Simon also remembered the impact that working for Caesar had on him: "The first time I saw Caesar it was like seeing a new country. All other comics were basically doing situations with farcical characters. Caesar was doing life."  Some of his writers, like Woody Allen, initially didn't like being among the large team of writers coming up with routines for Caesar, feeling it was too competitive and contributed to hostility among writers. An Allen biographer wrote that Allen "...chafed under the atmosphere of inspired spontaneity", although Allen did say that, "Writing for Caesar was the highest thing you could aspire to--at least as a TV comedy writer. Only the presidency was above that." Neil Simon noted that "we were competitive the way a family is competitive to get dad's attention. We all wanted to be Sid's favorite." As part of the competitive atmosphere in The Writer's Room, as it was called, friendship was also critical. Larry Gelbart explained:  We were able to be urbane. Between us we read every book. Between us we saw every movie. Between us we saw every play on Broadway. You could make jokes about Kafka or Tennessee Williams. We also had dinner together. We went to movies together. We were all friends. And that was very important. We appreciated each other a lot.
Question: What else did Neil Simon have to say about Caesar?
Answer: The first time I saw Caesar it was like seeing a new country. All other comics were basically doing situations with farcical characters. Caesar was doing life."

Background: Alicia Christian "Jodie" Foster (born November 19, 1962) is an American actress, director, and producer. Foster began her professional career as a child model when she was three years old in 1965, and two years later she moved to acting in television series, when she debuted the sitcom Mayberry R.F.D. In the late 1960s and early 1970s, she worked in several primetime television series and starred in children's films. Foster's breakthrough came with Martin Scorsese's Taxi Driver (1976), in which she played a teenage prostitute and at the age of 14, received a nomination for the Academy Award for Best Supporting Actress.
Context: Foster's first project of the new decade was Keith Gordon's film Waking the Dead (2000), which she produced. She declined to reprise her role as Clarice Starling in Hannibal (2001), with the part going instead to Julianne Moore, and concentrated on a new directorial project, Flora Plum. It was to focus on a 1930s circus and star Claire Danes and Russell Crowe, but had to be shelved after Crowe was injured on set and could not complete filming on schedule; Foster unsuccessfully attempted to revive the project several times in the following years. Controversially, she also expressed interest in directing and starring in a biopic of Nazi film director Leni Riefenstahl, who did not like the idea. In addition to these setbacks, Foster shut down Egg Pictures in 2001, stating that producing was "just a really thankless, bad job". The company's last production, The Dangerous Lives of Altar Boys, premiered at the Sundance Film Festival in January 2002. It received good reviews, and had a limited theatrical release in the summer.  After the cancellation of Flora Plum, Foster took on the main role in David Fincher's thriller Panic Room after its intended star, Nicole Kidman, had to drop out due to an injury on set. Before filming resumed, Foster was given only a week to prepare for the role of a woman who moves with her daughter to a house fitted with a panic room, which they have to use on their first night due to a home invasion. It grossed over $30 million on its North American opening weekend in March 2002, thus becoming the most successful film opening of Foster's career as of 2015. In addition to being a box office success, the film also received largely positive reviews.  After a minor appearance in the French period drama A Very Long Engagement (2004), Foster starred in three more thrillers. The first was Flightplan (2005), in which she played a woman whose daughter vanishes during an overnight flight. It became a global box office success, but received mainly negative reviews. It was followed by Spike Lee's critically and commercially successful Inside Man (2006), about a bank heist on Wall Street, which co-starred Denzel Washington and Clive Owen. The third thriller, The Brave One (2007), prompted some comparisons to Taxi Driver, as Foster played a New Yorker who becomes a vigilante after being seriously injured and losing her fiance and dog in a random street attack. It was not a success, but earned Foster her sixth Golden Globe nomination. Her last film role of the decade was in the children's adventure film Nim's Island (2008), in which she portrayed an agoraphobic writer opposite Gerard Butler and Abigail Breslin. It was the first comedy that she had starred in since Maverick (1994), and was a commercial success but a critical failure. In 2009, she provided the voice for Maggie in a tetralogy episode of The Simpsons titled "Four Great Women and a Manicure".
Question: Who appeared in that film?
Answer:
Foster