Background: The overseas expansion under the crown of Castile was initiated under the royal authority and first accomplished by the Spanish conquistadores. The Americas were incorporated into the Spanish Empire, with the exception of Brazil and Canada, and the crown created civil and religious structures to administer the region. The motivations for colonial expansion were trade and the spread of the Catholic faith through indigenous conversions. Beginning with the 1492 arrival of Christopher Columbus in the Caribbean and continuing control of vast territory for over three centuries, the Spanish Empire would expand across the Caribbean Islands, half of South America, most of Central America and much of North America (including present day Mexico, Florida and the Southwestern and Pacific Coastal regions of the United States).
Context: The Spanish conquest of Mexico is generally understood to be the Spanish conquest of the Aztec Empire (1519-21) which was the base for later conquests of other regions. Later conquests were protracted campaigns with less spectacular results than the conquest of the Aztecs. The Spanish conquest of Yucatan, the Spanish conquest of Guatemala, the war of Mexico's west, and the Chichimeca War in northern Mexico expanded Spanish control over territory and indigenous populations. But not until the Spanish conquest of Peru was the conquest of the Aztecs matched in scope by the victory over the Inca empire in 1532.  The Spanish conquest of the Aztec empire was led by Hernan Cortes. The victory over the Aztecs was relatively quick, from 1519 to 1521, and aided by his Tlaxcala and other allies from indigenous city-states or altepetl. These polities allied against the Aztec empire, to which they paid tribute following conquest or threat of conquest, leaving the city-states' political hierarchy and social structure in place.  The Spanish conquest of Yucatan was a much longer campaign, from 1551 to 1697, against the Maya peoples in the Yucatan Peninsula of present-day Mexico and northern Central America. Hernan Cortes' landing ashore at present day Veracruz and founding the Spanish city there on April 22, 1519 marked the beginning of 300 years of Spanish hegemony over the region. The assertion of royal control over the Kingdom of New Spain and the initial Spanish conquerors took over a decade, with importance of the region meriting the creation of the Viceroyalty of New Spain. Established by Charles V in 1535, the first viceroy was Don Antonio de Mendoza.  Spain colonized and exerted control of Alta California through the Spanish missions in California until the Mexican secularization act of 1833.
Question: Were these cities eventually conquered themselves?
Answer: 

Problem: Background: Gilliam was born in Minneapolis, Minnesota, the son of Beatrice (nee Vance) and James Hall Gilliam. His father was a travelling salesman for Folgers before becoming a carpenter. Soon after, they moved to nearby Medicine Lake, Minnesota. The family moved to the Los Angeles neighbourhood of Panorama City in 1952.
Context: Well, I really want to encourage a kind of fantasy, a kind of magic. I love the term magic realism, whoever invented it - I do actually like it because it says certain things. It's about expanding how you see the world. I think we live in an age where we're just hammered, hammered to think this is what the world is. Television's saying, everything's saying 'That's the world.' And it's not the world. The world is a million possible things.  As for his philosophical background in screenwriting and directing, Gilliam said on the TV show First Hand on RoundhouseTV, "There's so many film schools, so many media courses which I actually am opposed to. Because I think it's more important to be educated, to read, to learn things, because if you're gonna be in the media and if you'll have to say things, you have to know things. If you only know about cameras and 'the media', what're you gonna be talking about except cameras and the media? So it's better learning about philosophy and art and architecture [and] literature, these are the things to be concentrating on it seems to me. Then, you can fly...!"  His films are usually imaginative fantasies. His long-time co-writer Charles McKeown commented, "the theme of imagination, and the importance of imagination, to how you live and how you think and so on ... that's very much a Terry theme." Most of Gilliam's movies include plotlines that seem to occur partly or completely in the characters' imaginations, raising questions about the definition of identity and sanity. He often shows his opposition to bureaucracy and authoritarian regimes. He also distinguishes "higher" and "lower" layers of society, with a disturbing and ironic style. His movies usually feature a fight or struggle against a great power which may be an emotional situation, a human-made idol, or even the person himself, and the situations do not always end happily. There is often a dark, paranoid atmosphere and unusual characters who used to be normal members of society. His scripts feature black comedy and often end with a dark tragicomic twist.  Gilliam is fascinated with the Baroque period because of the pronounced struggle between spirituality and rationality in that era. There is often a rich baroqueness and dichotomous eclecticism about his movies, with, for instance, high-tech computer monitors equipped with low-tech magnifying lenses in Brazil and a red knight covered with flapping bits of cloth in The Fisher King. He also is given to incongruous juxtapositions of beauty and ugliness or antique and modern. Regarding Gilliam's theme of modernity's struggle between spirituality and rationality whereas the individual may become dominated by a tyrannical, soulless machinery of disenchanted society, the film critic Keith James Hamel observed a specific affinity of Gilliam's movies with the writings of the economic historian Arnold Toynbee and the sociologist Max Weber, specifically the latter's concept of the "iron cage" of rationality.
Question: What are some examples of his fantasy films?
Answer:
The Fisher King.