Question: Canadian comics refers to comics and cartooning by citizens of Canada or permanent residents of Canada regardless of residence. Canada has two official languages, and distinct comics cultures have developed in English and French Canada. The English tends to follow American trends, and the French Franco-Belgian ones, with little crossover between the two cultures. Canadian comics run the gamut of comics forms, including editorial cartooning, comic strips, comic books, graphic novels, and webcomics, and are published in newspapers, magazines, books, and online.

Canadian cartoonists often found it hard to succeed in the field of comic strips without moving to the US, but in 1921, Jimmy Frise, one of Ernest Hemingway's drinking buddies during the journalist's days in Toronto, sold Life's Little Comedies to the Toronto Star's Star Weekly. This strip was later retitled Birdseye Center, and became the longest-running strip in English Canadian history. In 1947, Frise brought the strip to the Montreal Standard, where it was renamed Juniper Junction. Nova Scotia-born artist J. R. Williams single-panel strip about rural and small-town life, Out Our Way, began in 1922 and was syndicated in 700 newspapers at its peak. Two new comic strips appeared on the same day in 1929 in American newspapers and fed the public's desire for escapist entertainment at the dawn of the Great Depression. They were the first non-humorous adventure strips, and both were adaptations. One was Buck Rogers; the other, Tarzan, by Halifax native Hal Foster, who had worked as illustrator for catalogues from Eaton's and the Hudson's Bay Company before moving to the US in his late 20s. Other adventure strips soon followed and paved the way for the genre diversity that was seen in comic strips in the 1930s. In 1937, Foster began his own strip, Prince Valiant, which has become his best-known work for Foster's dextrous, realistic artwork. After struggling to support himself at various Toronto-based publications, Richard Taylor, under the pen name "Ric", became a regular at The New Yorker and relocated to the US, where the pay and opportunities for cartoonists were better. The Toronto Telegram began to run Men of the Mounted in 1933, the first home-grown adventure strip, written by Ted McCall and drawn by Harry Hall. McCall later penned the strip Robin Hood and Company, which made its appearance in comic books when McCall founded Anglo-American Publishing in 1941.

Using a quote from the above article, answer the following question: What popular political comics were published?
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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: How else did he decide who to cast?
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Giulietta Masina had been the inspiration for the entire project,