Question: Man o' War (March 29, 1917 - November 1, 1947) was an American Thoroughbred who is widely considered one of the greatest racehorses of all time. During his career just after World War I, he won 20 of 21 races and $249,465 (equal to $3,047,451 today) in purses. He was the unofficial 1920 American horse of the year and was honored with Babe Ruth as the outstanding athlete of the year by The New York Times. He was inducted into the National Museum of Racing and Hall of Fame in 1957.

Man o' War was a chestnut horse with a white star and stripe on his forehead. He was foaled at Nursery Stud near Lexington, Kentucky. He was bred by August Belmont, Jr., whose father's accomplishments were recognized through the naming of the Belmont Stakes in 1867. Belmont Jr. was an equally notable horseman who served as the chairman of The Jockey Club from 1895 until his death in 1924. Belmont Park was named in the family's honor when it opened in 1905. Man o' War was sired by Fair Play, a multiple stakes winner who finished second in the 1908 Belmont Stakes to the undefeated Colin. Man o' War was the second foal out of Mahubah, a lightly raced mare by English Triple Crown Champion Rock Sand. Not long after the colt was foaled on March 29, 1917, Belmont Jr. joined the United States Army at age 65 to serve in France during World War I. While he was overseas, his wife named the foal "Man o' War" in honor of her husband. Originally, the Belmonts intended to race Man o' War themselves. However, in the summer of 1918 with the ongoing war effort, they decided to liquidate their racing stable. At the Saratoga yearling sale, Man o' War was sold at a final bid of $5,000 (equivalent to $81,000 in 2017) to Samuel D. Riddle, who brought him to his Glen Riddle Farm near Berlin, Maryland. The underbidder at the auction was Robert L. Gerry, Sr., who is reported to have said to his wife, "Forty-five hundred is enough to spend for any yearling." Two years later in 1920, Riddle declined an offer of $400,000 for the horse. At maturity, Man o' War stood 16.2 1/2 hands (66.5 inches, 169 cm), with prominent withers and a high croup, but was sometimes faulted for a dipped back that grew more pronounced with age. He had virtually flawless legs and solid bone, traits he passed on to his offspring. He had a slightly Roman nose and notably high head carriage. His nickname was "Big Red", though his coat had tinges of yellow and gold. An energetic, spirited horse, he is often pictured standing very still and gazing off into the distance, described as the "look of eagles". His stride was measured at 28 feet, believed to be the longest of all time.

Using a quote from the above article, answer the following question: Did it have famous parents?
HHHHHH
Answer: Belmont Jr. was an equally notable horseman who served as the chairman of The Jockey Club from 1895

Question: 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.

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.

Using a quote from the above article, answer the following question: What are some examples of his fantasy films?
HHHHHH
Answer:
The Fisher King.