Answer the question at the end by quoting:

The Principalia or noble class was the ruling and usually educated upper class in the pueblos of the Spanish Philippines, comprising the gobernadorcillo (who had functions similar to a town mayor), and the cabezas de barangay (heads of the barangays) who governed the districts. The distinction or status of being part of the principalia was a hereditary right. However, it could also be acquired, as attested by the royal decree of 20 December 1863 (signed in the name of Queen Isabella II by the Minister of the Colonies, Jose de la Concha). This distinguished upper class was exempted from tribute (tax) to the Spanish crown during the colonial period.
With the recognition of the Spanish monarchs came the privilege of being addressed as Don or Dona. - a mark of esteem and distinction in Europe reserved for a person of noble or royal status during the colonial period. Other honors and high regard were also accorded to the Christianized Datus by the Spanish Empire. For example, the Gobernadorcillos (elected leader of the Cabezas de Barangay or the Christianized Datus) and Filipino officials of justice received the greatest consideration from the Spanish Crown officials. The colonial officials were under obligation to show them the honor corresponding to their respective duties. They were allowed to sit in the houses of the Spanish Provincial Governors, and in any other places. They were not left to remain standing. It was not permitted for Spanish Parish Priests to treat these Filipino nobles with less consideration. The Gobernadorcillos exercised the command of the towns. They were Port Captains in coastal towns. They also had the rights and powers to elect assistants and several lieutenants and alguaciles, proportionate in number to the inhabitants of the town. On the day on which the gobernadorcillo would take on government duties, his town would hold a grand celebration. A festive banquet would be offered in the municipal or city hall where he would occupy a seat, adorned by the coat of arms of Spain and with fanciful designs, if his social footing was of a respectable antiquity. On holy days the town officials would go to the church, together in one group. The principalia and cuadrilleros (police patrol or assistance) formed two lines in front of the Gobernadorcillo. They would be preceded by a band playing the music as they process towards the church, where the Gobernadorcillo would occupy a seat in precedence among those of the chiefs or cabezas de barangay, who had benches of honor. After the mass, they would usually go to the parish rectory to pay their respects to the parish priest. Then, they would return to the tribunal (municipal hall or city hall) in the same order, and still accompanied by the band playing a loud double quick march called paso doble. The gobernadorcillo was always accompanied by an alguacil or policia (police officer) whenever he went about the streets of his town.

were they liked by the people?

On the day on which the gobernadorcillo would take on government duties, his town would hold a grand celebration.

Answer the question at the end by quoting:

Cameron Crowe was born in Palm Springs, California. His father, James A. Crowe, originally from Kentucky, owned a real estate and phone service business. His mother, Alice Marie (nee George), "was a teacher, activist, and all-around live wire who did skits around the house and would wear a clown suit to school on special occasions." She worked as a psychology professor and family therapy and often participated in peace demonstrations and causes relating to the rights of farm workers.
Following this success, Crowe wrote the screenplay for 1984's The Wild Life, the pseudo-sequel to Fast Times at Ridgemont High. Whereas its predecessor followed teenagers' lives in high school, The Wild Life traced the lives of several teenagers after high school living in an apartment complex. Filmmaker James L. Brooks noticed Crowe's original voice and wanted to work with him. Brooks executive produced Crowe's first directing effort, 1989's Say Anything..., about a young man pining away for the affections of the seemingly perfect girl. Say Anything... was positively received by critics. By this point, Crowe was ready to leave teen angst behind and focus on his peers. His next project, 1992's Singles, centered on the romantic tangles among a group of six friends in their twenties in Seattle. The film starred Bridget Fonda and Matt Dillon, where Fonda played a coffee-bar waitress fawning over an aspiring musician, played by Dillon. Kyra Sedgwick and Campbell Scott co-starred as a couple wavering on whether to commit to each other. Music forms an integral backbone for the script, and the soundtrack became a best seller three months before the release of the film. Much of this was due to repeated delays while studio executives debated how to market it. Singles successfully rode on the heels of Seattle's grunge music boom. During production, bands like Nirvana were not yet national stars, but by the time the soundtrack was released, their song "Smells Like Teen Spirit" had to be cut because it was too costly to buy the rights. Crowe had signed members of Pearl Jam, shortly before their burgeoning, nationwide success, to portray Dillon's fictional band 'Citizen Dick'. Crowe also appeared in this project, as a rock journalist at a club. Tim Appelo wrote in Entertainment Weekly, "With ... an ambling, naturalistic style, Crowe captures the eccentric appeal of a town where espresso carts sprout on every corner and kids in ratty flannel shirts can cut records that make them millionaires."

What was his first film?
Crowe wrote the screenplay for 1984's The Wild Life,