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.
When Rolling Stone moved its offices from California to New York in 1977, Crowe decided to stay behind. He also felt the excitement of his career was beginning to wane. Crowe appeared in the 1978 film American Hot Wax, but returned to his writing. Though he would continue to freelance for Rolling Stone on and off over the years, he turned his attention to a book. At the age of 22, Crowe came up with the idea to pose undercover as a high school student and write about his experiences. Simon & Schuster gave him a contract, and he moved back in with his parents and enrolled as Dave Cameron at Clairemont High School in San Diego. Reliving the senior year he never had, he made friends and began to fit in. Though he initially planned to include himself in the book, he realized that it would jeopardize his ability to capture the true essence of the high school experience. His book, Fast Times at Ridgemont High: A True Story, came out in 1981. Crowe focused on six main characters: a tough guy, a nerd, a surfer dude, a sexual sophisticate, and a middle-class brother and sister. He chronicled their activities in typical teenage settings--at school, at the beach, and at the mall, where many of them held afterschool jobs--and focused on details of their lives that probed into the heart of adolescence. This included scenes about homecoming and graduation as well as social cliques and sexual encounters. Before the book was released, Fast Times at Ridgemont High was optioned for a film. Released in 1982, the movie version lacked a specific plot and featured no major name stars. The studio did not devote any marketing effort toward it. It became a sleeper hit due to word of mouth. The reviews of Fast Times at Ridgemont High were positive, and the film ended up launching the careers of some of the previously unknown actors, including Jennifer Jason Leigh, Eric Stoltz, Judge Reinhold, Phoebe Cates, Anthony Edwards, Nicolas Cage, Forest Whitaker, and Sean Penn.

Who starred in the movie?

featured no major name stars.

Answer the question at the end by quoting:

Anton Friedrich Wilhelm (von) Webern (German: ['anton 've:ban] ( listen); 3 December 1883 - 15 September 1945) was an Austrian composer and conductor. Along with his mentor Arnold Schoenberg and his colleague Alban Berg, Webern was in the core of those in the circle of the Second Viennese School, including Ernst Krenek and Theodor W. Adorno. As an exponent of atonality and twelve-tone technique, Webern exerted influence on contemporaries Luigi Dallapiccola, Krenek, and even Schoenberg himself.
Webern insisted on lyricism, nuance, rubato, sensitivity, and both emotional and intellectual understanding in performance of music; this is evidenced by anecdotes, correspondence, extant recordings of Schubert's Deutsche Tanze (arr. Webern) and Berg's Violin Concerto under his direction, many such detailed markings in his scores, and finally by his compositional process as both publicly stated and later revealed in the musical and extramusical metaphors and associations everywhere throughout his sketches. As both a composer and conductor he was one of many (e.g., Wilhelm Furtwangler, Dimitri Mitropoulos, Hermann Scherchen) in a contemporaneous tradition of conscientiously and non-literally handling notated musical figures, phrases, and even entire scores so as to maximize expressivity in performance and to cultivate audience engagement and understanding. This aspect of Webern's work had been typically missed in his immediate post-war reception, however, even as it may radically affect the music's reception. For example, Boulez's "complete" recording of Webern's music yielded more to this aesthetic the second time after largely missing it the first; but Eliahu Inbal's rendition of Webern's symphony with the hr-Sinfonieorchester is still far more within the spirit of the late Romantic performance tradition (which Webern seemingly intended for his music), nearly slowing to half-tempo for the whole of first movement and taking care to delineate and shape each melodic strand and expressive gesture throughout the entirety of the work. Gunter Wand's 1966 recording of the Cantata No. 1 (1938-40), op. 29, with the Symphonieorchester des Bayerischen Rundfunks et al., may likewise be contrasted with both of Boulez's renditions.

Did anyone else have a style similar to his?
Boulez's "complete" recording of Webern's music