From the moment Federico Fellini finished his sprawling, nearly 600‑page shooting script for La Strada (written with Ennio Flaiano and Tullio Pinelli) he found himself fighting producers as much as making a film. Dino De Laurentiis and Carlo Ponti offered financing only on the condition the picture carry marketable names — they pushed Silvana Mangano (De Laurentiis's wife) for Gelsomina and even flirted with the idea of Burt Lancaster as Zampanò. Fellini flatly refused: the whole project had originated in his image of his wife Giulietta Masina. The clash hardened when production was halted in late 1953 after Masina dislocated her ankle. De Laurentiis seized the opportunity to try to replace her; when the Paramount executives who viewed the rushes praised Masina, De Laurentiis abruptly reversed course but promptly insisted she sign a hastily prepared exclusive contract — at roughly a third of Anthony Quinn's salary — cementing her presence but underscoring the transactional power producers wielded over talent.
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