Since Quinn and Basehart did not speak Italian, both were dubbed in the original release.[43] Unhappy with the actor who initially dubbed Zampanò, Fellini remembered being impressed by the work done by Arnoldo Foà in dubbing the Toshiro Mifune character in the Italian version of Akira Kurosawa's Rashomon, and was able to secure Foà's services at the very last moment.[32] Composer Michel Chion has observed that Fellini particularly exploited the tendency of Italian films of the post-war period to allow considerable freedom in the synching of voices to lip movements, especially in contrast to Hollywood's perceived "obsessive fixation" with the matching of voices to mouths: "In Fellinian extremes, when all those post-synched voices float around bodies, we reach a point where voices--even if we continue to attribute them to the bodies they're assigned--begin to acquire a sort of autonomy, in a baroque and decentered fashion."[44] In the Italian version of La Strada, there are even instances when a character is heard to speak while the actor's mouth is shut tight.[38]
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For this to happen, we need first of all to foster, in ourselves and in others, a contemplative outlook. 107 Such an outlook arises from faith in the God of life, who has created every individual as a "wonder" (cf. Ps 139:14). It is the outlook of those who see life in its deeper meaning, who grasp its utter gratuitousness, its beauty and its invitation to freedom and responsibility. It is the outlook of those who do not presume to take possession of reality but instead accept it as a gift, discovering in all things the reflection of the Creator and seeing in every person his living image (cf. Gen 1:27; Ps 8:5). This outlook does not give in to discouragement when confronted by those who are sick, suffering, outcast or at death's door. Instead, in all these situations it feels challenged to find meaning, and precisely in these circumstances it is open to perceiving in the face of every person a call to encounter, dialogue and solidarity.
As he is essentially immortal and invulnerable, Alucard is very egotistical. He freely taunts and belittles his opponents, often allowing them to inflict seemingly fatal wounds before healing himself and counterattacking. One of his favorite methods of fighting is to allow himself to be blown to shreds before simply flowing back together. An example is shown in Volume 2 when Alucard fights Luke Valentine. When Luke gains an advantage over Alucard, victory seems within his grasp. The tides turn when Alucard transforms a part of himself into a hellhound. Alucard then blows off both of Luke's legs with his guns before telling him to regenerate them, pick up his gun, and fight back. When Luke fails to do so, Alucard devours Luke, declaring him as little more than dog food. Alucard has expressed extreme disgust with the vampires he has been hunting for the last 100 years, especially when they kill without purpose. In Chapter 3 of the manga, (Murder Club), he lists the two vampires' pointless killing in his catalog of how pathetic they are. He has expressed his wish to fight an opponent that'll entertain him - one that'll end his long years of boredom. However, if the opponent fails to do so, they will be met with extreme suffering and humiliation from Alucard. 2ff7e9595c
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