{"input": "Which film has the director who is older, Cry Of The Hunted or Salvage With A Smile?", "context": "Passage 1:\nCry of the Hunted\nCry of the Hunted is a 1953 American crime film noir directed by Joseph H. Lewis.  The drama features Vittorio Gassman, Barry Sullivan and Polly Bergen.\n\nPlot\nAn obsessive lawman (Barry Sullivan) who works for the state chases an escaped fugitive (Vittorio Gassman) through the Louisiana bayou.\n\nCast\nVittorio Gassman as Jory\nBarry Sullivan as Lieutenant Tunner\nPolly Bergen as Janet Tunner\nWilliam Conrad as Goodwin\nMary Zavian as Ella\nRobert Burton as Warden Keeley\nHarry Shannon as Sheriff Brown\nJonathan Cott as Deputy Davis\n\nReception\nAccording to MGM records the film earned $376,000 in the US and Canada and $249,000 elsewhere resulting in a loss of $179,000.\n\nCritical response\nFilm critic Hal Erickson, of Allmovie, has praised the directing of the film, writing, \"On the whole, the MGM B product of the 1950s contained some of the studio's best-ever 'small' pictures...Cry of the Hunted is directed with flair by Joseph H. Lewis, who always managed to rise above the slimmest of budgets and the barest of production values.\"TV Guide in its film guide also wrote well of the film, \"Stylishly directed chase film from Lewis who had previously shown his talent in Gun Crazy...At one point he is caught but again breaks free, only to be recaptured again at the finale. Interesting subplot has Conrad waiting for Sullivan to make a wrong move so he can grab his job.\"\n\nNoir analysis\nCritics Alain Silver and Elizabeth Ward, in various sections of their analysis of the film, discuss a sub silentio theme found in the movie: the homosexual undercurrent of the protagonists; they write, \"After an initial scene, in which Sullivan and Gassman wrestle each other to exhaustion and then sit sharing cigarettes like brothers,\" and, \"...even in his sleep [Sullivan] is obsessive as he dreams of the escapee in homoerotic terms,\" and, \"Gassman too seems drawn to his pursuer.\"Film critic Eddie Muller, in an interview for Bright Lights Film Journal, agrees, \"I once showed this goofy B film called Cry of the Hunted, with Barry Sullivan and William Conrad \u2014 it's swamp noir. In Los Angeles, the audience adored it. They howled, especially at the over-the-top gay subtext between the two lead actors. They fight, and when it's obvious the fight is over, they're still wrestling around the floor. Then they lie against the wall and smoke cigarettes. The L.A. audience ate it up.\"\nPassage 2:\nThe Hunted (2015 film)\nThe Hunted is a 2015 American film based on the action comedy web series The Hunted (2001) created and directed by Robert Chapin. Starring Chapin and Monique Ganderton in lead roles. It tells the story of a struggling actor who leads a group of misfit slayers against an army of vampires. The film is one of the first to be produced under SAG\u2019s New Media contract and was distributed online through Vimeo VOD.\n\nPlot\nComing to terms with his unsuccessful attempts at becoming an actor, Bob (Chapin) is bitten by a vampire named Susan, (Ganderton) who is the daughter of a crazed vigilante slayer. Consequently, Bob becomes one of the Hunted, a small group of humans, bitten but not turned, who use cold steel and fighting technique to fend off vampires. The vampires, however, have developed an immunity to everything over the years, and the only way they can be killed is with a sword. Luckily, Bob knows how to wield a sword, mostly due to his starring role in a cheesy 80\u2019s action flick called, \u201cVampslayer\u201d. Find How Bob helps Susan and the Hunted defend the vampires forms the rest of the story.\n\nCast\nRobert Chapin as Bob\nMonique Ganderton as Susan\nDavid Lain Baker as Harry\nGary Kasper as Dragos\nTex Wall as Lore Master\nAndrew Helm as Kevin\nAnthony De Longis as Vincent\n\nProduction\nConception and writing\nThe Hunted began in 2001 as a long-standing Internet series, created by Chapin in an effort to train his credentials as a stuntman and VFX-artist. Embracing his skills with a sword and his technical abilities behind the camera, he collaborated with his friends and colleagues in order to combine their talents and undertake an underdog story of LA-based vampire hunters. The fact that user-generated content created by fans became the main content source for the online series is reflected in the theme of the film, where soccer moms learn to become vampire slayers, just like fans learning to become filmmakers, thus providing everyone a chance to discover their true potential. The dialogues in the film make use of copious lines from well-known films and poems, ranging from Scarface (1983) and Independence Day (1996) to Shakespeare.\n\nFilming\nThe film received financial support in June 2011 via a Kickstarter campaign. The film was shot in Hollywood, California in 2012 and is co-produced by New Deal Studios, the Academy Award-winning effects studio behind numerous blockbuster films, including Inception (2010) and Interstellar (2014). Post-production was completed in March 2015. The majority of the film's cast consisted of stunt people.\nPassage 3:\nScotty Fox\nScott Fox is a pornographic film director who is a member of the AVN Hall of Fame.\n\nAwards\n1992 AVN Award \u2013 Best Director, Video (The Cockateer)\n1995 AVN Hall of Fame inductee\nPassage 4:\nAdrian Brunel\nAdrian Brunel (4 September 1892 \u2013 18 February 1958) was an English film director and screenwriter. Brunel's directorial career started in the silent era, and reached its peak in the latter half of the 1920s. His surviving work from the 1920s, both full-length feature films and shorts, is highly regarded by silent film historians for its distinctive innovation, sophistication and wit. With the arrival of talkies, Brunel's career ground to a halt and he was absent from the screen for several years before returning in the mid-1930s with a flurry of quota quickie productions, the majority of which are now classed as lost. Brunel's last credit as director was in a 1940 comedy film, although he worked for a few years more as a \"fixer-up\" for films directed or produced by friends in the industry.After decades of neglect, Brunel's work has latterly been rediscovered and has undergone a critical re-evaluation. His lost films are eagerly sought, and the British Film Institute includes two, The Crooked Billet (1929) and Badger's Green (1934), on its \"75 Most Wanted\" list of missing British feature films.\n\nEarly life and career\nBorn in Brighton in 1892, Brunel was educated at Harrow School. His mother Adey was a drama teacher so he grew up in a stage milieu and dabbled in acting and writing plays, as well as training in opera. On leaving school he worked for a time as a local journalist in Brighton before taking employment in London in the bioscope show distribution division of music hall chain Moss Empires. This spurred his interest in cinema, and in 1916 he and a friend formed a company called Mirror Films, which produced one film, The Cost of a Kiss, the following year.In 1920 Brunel joined with actor Leslie Howard and author A. A. Milne to set up Minerva Films, which produced six comedy shorts over a two-year period. Brunel's major break came in 1923, when he was offered the directorial role for the film The Man Without Desire, starring Ivor Novello. His feature film debut was a time-travelling story set in Venice and included location filming in the Italian city. Studio and post-production work took place in Germany, and the resulting work has been described as \"one of the stranger films to emerge from Britain in the 1920s\".\n\nComedy shorts\nBetween 1923 and 1925, Brunel directed a series of sophisticated comedy burlesque short films, frequently lampooning fads or institutions of the day. Initially these were produced and distributed independently, but their popularity among film insiders and cognoscenti brought them to the attention of Michael Balcon, who offered Brunel the opportunity to produce them through Gainsborough Pictures. These films were replete with punning intertitles and playful visual wit, with a number parodying the silhouette animation technique pioneered by Lotte Reiniger by using live actors in place of animated cutouts (Two-Chinned Chow, Shimmy Sheik, and Yes, We Have No...! \u2013 in which a man is driven to distraction by the ubiquity of the song \"Yes! We Have No Bananas\" and travels to ever-more exotic and outlandish locations to escape it, only to find that no matter where in the world he goes, the song has got there first).\nOther films were self-referential in highlighting the ability of film to produce a manipulated and distorted picture of reality. Brunel's most highly admired production of this period is 1924's Crossing the Great Sagrada, a spoof of the hugely popular travelogue genre of the time, in which its conventions are laid bare as the absurdities they are. Brunel uses the film to satirise the prevalent colonial view of \"native people\", while highlighting the dishonesty inherent in the genre with ludicrously incongruous intertitles, tagging a view of an African mud-hut village as Wapping, and a sequence of the heroes struggling across a desert landscape as Blackpool beach. Critic Jamie Sexton notes: \"The film's surreal humour prefigures that of later innovative British comedy, such as Monty Python's Flying Circus.Brunel also targeted the British film industry itself, with So This Is Jollygood bemoaning what he saw as its general ineptitude in comparison with its American counterpart, and Cut It Out attacking the over-zealousness of the British film censors.\n\nGainsborough films\nImpressed with Brunel's short film output, Balcon invited him to try his hand at directing full-length features for Gainsborough. This resulted in five films between 1926 and 1929, all of which were high profile, big-budget productions with star names, and were designed as serious prestige vehicles with none of the opportunities for the humour and facetiousness of most of Brunel's earlier work. The first release was Blighty, a class-based study of life during World War I, written by Brunel's friend Ivor Montagu. It was reported that Brunel was initially uneasy about directing a \"war film\" as it went against his moral values; however the finished product contained no militaristic or jingoistic material, concentrating instead on the effects of the unseen war on an English family.In 1928 there followed two films which reunited Brunel with Novello as his leading actor: the first screen adaptation of Margaret Kennedy's best-selling novel The Constant Nymph and a version of the No\u00ebl Coward play The Vortex. Brunel's third film of 1928 was A Light Woman starring Benita Hume, while 1929 brought the Madeleine Carroll vehicle The Crooked Billet, which Brunel described in his autobiography as \"my last, and perhaps my best, silent film\". The film's \"lost\" status however precludes it from being critically evaluated alongside his surviving work.\n\nLater career\nWith the introduction of talkies to British cinema, Brunel's career impetus came to a sudden halt. It is not exactly clear why Brunel in particular should have found his career so comprehensively derailed at this time, although it is suggested that his pursuance of a legal claim against Gainsborough for alleged non-payment of fees may well have tarnished his reputation in the film industry by making him appear a potential trouble-maker. After writing and partly directing 1930's Elstree Calling for British International Pictures, he was sacked by the studio, who enlisted Alfred Hitchcock to finish the picture, and no further film offers were forthcoming.Brunel returned to film directing in 1933, and over the following four years made 17 quota quickies, mainly for Fox British. As was the norm with quota quickie directors, Brunel's films in this period encompassed a range of genres from comedy and musicals, through drama, to thrillers and crime. However, few of these films are known to survive. Brunel's last three feature films, The Rebel Son (1938); The Lion Has Wings (1939), a three-way directorial venture with Michael Powell and Brian Desmond Hurst; and The Girl Who Forgot (1940), were more visible productions which do survive.\nFollowing these, Brunel drew a line under his directorial career, although he did continue for a time to offer uncredited help as a favour, most notably to his old friend Leslie Howard on The First of the Few (1942) and The Gentle Sex (1943). He published an autobiography Nice Work in 1949, and died in February 1958, aged 65.\nIn an assessment of Brunel's significance in British cinema history, Geoff Brown concludes: \"...(his) career was clearly not what it might have been, and the apparent absence of surviving copies of many of his talkies makes a thorough re-evaluation of his work difficult. But the burlesque comedies alone give him a distinctive place in British cinema history as a satirical jester, and a key player in the film industry's uneasy war between art and commerce.\"\n\nFilmography (director)\nBibliography\nBrunel wrote two guides to filmmaking and a memoir detailing his time in the industry.\nFilmcraft: the Art of Picture Production (1935)\nFilm script: The Technique of Writing for the Screen (1948)\nNice Work: Thirty Years in British Films (1949)\nPassage 5:\nJoseph H. Lewis\nJoseph H. Lewis (April 6, 1907 \u2013 August 30, 2000) was an American B-movie film director whose stylish flourishes came to be appreciated by auteur theory-espousing film critics in the years following his retirement in 1966. In a 30-year directorial career, he helmed numerous low-budget westerns, action pictures, musicals, adventures, and thrillers. Today he is remembered for mysteries and film noir stories: My Name Is Julia Ross (1945) and So Dark the Night (1946) as well as his most highly regarded features, 1950's Gun Crazy, which spotlighted a desperate young couple (Peggy Cummins and John Dall) who embark on a deadly crime spree, and the 1955 film noir The Big Combo, with its stunning cinematography by John Alton.\n\nLife and career\nBorn in Brooklyn, the son of Russian Jewish immigrants, Ernestine (n\u00e9e Miriamson) and Leopold Lewis. His father was an optometrist. He grew up on the Upper East Side of New York City and attended DeWitt Clinton High School in the Bronx and when his brother, Ben, moved to Hollywood in 1927, he decided to follow with the hope of becoming an actor. Ben found him a job as camera assistant and, subsequently, young Joseph became an assistant film editor just as the film industry was converting to sound.  He began his directorial career (1937\u201340) by turning out low-budget B-Westerns starring Bob Baker, Charles Starrett, and Bill Elliott. Film editors referred to Lewis as \"Wagon-Wheel Joe,\"  because of his tendency to use wagon wheels in the foreground to create interesting visual compositions.\nLewis served with the United States Army Signal Corps as a Sergeant during World War II, making training films at the Army's Astoria Studios. One on how to shoot the M-1 rifle was shown well into the 1960s.\nLewis was equally comfortable working in different genres: horror (Bela Lugosi, The Invisible Ghost), comedy (The East Side Kids, That Gang of Mine), detective mystery (Tom Conway, The Falcon in San Francisco), costume adventure (Larry Parks, The Swordsman), and musicals (Benny Fields, Minstrel Man). Lewis's creative compositions for Minstrel Man won him the assignment of staging the musical sequences for The Jolson Story.\nToday, Lewis is primarily known for his work in film noir during the 1940s and early 1950s. Gun Crazy is a dark romance about gun-obsession, notable for its use of location photography and, for film students and buffs, a particularly arresting shot which lasts for ten minutes, as the audience suddenly becomes a passenger in the getaway car following a bank robbery committed by the young leads.\nToward the end of Lewis's career, he worked in television, directing mostly westerns:  The Rifleman, Bonanza, The Big Valley, Gunsmoke, and the pilot for Branded. He also directed the 1961 CBS crime adventure-drama series The Investigators.\nLewis suffered a major heart attack at the age of 46, but continued working until his 59th birthday in April 1966, at the end of the 1965\u201366 TV season. He later lectured at film schools and fan gatherings as well as at retrospectives such as the Telluride Film Festival, along with European venues in France, Germany and other locations.  In 1997 he became the recipient of the Los Angeles Film Critics Association Lifetime Achievement Award.\nNearly five months after his 93rd birthday, Lewis died at his home in Los Angeles County's seaside community of Marina del Rey.  Active until the end, he made his final public appearance five weeks earlier to introduce a screening of Gun Crazy at the University of California at Los Angeles. He was married to Buena Vista Lewis; they had one daughter, Candy Lewis Sangster.\n\nSelected filmography\nPassage 6:\nThe Hunted (2003 film)\nThe Hunted is a 2003 American action thriller film directed by William Friedkin and starring Tommy Lee Jones, Benicio del Toro, and Connie Nielsen.\n\nPlot\nU.S. Army Sergeant First Class Aaron Hallam, a former Delta Force operator, has spent much of his career performing covert assassinations and black operations for the U.S. government. He is awarded the Silver Star for his service in the Kosovo War, but is left wracked with PTSD from the atrocities he witnessed.\nIn the wilderness of Silver Falls State Park, Oregon, Hallam encounters two hunters equipped with expensive scoped rifles. Hallam tells them that, due to their use of guns and scopes, they are not \"true hunters\". Insulted, the hunters pursue him, but are overwhelmed by Hallam's tactics and traps and are killed.\nL.T. Bonham, a former civilian instructor of military survival and combat training, lives secluded deep in the woods of British Columbia. He is approached by the FBI, who ask him to help apprehend Hallam, one of his former students. Bonham agrees and joins the FBI task force pursuing Hallam, led by Assistant Special Agent in Charge Abby Durrell. Bonham discovers Hallam's personal effects in a tree and encounters Hallam. As the two of them fight, Hallam is struck by an FBI tranquilizer and taken into custody.\nDuring his interrogation, Hallam is uncooperative and looks mainly to Bonham, who he views as a father figure. The FBI, unsure what to do, hand him to the custody of his fellow JSOC operators, who tell the FBI that Hallam cannot stand trial due to the classified operations he had participated in. While being transported, the operators indicate that they intend to kill Hallam to ensure his silence; Hallam manages to kill all the operatives and escape.\nAlerted to the incident, Bonham and the FBI search for Hallam. Bonham finds him at the house of his ex-girlfriend and her daughter in Portland, but he flees after Abby arrives to apprehend him. Pursued by the FBI and the Portland Police Bureau, Hallam ambushes and kills pursuing FBI agents in a sewer and attempts to board a streetcar to blend in. The police block the bridge the streetcar is on, and he dives off the bridge, fleeing upstream.\nResurfacing up the river, Hallam crafts a knife out of reclaimed metal, as Bonham taught him. Meanwhile, Bonham crafts his own knife out of stone and enters the wilderness alone in search of Hallam. Bonham is caught by one of Hallam's traps and is thrown down a waterfall. Surviving, he meets Hallam at the bottom, and they engage in hand-to-hand combat. The two sustain severe injuries, and Bonham's knife is broken, but Bonham manages to gain the upper hand and stab Hallam with his own knife, killing him as Abby and the FBI arrive.\nBonham, mostly recovered, returns to his home in British Columbia. He starts to burn Hallam's letters, in which he expressed his concerns over the things he witnessed during his service.\n\nCast\nTommy Lee Jones as L.T. Bonham\nBenicio del Toro as Sergeant Aaron Hallam\nConnie Nielsen as FBI Special Agent Abby Durrell\nLeslie Stefanson as Irene Kravitz\nJohn Finn as FBI Special Agent Ted Chenoweth\nJos\u00e9 Z\u00fa\u00f1iga as FBI Special Agent Bobby Moret\nRon Canada as FBI Special Agent Harry Van Zandt\nMark Pellegrino as Dale Hewitt\nJenna Boyd as Loretta Kravitz\nAaron DeCone as Stokes (as Aaron Brounstein)\nCarrick O'Quinn as Kohler\nLonny Chapman as Zander\nRex Linn as Powell, The Hunter\nEddie Velez as Richards, The Hunter\nJohnny Cash as The Narrator (uncredited)\n\nProduction\nThe film was partially filmed in and around Portland, Oregon and Silver Falls State Park. Portland scenes were filmed in Oxbow Park, the South Park Blocks, the Columbia Blvd Treatment Plant, and Tom McCall Waterfront Park. The technical adviser for the film was Tom Brown Jr., an American outdoorsman and wilderness survival expert. The story is partially inspired by a real-life incident involving Brown, who was asked to track down a former pupil and Special Forces sergeant who had evaded capture by authorities. This story is told in Tom's book, Case Files Of The Tracker. Chapter 2 of this book, \"My Frankenstein,\" describes Brown's tracking and fight with a former special operations veteran.The hand-to-hand combat and knife fighting in the film featured Filipino Martial Arts. Thomas Kier and Rafael Kayanan of Sayoc Kali were brought in by Benicio del Toro. They were credited as knife fight choreographers for the film.\n\nReception\nBox office\nThe box office for the film was less than its reported production budget of $55 million. The Hunted opened on March 14, 2003 at #3 in 2,516 theaters across North America and grossed $13.48 million during its opening weekend. It went on to gross $34,244,097 in North America and $11,252,437 internationally markets for a worldwide total of $45,496,534.Buena Vista International handles the distribution in Argentina, Australia, Belgium, Netherlands and parts of Latin America.\nColumbia TriStar Film Distributors International handles Finnish & Swedish theatrical distribution through its then distribution partner Nordisk Film.\nIn United Kingdom - Redbus Film Distribution handles distribution under the name Helkon SK. It was released on 6th June 2003 (despite being renamed to Redbus on 6th May 2003).\n\nCritical response\nThe overall critical reaction to the movie was negative. It scored a \"Rotten\" 29% rating on Rotten Tomatoes based on 148 reviews.Many reviewers noted striking similarities to First Blood, with which this film was unfavorably compared. Rolling Stone called it \"Just a Rambo rehash.\" While there was some praise for the cinematography and the action scenes, much criticism was directed at the thin plot and characterization, and the general implausibility. Rex Reed of the New York Observer called it a \"Ludicrous, plotless, ho-hum tale of lurid confrontation.\" The UK magazine, Total Film said the film was \"scarcely exciting to watch.\"However, the film also received praise from other high profile critics, particularly for the fact it kept the special effects and stunts restrained. For example, Roger Ebert said, \"We've seen so many fancy high-tech computer-assisted fight scenes in recent movies that we assume the fighters can fly. They live in a world of gravity-free speed-up. Not so with Friedkin's characters.\" He reviewed the film on his own site and scored it 3 1/2 out of 4 stars. Time Out London was also positive saying, \"Friedkin's lean, mean thriller shows itself more interested in process than context, subtlety and character development pared away in favour of headlong momentum and crunching set pieces.\"\nPassage 7:\nElliot Silverstein\nElliot Silverstein (born August 3, 1927) is a retired American film and television director. He directed the Academy Award-winning western comedy Cat Ballou (1965), and other films including The Happening (1967), A Man Called Horse (1970), Nightmare Honeymoon (1974), and The Car (1977). His television work includes four episodes of The Twilight Zone (1961\u20131964).\n\nCareer\nElliot Silverstein was the director of six feature films in the mid-twentieth century. The most famous of these by far is Cat Ballou, a comedy-western starring Jane Fonda and Lee Marvin.\nThe other Silverstein films, in chronological order, are The Happening, A Man Called Horse,  Nightmare Honeymoon, The Car, and Flashfire.\nOther work included directing for the television shows The Twilight Zone, The Nurses, Picket Fences, and Tales from the Crypt.\nWhile Silverstein was not a prolific director, his films were often decorated. Cat Ballou, for instance, earned one Oscar and was nominated for four more. His high quality work was rewarded in 1990 with a Lifetime Achievement Award by the Directors Guild of America.\n\nAwards\nIn 1965, at the 15th Berlin International Film Festival, he won the Youth Film Award \u2013 Honorable Mention, in the category of Best Feature Film Suitable for Young People for Cat Ballou.\nHe was also nominated for the Golden Berlin Bear.In 1966, he was nominated for the DGA Award in the category for Outstanding Directorial Achievement in Motion Pictures (Cat Ballou).\nIn 1971, he won the Bronze Wrangler award at the Western Heritage Awards in the category of Theatrical Motion Picture for A Man Called Horse, along with producer Sandy Howard, writer Jack DeWitt, and actors Judith Anderson, Jean Gascon, Corinna Tsopei and Richard Harris.In 1985, he won the Robert B. Aldrich Achievement Award from the Directors Guild of America.\nIn 1990, he was awarded the DGA Honorary Life Member Award.\n\nPersonal life\nSilverstein has been married three times, each ending in divorce. His first marriage was to Evelyn Ward in 1962; the couple divorced in 1968. His second marriage was to Alana King. During his first marriage, he was the step-father of David Cassidy.\nHe currently lives in North Hollywood, Los Angeles. Actively retired, Silverstein has taught film at USC and continues to work on screen plays and other projects.\n\nFilmography\nTales from the Crypt (TV Series) (1991\u201394)\nPicket Fences (TV Series) (1993)\nRich Men, Single Women (TV Movie) (1990)\nFight for Life (TV Movie) (1987)\nNight of Courage (TV Movie) (1987)\nBetrayed by Innocence (TV Movie) (1986)\nThe Firm (TV Series) (1982\u20131983)\nThe Car (1977)\nNightmare Honeymoon (1974)\nA Man Called Horse (1970)\nThe Happening (1967)\nCat Ballou (1965)\nKraft Suspense Theatre (TV Series) (1963\u201364)\nThe Defenders (TV Series) (1962\u201364)\nArrest and Trial (TV Series) (1964)\nThe Doctors and the Nurses (TV Series) (1962\u201364)\nTwilight Zone (TV Series) (1961\u201364)\nBreaking Point (TV Series) (1963)\nDr. Kildare (TV Series) (1961\u201363)\nThe Dick Powell Theatre (TV Series) (1962)\nBelle Sommers (TV Movie) (1962)\nNaked City (TV Series) (1961\u201362)\nHave Gun - Will Travel (TV Series) (1961)\nRoute 66 (TV Series) (1960\u201361)\nCheckmate (TV Series) (1961)\nThe Westerner (TV Series) (1960)\nAssignment: Underwater (TV Series) (1960)\nBlack Saddle (TV Series) (1960)\nSuspicion (TV Series) (1958)\nOmnibus (TV Series) (1954\u201356)\nPassage 8:\nSalvage with a Smile\nSalvage with a Smile is a 1940 British, black-and-white, sponsored war film, directed by Adrian Brunel and starring Ronald Shiner as the Dustman. It was produced by Ealing Studios and the Ministry of Supply for the Ministry of Information.\n\nSynopsis\nThe educational film aims to help the \"people back home\" save paper, bones and metal, for the war effort.\n\nCast\nAubrey Mallalieu as The Professor\nKathleen Harrison as The Housekeeper\nRonald Shiner as The Dustman\nPhyllis Morris as Miss Green\nPassage 9:\nBen Palmer\nBen Palmer (born 1976) is a British film and television director.\nHis television credits include the Channel 4 sketch show Bo' Selecta! (2002\u20132006), the second and third series of the E4 sitcom The Inbetweeners (2009\u20132010) and the Sky Atlantic comedy-drama Breeders (2020). Palmer has also directed films such as the Inbetweeners spin-off, The Inbetweeners Movie (2011) and the romantic comedy Man Up (2015).\n\nBiography\nPalmer was born and raised in Penny Bridge, Barrow-in-Furness. He attended Chetwynde School.His first directing job was the Channel 4 sketch show Bo' Selecta!, which he co-developed with its main star, Leigh Francis. Palmer directed the second and third series of the E4 sitcom The Inbetweeners in 2009 and 2010, respectively.\n\nFilmography\nBo' Selecta! (2002\u201306)\nComedy Lab (2004\u20132010)\nBo! in the USA (2006)\nThe Inbetweeners (2009\u20132010)\nThe Inbetweeners Movie (2011)\nComedy Showcase (2012)\nMilton Jones's House of Rooms (2012)\nThem from That Thing (2012)\nBad Sugar (2012)\nChickens (2013)\nLondon Irish (2013)\nMan Up (2015)\nSunTrap (2015)\nBBC Comedy Feeds (2016)\nNigel Farage Gets His Life Back (2016)\nBack (2017)\nComedy Playhouse (2017)\nUrban Myths (2017\u201319)\nClick & Collect (2018)\nSemi-Detached (2019)\nBreeders (2020)\nPassage 10:\nSex with a Smile II\nSex with a Smile II (originally titled Spogliamoci cos\u00ec, senza pudor) is a 1976 commedia sexy all'italiana film directed by Sergio Martino. Like its predecessor, Sex with a Smile, it is an anthology sex comedy film with a series of four comedic sketches that parody Italian sexual mores.\n\nCast\nUrsula Andress: Marina\nJohnny Dorelli: Marco Antonioli\nAldo Maccione: the detective\nBarbara Bouchet: Violante\nEnrico Montesano: Dante Zatteroni\nAlberto Lionello: Giangi Busacca\nNadia Cassini: Fran\u00e7oise\nNinetto Davoli: Pietro\nMaria Baxa: Maria\nAlvaro Vitali: Broccolini\nGianrico Tedeschi: Silvestri\nBrenda Welch: soccer player\nDaniele Vargas: Lawyer Sante Zenaro\n\nSee also\nList of Italian films of 1976", "answers": ["Salvage With A Smile"], "length": 4787, "dataset": "2wikimqa_e", "language": "en", "all_classes": null, "_id": "379a5df5053403945db30c234b02d7d7087a593b070abb95"}/n
“input”: This is the question to be answered.
“context”: This is the information needed to answer the question.
“answer”: This is the correct answer(ground truth) to the question.

Task Instructions:
(1) Generate a full and concise reasoning path from the "input" question to the ground truth "answer", using sentences from the "context" to support each step.
(2) For each step in the reasoning path, include one unaltered sentence from the “context” to demonstrate how the information leads to the answer.
(3) Structure the response as a JSON object. Each reasoning step should correspond to one original sentence from the “context”.

Use JSON format with 'step' and 'sentence' for your output.
{
  "reasoning": [
    {
      "step": 1,
      "sentence": "<insert first sentence used from context>"
    },
    {
      "step": 2,
      "sentence": "<insert second sentence used from context>"
    },
    ...
  ]
}
Ensure each “sentence” is copied exactly as in the context without any modifications.