gaussalgo/Canard_Wiki-augmented huggingface dataset:
Kid Cudi

Context: In a January 2013 interview, Cudi revealed that he had stopped smoking marijuana two years earlier, both for the sake of his child and due to frustration with constantly being associated with the drug and stoner culture. In that same interview, Cudi said that while he believes in God, he considers himself spiritual but not religious.  In a March 2013 interview, Kid Cudi talked about how his initial sudden and unexpected fame drove him to alcohol and drugs:  "For me, I just got to this point, and especially up until recently, I gave up liquor, I don't drink anymore, it's been five and a half months I've been sober. The booze was a new thing for me, I didn't realize I was an alcoholic all these years. I had a problem, I think with any addiction you have to be ready to make the choice, whether it's cigarettes or anything. You have to just commit and you just have to stick with it. I stopped everything cold turkey. When I had my cocaine problem I stopped cold turkey, I didn't go to rehab. I don't believe in these things. Some people need the extra help, not me. I wasn't a drug addict before this crap, I wasn't doing cocaine, I wasn't getting wasted every night because I didn't want to be alone. I wasn't this dark person before the madness, I was a whole other dude. I don't even think I smoked weed as much 'cause we couldn't afford it... You just have to make the choice and decide the person you wanna be and stick with it. You get to a certain age where the people around you are not gonna be on that rollercoaster all day long ready for you to go up, ready for you to go down, and stick with you through all the madness. People want you to be one person and stick with it and I chose to be clean and be sober and get my life together. For myself, for my health, for my daughter, for my family."  In a 2013 interview, Cudi revealed he had suffered an addiction to anti-depressant medication, which had been prescribed to help him deal with an "emotional breakdown" following a failed relationship. In a 2014 interview, Cudi spoke on his struggles with depression and suicide throughout the years: "I've dealt with suicide for the past five years. There wasn't a week or a day that didn't go by where I was just like, 'You know, I wanna check out.' I know what that feels like, I know it comes from loneliness, I know it comes from not having self-worth, not loving yourself."  In October 2016, Cudi revealed on his Facebook page that he had checked himself into rehabilitation for depression and suicidal urges. CANNOTANSWER

Question: Was Kid Cudi liked in the music industry?
Answer: Kid
Kid Cudi

Context: In a January 2013 interview, Cudi revealed that he had stopped smoking marijuana two years earlier, both for the sake of his child and due to frustration with constantly being associated with the drug and stoner culture. In that same interview, Cudi said that while he believes in God, he considers himself spiritual but not religious.  In a March 2013 interview, Kid Cudi talked about how his initial sudden and unexpected fame drove him to alcohol and drugs:  "For me, I just got to this point, and especially up until recently, I gave up liquor, I don't drink anymore, it's been five and a half months I've been sober. The booze was a new thing for me, I didn't realize I was an alcoholic all these years. I had a problem, I think with any addiction you have to be ready to make the choice, whether it's cigarettes or anything. You have to just commit and you just have to stick with it. I stopped everything cold turkey. When I had my cocaine problem I stopped cold turkey, I didn't go to rehab. I don't believe in these things. Some people need the extra help, not me. I wasn't a drug addict before this crap, I wasn't doing cocaine, I wasn't getting wasted every night because I didn't want to be alone. I wasn't this dark person before the madness, I was a whole other dude. I don't even think I smoked weed as much 'cause we couldn't afford it... You just have to make the choice and decide the person you wanna be and stick with it. You get to a certain age where the people around you are not gonna be on that rollercoaster all day long ready for you to go up, ready for you to go down, and stick with you through all the madness. People want you to be one person and stick with it and I chose to be clean and be sober and get my life together. For myself, for my health, for my daughter, for my family."  In a 2013 interview, Cudi revealed he had suffered an addiction to anti-depressant medication, which had been prescribed to help him deal with an "emotional breakdown" following a failed relationship. In a 2014 interview, Cudi spoke on his struggles with depression and suicide throughout the years: "I've dealt with suicide for the past five years. There wasn't a week or a day that didn't go by where I was just like, 'You know, I wanna check out.' I know what that feels like, I know it comes from loneliness, I know it comes from not having self-worth, not loving yourself."  In October 2016, Cudi revealed on his Facebook page that he had checked himself into rehabilitation for depression and suicidal urges. CANNOTANSWER

Question: Did Kid Cudi drink alcohol in addition to smoking marijuana?
Answer: I gave up liquor, I don't drink anymore, it's been five and a half months I've been sober.
Kid Cudi

Context: In a January 2013 interview, Cudi revealed that he had stopped smoking marijuana two years earlier, both for the sake of his child and due to frustration with constantly being associated with the drug and stoner culture. In that same interview, Cudi said that while he believes in God, he considers himself spiritual but not religious.  In a March 2013 interview, Kid Cudi talked about how his initial sudden and unexpected fame drove him to alcohol and drugs:  "For me, I just got to this point, and especially up until recently, I gave up liquor, I don't drink anymore, it's been five and a half months I've been sober. The booze was a new thing for me, I didn't realize I was an alcoholic all these years. I had a problem, I think with any addiction you have to be ready to make the choice, whether it's cigarettes or anything. You have to just commit and you just have to stick with it. I stopped everything cold turkey. When I had my cocaine problem I stopped cold turkey, I didn't go to rehab. I don't believe in these things. Some people need the extra help, not me. I wasn't a drug addict before this crap, I wasn't doing cocaine, I wasn't getting wasted every night because I didn't want to be alone. I wasn't this dark person before the madness, I was a whole other dude. I don't even think I smoked weed as much 'cause we couldn't afford it... You just have to make the choice and decide the person you wanna be and stick with it. You get to a certain age where the people around you are not gonna be on that rollercoaster all day long ready for you to go up, ready for you to go down, and stick with you through all the madness. People want you to be one person and stick with it and I chose to be clean and be sober and get my life together. For myself, for my health, for my daughter, for my family."  In a 2013 interview, Cudi revealed he had suffered an addiction to anti-depressant medication, which had been prescribed to help him deal with an "emotional breakdown" following a failed relationship. In a 2014 interview, Cudi spoke on his struggles with depression and suicide throughout the years: "I've dealt with suicide for the past five years. There wasn't a week or a day that didn't go by where I was just like, 'You know, I wanna check out.' I know what that feels like, I know it comes from loneliness, I know it comes from not having self-worth, not loving yourself."  In October 2016, Cudi revealed on his Facebook page that he had checked himself into rehabilitation for depression and suicidal urges. CANNOTANSWER

Question: Did the alcohol interfere with Kid Cudi's musical career?
Answer: The booze was a new thing for me, I didn't realize I was an alcoholic all these years. I had a problem,
Kid Cudi

Context: In a January 2013 interview, Cudi revealed that he had stopped smoking marijuana two years earlier, both for the sake of his child and due to frustration with constantly being associated with the drug and stoner culture. In that same interview, Cudi said that while he believes in God, he considers himself spiritual but not religious.  In a March 2013 interview, Kid Cudi talked about how his initial sudden and unexpected fame drove him to alcohol and drugs:  "For me, I just got to this point, and especially up until recently, I gave up liquor, I don't drink anymore, it's been five and a half months I've been sober. The booze was a new thing for me, I didn't realize I was an alcoholic all these years. I had a problem, I think with any addiction you have to be ready to make the choice, whether it's cigarettes or anything. You have to just commit and you just have to stick with it. I stopped everything cold turkey. When I had my cocaine problem I stopped cold turkey, I didn't go to rehab. I don't believe in these things. Some people need the extra help, not me. I wasn't a drug addict before this crap, I wasn't doing cocaine, I wasn't getting wasted every night because I didn't want to be alone. I wasn't this dark person before the madness, I was a whole other dude. I don't even think I smoked weed as much 'cause we couldn't afford it... You just have to make the choice and decide the person you wanna be and stick with it. You get to a certain age where the people around you are not gonna be on that rollercoaster all day long ready for you to go up, ready for you to go down, and stick with you through all the madness. People want you to be one person and stick with it and I chose to be clean and be sober and get my life together. For myself, for my health, for my daughter, for my family."  In a 2013 interview, Cudi revealed he had suffered an addiction to anti-depressant medication, which had been prescribed to help him deal with an "emotional breakdown" following a failed relationship. In a 2014 interview, Cudi spoke on his struggles with depression and suicide throughout the years: "I've dealt with suicide for the past five years. There wasn't a week or a day that didn't go by where I was just like, 'You know, I wanna check out.' I know what that feels like, I know it comes from loneliness, I know it comes from not having self-worth, not loving yourself."  In October 2016, Cudi revealed on his Facebook page that he had checked himself into rehabilitation for depression and suicidal urges. CANNOTANSWER

Question: Who mothered Kid Cudi's child?
Answer: CANNOTANSWER
Tim Pawlenty

Context: Pawlenty was born in Saint Paul, Minnesota, to Eugene Joseph Pawlenty, and his wife, Virginia Frances (nee Oldenburg). His father, who drove a milk delivery truck, was of Polish descent, while his mother was of German ancestry. His mother died of cancer when he was 16. Pawlenty grew up in South St. Paul, where he played ice hockey on his high school's junior varsity squad.  Intending to become a dentist, Pawlenty enrolled in the University of Minnesota, the only one in his family to go beyond high school. However, he changed his plans and spent the summers of 1980 and 1982 working as an intern at the office of U.S. Senator David Durenberger. In 1983, he graduated with a B.A. in political science. He received a Juris Doctor from the University of Minnesota Law School in 1986. While in law school, he met wife, Mary Anderson, whom he married in 1987.  Pawlenty first worked as a labor law attorney at the firm Rider Bennett (later Rider, Bennett, Egan & Arundel), where he had interned while a law student. He later became vice president of a software as a service company, Wizmo Inc.  Having moved to Eagan, Minnesota, a suburb of Minneapolis - Saint Paul, Pawlenty was appointed to the city's Planning Commission by Mayor Vic Ellison. One year later, at age 28, he was elected to the City Council.  Pawlenty entered state politics in 1990 as a campaign advisor for Jon Grunseth's losing bid for Minnesota governor. After Pawlenty himself became governor, he appointed Grunseth's ex-wife, Vicky Tigwell, to the board of the Minneapolis-Saint Paul International Airport, an action which became an ethics and accountability issue in 2003. CANNOTANSWER

Question: Where did Tim Pawlenty get his education?
Answer: His mother died of cancer
Tim Pawlenty

Context: Pawlenty was born in Saint Paul, Minnesota, to Eugene Joseph Pawlenty, and his wife, Virginia Frances (nee Oldenburg). His father, who drove a milk delivery truck, was of Polish descent, while his mother was of German ancestry. His mother died of cancer when he was 16. Pawlenty grew up in South St. Paul, where he played ice hockey on his high school's junior varsity squad.  Intending to become a dentist, Pawlenty enrolled in the University of Minnesota, the only one in his family to go beyond high school. However, he changed his plans and spent the summers of 1980 and 1982 working as an intern at the office of U.S. Senator David Durenberger. In 1983, he graduated with a B.A. in political science. He received a Juris Doctor from the University of Minnesota Law School in 1986. While in law school, he met wife, Mary Anderson, whom he married in 1987.  Pawlenty first worked as a labor law attorney at the firm Rider Bennett (later Rider, Bennett, Egan & Arundel), where he had interned while a law student. He later became vice president of a software as a service company, Wizmo Inc.  Having moved to Eagan, Minnesota, a suburb of Minneapolis - Saint Paul, Pawlenty was appointed to the city's Planning Commission by Mayor Vic Ellison. One year later, at age 28, he was elected to the City Council.  Pawlenty entered state politics in 1990 as a campaign advisor for Jon Grunseth's losing bid for Minnesota governor. After Pawlenty himself became governor, he appointed Grunseth's ex-wife, Vicky Tigwell, to the board of the Minneapolis-Saint Paul International Airport, an action which became an ethics and accountability issue in 2003. CANNOTANSWER

Question: Where did Tim Pawlenty grow up?
Answer: German
Tim Pawlenty

Context: Pawlenty was born in Saint Paul, Minnesota, to Eugene Joseph Pawlenty, and his wife, Virginia Frances (nee Oldenburg). His father, who drove a milk delivery truck, was of Polish descent, while his mother was of German ancestry. His mother died of cancer when he was 16. Pawlenty grew up in South St. Paul, where he played ice hockey on his high school's junior varsity squad.  Intending to become a dentist, Pawlenty enrolled in the University of Minnesota, the only one in his family to go beyond high school. However, he changed his plans and spent the summers of 1980 and 1982 working as an intern at the office of U.S. Senator David Durenberger. In 1983, he graduated with a B.A. in political science. He received a Juris Doctor from the University of Minnesota Law School in 1986. While in law school, he met wife, Mary Anderson, whom he married in 1987.  Pawlenty first worked as a labor law attorney at the firm Rider Bennett (later Rider, Bennett, Egan & Arundel), where he had interned while a law student. He later became vice president of a software as a service company, Wizmo Inc.  Having moved to Eagan, Minnesota, a suburb of Minneapolis - Saint Paul, Pawlenty was appointed to the city's Planning Commission by Mayor Vic Ellison. One year later, at age 28, he was elected to the City Council.  Pawlenty entered state politics in 1990 as a campaign advisor for Jon Grunseth's losing bid for Minnesota governor. After Pawlenty himself became governor, he appointed Grunseth's ex-wife, Vicky Tigwell, to the board of the Minneapolis-Saint Paul International Airport, an action which became an ethics and accountability issue in 2003. CANNOTANSWER

Question: Did Tim Pawlenty have any siblings?
Answer: 28,
Tim Pawlenty

Context: Pawlenty was born in Saint Paul, Minnesota, to Eugene Joseph Pawlenty, and his wife, Virginia Frances (nee Oldenburg). His father, who drove a milk delivery truck, was of Polish descent, while his mother was of German ancestry. His mother died of cancer when he was 16. Pawlenty grew up in South St. Paul, where he played ice hockey on his high school's junior varsity squad.  Intending to become a dentist, Pawlenty enrolled in the University of Minnesota, the only one in his family to go beyond high school. However, he changed his plans and spent the summers of 1980 and 1982 working as an intern at the office of U.S. Senator David Durenberger. In 1983, he graduated with a B.A. in political science. He received a Juris Doctor from the University of Minnesota Law School in 1986. While in law school, he met wife, Mary Anderson, whom he married in 1987.  Pawlenty first worked as a labor law attorney at the firm Rider Bennett (later Rider, Bennett, Egan & Arundel), where he had interned while a law student. He later became vice president of a software as a service company, Wizmo Inc.  Having moved to Eagan, Minnesota, a suburb of Minneapolis - Saint Paul, Pawlenty was appointed to the city's Planning Commission by Mayor Vic Ellison. One year later, at age 28, he was elected to the City Council.  Pawlenty entered state politics in 1990 as a campaign advisor for Jon Grunseth's losing bid for Minnesota governor. After Pawlenty himself became governor, he appointed Grunseth's ex-wife, Vicky Tigwell, to the board of the Minneapolis-Saint Paul International Airport, an action which became an ethics and accountability issue in 2003. CANNOTANSWER

Question: What was Tim Pawlenty in his early career?
Answer: entered
Tim Pawlenty

Context: Pawlenty was born in Saint Paul, Minnesota, to Eugene Joseph Pawlenty, and his wife, Virginia Frances (nee Oldenburg). His father, who drove a milk delivery truck, was of Polish descent, while his mother was of German ancestry. His mother died of cancer when he was 16. Pawlenty grew up in South St. Paul, where he played ice hockey on his high school's junior varsity squad.  Intending to become a dentist, Pawlenty enrolled in the University of Minnesota, the only one in his family to go beyond high school. However, he changed his plans and spent the summers of 1980 and 1982 working as an intern at the office of U.S. Senator David Durenberger. In 1983, he graduated with a B.A. in political science. He received a Juris Doctor from the University of Minnesota Law School in 1986. While in law school, he met wife, Mary Anderson, whom he married in 1987.  Pawlenty first worked as a labor law attorney at the firm Rider Bennett (later Rider, Bennett, Egan & Arundel), where he had interned while a law student. He later became vice president of a software as a service company, Wizmo Inc.  Having moved to Eagan, Minnesota, a suburb of Minneapolis - Saint Paul, Pawlenty was appointed to the city's Planning Commission by Mayor Vic Ellison. One year later, at age 28, he was elected to the City Council.  Pawlenty entered state politics in 1990 as a campaign advisor for Jon Grunseth's losing bid for Minnesota governor. After Pawlenty himself became governor, he appointed Grunseth's ex-wife, Vicky Tigwell, to the board of the Minneapolis-Saint Paul International Airport, an action which became an ethics and accountability issue in 2003. CANNOTANSWER

Question: Are there any other interesting aspects about Tim Pawlenty's early life other than Tim's early career, siblings, where Tim grew up, and where Tim got his education?
Answer: for Jon
Terrance Dicks

Context: In 1968, Dicks was hired as assistant script editor on the popular BBC science-fiction TV series Doctor Who. He was appointed head script editor the following year, and earned his first writing credit for the programme when he and Hulke co-wrote the 10-part serial The War Games, which concluded the series' sixth season and the Second Doctor's (Patrick Troughton) tenure. Dicks had, however, been the uncredited co-writer of the earlier serial The Seeds of Death, having extensively re-written Brian Hayles' original scripts.  Dicks went on to form a highly productive working relationship with incoming Doctor Who producer Barry Letts, serving as script editor on all of Letts' five seasons as head of the programme from 1970 to 1974. In 1972, Dicks embarked on a parallel career as an author with the publication of his first book, The Making of Doctor Who (a history of the production of the TV series), which was co-written by Hulke.  After stepping down as script editor, Dicks continued his association with Doctor Who, writing four scripts for his successor, Robert Holmes: these were Robot (1975, Tom Baker's first outing as the Fourth Doctor), The Brain of Morbius (1976, for which Dicks was credited under the pseudonym "Robin Bland" after his displeasure at Holmes' re-writes prompted him to request that it be shown "under some bland pseudonym"), Horror of Fang Rock (1977) and State of Decay (1980).  State of Decay was in fact a re-written version of a story originally titled The Vampire Mutations, which had been due for production during season 15 until the BBC decided that the vampiric theme would clash with the plot of its new adaptation of Bram Stoker's Count Dracula, which was due for transmission at roughly the same time, and replaced it with Horror of Fang Rock. Dicks penned his final Doctor Who script in 1983, when he wrote the programme's 20th anniversary special episode, The Five Doctors.  Dicks' other work for Doctor Who includes two stage plays, Doctor Who and the Daleks in the Seven Keys to Doomsday (1974) and Doctor Who - The Ultimate Adventure (1989), and an audio drama for Big Finish Productions titled Comeback (2002), which was the first to feature former Doctor's companion Sarah Jane Smith in a significant capacity. CANNOTANSWER

Question: When was Dr Who started?
Answer: In 1968, Dicks was hired as assistant script editor on the popular BBC science-fiction TV series Doctor Who.
Terrance Dicks

Context: In 1968, Dicks was hired as assistant script editor on the popular BBC science-fiction TV series Doctor Who. He was appointed head script editor the following year, and earned his first writing credit for the programme when he and Hulke co-wrote the 10-part serial The War Games, which concluded the series' sixth season and the Second Doctor's (Patrick Troughton) tenure. Dicks had, however, been the uncredited co-writer of the earlier serial The Seeds of Death, having extensively re-written Brian Hayles' original scripts.  Dicks went on to form a highly productive working relationship with incoming Doctor Who producer Barry Letts, serving as script editor on all of Letts' five seasons as head of the programme from 1970 to 1974. In 1972, Dicks embarked on a parallel career as an author with the publication of his first book, The Making of Doctor Who (a history of the production of the TV series), which was co-written by Hulke.  After stepping down as script editor, Dicks continued his association with Doctor Who, writing four scripts for his successor, Robert Holmes: these were Robot (1975, Tom Baker's first outing as the Fourth Doctor), The Brain of Morbius (1976, for which Dicks was credited under the pseudonym "Robin Bland" after his displeasure at Holmes' re-writes prompted him to request that it be shown "under some bland pseudonym"), Horror of Fang Rock (1977) and State of Decay (1980).  State of Decay was in fact a re-written version of a story originally titled The Vampire Mutations, which had been due for production during season 15 until the BBC decided that the vampiric theme would clash with the plot of its new adaptation of Bram Stoker's Count Dracula, which was due for transmission at roughly the same time, and replaced it with Horror of Fang Rock. Dicks penned his final Doctor Who script in 1983, when he wrote the programme's 20th anniversary special episode, The Five Doctors.  Dicks' other work for Doctor Who includes two stage plays, Doctor Who and the Daleks in the Seven Keys to Doomsday (1974) and Doctor Who - The Ultimate Adventure (1989), and an audio drama for Big Finish Productions titled Comeback (2002), which was the first to feature former Doctor's companion Sarah Jane Smith in a significant capacity. CANNOTANSWER

Question: What was Dr Who about?
Answer: CANNOTANSWER
Terrance Dicks

Context: In 1968, Dicks was hired as assistant script editor on the popular BBC science-fiction TV series Doctor Who. He was appointed head script editor the following year, and earned his first writing credit for the programme when he and Hulke co-wrote the 10-part serial The War Games, which concluded the series' sixth season and the Second Doctor's (Patrick Troughton) tenure. Dicks had, however, been the uncredited co-writer of the earlier serial The Seeds of Death, having extensively re-written Brian Hayles' original scripts.  Dicks went on to form a highly productive working relationship with incoming Doctor Who producer Barry Letts, serving as script editor on all of Letts' five seasons as head of the programme from 1970 to 1974. In 1972, Dicks embarked on a parallel career as an author with the publication of his first book, The Making of Doctor Who (a history of the production of the TV series), which was co-written by Hulke.  After stepping down as script editor, Dicks continued his association with Doctor Who, writing four scripts for his successor, Robert Holmes: these were Robot (1975, Tom Baker's first outing as the Fourth Doctor), The Brain of Morbius (1976, for which Dicks was credited under the pseudonym "Robin Bland" after his displeasure at Holmes' re-writes prompted him to request that it be shown "under some bland pseudonym"), Horror of Fang Rock (1977) and State of Decay (1980).  State of Decay was in fact a re-written version of a story originally titled The Vampire Mutations, which had been due for production during season 15 until the BBC decided that the vampiric theme would clash with the plot of its new adaptation of Bram Stoker's Count Dracula, which was due for transmission at roughly the same time, and replaced it with Horror of Fang Rock. Dicks penned his final Doctor Who script in 1983, when he wrote the programme's 20th anniversary special episode, The Five Doctors.  Dicks' other work for Doctor Who includes two stage plays, Doctor Who and the Daleks in the Seven Keys to Doomsday (1974) and Doctor Who - The Ultimate Adventure (1989), and an audio drama for Big Finish Productions titled Comeback (2002), which was the first to feature former Doctor's companion Sarah Jane Smith in a significant capacity. CANNOTANSWER

Question: Who else was in the Dr Who TV series besides Terrance Dicks?
Answer: he and Hulke co-wrote the 10-part serial The War Games,
Terrance Dicks

Context: In 1968, Dicks was hired as assistant script editor on the popular BBC science-fiction TV series Doctor Who. He was appointed head script editor the following year, and earned his first writing credit for the programme when he and Hulke co-wrote the 10-part serial The War Games, which concluded the series' sixth season and the Second Doctor's (Patrick Troughton) tenure. Dicks had, however, been the uncredited co-writer of the earlier serial The Seeds of Death, having extensively re-written Brian Hayles' original scripts.  Dicks went on to form a highly productive working relationship with incoming Doctor Who producer Barry Letts, serving as script editor on all of Letts' five seasons as head of the programme from 1970 to 1974. In 1972, Dicks embarked on a parallel career as an author with the publication of his first book, The Making of Doctor Who (a history of the production of the TV series), which was co-written by Hulke.  After stepping down as script editor, Dicks continued his association with Doctor Who, writing four scripts for his successor, Robert Holmes: these were Robot (1975, Tom Baker's first outing as the Fourth Doctor), The Brain of Morbius (1976, for which Dicks was credited under the pseudonym "Robin Bland" after his displeasure at Holmes' re-writes prompted him to request that it be shown "under some bland pseudonym"), Horror of Fang Rock (1977) and State of Decay (1980).  State of Decay was in fact a re-written version of a story originally titled The Vampire Mutations, which had been due for production during season 15 until the BBC decided that the vampiric theme would clash with the plot of its new adaptation of Bram Stoker's Count Dracula, which was due for transmission at roughly the same time, and replaced it with Horror of Fang Rock. Dicks penned his final Doctor Who script in 1983, when he wrote the programme's 20th anniversary special episode, The Five Doctors.  Dicks' other work for Doctor Who includes two stage plays, Doctor Who and the Daleks in the Seven Keys to Doomsday (1974) and Doctor Who - The Ultimate Adventure (1989), and an audio drama for Big Finish Productions titled Comeback (2002), which was the first to feature former Doctor's companion Sarah Jane Smith in a significant capacity. CANNOTANSWER

Question: How popular was Dr Who?
Answer: CANNOTANSWER
Terrance Dicks

Context: In 1968, Dicks was hired as assistant script editor on the popular BBC science-fiction TV series Doctor Who. He was appointed head script editor the following year, and earned his first writing credit for the programme when he and Hulke co-wrote the 10-part serial The War Games, which concluded the series' sixth season and the Second Doctor's (Patrick Troughton) tenure. Dicks had, however, been the uncredited co-writer of the earlier serial The Seeds of Death, having extensively re-written Brian Hayles' original scripts.  Dicks went on to form a highly productive working relationship with incoming Doctor Who producer Barry Letts, serving as script editor on all of Letts' five seasons as head of the programme from 1970 to 1974. In 1972, Dicks embarked on a parallel career as an author with the publication of his first book, The Making of Doctor Who (a history of the production of the TV series), which was co-written by Hulke.  After stepping down as script editor, Dicks continued his association with Doctor Who, writing four scripts for his successor, Robert Holmes: these were Robot (1975, Tom Baker's first outing as the Fourth Doctor), The Brain of Morbius (1976, for which Dicks was credited under the pseudonym "Robin Bland" after his displeasure at Holmes' re-writes prompted him to request that it be shown "under some bland pseudonym"), Horror of Fang Rock (1977) and State of Decay (1980).  State of Decay was in fact a re-written version of a story originally titled The Vampire Mutations, which had been due for production during season 15 until the BBC decided that the vampiric theme would clash with the plot of its new adaptation of Bram Stoker's Count Dracula, which was due for transmission at roughly the same time, and replaced it with Horror of Fang Rock. Dicks penned his final Doctor Who script in 1983, when he wrote the programme's 20th anniversary special episode, The Five Doctors.  Dicks' other work for Doctor Who includes two stage plays, Doctor Who and the Daleks in the Seven Keys to Doomsday (1974) and Doctor Who - The Ultimate Adventure (1989), and an audio drama for Big Finish Productions titled Comeback (2002), which was the first to feature former Doctor's companion Sarah Jane Smith in a significant capacity. CANNOTANSWER

Question: Is there anything else interesting in the Dr Who series besides Dicks and Hulke co-writing?
Answer: Dicks' other work for Doctor Who includes two stage plays, Doctor Who and the Daleks in the Seven Keys to Doomsday (1974) and Doctor Who - The Ultimate Adventure
Terry Gilliam

Context: Gilliam's films have a distinctive look, not only in mise-en-scene but even more so in photography, often recognisable from just a short clip; to create a surreal atmosphere of psychological unrest and a world out of balance, he frequently uses unusual camera angles, particularly low-angle shots, high-angle shots, and Dutch angles. Roger Ebert said that "his world is always hallucinatory in its richness of detail." Most of his movies are shot almost entirely with rectilinear ultra-wide-angle lenses with focal lengths of 28mm or less to achieve a distinctive style defined by extreme perspective distortion and extremely deep focus. Gilliam's long-time director of photography Nicola Pecorini has said, "with Terry and me, a long lens means something between a 40mm and a 65mm." This attitude markedly differs from the common definition in photography, by which 40 to 65 mm is the focal length of a normal lens, resembling the natural human field of view, unlike Gilliam's signature style, defined by extreme perspective distortion due to his usual choice of focal length. The 14-mm lens has become informally known as "The Gilliam" among filmmakers because of his frequent use of it at least since Brazil. Gilliam has explained his preference for using wide-angle lenses in his films:  The wide-angle lenses, I think I choose them because it makes me feel like I'm in the space of the film, I'm surrounded. My prevalent vision is full of detail, and that's what I like about it. It's actually harder to do, it's harder to light. The other thing I like about wide-angle lenses is that I'm not forcing the audience to look at just the one thing that is important. It's there, but there's other things to occupy, and some people don't like that because I'm not pointing things out as precisely as I could if I was to use a long lens where I'd focus just on the one thing and everything else would be out of focus. ...  [M]y films, I think, are better the second and third time, frankly, because you can now relax and go with the flow that may not have been as apparent as the first time you saw it and wallow in the details of the worlds we're creating. ... I try to clutter [my visuals] up, they're worthy of many viewings.  In another interview, Gilliam mentioned, in relation to the 9.8-mm Kinoptic lens he had first used on Brazil, that wide-angle lenses make small film sets "look big". The widest lens he has used so far is an 8-mm Zeiss lens employed in filming The Imaginarium of Doctor Parnassus. CANNOTANSWER

Question: What was unusual about the look and style of Terry Gilliam's films?
Answer: to create a surreal atmosphere of psychological unrest and a world out of balance, he frequently uses unusual camera angles, particularly low-angle shots, high-angle shots, and Dutch angles.
Terry Gilliam

Context: Gilliam's films have a distinctive look, not only in mise-en-scene but even more so in photography, often recognisable from just a short clip; to create a surreal atmosphere of psychological unrest and a world out of balance, he frequently uses unusual camera angles, particularly low-angle shots, high-angle shots, and Dutch angles. Roger Ebert said that "his world is always hallucinatory in its richness of detail." Most of his movies are shot almost entirely with rectilinear ultra-wide-angle lenses with focal lengths of 28mm or less to achieve a distinctive style defined by extreme perspective distortion and extremely deep focus. Gilliam's long-time director of photography Nicola Pecorini has said, "with Terry and me, a long lens means something between a 40mm and a 65mm." This attitude markedly differs from the common definition in photography, by which 40 to 65 mm is the focal length of a normal lens, resembling the natural human field of view, unlike Gilliam's signature style, defined by extreme perspective distortion due to his usual choice of focal length. The 14-mm lens has become informally known as "The Gilliam" among filmmakers because of his frequent use of it at least since Brazil. Gilliam has explained his preference for using wide-angle lenses in his films:  The wide-angle lenses, I think I choose them because it makes me feel like I'm in the space of the film, I'm surrounded. My prevalent vision is full of detail, and that's what I like about it. It's actually harder to do, it's harder to light. The other thing I like about wide-angle lenses is that I'm not forcing the audience to look at just the one thing that is important. It's there, but there's other things to occupy, and some people don't like that because I'm not pointing things out as precisely as I could if I was to use a long lens where I'd focus just on the one thing and everything else would be out of focus. ...  [M]y films, I think, are better the second and third time, frankly, because you can now relax and go with the flow that may not have been as apparent as the first time you saw it and wallow in the details of the worlds we're creating. ... I try to clutter [my visuals] up, they're worthy of many viewings.  In another interview, Gilliam mentioned, in relation to the 9.8-mm Kinoptic lens he had first used on Brazil, that wide-angle lenses make small film sets "look big". The widest lens he has used so far is an 8-mm Zeiss lens employed in filming The Imaginarium of Doctor Parnassus. CANNOTANSWER

Question: What is a Dutch angle?
Answer: CANNOTANSWER
Terry Gilliam

Context: Gilliam's films have a distinctive look, not only in mise-en-scene but even more so in photography, often recognisable from just a short clip; to create a surreal atmosphere of psychological unrest and a world out of balance, he frequently uses unusual camera angles, particularly low-angle shots, high-angle shots, and Dutch angles. Roger Ebert said that "his world is always hallucinatory in its richness of detail." Most of his movies are shot almost entirely with rectilinear ultra-wide-angle lenses with focal lengths of 28mm or less to achieve a distinctive style defined by extreme perspective distortion and extremely deep focus. Gilliam's long-time director of photography Nicola Pecorini has said, "with Terry and me, a long lens means something between a 40mm and a 65mm." This attitude markedly differs from the common definition in photography, by which 40 to 65 mm is the focal length of a normal lens, resembling the natural human field of view, unlike Gilliam's signature style, defined by extreme perspective distortion due to his usual choice of focal length. The 14-mm lens has become informally known as "The Gilliam" among filmmakers because of his frequent use of it at least since Brazil. Gilliam has explained his preference for using wide-angle lenses in his films:  The wide-angle lenses, I think I choose them because it makes me feel like I'm in the space of the film, I'm surrounded. My prevalent vision is full of detail, and that's what I like about it. It's actually harder to do, it's harder to light. The other thing I like about wide-angle lenses is that I'm not forcing the audience to look at just the one thing that is important. It's there, but there's other things to occupy, and some people don't like that because I'm not pointing things out as precisely as I could if I was to use a long lens where I'd focus just on the one thing and everything else would be out of focus. ...  [M]y films, I think, are better the second and third time, frankly, because you can now relax and go with the flow that may not have been as apparent as the first time you saw it and wallow in the details of the worlds we're creating. ... I try to clutter [my visuals] up, they're worthy of many viewings.  In another interview, Gilliam mentioned, in relation to the 9.8-mm Kinoptic lens he had first used on Brazil, that wide-angle lenses make small film sets "look big". The widest lens he has used so far is an 8-mm Zeiss lens employed in filming The Imaginarium of Doctor Parnassus. CANNOTANSWER

Question: Is Terry Gilliam's style of films considered unique?
Answer: Gilliam's films have a distinctive look, not only in mise-en-scene but even more so in photography, often recognisable from just a short clip;
Terry Gilliam

Context: Gilliam's films have a distinctive look, not only in mise-en-scene but even more so in photography, often recognisable from just a short clip; to create a surreal atmosphere of psychological unrest and a world out of balance, he frequently uses unusual camera angles, particularly low-angle shots, high-angle shots, and Dutch angles. Roger Ebert said that "his world is always hallucinatory in its richness of detail." Most of his movies are shot almost entirely with rectilinear ultra-wide-angle lenses with focal lengths of 28mm or less to achieve a distinctive style defined by extreme perspective distortion and extremely deep focus. Gilliam's long-time director of photography Nicola Pecorini has said, "with Terry and me, a long lens means something between a 40mm and a 65mm." This attitude markedly differs from the common definition in photography, by which 40 to 65 mm is the focal length of a normal lens, resembling the natural human field of view, unlike Gilliam's signature style, defined by extreme perspective distortion due to his usual choice of focal length. The 14-mm lens has become informally known as "The Gilliam" among filmmakers because of his frequent use of it at least since Brazil. Gilliam has explained his preference for using wide-angle lenses in his films:  The wide-angle lenses, I think I choose them because it makes me feel like I'm in the space of the film, I'm surrounded. My prevalent vision is full of detail, and that's what I like about it. It's actually harder to do, it's harder to light. The other thing I like about wide-angle lenses is that I'm not forcing the audience to look at just the one thing that is important. It's there, but there's other things to occupy, and some people don't like that because I'm not pointing things out as precisely as I could if I was to use a long lens where I'd focus just on the one thing and everything else would be out of focus. ...  [M]y films, I think, are better the second and third time, frankly, because you can now relax and go with the flow that may not have been as apparent as the first time you saw it and wallow in the details of the worlds we're creating. ... I try to clutter [my visuals] up, they're worthy of many viewings.  In another interview, Gilliam mentioned, in relation to the 9.8-mm Kinoptic lens he had first used on Brazil, that wide-angle lenses make small film sets "look big". The widest lens he has used so far is an 8-mm Zeiss lens employed in filming The Imaginarium of Doctor Parnassus. CANNOTANSWER

Question: Does Terry Gilliam's always use the distinctive style of filmmaking?
Answer: Most of his movies are shot almost entirely with rectilinear ultra-wide-angle lenses with focal lengths of 28mm or less to achieve a distinctive style defined by extreme perspective distortion
Terry Gilliam

Context: Gilliam's films have a distinctive look, not only in mise-en-scene but even more so in photography, often recognisable from just a short clip; to create a surreal atmosphere of psychological unrest and a world out of balance, he frequently uses unusual camera angles, particularly low-angle shots, high-angle shots, and Dutch angles. Roger Ebert said that "his world is always hallucinatory in its richness of detail." Most of his movies are shot almost entirely with rectilinear ultra-wide-angle lenses with focal lengths of 28mm or less to achieve a distinctive style defined by extreme perspective distortion and extremely deep focus. Gilliam's long-time director of photography Nicola Pecorini has said, "with Terry and me, a long lens means something between a 40mm and a 65mm." This attitude markedly differs from the common definition in photography, by which 40 to 65 mm is the focal length of a normal lens, resembling the natural human field of view, unlike Gilliam's signature style, defined by extreme perspective distortion due to his usual choice of focal length. The 14-mm lens has become informally known as "The Gilliam" among filmmakers because of his frequent use of it at least since Brazil. Gilliam has explained his preference for using wide-angle lenses in his films:  The wide-angle lenses, I think I choose them because it makes me feel like I'm in the space of the film, I'm surrounded. My prevalent vision is full of detail, and that's what I like about it. It's actually harder to do, it's harder to light. The other thing I like about wide-angle lenses is that I'm not forcing the audience to look at just the one thing that is important. It's there, but there's other things to occupy, and some people don't like that because I'm not pointing things out as precisely as I could if I was to use a long lens where I'd focus just on the one thing and everything else would be out of focus. ...  [M]y films, I think, are better the second and third time, frankly, because you can now relax and go with the flow that may not have been as apparent as the first time you saw it and wallow in the details of the worlds we're creating. ... I try to clutter [my visuals] up, they're worthy of many viewings.  In another interview, Gilliam mentioned, in relation to the 9.8-mm Kinoptic lens he had first used on Brazil, that wide-angle lenses make small film sets "look big". The widest lens he has used so far is an 8-mm Zeiss lens employed in filming The Imaginarium of Doctor Parnassus. CANNOTANSWER

Question: Has there ever been a Terry Gilliam's film without extreme perspective distortion?
Answer: CANNOTANSWER
Terry Gilliam

Context: Gilliam's films have a distinctive look, not only in mise-en-scene but even more so in photography, often recognisable from just a short clip; to create a surreal atmosphere of psychological unrest and a world out of balance, he frequently uses unusual camera angles, particularly low-angle shots, high-angle shots, and Dutch angles. Roger Ebert said that "his world is always hallucinatory in its richness of detail." Most of his movies are shot almost entirely with rectilinear ultra-wide-angle lenses with focal lengths of 28mm or less to achieve a distinctive style defined by extreme perspective distortion and extremely deep focus. Gilliam's long-time director of photography Nicola Pecorini has said, "with Terry and me, a long lens means something between a 40mm and a 65mm." This attitude markedly differs from the common definition in photography, by which 40 to 65 mm is the focal length of a normal lens, resembling the natural human field of view, unlike Gilliam's signature style, defined by extreme perspective distortion due to his usual choice of focal length. The 14-mm lens has become informally known as "The Gilliam" among filmmakers because of his frequent use of it at least since Brazil. Gilliam has explained his preference for using wide-angle lenses in his films:  The wide-angle lenses, I think I choose them because it makes me feel like I'm in the space of the film, I'm surrounded. My prevalent vision is full of detail, and that's what I like about it. It's actually harder to do, it's harder to light. The other thing I like about wide-angle lenses is that I'm not forcing the audience to look at just the one thing that is important. It's there, but there's other things to occupy, and some people don't like that because I'm not pointing things out as precisely as I could if I was to use a long lens where I'd focus just on the one thing and everything else would be out of focus. ...  [M]y films, I think, are better the second and third time, frankly, because you can now relax and go with the flow that may not have been as apparent as the first time you saw it and wallow in the details of the worlds we're creating. ... I try to clutter [my visuals] up, they're worthy of many viewings.  In another interview, Gilliam mentioned, in relation to the 9.8-mm Kinoptic lens he had first used on Brazil, that wide-angle lenses make small film sets "look big". The widest lens he has used so far is an 8-mm Zeiss lens employed in filming The Imaginarium of Doctor Parnassus. CANNOTANSWER

Question: What or who influenced Terry Gilliam's style?
Answer: CANNOTANSWER