gaussalgo/Canard_Wiki-augmented huggingface dataset:
The Strokes

Context: The Strokes released their debut album, Is This It, in the US in October 2001. The album was produced by Gordon Raphael, as was their follow-up album Room On Fire. RCA delayed the North American (US) release over concerns with the album's cover and lyrics. The UK-released cover features a black-and-white photo of a gloved hand on a woman's naked backside, shown in semi-profile (photographer Colin Lane's then-girlfriend,) while the North American version replaced it with a photo of particle collisions in the Big European Bubble Chamber. RCA replaced the track "New York City Cops" with "When It Started", as the former featured potentially inflammatory lyrics in the wake of the September 11 attacks. The track "New York City Cops"--featuring the refrain, "New York City Cops, they ain't too smart"--was listed as No. 12 on New York Magazine's "Ultimate New York Playlist" on March 1, 2010. Despite its delayed release (and the potential controversy), Is This It received critical acclaim--among other accolades, four stars from Rolling Stone, and a 9.1 from Pitchfork Media. The album made many critic's top-ten lists, was named the best album of the year by Entertainment Weekly and TIME, and (in an article previewing summer concerts) NME urged readers to attend the Strokes' shows--as they were touring some of the "best pop songs ever." While critics noted the influence of CBGB stalwarts Television, Casablancas and bandmates claimed to have never heard the band, instead citing the Velvet Underground as a reference point.  After the release of Is This It, the band toured around the world--including Japan, Australia, New Zealand, Europe, and North America (the band opened for the Rolling Stones on numerous occasions during the North-American leg of their tour). The self-made mini-documentary "In Transit" was filmed during the summer tour of Europe. In August 2002, the band headlined UK's Carling Weekend festivals for the second time, subsequently playing at New York's Radio City Music Hall on a bill with the White Stripes. Jack White joined the Strokes on stage to perform the guitar solo on "New York City Cops". During that period, the band also appeared as musical guests on numerous late-night talk shows. Is This It yielded several singles and music videos, all of which were directed by Roman Coppola.  Is This It has had an enduring impact on fans and critics alike. In 2009, NME named Is This It as the Greatest Album of the Decade (2000s). The album placed second on a similar list compiled by Rolling Stone (the same issue featured a list of the '100 Best Songs of the 00's', featuring "Hard to Explain" and "Last Nite" at No. 59 and 16, respectively). In January 2011, Rolling Stone conducted a survey among their Facebook fans to determine the top ten debut albums of all time. Is This It came in at number ten and was also the most recent behind Pearl Jam's 1991 debut. As of 2010, Is This It has sold over 3.5 million copies worldwide. CANNOTANSWER

Question: How did the album "Is This It" by The Strokes do?
Answer: Is This It received critical acclaim--among other accolades, four stars from Rolling Stone, and a 9.1 from Pitchfork Media.
The Strokes

Context: The Strokes released their debut album, Is This It, in the US in October 2001. The album was produced by Gordon Raphael, as was their follow-up album Room On Fire. RCA delayed the North American (US) release over concerns with the album's cover and lyrics. The UK-released cover features a black-and-white photo of a gloved hand on a woman's naked backside, shown in semi-profile (photographer Colin Lane's then-girlfriend,) while the North American version replaced it with a photo of particle collisions in the Big European Bubble Chamber. RCA replaced the track "New York City Cops" with "When It Started", as the former featured potentially inflammatory lyrics in the wake of the September 11 attacks. The track "New York City Cops"--featuring the refrain, "New York City Cops, they ain't too smart"--was listed as No. 12 on New York Magazine's "Ultimate New York Playlist" on March 1, 2010. Despite its delayed release (and the potential controversy), Is This It received critical acclaim--among other accolades, four stars from Rolling Stone, and a 9.1 from Pitchfork Media. The album made many critic's top-ten lists, was named the best album of the year by Entertainment Weekly and TIME, and (in an article previewing summer concerts) NME urged readers to attend the Strokes' shows--as they were touring some of the "best pop songs ever." While critics noted the influence of CBGB stalwarts Television, Casablancas and bandmates claimed to have never heard the band, instead citing the Velvet Underground as a reference point.  After the release of Is This It, the band toured around the world--including Japan, Australia, New Zealand, Europe, and North America (the band opened for the Rolling Stones on numerous occasions during the North-American leg of their tour). The self-made mini-documentary "In Transit" was filmed during the summer tour of Europe. In August 2002, the band headlined UK's Carling Weekend festivals for the second time, subsequently playing at New York's Radio City Music Hall on a bill with the White Stripes. Jack White joined the Strokes on stage to perform the guitar solo on "New York City Cops". During that period, the band also appeared as musical guests on numerous late-night talk shows. Is This It yielded several singles and music videos, all of which were directed by Roman Coppola.  Is This It has had an enduring impact on fans and critics alike. In 2009, NME named Is This It as the Greatest Album of the Decade (2000s). The album placed second on a similar list compiled by Rolling Stone (the same issue featured a list of the '100 Best Songs of the 00's', featuring "Hard to Explain" and "Last Nite" at No. 59 and 16, respectively). In January 2011, Rolling Stone conducted a survey among their Facebook fans to determine the top ten debut albums of all time. Is This It came in at number ten and was also the most recent behind Pearl Jam's 1991 debut. As of 2010, Is This It has sold over 3.5 million copies worldwide. CANNOTANSWER

Question: What made the album "Is This It" by The Strokes so special?
Answer: CANNOTANSWER
Richard Lewontin

Context: Along with others, such as Gould, Lewontin has been a persistent critic of some themes in neo-Darwinism. Specifically, he has criticised proponents of sociobiology and evolutionary psychology such as Edward O. Wilson and Richard Dawkins, who attempt to explain animal behaviour and social structures in terms of evolutionary advantage or strategy. He and others criticize this approach when applied to humans, as he sees it as genetic determinism. In his writing, Lewontin suggests a more nuanced view of evolution is needed, which requires a more careful understanding of the context of the whole organism as well as the environment.  Such concerns about what he views as the oversimplification of genetics has led Lewontin to be a frequent participant in debates, and an active life as a public intellectual. He has lectured widely to promote his views on evolutionary biology and science. In books such as Not in Our Genes (co-authored with Steven Rose and Leon J. Kamin) and numerous articles, Lewontin has questioned much of the claimed heritability of human behavioral traits, such as intelligence as measured by IQ tests.  Some academics have criticized him for rejecting sociobiology for non-scientific reasons. Edward Wilson (1995) suggested that Lewontin's political beliefs affected his scientific view. Robert Trivers described Lewontin as "...a man with great talents who often wasted them on foolishness, on preening and showing off, on shallow political thinking and on useless philosophical rumination while limiting his genetic work by assumptions congenial to his politics." Lewontin has at times identified himself as Marxist, and admitted that his ideological views have affected his scientific work (Levins and Lewontin 1985). Others such as Kitcher (1985) have countered that Lewontin's criticisms of sociobiology are genuine scientific concerns about the discipline. He wrote that attacking Lewontin's motives amounts to an ad hominem argument. CANNOTANSWER

Question: What did Richard Lewontin have to do with sociobiology?
Answer: he has criticised proponents of sociobiology and evolutionary psychology such as Edward O. Wilson and Richard Dawkins,
Richard Lewontin

Context: Along with others, such as Gould, Lewontin has been a persistent critic of some themes in neo-Darwinism. Specifically, he has criticised proponents of sociobiology and evolutionary psychology such as Edward O. Wilson and Richard Dawkins, who attempt to explain animal behaviour and social structures in terms of evolutionary advantage or strategy. He and others criticize this approach when applied to humans, as he sees it as genetic determinism. In his writing, Lewontin suggests a more nuanced view of evolution is needed, which requires a more careful understanding of the context of the whole organism as well as the environment.  Such concerns about what he views as the oversimplification of genetics has led Lewontin to be a frequent participant in debates, and an active life as a public intellectual. He has lectured widely to promote his views on evolutionary biology and science. In books such as Not in Our Genes (co-authored with Steven Rose and Leon J. Kamin) and numerous articles, Lewontin has questioned much of the claimed heritability of human behavioral traits, such as intelligence as measured by IQ tests.  Some academics have criticized him for rejecting sociobiology for non-scientific reasons. Edward Wilson (1995) suggested that Lewontin's political beliefs affected his scientific view. Robert Trivers described Lewontin as "...a man with great talents who often wasted them on foolishness, on preening and showing off, on shallow political thinking and on useless philosophical rumination while limiting his genetic work by assumptions congenial to his politics." Lewontin has at times identified himself as Marxist, and admitted that his ideological views have affected his scientific work (Levins and Lewontin 1985). Others such as Kitcher (1985) have countered that Lewontin's criticisms of sociobiology are genuine scientific concerns about the discipline. He wrote that attacking Lewontin's motives amounts to an ad hominem argument. CANNOTANSWER

Question: Why did Richard Lewontin criticize proponents of sociobiology and evolutionary psychology?
Answer: He and others criticize this approach when applied to humans, as he sees it as genetic determinism.
Richard Lewontin

Context: Along with others, such as Gould, Lewontin has been a persistent critic of some themes in neo-Darwinism. Specifically, he has criticised proponents of sociobiology and evolutionary psychology such as Edward O. Wilson and Richard Dawkins, who attempt to explain animal behaviour and social structures in terms of evolutionary advantage or strategy. He and others criticize this approach when applied to humans, as he sees it as genetic determinism. In his writing, Lewontin suggests a more nuanced view of evolution is needed, which requires a more careful understanding of the context of the whole organism as well as the environment.  Such concerns about what he views as the oversimplification of genetics has led Lewontin to be a frequent participant in debates, and an active life as a public intellectual. He has lectured widely to promote his views on evolutionary biology and science. In books such as Not in Our Genes (co-authored with Steven Rose and Leon J. Kamin) and numerous articles, Lewontin has questioned much of the claimed heritability of human behavioral traits, such as intelligence as measured by IQ tests.  Some academics have criticized him for rejecting sociobiology for non-scientific reasons. Edward Wilson (1995) suggested that Lewontin's political beliefs affected his scientific view. Robert Trivers described Lewontin as "...a man with great talents who often wasted them on foolishness, on preening and showing off, on shallow political thinking and on useless philosophical rumination while limiting his genetic work by assumptions congenial to his politics." Lewontin has at times identified himself as Marxist, and admitted that his ideological views have affected his scientific work (Levins and Lewontin 1985). Others such as Kitcher (1985) have countered that Lewontin's criticisms of sociobiology are genuine scientific concerns about the discipline. He wrote that attacking Lewontin's motives amounts to an ad hominem argument. CANNOTANSWER

Question: Did Richard Lewontin criticize others besides proponents of sociobiology?
Answer: CANNOTANSWER
Richard Lewontin

Context: Along with others, such as Gould, Lewontin has been a persistent critic of some themes in neo-Darwinism. Specifically, he has criticised proponents of sociobiology and evolutionary psychology such as Edward O. Wilson and Richard Dawkins, who attempt to explain animal behaviour and social structures in terms of evolutionary advantage or strategy. He and others criticize this approach when applied to humans, as he sees it as genetic determinism. In his writing, Lewontin suggests a more nuanced view of evolution is needed, which requires a more careful understanding of the context of the whole organism as well as the environment.  Such concerns about what he views as the oversimplification of genetics has led Lewontin to be a frequent participant in debates, and an active life as a public intellectual. He has lectured widely to promote his views on evolutionary biology and science. In books such as Not in Our Genes (co-authored with Steven Rose and Leon J. Kamin) and numerous articles, Lewontin has questioned much of the claimed heritability of human behavioral traits, such as intelligence as measured by IQ tests.  Some academics have criticized him for rejecting sociobiology for non-scientific reasons. Edward Wilson (1995) suggested that Lewontin's political beliefs affected his scientific view. Robert Trivers described Lewontin as "...a man with great talents who often wasted them on foolishness, on preening and showing off, on shallow political thinking and on useless philosophical rumination while limiting his genetic work by assumptions congenial to his politics." Lewontin has at times identified himself as Marxist, and admitted that his ideological views have affected his scientific work (Levins and Lewontin 1985). Others such as Kitcher (1985) have countered that Lewontin's criticisms of sociobiology are genuine scientific concerns about the discipline. He wrote that attacking Lewontin's motives amounts to an ad hominem argument. CANNOTANSWER

Question: Is there any other interesting aspects of Richard Lewontin that you liked besides his criticism of proponents of sociobiology?
Answer: Some academics have criticized him for rejecting sociobiology for non-scientific reasons.
Richard Lewontin

Context: Along with others, such as Gould, Lewontin has been a persistent critic of some themes in neo-Darwinism. Specifically, he has criticised proponents of sociobiology and evolutionary psychology such as Edward O. Wilson and Richard Dawkins, who attempt to explain animal behaviour and social structures in terms of evolutionary advantage or strategy. He and others criticize this approach when applied to humans, as he sees it as genetic determinism. In his writing, Lewontin suggests a more nuanced view of evolution is needed, which requires a more careful understanding of the context of the whole organism as well as the environment.  Such concerns about what he views as the oversimplification of genetics has led Lewontin to be a frequent participant in debates, and an active life as a public intellectual. He has lectured widely to promote his views on evolutionary biology and science. In books such as Not in Our Genes (co-authored with Steven Rose and Leon J. Kamin) and numerous articles, Lewontin has questioned much of the claimed heritability of human behavioral traits, such as intelligence as measured by IQ tests.  Some academics have criticized him for rejecting sociobiology for non-scientific reasons. Edward Wilson (1995) suggested that Lewontin's political beliefs affected his scientific view. Robert Trivers described Lewontin as "...a man with great talents who often wasted them on foolishness, on preening and showing off, on shallow political thinking and on useless philosophical rumination while limiting his genetic work by assumptions congenial to his politics." Lewontin has at times identified himself as Marxist, and admitted that his ideological views have affected his scientific work (Levins and Lewontin 1985). Others such as Kitcher (1985) have countered that Lewontin's criticisms of sociobiology are genuine scientific concerns about the discipline. He wrote that attacking Lewontin's motives amounts to an ad hominem argument. CANNOTANSWER

Question: Did others not like Richard Lewontin for rejecting sociobiology for non-scientific reasons?
Answer: Robert Trivers described Lewontin as "...a man with great talents who often wasted them on foolishness,
Richard Lewontin

Context: Along with others, such as Gould, Lewontin has been a persistent critic of some themes in neo-Darwinism. Specifically, he has criticised proponents of sociobiology and evolutionary psychology such as Edward O. Wilson and Richard Dawkins, who attempt to explain animal behaviour and social structures in terms of evolutionary advantage or strategy. He and others criticize this approach when applied to humans, as he sees it as genetic determinism. In his writing, Lewontin suggests a more nuanced view of evolution is needed, which requires a more careful understanding of the context of the whole organism as well as the environment.  Such concerns about what he views as the oversimplification of genetics has led Lewontin to be a frequent participant in debates, and an active life as a public intellectual. He has lectured widely to promote his views on evolutionary biology and science. In books such as Not in Our Genes (co-authored with Steven Rose and Leon J. Kamin) and numerous articles, Lewontin has questioned much of the claimed heritability of human behavioral traits, such as intelligence as measured by IQ tests.  Some academics have criticized him for rejecting sociobiology for non-scientific reasons. Edward Wilson (1995) suggested that Lewontin's political beliefs affected his scientific view. Robert Trivers described Lewontin as "...a man with great talents who often wasted them on foolishness, on preening and showing off, on shallow political thinking and on useless philosophical rumination while limiting his genetic work by assumptions congenial to his politics." Lewontin has at times identified himself as Marxist, and admitted that his ideological views have affected his scientific work (Levins and Lewontin 1985). Others such as Kitcher (1985) have countered that Lewontin's criticisms of sociobiology are genuine scientific concerns about the discipline. He wrote that attacking Lewontin's motives amounts to an ad hominem argument. CANNOTANSWER

Question: What did Richard Lewontin do with evolutionary psychology?
Answer: Lewontin has questioned much of the claimed heritability of human behavioral traits, such as intelligence as measured by IQ tests.
Richard Lewontin

Context: Along with others, such as Gould, Lewontin has been a persistent critic of some themes in neo-Darwinism. Specifically, he has criticised proponents of sociobiology and evolutionary psychology such as Edward O. Wilson and Richard Dawkins, who attempt to explain animal behaviour and social structures in terms of evolutionary advantage or strategy. He and others criticize this approach when applied to humans, as he sees it as genetic determinism. In his writing, Lewontin suggests a more nuanced view of evolution is needed, which requires a more careful understanding of the context of the whole organism as well as the environment.  Such concerns about what he views as the oversimplification of genetics has led Lewontin to be a frequent participant in debates, and an active life as a public intellectual. He has lectured widely to promote his views on evolutionary biology and science. In books such as Not in Our Genes (co-authored with Steven Rose and Leon J. Kamin) and numerous articles, Lewontin has questioned much of the claimed heritability of human behavioral traits, such as intelligence as measured by IQ tests.  Some academics have criticized him for rejecting sociobiology for non-scientific reasons. Edward Wilson (1995) suggested that Lewontin's political beliefs affected his scientific view. Robert Trivers described Lewontin as "...a man with great talents who often wasted them on foolishness, on preening and showing off, on shallow political thinking and on useless philosophical rumination while limiting his genetic work by assumptions congenial to his politics." Lewontin has at times identified himself as Marxist, and admitted that his ideological views have affected his scientific work (Levins and Lewontin 1985). Others such as Kitcher (1985) have countered that Lewontin's criticisms of sociobiology are genuine scientific concerns about the discipline. He wrote that attacking Lewontin's motives amounts to an ad hominem argument. CANNOTANSWER

Question: Why did Richard Lewontin question the claimed heritability of human behavioral traits?
Answer: CANNOTANSWER
Good Night, and Good Luck

Context: In September 2005, Clooney explained his interest in the story to an audience at the New York Film Festival: "I thought it was a good time to raise the idea of using fear to stifle political debate." Having majored in journalism in college, Clooney was well-versed in the subject matter. His father, Nick Clooney, was a television journalist for many years, appearing as an anchorman in Cincinnati, Ohio, Salt Lake City, Utah, Los Angeles, California, and Buffalo, New York. The elder Clooney also ran for Congress in 2004.  George Clooney was paid $1 each for writing, directing, and acting in Good Night, and Good Luck., which cost $7.5 million to make. Due to an injury he received on the set of Syriana a few months earlier, Clooney could not pass the tests to be insured. He then mortgaged his own house in Los Angeles in order to make the film. Dallas Mavericks owner Mark Cuban and former eBay president Jeff Skoll invested money in the project as executive producers. The film ultimately grossed more than $54 million worldwide.  The CBS offices and studios seen in the movie were all sets on a soundstage. To accomplish a pair of scenes showing characters going up an elevator, different "floors" of the building were laid out on the same level. The "elevator" was actually built on a large turntable at the intersection of the two floor sets, and rotated once the doors were closed. When the doors reopened, the actors appeared to be in a different location. In doing so, the movie exercised a bit of dramatic license--the CBS executive offices at the time were located at 485 Madison Avenue. CBS News was located in an office building just north of Grand Central Terminal (demolished and now the site of the Met Life Building); and the See It Now studio was located in Grand Central Terminal itself, above the waiting room. For dramatic effect, all three areas were depicted as being in the same building.  Clooney and producer Grant Heslov decided to use only archival footage of Joseph McCarthy in his depiction. As all of that footage was black-and-white, that determined the color scheme of the film. A young Robert Kennedy is also shown in the movie during McCarthy's hearing sessions. He was then a staff member on the Senate subcommittee chaired by McCarthy. CANNOTANSWER

Question: who produced the film Good Night, and Good Luck
Answer: George Clooney
Good Night, and Good Luck

Context: In September 2005, Clooney explained his interest in the story to an audience at the New York Film Festival: "I thought it was a good time to raise the idea of using fear to stifle political debate." Having majored in journalism in college, Clooney was well-versed in the subject matter. His father, Nick Clooney, was a television journalist for many years, appearing as an anchorman in Cincinnati, Ohio, Salt Lake City, Utah, Los Angeles, California, and Buffalo, New York. The elder Clooney also ran for Congress in 2004.  George Clooney was paid $1 each for writing, directing, and acting in Good Night, and Good Luck., which cost $7.5 million to make. Due to an injury he received on the set of Syriana a few months earlier, Clooney could not pass the tests to be insured. He then mortgaged his own house in Los Angeles in order to make the film. Dallas Mavericks owner Mark Cuban and former eBay president Jeff Skoll invested money in the project as executive producers. The film ultimately grossed more than $54 million worldwide.  The CBS offices and studios seen in the movie were all sets on a soundstage. To accomplish a pair of scenes showing characters going up an elevator, different "floors" of the building were laid out on the same level. The "elevator" was actually built on a large turntable at the intersection of the two floor sets, and rotated once the doors were closed. When the doors reopened, the actors appeared to be in a different location. In doing so, the movie exercised a bit of dramatic license--the CBS executive offices at the time were located at 485 Madison Avenue. CBS News was located in an office building just north of Grand Central Terminal (demolished and now the site of the Met Life Building); and the See It Now studio was located in Grand Central Terminal itself, above the waiting room. For dramatic effect, all three areas were depicted as being in the same building.  Clooney and producer Grant Heslov decided to use only archival footage of Joseph McCarthy in his depiction. As all of that footage was black-and-white, that determined the color scheme of the film. A young Robert Kennedy is also shown in the movie during McCarthy's hearing sessions. He was then a staff member on the Senate subcommittee chaired by McCarthy. CANNOTANSWER

Question: when was Good Night, and Good Luck produced
Answer: In September 2005,
Good Night, and Good Luck

Context: In September 2005, Clooney explained his interest in the story to an audience at the New York Film Festival: "I thought it was a good time to raise the idea of using fear to stifle political debate." Having majored in journalism in college, Clooney was well-versed in the subject matter. His father, Nick Clooney, was a television journalist for many years, appearing as an anchorman in Cincinnati, Ohio, Salt Lake City, Utah, Los Angeles, California, and Buffalo, New York. The elder Clooney also ran for Congress in 2004.  George Clooney was paid $1 each for writing, directing, and acting in Good Night, and Good Luck., which cost $7.5 million to make. Due to an injury he received on the set of Syriana a few months earlier, Clooney could not pass the tests to be insured. He then mortgaged his own house in Los Angeles in order to make the film. Dallas Mavericks owner Mark Cuban and former eBay president Jeff Skoll invested money in the project as executive producers. The film ultimately grossed more than $54 million worldwide.  The CBS offices and studios seen in the movie were all sets on a soundstage. To accomplish a pair of scenes showing characters going up an elevator, different "floors" of the building were laid out on the same level. The "elevator" was actually built on a large turntable at the intersection of the two floor sets, and rotated once the doors were closed. When the doors reopened, the actors appeared to be in a different location. In doing so, the movie exercised a bit of dramatic license--the CBS executive offices at the time were located at 485 Madison Avenue. CBS News was located in an office building just north of Grand Central Terminal (demolished and now the site of the Met Life Building); and the See It Now studio was located in Grand Central Terminal itself, above the waiting room. For dramatic effect, all three areas were depicted as being in the same building.  Clooney and producer Grant Heslov decided to use only archival footage of Joseph McCarthy in his depiction. As all of that footage was black-and-white, that determined the color scheme of the film. A young Robert Kennedy is also shown in the movie during McCarthy's hearing sessions. He was then a staff member on the Senate subcommittee chaired by McCarthy. CANNOTANSWER

Question: how long did Good Night, and Good Luck take to produce
Answer: CANNOTANSWER
Good Night, and Good Luck

Context: In September 2005, Clooney explained his interest in the story to an audience at the New York Film Festival: "I thought it was a good time to raise the idea of using fear to stifle political debate." Having majored in journalism in college, Clooney was well-versed in the subject matter. His father, Nick Clooney, was a television journalist for many years, appearing as an anchorman in Cincinnati, Ohio, Salt Lake City, Utah, Los Angeles, California, and Buffalo, New York. The elder Clooney also ran for Congress in 2004.  George Clooney was paid $1 each for writing, directing, and acting in Good Night, and Good Luck., which cost $7.5 million to make. Due to an injury he received on the set of Syriana a few months earlier, Clooney could not pass the tests to be insured. He then mortgaged his own house in Los Angeles in order to make the film. Dallas Mavericks owner Mark Cuban and former eBay president Jeff Skoll invested money in the project as executive producers. The film ultimately grossed more than $54 million worldwide.  The CBS offices and studios seen in the movie were all sets on a soundstage. To accomplish a pair of scenes showing characters going up an elevator, different "floors" of the building were laid out on the same level. The "elevator" was actually built on a large turntable at the intersection of the two floor sets, and rotated once the doors were closed. When the doors reopened, the actors appeared to be in a different location. In doing so, the movie exercised a bit of dramatic license--the CBS executive offices at the time were located at 485 Madison Avenue. CBS News was located in an office building just north of Grand Central Terminal (demolished and now the site of the Met Life Building); and the See It Now studio was located in Grand Central Terminal itself, above the waiting room. For dramatic effect, all three areas were depicted as being in the same building.  Clooney and producer Grant Heslov decided to use only archival footage of Joseph McCarthy in his depiction. As all of that footage was black-and-white, that determined the color scheme of the film. A young Robert Kennedy is also shown in the movie during McCarthy's hearing sessions. He was then a staff member on the Senate subcommittee chaired by McCarthy. CANNOTANSWER

Question: did Good Night, and Good Luck have supporters
Answer: Dallas Mavericks owner Mark Cuban and former eBay president Jeff Skoll invested money in the project as executive producers.
Dimitri Tiomkin

Context: Tiomkin received his first break from Columbia director Frank Capra, who picked him to write and perform the score for Lost Horizon (1937). The film gained significant recognition for Tiomkin in Hollywood. It was released the same year that he became a naturalized U.S. citizen.  In his autobiography, Please Don't Hate Me! (1959), Tiomkin recalls how the assignment by Capra forced him to first confront a director in a matter of music style:  [H]e gave me the job without reservation. I could write the score without interference, and he would hear it when it was done. Lost Horizon offered me a superb chance to do something big... I thought I might be going a little too far in the matter of expense, and went to Frank one day as he sat in the projection room [and explained the score.]... He looked shocked. "No, Dimi, the lama is a simple man. His greatness is in being simple. For his death the music should be simple, nothing more than the muttering rhythm of a drum." "But Frank, death of lama is not ending one man, but is death of idea. Is tragedy applying to whole human race. I must be honest. Music should rise high, high. Should give symbolism of immense loss. Please don't hate me."  He worked on other Capra films during the following decade, including the comedy You Can't Take It With You (1938), Mr. Smith Goes to Washington (1939), Meet John Doe (1941), and It's a Wonderful Life (1946). During World War II, he continued his close collaboration with Capra by composing scores for his Why We Fight series. These seven films were commissioned by the U.S. government to show American soldiers the reason for United States participation in the war. They were later released to the general U.S. public to generate support for American involvement.  Tiomkin credited Capra for broadening his musical horizons by shifting them away from a purely Eurocentric and romantic style to a more American style based on subject matter and story. CANNOTANSWER

Question: On what movie did Dimitri Tiomkin work with Frank Capra?
Answer: first break from Columbia director Frank Capra, who picked him to write and perform the score for Lost Horizon (1937).
Dimitri Tiomkin

Context: Tiomkin received his first break from Columbia director Frank Capra, who picked him to write and perform the score for Lost Horizon (1937). The film gained significant recognition for Tiomkin in Hollywood. It was released the same year that he became a naturalized U.S. citizen.  In his autobiography, Please Don't Hate Me! (1959), Tiomkin recalls how the assignment by Capra forced him to first confront a director in a matter of music style:  [H]e gave me the job without reservation. I could write the score without interference, and he would hear it when it was done. Lost Horizon offered me a superb chance to do something big... I thought I might be going a little too far in the matter of expense, and went to Frank one day as he sat in the projection room [and explained the score.]... He looked shocked. "No, Dimi, the lama is a simple man. His greatness is in being simple. For his death the music should be simple, nothing more than the muttering rhythm of a drum." "But Frank, death of lama is not ending one man, but is death of idea. Is tragedy applying to whole human race. I must be honest. Music should rise high, high. Should give symbolism of immense loss. Please don't hate me."  He worked on other Capra films during the following decade, including the comedy You Can't Take It With You (1938), Mr. Smith Goes to Washington (1939), Meet John Doe (1941), and It's a Wonderful Life (1946). During World War II, he continued his close collaboration with Capra by composing scores for his Why We Fight series. These seven films were commissioned by the U.S. government to show American soldiers the reason for United States participation in the war. They were later released to the general U.S. public to generate support for American involvement.  Tiomkin credited Capra for broadening his musical horizons by shifting them away from a purely Eurocentric and romantic style to a more American style based on subject matter and story. CANNOTANSWER

Question: Did Dimitri Tiomkin work on subsequent Capra films after Lost Horizon?
Answer: including the comedy You Can't Take It With You (1938), Mr. Smith Goes to Washington (1939), Meet John Doe (1941), and It's a Wonderful Life (1946).
Dimitri Tiomkin

Context: Tiomkin received his first break from Columbia director Frank Capra, who picked him to write and perform the score for Lost Horizon (1937). The film gained significant recognition for Tiomkin in Hollywood. It was released the same year that he became a naturalized U.S. citizen.  In his autobiography, Please Don't Hate Me! (1959), Tiomkin recalls how the assignment by Capra forced him to first confront a director in a matter of music style:  [H]e gave me the job without reservation. I could write the score without interference, and he would hear it when it was done. Lost Horizon offered me a superb chance to do something big... I thought I might be going a little too far in the matter of expense, and went to Frank one day as he sat in the projection room [and explained the score.]... He looked shocked. "No, Dimi, the lama is a simple man. His greatness is in being simple. For his death the music should be simple, nothing more than the muttering rhythm of a drum." "But Frank, death of lama is not ending one man, but is death of idea. Is tragedy applying to whole human race. I must be honest. Music should rise high, high. Should give symbolism of immense loss. Please don't hate me."  He worked on other Capra films during the following decade, including the comedy You Can't Take It With You (1938), Mr. Smith Goes to Washington (1939), Meet John Doe (1941), and It's a Wonderful Life (1946). During World War II, he continued his close collaboration with Capra by composing scores for his Why We Fight series. These seven films were commissioned by the U.S. government to show American soldiers the reason for United States participation in the war. They were later released to the general U.S. public to generate support for American involvement.  Tiomkin credited Capra for broadening his musical horizons by shifting them away from a purely Eurocentric and romantic style to a more American style based on subject matter and story. CANNOTANSWER

Question: Did Dimitri Tiomkin write the scores for the movies worked on with Frank Capra?
Answer: He worked on other Capra films during the following decade,
Dimitri Tiomkin

Context: Tiomkin received his first break from Columbia director Frank Capra, who picked him to write and perform the score for Lost Horizon (1937). The film gained significant recognition for Tiomkin in Hollywood. It was released the same year that he became a naturalized U.S. citizen.  In his autobiography, Please Don't Hate Me! (1959), Tiomkin recalls how the assignment by Capra forced him to first confront a director in a matter of music style:  [H]e gave me the job without reservation. I could write the score without interference, and he would hear it when it was done. Lost Horizon offered me a superb chance to do something big... I thought I might be going a little too far in the matter of expense, and went to Frank one day as he sat in the projection room [and explained the score.]... He looked shocked. "No, Dimi, the lama is a simple man. His greatness is in being simple. For his death the music should be simple, nothing more than the muttering rhythm of a drum." "But Frank, death of lama is not ending one man, but is death of idea. Is tragedy applying to whole human race. I must be honest. Music should rise high, high. Should give symbolism of immense loss. Please don't hate me."  He worked on other Capra films during the following decade, including the comedy You Can't Take It With You (1938), Mr. Smith Goes to Washington (1939), Meet John Doe (1941), and It's a Wonderful Life (1946). During World War II, he continued his close collaboration with Capra by composing scores for his Why We Fight series. These seven films were commissioned by the U.S. government to show American soldiers the reason for United States participation in the war. They were later released to the general U.S. public to generate support for American involvement.  Tiomkin credited Capra for broadening his musical horizons by shifting them away from a purely Eurocentric and romantic style to a more American style based on subject matter and story. CANNOTANSWER

Question: Was "It's a Wonderful Life" the last movie that Dimitri Tiomkin did with Frank Capra?
Answer: and It's a Wonderful Life (1946).
Dimitri Tiomkin

Context: Tiomkin received his first break from Columbia director Frank Capra, who picked him to write and perform the score for Lost Horizon (1937). The film gained significant recognition for Tiomkin in Hollywood. It was released the same year that he became a naturalized U.S. citizen.  In his autobiography, Please Don't Hate Me! (1959), Tiomkin recalls how the assignment by Capra forced him to first confront a director in a matter of music style:  [H]e gave me the job without reservation. I could write the score without interference, and he would hear it when it was done. Lost Horizon offered me a superb chance to do something big... I thought I might be going a little too far in the matter of expense, and went to Frank one day as he sat in the projection room [and explained the score.]... He looked shocked. "No, Dimi, the lama is a simple man. His greatness is in being simple. For his death the music should be simple, nothing more than the muttering rhythm of a drum." "But Frank, death of lama is not ending one man, but is death of idea. Is tragedy applying to whole human race. I must be honest. Music should rise high, high. Should give symbolism of immense loss. Please don't hate me."  He worked on other Capra films during the following decade, including the comedy You Can't Take It With You (1938), Mr. Smith Goes to Washington (1939), Meet John Doe (1941), and It's a Wonderful Life (1946). During World War II, he continued his close collaboration with Capra by composing scores for his Why We Fight series. These seven films were commissioned by the U.S. government to show American soldiers the reason for United States participation in the war. They were later released to the general U.S. public to generate support for American involvement.  Tiomkin credited Capra for broadening his musical horizons by shifting them away from a purely Eurocentric and romantic style to a more American style based on subject matter and story. CANNOTANSWER

Question: Did Dimitri Tiomkin  win any awards for the movies with Frank Capra?
Answer: CANNOTANSWER
Dimitri Tiomkin

Context: Tiomkin received his first break from Columbia director Frank Capra, who picked him to write and perform the score for Lost Horizon (1937). The film gained significant recognition for Tiomkin in Hollywood. It was released the same year that he became a naturalized U.S. citizen.  In his autobiography, Please Don't Hate Me! (1959), Tiomkin recalls how the assignment by Capra forced him to first confront a director in a matter of music style:  [H]e gave me the job without reservation. I could write the score without interference, and he would hear it when it was done. Lost Horizon offered me a superb chance to do something big... I thought I might be going a little too far in the matter of expense, and went to Frank one day as he sat in the projection room [and explained the score.]... He looked shocked. "No, Dimi, the lama is a simple man. His greatness is in being simple. For his death the music should be simple, nothing more than the muttering rhythm of a drum." "But Frank, death of lama is not ending one man, but is death of idea. Is tragedy applying to whole human race. I must be honest. Music should rise high, high. Should give symbolism of immense loss. Please don't hate me."  He worked on other Capra films during the following decade, including the comedy You Can't Take It With You (1938), Mr. Smith Goes to Washington (1939), Meet John Doe (1941), and It's a Wonderful Life (1946). During World War II, he continued his close collaboration with Capra by composing scores for his Why We Fight series. These seven films were commissioned by the U.S. government to show American soldiers the reason for United States participation in the war. They were later released to the general U.S. public to generate support for American involvement.  Tiomkin credited Capra for broadening his musical horizons by shifting them away from a purely Eurocentric and romantic style to a more American style based on subject matter and story. CANNOTANSWER

Question: Was there anything unusual about the scores Dimitri Tiomkin wrote for Frank Capra's films?
Answer: credited Capra for broadening his musical horizons by shifting them away from a purely Eurocentric and romantic style to a more American style
Dimitri Tiomkin

Context: Tiomkin received his first break from Columbia director Frank Capra, who picked him to write and perform the score for Lost Horizon (1937). The film gained significant recognition for Tiomkin in Hollywood. It was released the same year that he became a naturalized U.S. citizen.  In his autobiography, Please Don't Hate Me! (1959), Tiomkin recalls how the assignment by Capra forced him to first confront a director in a matter of music style:  [H]e gave me the job without reservation. I could write the score without interference, and he would hear it when it was done. Lost Horizon offered me a superb chance to do something big... I thought I might be going a little too far in the matter of expense, and went to Frank one day as he sat in the projection room [and explained the score.]... He looked shocked. "No, Dimi, the lama is a simple man. His greatness is in being simple. For his death the music should be simple, nothing more than the muttering rhythm of a drum." "But Frank, death of lama is not ending one man, but is death of idea. Is tragedy applying to whole human race. I must be honest. Music should rise high, high. Should give symbolism of immense loss. Please don't hate me."  He worked on other Capra films during the following decade, including the comedy You Can't Take It With You (1938), Mr. Smith Goes to Washington (1939), Meet John Doe (1941), and It's a Wonderful Life (1946). During World War II, he continued his close collaboration with Capra by composing scores for his Why We Fight series. These seven films were commissioned by the U.S. government to show American soldiers the reason for United States participation in the war. They were later released to the general U.S. public to generate support for American involvement.  Tiomkin credited Capra for broadening his musical horizons by shifting them away from a purely Eurocentric and romantic style to a more American style based on subject matter and story. CANNOTANSWER

Question: Was Dimitri Tiomkin  involved in the Why We Fight series?
Answer: During World War II, he continued his close collaboration with Capra by composing scores for his Why We Fight series.
Dimitri Tiomkin

Context: Tiomkin received his first break from Columbia director Frank Capra, who picked him to write and perform the score for Lost Horizon (1937). The film gained significant recognition for Tiomkin in Hollywood. It was released the same year that he became a naturalized U.S. citizen.  In his autobiography, Please Don't Hate Me! (1959), Tiomkin recalls how the assignment by Capra forced him to first confront a director in a matter of music style:  [H]e gave me the job without reservation. I could write the score without interference, and he would hear it when it was done. Lost Horizon offered me a superb chance to do something big... I thought I might be going a little too far in the matter of expense, and went to Frank one day as he sat in the projection room [and explained the score.]... He looked shocked. "No, Dimi, the lama is a simple man. His greatness is in being simple. For his death the music should be simple, nothing more than the muttering rhythm of a drum." "But Frank, death of lama is not ending one man, but is death of idea. Is tragedy applying to whole human race. I must be honest. Music should rise high, high. Should give symbolism of immense loss. Please don't hate me."  He worked on other Capra films during the following decade, including the comedy You Can't Take It With You (1938), Mr. Smith Goes to Washington (1939), Meet John Doe (1941), and It's a Wonderful Life (1946). During World War II, he continued his close collaboration with Capra by composing scores for his Why We Fight series. These seven films were commissioned by the U.S. government to show American soldiers the reason for United States participation in the war. They were later released to the general U.S. public to generate support for American involvement.  Tiomkin credited Capra for broadening his musical horizons by shifting them away from a purely Eurocentric and romantic style to a more American style based on subject matter and story. CANNOTANSWER

Question: Was Dimitri Tiomkin  in the military during World War II?
Answer: During World War II, he continued his close collaboration with Capra