In this task, you're given a question, along with a context passage which has extra information available on certain terms mentioned in it. Your job is to determine which sentence(s) from the passage can be used to search for further information needed to answer the question.
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Question: Question: Which of the actual locations for which replica sets were built on the same backlot for Angels and Demons was constructed first?  Passage:The Saint Peter's Square and the Piazza Navona sets were built on the same backlot; after completion of scenes at the former, six weeks were spent converting the set, knocking down the Basilica side and excavating of tarmac to build the fountain. As there had been filming at the real Piazza Navona, the transition between it and the replica had to be seamless. To present the Santa Maria del Popolo undergoing renovation, a police station in Rome opposite the real church was used for the exterior; the scaffolding would hide that it was not the church. Cameron built the interior of Santa Maria del Popolo on the same set as the recreated Santa Maria della Vittoria to save money; the scaffolding also disguised this. The film's version of Santa Maria della Vittoria was larger than the real one, so it would accommodate the cranes used to film the scene. To film the Pantheon's interior, two aediculae and the tomb of Raphael were rebuilt to scale at a height of , while the rest was greenscreen. Because of the building's symmetrical layout, the filmmakers were able to shoot the whole scene over two days and redress the real side to pretend it was another. The second unit took photographs of the Large Hadron Collider and pasted these in scenes set at CERN.


Answer: The Saint Peter's Square and the Piazza Navona sets were built on the same backlot; after completion of scenes at the former, six weeks were spent converting the set, knocking down the Basilica side and excavating of tarmac to build the fountain


Question: Question: What is the age difference between the royal architect and the person he worked for? Passage:Hans van Steenwinckel, the royal architect, designed and built the original pavilion and parterre garden in 1587, for King Frederick II of Denmark. The royal estate was then purchased in 1758 by Count Adam Gottlob Moltke, who completely changed the original pavilion and garden with the help of French architect Nicolas-Henri Jardin between 1759 and 1763. The additions led to its present-day architectural structure and façade. Jardin also redesigned the original parterre gardens, changing them to a larger, more modern garden à la française design, with symmetrical hedges, avenues, fountains and mirror ponds. Within the castle wall boundaries, these elegant garden grounds remain to a large extent intact, but outside, much of the garden has been lost, including the most renowned romantic landscape garden in Denmark, designed by Johan Ludvig Mansa in the 1790s. This was mostly due to the sale of much of the original property by the Helsingør municipality which had purchased the entire Marienlyst estate at auction in 1851. One of the lot purchasers was J.S. Nathanson, who in 1859 built Hotel Marienlyst, the first luxury hotel in Helsingør, named after the castle.


Answer: Hans van Steenwinckel, the royal architect, designed and built the original pavilion and parterre garden in 1587, for King Frederick II of Denmark


Question: Question: In which city did Slobe attend art school? Passage:Slobe was born in Pittsburgh to a well-to-do Jewish family, and grew up in Chicago, enrolling in the School of the Art Institute of Chicago at 16; by 19 she was exhibiting paintings and winning prizes. She began exhibiting sculpture as well by the late 1930s, and came eventually to be known more as a sculptor than as a painter. In 1939 and 1940 she worked for the Works Progress Administration, creating art and teaching in a number of states, including Oregon. She became acquainted at this point with George Perle, whom she married in 1940; in 1942 the couple joined the Socialist Workers Party, and she took the pseudonym "Laura Gray". She was soon tasked with assisting in the organization of automotive workers, and it was at this time that she began her cartooning career. Encouraged to submit drawings to The Militant, her first appeared in the paper on March 4, 1944; she went on to become the paper's staff artist, submitting at least one cartoon almost weekly for the rest of her life. These drawings, which have been compared to the work of Boardman Robinson, Hugo Gellert, and Robert Minor, would be published in Trotskyist publications around the world. Some of her cartoons on the subject of civil rights would also be published in the African-American press.


Answer:
Slobe was born in Pittsburgh to a well-to-do Jewish family, and grew up in Chicago, enrolling in the School of the Art Institute of Chicago at 16; by 19 she was exhibiting paintings and winning prizes