TASK DEFINITION: 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.
PROBLEM: Question: How old was Walt Disney the year Snow White and the Seven Dwarfs was released? Passage:After the success of Walt Disney Productions' first feature-length animated film Snow White and the Seven Dwarfs (1937), filmmaker Walt Disney himself made several attempts to adapt the fairy tale "Beauty and the Beast" by Jeanne-Marie Leprince de Beaumont into one of the studio's earliest animated feature films during the 1930s and 1950s. However, the project was continuously abandoned due to the fairy tale's "static" plot and main characters. The filmmaker was also concerned about the "unnecessary intensity" required to depict Belle's imprisonment. Inspired by the unprecedented success of The Little Mermaid (1989), Walt Disney Studios chairman Jeffrey Katzenberg green-lit another attempt at adapting "Beauty and the Beast" under the direction of Richard Purdum. However, Katzenberg did not approve of Purdum's dark, somber version of the fairy tale, and ultimately ordered that it be restarted from scratch in favor of creating a Broadway-style musical film starring a strong heroine, more similar to The Little Mermaid. Opting instead for a "feminist twist" on the original story, largely in response to critics' negative reception to Ariel regarding her pursuit of Eric being her overall character, Katzenberg hired television writer Linda Woolverton, who had never written an animated film before, to write the film's screenplay.


SOLUTION: After the success of Walt Disney Productions' first feature-length animated film Snow White and the Seven Dwarfs (1937), filmmaker Walt Disney himself made several attempts to adapt the fairy tale "Beauty and the Beast" by Jeanne-Marie Leprince de Beaumont into one of the studio's earliest animated feature films during the 1930s and 1950s

PROBLEM: Question: What team did Gary Tallon play for the year Boulding turned professional? Passage:Boulding maintained his links with football and trained with Doncaster Rovers, and in 1998 he joined non-league Hallam near his home in Sheffield. His form at Hallam attracted the interest of a number of league clubs, and Boulding was offered a trial by Mansfield Town. He was given a contract by the Division Three side and turned professional in 1999, which brought an end to his tennis career. He made his debut with Mansfield in a League Cup game against Nottingham Forest on 11 August 1999 as a late substitute for Gary Tallon, before his first league game came three days later against Cheltenham Town. He had to wait until his 12th game as a professional to register his first goal when he scored in a 2–1 victory over Shrewsbury Town on 23 October. He eventually finished his first season with six goals with Mansfield coming 17th but 17 points above Carlisle United, the only side to be relegated out of The Football League.


SOLUTION: He was given a contract by the Division Three side and turned professional in 1999, which brought an end to his tennis career

PROBLEM: Question: For sales, was the album's club song or more traditional track featuring a Japanese sound better selling? Passage:It opens with two club-driven tracks: an interlude titled "Bridge to the Sky", and the promotional titular song. "Disco-munication" is the second interlude on the album, blending "sophisticated" electric guitars with electronic music. "Energize" is another electronic track, and is one of the only numbers on the album that include English phases ("Put your hands up together, keep your heads up forever, let me sing forever,"). The fifth track "Sparkle" was noted as a club song with an electronic arrangement, similar to the follow-up song "Rollin'". Both tracks feature autotune and vocoder pro-tools, a first for Hamasaki. The album's sixth track, "Green", shows a departure from the album's earlier electronic style; it focuses more on older traditional Japanese sound, alongside instrumentation of electric guitars and drums. The album's third interlude, "Load of the Shugyo", was described as an "atmospheric" number with heavy rock instruments in its composition. Rock music is then influenced on the following tracks "Identity"—a song that discusses about self-confidence—the single "Rule", and the tune "Love 'n' Hate", which talks about the effects of lust. The album's fourth and final interlude "Pieces of Seven" was noted for its "atmospheric" sounds of an ocean, until the second half of the track diverges into a harder rock style. "Days" is the album's first pop ballad, and is described as a love song. It closes with the ballad "Curtain Call", which features a choir and piano riffs throughout its composition.


SOLUTION:
The fifth track "Sparkle" was noted as a club song with an electronic arrangement, similar to the follow-up song "Rollin'"