IN: Williams was born on April 5, 1973, in Virginia Beach, Virginia, the oldest of three sons of Pharaoh Williams, a handyman, and his wife Carolyn, a teacher. His roots extend for generations in Virginia and North Carolina, and one of his ancestors journeyed to West Africa in 1831, prompting other relatives to emigrate from America to Liberia in 1832. He met Chad Hugo in a seventh-grade summer band camp where Williams played the keyboards and drums and Hugo played tenor saxophone. They were also both members of a marching band; Williams played the snare drum while Hugo was drum major.

In July 2010, Williams composed the soundtrack to the movie Despicable Me, produced by Hans Zimmer and recorded with the Hollywood Studio Symphony. In October 2010, Williams and his group N*E*R*D supported Gorillaz on their Escape to Plastic Beach World Tour. On the tour, Damon Albarn recorded a song with Williams but this was not featured on Gorillaz's album, The Fall. The following month, N*E*R*D released their fourth studio album Nothing through Williams's label Star Trak. In late 2011, Williams worked on three tracks for Mike Posner's second album Sky High. In 2011, Williams collaborated with singer Adam Lambert, co-writing two tracks for Lambert's album Trespassing, which was released in May 2012, including the title track and "Kickin' In". He has also collaborated with Pittsburgh rapper Mac Miller on the Pink Slime EP. The first track, "Onaroll" was followed by "Glow". It was produced by Williams, with vocals from Mac Miller. Williams composed and produced the music for the 84th Academy Awards alongside composer Hans Zimmer. He also collaborated with Miley Cyrus on her album Bangerz and composed the new intro music for Chelsea Lately in 2012. He later contributed four tracks to The Game's California Republic mixtape called "When My Niggas Come Home" and "It Must be Tough"; produced two tracks on Usher's 2012 seventh studio album, Looking 4 Myself, titled "Twisted" and "Hot Thing"; collaborated with Mika on his new track "Celebrate"; co-produced the tracks "Sweet Life" and "Golden Girl" from Frank Ocean's debut album Channel Orange; and is working with Solange Knowles on her third studio album.
QUESTION: Who did he record this movie with?
IN: Todd McFarlane was born on March 16, 1961 in Calgary, Alberta, Canada, to Bob and Sherlee McFarlane. He has two brothers, Curtis and Derek. Bob worked in the printing business, which led him to take work where he could find it, and as a result, during McFarlane's childhood, the family lived in thirty different places from Alberta to California. McFarlane began drawing as a hobby at an early age, and developed an interest in comics, acquiring as many as he could, and learning to draw from them.

McFarlane lost judgments in two lawsuits in the 2000s. The first was a 2002 suit which McFarlane contested with writer Neil Gaiman over the rights to some supporting Spawn characters created by Gaiman in issue No. 9 of the Spawn series and over payment for later works featuring those characters. In 1997 the two signed a deal in which Gaiman would give his share of characters Angela, Medieval Spawn and Cogliostro to McFarlane in exchange for McFarlane's share of British superhero Marvelman (in reality, what McFarlane actually owned were two trademarks for Miracleman logos, not the character, which would become clear only after the lawsuit concluded). This deal was broken by McFarlane, which motivated Gaiman to start the lawsuit. The jury was unanimous in favor of Gaiman. The two were involved in a lengthy dispute over ownership of Miracleman, but no lawsuit has been filed in that dispute. In 2009, Marvel Comics resolved the matter by purchasing the property. The second was a December 2004 suit in which hockey player Tony Twist sued McFarlane because he named a mobster character in Spawn after Twist. The lawsuit was settled out of court for $5 million. As of late 2012, McFarlane was suing a former employee whose name is the same as the alter ego of Spawn, Al Simmons. According to a lawsuit lodged in Arizona federal court, the real Al Simmons published a book called The Art of Being Spawn, in which Simmons purportedly suggests that his own life was the inspiration for the Spawn character. McFarlane's position was that Simmons violated the terms of his employment pact and breached his duty of loyalty. The lawsuit was settled in December 2012 when McFarlane came to an agreement with Simmons. The terms of any settlement were not made public.
QUESTION: Did he have any other legal battles?
IN: Barton Fink is a 1991 American period film written, produced, directed and edited by the Coen brothers. Set in 1941, it stars John Turturro in the title role as a young New York City playwright who is hired to write scripts for a film studio in Hollywood, and John Goodman as Charlie, the insurance salesman who lives next door at the run-down Hotel Earle. The Coens wrote the screenplay for Barton Fink in three weeks while experiencing difficulty during the writing of Miller's Crossing. They began filming the former soon after Miller's Crossing was finished.

Filming began in June 1990 and took eight weeks (a third less time than required by Miller's Crossing), and the estimated final budget for the film was US$9 million. The Coens worked well with Deakins, and they easily translated their ideas for each scene onto film. "There was only one moment we surprised him," Joel Coen recalled later. An extended scene called for a tracking shot out of the bedroom and into a sink drain "plug hole" in the adjacent bathroom as a symbol of sexual intercourse. "The shot was a lot of fun and we had a great time working out how to do it," Joel said. "After that, every time we asked Roger to do something difficult, he would raise an eyebrow and say, 'Don't be having me track down any plug-holes now.'" Three weeks of filming were spent in the Hotel Earle, a set created by art director Dennis Gassner. The film's climax required a huge spreading fire in the hotel's hallway, which the Coens originally planned to add digitally in post-production. When they decided to use real flames, however, the crew built a large alternate set in an abandoned aircraft hangar at Long Beach. A series of gas jets were installed behind the hallway, and the wallpaper was perforated for easy penetration. As Goodman ran through the hallway, a man on an overhead catwalk opened each jet, giving the impression of a fire racing ahead of Charlie. Each take required a rebuild of the apparatus, and a second hallway (sans fire) stood ready nearby for filming pick-up shots between takes. The final scene was shot near Zuma Beach, as was the image of a wave crashing against a rock. The Coens edited the film themselves, as is their custom. "We prefer a hands-on approach," Joel explained in 1996, "rather than sitting next to someone and telling them what to cut." Because of rules for membership in film production guilds, they are required to use a pseudonym; "Roderick Jaynes" is credited with editing Barton Fink. Only a few filmed scenes were removed from the final cut, including a transition scene to show Barton's movement from New York to Hollywood. (In the film, this is shown enigmatically with a wave crashing against a rock.) Several scenes representing work in Hollywood studios were also filmed, but edited out because they were "too conventional".
QUESTION:
Are there any other interesting aspects about this article?