input: Johnson, whose own ticket out of poverty was a public education in Texas, fervently believed that education was a cure for ignorance and poverty, and was an essential component of the American dream, especially for minorities who endured poor facilities and tight-fisted budgets from local taxes. He made education the top priority of the Great Society agenda, with an emphasis on helping poor children. After the 1964 landslide brought in many new liberal Congressmen, LBJ launched a legislative effort which took the name of the Elementary and Secondary Education Act (ESEA) of 1965. The bill sought to double federal spending on education from $4 billion to $8 billion.; with considerable facilitating by the White House, it passed the House by a vote of 263 to 153 on March 26 and then it remarkably passed without change in the Senate, by 73 to 8, without going through the usual conference committee. This was an historic accomplishment by the president, with the billion dollar bill passing as introduced just 87 days before. For the first time, large amounts of federal money went to public schools. In practice ESEA meant helping all public school districts, with more money going to districts that had large proportions of students from poor families (which included all the big cities). For the first time private schools (most of them Catholic schools in the inner cities) received services, such as library funding, comprising about 12 percent of the ESEA budget. Though federal funds were involved, they were administered by local officials, and by 1977 it was reported that less than half of the funds were actually applied toward the education of children under the poverty line. Dallek further reports that researchers cited by Hugh Davis Graham soon found that poverty had more to do with family background and neighborhood conditions than the quantity of education a child received. Early studies suggested initial improvements for poor children helped by ESEA reading and math programs, but later assessments indicated that benefits faded quickly and left pupils little better off than those not in the schemes. Johnson's second major education program was the Higher Education Act of 1965, which focused on funding for lower income students, including grants, work-study money, and government loans. Although ESEA solidified Johnson's support among K-12 teachers' unions, neither the Higher Education Act nor the new endowments mollified the college professors and students growing increasingly uneasy with the war in Vietnam. In 1967, Johnson signed the Public Broadcasting Act to create educational television programs to supplement the broadcast networks. In 1965, Johnson also set up the National Endowment for the Humanities and the National Endowment for the Arts, to support academic subjects such as literature, history, and law, and arts such as music, painting, and sculpture (as the WPA once did).

Answer this question "Was this successful?"
output: by 1977 it was reported that less than half of the funds were actually applied toward the education of children under the poverty line.

Question: Gigi [ZiZi] is a 1958 American musical-romance film directed by Vincente Minnelli processed using MGM's Metrocolor. The screenplay by Alan Jay Lerner is based on the 1944 novella of the same name by Colette. The film features songs with lyrics by Lerner and music by Frederick Loewe, arranged and conducted by Andre Previn. In 1991, Gigi was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant".

In late April, Freed and Minnelli and their respective entourages arrived in Paris. The weather had become unseasonably hot, and working in unair-conditioned hotel rooms was uncomfortable. Minnelli began scouting locations while Freed and Lerner discussed the still incomplete script. Lerner had taken liberties with Colette's novella; the character of Honore, nonexistent in the original book and very minor in the Loos play, was now a major figure. Gigi's mother, originally a significant character, was reduced to a few lines of dialogue delivered off-screen. Lerner also expanded the focus on Gigi's relationship with her grandmother. By mid-July, the composers had completed most of the score, but still were missing the title tune. Loewe was at the piano while Lerner was indisposed in the bathroom, and when the former began playing a melody the latter liked, he later recalled he jumped up, "[his] trousers still clinging to [his] ankles, and made his way to the living room. 'Play that again,' he said. And that melody ended up being the title song for Gigi." In September, the cast and crew flew to California, where several interior scenes were filmed, among them the entire scene in Maxim's, which included a musical number by Jourdan. Lerner was unhappy with the look of the scene as it had been shot by Minnelli, and at considerable expense, the restaurant was recreated on a soundstage and the scene was reshot by director Charles Walters, since Minnelli was overseas working on a new project. The film title design uses the artwork of Sem's work from the Belle Epoque.

Using a quote from the above article, answer the following question: Is there any other interesting information?
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Answer:
The film title design uses the artwork of Sem's work from the Belle Epoque.