input: Brennan began his CIA career as an analyst and spent 25 years with the agency. He was a daily intelligence briefer for President Bill Clinton. In 1996, he was CIA station chief in Riyadh, Saudi Arabia when the Khobar Towers bombing killed 19 U.S. servicemen. In 1999, he was appointed chief of staff to George Tenet, then-Director of the CIA. Brennan became deputy executive director of the CIA in March 2001. He was director of the newly created Terrorist Threat Integration Center from 2003 to 2004, an office that sifted through and compiled information for President Bush's daily top secret intelligence briefings and employed the services of analysts from a dozen U.S. agencies and entities. One of the controversies in his career involves the distribution of intelligence to the Bush White House that helped lead to an "Orange Terror Alert", in late 2003. The intelligence, which purported to list terror targets, was highly controversial within the CIA and was later discredited. An Obama administration official does not dispute that Brennan distributed the intelligence during the Bush era but said Brennan passed it along because that was his job. His last post within the Intelligence Community was as director of the National Counterterrorism Center in 2004 and 2005, which incorporated information on terrorist activities across U.S. agencies. Brennan then left government service for a few years, becoming Chairman of the Intelligence and National Security Alliance (INSA) and the CEO of The Analysis Corporation (TAC). He continued to lead TAC after its acquisition by Global Strategies Group in 2007 and its growth as the Global Intelligence Solutions division of Global's North American technology business GTEC, before returning to government service with the Obama administration as Homeland Security Advisor on January 20, 2009. On January 7, 2013, Brennan was nominated by President Barack Obama to be director of the Central Intelligence Agency. In September 2017, Brennan was named a Distinguished Non-Resident Scholar at The University of Texas at Austin, where he also acts as a Senior Advisor to the University's Intelligence Studies Project.

Answer this question "What is notable about his time at the CIA?"
output: He was a daily intelligence briefer for President Bill Clinton.

input: Keaton's personal life had stabilized with his 1940 marriage, and now he was taking life a little easier, abandoning Columbia for the less strenuous field of feature films. Throughout the 1940s, Keaton played character roles in both "A" and "B" features. He made his last starring feature El Moderno Barba Azul (1946) in Mexico; the film was a low budget production, and it may not have been seen in the United States until its release on VHS in the 1980s, under the title Boom in the Moon. Critics rediscovered Keaton in 1949 and producers occasionally hired him for bigger "prestige" pictures. He had cameos in such films as In the Good Old Summertime (1949), Sunset Boulevard (1950), and Around the World in 80 Days (1956). In In The Good Old Summertime, Keaton personally directed the stars Judy Garland and Van Johnson in their first scene together where they bump into each other on the street. Keaton invented comedy bits where Johnson keeps trying to apologize to a seething Garland, but winds up messing up her hairdo and tearing her dress. Keaton also had a cameo as Jimmy, appearing near the end of the film It's a Mad, Mad, Mad, Mad World (1963). Jimmy assists Spencer Tracy's character, Captain C. G. Culpepper, by readying Culpepper's ultimately-unused boat for his abortive escape. (The restored version of that film, released in 2013, contains a restored scene where Jimmy and Culpeper talk on the telephone. Lost after the comedy epic's "roadshow" exhibition, the audio of that scene was discovered, and combined with still pictures to recreate the scene.) Keaton was given more screen time in A Funny Thing Happened on the Way to the Forum (1966). The appearance, since it was released after his death, was his posthumous swansong. Keaton also appeared in a comedy routine about two inept stage musicians in Charlie Chaplin's Limelight (1952), recalling the vaudeville of The Playhouse. With the exception of Seeing Stars, a minor publicity film produced in 1922, Limelight was the only time in which the two would ever appear together on film. In 1949, comedian Ed Wynn invited Keaton to appear on his CBS Television comedy-variety show, The Ed Wynn Show, which was televised live on the West Coast. Kinescopes were made for distribution of the programs to other parts of the country since there was no transcontinental coaxial cable until September 1951.

Answer this question "Where there any challenges to film making during this period?"
output: Critics rediscovered Keaton in 1949 and producers occasionally hired him for bigger "prestige" pictures.

input: In 1913, Walser returned to Switzerland. He lived for a short time with his sister Lisa in the mental home in Bellelay, where she worked as a teacher. There, he got to know Lisa Mermet, a washer-woman with whom he developed a close friendship. After a short stay with his father in Biel, he went to live in a mansard in the Biel hotel Blaues Kreuz. In 1914, his father died. In Biel, Walser wrote a number of shorter stories that appeared in newspapers and magazines in Germany and Switzerland and selections of which were published in Der Spaziergang (1917), Prosastucke (1917), Poetenleben (1918), Seeland (1919) and Die Rose (1925). Walser, who had always been an enthusiastic wanderer, began to take extended walks, often by night. In his stories from that period, texts written from the point of view of a wanderer walking through unfamiliar neighborhoods alternate with playful essays on writers and artists. During World War I, Walser repeatedly had to go into military service. At the end of 1916, his brother Ernst died after a time of mental illness in the Waldau mental home. In 1919, Walser's brother Hermann, geography professor in Bern, committed suicide. Walser himself became isolated in that time, when there was almost no communication with Germany because of the war. Even though he worked hard, he could barely support himself as a freelance writer. At the beginning of 1921, he moved to Bern in order to work at the public record office. He often changed lodgings and lived a very solitary life. During his time in Bern, Walser's style became more radical. In a more and more condensed form, he wrote "micrograms" ("Mikrogramme"), called thus because of his minuscule pencil hand that is very difficult to decipher. He wrote poems, prose, dramolets and novels, including The Robber (Der Rauber). In these texts, his playful, subjective style moved toward a higher abstraction. Many texts of that time work on multiple levels - they can be read as naive-playful Feuilleton or as highly complex montages full of allusions. Walser absorbed influences from serious literature as well as from formula fiction and retold, for example, the plot of a pulp novel in a way that the original (the title of which he never revealed) was unrecognizable. Much of his work was written during these very productive years in Bern.

Answer this question "Are there any other interesting aspects about this article?"
output:
In Biel, Walser wrote a number of shorter stories that appeared in newspapers and magazines in Germany and Switzerland