input: Deerskin trade was at its most profitable in the mid-18th century. The Creeks rose up as the largest deerskin supplier, and the increase in supply only intensified European demand for deerskins. Native Americans continued to negotiate the most lucrative trade deals by forcing England, France, and Spain to compete for their supply of deerskins. In the 1750s and 1760s, the Seven Years' War disrupted France's ability to provide manufactures goods to its allies, the Choctaws and Chickasaw. The French and Indian War further disrupted trade, as the British blockaded French goods. The Cherokees allied themselves with France, who were driven out from the southeast in accordance with the Treaty of Paris in 1763. The British were now the dominant trading power in the southeast. While both the Cherokee and the Creek were the main trading partners of the British, their relationships with the British were different. The Creeks adapted to the new economic trade system, and managed to hold onto their old social structures. Originally Cherokee land was divided into five districts; however, the number soon grew to thirteen districts with 200 hunters assigned per district due to deerskin demand. Charleston and Savannah were the main trading ports for the export of deerskins. Deerskins became the most popular export, and monetarily supported the colonies with the revenue produced by taxes on deerskins. Charleston's trade was regulated by the Indian Trade Commission, composed of traders who monopolized the market and profited off the sale of deerskins. From the beginning of the 18th century to mid-century, the deerskin exports of Charleston more than doubled in exports. Charleston received tobacco and sugar from the West Indies and rum from the North in exchange for deerskins. In return for deerskins, Great Britain sent woolens, guns, ammunition, iron tools, clothing, and other manufactured goods that were traded to the Native Americans.

Answer this question "What else did you find interesting about this section?"
output: While both the Cherokee and the Creek were the main trading partners of the British, their relationships with the British were different.

input: 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".

Answer this question "Are there any other interesting aspects about this article?"
output: The Coens edited the film themselves, as is their custom. "We prefer a hands-on approach," Joel

input: Auden was born in York, England, to George Augustus Auden (1872-1957), a physician, and Constance Rosalie Auden (nee Bicknell; 1869-1941), who had trained (but never served) as a missionary nurse. He was the third of three sons; the eldest, George Bernard Auden (1900-1978), became a farmer, while the second, John Bicknell Auden (1903-1991), became a geologist. Auden, whose grandfathers were both Church of England clergymen, grew up in an Anglo-Catholic household that followed a "High" form of Anglicanism with doctrine and ritual resembling those of Roman Catholicism. He traced his love of music and language partly to the church services of his childhood. He believed he was of Icelandic descent, and his lifelong fascination with Icelandic legends and Old Norse sagas is evident in his work. In 1908 his family moved to Homer Road, Solihull, near Birmingham, where his father had been appointed the School Medical Officer and Lecturer (later Professor) of Public Health. Auden's lifelong psychoanalytic interests began in his father's library. From the age of eight he attended boarding schools, returning home for holidays. His visits to the Pennine landscape and its declining lead-mining industry figure in many of his poems; the remote decaying mining village of Rookhope was for him a "sacred landscape", evoked in a late poem, "Amor Loci". Until he was fifteen he expected to become a mining engineer, but his passion for words had already begun. He wrote later: "words so excite me that a pornographic story, for example, excites me sexually more than a living person can do."

Answer this question "what else did this man do"
output:
Until he was fifteen he expected to become a mining engineer, but his passion for words had already begun.