Problem: Christopher D'Olier Reeve (September 25, 1952 - October 10, 2004) was an American actor. He achieved stardom for his acting achievements. In particular, he is best known for his motion picture portrayal of the classic DC comic book superhero Superman, beginning with the acclaimed Superman (1978), for which he won a BAFTA Award. Reeve appeared in other critically acclaimed films such as The Bostonians (1984), Street Smart (1987) and The Remains of the Day (1993).

After graduating from Princeton Day School in June 1970, Reeve acted in plays in Boothbay, Maine and planned to go to New York City to find a career in theater. Instead, at the advice of his mother, he applied for college. He was accepted into Brown, Carnegie Mellon, Columbia, Cornell, Northwestern, and Princeton. Reeve claimed that he chose Cornell primarily because it is a three-and-a-half-hour drive from New York City, where he planned to start his career as an actor, despite the fact that Princeton and Columbia are considerably closer to the city than Cornell, with Columbia being in New York City, just a few miles uptown from the theater district. Reeve joined the theater department in Cornell and played Pozzo in Waiting for Godot, Segismundo in Life Is a Dream, Hamlet in Rosencrantz and Guildenstern Are Dead, and Polixenes in The Winter's Tale. Late in his freshman year, Reeve received a letter from Stark Hesseltine, a high-powered agent who had discovered Robert Redford and represented actors such as Richard Chamberlain, Michael Douglas, and Susan Sarandon. Hesseltine had seen Reeve in A Month in the Country and wanted to represent him. The two met and decided that instead of dropping out of school, Reeve could come to New York once a month to meet casting agents and producers to find work for the summer vacation. That summer, he toured in a production of Forty Carats with Eleanor Parker. The next year, Reeve received a full-season contract with the San Diego Shakespeare Festival, with roles as Edward IV in Richard III, Fenton in The Merry Wives of Windsor, and Dumaine in Love's Labour's Lost at the Old Globe Theatre. Before his third year of college, Reeve took a three-month leave of absence. He flew to Glasgow and saw theatrical productions throughout the United Kingdom. He was inspired by the actors and often had conversations with them in bars after the performances. He helped actors at the Old Vic with their American accents by reading the newspaper aloud for them. He then flew to Paris, where he spoke fluent French for his entire stay; he had studied it from third grade until his second year in Cornell. He watched many performances and immersed himself in the culture before finally returning to New York to reunite with his girlfriend.

When did he go to cornell?

Answer with quotes: After graduating from Princeton Day School in June 1970,

Background: Hrolfr Kraki, Hrodulf, Rolfo, Roluo, Rolf Krage (early 6th century) was a legendary Danish king who appears in both Anglo-Saxon and Scandinavian tradition. His name would in his own language (Proto-Norse) have been *Hrothiwulfaz (famous wolf). Both traditions describe him as a Danish Scylding, the nephew of Hrodgar and the grandson of Healfdene. The consensus view is that Anglo-Saxon and Scandinavian traditions describe the same people.
Context: The standard view is that, if Beowulf himself has a 'cognate' character in Rolf Kraki's story, it is Bodvar Bjarki (Bodvar Biarke), who also has a younger companion, Hjalti (Hialte) - perhaps matching the Beowulf character Wiglaf. Beowulf comes from Geatland (= Gotaland) and one of Bodvar Bjarki's elder brothers, Thorir, becomes a king of Gotaland. Moreover, like Beowulf, Bodvar Bjarki arrives in Denmark from Gotaland (Geatland), and upon arriving in Denmark he kills a beast that has been ravaging the Danish court for two years. The monster in Hrolf Kraki's saga, however, is quite unlike the Grendel of Beowulf; but it does have characteristics of a more typical dragon, a creature which appears later in Beowulf. Just as Beowulf and Wiglaf slay a dragon at the end of Beowulf, Bodvar Bjarki and Hjalti help each other slay the creature in Denmark. Proponents of this theory, like J. R. R. Tolkien, argue that both the names Beowulf (lit. "bee-wolf", a kenning for "bear") and Bjarki are associated with bears. Bodvar Bjarki is constantly associated with bears, his father actually being one. In some of the Hrolf Kraki material, Bodvar Bjarki aids Adils in defeating Adils' uncle Ali, in the Battle on the Ice of Lake Vanern. In Beowulf, the hero Beowulf aids Eadgils in Eadgils' war against Onela. As far as this Swedish adventure is concerned, Beowulf and Bodvar Bjarki are one and the same. This match supports the hypothesis that the adventure with the dragon is also originally derived from the same story.
Question: Where is beowolf from?
Answer: Beowulf comes from Geatland (= Gotaland)

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.
Answer this question using a quote from the text above:

Was it easy to come up with the title tune for the film?

Answer:
By mid-July, the composers had completed most of the score, but still were missing the title tune.