input: Hecht was raised Jewish and believed in God until she was twelve when she had what she describes as a "Talking Heads headshift", standing in her parent's house saying, "This is not my beautiful couch, I am not your beautiful daughter." In the days that followed she came to see that "we are one species among great nature, and as the trees very slowly rot, so do our pampered haunches." Eventually, she replaced faith in God with faith in humanity. Hecht has been an outspoken member of the secular community since 2003, accepting the label "atheist" somewhat reluctantly. "Initially after writing my book Doubt, I avoided the atheist label, saying only that I did not believe in God. After some reflection, I realized I needed to defend what I truly believe. I now call myself an 'atheist,' and proudly." Hecht is an honorary board member of the Freedom From Religion Foundation. In 2009, she told the FFRF convention audience: "If there is no God -- and there isn't -- then we [humans] made up morality. And I'm very impressed." In her 2007 interview for the Point of Inquiry podcast, when asked, "Do you think religion might actually be harmful for one's happiness?", she said, "Yes . . . when I wrote Doubt it was very much to show people who felt that doubting religion or getting away from religion was painful. I find the world in which the natural world that we see is the world, in which we make up no other, I find that world to be the best one. I'm glad there's no afterlife. I like the world as it is. And I think that religion does add a tremendous amount of guilt and pain and trouble." Hecht does not, however, believe that religion is all bad. In that same interview, she went on to say, "The beautiful building and coming together and reminding oneself of community, of how we must each take the role that is given us, know yourself, remember death, control your desires, these are the big messages of wisdom. And religion got it right that you have to meditate on them for them to work." In a December 2013 article for Politico Magazine, Hecht examined "The Last Taboo" in American politics, atheism. Referencing newly retired Rep. Barney Frank's lack of religious belief she wrote, "Was it really harder to come out as an atheist politician in 2013 than as a gay one 25 years ago?"

Answer this question "Whats her view on Religion?"
output: I think that religion does add a tremendous amount of guilt and pain and trouble.

input: Geisel's early artwork often employed the shaded texture of pencil drawings or watercolors, but in his children's books of the postwar period, he generally made use of a starker medium--pen and ink--normally using just black, white, and one or two colors. His later books, such as The Lorax, used more colors. Geisel's style was unique - his figures are often "rounded" and somewhat droopy. This is true, for instance, of the faces of the Grinch and the Cat in the Hat. Almost all his buildings and machinery were devoid of straight lines when they were drawn, even when he was representing real objects. For example, If I Ran the Circus shows a droopy hoisting crane and a droopy steam calliope. Geisel evidently enjoyed drawing architecturally elaborate objects. His endlessly varied but never rectilinear palaces, ramps, platforms, and free-standing stairways are among his most evocative creations. Geisel also drew complex imaginary machines, such as the Audio-Telly-O-Tally-O-Count, from Dr. Seuss's Sleep Book, or the "most peculiar machine" of Sylvester McMonkey McBean in The Sneetches. Geisel also liked drawing outlandish arrangements of feathers or fur: for example, the 500th hat of Bartholomew Cubbins, the tail of Gertrude McFuzz, and the pet for girls who like to brush and comb, in One Fish, Two Fish, Red Fish, Blue Fish. Geisel's illustrations often convey motion vividly. He was fond of a sort of "voila" gesture in which the hand flips outward and the fingers spread slightly backward with the thumb up. This motion is done by Ish in One Fish, Two Fish, Red Fish, Blue Fish when he creates fish (who perform the gesture with their fins), in the introduction of the various acts of If I Ran the Circus, and in the introduction of the "Little Cats" in The Cat in the Hat Comes Back. He was also fond of drawing hands with interlocked fingers, making it look as though his characters were twiddling their thumbs. Geisel also follows the cartoon tradition of showing motion with lines, like in the sweeping lines that accompany Sneelock's final dive in If I Ran the Circus. Cartoon lines are also used to illustrate the action of the senses--sight, smell, and hearing--in The Big Brag, and lines even illustrate "thought", as in the moment when the Grinch conceives his awful plan to ruin Christmas.

Answer this question "What book did he use the droopy and rounded strokes in?"
output: the faces of the Grinch and the Cat in the Hat.

input: On October 13, 1961, she received a call from an agent who told her a producer was interested in working with her. When she was told it was Alfred Hitchcock who, while he was watching The Today Show, saw her in a commercial for a diet drink called Sego, she agreed to sign a seven-year contract. During their first meeting, the two talked about everything except the role he was considering her for. Hedren was convinced for several weeks it was for his television series, Alfred Hitchcock Presents. Hitchcock later said, "I was not primarily concerned with how she looked in person. Most important was her appearance on the screen, and I liked that immediately. She has a touch of that high-style, lady-like quality which was once well-represented in films by actresses like Irene Dunne, Grace Kelly, Claudette Colbert, and others but which is now quite rare." Hitchcock put Hedren through an extensive color screen test that lasted two days and cost $25,000, doing scenes from his previous films, such as Rebecca, Notorious and To Catch a Thief with actor Martin Balsam. According to Balsam, Hedren was very nervous but studied every line, did every move she was asked to, and tried to do everything right. Hitchcock asked costume designer Edith Head to design clothes for Hedren's private life and he personally advised her about wine and food. He also insisted for publicity purposes that her name should be printed only in single quotes, 'Tippi'. The press mostly ignored this directive from the director, who felt that the single quotes added distinction and mystery to her name. Hitchcock was impressed with Hedren. As production designer Robert F. Boyle explained, "Hitch always liked women who behaved like well-bred ladies. Tippi generated that quality." Afterward, Hedren was invited to lunch with Hitchcock, his wife, Alma, and Lew Wasserman, head of Universal, at one of Hitchcock's favorite restaurants, Chasen's. There she was presented with a golden pin of three birds in flight, adorned by three tiny seed pearls, and was asked by Hitchcock to play the leading role in his upcoming film The Birds. "I was so stunned. It never occurred to me that I would be given a leading role in a major motion picture. I had great big tears in my eyes", Hedren later recalled.

Answer this question "what else did she do?"
output:
Hitchcock put Hedren through an extensive color screen test that lasted two days and cost $25,000, doing scenes from his previous films,