Problem: Evita is a musical with music by Andrew Lloyd Webber and lyrics by Tim Rice. It concentrates on the life of Argentine political leader Eva Peron, the second wife of Argentine president Juan Peron. The story follows Evita's early life, rise to power, charity work, and eventual death. The musical began as a rock opera concept album released in 1976.

In 1972, Robert Stigwood proposed that Andrew Lloyd Webber and Tim Rice develop a new musical version of Peter Pan, but they abandoned the project. Travelling late to a meal one night in 1973, though, Rice heard the end of a radio show about Eva Peron which intrigued him. As a child stamp collector, he had been fascinated by her image on the Argentine stamps, but was unaware of her significance in Argentina's history. He began research and was introduced by a Cinema International Corporation executive to the Argentine film director Carlos Pasini Hansen who had produced the TV film Queen of Hearts, which had aired in the UK on 24 October 1972. The executive also arranged for Rice to see the film at Thames Television which he did "at least twenty times" saying also that "by that time I had seen Pasini's superbly researched film, I was hooked." The more Rice investigated Eva Peron, going so far as to travel to Buenos Aires to research her life with many documents and contacts that Pasini had supplied, the more fascinated he became by the woman; he even named his first daughter after her. Rice suggested the idea of a musical based on the subject to Lloyd Webber, but although the idea of writing a score including tangos, pasos dobles, and similar Latin flavours intrigued him, Lloyd Webber ultimately rejected the idea. He decided instead to collaborate with Alan Ayckbourn on Jeeves, a traditional Rodgers and Hart-style musical based on the P. G. Wodehouse character, which proved to be a critical and commercial failure. After Jeeves, Lloyd Webber returned to Rice, and they began developing Rice's proposed musical. The authors of the 1996 book Evita: The Real Life of Eva Peron claim the musical was based on Mary Main's biography The Woman with the Whip, which was extremely critical of Eva Peron. Though Rice praised the Main biography, it was never officially credited as source material. Rice created a character, Che, to serve as a narrator and Greek chorus. Although he had recently discovered Che Guevara was Argentine, he did not necessarily intend that the character be based upon him, despite inserting specific biographical details into the lyrics that clearly apply to Guevara. When Harold Prince later became involved with the project, he insisted that the actors portraying Che should use Guevara as a role model. In the 1996 film adaptation, the character returned to his more anonymous roots. This was also the case for the 2006 London revival. Lloyd Webber and the conductor Anthony Bowles presented the musical at the second Sydmonton Festival before making the recording with the London Philharmonic Orchestra.

What did he do when he was a child

Answer with quotes: As a child stamp collector, he had been fascinated by her image on the Argentine stamps, but was unaware of her significance in Argentina's history.

Question:
Stanley Donen ( DAWN-@n; born April 13, 1924) is an American film director and choreographer whose most celebrated works are Singin' in the Rain and On the Town, both of which he co-directed with actor and dancer Gene Kelly. Other noteworthy films include Royal Wedding, Seven Brides for Seven Brothers, Funny Face, Indiscreet, Damn Yankees!, Charade, and Two for the Road. He began his career in the chorus line on Broadway for director George Abbott, where he befriended Kelly.
After the success of Take Me Out to the Ball Game, Freed gave Donen and Kelly the chance to direct On the Town, released in 1949. The film was an adaptation of the Betty Comden and Adolph Green Broadway musical about sailors on leave in New York City and was the first musical to be filmed on location. Donen and Kelly had wanted to shoot the entire film in New York, but Freed would only allow them to spend one week away from the studio. That week produced the film's famous opening number New York, New York. Away from both studio interference and sound stage constrictions, Donen and cinematographer Harold Rosson shot a scene on the streets of New York City that pioneered many cinematic techniques that would not be used again until they were popularized by the French New Wave ten years later. These techniques included spatial jump cuts, 360-degree pans, hidden cameras, abrupt changes of screen direction and non-professional actors. Donen's biographer Joseph A. Casper stated that the scene avoids being gratuitous or amateurish, while still "developing plot, describing the setting while conveying its galvanizing atmosphere and manic mood, introducing and delineating character." Casper also said that "Today the film is regarded as a turning point: the first bona fide musical that moved dance, as well as the musical genre, out of the theater and captured it with and for film rather than on film; the first to make the city an important character; and the first to abandon the chorus." On the Town starred Kelly, Sinatra and Munshin as three sailors on a 24-hour shore leave in New York whose romantic pursuits lead them to Ann Miller, Betty Garrett and Vera-Ellen. The film was a success both financially and critically. It won the Academy Award for Best Music, Scoring of a Musical Picture and screenwriters Comden and Green won the Writers Guild of America Award for Best Written American Musical. Like Orson Welles, Donen made his directorial debut at 25. Donen stated that Kelly was "responsible for most of the dance movements. I was behind the camera in the dramatic and musical sequences." Kelly believed that he and Donen "were a good team. I thought we complemented each other very well."
Answer this question using a quote from the text above:

What happens to the sailors in the movie?

Answer:
romantic pursuits lead them to Ann Miller, Betty Garrett and Vera-Ellen.