IN: Lord Voldemort (; in the films; born Tom Marvolo Riddle) is a fictional character and the main antagonist in J. K. Rowling's series of Harry Potter novels. Voldemort first appeared in Harry Potter and the Philosopher's Stone, which was released in 1997. Voldemort appears either in person or in flashbacks in each book and its film adaptation in the series, except the third, Harry Potter and the Prisoner of Azkaban, where he is only mentioned. Voldemort is the archenemy of Harry Potter, who according to a prophecy has "the power to vanquish the Dark Lord".

Voldemort does not appear in Harry Potter and the Half-Blood Prince, although his presence and actions are felt: he once again declares war, and begins to rise to power once more. He murders Amelia Bones of the Department of Magical Law Enforcement, and begins to target members of the Order of the Phoenix, including Emmeline Vance. Rowling uses several chapters as exposition to establish Voldemort's backstory. In a series of flashbacks, using the pensieve as a plot device, she reveals that Voldemort was the son of the witch Merope Gaunt and a Muggle called Tom Riddle. Riddle abandoned Merope before their child's birth, soon after which Merope died, just hours after giving birth. After living in an orphanage, young Riddle met Dumbledore, who told him he was a wizard and arranged for him to attend Hogwarts. Riddle was outwardly a model student, but was in reality a psychopath who takes sadistic pleasure in using his powers to harm and control people. He eventually murdered his father and grandparents as revenge for abandoning him. The book also discusses Riddle's hatred of "Muggles", his obsession with Horcruxes, and his desire to split his soul to achieve immortality. Rowling stated Voldemort's conception under the influence of a love potion symbolises the prejudicial circumstances under which he was brought into the world. In the main plot of the book, Voldemort's next step is to engineer an assault on Hogwarts, and to attack Dumbledore. This is accomplished by Draco Malfoy, who arranges transportation of Death Eaters into Hogwarts by a pair of Vanishing Cabinets, which bypass the extensive protective enchantments placed around the school. The cabinets allow Voldemort's Death Eaters to enter Hogwarts, where battle commences and Dumbledore is cornered. Hogwarts professor (and re-doubled agent) Severus Snape uses the Killing Curse against Dumbledore when Draco could not force himself to do so.

What happens after this?

OUT: young Riddle met Dumbledore, who told him he was a wizard and arranged for him to attend Hogwarts.

Answer the question at the end by quoting:

Jane Jacobs (born Jane Butzner; May 4, 1916 - April 25, 2006) was an American-Canadian journalist, author, and activist who influenced urban studies, sociology, and economics. Her book The Death and Life of Great American Cities (1961) argued that urban renewal did not respect the needs of city-dwellers. It also introduced the sociological concepts "eyes on the street" and "social capital". Jacobs organized grassroots efforts to protect neighborhoods from "slum clearance", in particular Robert Moses' plans to overhaul her own Greenwich Village neighborhood.
In 1935, during the Great Depression, she moved to New York City with her sister Betty. Jane Butzner took an immediate liking to Manhattan's Greenwich Village, which did not conform to the city's grid structure. The sisters soon moved there from Brooklyn. During her early years in the city, Jacobs held a variety of jobs working as a stenographer and freelance writer, writing about working districts in the city. These experiences, she later said, "... gave me more of a notion of what was going on in the city and what business was like, what work was like." Her first job was for a trade magazine as a secretary, then an editor. She sold articles to the Sunday Herald Tribune, Cue magazine, and Vogue. She studied at Columbia University's School of General Studies for two years, taking courses in geology, zoology, law, political science, and economics. About the freedom to pursue study across her wide-ranging interests, she said: For the first time I liked school and for the first time I made good marks. This was almost my undoing because after I had garnered, statistically, a certain number of credits I became the property of Barnard College at Columbia, and once I was the property of Barnard I had to take, it seemed, what Barnard wanted me to take, not what I wanted to learn. Fortunately my high-school marks had been so bad that Barnard decided I could not belong to it and I was therefore allowed to continue getting an education.

Was that her first job in NYC?

Her first job was for a trade magazine as a secretary, then an editor.

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 "Was that a new thing for them?"
output:
"The shot was a lot of fun and we had a great time working out how to do it," Joel said. "