input: From 1936, Ellington began to make recordings with smaller groups (sextets, octets, and nonets) drawn from his then-15-man orchestra and he composed pieces intended to feature a specific instrumentalist, as with "Jeep's Blues" for Johnny Hodges, "Yearning for Love" for Lawrence Brown, "Trumpet in Spades" for Rex Stewart, "Echoes of Harlem" for Cootie Williams and "Clarinet Lament" for Barney Bigard. In 1937, Ellington returned to the Cotton Club which had relocated to the mid-town Theater District. In the summer of that year, his father died, and due to many expenses, Ellington's finances were tight, although his situation improved the following year. After leaving agent Irving Mills, he signed on with the William Morris Agency. Mills though continued to record Ellington. After only a year, his Master and Variety labels, the small groups had recorded for the latter, collapsed in late 1937, Mills placed Ellington back on Brunswick and those small group units on Vocalion through to 1940. Well known sides continued to be recorded, "Caravan" in 1937, and "I Let a Song Go Out of My Heart" the following year. Billy Strayhorn, originally hired as a lyricist, began his association with Ellington in 1939. Nicknamed "Swee' Pea" for his mild manner, Strayhorn soon became a vital member of the Ellington organization. Ellington showed great fondness for Strayhorn and never failed to speak glowingly of the man and their collaborative working relationship, "my right arm, my left arm, all the eyes in the back of my head, my brain waves in his head, and his in mine". Strayhorn, with his training in classical music, not only contributed his original lyrics and music, but also arranged and polished many of Ellington's works, becoming a second Ellington or "Duke's doppelganger". It was not uncommon for Strayhorn to fill in for Duke, whether in conducting or rehearsing the band, playing the piano, on stage, and in the recording studio. The 1930s ended with a very successful European tour just as World War II loomed in Europe.

Answer this question "Did anything specific happen in the later 1930's for Duke?"
output: From 1936, Ellington began to make recordings with smaller groups

input: In Rosemary's Baby: A Retrospective, a featurette on the DVD release of the film, screenwriter/director Roman Polanski, Paramount Pictures executive Robert Evans, and production designer Richard Sylbert reminisce at length about the production. Evans recalled William Castle brought him the galley proofs of the book and asked him to purchase the film rights even before Random House released the publication. The studio head recognized the commercial potential of the project and agreed with the stipulation that Castle, who had a reputation for low-budget horror films, could produce but not direct the film adaptation. He makes a cameo appearance as the man at the phone booth waiting for Mia Farrow to finish her call. Evans admired Polanski's European films and hoped he could convince him to make his American debut with Rosemary's Baby. He knew the director was a ski buff who was anxious to make a film with the sport as its basis, so he sent him the script for Downhill Racer along with the galleys for Rosemary. Polanski read the latter book non-stop through the night and called Evans the following morning to tell him he thought Rosemary was the more interesting project, and would like the opportunity to write as well as direct it. The script was modeled very closely on the original novel and incorporated large sections of the novel's dialogue and details, so much so that nearly every line of dialogue was taken from the novel's text. Author Ira Levin claimed that during a scene in which Guy mentions wanting to buy a particular shirt advertised in The New Yorker, Polanski was unable to find the specific issue with the shirt advertised and phoned Levin for help. Levin, who had assumed while writing that any given issue of The New Yorker would contain an ad for men's shirts, admitted that he had made it up.

Answer this question "What was his inspiration for the story?"
output: The script was modeled very closely on the original novel and incorporated large sections of the novel's dialogue and details,

input: On May 1, 1972, the show was moved from Thirty Rockefeller Plaza, New York, to Burbank, California, because of the studio's proximity to the celebrities. Carson often joked about "beautiful downtown Burbank" and referred to "beautiful downtown Bakersfield", which prompted Bakersfield Mayor Mary K. Shell to chide Carson and invite him to her city to see improvements made during the early 1980s. From July 1971, Carson stopped hosting five shows per week. Instead, Mondays featured a guest host, leaving Carson to host the other four weeknights. Shows were videotaped in Burbank at 5:30 pm, fed from there to the Central and Eastern time zone stations via cross-country television line at 8:30 pm Pacific time (11:30 pm Eastern time), and later sent from Burbank to the Pacific time zone stations at 11:30 pm Pacific time. Since only two feeds originated from Burbank, Central time zone stations received the Eastern feed one hour earlier at 10:30 pm local time, and Mountain time stations received the Pacific time zone feed one hour later at 12:30 am local time. In 1980, at Carson's request, the show cut its 90-minute format to 60 minutes on September 16; Tom Snyder's Tomorrow added a half-hour to fill the vacant time. Joan Rivers became the "permanent" guest host from September 1983 until 1986. The Tonight Show returned to using rotating guest hosts, including comic George Carlin. Jay Leno then became the exclusive guest host in fall 1987. Leno joked that although other guest hosts had upped their fees, he had kept his low, assuring himself more bookings. Eventually, Monday night was for Leno, Tuesday for The Best of Carson--rebroadcasts usually dating from a year earlier, but occasionally from the 1970s. Although Carson's work schedule became more attenuated, Tonight remained so successful that his compensation from NBC continued to rise; by the mid-1970s, he had become the highest-paid personality on television, earning about $4 million a year ($15,008,000 today), not including nightclub appearances and his other businesses. He refused many offers to appear in films, including title roles in The Thomas Crown Affair and Gene Wilder's role in Blazing Saddles. He also declined director Martin Scorsese's offer to co-star with Robert De Niro in the 1983 film The King of Comedy, the role of a TV talk-show host then going to Jerry Lewis. In recognition of his 25th anniversary on The Tonight Show, Carson received a personal Peabody Award, the board saying he had "become an American institution, a household word, [and] the most widely quoted American." They also said they "felt the time had come to recognize the contributions that Johnny has made to television, to humor, and to America."

Answer this question "What did he do then?"
output:
In 1980, at Carson's request, the show cut its 90-minute format to 60 minutes on September 16; Tom Snyder's Tomorrow added a half-hour to fill the vacant time.