Question:
Rockefeller was born in New York City, New York. He grew up in an eight-story house at 10 West 54th Street, the tallest private residence ever built in the city. Rockefeller was the youngest of six children born to financier John Davison Rockefeller Jr. and socialite Abigail Greene "Abby" Aldrich. John Jr. was the only son of Standard Oil co-founder John Davison Rockefeller Sr. and schoolteacher Laura Celestia "Cettie" Spelman.
Rockefeller traveled widely and met with both foreign rulers and U.S. presidents, beginning with Dwight D. Eisenhower. At times he served as an unofficial emissary on high-level business. Among the foreign leaders he met were Saddam Hussein, Fidel Castro, Nikita Khrushchev, and Mikhail Gorbachev.  In 1968, he declined an offer from his brother Nelson Rockefeller, then governor of New York, to appoint him to Robert F. Kennedy's Senate seat after Kennedy was assassinated in June 1968, a post Nelson also offered to their nephew John Davison "Jay" Rockefeller IV. President Jimmy Carter offered him the position of United States Secretary of the Treasury but he declined.  Rockefeller was criticized for befriending foreign autocrats in order to expand Chase interests in their countries. The New York Times columnist David Brooks wrote in 2002 that Rockefeller "spent his life in the club of the ruling class and was loyal to members of the club, no matter what they did." He noted that Rockefeller had cut profitable deals with "oil-rich dictators", "Soviet party bosses" and "Chinese perpetrators of the Cultural Revolution".  Rockefeller met Henry Kissinger in 1954, when Kissinger was appointed a director of a seminal Council on Foreign Relations study group on nuclear weapons, of which David Rockefeller was a member. He named Kissinger to the board of trustees of the Rockefeller Brothers Fund, and consulted with him frequently, with the subjects including the Chase Bank's interests in Chile and the possibility of the election of Salvador Allende in 1970. Rockefeller supported his "opening of China" initiative in 1971 as it afforded banking opportunities for the Chase Bank.  Though a lifelong Republican and party contributor, he was a member of the moderate "Rockefeller Republicans" that arose out of the political ambitions and public policy stance of his brother Nelson. In 2006 he teamed up with former Goldman Sachs executives and others to form a fund-raising group based in Washington, Republicans Who Care, that supported moderate Republican candidates over more ideological contenders.
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Which other names of people he met were mentioned?

Answer:
Among the foreign leaders he met were Saddam Hussein, Fidel Castro, Nikita Khrushchev, and Mikhail Gorbachev.


Question:
Departures (Japanese: okuribito, Hepburn: Okuribito, "one who sends off") is a 2008 Japanese drama film directed by Yojiro Takita and starring Masahiro Motoki, Ryoko Hirosue, and Tsutomu Yamazaki. Loosely based on Coffinman, a memoir by Shinmon Aoki, the film follows a young man who returns to his hometown after a failed career as a cellist and stumbles across work as a nokanshi--a traditional Japanese ritual mortician. He is subjected to prejudice from those around him, including from his wife, because of strong social taboos against people who deal with death. Eventually he earns their respect and learns the importance of interpersonal connections through the beauty and dignity of his work.
Several critics discussed the theme of death found in Departures. Scott highlighted the contrast between the taboo of death and the value of jobs related to it. He also noted the role of the encoffiner in showing "one last act of compassion" by presenting the dead in a way which preserved proud memories of their life. Initially, Daigo and his family are unable to overcome the taboos and their squeamishness when faced with death. Daigo is alienated from his wife and friends owing to traditional values. Ultimately it is through his work with the dead that Daigo finds fulfilment, and, as Peter Howell of the Toronto Star concluded, viewers realize that "death may be the termination of a life, but it's not the end of humanity". Okuyama writes that, in the end, the film (and the book on which it was based) serves as a "quiet yet persistent protest" against the discrimination which people who deal with death continue to face in modern Japan: death is a normal part of life, not something repulsive.  Along with this theme of death, Takita believed Departures was about life, about finding a lost sense of feeling human; Daigo gains a greater perspective on life and comes to know the diversity of people's lives only after encountering them in death. This life includes family bonds: Daigo's coming to terms with his father is a major motif, encoffinment scenes focus on the living family members rather than the dead, and even in the NK Agent office, conversation often revolves around family issues. Mika's pregnancy is the catalyst for her reconciliation with Daigo.  Ebert writes that, as with other Japanese films such as Tokyo Story (Yasujiro Ozu; 1953) and The Funeral (Juzo Itami; 1984), Departures focuses on the effect of death on the survivors; the afterlife is not given much discussion. He considered this indicative of a "deep and unsensational acceptance of death" in Japanese culture, one which is to be met not with extreme sorrow, but with contemplation. Takita stated that he intended to focus on the "dialogue between people who have passed away and the families that survive them". The film touches on the question of the afterlife: the cremator likens death to "a gateway", and Okuyama writes that in this sense the cremator is a gatekeeper and the encoffiners are guides.  Byrnes found that Departures leads one to question the extent of modernity's effect on Japanese culture, noting the undercurrent of "traditional attitudes and values" which permeated the film. Although the encoffining ceremony was traditionally completed by the dead person's family, a decreased interest in it opened a "niche market" for professional encoffiners. Okuyama wrote that, through this film, Takita was filling a "spiritual loss" caused by the departure from tradition in modern Japan. Tadao Sato connected this theme of modernity to that of death, explaining that the film's unusually non-bitter treatment of death demonstrated an evolution in Japanese feelings about life and death. He considered the film's treatment of nokan as an artistic rather than religious ceremony to reflect the agnostic attitudes of modern Japan.
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What are the themes of this movie?

Answer:
Several critics discussed the theme of death found in Departures.