input: Throughout his youth, Bradbury was an avid reader and writer and knew at a young age that he was "going into one of the arts." Bradbury began writing his own stories at age 11 (1931), during the Great Depression -- sometimes writing on the only available paper, butcher paper.  In his youth, he spent much time in the Carnegie library in Waukegan, reading such authors as H. G. Wells, Jules Verne, and Edgar Allan Poe. At 12, Bradbury began writing traditional horror stories and said he tried to imitate Poe until he was about 18. In addition to comics, he loved Edgar Rice Burroughs, creator of Tarzan of the Apes, especially Burroughs' John Carter of Mars series. The Warlord of Mars impressed him so much that at the age of 12, he wrote his own sequel. The young Bradbury was also a cartoonist and loved to illustrate. He wrote about Tarzan and drew his own Sunday panels. He listened to the radio show Chandu the Magician, and every night when the show went off the air, he would sit and write the entire script from memory.  As a teen in Beverly Hills, he often visited his mentor and friend science-fiction writer Bob Olsen, sharing ideas and maintaining contact. In 1936, at a secondhand bookstore in Hollywood, Bradbury discovered a handbill promoting meetings of the Los Angeles Science Fiction Society. Excited to find there were others sharing his interest, Bradbury joined a weekly Thursday-night conclave at age 16.  At age 17, Bradbury read stories published in Astounding Science Fiction, and read everything by Robert A. Heinlein, Arthur C. Clarke, and the early writings of Theodore Sturgeon and A. E. van Vogt. Bradbury cited H. G. Wells and Jules Verne as his primary science-fiction influences. Bradbury identified with Verne, saying, "He believes the human being is in a strange situation in a very strange world, and he believes that we can triumph by behaving morally".  Bradbury admitted that he stopped reading science-fiction books in his 20s and embraced a broad field of literature that included Alexander Pope and poet John Donne. Bradbury had just graduated from high school when he met Robert Heinlein, then 31 years old. Bradbury recalled, "He was well known, and he wrote humanistic science fiction, which influenced me to dare to be human instead of mechanical."

Answer this question "How did Jules Verne influence him?"
output: "He believes the human being is in a strange situation in a very strange world, and he believes that we can triumph by behaving morally".

input: After graduating from college, Hillenburg held various jobs in 1984, including as a park service attendant in Utah and an art director in San Francisco, before landing the job he wanted: teaching children. He hoped to work in a national park on the coast, and eventually found a job at the Orange County Marine Institute (now known as the Ocean Institute), an organization in Dana Point, California that is dedicated to educating the public about marine science and maritime history. Hillenburg was a marine-biology teacher there for three years: "We taught tide-pool ecology, nautical history, diversity and adaptation. Working there, I saw how enamored kids are with undersea life, especially with tide-pool creatures." He stayed at the Dana Point Marina and was also a staff artist. Although "[i]t was a great experience" for him, during this period, Hillenburg realized he was more interested in art than his chosen profession.  While working there, he was asked by one of the educational directors if he would be interested in creating an educational comic book about the animal life of tidal pools. He created a comic called The Intertidal Zone, which he used to teach his students. It featured anthropomorphic forms of sea life, many of which would evolve into SpongeBob SquarePants characters--including "Bob the Sponge", the comic's co-host, who resembled an actual sea sponge, as opposed to his later SpongeBob SquarePants character, who resembles a kitchen sponge. He tried to get the comic published, but was turned down by the publishers that he approached.  At one point during his tenure with the Orange County Marine Institute, Hillenburg started going to animation festivals such as the International Tournee of Animation and Spike and Mike's Festival of Animation where, at one of those, films made by California Institute of the Arts (colloquially called CalArts) students were shown. He determined that he wanted to pursue a career in that field. Hillenburg had planned to take a master's degree in art, but instead of "going back to school for painting", he left his job in 1987 to become an animator.  In 1989, Hillenburg enrolled in the Experimental Animation Program at CalArts. About this decision, he said: "Changing careers like that is scary, but the irony is that animation is a pretty healthy career right now and science education is more of a struggle." He studied under Jules Engel, the founding director of the program, whom he considers his "Art Dad" and mentor. Engel accepted him into the program impressed by The Intertidal Zone. Hillenburg said, "[Engel] also was a painter, so I think he saw my paintings and could easily say, 'Oh, this guy could fit in to this program.' I don't have any [prior experience in] animation really." Hillenburg graduated in 1992, earning a Master of Fine Arts in experimental animation.

Answer this question "How many years did he do that?"
output: for three years:

input: Nixon used the improving international environment to address the topic of nuclear peace. Following the announcement of his visit to China, the Nixon administration concluded negotiations for him to visit the Soviet Union. The President and First Lady arrived in Moscow on May 22, 1972 and met with Leonid Brezhnev, the General Secretary of the Communist Party; Alexei Kosygin, the Chairman of the Council of Ministers; and Nikolai Podgorny, the head of state, among other leading Soviet officials.  Nixon engaged in intense negotiations with Brezhnev. Out of the summit came agreements for increased trade and two landmark arms control treaties: SALT I, the first comprehensive limitation pact signed by the two superpowers, and the Anti-Ballistic Missile Treaty, which banned the development of systems designed to intercept incoming missiles. Nixon and Brezhnev proclaimed a new era of "peaceful coexistence". A banquet was held that evening at the Kremlin.  Seeking to foster better relations with the United States, both China and the Soviet Union cut back on their diplomatic support for North Vietnam and advised Hanoi to come to terms militarily. Nixon later described his strategy:  I had long believed that an indispensable element of any successful peace initiative in Vietnam was to enlist, if possible, the help of the Soviets and the Chinese. Though rapprochement with China and detente with the Soviet Union were ends in themselves, I also considered them possible means to hasten the end of the war. At worst, Hanoi was bound to feel less confident if Washington was dealing with Moscow and Beijing. At best, if the two major Communist powers decided that they had bigger fish to fry, Hanoi would be pressured into negotiating a settlement we could accept.  Having made considerable progress over the previous two years in U.S.-Soviet relations, Nixon embarked on a second trip to the Soviet Union in 1974. He arrived in Moscow on June 27 to a welcome ceremony, cheering crowds, and a state dinner at the Grand Kremlin Palace that evening. Nixon and Brezhnev met in Yalta, where they discussed a proposed mutual defense pact, detente, and MIRVs. While he considered proposing a comprehensive test-ban treaty, Nixon felt he would not have time as president to complete it. There were no significant breakthroughs in these negotiations.

Answer this question "What was his relationship with the Soviet Union?"
output: