Problem: Background: Evangelos Odysseas Papathanassiou (Greek: Euaggelos Odusseas Papathanasiou, IPA: [ev'anjelos odi'seas papathana'siu] (born 29 March 1943), best known professionally as Vangelis (), is a Greek composer of electronic, progressive, ambient, jazz, and orchestral music. He is best known for his Academy Award-winning score for the film Chariots of Fire, composing scores for the films Blade Runner, Missing, Antarctica, 1492: Conquest of Paradise, and Alexander, and the use of his music in the PBS documentary Cosmos:
Context: For an artist of his stature, very little is known about Vangelis' personal life and he rarely gives official interviews to journalists. However, in a 2005 interview with The Daily Telegraph, Vangelis talked openly about various parts of his life. He stated in the interview that he was "never interested" in the "decadent lifestyle" of his band days, choosing not to use alcohol or other drugs. At the time of the Telegraph interview, Vangelis was involved in his third long-term relationship. When asked why he had not had children, Vangelis replied:  ...Because of the amount of travelling I do and the nonsense of the music business, I couldn't take care of a child in the way I think it should be taken care of.  It is not publicly known where Vangelis generally resides; he has stated that he "travels around", rather than settling down in one specific place or country for long periods of time. As a hobby, Vangelis enjoys painting; his first art exhibition of 70 paintings was held at Almudin in Valencia, Spain in 2003 and then toured South America until the end of 2004.  Excerpts from other interviews mention that Vangelis has been married twice before. In a 1976 interview with Dutch music magazine Oor, the author wrote that Vangelis had a wife named Veronique Skawinska, a photographer who had done some album art work for Vangelis. An interview in 1982 with Backstage music magazine suggests that Vangelis had previously been married to a singer named Vana Verouti, who had performed vocals on some of his records, performing for the first time with him on La Fete sauvage and later on Heaven and Hell.
Question: what was special about his personal life?
Answer: He stated in the interview that he was "never interested" in the "decadent lifestyle

Problem: Background: Michael Andrew McKagan grew up in Seattle's largely working-class University District, the youngest of eight children born to Marie and Elmer "Mac" McKagan. He has been called "Duff" since toddlerhood, to which he once referred as "an Irish thing". Following his parents' divorce, his mother supported the family by taking a job as a medical stenographer. He was taught how to play bass by his brother Bruce, further developing his skills by playing along with the albums 1999 by Prince and Damaged by Black Flag.
Context: In 1979, at the age of 15, McKagan formed the punk band the Vains, in which he played bass; they released the single "School Jerks" in 1980. During this time, he also played guitar in the punk band the Living, which opened shows for Husker Du and D.O.A., which developed a devoted following.  In 1980, McKagan joined the pop-punk band the Fastbacks as their drummer. He appeared on their 1981 debut single "It's Your Birthday", which was issued on guitarist Kurt Bloch's label No Threes Records, and on the song "Someone Else's Room", which was included on the Seattle Syndrome Volume One compilation album, also released in 1981.  In 1982, McKagan became the drummer for the hardcore punk band The Fartz, with whom he recorded several demos, five of which were included on their 1990 album You, We See You Crawling. After several line-up changes, The Fartz evolved into the post-punk band 10 Minute Warning, for which McKagan played guitar.  In 1983, McKagan moved to Los Angeles, California, with one of his brothers where he found work as an appetizer server at a Black Angus restaurant in Northridge. Answering an ad for a bass guitarist in a local newspaper, he met guitarist Slash and drummer Steven Adler, with whom he formed the short-lived band Road Crew. They auditioned a number of singers, including one-time Black Flag vocalist Ron Reyes, and worked on material that included the main riff of what would become the Guns N' Roses song "Rocket Queen". Slash eventually disbanded the group due to them not being able to find a singer, as well as Adler's lack of work ethic compared to himself and McKagan.
Question: did anything else important happen in the '80s?
Answer: The Fartz evolved into the post-punk band 10 Minute Warning, for which McKagan played guitar.

Problem: Background: Barton Fink is a 1991 American period film written, produced, directed and edited by the Coen brothers. Set in 1941, it stars John Turturro in the title role as a young New York City playwright who is hired to write scripts for a film studio in Hollywood, and John Goodman as Charlie, the insurance salesman who lives next door at the run-down Hotel Earle. The Coens wrote the screenplay for Barton Fink in three weeks while experiencing difficulty during the writing of Miller's Crossing. They began filming the former soon after Miller's Crossing was finished.
Context: 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".
Question: How many extra people did they need for this?
Answer: