input: Bismarck resigned at Wilhelm II's insistence in 1890, at the age of 75, to be succeeded as Chancellor of Germany and Minister-President of Prussia by Leo von Caprivi, who in turn was replaced by Chlodwig, Prince of Hohenlohe-Schillingsfurst, in 1894. Following the dismissal of Hohenlohe in 1900, Wilhelm appointed the man whom he regarded as "his own Bismarck", Bernhard von Bulow.  In foreign policy Bismarck had achieved a fragile balance of interests between Germany, France and Russia--peace was at hand and Bismarck tried to keep it that way despite growing popular sentiment against Britain (regarding colonies) and especially against Russia. With Bismarck's dismissal the Russians now expected a reversal of policy in Berlin, so they quickly came to terms with France, beginning the process that by 1914 largely isolated Germany.  In appointing Caprivi and then Hohenlohe, Wilhelm was embarking upon what is known to history as "the New Course", in which he hoped to exert decisive influence in the government of the empire. There is debate amongst historians as to the precise degree to which Wilhelm succeeded in implementing "personal rule" in this era, but what is clear is the very different dynamic which existed between the Crown and its chief political servant (the Chancellor) in the "Wilhelmine Era". These chancellors were senior civil servants and not seasoned politician-statesmen like Bismarck. Wilhelm wanted to preclude the emergence of another Iron Chancellor, whom he ultimately detested as being "a boorish old killjoy" who had not permitted any minister to see the Emperor except in his presence, keeping a stranglehold on effective political power. Upon his enforced retirement and until his dying day, Bismarck was to become a bitter critic of Wilhelm's policies, but without the support of the supreme arbiter of all political appointments (the Emperor) there was little chance of Bismarck exerting a decisive influence on policy.  Bismarck did manage to create the "Bismarck myth," the view (which some would argue was confirmed by subsequent events) that Wilhelm II's dismissal of the Iron Chancellor effectively destroyed any chance Germany had of stable and effective government. In this view, Wilhelm's "New Course" was characterised far more as the German ship of state going out of control, eventually leading through a series of crises to the carnage of the First and Second World Wars.  In the early twentieth century Wilhelm began to concentrate upon his real agenda; the creation of a German navy that would rival that of Britain and enable Germany to declare itself a world power. He ordered his military leaders to read Admiral Alfred Thayer Mahan's book, The Influence of Sea Power upon History, and spent hours drawing sketches of the ships that he wanted built. Bulow and Bethmann Hollweg, his loyal chancellors, looked after domestic affairs, while Wilhelm began to spread alarm in the chancellories of Europe with his increasingly eccentric views on foreign affairs.

Answer this question "what else is interesting?"
output: affairs, while Wilhelm began to spread alarm in the chancellories of Europe with his increasingly eccentric views on foreign affairs.

input: Gilliam was a part of Monty Python's Flying Circus from its outset, credited at first as an animator (his name was listed separately after the other five in the closing credits) and later as a full member. His cartoons linked the show's sketches together and defined the group's visual language in other media (such as LP and book covers and the title sequences of their films). His animations mix his own art, characterised by soft gradients and odd, bulbous shapes, with backgrounds and moving cutouts from antique photographs, mostly from the Victorian era.  In 1978, Gilliam published Animations of Mortality, an illustrated, tongue-in-cheek, semi-autobiographical how-to guide to his animation techniques and the visual language in them. Roughly 15 years later, between the release of the CD-ROM game Monty Python's Complete Waste of Time in 1994, which used many of Gilliam's animation templates, and the making of Gilliam's film Fear and Loathing in Las Vegas (1998), Gilliam was in negotiations with Enteractive, a software company, to tentatively release in the autumn of 1996 a CD-ROM under the same title as his 1978 book, containing all of his thousands of 1970s animation templates as license-free clip arts for people to create their own flash animations, but the project hovered in limbo for years, probably because Enteractive was about to downsize greatly in mid-1996 and changed its focus from CD-ROM multimedia presentations to internet business solutions and web hosting in 1997 (in the introduction to their 2004 book Terry Gilliam: Interviews, David Sterrit and Lucille Rhodes claimed that the internet had overwhelmed the "computer-communications market" and gave this as the reason that the Animations of Mortality CD-ROM never materialised). Around the time of Gilliam's film The Imaginarium of Doctor Parnassus (2009), the project had changed into the idea of releasing his 1970s animation templates as a license-free download of Adobe After Effects or similar files.  Besides creating the animations, he also appeared in several sketches, though he rarely had main roles and did considerably less acting in the sketches. He did, however, have some notable sketch roles, such as Cardinal Fang of the Spanish Inquisition; the bespectacled commenter who said, "I can't add anything to that!" in the sketch "Election Night Special"; Kevin Garibaldi, the brat on the couch shouting "I want more beans!" in the sketch "Most Awful Family in Britain 1974" (episode 45); the Screaming Queen in a cape and mask in The Visitors; and Percy Bysshe Shelly in Ant Poetry Reading. More frequently, he played parts that no one else wanted to play, generally because they required a lot of makeup or uncomfortable costumes (such as the recurring character of a knight in armour who ended sketches by walking on and hitting one of the other characters over the head with a plucked chicken). He took a number of small roles in the films, including Patsy in Monty Python and the Holy Grail (which he co-directed with Terry Jones; Gilliam was responsible for photography, while Jones guided the actors' performances) and the jailer in Monty Python's Life of Brian. He also designed the covers of most of the Monty Python albums, including Another Monty Python Record, The Monty Python Matching Tie and Handkerchief and Monty Python Live at Drury Lane, and their film soundtrack albums.

Answer this question "what movies was he apart of?"
output:
Fear and Loathing in Las Vegas