input: During his playing career, Bonds was frequently described as a difficult person, surly, standoffish and ungrateful, among other unflattering adjectives. However, in one interview with Terence Moore in 2016, he acknowledged regret over the persona which he had created. He attributed it to a response to the pressure he felt to perform as a young player with the Pirates. Remarked Bonds,  Hell, I kick myself now, because I'm getting great press [since being more cooperative], and I could have had a trillion more endorsements, but that wasn't my driving force. The problem was, when I tried to give in a little bit, it never got better. I knew I was in the midst of that image, and I determined at that point that I was never going to get out of it.  So I just said, 'I've created this fire around me, and I'm stuck in it, so I might as well live with the flames'.  Bonds reports that for a short time during his playing days with the Giants he changed his demeanor at the behest of a group of teammates, resulting in him smiling much more frequently and engaging more with others with a pleasant demeanor. Shortly thereafter, Bonds says, in the midst of a slump, the same group of teammates pleaded that he revert, having seemingly lost his competitive edge, and causing the team lose more. In spite of his protest that they would not appreciate the results, his teammates insisted. Bonds says he complied, maintaining that familiar standoffish edge the rest of his playing career.

Answer this question "Did he go back to his old ways?"
output: Bonds says he complied, maintaining that familiar standoffish edge the rest of his playing career.

input: Gilliam's films have a distinctive look, not only in mise-en-scene but even more so in photography, often recognisable from just a short clip; to create a surreal atmosphere of psychological unrest and a world out of balance, he frequently uses unusual camera angles, particularly low-angle shots, high-angle shots, and Dutch angles. Roger Ebert said that "his world is always hallucinatory in its richness of detail." Most of his movies are shot almost entirely with rectilinear ultra-wide-angle lenses with focal lengths of 28mm or less to achieve a distinctive style defined by extreme perspective distortion and extremely deep focus. Gilliam's long-time director of photography Nicola Pecorini has said, "with Terry and me, a long lens means something between a 40mm and a 65mm." This attitude markedly differs from the common definition in photography, by which 40 to 65 mm is the focal length of a normal lens, resembling the natural human field of view, unlike Gilliam's signature style, defined by extreme perspective distortion due to his usual choice of focal length. The 14-mm lens has become informally known as "The Gilliam" among filmmakers because of his frequent use of it at least since Brazil. Gilliam has explained his preference for using wide-angle lenses in his films:  The wide-angle lenses, I think I choose them because it makes me feel like I'm in the space of the film, I'm surrounded. My prevalent vision is full of detail, and that's what I like about it. It's actually harder to do, it's harder to light. The other thing I like about wide-angle lenses is that I'm not forcing the audience to look at just the one thing that is important. It's there, but there's other things to occupy, and some people don't like that because I'm not pointing things out as precisely as I could if I was to use a long lens where I'd focus just on the one thing and everything else would be out of focus. ...  [M]y films, I think, are better the second and third time, frankly, because you can now relax and go with the flow that may not have been as apparent as the first time you saw it and wallow in the details of the worlds we're creating. ... I try to clutter [my visuals] up, they're worthy of many viewings.  In another interview, Gilliam mentioned, in relation to the 9.8-mm Kinoptic lens he had first used on Brazil, that wide-angle lenses make small film sets "look big". The widest lens he has used so far is an 8-mm Zeiss lens employed in filming The Imaginarium of Doctor Parnassus.

Answer this question "What is significant about this article ?"
output: The 14-mm lens has become informally known as "The Gilliam" among filmmakers because of his frequent use of it at least since Brazil.

input: As part of her comedic training, Louis-Dreyfus appeared in The Second City, one of Chicago's best-known improvisation theatre groups (whose alumni include Alan Arkin, Steve Carell, Stephen Colbert, Tina Fey, Amy Poehler, and Shelley Long). It was her performance with The Practical Theatre Company at their "Golden 50th Anniversary Jubilee" that led to her being asked to join the cast of NBC's Saturday Night Live at the age of 21.  Louis-Dreyfus was subsequently made into a cast member on Saturday Night Live from 1982 to 1985, becoming the youngest female cast member in the history of the program at that time. During her time on SNL, she appeared alongside several actors who would later rise to prominence, such as Eddie Murphy, Jim Belushi, Billy Crystal, and Martin Short. It was during her third and final year on SNL that she met writer Larry David during his only year on the show, who would later co-create Seinfeld. Louis-Dreyfus has commented that her casting on SNL was a "Cinderella-getting-to-go-to-the-ball kind of experience"; however, she has also admitted that at times it was often quite tense, stating that she "didn't know how to navigate the waters of show business in general and specifically doing a live sketch-comedy show".  Following her 1985 departure from SNL, Louis-Dreyfus appeared in several films, including the Woody Allen-directed Hannah and Her Sisters (1986); Soul Man (1986), starring C. Thomas Howell; and National Lampoon's Christmas Vacation (1989), in which she starred alongside fellow SNL alum Chevy Chase. In 1987, Louis-Dreyfus appeared in the NBC sitcom pilot The Art of Being Nick, an intended spin-off from Family Ties starring Scott Valentine. When the pilot did not make it to series, Louis-Dreyfus was retained by producer Gary David Goldberg for a role on his new sitcom Day by Day, as the sarcastic and materialistic neighbor, Eileen Swift. Premiering in early 1988, Day by Day aired for two seasons on NBC before being cancelled.

Answer this question "Did she have multiple roles on SNL"
output:
she appeared alongside several actors who would later rise to prominence, such as Eddie Murphy, Jim Belushi, Billy Crystal,