Problem: Background: Herman Melville (August 1, 1819 - September 28, 1891) was an American novelist, short story writer, and poet of the American Renaissance period. His best known works include Typee (1846), a romantic account of his experiences in Polynesian life, and his whaling novel Moby-Dick (1851). His work was almost forgotten during his last 30 years. His writing draws on his experience at sea as a common sailor, exploration of literature and philosophy, and engagement in the contradictions of American society in a period of rapid change.
Context: In 1884, Mrs. Melville received a legacy, which enabled her to allow Melville a monthly sum of $25 to spend on books and prints. While Melville had his steady customs job, he no longer showed signs of depression, which recurred after the death of his second son. On 23 February 1886, Stanwix Melville died in San Francisco at age 36. Melville retired on 31 December 1885, after several of his wife's relatives died and left the couple more legacies which Mrs. Melville administered with skill and good fortune. In 1889 Melville became a member of the New York Society Library.  As English readers, pursuing the vogue for sea stories represented by such writers as G. A. Henty, rediscovered Melville's novels in the late nineteenth century, the author had a modest revival of popularity in England, though not in the United States. He wrote a series of poems, with prose head notes, inspired by his early experiences at sea. He published them in two collections, each issued in a tiny edition of 25 copies for his relatives and friends. Of these, scholar Robert Milder calls John Marr and Other Poems (1888), "the finest of his late verse collections". The second privately printed volume is Timoleon (1891).  Intrigued by one of these poems, Melville began to rework the headnote, expanding it first as a short story and eventually as a novella. He worked on it on and off for several years, but when he died in September 1891, the piece was unfinished. Also left unpublished were another volume of poetry, Weeds and Wildings, and a sketch, "Daniel Orme." To Billy Budd, his widow added notes and edited it, but the manuscript was not discovered until 1919, by Raymond Weaver, his first biographer. He worked at transcribing and editing a full text, which he published in 1924 as Billy Budd, Sailor. It was an immediate critical success in England and soon one in the United States. The authoritative version was published in 1962, after two scholars studied the papers for several years. In 1951 it was adapted as a stage play on Broadway, and as an opera by English composer Benjamin Britten with assistance on the libretto by E. M. Forster. In 1961 Peter Ustinov released a movie based on the stage play and starring Terence Stamp.
Question: When was this released?
Answer: He worked on it on and off for several years, but when he died in September 1891, the piece was unfinished.

Background: Dimitri Zinovievich Tiomkin (May 10, 1894 - November 11, 1979) was a Russian-born American film composer and conductor. Classically trained in St. Petersburg, Russia before the Bolshevik Revolution, he moved to Berlin and then New York City after the Russian Revolution. In 1929, after the stock market crash, he moved to Hollywood, where he became best known for his scores for Western films, including Duel in the Sun, Red River, High Noon, The Big Sky, Gunfight at the O.K. Corral, and Last Train from Gun Hill. Tiomkin received twenty-two Academy Award nominations and won four Oscars, three for Best Original Score for High Noon, The High and the Mighty, and The Old Man and the Sea, and one for Best Original Song for "The Ballad of High Noon" from the former film.
Context: Tiomkin received his first break from Columbia director Frank Capra, who picked him to write and perform the score for Lost Horizon (1937). The film gained significant recognition for Tiomkin in Hollywood. It was released the same year that he became a naturalized U.S. citizen.  In his autobiography, Please Don't Hate Me! (1959), Tiomkin recalls how the assignment by Capra forced him to first confront a director in a matter of music style:  [H]e gave me the job without reservation. I could write the score without interference, and he would hear it when it was done. Lost Horizon offered me a superb chance to do something big... I thought I might be going a little too far in the matter of expense, and went to Frank one day as he sat in the projection room [and explained the score.]... He looked shocked. "No, Dimi, the lama is a simple man. His greatness is in being simple. For his death the music should be simple, nothing more than the muttering rhythm of a drum." "But Frank, death of lama is not ending one man, but is death of idea. Is tragedy applying to whole human race. I must be honest. Music should rise high, high. Should give symbolism of immense loss. Please don't hate me."  He worked on other Capra films during the following decade, including the comedy You Can't Take It With You (1938), Mr. Smith Goes to Washington (1939), Meet John Doe (1941), and It's a Wonderful Life (1946). During World War II, he continued his close collaboration with Capra by composing scores for his Why We Fight series. These seven films were commissioned by the U.S. government to show American soldiers the reason for United States participation in the war. They were later released to the general U.S. public to generate support for American involvement.  Tiomkin credited Capra for broadening his musical horizons by shifting them away from a purely Eurocentric and romantic style to a more American style based on subject matter and story.
Question: When did he quit working for Capra?
Answer: