Problem: Background: Kureishi was born in Bromley, South London, to a Pakistani father, Rafiushan (Shanoo) Kureishi, and an English mother, Audrey Buss. His father was from a wealthy Madras family, most of whose members moved to Pakistan after the Partition of British India in 1947. Rafiushan came to the UK in 1950 to study law but for financial reasons worked at the Pakistani embassy instead. Here he met his wife-to-be, Buss.
Context: Kureishi started his career in the 1970s as a pornography writer, under the pseudonyms Antonia French and Karim. He went on to write plays for the Hampstead Theatre, Soho Poly and by the age of 18 was with the Royal Court. He wrote My Beautiful Laundrette in 1985, a screenplay about a gay Pakistani-British boy growing up in 1980s London for a film directed by Stephen Frears. The screenplay, especially the racial discrimination experienced, contained elements from Hanif's own experiences as the only Pakistani student in his class at school. It won the New York Film Critics Best Screenplay Award and an Academy Award nomination for Best Screenplay. He also wrote the screenplay for Sammy and Rosie Get Laid (1987). His book The Buddha of Suburbia (1990) won the Whitbread Award for the best first novel and was made into a BBC television series with a soundtrack by David Bowie. 1991 saw the release of the feature film entitled London Kills Me, written and directed by Kureishi.  His novel Intimacy (1998) revolved around the story of a man leaving his wife and two young sons after feeling physically and emotionally rejected by his wife. This created some controversy as Kureishi had recently left his own partner (the editor and producer Tracey Scoffield) and two young sons; it was assumed to be at least semi-autobiographical. In 2000/2001 the novel was adapted to a movie Intimacy by Patrice Chereau, which won two Bears at the Berlin Film Festival: a Golden Bear for Best Film and a Silver Bear for Best Actress (Kerry Fox). It was controversial for its explicit sex scenes. The book was translated into Persian by Niki Karimi in 2005.  Kureishi's drama The Mother was adapted to a movie by Roger Michell, which won a joint First Prize in the Director's Fortnight section at Cannes Film Festival. It showed a cross-generational relationship with changed roles: a seventy-year-old English lady and grandmother (played by Anne Reid) who seduces her daughter's boyfriend (played by Daniel Craig), a thirty-year-old craftsman. Explicit sex scenes were shown in realistic drawings only, thus avoiding censorship. His 2006 screenplay Venus saw Oscar, BAFTA, Screen Actors Guild, Broadcast Film Critics Association and Golden Globe nominations for Peter O'Toole in the best actor category.  A novel entitled Something to Tell You was published in 2008. His 1995 novel The Black Album, adapted for the theatre, was performed at the National Theatre in July and August 2009. In May 2011, he was awarded the second Asia House Literature Award on the closing night of the Asia House Literary Festival where he discussed his Collected Essays (Faber).  Kureishi has also written non-fiction, including autobiography. As noted by Cathy Galvin in The Telegraph: "But at the core of his life, as described in his memoir, My Ear at His Heart, is Kureishi's relationship with his father, Rafiushan, who died in 1991."
Question: What was my beautiful Laundrette about?
Answer: screenplay about a gay Pakistani-British boy growing up in 1980s London

Problem: Background: Hartman was born Philip Edward Hartmann (later dropping one "n") on September 24, 1948, in Brantford, Ontario, Canada. He was the fourth of eight children of Doris Marguerite (Wardell) and Rupert Loebig Hartmann, a salesman specializing in building materials. His parents were Catholic and raised their children in that faith. As a child Hartman found affection hard to earn and stated: "I suppose I didn't get what I wanted out of my family life, so I started seeking love and attention elsewhere."
Context: In contrast to his real-life personality, which was described as "a regular guy and, by all accounts, one of show business' most low-key, decent people", Hartman often played seedy, vain or unpleasant characters as well as comedic villains. He noted that his standard character was a "jerky guy", and described his usual roles as "the weasel parade", citing Lionel Hutz, Bill McNeal, Troy McClure and Ted Maltin from Jingle All the Way as examples. Hartman enjoyed playing such roles because he "just want[ed] to be funny, and villains tend to be funny because their foibles are all there to see."  He often played supporting roles, rather than the lead part. He said "throughout my career, I've never been a huge star, but I've made steady progress and that's the way I like it," and "It's fun coming in as the second or third lead. If the movie or TV show bombs, you aren't to blame." Hartman was considered a "utility player" on SNL with a "kind of Everyman quality" which enabled him to appear in the majority of sketches, often in very distinct roles. Jan Hooks stated of his work on SNL: "Phil never had an ounce of competition. He was a team player. It was a privilege for him, I believe, to play support and do it very well. He was never insulted, no matter how small the role may have been." He was disciplined in his performances, studying the scripts beforehand. Hooks added: "Phil knew how to listen. And he knew how to look you in the eye, and he knew the power of being able to lay back and let somebody else be funny, and then do the reactions. I think Phil was more of an actor than a comedian." Film critic Pauline Kael declared that "Phil Hartman and Jan Hooks on Saturday Night Live are two of the best comic actors I've ever seen."  Writer and acting coach Paul Ryan noted Hartman's work ethic with his impressions. He assembled a collection of video footage of the figure he was preparing to impersonate and watched this continually until he "completely embodied the person". Ryan concluded that "what made [Hartman's impressions] so funny and spot on was Phil's ability to add that perfect touch that only comes from trial and error and practicing in front of audiences and fellow actors." Hartman described this process as "technical." Journalist Lyle V. Harris said Hartman showed a "rare talent for morphing into [...] anybody he wanted to be".  Ken Tucker summarized Hartman's comedic style: "He could momentarily fool audiences into thinking he was the straight man, but then he'd cock an eyebrow and give his voice an ironic lilt that delivered a punchline like a fast slider--you barely saw it coming until you started laughing." Hartman claimed that he borrowed his style from actor Bill Murray: "He's been a great influence on me - when he did that smarmy thing in Ghostbusters, then the same sort of thing in Groundhog Day. I tried to imitate it. I couldn't. I wasn't good enough. But I discovered an element of something else, so in a sick kind of way I made myself a career by doing a bad imitation of another comic."
Question: Did he enjoy working in comedies?
Answer:
He could momentarily fool audiences into thinking he was the straight man, but then he'd cock an eyebrow and give his voice