input: 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.

Answer this question "Where these all fllms that were released or was any a failure?"
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Question: The Wildhearts are an English rock group, formed in 1989 in Newcastle upon Tyne. The band's sound is a mixture of hard rock and melodic pop music, often described in the music press as combining influences as diverse as The Beatles and 1980s-era Metallica. However, this characterization is denied by the band, who see their influences as being far broader, as shown in the song "29 X The Pain", which lists many of group leader Ginger's influences. Despite several top 20 singles and one top 10 album in Britain, the Wildhearts have not achieved major commercial success, owing in part to difficulties with record companies and many internal problems often relating to recreational drugs and depression.

The Wildhearts next planned a double album, but East West vetoed this plan during the recording sessions. Instead the band released a collection of six of the more eclectic tracks on a fan club-only release entitled Fishing For Luckies in early 1995. This EP, which would be re-released in 1996 with more studio outtakes as Fishing for More Luckies, included the notable track "Geordie In Wonderland". Ginger offered this track to Kevin Keegan and Newcastle United F.C. as a potential team anthem, but was graciously turned down. The track was performed on Top of the Pops with Wolfsbane's Jeff Hateley, painted in Toon Army colours, on mandolin. Other noteworthy tracks included "If Life Is Like A Lovebank, I Want An Overdraft", also released as a single, and the 11:24 epic "Sky Babies." Despite frequent fan requests, this track was rarely performed live, reputedly because of Danny McCormack's inability to remember his bass parts throughout the entire song. In 2003-2004 the band began to play "Sky Babies" at nearly every show with new bassist Jon Poole.  The second album proper was to be known as P.H.U.Q.. Midway through the recording sessions, Ginger (in a move he later claimed to regret) fired guitarist CJ, and some of the album's tracks were recorded without a second guitarist. P.H.U.Q. was released in May 1995 and reached #6 in the British charts, making it the band's most successful album. Shortly after the album's release, Mark Keds of Senseless Things was drafted as second guitarist, but lasted just one recording session, in which he appeared on the B-sides for the single "Just in Lust". Within a few weeks Keds was sacked after disappearing to Japan for a farewell tour with his old band. The Wildhearts were again down to a three-piece (Ginger, McCormack, and Battersby) for a few months, and performed a few gigs in this incarnation. The band resolved to return to a two-guitar formation, and after requesting demos and holding auditions, hired the previously unknown Jef Streatfield.  By late 1995 the band were finally fed up with their record label and set out to tour Japan and the UK, determined that they would split up unless East West would release them from their contract. The tours were a resounding success and eventually the band managed to escape their record contract.

Using a quote from the above article, answer the following question: What happened after the fan club album?
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Answer:
The second album proper was to be known as P.H.U.Q.. Midway