input: After graduation, Korolev worked with some of the best Soviet designers at the 4th Experimental Section aircraft design bureau OPO-4 headed by Paul Aime Richard who emigrated to the USSR from France in the 1920s. He did not stand out in this group, but while so employed he also worked independently to design a glider capable of performing aerobatics. In 1930 he became interested in the possibilities of liquid-fueled rocket engines to propel airplanes while working as a lead engineer on the Tupolev TB-3 heavy bomber. Korolev earned his pilot's license in 1930 and explored the operational limits of the aircraft he piloted, wondering what was beyond his plane's altitude limit and how he could get there. Many believe this was the start of his interest in space.  Korolev married Xenia Vincentini on 6 August 1931. He had first proposed marriage to her in 1924, but she then declined so she might continue her higher education. In 1931, Korolev and space travel enthusiast Friedrich Zander participated in the creation of the Group for the Study of Reactive Motion (GIRD), one of the earliest state-sponsored centers for rocket development in the USSR. In May 1932 Korolev was appointed chief of the group; and military interest encouraged funding of group projects. GIRD developed three different propulsion systems, each more successful than the last. Their first launch of a liquid-fueled rocket was GIRD-X in 1933. (Although this is often cited as the GIRD-09, the hybrid GIRD-09 used solid gasoline and liquid oxygen.) This was just seventeen years after Colonel Ivan Platonovich Grave's first launch in 1916 (patent in 1924).  Growing military interest in this new technology caused GIRD to be merged with the Gas Dynamics Laboratory (GDL) at Leningrad in 1933 to create the Jet Propulsion Research Institute (RNII), headed up by the military engineer Ivan Kleimenov and containing a number of enthusiastic proponents of space travel, including Valentin Glushko. Korolev became the Deputy Chief of the institute, where he supervised development of cruise missiles and a manned rocket-powered glider. "Rocket Flight in Stratosphere" was published by Korolev in 1934.  On 10 April 1935, Korolev's wife gave birth to their daughter, Natalya; and they moved out of Sergei's parents' home and into their own apartment in 1936. Both Korolev and his wife had careers, and Sergei always spent long hours at his design office. By now he was chief engineer at RNII. The RNII team continued their development work on rocketry, with particular focus on the area of stability and control. They developed automated gyroscope stabilization systems that allowed stable flight along a programmed trajectory. Korolev was a charismatic leader who served primarily as an engineering project manager. He was a demanding, hard-working man, with a disciplinary style of management. Korolev personally monitored all key stages of the programs and paid meticulous attention to detail.

Answer this question "What else did you find interesting?"
output: They developed automated gyroscope stabilization systems that allowed stable flight along a programmed trajectory.

input: After spending time in Europe, Van Sant went to Los Angeles in 1976. He secured a job as a production assistant to writer/director Ken Shapiro, with whom he developed a few ideas, none of which came to fruition. In 1981, Van Sant made Alice in Hollywood, a film about a naive young actress who goes to Hollywood and abandons her ideals. It was never released. During this period, Van Sant began to spend time observing the denizens of the more down-and-out sections of Hollywood Boulevard. He became fascinated by the existence of this marginalized section of L.A.'s population, especially in context with the more ordinary, prosperous world that surrounded them. Van Sant would repeatedly focus his work on those existing on society's fringes, making his feature film directorial debut Mala Noche.  It was made two years after Van Sant went to New York to work in an advertising agency. He saved $20,000 during his tenure there, enabling him to finance the majority of his tale of doomed love between a gay liquor store clerk and a Mexican immigrant. The film, which was taken from Portland street writer Walt Curtis' semi-autobiographical novella, featured some of the director's hallmarks, notably an unfulfilled romanticism, a dry sense of the absurd, and the refusal to treat homosexuality as something deserving of judgment. Unlike many gay filmmakers, Van Sant--who had long been openly gay--declined to use same-sex relationships as fodder for overtly political statements, although such relationships would frequently appear in his films.  Shot in black-and-white, the film earned Van Sant almost overnight acclaim on the festival circuit, with the Los Angeles Times naming it the year's Best Independent Film. The film's success attracted Hollywood interest, and Van Sant was briefly courted by Universal; the courtship ended after Van Sant pitched a series of project ideas (including what would later become Drugstore Cowboy and My Own Private Idaho) that the studio declined to take interest in.  Van Sant moved back to Portland, Oregon, where he set up house and began giving life to the ideas rejected by Universal. He directed Drugstore Cowboy about four drug addicts robbing pharmacies to support their habit. The film met with great critical success and revived the career of Matt Dillon.

Answer this question "what else did he play a .part in making?"
output: Van Sant went to New York to work in an advertising agency. He saved $20,000 during his tenure there,

input: Also at Vitagraph was a young actor, Harry Solter, who was looking for "a young, beautiful equestrian girl" to star in a film to be produced by the Biograph Studios under the direction of D.W. Griffith. Griffith, the most prominent producer-director at Biograph Studios, had noticed the beautiful blonde-haired woman in one of Vitagraph's films. Because the film's actors received no mention, Griffith had to make discreet inquiries to learn she was Florence Lawrence and to arrange a meeting. Griffith had intended to give the part to Biograph's leading lady, Florence Turner, but Lawrence managed to convince Solter and Griffith that she was the best suited for the starring role in The Girl and the Outlaw. With the Vitagraph Company, she had been earning $20 a week, working also as a costume seamstress over and above acting. Griffith offered her a job, acting only, for $25 a week.  After her success in this role, she appeared as a society belle in Betrayed by a Handprint and as an Indian in The Red Girl. In total, she had parts in most of the 60 films directed by Griffith in 1908. Toward the end of 1908 Lawrence married Harry Solter. Lawrence gained much popularity, but because her name was never publicized, fans began writing the studio asking for it. Even after she had gained wide recognition, particularly after starring in the highly successful Resurrection, Biograph Studios refused to publicly announce her name and fans simply called her "The Biograph Girl". During cinema's formative years, silent screen actors were not named, because studio owners feared that fame might lead to demands for higher wages. She continued to work for Biograph in 1909. Her demand to be paid by the week rather than daily was met, and she received double the normal rate.  She achieved great popularity in the "Jones" series, filmdom's first comedy series, in which she played Mrs. Jones in around a dozen films. More popular still were the dramatic love stories in which she co-starred with John R. Cumpson, as Mr. Jones, and Arthur Johnson. The two played husband and wife in The Ingrate, and the adulterous lovers in Resurrection. Lawrence and Solter began to look elsewhere for work, writing to the Essanay Company to offer their services as leading lady and director. Rather than accepting this offer, however, Essanay reported the offer to Biograph's head office, and they were promptly fired.

Answer this question "Was Florence Lawrence successful with Biograph Studios?"
output:
She achieved great popularity in the "Jones" series, filmdom's first comedy series, in which she played