input: Keaton signed with Metro-Goldwyn-Mayer in 1928, a business decision that he would later call the worst of his life. He realized too late that the studio system MGM represented would severely limit his creative input. For instance, the studio refused his request to make his early project, Spite Marriage, as a sound film and after the studio converted, he was obliged to adhere to dialogue-laden scripts. However, MGM did allow Keaton some creative participation on his last originally developed/written silent film The Cameraman, 1928, which was his first project under contract with them, but hired Edward Sedgwick as the official director.  Keaton was forced to use a stunt double during some of the more dangerous scenes, something he had never done in his heyday, as MGM wanted badly to protect its investment. "Stuntmen don't get laughs," Keaton had said. Some of his most financially successful films for the studio were during this period. MGM tried teaming the laconic Keaton with the rambunctious Jimmy Durante in a series of films, The Passionate Plumber, Speak Easily, and What! No Beer? The latter would be Keaton's last starring feature in his home country. The films proved popular. (Thirty years later, both Keaton and Durante had cameo roles in It's a Mad Mad Mad Mad World, albeit not in the same scenes.)  In the first Keaton pictures with sound, he and his fellow actors would shoot each scene three times: one in English, one in Spanish, and one in either French or German. The actors would phonetically memorize the foreign-language scripts a few lines at a time and shoot immediately after. This is discussed in the TCM documentary Buster Keaton: So Funny it Hurt, with Keaton complaining about having to shoot lousy films not just once, but three times.  Keaton was so demoralized during the production of 1933's What! No Beer? that MGM fired him after the filming was complete, despite the film being a resounding hit. In 1934, Keaton accepted an offer to make an independent film in Paris, Le Roi des Champs-Elysees. During this period, he made another film, in England, The Invader (released in the United States as An Old Spanish Custom in 1936).

Answer this question "Were there any more films?"
output: The Cameraman, 1928, which was his first project under contract with them,

input: Steiner's father, Johann(es) Steiner (1829 - 1910), left a position as a gamekeeper in the service of Count Hoyos in Geras, northeast Lower Austria to marry one of the Hoyos family's housemaids, Franziska Blie (1834 Horn - 1918, Horn), a marriage for which the Count had refused his permission. Johann became a telegraph operator on the Southern Austrian Railway, and at the time of Rudolf's birth was stationed in Kraljevec in the Murakoz region of the Austrian Empire (present-day Donji Kraljevec in the Medimurje region of northernmost Croatia). In the first two years of Rudolf's life, the family moved twice, first to Modling, near Vienna, and then, through the promotion of his father to stationmaster, to Pottschach, located in the foothills of the eastern Austrian Alps in Lower Austria.  Steiner entered the village school; following a disagreement between his father and the schoolmaster, he was briefly educated at home. In 1869, when Steiner was eight years old, the family moved to the village of Neudorfl and in October 1872 Steiner proceeded from the village school there to the realschule in Wiener Neustadt.  In 1879, the family moved to Inzersdorf to enable Steiner to attend the Vienna Institute of Technology, where he studied mathematics, physics, chemistry, botany, biology, literature, and philosophy on an academic scholarship from 1879 to 1883, at the end of which time he withdrew from the institute without graduating. In 1882, one of Steiner's teachers, Karl Julius Schroer, suggested Steiner's name to Joseph Kurschner, chief editor of a new edition of Goethe's works, who asked Steiner to become the edition's natural science editor, a truly astonishing opportunity for a young student without any form of academic credentials or previous publications.  Before attending the Vienna Institute of Technology, Steiner had studied Kant, Fichte and Schelling.

Answer this question "Does the article mention his parents ?"
output: Steiner's father, Johann(es) Steiner (1829 - 1910), left a position as a gamekeeper

input: The publishers of Homicide: A Year on the Killing Streets were eager for a screen adaptation and submitted it to numerous directors but there was little interest. Simon suggested that they send the book to Baltimore native and film director Barry Levinson. Levinson's assistant Gail Mutrux enjoyed the book and both she and Levinson became attached as producers. The project became the award-winning TV series Homicide: Life on the Street (1993-1999), on which Simon worked as a writer and producer.  Simon was asked by Mutrux to write the show's pilot episode but declined, feeling he did not have the necessary expertise. He collaborated with his old college friend David Mills to write the season two premiere "Bop Gun". The episode was based on a story by executive producer Tom Fontana and featured Robin Williams in a guest starring role that garnered the actor an Emmy nomination. Simon and Mills won the WGA Award for Best Writing in a Drama for the episode. Simon also received Austin Film Festival's Outstanding Television Writer Award in 2010.  Simon left his job with the Baltimore Sun in 1995 to work full-time on Homicide: Life on the Street during the production of the show's fourth season. Simon wrote the teleplay for the season four episodes "Justice: Part 2" and "Scene of the Crime" (with Anya Epstein). For season five he was the show's story editor and continued to contribute teleplays writing the episodes "Bad Medicine" and "Wu's on First?" (again with Epstein). He was credited as a producer on the show's sixth and seventh seasons. He wrote the teleplays for parts two and three of the sixth season premiere "Blood Ties" (the latter marking his third collaboration with Epstein) and provided the story for the later sixth season episodes "Full Court Press" and "Finnegan's Wake" (with James Yoshimura). He provided the story for the seventh season episodes "Shades of Gray" (with Julie Martin), "The Same Coin" (again with Yoshimura) and "Self Defense" (with Eric Overmyer). Simon wrote the story and teleplay for the seventh season episodes "The Twenty Percent Solution" and "Sideshow: Part 2". Simon, Martin and teleplay writer T. J. English won the Humanitas Prize in the 60 minutes category for the episode "Shades of Gray". Simon was nominated for a second WGA Award for Best Writing in a Drama for his work on "Finnegan's Wake" with Yoshimura and Mills (who wrote the teleplay).  Simon has said that he thought the show was a "remarkable drama" but that it did not reflect the book. He has also said that when writing for the show he had to put his experiences of the real detectives aside as the characters became quite different, particularly in their more philosophical approach to the job. Simon said that TV must find shorthand ways of referencing anything real.

Answer this question "Are there any other interesting aspects about this article?"
output:
Simon and Mills won the WGA Award for Best Writing in a Drama for the episode.