Some context: Herbert Sutcliffe (24 November 1894 - 22 January 1978) was an English professional cricketer who represented Yorkshire and England as an opening batsman. Apart from one match in 1945, his first-class career spanned the period between the two world wars. His first-class debut was delayed by the First World War until 1919 and his career was effectively terminated in August 1939 when he was called up for military service in the imminent Second World War. He was the first cricketer to score 16 centuries in Test match cricket.
Sutcliffe and Len Hutton opened the Yorkshire innings in one championship match in 1934 and then, with Sutcliffe's Test career ending the following year, became the regular Yorkshire pairing until 1939 when the outbreak of war effectively ended Sutcliffe's career.  Especially given that he was from Pudsey, Hutton was often portrayed as Sutcliffe's protege but Hutton maintained that it was the coaching of George Hirst that did most to develop his career. He said of Sutcliffe: "You do learn a lot from watching a player of Herbert's class. It was an enriching and invaluable experience to bat with him". Sutcliffe's view of Hutton was that he was "a marvel - the discovery of a generation". Hutton said that his shyness and the fact that he was twenty years younger than Sutcliffe made it difficult for him to approach his partner when he needed help, which he more readily got from Bill Bowes and Hedley Verity. About Sutcliffe he said: "I did not find it easy to talk to him".  The master-apprentice relationship changed after Hutton scored a world record 364 for England against Australia at The Oval in 1938. Future Yorkshire captain Ronnie Burnet reckoned that Sutcliffe had been the dominant partner until then and their scores would be something like 60 to 40 in Sutcliffe's favour. After Hutton made his record, his confidence increased and Burnet said the ratio was reversed "to 70:30 in Len's favour". Burnet said that Hutton was "tearing attacks apart in 1939 and Herbert was by then playing second fiddle".  Comparisons of the two Pudsey masters have been inevitable but there were essential differences in style. Bill Bowes said that Sutcliffe readily acknowledged the superior ability of Jack Hobbs, Wally Hammond and Len Hutton but what Sutcliffe did have were the concentration and willpower to make the best of his abilities in any given situation. Hutton pinpointed the key difference by explaining that, when Sutcliffe was taking guard, "his weight was on the (front) left foot, enabling him to play the hook shot so well" whereas Hutton put his weight onto his (back) right foot. Hence Sutcliffe more easily moved back while Hutton developed a forward style. Another view, expressed by Sutcliffe's son Billy, who also played with Hutton for Yorkshire, was that Sutcliffe was "probably better in a crisis", as his numerous successes on bad or "sticky" wickets would suggest.  Sutcliffe and Hutton made 16 century opening partnerships together, 15 of them for Yorkshire. Their highest was 315, which they achieved twice.
What did Hutton think about Sutcliffe?
A: You do learn a lot from watching a player of Herbert's class. It was an enriching and invaluable experience to bat with him

Some context: Verity Ann Lambert  (27 November 1935 - 22 November 2007) was an English television and film producer. She was the founding producer of the science-fiction series Doctor Who and she had a long association with Thames Television. Her many credits include Adam Adamant Lives!
Later in 1974 Lambert became Head of Drama at Thames Television. During her time in this position she oversaw several high-profile and successful contributions to the ITV network, including The Naked Civil Servant (1975), Rock Follies (1976-77), Rumpole of the Bailey (1978-92) and Edward and Mrs Simpson (1978). In 1976 she was also made responsible for overseeing the work of Euston Films, Thames' subsidiary film production company, at the time best known as the producers of The Sweeney. In 1979 she transferred to Euston full-time as the company's Chief Executive, overseeing productions such as Quatermass (1979), Minder (1979-94) and Widows (1983).  At Thames and Euston, Lambert enjoyed the most sustained period of critical and popular success of her career. The Naked Civil Servant won a British Academy Television Award (BAFTA) for its star John Hurt as well as a Broadcasting Press Guild Award and a prize at the Prix Italia; Rock Follies won a BAFTA and a Royal Television Society Award, while Widows also gained BAFTA nominations and ratings of over 12 million--unusually for a drama serial, it picked up viewers over the course of its six-week run. Minder went on to become the longest-running series produced by Euston Films, surviving for over a decade following Lambert's departure from the company.  Television historian Lez Cooke described Lambert's time in control of the drama department at Thames as "an adventurous period for the company, demonstrating that it was not only the BBC that was capable of producing progressive television drama during the 1970s. Lambert wanted Thames to produce drama series 'which were attempting in one way or another to tackle modern problems and life,' an ambition which echoed the philosophy of her mentor Sydney Newman." Howard Schuman, the writer of Rock Follies, also later praised the bravery of Lambert's commissioning. "Verity Lambert had just arrived as head of drama at Thames TV and she went for broke," he told The Observer newspaper in 2002. "She commissioned a serial, Jennie: Lady Randolph Churchill, for safety, but also Bill Brand, one of the edgiest political dramas ever, and us ... Before we had even finished making the first series, Verity commissioned the second."  Lambert's association with Thames and Euston Films continued into the 1980s. In 1982, she rejoined the staff of parent company Thames Television as director of drama, and was given a seat on the company's board. In November 1982 she left Thames, but remained as chief executive at Euston until leaving in November of the following year to take up her first post in the film industry, as director of production for Thorn EMI Screen Entertainment. Her job here was somewhat frustrating as the British film industry was in one of its periodic states of flux, but she did produce several feature films, including Clockwise (1986). Lambert later expressed some regret on her time in the film industry in a feature for The Independent newspaper. "Unfortunately, the person who hired me left, and the person who came in didn't want to produce films and didn't want me. While I managed to make some films I was proud of--Dennis Potter's Dreamchild, and Clockwise with John Cleese--it was terribly tough and not a very happy experience."  Lambert was Chair of the British Film Institute Production Board from 1981-82.
What was her next project?
A:
she transferred to Euston full-time as the company's Chief Executive, overseeing productions such as Quatermass (1979), Minder (1979-94) and Widows (1983).