input: Modern Guilt was the final release in Beck's contract with Geffen Records. Beck, then 38, had held the contract since his early 20s. Released from his label contract and going independent, Beck began working more heavily on his own seven-year-old label, which went through a variety of names. His focus on smaller, more quixotic projects, Beck moonlighted as a producer, working with artists such as Charlotte Gainsbourg, Thurston Moore and Stephen Malkmus. Beck worked for five or six days a week at the small studio on his property in Malibu, and founded Record Club, a project whereby an entire classic album--by The Velvet Underground, Leonard Cohen, INXS, Yanni--would be covered by another singer in the span of a single day. Beck provided four songs for the film Scott Pilgrim vs. the World (2010), each attributed to the title character's fictional band, Sex Bob-Omb. Beck also collaborated with Philip Glass, Jack White, Tobacco of Black Moth Super Rainbow, Jamie Lidell, Seu Jorge, Childish Gambino, and The Lonely Island.  Song Reader, a project Beck released in December 2012, is 20 songs presented only as sheet music, in the hopes that enterprising musicians will record their own versions. The idea of Song Reader came about nearly fifteen years prior, shortly after the release of Odelay. When sent a book of transcribed sheet music for that album, Beck decided to play through it and grew interested in the world before recorded sound. He aimed to keep the arrangements as open as possible, to re-create the simplicity of the standards, and became preoccupied with creating only pieces that could fit within the Great American Songbook. In 2013 Beck began playing special Song Reader concerts with a variety of guests and announced he was working on a record of Song Reader material with other musicians as well as possibly a compilation of fan versions.  In the summer of 2013, Beck was reported to be working on two new studio albums: one a more self-contained acoustic disc in the vein of One Foot in the Grave and another described as a "proper follow-up" to Modern Guilt. Beck expected to release both albums independently, and released two standalone singles over the course of the summer: the electro ballad "Defriended" and the chorus-heavy "I Won't Be Long". A third single, "Gimme", appeared on September 17.

Answer this question "Who produces his albums?"
output: Geffen Records.

input: Roy began writing her first novel, The God of Small Things, in 1992, completing it in 1996. The book is semi-autobiographical and a major part captures her childhood experiences in Aymanam.  The publication of The God of Small Things catapulted Roy to international fame. It received the 1997 Booker Prize for Fiction and was listed as one of the New York Times Notable Books of the Year for 1997. It reached fourth position on the New York Times Bestsellers list for Independent Fiction. From the beginning, the book was also a commercial success: Roy received half a million pounds as an advance. It was published in May, and the book had been sold in eighteen countries by the end of June.  The God of Small Things received stellar reviews in major American newspapers such as The New York Times (a "dazzling first novel," "extraordinary", "at once so morally strenuous and so imaginatively supple") and the Los Angeles Times ("a novel of poignancy and considerable sweep"), and in Canadian publications such as the Toronto Star ("a lush, magical novel"). By the end of the year, it had become one of the five best books of 1997 by Time. Critical response in the United Kingdom was less positive, and the awarding of the Booker Prize caused controversy; Carmen Callil, a 1996 Booker Prize judge, called the novel "execrable", and The Guardian called the context "profoundly depressing". In India, the book was criticised especially for its unrestrained description of sexuality by E. K. Nayanar, then Chief Minister of Roy's home state Kerala, where she had to answer charges of obscenity.

Answer this question "was there a co-author?"
output: 

input: Burr appeared in more than 50 feature films between 1946 and 1957, creating an array of villains that established him as an icon of film noir. Film historian Alain Silver concluded that Burr's most significant work in the genre is in these ten films: Desperate (1947), Sleep, My Love (1948), Raw Deal (1948), Pitfall (1948), Abandoned (1949), Red Light (1950), M (1951), His Kind of Woman (1951), The Blue Gardenia (1953) and Crime of Passion (1957). Silver described Burr's private detective in Pitfall as "both reprehensible and pathetic", a characterization also cited by film historian Richard Schickel as a prototype of film noir, in contrast with the appealing television characters for which Burr later became famous.  "He tried to make you see the psychosis below the surface, even when the parts weren't huge," said film historian James Ursini. "He was able to bring such complexity and different levels to those characters, and create sympathy for his characters even though they were doing reprehensible things."  Other titles in Burr's film noir legacy include Walk a Crooked Mile (1948), Borderline (1950), Unmasked (1950), The Whip Hand (1951), FBI Girl (1951), Meet Danny Wilson (1952), Rear Window (1954), They Were So Young (1954), A Cry in the Night (1956) and Affair in Havana (1957). Beyond noir, Burr's villains were also seen in Westerns, period dramas, horror films and adventure films.  "I was just a fat heavy," Burr told journalist James Bawden. "I split the heavy parts with Bill Conrad. We were both in our twenties playing much older men. I never got the girl but I once got the gorilla in a 3-D picture called Gorilla at Large. I menaced Claudette Colbert, Lizabeth Scott, Paulette Goddard, Anne Baxter, Barbara Stanwyck. Those girls would take one look at me and scream and can you blame them? I was drowned, beaten, stabbed and all for my art. But I knew I was horribly overweight. I lacked any kind of self esteem. At 25 I was playing the fathers of people older than me."  Burr's occasional roles on the right side of the law include the aggressive prosecutor in A Place in the Sun (1951). His courtroom performance in that film made an impression on Gail Patrick and her husband Cornwell Jackson, who had Burr in mind when they began casting the role of Los Angeles district attorney Hamilton Burger in the CBS-TV series Perry Mason.

Answer this question "What was his role in the film industry?"
output:
Burr appeared in more than 50 feature films