IN: O'Neill was born in a hotel, the Barrett House, at Broadway and 43rd Street, on what was then Longacre Square (now Times Square). A commemorative plaque was first dedicated there in 1957. The site is now occupied by 1500 Broadway, which houses offices, retail, and ABC Studios. He was the son of Irish immigrant actor James O'Neill and Mary Ellen Quinlan, who was also of Irish descent.

After suffering from multiple health problems (including depression and alcoholism) over many years, O'Neill ultimately faced a severe Parkinsons-like tremor in his hands which made it impossible for him to write during the last 10 years of his life; he had tried using dictation but found himself unable to compose in that way. While at Tao House, O'Neill had intended to write a cycle of 11 plays chronicling an American family since the 1800s. Only two of these, A Touch of the Poet and More Stately Mansions, were ever completed. As his health worsened, O'Neill lost inspiration for the project and wrote three largely autobiographical plays, The Iceman Cometh, Long Day's Journey into Night, and A Moon for the Misbegotten. He managed to complete Moon for the Misbegotten in 1943, just before leaving Tao House and losing his ability to write. Drafts of many other uncompleted plays were destroyed by Carlotta at Eugene's request.  O'Neill died in Room 401 of the Sheraton Hotel (now Boston University's Shelton Hall) on Bay State Road in Boston, on November 27, 1953, at the age of 65. As he was dying, he whispered his last words: "I knew it. I knew it. Born in a hotel room and died in a hotel room." Dr. Harry Kozol, the lead prosecuting expert of the Patty Hearst trial, treated O'Neill during these last years of illness. He also was present for O'Neill's death and announced the fact to the public.  O'Neill is interred in the Forest Hills Cemetery in Boston's Jamaica Plain neighborhood.  In 1956 Carlotta arranged for his autobiographical play Long Day's Journey into Night to be published, although his written instructions had stipulated that it not be made public until 25 years after his death. It was produced on stage to tremendous critical acclaim and won the Pulitzer Prize in 1957. This last play is widely considered to be his finest. Other posthumously-published works include A Touch of the Poet (1958) and More Stately Mansions (1967).  The United States Postal Service honored O'Neill with a Prominent Americans series (1965-1978) $1 postage stamp.
QUESTION: was he treated for the depression?
IN: Gilliam was born in Minneapolis, Minnesota, the son of Beatrice (nee Vance) and James Hall Gilliam. His father was a travelling salesman for Folgers before becoming a carpenter. Soon after, they moved to nearby Medicine Lake, Minnesota. The family moved to the Los Angeles neighbourhood of Panorama City in 1952.

Gilliam was a part of Monty Python's Flying Circus from its outset, credited at first as an animator (his name was listed separately after the other five in the closing credits) and later as a full member. His cartoons linked the show's sketches together and defined the group's visual language in other media (such as LP and book covers and the title sequences of their films). His animations mix his own art, characterised by soft gradients and odd, bulbous shapes, with backgrounds and moving cutouts from antique photographs, mostly from the Victorian era.  In 1978, Gilliam published Animations of Mortality, an illustrated, tongue-in-cheek, semi-autobiographical how-to guide to his animation techniques and the visual language in them. Roughly 15 years later, between the release of the CD-ROM game Monty Python's Complete Waste of Time in 1994, which used many of Gilliam's animation templates, and the making of Gilliam's film Fear and Loathing in Las Vegas (1998), Gilliam was in negotiations with Enteractive, a software company, to tentatively release in the autumn of 1996 a CD-ROM under the same title as his 1978 book, containing all of his thousands of 1970s animation templates as license-free clip arts for people to create their own flash animations, but the project hovered in limbo for years, probably because Enteractive was about to downsize greatly in mid-1996 and changed its focus from CD-ROM multimedia presentations to internet business solutions and web hosting in 1997 (in the introduction to their 2004 book Terry Gilliam: Interviews, David Sterrit and Lucille Rhodes claimed that the internet had overwhelmed the "computer-communications market" and gave this as the reason that the Animations of Mortality CD-ROM never materialised). Around the time of Gilliam's film The Imaginarium of Doctor Parnassus (2009), the project had changed into the idea of releasing his 1970s animation templates as a license-free download of Adobe After Effects or similar files.  Besides creating the animations, he also appeared in several sketches, though he rarely had main roles and did considerably less acting in the sketches. He did, however, have some notable sketch roles, such as Cardinal Fang of the Spanish Inquisition; the bespectacled commenter who said, "I can't add anything to that!" in the sketch "Election Night Special"; Kevin Garibaldi, the brat on the couch shouting "I want more beans!" in the sketch "Most Awful Family in Britain 1974" (episode 45); the Screaming Queen in a cape and mask in The Visitors; and Percy Bysshe Shelly in Ant Poetry Reading. More frequently, he played parts that no one else wanted to play, generally because they required a lot of makeup or uncomfortable costumes (such as the recurring character of a knight in armour who ended sketches by walking on and hitting one of the other characters over the head with a plucked chicken). He took a number of small roles in the films, including Patsy in Monty Python and the Holy Grail (which he co-directed with Terry Jones; Gilliam was responsible for photography, while Jones guided the actors' performances) and the jailer in Monty Python's Life of Brian. He also designed the covers of most of the Monty Python albums, including Another Monty Python Record, The Monty Python Matching Tie and Handkerchief and Monty Python Live at Drury Lane, and their film soundtrack albums.
QUESTION:
What were the sketches?