1{2 "document_id": "lb_2wikimqa_bc40752faddd32264f8402321411881736ab5a4733eee758",3 "family": "public_2wikimqa",4 "split": "test",5 "text": "Passage 1:\nBlue Blood and Red\nBlue Blood and Red is a 1916 American silent western comedy film directed by Raoul Walsh and starring George Walsh, Martin Kinney, and Doris Pawn.\n\nPremise\nAfter being kicked out of Harvard and thrown out by his millionaire father, a young wastrel heads west in the company of his butler.\n\nCast\nGeorge Walsh as Algernon DuPont\nMartin Kinney as Peterkin\nDoris Pawn\nJames A. Marcus\nJack Woods\nAugustus Carney\nVester Pegg\nPassage 2:\nDan Milne\nDan Milne is a British actor/director who is possibly best known for his role in EastEnders.\n\nCareer\nHe started his career in 1996 and made an appearance in Murder Most Horrid and as a pub poet in In a Land of Plenty. He then appeared in EastEnders as David Collins, Jane Beale's dying husband.\nAs a member of the Young Vic, he collaborated with Tim Supple to originate Grimm Tales, which toured internationally, culminating in a Broadway run at the New Victory Theater. Since that time he has collaborated on more than seven major new works, including Two Men Talking, which has run for the past six years in various cities across the world. In 2013, he replaced Ken Barrie as the voice of the Reverend Timms in the children's show, Postman Pat.\nPassage 3:\nPaul Bartel\nPaul Bartel (August 6, 1938 – May 13, 2000) was an American actor, writer and director. He was perhaps most known for his 1982 hit black comedy Eating Raoul, which he co-wrote, starred in and directed.\nBartel appeared in over 90 movies and TV episodes, including such titles as Eat My Dust (1976), Hollywood Boulevard (1976), Rock 'n' Roll High School (1979), Get Crazy (1983), Chopping Mall (1986), and Amazon Women on the Moon (1987). He frequently co-starred with friend and former Warhol girl Mary Woronov; the pair appeared in 17 films together, often as husband and wife.\nBartel also directed 11 low-budget films, many of which he also acted in or wrote. He started in 1968 with the short The Secret Cinema, a paranoid delusional fantasy of self-referential cinema. He graduated to features in 1972 with the horror-comedy Private Parts. He would go on to direct such cult films as Death Race 2000 (1975), Eating Raoul (1982), Lust in the Dust (1985) and Scenes from the Class Struggle in Beverly Hills (1989).\n\nBiography\nBartel studied film and theatre at UCLA, and spent a year on a Fulbright scholarship at the Centro Sperimentale film school in Rome, before returning to the US. He fulfilled his military service by talking his way into the Army Signal Corps Pictorial Center in Long Island City and later made films for the United States Information Agency.\n\nEarly films\nBartel's first films were made in high school, primarily abstract and animated 16mm shorts, including titles such as Cinema Experimental (1954), Non Objective Film (1956), Margaret Whiting Sings \"The Money Tree\" (1956), and Camel Rock (1957). After making the 35mm short Italian-language film Progetti (1962) while attending the Centro Sperimentale di Cinematografia in Rome, Bartel produced The Secret Cinema (1966). Shot on an extremely low budget in 35mm and with his own money, The Secret Cinema was the film that began his reputation as a new and unusual independent voice in narrative cinema.\nHe followed it with another short he wrote and directed, Naughty Nurse (1969). He co-wrote the feature Utterly Without Redeeming Social Value (1969), also starring in the lead. He worked as an actor only in Hi, Mom! (1970) directed by Brian De Palma.\nBartel's first feature as director was Private Parts (1972), a comedy horror film for MGM. It was produced by Gene Corman and Bartel was in the cast.\n\nNew World Pictures\nGene Corman's brother, Roger, ran a production company, New World Pictures, and hired Bartel to be second unit director on Big Bad Mama (1974), an action film. Bartel also played a small role.\nRoger Corman gave Bartel the job of directing Death Race 2000 (1975), a satirical action comedy starring David Carradine, Sylvester Stallone and Mary Woronov. Bartel also played a small role. The film was a huge success at the box office and quickly established itself as a cult favorite.\nCorman promptly offered Bartel the chance to direct a similar action film with Carradine for New World, Cannonball (1976). Bartel also worked on the script. The film is littered with cameos from people such as Joe Dante and Martin Scorsese. Bartel later said he worked for a year on Death Race 2000 for $5,000 \"so when it was finished I desperately needed money. The only thing anybody wanted from me was another car picture, hence Cannonball. Corman had drummed into me the idea that if Death Race had been \"harder\" and \"more real\" it would have been more popular. Like a fool, I believed him. I am not, and never have been, very much interested in cars and racing\" so he decided to load up the film with \"cameos and character gimmicks that did interest me.\"Bartel was in much demand from other directors at New World to play small parts in their pictures: he appeared in Eat My Dust (1976) for Ron Howard, Hollywood Boulevard (1976) for Joe Dante and Alan Arkush (quite a large role, as a director, which Bartel credited for really kicking off his acting career), Mr Billions (1977) for Jonathan Kaplan (not a New World film but Bartel met Kaplan at the company), Grand Theft Auto (1977) for Howard, Piranha (1978) for Dante, and Rock 'n' Roll High School (1979) for Arkush. Outside New World he appeared in The Hustler of Muscle Beach (1980) for Kaplan and Heartbeeps (1981) for Arkush.\n\nEating Raoul and after\nBartel wrote a script with Richard Blackburn, Eating Raoul (1982). Bartel managed to raise the finance and starred in the film along with Woronov. Made for $230,000 (raised by himself and his parents) it was a hit on the art house circuit, grossing $10 million, and became a cult movie.\nBartel had small roles in White Dog (1982), directed by Sam Fuller and produced by New World alumni Jon Davison, Trick or Treats (1982), Heart Like a Wheel (1983) for Kaplan, and Get Crazy (1983) for Arkush.\nThe success of Eating Raoul enabled Bartel to raise $3 million in finance (ten times the budget of Raoul) for a screwball comedy he had co written and wanted to direct, Not for Publication (1984). It was a box-office disaster. More successful was Lust in the Dust (1985) starring Tab Hunter and Divine.\nBartel continued to be in demand as an actor, appearing in Frankenweenie (1984), a short for Tim Burton, Into the Night (1985) for John Landis, European Vacation (1985) for Amy Heckerling, and Sesame Street Presents: Follow That Bird (1985).\nBartel directed The Longshot (1986) based on a script by Tim Conway who starred. Bartel said he was a \"director for hire\" on the project. \"My sensibility was on some level antipathetic to what Tim Conway wanted. I was trying to find interesting things under the surface, and he just wanted more surface.\"He appeared in an episode of Fame directed by Arkush, and reprised his Raoul character in Chopping Mall (1986) for Jim Wynorski produced by Julie Corman (Wynorski says Bartel and Woronov adlibbed their roles). He appeared in \"The Jar\", an episode of Alfred Hitchcock Presents directed by Burton, as well as the film Killer Party (1986).\nHe directed two episodes of Amazing Stories, both from his own scripts, both featuring him as an actor: \"Secret Cinema\" (a remake of his short film of the same name) and \"Gershwin's Trunk\".\nHe had roles in Munchies (1987) (produced by Roger Corman), Amazon Women on the Moon (1987) (in a segment directed by Dante), an episode of Crime Story, Baja Oklahoma (1988), and Shakedown (1988).\nBartel co wrote but did not direct Mortuary Academy (1988); he and Woronov also played small roles. He was an executive producer on Out of the Dark (1988), in which he had a small role. He had a role in Caddyshack II (1988) directed by Arkush.Bartel directed Scenes from the Class Struggle in Beverly Hills (1989), based on a story of his.He wrote a sequel to Eating Raoul called Bland Ambition, where Paul and Mary wind up running for Governor of California. It was about 10 days from the start of filming when Vestron withdrew its financial backing.Bartel appeared in Pucker Up and Bark Like a Dog (1989), Far Out Man (1990), Gremlins 2: The New Batch (1990) (for Dante), Dan Turner, Hollywood Detective (1990), an episode L.A. Law directed by Arkush, Liquid Dreams (1991), and Desire and Hell at Sunset Motel (1991).\nBartel had a large supporting role in The Pope Must Diet (1991), directed by Peter Richardson of The Comic Strip, and was in The Living End (1992) from Gregg Araki, Soulmates (1992), and Posse (1993).\nA musical adaptation of Eating Raoul premiered off Broadway in 1992.Bartel appeared in some episodes of The Comic Strip Presents..., even directing one (\"Demonella\"). He was in Acting on Impulse, Tales of the City and Grief (1993).\nBartel's last feature as director was Shelf Life (1993). Based on a play and done for a low budget, it struggled to find distribution.\n\nFinal years\nBartel appeared in Twin Sitters (1993), The Usual Suspects (1995), and The Jerky Boys (1995). He had a rare star role in The Wacky Adventures of Dr. Boris and Nurse Shirley (1995) but was normally seen in minor parts: Naomi & Wynonna: Love Can Build a Bridge (1995), Not Like Us (1995) for Corman's new company Concorde Pictures, A Bucket of Blood (1995) also for Concorde, Number One Fan (1995), Red Ribbon Blues (1996), Joe's Apartment (1996), Escape from L.A. (1996), and Basquiat (1996).\nHe directed 2 episodes of Clueless, \"We Shall Overpack\" and \"Cher Inc\". He also appeared in both.\nHe was in Prey of the Jaguar (1996), The Elevator (1996), Lewis & Clark & George (1997), Boston Common, Skeletons (1997), The Inheritance (1997), Chicago Hope, The Devil's Child (1997), Billy's Hollywood Screen Kiss (1998), More Tales of the City, Race, Vengeance Unlimited, Dreamers, Hard Time: The Premonition, episodes of Ally McBeal and Snoops directed by Arkush, Good vs Evil, Zoo (1999), Hamlet (2000), Dinner and a Movie (2001) and Perfect Fit (2001).\n\nPersonal life\nBartel was openly gay; this influenced his career choice, as he found himself more accepted and afforded more opportunities within the independent film industry than he would have in Hollywood.In 1979, he was a member of the jury at the 29th Berlin International Film Festival.\n\nDeath\nBartel died May 13, 2000, of a heart attack two weeks after liver cancer surgery; he was 61 years old. His final screen appearance was a posthumous role as \"Dad\" alongside Mary Woronov (\"Mom\") in the 2001 independent film Perfect Fit.\n\nLegacy\nThe Belgian horror movie Calvaire paid a tribute to the late Bartel – the mad innkeeper character is named \"Paul Bartel\".\nTwo of Bartel's early directorial efforts, Progetti and The Secret Cinema, were restored by the Academy Film Archive.\n\nFilmography\nPassage 4:\nScotty Fox\nScott Fox is a pornographic film director who is a member of the AVN Hall of Fame.\n\nAwards\n1992 AVN Award – Best Director, Video (The Cockateer)\n1995 AVN Hall of Fame inductee\nPassage 5:\nRaoul Walsh\nRaoul Walsh (born Albert Edward Walsh; March 11, 1887 – December 31, 1980) was an American film director, actor, founding member of the Academy of Motion Picture Arts and Sciences (AMPAS), and the brother of silent screen actor George Walsh. He was known for portraying John Wilkes Booth in the silent film The Birth of a Nation (1915) and for directing such films as the widescreen epic The Big Trail (1930) starring John Wayne in his first leading role, The Roaring Twenties starring James Cagney and Humphrey Bogart, High Sierra (1941) starring Ida Lupino and Humphrey Bogart, and White Heat (1949) starring James Cagney and Edmond O'Brien. He directed his last film in 1964. His work has been noted as influences on directors such as Rainer Werner Fassbinder, Jack Hill, and Martin Scorsese.\n\nBiography\nWalsh was born in New York as Albert Edward Walsh to Elizabeth T. Bruff, the daughter of Irish Catholic immigrants, and Thomas W. Walsh, an Englishman. Walsh was part of Omega Gamma Delta in high school, as was his younger brother. Growing up in New York, Walsh was also a friend of the Barrymore family. John Barrymore recalled spending time reading in the Walsh family library as a youth. Later in life, Walsh lived in Palm Springs, California. He was buried at Assumption Cemetery Simi Valley, Ventura County, California.\n\nFilm career\nWalsh was educated at Seton Hall College. He began acting in 1909, first as a stage actor in New York City and later as a film actor. In 1913 he changed his name to Raoul Walsh. In 1914 he became an assistant to D. W. Griffith and made his first full-length feature film, The Life of General Villa, shot on location in Mexico with Pancho Villa playing the lead, and with actual ongoing battles filmed in progress as well as battle recreations. Walsh played John Wilkes Booth in Griffith's epic The Birth of a Nation (1915) and also served as an assistant director. This movie was followed by the critically acclaimed Regeneration in 1915, the earliest feature gangster film, shot on location in Manhattan's Bowery district.\nWalsh served as an officer in the United States Army during World War I. He later directed The Thief of Bagdad (1924), starring Douglas Fairbanks and Anna May Wong, and Laurence Stallings' What Price Glory? (1926), starring Victor McLaglen and Dolores del Río.\n\nIn Sadie Thompson (1928), starring Gloria Swanson as a prostitute seeking a new life in Samoa, Walsh starred as Swanson's boyfriend in his first acting role since 1915; he also directed the film. He was then hired to direct and star in In Old Arizona, a film about O. Henry's character the Cisco Kid. While on location for that film Walsh was in a car crash when a jackrabbit jumped through the windshield as he was driving through the desert; he lost his right eye as a result. He gave up the part and never acted again. Warner Baxter won an Oscar for the role Walsh was originally slated to play. Walsh would wear an eyepatch for the rest of his life.\n\nIn the early days of sound with Fox, Walsh directed the first widescreen spectacle, The Big Trail (1930), an epic wagon train western shot on location, across the West. The movie starred John Wayne, then unknown, whom Walsh discovered as prop man named Marion Morrison, and he was renamed after the Revolutionary War general Mad Anthony Wayne; Walsh happened to be reading a book about him at the time. Walsh directed The Bowery (1933), featuring Wallace Beery, George Raft, Fay Wray and Pert Kelton; the energetic movie recounts the story of Steve Brodie (Raft), supposedly the first man to jump off the Brooklyn Bridge and live to brag about it.\nAn undistinguished period followed with Paramount Pictures from 1935 to 1939, but Walsh's career rose to new heights after he moved to Warner Brothers, with The Roaring Twenties (1939), featuring James Cagney and Humphrey Bogart; Dark Command (1940), with John Wayne and Roy Rogers (at Republic Pictures); They Drive By Night (1940), with George Raft, Ann Sheridan, Ida Lupino and Bogart; High Sierra (1941), with Lupino and Bogart again; They Died with Their Boots On (1941), with Errol Flynn as Custer; The Strawberry Blonde (1941), with Cagney and Olivia de Havilland; Manpower (1941), with Edward G. Robinson, Marlene Dietrich and George Raft; and White Heat (1949), with Cagney. Walsh's contract at Warners expired in 1953.\nHe directed several films afterwards, including three with Clark Gable: The Tall Men (1955), The King and Four Queens (1956) and Band of Angels (1957). Walsh retired in 1964. He died of a heart attack in 1980.\n\nOutside interests\nRaoul Walsh was a breeder and owner of Thoroughbred racehorses. For a time, his brother George Walsh trained his stable of horses. Their horse Sunset Trail competed in the 1937 Kentucky Derby won by War Admiral who went on to win the U.S. Triple Crown. Sunset Trail finished sixteenth in a field of twenty runners.Some of Walsh's film-related material and personal papers are contained in the Wesleyan University Cinema Archives.\n\nSelected filmography\nMiscellaneous\nThe Conqueror (writer, 1917)\nThe Big Trail (story contributor, uncredited, 1930)\nCaptain Horatio Hornblower R.N. (producer, uncredited, 1951)\nThe Lawless Breed (producer, uncredited, 1953)\nEsther and the King (screenplay, 1960)\nThe Men Who Made the Movies: Raoul Walsh (TV documentary)\nHimself (1973)\n\nNotes\nPassage 6:\nLogan Sandler\nLogan Sandler is an American writer and director who is best known for his first feature film Live Cargo.\n\nEarly life and education\nSandler graduated from SFTV within Loyola Marymount University's Film School in 2011 with a B.A. in Film Production, and three years later, while earning an M.F.A. from AFI in Film Directing, he developed his first feature film, Live Cargo. He developed the script with the late Seth Winston and co-writer Thymaya Payne. In 2015, Sandler was awarded the Institute's Franklin J. Schaffner Fellow Award for his short film, Tracks.\n\nCareer\nSandler's senior thesis, All It Will Ever Be premiered at the Bermuda International Film Festival in 2012. Sandler's second short film Tracks screened at various festival around the world, including AFI FEST, Marfa Film Fest, Cambridge Film Festival, and the Miami International Film Festival. The film won the Lexus Audience Award for Best Short film at the Miami International Film Festival and best actor for Keith Stanfield at the 24 FPS International Film Festival.Sandler's debut feature film Live Cargo was filmed in the Bahamas, and premiered at the Tribeca Film Festival in 2016. The film stars Dree Hemingway, Keith Stanfield, and Robert Wisdom. In addition to the 2016 Tribeca Film Festival, Live Cargo had its European premiere at the Warsaw International Film Festival, then went on to screen at the American Film Festival in Poland, the São Paulo International Film Festival, the Denver Film Festival, the Key West Film Festival, the Torino Film Festival, the Bahamas International Film Festival, and AFI FEST.Sandler has collaborated with Stanfield on music videos, co-directing the group MOORS’ single Gas. The music video premiered on Vice’s music channel Noisey.IONCINEMA.com chose Sandler as their IONCINEPHILE of the Month for April 2017, a feature that focuses on an emerging filmmaker from the world of cinema. When asked about his favorite films of his formative years Sandler said, \"I fell in love with Jean Luc Godard’s Contempt and Weekend. I was blown away by Agnes Varda’s Cleo from 5 to 7. Michelangelo Antonioni’s films really struck a chord with me as well. After seeing L’Avventura and Blowup, I went online and ordered every film of his I could find. The Passenger’s penultimate shot blew me away. I watched that 7 minute shot over and over. It’s probably my favorite shot in the history of cinema.\"\n\nCritical reception\nAngelica Jade Bastien for Roger Ebert wrote of the film, \"In 'Live Cargo,' director/co-writer Logan Sandler strives to tell a story that finds poetry in the commonplace by shirking narrative conventions.\"Chuck Wilson for The Village Voice wrote, \"The well-acted Live Cargo, which also features Robert Wisdom and Sam Dillon, is at its best when it observes character acting silently against landscape, as when Nadine goes snorkeling and uses a spear gun to jab at sharks, a juxtaposition of natural beauty and human fury typical of Sandler’s poetic approach.” Wilson as well called Sandler \"a filmmaker to watch.\"Katie Walsh in her IndieWire review wrote, ”Anchored by a quartet of equally strong and understated performances, LIVE CARGO proves itself to be a singularly artful film of great emotional heft.” Walsh gave the film an A - grade.Stephen Saito for The Moveable Fest in his review and interview wrote, \"While there’s intrigue aplenty as anxieties rise higher than the tide, the assured hand of director Logan Sandler, who co-wrote the script with Thymaya Payne, guides 'Live Cargo' admirably as a thriller that may appear immediately as monochrome but shifts quickly into varying degrees of grey.”H. Nelson Tracey of Cinemacy wrote that Sandler's, “Live Cargo is an unforgettable debut and a promise of greater heights to come.”Justin Lowe of the Hollywood Reporter in his review stated, “A pronounced sense of style and place suffuses the entire film, boding well for Sandler’s future projects.”\n\nAwards/Nominations\nPassage 7:\nBlue Blood (2014 film)\nBlue Blood (Portuguese: Sangue azul) is a 2014 Brazilian drama film directed by Lírio Ferreira. It was screened in the Panorama section of the 65th Berlin International Film Festival.\n\nCast\nDaniel de Oliveira\nCaroline Abras\nSandra Coverloni\nRômulo Braga\nPassage 8:\nBen Palmer\nBen Palmer (born 1976) is a British film and television director.\nHis television credits include the Channel 4 sketch show Bo' Selecta! (2002–2006), the second and third series of the E4 sitcom The Inbetweeners (2009–2010) and the Sky Atlantic comedy-drama Breeders (2020). Palmer has also directed films such as the Inbetweeners spin-off, The Inbetweeners Movie (2011) and the romantic comedy Man Up (2015).\n\nBiography\nPalmer was born and raised in Penny Bridge, Barrow-in-Furness. He attended Chetwynde School.His first directing job was the Channel 4 sketch show Bo' Selecta!, which he co-developed with its main star, Leigh Francis. Palmer directed the second and third series of the E4 sitcom The Inbetweeners in 2009 and 2010, respectively.\n\nFilmography\nBo' Selecta! (2002–06)\nComedy Lab (2004–2010)\nBo! in the USA (2006)\nThe Inbetweeners (2009–2010)\nThe Inbetweeners Movie (2011)\nComedy Showcase (2012)\nMilton Jones's House of Rooms (2012)\nThem from That Thing (2012)\nBad Sugar (2012)\nChickens (2013)\nLondon Irish (2013)\nMan Up (2015)\nSunTrap (2015)\nBBC Comedy Feeds (2016)\nNigel Farage Gets His Life Back (2016)\nBack (2017)\nComedy Playhouse (2017)\nUrban Myths (2017–19)\nClick & Collect (2018)\nSemi-Detached (2019)\nBreeders (2020)\nPassage 9:\nElliot Silverstein\nElliot Silverstein (born August 3, 1927) is a retired American film and television director. He directed the Academy Award-winning western comedy Cat Ballou (1965), and other films including The Happening (1967), A Man Called Horse (1970), Nightmare Honeymoon (1974), and The Car (1977). His television work includes four episodes of The Twilight Zone (1961–1964).\n\nCareer\nElliot Silverstein was the director of six feature films in the mid-twentieth century. The most famous of these by far is Cat Ballou, a comedy-western starring Jane Fonda and Lee Marvin.\nThe other Silverstein films, in chronological order, are The Happening, A Man Called Horse, Nightmare Honeymoon, The Car, and Flashfire.\nOther work included directing for the television shows The Twilight Zone, The Nurses, Picket Fences, and Tales from the Crypt.\nWhile Silverstein was not a prolific director, his films were often decorated. Cat Ballou, for instance, earned one Oscar and was nominated for four more. His high quality work was rewarded in 1990 with a Lifetime Achievement Award by the Directors Guild of America.\n\nAwards\nIn 1965, at the 15th Berlin International Film Festival, he won the Youth Film Award – Honorable Mention, in the category of Best Feature Film Suitable for Young People for Cat Ballou.\nHe was also nominated for the Golden Berlin Bear.In 1966, he was nominated for the DGA Award in the category for Outstanding Directorial Achievement in Motion Pictures (Cat Ballou).\nIn 1971, he won the Bronze Wrangler award at the Western Heritage Awards in the category of Theatrical Motion Picture for A Man Called Horse, along with producer Sandy Howard, writer Jack DeWitt, and actors Judith Anderson, Jean Gascon, Corinna Tsopei and Richard Harris.In 1985, he won the Robert B. Aldrich Achievement Award from the Directors Guild of America.\nIn 1990, he was awarded the DGA Honorary Life Member Award.\n\nPersonal life\nSilverstein has been married three times, each ending in divorce. His first marriage was to Evelyn Ward in 1962; the couple divorced in 1968. His second marriage was to Alana King. During his first marriage, he was the step-father of David Cassidy.\nHe currently lives in North Hollywood, Los Angeles. Actively retired, Silverstein has taught film at USC and continues to work on screen plays and other projects.\n\nFilmography\nTales from the Crypt (TV Series) (1991–94)\nPicket Fences (TV Series) (1993)\nRich Men, Single Women (TV Movie) (1990)\nFight for Life (TV Movie) (1987)\nNight of Courage (TV Movie) (1987)\nBetrayed by Innocence (TV Movie) (1986)\nThe Firm (TV Series) (1982–1983)\nThe Car (1977)\nNightmare Honeymoon (1974)\nA Man Called Horse (1970)\nThe Happening (1967)\nCat Ballou (1965)\nKraft Suspense Theatre (TV Series) (1963–64)\nThe Defenders (TV Series) (1962–64)\nArrest and Trial (TV Series) (1964)\nThe Doctors and the Nurses (TV Series) (1962–64)\nTwilight Zone (TV Series) (1961–64)\nBreaking Point (TV Series) (1963)\nDr. Kildare (TV Series) (1961–63)\nThe Dick Powell Theatre (TV Series) (1962)\nBelle Sommers (TV Movie) (1962)\nNaked City (TV Series) (1961–62)\nHave Gun - Will Travel (TV Series) (1961)\nRoute 66 (TV Series) (1960–61)\nCheckmate (TV Series) (1961)\nThe Westerner (TV Series) (1960)\nAssignment: Underwater (TV Series) (1960)\nBlack Saddle (TV Series) (1960)\nSuspicion (TV Series) (1958)\nOmnibus (TV Series) (1954–56)\nPassage 10:\nThe Longshot\nThe Longshot is a 1986 American comedy film directed by Paul Bartel and starring Tim Conway.\n\nPlot\nFour friends enjoy betting on horses at the race track. Someone tells them that he's got something to give his horse to make it run faster, and they can win a lot of money if they bet. Dooley tries to romance Nicki Dixon to get the money, but he finds out she's a lunatic who tries to kill him when he reminds her of her ex. Later, they borrow an envelope of money from the mob, who expect them to pay back within a week. They find out that the man who gave them the tip was a fraud, but Dooley remembered someone saying that the horse would run fast if he saw red. He ran out to the track, waved a red dress and the horse won the race.\n\nCast\nTim Conway as Dooley\nHarvey Korman as Lou\nJack Weston as Elton\nTed Wass as Stump\nStella Stevens as Nicki Dixon\nAnne Meara as Madge\nGeorge DiCenzo as DeFranco\nJorge Cervera as Santiago\nJonathan Winters as Tyler\nFrank Bonner as Realtor\nEddie Deezen as Parking Attendant\nNick Dimitri as Track Cop\nGarry Goodrow as Josh\nEdie McClurg as Donna\nJoseph Ruskin as Fusco\n\nTheme Song\n\"The Longshot\", the film's title track, is performed by Irene Cara.",6 "char_len": 26547,7 "document_hash": "0f915fbb0177257b92b4cf778eb55c009a45c29fab09094950d29c0fb1e6262b",8 "questions": [9 {10 "question_id": "q00",11 "qtype": "2wikimqa",12 "question": "Which film has the director who is older than the other, Blue Blood And Red or The Longshot? "13 }14 ]15}