1{2 "document_id": "lb_2wikimqa_5c3829f10f9daf565e9b5b52ca19f5c044550e916479da74",3 "family": "public_2wikimqa",4 "split": "test",5 "text": "Passage 1:\nChangeland\nChangeland is a 2019 comedy-drama film written and directed by Seth Green.\nIt was released on June 7, 2019, by Gravitas Ventures.\n\nPlot\nWhile a troubled man goes through a personal crisis, he meets up with his estranged friend in Thailand.\n\nCast\nSeth Green as Brandon\nBreckin Meyer as Dan\nBrenda Song as Pen\nMacaulay Culkin as Ian\nClare Grant as Dory\nRandy Orton as Martin\nRose Williams as Emma\nKedar Williams-Stirling as Marc\n\nProduction\nThe film was announced on June 21, 2017. It marks the feature directorial debut of Seth Green, who also stars in the film alongside Breckin Meyer, Macaulay Culkin, Brenda Song, Clare Grant, Rose Williams, Kedar Williams-Stirling and Randy Orton. Filming in Thailand began that same week. Patrick Stump, who composed the film score, has an uncredited cameo appearance as an airline passenger in the film's opening scene.\n\nRelease\nIn March 2019, Gravitas Ventures acquired distribution rights to the film and set it for a June 7, 2019 release.\n\nReception\nOn Rotten Tomatoes, the film has an approval rating of 50% based on 10 reviews with an average rating of 6.10/10. On Metacritic, it has a score of 42 out of 100, based on four critics.\nPassage 2:\nFred Roy Krug\nFred R. Krug is an American film and television producer-director born in Bern, Switzerland.\nPassage 3:\nW. Augustus Barratt\nW. Augustus Barratt (3 June 1873 – 12 April 1947) was a Scottish-born, later American, songwriter and musician.\n\nEarly life and songs\nWalter Augustus Barratt was born 3 June 1873 in Kilmarnock, the son of composer John Barratt; the family later lived in Paisley. In 1893 he won a scholarship for composition to the Royal College of Music.\nIn his early twenties he contributed to The Scottish Students' Song Book, with three of his own song compositions and numerous arrangements.\nBy the end of 1897 he had published dozens of songs, such as Sir Patrick Spens, The Death of Cuthullin, an album of his own compositions, and arrangements of ten songs by Samuel Lover.\nHe then, living in London, turned his attention to staged musical comedy, co-creating, with Adrian Ross, The Tree Dumas Skiteers, a skit, based on Sydney Grundy's The Musketeers that starred Herbert Beerbohm Tree. He co-composed with Howard Talbot the successful Kitty Grey (1900).He continued to write songs and to receive recognition for them. The 1901 and 1902 BBC Promenade Concerts, \"The Proms\", included four of his compositions, namely Come back, sweet Love, The Mermaid, My Peggy and Private Donald.\nHis setting of My Ships, a poem by Ella Wheeler Wilcox, was performed by Clara Butt and republished several times. It also appeared four times, with different singers, in the 1913 and 1914 Proms.\n\nAmerica\nIn September 1904 he went to live in New York City, finding employment with shows on Broadway, including the following roles:\n\non-stage actor (Sir Benjamin Backbite) in Lady Teazle (1904-1905), a musical version of The School for Scandal;\nmusical director of The Little Michus (1907), also featuring songs by Barratt;\nco-composer of Miss Pocahontas (1907), a musical comedy;\nmusical director of The Love Cure (1909–1910), a musical romance;\ncomposer of The Girl and the Drummer (1910), a musical romance with book by George Broadhurst. Tried out in Chicago and elsewhere, it did not do well and never reached Broadway;\nmusical director of The Quaker Girl (1911–1912);\nco-composer and musical director of My Best Girl (1912);\nmusical director of The Sunshine Girl (1913);\nmusical director of The Girl who Smiles (1915), a musical comedy;\nmusical director and contributor to music and lyrics of Her Soldier Boy (1916–1917);\ncomposer, lyricist and musical director of Fancy Free (1918), with book by Dorothy Donnelly and Edgar Smith;\ncontributor of a song to The Passing Show of 1918;\ncomposer and musical director of Little Simplicity (1918), with book and lyrics by Rida Johnson Young;\ncontributor of lyrics to The Melting of Molly (1918–1919), a musical comedy;\nmusical director of What's in a Name? (1920), a musical revue\n\n1921 in London\nThough domiciled in the US, he made several visits back to England. During an extended stay in 1921 he played a major part in the creation of two shows, both produced by Charles B. Cochran, namely\n\nLeague of Notions, at the New Oxford Theatre, for which he composed the music and co-wrote, with John Murray Anderson, the lyrics;\nFun of the Fayre, at the London Pavilion, for which similarly he wrote the music and co-wrote the lyrics\n\nBack to Broadway\nBack in the US he returned to Broadway, working as\ncomposer and lyricist of Jack and Jill (1923), a musical comedy;\nmusical director of The Silver Swan (1929), a musical romance\n\nRadio plays\nIn later years he wrote plays and operettas mostly for radio, such as:\n\nSnapshots: a radioperetta (1929)\nSushannah and the Brush Wielders: a play in 1 act (1929)\nThe Magic Voice: a radio series (1933)\nMen of Action: a series of radio sketches (1933)\nSay, Uncle: a radio series (1933)\nSealed Orders: a radio drama (1934)\nSergeant Gabriel (with Hugh Abercrombie) (1945)\n\nPersonal\nIn 1897 in London he married Lizzie May Stoner. They had one son. In 1904 he emigrated to the US and lived in New York City. His first marriage ended in divorce in 1915 and, in 1918, he married Ethel J Moore, who was American. In 1924, he became a naturalized American citizen. He died on 12 April 1947 in New York City.\n\nNote on his first name\nThe book British Musical Biography by Brown & Stratton (1897) in its entry for John Barratt refers to \"his son William Augustus Barratt\" with details that make it clear that Walter Augustus Barratt is the same person and that a \"William\" Augustus Barratt is a mistake. For professional purposes up to about 1900 he appears to have written as \"W. Augustus Barratt\", and thereafter mostly as simply \"Augustus Barratt\".\nPassage 4:\nFritz Lang\nFriedrich Christian Anton Lang (German: [ˈfʁiːdʁɪç ˈkʁɪsti̯an ˈantɔn laŋ]; December 5, 1890 – August 2, 1976), better known as Fritz Lang ([fʁɪt͡s laŋ]), was an Austrian film director, screenwriter, and producer who worked in Germany and later the United States. One of the best-known émigrés from Germany's school of Expressionism, he was dubbed the \"Master of Darkness\" by the British Film Institute. He has been cited as one of the most influential filmmakers of all time.Lang's most celebrated films include the groundbreaking futuristic Metropolis (1927) and the influential M (1931), a film noir precursor. His 1929 film Woman in the Moon showcased the use of a multi-stage rocket, and also pioneered the concept of a rocket launch pad (a rocket standing upright against a tall building before launch having been slowly rolled into place) and the rocket-launch countdown clock. His other major films include Dr. Mabuse the Gambler (1922), Die Nibelungen (1924), and after moving to Hollywood in 1934, Fury (1936), You Only Live Once (1937), Hangmen Also Die! (1943), The Woman in the Window (1944), Scarlet Street (1945) and The Big Heat (1953). He became a naturalized citizen of the United States in 1939.\n\nEarly life\nLang was born in Vienna, as the second son of Anton Lang (1860–1940), an architect and construction company manager, and his wife Pauline \"Paula\" Lang (née Schlesinger; 1864–1920). His mother was born Jewish and converted to Catholicism. His father was described as a “lapsed Catholic.” He was baptized on December 28, 1890, at the Schottenkirche in Vienna. He had an elder brother, Adolf (1884–1961).Lang's parents were of Moravian descent. At one point, he noted that he was “born [a] Catholic and very puritan\". Ultimately describing himself as an atheist, Lang believed that religion was important for teaching ethics.After finishing school, Lang briefly attended the Technical University of Vienna, where he studied civil engineering and eventually switched to art. He left Vienna in 1910 in order to see the world, traveling throughout Europe and Africa, and later Asia and the Pacific area. In 1913, he studied painting in Paris.\nAt the outbreak of World War I, Lang returned to Vienna and volunteered for military service in the Austrian army and fought in Russia and Romania, where he was wounded four times and lost sight in his right eye, the first of many vision issues he would face in his lifetime. While recovering from his injuries and shell shock in 1916, he wrote some scenarios and ideas for films. He was discharged from the army with the rank of lieutenant in 1918 and did some acting in the Viennese theater circuit for a short time before being hired as a writer at Decla Film, Erich Pommer's Berlin-based production company. In 1919, he married Jewish Lisa Rosenthal, who died under mysterious circumstances of a single gunshot wound deemed to have been fired by a sidearm weapon from World War I.\n\nCareer\nExpressionist films: the Weimar years (1918–1933)\nLang's writing stint was brief, as he soon started to work as a director at the German film studio UFA, and later Nero-Film, just as the Expressionist movement was building. In this first phase of his career, Lang alternated between films such as Der Müde Tod (\"The Weary Death\") and popular thrillers such as Die Spinnen (\"The Spiders\"), combining popular genres with Expressionist techniques to create an unprecedented synthesis of popular entertainment with art cinema.\n\nIn 1920, Lang met his future wife, the writer Thea von Harbou. She and Lang co-wrote all of his movies from 1921 through 1933, including Dr. Mabuse, der Spieler (\"Dr. Mabuse the Gambler,\" 1922 - which ran for over four hours, in two parts in the original version, and was the first in the Dr. Mabuse trilogy), the five-hour Die Nibelungen (1924), the dystopian film Metropolis (1927), and the science fiction film Woman in the Moon (1929). Metropolis went far over budget and nearly destroyed UFA, which was bought by right-wing businessman and politician Alfred Hugenberg. It was a financial flop, as were his last silent films Spies (1928) and Woman in the Moon, produced by Lang's own company.In 1931, independent producer Seymour Nebenzahl hired Lang to direct M for Nero-Film. His first \"talking\" picture, considered by many film scholars to be a masterpiece of the early sound era, M is a disturbing story of a child murderer (Peter Lorre in his first starring role) who is hunted down and brought to rough justice by Berlin's criminal underworld. M remains a powerful work; it was remade in 1951 by Joseph Losey, but this version had little impact on audiences, and has become harder to see than the original film.\nDuring the climactic final scene in M, Lang allegedly threw Peter Lorre down a flight of stairs in order to give more authenticity to Lorre's battered look. Lang, who was known for being hard to work with, epitomized the stereotype of the tyrannical Germanic film director, a type embodied also by Erich von Stroheim and Otto Preminger; Lang wore a monocle, adding to the stereotype.\nIn the films of his German period, Lang produced a coherent oeuvre that established the characteristics later attributed to film noir, with its recurring themes of psychological conflict, paranoia, fate and moral ambiguity.\nAt the end of 1932, Lang started filming The Testament of Dr. Mabuse. Adolf Hitler came to power in January 1933, and by March 30, the new regime banned it as an incitement to public disorder. Testament is sometimes deemed an anti-Nazi film, as Lang had put phrases used by the Nazis into the mouth of the title character. A screening of the film was cancelled by Joseph Goebbels, and it was later banned by the Reich Ministry of Public Enlightenment and Propaganda. In banning the film, Goebbels stated that the film \"showed that an extremely dedicated group of people are perfectly capable of overthrowing any state with violence\", and that the film posed a threat to public health and safety.Lang was worried about the advent of the Nazi regime, partly because of his Jewish heritage, whereas his wife and co-screenwriter Thea von Harbou had started to sympathize with the Nazis in the early 1930s, and later joined the NSDAP in 1940. They soon divorced. Lang's fears would be realized following his departure from Austria, as under the Nuremberg Laws he would be identified as half-Jewish by ethnicity even though his mother was a converted Roman Catholic, and he was raised as such.\n\nEmigration\nAccording to Lang, propaganda minister Joseph Goebbels called Lang to his offices to inform him – apologetically – that The Testament of Dr. Mabuse was being banned but, nevertheless, he was so impressed by Lang's abilities as a filmmaker (especially Metropolis), that he offered Lang the position of head of German film studio UFA. Lang said it was during that meeting he had decided to leave for Paris – but that the banks had closed by the time the meeting was over. Lang claimed that, after selling his wife's jewelry, he fled by train to Paris that evening, leaving most of his money and personal possessions behind. However, his passport of the time showed that he traveled to and from Germany a few times during 1933.Lang left Berlin for good on July 31, 1933, four months after his meeting with Goebbels and his initial departure. He moved to Paris, having divorced Thea von Harbou, who stayed behind, earlier in 1933.In Paris, Lang filmed a version of Ferenc Molnár's Liliom, starring Charles Boyer. That was Lang's only film in French (excluding the French version of Testament). He then moved to the United States.\n\nHollywood career (1936–1957)\nLang made twenty-three features in his 20-year American career, working in a variety of genres at every major studio in Hollywood, and occasionally producing his films as an independent. He became a naturalized citizen of the United States in 1939.Signing first with MGM Studios, Lang's crime drama Fury (1936) saw Spencer Tracy cast as a man who is wrongly accused of a crime and nearly killed when a lynch mob sets fire to the jail where he is awaiting trial. However, in Fury, he was not allowed to represent black victims in a lynching scenario or to criticize racism, which was his original intention. By the time Fury was released, Lang had been involved in the creation of the Hollywood Anti-Nazi League, working with Otto Katz, a Czech who was a Comintern spy. He made four films with an explicitly anti-Nazi theme, Man Hunt (1941), Hangmen Also Die! (1943), Ministry of Fear (1944) and Cloak and Dagger (1946). Man Hunt, wrote Dave Kehr in 2009, \"may be the best\" of the \"many interventionist films produced by the Hollywood studios before Pearl Harbor\" as it is \"clean and concentrated, elegant and precise, pointed without being preachy.\"\n\nHis American films were often compared unfavorably to his earlier works by contemporary critics, although the restrained Expressionism of these films is now seen as integral to the emergence and evolution of American genre cinema, film noir in particular. Scarlet Street (1945), one of his films featuring Edward G. Robinson and Joan Bennett, is considered a central film in the genre.\nOne of Lang's most praised films noir is the police drama The Big Heat (1953), known for its uncompromising brutality, especially for a scene in which Lee Marvin throws scalding coffee on Gloria Grahame's face. As Lang's visual style simplified, in part due to the constraints of the Hollywood studio system, his worldview became increasingly pessimistic, culminating in the cold, geometric style of his last American films, While the City Sleeps (1956) and Beyond a Reasonable Doubt (1956).\n\nLast films (1959–1963)\nFinding it difficult to find congenial production conditions and backers in Hollywood, particularly as his health declined with age, Lang contemplated retirement. The German producer Artur Brauner had expressed interest in remaking The Indian Tomb (from an original story by Thea von Harbou, that Lang had developed in the 1920s which had ultimately been directed by Joe May), so Lang returned to Germany to make his \"Indian Epic\" (consisting of The Tiger of Eschnapur and The Indian Tomb).\nFollowing the production, Brauner was preparing for a remake of The Testament of Dr. Mabuse when Lang approached him with the idea of adding a new original film to the series. The result was The Thousand Eyes of Dr. Mabuse (1960), whose success led to a series of new Mabuse films, which were produced by Brauner (including the remake of The Testament of Dr. Mabuse), though Lang did not direct any of the sequels. Lang was approaching blindness during the production, and it was his final project as director.\nIn 1963, he appeared as himself in Jean-Luc Godard's film Contempt.\n\nDeath and legacy\nOn February 8, 1960, Lang received a star on the Hollywood Walk of Fame for his contributions to the motion picture industry, located at 1600 Vine Street.\n\nLang died from a stroke on August 2, 1976 and was interred in the Forest Lawn Hollywood Hills Cemetery in the Hollywood Hills of Los Angeles.While his career had ended without fanfare, Lang's American and later German works were championed by the critics of the Cahiers du cinéma, such as François Truffaut and Jacques Rivette. Truffaut wrote that Lang, especially in his American career, was greatly underappreciated by \"cinema historians and critics\" who \"deny him any genius when he 'signs' spy movies ... war movies ... or simple thrillers.\" Filmmakers that were influenced by his work include Jacques Rivette, William Friedkin, Steven Spielberg, Christopher Nolan, Luis Buñuel, Osamu Tezuka, Alfred Hitchcock, Jean-Luc Godard and Stanley Kubrick.Lang is credited with launching or developing many different genres of film. Philip French of The Observer believed that Lang helped craft the \"entertainment war flick\" and that his interpretation of the story of Bonnie and Clyde \"helped launch the Hollywood film noir\". Geoff Andrew of the British Film Institute believed he set the \"blueprint for the serial killer movie\" through M.In December 2021 Lang was the subject for BBC Radio 4's In Our Time.\n\nPreservation\nThe Academy Film Archive has preserved a number of Lang's films, including Human Desire and Man Hunt.\n\nFilmography\nAwards\nSilver Hand in 1931, for his film M, by the German Motion Picture Arts Association\nCommander Cross, Order of Merit in 1957 and 1966\nGolden Ribbon of Motion Picture Arts in 1963 by the Federal Republic of Germany\nOrder of Arts and Letters from France in 1965\nPlaque from El Festival Internacional del Cine de San Sebastian in 1970\nOrder of the Yugoslavia Flag with a Golden Wreath in 1971\nHonorary Professor of Fine Arts by the University of Vienna, Austria, in 1973\nPassage 5:\nJacques Décombe\nJacques Décombe is a French author, actor and director born in 1953.\n\nBiography\nAfter he studied at the Conservatoire national d'art dramatique, he was the director of the shows of Les Inconnus at the request of Didier Bourdon and won the Molière Award for best comedy show. (See fr:Molière du meilleur spectacle comique) in 1991. He also directed shows by Charlotte de Turckheim, Chevallier et Laspalès, Patrick Timsit, Les Chevaliers du fiel...\nPassage 6:\nWoman in the Moon\nWoman in the Moon (German Frau im Mond) is a German science fiction silent film that premiered 15 October 1929 at the UFA-Palast am Zoo cinema in Berlin to an audience of 2,000. It is often considered to be one of the first \"serious\" science fiction films. It was directed by Fritz Lang, and written by his wife Thea von Harbou, based on her 1928 novel The Rocket to the Moon. It was released in the US as By Rocket to the Moon and in the UK as Girl in the Moon. The basics of rocket travel were presented to a mass audience for the first time by this film, including the use of a multi-stage rocket. The film was shot between October 1928 and June 1929 at the UFA studios in Neubabelsberg near Berlin.\n\nPlot\nHelius (Willy Fritsch) is an entrepreneur with an interest in space travel. He seeks out his friend Professor Mannfeldt (Klaus Pohl), a visionary who wrote a treatise claiming that there was probably much gold on the Moon, only to be ridiculed by his peers. Helius recognizes the value of Mannfeldt's work. However, a gang of evil businessmen have also taken an interest in Mannfeldt's theories, and send a spy (Fritz Rasp) who identifies himself as \"Walter Turner\".\nMeanwhile, Helius's assistant Windegger (Gustav von Wangenheim) has announced his engagement to Helius's other assistant, Friede (Gerda Maurus). Helius, who secretly loves Friede, avoids their engagement party.\nOn his way home from his meeting with Professor Mannfeldt, Helius is mugged by henchmen of the gang. They steal the research that Professor Mannfeldt had entrusted to Helius, and also burgle Helius's home, taking other valuable material. Turner then presents Helius with an ultimatum: the gang know he is planning a voyage to the Moon; either he includes them in the project, or they will sabotage it and destroy his rocket, which is named Friede (\"peace\"). Reluctantly, Helius agrees to their terms.\nThe rocket team is assembled: Helius; Professor Mannfeldt and his pet mouse Josephine; Windegger; Friede; and Turner. After Friede blasts off, the team discovers that Gustav (Gustl Gstettenbaur), a young boy who has befriended Helius, has stowed away, along with his collection of science fiction pulp magazines.\nDuring the journey, Windegger emerges as a coward, and Helius's feelings for Friede begin to become known to her, creating a romantic triangle.\nThey reach the far side of the Moon and find it has a breathable atmosphere, per the theories of Peter Andreas Hansen, who is mentioned near the beginning of the film. Mannfeldt discovers gold, proving his theory. When confronted by Turner, Mannfeldt falls to his death in a crevasse. Turner attempts to hijack the rocket, and in the struggle, he is shot and killed. Gunfire damages the oxygen tanks, and they come to the grim realization that there is not enough oxygen for all to make the return trip. One person must remain on the Moon.\nHelius and Windegger draw straws to see who must stay and Windegger loses. Seeing Windegger's anguish, Helius decides to drug Windegger and Friede with a last drink together and take Windegger's place, letting Windegger return to Earth with Friede. Friede senses that something is in the wine. She pretends to drink and then retires to the compartment where her cot is located, closes and locks the door. Windegger drinks the wine, becoming sedated. Helius makes Gustav his confidant and the new pilot for the ship. Helius watches it depart, then starts out for the survival camp originally prepared for Windegger. He discovers that Friede has decided to stay with him on the Moon. They embrace, and Helius weeps into her shoulder while Friede strokes his hair and whispers words of comfort to him.\n\nInfluence\nLang, who also made Metropolis, had a personal interest in science fiction. When returning to Germany in the late 1950s, he sold his extensive collection of Astounding Science Fiction, Weird Tales, and Galaxy magazines. Several prescient technical/operational features are presented during the film's 1920s launch sequence, which subsequently came into common operational use during America's postwar space race:\n\nThe rocket ship Friede is fully built in a tall building and moved to the launch area\nAs launch approaches, intertitles count down the seconds from six to \"now\" (\"now\" was used for zero), and Woman in the Moon is often cited as the first occurrence of the \"countdown to zero\" before a rocket launch\nThe rocket ship blasts off submerged in a pool of water; water is commonly used today on launch pads to absorb and dissipate the extreme heat and to damp the noise generated by the rocket exhaust\nIn space, the rocket ejects its first stage and fires its second stage rocket, predicting the development of modern multistage orbital rockets\nThe crew recline on horizontal beds to cope with the G-forces experienced during lift-off and pre-orbital acceleration\nFloor foot straps are used to restrain the crew during zero gravity (Velcro is used today).These items and the overall design of the rocket led to the film being banned in Germany from 1933–1945 during World War II by the Nazis, due to similarities to their secret V-2 project.\nRocket scientist Hermann Oberth worked as an advisor on this movie. He had originally intended to build a working rocket for use in the film, but time and technical constraints prevented this from happening. The film was popular among the rocket scientists in Wernher von Braun's circle at the Verein für Raumschiffahrt (VfR). The first successfully launched V-2 rocket at the rocket-development facility in Peenemünde had the Frau im Mond logo painted on its base. Noted post-war science writer Willy Ley also served as a consultant on the film. Thomas Pynchon's 1973 novel Gravity's Rainbow, which deals with the V-2 rockets, refers to the movie, along with several other classic German silent films.\nOberth also advised Hergé for Destination Moon and Explorers on the Moon (1953/4), which has plot points strongly influenced by Woman in the Moon.\n\nCast\nKlaus Pohl as Professor Georg Manfeldt\nWilly Fritsch as Wolf Helius\nGustav von Wangenheim as Ingenieur Hans Windegger (as Gustav v. Wangenheim)\nGerda Maurus as Stud. astr. Friede Velten\nGustl Gstettenbaur as Gustav (as Gustl Stark-Gstettenbaur)\nFritz Rasp as Der Mann \"who calls himself Walter Turner\"\nTilla Durieux as Fünf Gehirne und Scheckbücher\nHermann Vallentin as Fünf Gehirne und Scheckbücher\nMax Zilzer as Fünf Gehirne und Scheckbücher\nMahmud Terja Bey as Fünf Gehirne und Scheckbücher\nBorwin Walth as Fünf Gehirne und Scheckbücher\nKarl Platen as Der Mann am Mikrophon\nMargarete Kupfer as Frau Hippolt, Haushälterin bei Helius\nAlexa von Porembsky as Eine Veilchenverkäuferin (as Alexa v. Porembska)\nGerhard Dammann as Der Werkmeister der Helius-Flugwerften (as Dammann)\nHeinrich Gotho as Der Mieter vom II. Stock (as Gotho)\nAlfred Loretto as Zwei eindeutige Existenzen (as Loretto)\nMax Maximilian as Grotjan, Chauffeur bei Helius (as Maximilian)\nEdgar Pauly as Zwei eindeutige Existenzen (as Pauly)\nDie Maus Josephine as Maus\n\nSee also\n1929 in science fiction\nPassage 7:\nSepideh Farsi\nSepideh Farsi (Persian: سپیده فارسی; born 1965) is an Iranian director.\n\nEarly years\nFarsi left Iran in 1984 and went to Paris to study mathematics. However, eventually she was drawn to the visual arts and initially experimented in photography before making her first short films. A main theme of her works is identity. She still visits Tehran each year.\n\nAwards/Recognition\nFarsi was a Member of the Jury of the Locarno International Film Festival in Best First Feature in 2009. She won the FIPRESCI Prize (2002), Cinéma du Réel and Traces de Vie prize (2001) for \"Homi D. Sethna, filmmaker\" and Best documentary prize in Festival dei Popoli (2007) for \"HARAT\".\n\nRecent News\nOne of her latest films is called Tehran Bedoune Mojavez (Tehran Without Permission). The 83-minute documentary shows life in Iran's crowded capital city of Tehran, facing international sanctions over its nuclear ambitions and experiencing civil unrest. It was shot entirely with a Nokia camera phone because of the government restrictions over shooting a film. The film shows various aspects of city life including following women at the hairdressers talking of the latest fads, young men speaking of drugs, prostitution and other societal problems, and the Iranian rapper “Hichkas”. The dialogue is in Persian with English and Arabic subtitles. In December 2009, Tehran Without Permission was shown at the Dubai International Film Festival.\n\nFilmography\nRed Rose (2014)\nCloudy Greece (2013)\nZire Âb / The house under the water (2010)\nTehran bedoune mojavez / Tehran without permission (2009)\nIf it were Icarus (2008)\nHarat (2007)\nNegah / The Gaze (2006)\nKhab-e khak / Dreams of Dust (2003)\nSafar-e Maryam / The journey of Maryam (2002)\nMardan-e Atash / Men of Fire (2001)\nHomi D. Sethna, filmmaker (2000)\nDonya khaneye man ast / The world is my home (1999)\nKhabe Âb / Water dreams (1997)\nBâd-e shomal / Northwind (1993)\nPassage 8:\nClaude Weisz\nClaude Weisz is a French film director born in Paris.\n\nFilmography\nFeature films\nUne saison dans la vie d'Emmanuel (1972) with Germaine Montéro, Lucien Raimbourg, Florence Giorgetti, Jean-François Delacour, Hélène Darche, Manuel Pinto, etc.Festival de Cannes 1973 - Quinzaine des réalisateurs\nJury Prize: Festival Jeune Cinéma 1973\n\nLa Chanson du mal aimé (1981) with Rufus, Daniel Mesguich, Christine Boisson, Věra Galatíková, Mark Burns, Philippe Clévenot, Dominique Pinon, Madelon Violla, Paloma Matta, Béatrice Bruno, Catherine Belkhodja, Véronique Leblanc, Philippe Avron, Albert Delpy, etc.Festival de Cannes 1982 - Perspectives du cinéma français\nCompetition selections: Valencia, Valladolid, Istanbul, Montréal\n\nOn l'appelait... le Roi Laid (1987) with Yilmaz Güney (mockumentary)Valencia Festival 1988 - Grand Prix for documentaries \"Laurel Wreath\"\nCompetition selections: Rotterdam, Valladolid, Strasbourg, Nyon, Cannes, Lyon, Cairo\n\nPaula et Paulette, ma mère (2005) Documentary - Straight to DVD\n\nShort and mid-length\nLa Grande Grève (1963 - Co-directed CAS collective, IDHEC)\nL'Inconnue (1966 - with Paloma Matta and Gérard Blain - Prix CNC Hyères, Sidney)\nUn village au Québec\nMontréal\nDeux aspects du Canada (1969)\nLa Hongrie, vers quel socialisme ? (1975 - Nominated for best documentary - Césars 1976)\nTibor Déry, portrait d'un écrivain hongrois (1977)\nL'huître boudeuse\nAncienne maison Godin ou le familistère de Guise (1977)\nPassementiers et Rubaniers\nLe quinzième mois\nC'était la dernière année de ma vie (1984 - FIPRESCI Prize- Festival Oberhausen 1985 - Nomination - Césars 1986)\nNous aimons tant le cinéma (Film of the European year of cinema - Delphes 1988)\nParticipation jusqu'en 1978 à la réalisation de films \"militants\"\n\nTelevision\nSeries of seven dramas in German\nNumerous documentary and docu-soap type films (TVS CNDP)\nInitiation à la vie économique (TV series - RTS promotion)\nContemplatives... et femmes (TF1 - 1976)\nSuzel Sabatier (FR3)\nUn autre Or Noir (FR3)\nVivre en Géorgie\nPortrait d'une génération pour l'an 2000 (France 5 - 2000)\nFemmes de peine, femmes de coeur (FR3 - 2003)\n\nTelevision documentaries\nLa porte de Sarp est ouverte (1998)\nUne histoire balbynienne (2002)\nTamara, une vie de Moscou à Port-au-Prince (unfinished)\nHana et Khaman (unfinished)\nEn compagnie d'Albert Memmi (unfinished)\nLe Lucernaire, une passion de théâtre\nLes quatre saisons de la Taillade ou une ferme l'autre\nHistoire du peuple kurde (in development)\nLes kurdes de Bourg-Lastic (2008)\nRéalisation de films institutionnels et industriels\nPassage 9:\nSeth Green\nSeth Benjamin Green (né Gesshel-Green; born February 8, 1974) is an American actor. His film debut came with a role in the comedy-drama film The Hotel New Hampshire (1984), and he went on to have supporting roles in comedy films throughout the 1980s, including Radio Days (1987) and Big Business (1988). \nDuring the 1990s and 2000s, Green began starring in comedy films such as Idle Hands (1999), Rat Race (2001), Without a Paddle (2004) and Be Cool (2005). During this time he became known for his portrayal of Scott Evil, Dr. Evil's son, in the Austin Powers film series (1997–2002). Green has also taken serious roles in films, including The Attic Expeditions (2001) and Party Monster (2003). He has provided the voice for Howard the Duck in a number of Marvel Cinematic Universe films and series, including Guardians of the Galaxy (2014) and Guardians of the Galaxy Vol. 2 (2017). In 2019, he wrote, directed, and starred in the comedy-drama film Changeland.\nGreen's first lead role on television was on the ABC sitcom Good & Evil in 1991, for which he won a Young Artist Award. Green later gained attention for his supporting roles as Oz, a teenage guitarist and the boyfriend of Willow Rosenberg, on the fantasy television series Buffy the Vampire Slayer (1997–2000), and as the voice of Chris Griffin on the Fox adult animated sitcom Family Guy (1999–present). He also voiced Leonardo in the Nickelodeon animated series Teenage Mutant Ninja Turtles (2014–2017) and Joker in the Mass Effect video game series (2007–2012). Green created, directs, writes, and produces the adult animated comedy series Robot Chicken and its spinoffs (2005–present), which have earned him three Primetime Emmy Awards and five Annie Awards.\n\nEarly life\nSeth Benjamin Gesshel-Green was born in Overbrook Park, Philadelphia, Pennsylvania, the son of Barbara (Gesshel) and Herbert Green. He has one sister, Kaela. Green later legally changed his name to Seth Benjamin Green. He was raised Jewish and had a Bar Mitzvah ceremony. His ancestors were from Russia, Poland, and Scotland. Green started acting at the age of 7. His early comic influences included Monty Python, Blackadder, Saturday Night Live, Richard Pryor, Bill Cosby, Porky's, and Caddyshack.\n\nCareer\nEarly work\nGreen's first movie roles were in the 1984 films Billions for Boris and The Hotel New Hampshire; the second film cast him alongside Jodie Foster and Rob Lowe. He appeared in the 1987 film Can't Buy Me Love, playing Patrick Dempsey's character's little brother, Chuckie Miller. He starred in Woody Allen's Radio Days (1987) as Joe (a 1930s–1940s boy based on Allen) and appeared in Big Business (1988) and, in the same year, My Stepmother Is an Alien, which also starred Buffy the Vampire Slayer co-star Alyson Hannigan.\nIn 1984, Green portrayed Carl \"Alfalfa\" Switzer in the Jell-O Gelatin Pops commercials featuring The Little Rascals. In 1991, Green rose to fame in a Rally's \"Cha Ching\" commercial, which earned him an appearance at a New Orleans Saints game. Green was given a key to New Orleans in honor of his role in the popular commercial.Green appeared in the horror TV series It (as Richie Tozier, age 12) and Ticks, all three Austin Powers movies (as Dr. Evil's son, Scott), and Enemy of the State and The Italian Job (as a computer specialist in both). He was also in the films Can't Hardly Wait, Rat Race, Scooby-Doo 2: Monsters Unleashed, Without a Paddle (alongside Matthew Lillard), Idle Hands, Party Monster, Airborne, and Old Dogs. Green also had a role in the series Buffy the Vampire Slayer.\nIn 1994, he starred alongside Jennifer Love Hewitt in the short-lived series The Byrds of Paradise. He worked with Hewitt again in 1998's Can't Hardly Wait. Green is not related to Bruce Seth Green, who directed some episodes of Buffy the Vampire Slayer. On occasion, some sources confuse the two and have credited Seth as the director. As an actor in the series, he was close to co-star Alyson Hannigan because they were lovers in the show. He played Daniel \"Oz\" Osbourne, a calm, mild-mannered member of the band Dingoes Ate My Baby who gets turned into a werewolf. He is very popular among fans of the series. Green has starred on Fox's Greg the Bunny and guest-starred on The X-Files, That '70s Show, Will & Grace, MADtv, Reno 911!, Entourage, Grey's Anatomy, The Wonder Years, Heroes, The Facts of Life, The Drew Carey Show, and My Name Is Earl.\n\nFamily Guy\nGreen provides the voice of Chris for the animated television sitcom Family Guy. Green primarily voices Chris Griffin, the teenage son, who is overweight, unintelligent and, in many respects, a younger version of his father, and Neil Goldman, a neighbor of the Griffins. Green did an impression of the Buffalo Bill character from the thriller film The Silence of the Lambs during his audition. Green has stated that his main inspiration for Chris' voice came from envisioning how \"Buffalo Bill\" would sound if he were speaking through a PA system at a McDonald's.\n\nHoward the Duck\nGreen provides the voice of Howard the Duck for the live-action Marvel Cinematic Universe (MCU) films Guardians of the Galaxy (2014) and Vol. 2 (2017) and the Disney+ animated series What If...?, as well as the Disney XD animated series Guardians of the Galaxy (2015–19) and Ultimate Spider-Man (2016).Developing the character with James Gunn, Green did an impression of Danny DeVito, \"being sort of a gruff and cynical sarcastic character [who] doesn't know what the Earth species of duck even is and doesn't think of himself that way and is offended by that generalization.\"\n\nLater work\nGreen is a co-creator, co-producer, writer, director, and most frequent voice of the Emmy-winning stop-motion sketch parody comedy TV series Robot Chicken, for which he does many voices and has appeared in animated form. Green is friends with the band Fall Out Boy, making a cameo in their music video, \"This Ain't a Scene, It's an Arms Race\". He also appeared in \"Weird Al\" Yankovic's \"White & Nerdy\" music video. He made two appearances on The Soup in 2007 and 2008, using his first appearance to lampoon Internet celebrity Chris Crocker. He voiced the character Jeff \"Joker\" Moreau, pilot of the Normandy-SR starship series in the video games Mass Effect, Mass Effect 2, and Mass Effect 3. He is a producer of The 1 Second Film and appears in the \"making of\" documentary that accompanies its feature-length credits. Green is also the co-creator (with Hugh Sterbakov) of the comic Freshmen, published by Top Cow Productions.\nGreen, along with Robot Chicken co-producer Breckin Meyer, appeared in the NBC show Heroes during the 2008–09 season. In January 2009, Green worked with David Faustino (Bud Bundy from Married... with Children) for an episode of Faustino's show Star-ving – Faustino is often mistaken for Green. Later in the same year, he worked with one of his idols, Robin Williams in comedy film Old Dogs, which also starred John Travolta. On July 13, World Wrestling Entertainment's official website announced Green as the special guest host for the July 13 episode of WWE Raw, and on that night, Green competed in the main event, a six-man tag team match, which his team won by disqualification. He was also in attendance for WWE's biggest event of the year, WrestleMania XXVI on March 28, 2010. Green guest-starred in the third season of the acclaimed sitcom Husbands. Green became the new voice of Leonardo in Teenage Mutant Ninja Turtles beginning in its third season (following Jason Biggs' departure from the role).In 2019, he wrote and released his first movie named Changeland, starring Brenda Song and Macaulay Culkin. The movie was released on June 7, 2019.In 2021, Green reprised the role of Todo 360 in Star Wars: The Bad Batch.In 2022, Green voiced Thunderbolt in season three of Stargirl where the character was previously voiced by Jim Gaffigan.\n\nPersonal life\nAfter getting engaged on New Year's Eve in 2009, Green married actress Clare Grant on May 1, 2010, in Northern California. They worked together on Robot Chicken, Warren the Ape, Changeland, Holidays, Star Wars: The Clone Wars, Hulk and the Agents of S.M.A.S.H., and her Saber and \"Geek and Gamer Girls Song\" viral videos.In 2000, Green stated, \"God is, to me, pretty much an idea. God is, to me, pretty much a myth created over time to deny the idea that we're all responsible for our own actions.\" In 2013, he said that he had \"a deep belief in the divinity of the Universe, and I had no ability to really comprehend the scope or magnitude of all the things that I don't understand\".\n\nFilmography\nFilm\nTelevision\nWeb\nVideo games\nTheme park attractions\nAwards and nominations\nSee also\nList of recurring That '70s Show characters\nPassage 10:\nYolonda Ross\nYolonda Ross is an American actress, writer and director.\n\nLife and career\nRoss was born and raised in Omaha, Nebraska. She began her acting career in New York, appearing in the episodes of television series New York Undercover and Third Watch. Before landing the leading role in the independent drama film, Stranger Inside (2001). The movie produced by HBO, first premiered on television, but Ross was nominated for an Independent Spirit Award for Best Debut Performance. She later had supporting roles in a number of independent productions and guest-starred on Law & Order and Law & Order: Criminal Intent, and in 2011 had a recurring role of HBO's Treme.Ross co-starred alongside LisaGay Hamilton in the critically acclaimed 2013 independent drama film, Go for Sisters. She received Independent Spirit Award for Best Supporting Female nomination for her performance in film. She later was cast opposite Viola Davis in Lila & Eve. In 2015, Ross played Robyn Crawford, the friend, assistant, and reported girlfriend of Whitney Houston, in the Lifetime movie, Whitney directed by Angela Bassett.In 2017, Ross had a recurring role opposite Viola Davis in the ABC legal thriller How to Get Away with Murder. The following year she was cast in a series regular role in the Showtime drama series, The Chi.\n\nFilmography\nFilm and TV Movies\nTelevision\nAwards and nominations",6 "char_len": 40860,7 "document_hash": "a02254b0dad6308792c8eeb8498fac388d3076cfacb1b14b135186abed147907",8 "questions": [9 {10 "question_id": "q00",11 "qtype": "2wikimqa",12 "question": "Which film has the director born later, Woman In The Moon or Changeland?"13 }14 ]15}