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|---|---|---|---|---|
56e0a85e7aa994140058e69e | Russian_Soviet_Federative_Socialist_Republic | The Government was known officially as the Council of People's Commissars (1917–1946), Council of Ministers (1946–1978) and Council of Ministers–Government (1978–1991). The first government was headed by Vladimir Lenin as "Chairman of the Council of People's Commissars of the Russian SFSR" and the last by Boris Yeltsin as both head of government and head of state under the title "President". | Who led the first government of the RSFSR? | {
"text": [
"Vladimir Lenin"
],
"answer_start": [
204
]
} |
56e0a85e7aa994140058e69f | Russian_Soviet_Federative_Socialist_Republic | The Government was known officially as the Council of People's Commissars (1917–1946), Council of Ministers (1946–1978) and Council of Ministers–Government (1978–1991). The first government was headed by Vladimir Lenin as "Chairman of the Council of People's Commissars of the Russian SFSR" and the last by Boris Yeltsin as both head of government and head of state under the title "President". | Who led the final government of the RSFSR? | {
"text": [
"Boris Yeltsin"
],
"answer_start": [
307
]
} |
56e0a8ad231d4119001ac347 | Russian_Soviet_Federative_Socialist_Republic | The Russian SFSR was controlled by the Communist Party of the Soviet Union, until the abortive 1991 August coup, which prompted President Yeltsin to debar the recently created Communist Party of the Russian Soviet Federative Socialist Republic. | What political organization controlled the RSFSR up to 1991? | {
"text": [
"the Communist Party of the Soviet Union"
],
"answer_start": [
35
]
} |
56e0a8ad231d4119001ac348 | Russian_Soviet_Federative_Socialist_Republic | The Russian SFSR was controlled by the Communist Party of the Soviet Union, until the abortive 1991 August coup, which prompted President Yeltsin to debar the recently created Communist Party of the Russian Soviet Federative Socialist Republic. | What event prompted the end to the control of the Communist Party of the Soviet Union in the RSFSR? | {
"text": [
"the abortive 1991 August coup"
],
"answer_start": [
82
]
} |
56e0a8ad231d4119001ac349 | Russian_Soviet_Federative_Socialist_Republic | The Russian SFSR was controlled by the Communist Party of the Soviet Union, until the abortive 1991 August coup, which prompted President Yeltsin to debar the recently created Communist Party of the Russian Soviet Federative Socialist Republic. | Who suspended the Communist Party of the Russian Soviet Federative Socialist Republic? | {
"text": [
"Yeltsin"
],
"answer_start": [
138
]
} |
56df4f268bc80c19004e4a4b | Universal_Studios | Universal Studios Inc. (also known as Universal Pictures) is an American film studio, owned by Comcast through its wholly owned subsidiary NBCUniversal, and is one of Hollywood's "Big Six" film studios. Its production studios are at 100 Universal City Plaza Drive in Universal City, California. Distribution and other corporate offices are in New York City. Universal Studios is a member of the Motion Picture Association of America (MPAA). Universal was founded in 1912 by the German Carl Laemmle (pronounced "LEM-lee"), Mark Dintenfass, Charles O. Baumann, Adam Kessel, Pat Powers, William Swanson, David Horsley, Robert H. Cochrane, and Jules Brulatour. | Which company is directly above Universal Studios? | {
"text": [
"NBCUniversal"
],
"answer_start": [
139
]
} |
56df4f268bc80c19004e4a4c | Universal_Studios | Universal Studios Inc. (also known as Universal Pictures) is an American film studio, owned by Comcast through its wholly owned subsidiary NBCUniversal, and is one of Hollywood's "Big Six" film studios. Its production studios are at 100 Universal City Plaza Drive in Universal City, California. Distribution and other corporate offices are in New York City. Universal Studios is a member of the Motion Picture Association of America (MPAA). Universal was founded in 1912 by the German Carl Laemmle (pronounced "LEM-lee"), Mark Dintenfass, Charles O. Baumann, Adam Kessel, Pat Powers, William Swanson, David Horsley, Robert H. Cochrane, and Jules Brulatour. | Which company runs NBC Universal? | {
"text": [
"Comcast"
],
"answer_start": [
95
]
} |
56df4f268bc80c19004e4a4d | Universal_Studios | Universal Studios Inc. (also known as Universal Pictures) is an American film studio, owned by Comcast through its wholly owned subsidiary NBCUniversal, and is one of Hollywood's "Big Six" film studios. Its production studios are at 100 Universal City Plaza Drive in Universal City, California. Distribution and other corporate offices are in New York City. Universal Studios is a member of the Motion Picture Association of America (MPAA). Universal was founded in 1912 by the German Carl Laemmle (pronounced "LEM-lee"), Mark Dintenfass, Charles O. Baumann, Adam Kessel, Pat Powers, William Swanson, David Horsley, Robert H. Cochrane, and Jules Brulatour. | What is the nickname given to the large studios of which Universal is a part? | {
"text": [
"Big Six"
],
"answer_start": [
180
]
} |
56df4f268bc80c19004e4a4e | Universal_Studios | Universal Studios Inc. (also known as Universal Pictures) is an American film studio, owned by Comcast through its wholly owned subsidiary NBCUniversal, and is one of Hollywood's "Big Six" film studios. Its production studios are at 100 Universal City Plaza Drive in Universal City, California. Distribution and other corporate offices are in New York City. Universal Studios is a member of the Motion Picture Association of America (MPAA). Universal was founded in 1912 by the German Carl Laemmle (pronounced "LEM-lee"), Mark Dintenfass, Charles O. Baumann, Adam Kessel, Pat Powers, William Swanson, David Horsley, Robert H. Cochrane, and Jules Brulatour. | When was Universal Studios created? | {
"text": [
"1912"
],
"answer_start": [
466
]
} |
56df4f268bc80c19004e4a4f | Universal_Studios | Universal Studios Inc. (also known as Universal Pictures) is an American film studio, owned by Comcast through its wholly owned subsidiary NBCUniversal, and is one of Hollywood's "Big Six" film studios. Its production studios are at 100 Universal City Plaza Drive in Universal City, California. Distribution and other corporate offices are in New York City. Universal Studios is a member of the Motion Picture Association of America (MPAA). Universal was founded in 1912 by the German Carl Laemmle (pronounced "LEM-lee"), Mark Dintenfass, Charles O. Baumann, Adam Kessel, Pat Powers, William Swanson, David Horsley, Robert H. Cochrane, and Jules Brulatour. | Where does Universal's filming take place? | {
"text": [
"Universal City, California"
],
"answer_start": [
267
]
} |
56e144b0cd28a01900c6770b | Universal_Studios | Universal Studios Inc. (also known as Universal Pictures) is an American film studio, owned by Comcast through its wholly owned subsidiary NBCUniversal, and is one of Hollywood's "Big Six" film studios. Its production studios are at 100 Universal City Plaza Drive in Universal City, California. Distribution and other corporate offices are in New York City. Universal Studios is a member of the Motion Picture Association of America (MPAA). Universal was founded in 1912 by the German Carl Laemmle (pronounced "LEM-lee"), Mark Dintenfass, Charles O. Baumann, Adam Kessel, Pat Powers, William Swanson, David Horsley, Robert H. Cochrane, and Jules Brulatour. | What is another name for Universal Studios Inc.? | {
"text": [
"Universal Pictures"
],
"answer_start": [
38
]
} |
56e144b0cd28a01900c6770c | Universal_Studios | Universal Studios Inc. (also known as Universal Pictures) is an American film studio, owned by Comcast through its wholly owned subsidiary NBCUniversal, and is one of Hollywood's "Big Six" film studios. Its production studios are at 100 Universal City Plaza Drive in Universal City, California. Distribution and other corporate offices are in New York City. Universal Studios is a member of the Motion Picture Association of America (MPAA). Universal was founded in 1912 by the German Carl Laemmle (pronounced "LEM-lee"), Mark Dintenfass, Charles O. Baumann, Adam Kessel, Pat Powers, William Swanson, David Horsley, Robert H. Cochrane, and Jules Brulatour. | Who is the ultimate owner of Universal Studios? | {
"text": [
"Comcast"
],
"answer_start": [
95
]
} |
56e144b0cd28a01900c6770d | Universal_Studios | Universal Studios Inc. (also known as Universal Pictures) is an American film studio, owned by Comcast through its wholly owned subsidiary NBCUniversal, and is one of Hollywood's "Big Six" film studios. Its production studios are at 100 Universal City Plaza Drive in Universal City, California. Distribution and other corporate offices are in New York City. Universal Studios is a member of the Motion Picture Association of America (MPAA). Universal was founded in 1912 by the German Carl Laemmle (pronounced "LEM-lee"), Mark Dintenfass, Charles O. Baumann, Adam Kessel, Pat Powers, William Swanson, David Horsley, Robert H. Cochrane, and Jules Brulatour. | What is the street address of Universal Studios' production studios? | {
"text": [
"100 Universal City Plaza Drive"
],
"answer_start": [
233
]
} |
56e144b0cd28a01900c6770e | Universal_Studios | Universal Studios Inc. (also known as Universal Pictures) is an American film studio, owned by Comcast through its wholly owned subsidiary NBCUniversal, and is one of Hollywood's "Big Six" film studios. Its production studios are at 100 Universal City Plaza Drive in Universal City, California. Distribution and other corporate offices are in New York City. Universal Studios is a member of the Motion Picture Association of America (MPAA). Universal was founded in 1912 by the German Carl Laemmle (pronounced "LEM-lee"), Mark Dintenfass, Charles O. Baumann, Adam Kessel, Pat Powers, William Swanson, David Horsley, Robert H. Cochrane, and Jules Brulatour. | In what city and state are its production studios located? | {
"text": [
"Universal City, California"
],
"answer_start": [
267
]
} |
56e144b0cd28a01900c6770f | Universal_Studios | Universal Studios Inc. (also known as Universal Pictures) is an American film studio, owned by Comcast through its wholly owned subsidiary NBCUniversal, and is one of Hollywood's "Big Six" film studios. Its production studios are at 100 Universal City Plaza Drive in Universal City, California. Distribution and other corporate offices are in New York City. Universal Studios is a member of the Motion Picture Association of America (MPAA). Universal was founded in 1912 by the German Carl Laemmle (pronounced "LEM-lee"), Mark Dintenfass, Charles O. Baumann, Adam Kessel, Pat Powers, William Swanson, David Horsley, Robert H. Cochrane, and Jules Brulatour. | In what city are Universal Studios' corporate offices located? | {
"text": [
"New York City"
],
"answer_start": [
343
]
} |
56df4f978bc80c19004e4a55 | Universal_Studios | It is the world's fourth oldest major film studio, after the renowned Gallic studios Gaumont Film Company and Pathé, and the Danish Nordisk Film company. | What rank does Universal Studios have in terms of age? | {
"text": [
"fourth"
],
"answer_start": [
18
]
} |
56df4f978bc80c19004e4a56 | Universal_Studios | It is the world's fourth oldest major film studio, after the renowned Gallic studios Gaumont Film Company and Pathé, and the Danish Nordisk Film company. | Which film studio from Denmark is older than Universal? | {
"text": [
"Nordisk"
],
"answer_start": [
132
]
} |
56df4f978bc80c19004e4a57 | Universal_Studios | It is the world's fourth oldest major film studio, after the renowned Gallic studios Gaumont Film Company and Pathé, and the Danish Nordisk Film company. | Which French companies are older than Universal? | {
"text": [
"Gaumont Film Company and Pathé"
],
"answer_start": [
85
]
} |
56e14515e3433e1400422d18 | Universal_Studios | It is the world's fourth oldest major film studio, after the renowned Gallic studios Gaumont Film Company and Pathé, and the Danish Nordisk Film company. | What is the nationality of Pathé? | {
"text": [
"French"
],
"answer_start": [
70
]
} |
56e14515e3433e1400422d19 | Universal_Studios | It is the world's fourth oldest major film studio, after the renowned Gallic studios Gaumont Film Company and Pathé, and the Danish Nordisk Film company. | Along with Pathé and the Gaumont Film Company, what major film studio is older then Universal Studios? | {
"text": [
"Nordisk Film company"
],
"answer_start": [
132
]
} |
56e14515e3433e1400422d1a | Universal_Studios | It is the world's fourth oldest major film studio, after the renowned Gallic studios Gaumont Film Company and Pathé, and the Danish Nordisk Film company. | Among major film studies, where does Universal Studios rank in terms of age? | {
"text": [
"fourth"
],
"answer_start": [
18
]
} |
56e14623cd28a01900c67715 | Universal_Studios | Universal Studios was founded by Carl Laemmle, Mark Dintenfass, Charles O. Baumann, Adam Kessel, Pat Powers, William Swanson, David Horsley, Robert H. Cochrane[a] and Jules Brulatour. One story has Laemmle watching a box office for hours, counting patrons and calculating the day's takings. Within weeks of his Chicago trip, Laemmle gave up dry goods to purchase the first several nickelodeons. For Laemmle and other such entrepreneurs, the creation in 1908 of the Edison-backed Motion Picture Trust meant that exhibitors were expected to pay fees for Trust-produced films they showed. Based on the Latham Loop used in cameras and projectors, along with other patents, the Trust collected fees on all aspects of movie production and exhibition, and attempted to enforce a monopoly on distribution. | After a trip to what city did Carl Laemmle leave the dry goods business? | {
"text": [
"Chicago"
],
"answer_start": [
311
]
} |
56e14623cd28a01900c67716 | Universal_Studios | Universal Studios was founded by Carl Laemmle, Mark Dintenfass, Charles O. Baumann, Adam Kessel, Pat Powers, William Swanson, David Horsley, Robert H. Cochrane[a] and Jules Brulatour. One story has Laemmle watching a box office for hours, counting patrons and calculating the day's takings. Within weeks of his Chicago trip, Laemmle gave up dry goods to purchase the first several nickelodeons. For Laemmle and other such entrepreneurs, the creation in 1908 of the Edison-backed Motion Picture Trust meant that exhibitors were expected to pay fees for Trust-produced films they showed. Based on the Latham Loop used in cameras and projectors, along with other patents, the Trust collected fees on all aspects of movie production and exhibition, and attempted to enforce a monopoly on distribution. | In what year was the Motion Picture Trust created? | {
"text": [
"1908"
],
"answer_start": [
448
]
} |
56e14623cd28a01900c67717 | Universal_Studios | Universal Studios was founded by Carl Laemmle, Mark Dintenfass, Charles O. Baumann, Adam Kessel, Pat Powers, William Swanson, David Horsley, Robert H. Cochrane[a] and Jules Brulatour. One story has Laemmle watching a box office for hours, counting patrons and calculating the day's takings. Within weeks of his Chicago trip, Laemmle gave up dry goods to purchase the first several nickelodeons. For Laemmle and other such entrepreneurs, the creation in 1908 of the Edison-backed Motion Picture Trust meant that exhibitors were expected to pay fees for Trust-produced films they showed. Based on the Latham Loop used in cameras and projectors, along with other patents, the Trust collected fees on all aspects of movie production and exhibition, and attempted to enforce a monopoly on distribution. | What notable historical figure was involved in the Motion Picture Trust? | {
"text": [
"Edison"
],
"answer_start": [
460
]
} |
56e14623cd28a01900c67718 | Universal_Studios | Universal Studios was founded by Carl Laemmle, Mark Dintenfass, Charles O. Baumann, Adam Kessel, Pat Powers, William Swanson, David Horsley, Robert H. Cochrane[a] and Jules Brulatour. One story has Laemmle watching a box office for hours, counting patrons and calculating the day's takings. Within weeks of his Chicago trip, Laemmle gave up dry goods to purchase the first several nickelodeons. For Laemmle and other such entrepreneurs, the creation in 1908 of the Edison-backed Motion Picture Trust meant that exhibitors were expected to pay fees for Trust-produced films they showed. Based on the Latham Loop used in cameras and projectors, along with other patents, the Trust collected fees on all aspects of movie production and exhibition, and attempted to enforce a monopoly on distribution. | For what part of a motion picture projector did the Motion Picture Trust hold a patent? | {
"text": [
"the Latham Loop"
],
"answer_start": [
590
]
} |
56e146bde3433e1400422d32 | Universal_Studios | Soon, Laemmle and other disgruntled nickelodeon owners decided to debar paying Edison by producing their own pictures. In June 1909, Laemmle started the Yankee Film Company with partners Abe Stern and Julius Stern. That company quickly evolved into the Independent Moving Pictures Company (IMP), with studios in Fort Lee, New Jersey, where many early films in America's first motion picture industry were produced in the early 20th century. Laemmle broke with Edison's custom of refusing to give billing and screen credits to performers. By naming the movie stars, he attracted many of the leading players of the time, contributing to the creation of the star system. In 1910, he promoted Florence Lawrence, formerly known as "The Biograph Girl", and actor King Baggot, in what may be the first instance of a studio using stars in its marketing. | What company did Laemmle found in June 1909? | {
"text": [
"Yankee Film Company"
],
"answer_start": [
153
]
} |
56e146bde3433e1400422d33 | Universal_Studios | Soon, Laemmle and other disgruntled nickelodeon owners decided to debar paying Edison by producing their own pictures. In June 1909, Laemmle started the Yankee Film Company with partners Abe Stern and Julius Stern. That company quickly evolved into the Independent Moving Pictures Company (IMP), with studios in Fort Lee, New Jersey, where many early films in America's first motion picture industry were produced in the early 20th century. Laemmle broke with Edison's custom of refusing to give billing and screen credits to performers. By naming the movie stars, he attracted many of the leading players of the time, contributing to the creation of the star system. In 1910, he promoted Florence Lawrence, formerly known as "The Biograph Girl", and actor King Baggot, in what may be the first instance of a studio using stars in its marketing. | Who were Laemmle's business partners in the Yankee Film Company? | {
"text": [
"Abe Stern and Julius Stern"
],
"answer_start": [
187
]
} |
56e146bde3433e1400422d34 | Universal_Studios | Soon, Laemmle and other disgruntled nickelodeon owners decided to debar paying Edison by producing their own pictures. In June 1909, Laemmle started the Yankee Film Company with partners Abe Stern and Julius Stern. That company quickly evolved into the Independent Moving Pictures Company (IMP), with studios in Fort Lee, New Jersey, where many early films in America's first motion picture industry were produced in the early 20th century. Laemmle broke with Edison's custom of refusing to give billing and screen credits to performers. By naming the movie stars, he attracted many of the leading players of the time, contributing to the creation of the star system. In 1910, he promoted Florence Lawrence, formerly known as "The Biograph Girl", and actor King Baggot, in what may be the first instance of a studio using stars in its marketing. | In what city and state was the Independent Moving Pictures Company based? | {
"text": [
"Fort Lee, New Jersey"
],
"answer_start": [
312
]
} |
56e146bde3433e1400422d35 | Universal_Studios | Soon, Laemmle and other disgruntled nickelodeon owners decided to debar paying Edison by producing their own pictures. In June 1909, Laemmle started the Yankee Film Company with partners Abe Stern and Julius Stern. That company quickly evolved into the Independent Moving Pictures Company (IMP), with studios in Fort Lee, New Jersey, where many early films in America's first motion picture industry were produced in the early 20th century. Laemmle broke with Edison's custom of refusing to give billing and screen credits to performers. By naming the movie stars, he attracted many of the leading players of the time, contributing to the creation of the star system. In 1910, he promoted Florence Lawrence, formerly known as "The Biograph Girl", and actor King Baggot, in what may be the first instance of a studio using stars in its marketing. | What was a nickname of Florence Lawrence? | {
"text": [
"The Biograph Girl"
],
"answer_start": [
727
]
} |
56e146bde3433e1400422d36 | Universal_Studios | Soon, Laemmle and other disgruntled nickelodeon owners decided to debar paying Edison by producing their own pictures. In June 1909, Laemmle started the Yankee Film Company with partners Abe Stern and Julius Stern. That company quickly evolved into the Independent Moving Pictures Company (IMP), with studios in Fort Lee, New Jersey, where many early films in America's first motion picture industry were produced in the early 20th century. Laemmle broke with Edison's custom of refusing to give billing and screen credits to performers. By naming the movie stars, he attracted many of the leading players of the time, contributing to the creation of the star system. In 1910, he promoted Florence Lawrence, formerly known as "The Biograph Girl", and actor King Baggot, in what may be the first instance of a studio using stars in its marketing. | What actor did Laemmle promote? | {
"text": [
"King Baggot"
],
"answer_start": [
757
]
} |
56e147e6cd28a01900c67727 | Universal_Studios | The Universal Film Manufacturing Company was incorporated in New York on April 30, 1912. Laemmle, who emerged as president in July 1912, was the primary figure in the partnership with Dintenfass, Baumann, Kessel, Powers, Swanson, Horsley, and Brulatour. Eventually all would exist bought out by Laemmle. The new Universal studio was a vertically integrated company, with movie production, distribution and exhibition venues all linked in the same corporate entity, the central element of the Studio system era. | On what date was the incorporation of the Universal Film Manufacturing Company? | {
"text": [
"April 30, 1912"
],
"answer_start": [
73
]
} |
56e147e6cd28a01900c67728 | Universal_Studios | The Universal Film Manufacturing Company was incorporated in New York on April 30, 1912. Laemmle, who emerged as president in July 1912, was the primary figure in the partnership with Dintenfass, Baumann, Kessel, Powers, Swanson, Horsley, and Brulatour. Eventually all would exist bought out by Laemmle. The new Universal studio was a vertically integrated company, with movie production, distribution and exhibition venues all linked in the same corporate entity, the central element of the Studio system era. | In what state was the Universal Film Manufacturing Company incorporated? | {
"text": [
"New York"
],
"answer_start": [
61
]
} |
56e147e6cd28a01900c67729 | Universal_Studios | The Universal Film Manufacturing Company was incorporated in New York on April 30, 1912. Laemmle, who emerged as president in July 1912, was the primary figure in the partnership with Dintenfass, Baumann, Kessel, Powers, Swanson, Horsley, and Brulatour. Eventually all would exist bought out by Laemmle. The new Universal studio was a vertically integrated company, with movie production, distribution and exhibition venues all linked in the same corporate entity, the central element of the Studio system era. | Who was the president of the Universal Film Manufacturing Company circa July 1912? | {
"text": [
"Laemmle"
],
"answer_start": [
89
]
} |
56e147e6cd28a01900c6772a | Universal_Studios | The Universal Film Manufacturing Company was incorporated in New York on April 30, 1912. Laemmle, who emerged as president in July 1912, was the primary figure in the partnership with Dintenfass, Baumann, Kessel, Powers, Swanson, Horsley, and Brulatour. Eventually all would exist bought out by Laemmle. The new Universal studio was a vertically integrated company, with movie production, distribution and exhibition venues all linked in the same corporate entity, the central element of the Studio system era. | What was the fate of the other partners of the Universal Film Manufacturing Company? | {
"text": [
"bought out by Laemmle"
],
"answer_start": [
278
]
} |
56e147e6cd28a01900c6772b | Universal_Studios | The Universal Film Manufacturing Company was incorporated in New York on April 30, 1912. Laemmle, who emerged as president in July 1912, was the primary figure in the partnership with Dintenfass, Baumann, Kessel, Powers, Swanson, Horsley, and Brulatour. Eventually all would exist bought out by Laemmle. The new Universal studio was a vertically integrated company, with movie production, distribution and exhibition venues all linked in the same corporate entity, the central element of the Studio system era. | Along with exhibition and distribution, what business did the Universal Film Manufacturing Company engage in? | {
"text": [
"movie production"
],
"answer_start": [
368
]
} |
56e1483acd28a01900c67731 | Universal_Studios | On March 15, 1915,:8 Laemmle opened the world's largest motion picture production facility, Universal City Studios, on a 230-acre (0.9-km²) converted farm just over the Cahuenga Pass from Hollywood. Studio management became the third facet of Universal's operations, with the studio incorporated as a distinct subsidiary organization. Unlike other movie moguls, Laemmle opened his studio to tourists. Universal became the largest studio in Hollywood, and remained so for a decade. However, it sought an audience mostly in little towns, producing mostly inexpensive melodramas, westerns and serials. | On what date did Universal City Studios open? | {
"text": [
"March 15, 1915"
],
"answer_start": [
3
]
} |
56e1483acd28a01900c67732 | Universal_Studios | On March 15, 1915,:8 Laemmle opened the world's largest motion picture production facility, Universal City Studios, on a 230-acre (0.9-km²) converted farm just over the Cahuenga Pass from Hollywood. Studio management became the third facet of Universal's operations, with the studio incorporated as a distinct subsidiary organization. Unlike other movie moguls, Laemmle opened his studio to tourists. Universal became the largest studio in Hollywood, and remained so for a decade. However, it sought an audience mostly in little towns, producing mostly inexpensive melodramas, westerns and serials. | In square kilometers, what was the size of Universal City Studios? | {
"text": [
"0.9"
],
"answer_start": [
131
]
} |
56e1483acd28a01900c67733 | Universal_Studios | On March 15, 1915,:8 Laemmle opened the world's largest motion picture production facility, Universal City Studios, on a 230-acre (0.9-km²) converted farm just over the Cahuenga Pass from Hollywood. Studio management became the third facet of Universal's operations, with the studio incorporated as a distinct subsidiary organization. Unlike other movie moguls, Laemmle opened his studio to tourists. Universal became the largest studio in Hollywood, and remained so for a decade. However, it sought an audience mostly in little towns, producing mostly inexpensive melodramas, westerns and serials. | What geographical feature separated Universal City Studios from Hollywood? | {
"text": [
"Cahuenga Pass"
],
"answer_start": [
169
]
} |
56e1483acd28a01900c67734 | Universal_Studios | On March 15, 1915,:8 Laemmle opened the world's largest motion picture production facility, Universal City Studios, on a 230-acre (0.9-km²) converted farm just over the Cahuenga Pass from Hollywood. Studio management became the third facet of Universal's operations, with the studio incorporated as a distinct subsidiary organization. Unlike other movie moguls, Laemmle opened his studio to tourists. Universal became the largest studio in Hollywood, and remained so for a decade. However, it sought an audience mostly in little towns, producing mostly inexpensive melodramas, westerns and serials. | What was the biggest Hollywood studio during this period? | {
"text": [
"Universal"
],
"answer_start": [
92
]
} |
56e14887e3433e1400422d4e | Universal_Studios | In its early years Universal released three brands of feature films — Red Feather, low-budget programmers; Bluebird, more ambitious productions; and Jewel, their prestige motion pictures. Directors included Jack Conway, John Ford, Rex Ingram, Robert Z. Leonard, George Marshall and Lois Weber, one of the few women directing films in Hollywood.:13 | What sort of films were produced by Red Feather? | {
"text": [
"low-budget programmers"
],
"answer_start": [
83
]
} |
56e14887e3433e1400422d4f | Universal_Studios | In its early years Universal released three brands of feature films — Red Feather, low-budget programmers; Bluebird, more ambitious productions; and Jewel, their prestige motion pictures. Directors included Jack Conway, John Ford, Rex Ingram, Robert Z. Leonard, George Marshall and Lois Weber, one of the few women directing films in Hollywood.:13 | What type of movies came out of Bluebird? | {
"text": [
"more ambitious productions"
],
"answer_start": [
117
]
} |
56e14887e3433e1400422d50 | Universal_Studios | In its early years Universal released three brands of feature films — Red Feather, low-budget programmers; Bluebird, more ambitious productions; and Jewel, their prestige motion pictures. Directors included Jack Conway, John Ford, Rex Ingram, Robert Z. Leonard, George Marshall and Lois Weber, one of the few women directing films in Hollywood.:13 | What motion pictures were made by Jewel? | {
"text": [
"prestige motion pictures"
],
"answer_start": [
162
]
} |
56e14887e3433e1400422d51 | Universal_Studios | In its early years Universal released three brands of feature films — Red Feather, low-budget programmers; Bluebird, more ambitious productions; and Jewel, their prestige motion pictures. Directors included Jack Conway, John Ford, Rex Ingram, Robert Z. Leonard, George Marshall and Lois Weber, one of the few women directing films in Hollywood.:13 | What was the profession of George Marshall? | {
"text": [
"Directors"
],
"answer_start": [
188
]
} |
56e14887e3433e1400422d52 | Universal_Studios | In its early years Universal released three brands of feature films — Red Feather, low-budget programmers; Bluebird, more ambitious productions; and Jewel, their prestige motion pictures. Directors included Jack Conway, John Ford, Rex Ingram, Robert Z. Leonard, George Marshall and Lois Weber, one of the few women directing films in Hollywood.:13 | Who was one of the few female Hollywood directors in this era? | {
"text": [
"Lois Weber"
],
"answer_start": [
282
]
} |
56e14927e3433e1400422d58 | Universal_Studios | Despite Laemmle's role as an innovator, he was an extremely cautious studio chief. Unlike rivals Adolph Zukor, William Fox, and Marcus Loew, Laemmle chose not to evolve a theater chain. He also financed all of his own films, refusing to take on debt. This policy nearly bankrupted the studio when actor-director Erich von Stroheim insisted on excessively lavish production values for his films Blind Husbands (1919) and Foolish Wives (1922), but Universal shrewdly gained a return on some of the expenditure by launching a sensational ad campaign that attracted moviegoers. Character actor Lon Chaney became a drawing card for Universal in the 1920s, appearing steadily in dramas. His two biggest hits for Universal were The Hunchback of Notre Dame (1923) and The Phantom of the Opera (1925). During this period Laemmle entrusted most of the production policy decisions to Irving Thalberg. Thalberg had been Laemmle's personal secretary, and Laemmle was impressed by his cogent observations of how efficiently the studio could be operated. Promoted to studio chief, Thalberg was giving Universal's product a touch of class, but MGM's head of production Louis B. Mayer lured Thalberg away from Universal with a promise of better pay. Without his guidance Universal became a second-tier studio, and would remain so for several decades. | Who directed Blind Husbands? | {
"text": [
"Erich von Stroheim"
],
"answer_start": [
313
]
} |
56e14927e3433e1400422d59 | Universal_Studios | Despite Laemmle's role as an innovator, he was an extremely cautious studio chief. Unlike rivals Adolph Zukor, William Fox, and Marcus Loew, Laemmle chose not to evolve a theater chain. He also financed all of his own films, refusing to take on debt. This policy nearly bankrupted the studio when actor-director Erich von Stroheim insisted on excessively lavish production values for his films Blind Husbands (1919) and Foolish Wives (1922), but Universal shrewdly gained a return on some of the expenditure by launching a sensational ad campaign that attracted moviegoers. Character actor Lon Chaney became a drawing card for Universal in the 1920s, appearing steadily in dramas. His two biggest hits for Universal were The Hunchback of Notre Dame (1923) and The Phantom of the Opera (1925). During this period Laemmle entrusted most of the production policy decisions to Irving Thalberg. Thalberg had been Laemmle's personal secretary, and Laemmle was impressed by his cogent observations of how efficiently the studio could be operated. Promoted to studio chief, Thalberg was giving Universal's product a touch of class, but MGM's head of production Louis B. Mayer lured Thalberg away from Universal with a promise of better pay. Without his guidance Universal became a second-tier studio, and would remain so for several decades. | In what year was Foolish Wives produced? | {
"text": [
"1922"
],
"answer_start": [
436
]
} |
56e14927e3433e1400422d5a | Universal_Studios | Despite Laemmle's role as an innovator, he was an extremely cautious studio chief. Unlike rivals Adolph Zukor, William Fox, and Marcus Loew, Laemmle chose not to evolve a theater chain. He also financed all of his own films, refusing to take on debt. This policy nearly bankrupted the studio when actor-director Erich von Stroheim insisted on excessively lavish production values for his films Blind Husbands (1919) and Foolish Wives (1922), but Universal shrewdly gained a return on some of the expenditure by launching a sensational ad campaign that attracted moviegoers. Character actor Lon Chaney became a drawing card for Universal in the 1920s, appearing steadily in dramas. His two biggest hits for Universal were The Hunchback of Notre Dame (1923) and The Phantom of the Opera (1925). During this period Laemmle entrusted most of the production policy decisions to Irving Thalberg. Thalberg had been Laemmle's personal secretary, and Laemmle was impressed by his cogent observations of how efficiently the studio could be operated. Promoted to studio chief, Thalberg was giving Universal's product a touch of class, but MGM's head of production Louis B. Mayer lured Thalberg away from Universal with a promise of better pay. Without his guidance Universal became a second-tier studio, and would remain so for several decades. | Who starred in The Phantom of the Opera? | {
"text": [
"Lon Chaney"
],
"answer_start": [
591
]
} |
56e14927e3433e1400422d5b | Universal_Studios | Despite Laemmle's role as an innovator, he was an extremely cautious studio chief. Unlike rivals Adolph Zukor, William Fox, and Marcus Loew, Laemmle chose not to evolve a theater chain. He also financed all of his own films, refusing to take on debt. This policy nearly bankrupted the studio when actor-director Erich von Stroheim insisted on excessively lavish production values for his films Blind Husbands (1919) and Foolish Wives (1922), but Universal shrewdly gained a return on some of the expenditure by launching a sensational ad campaign that attracted moviegoers. Character actor Lon Chaney became a drawing card for Universal in the 1920s, appearing steadily in dramas. His two biggest hits for Universal were The Hunchback of Notre Dame (1923) and The Phantom of the Opera (1925). During this period Laemmle entrusted most of the production policy decisions to Irving Thalberg. Thalberg had been Laemmle's personal secretary, and Laemmle was impressed by his cogent observations of how efficiently the studio could be operated. Promoted to studio chief, Thalberg was giving Universal's product a touch of class, but MGM's head of production Louis B. Mayer lured Thalberg away from Universal with a promise of better pay. Without his guidance Universal became a second-tier studio, and would remain so for several decades. | What year saw a film version of The Hunchback of Notre Dame? | {
"text": [
"1923"
],
"answer_start": [
751
]
} |
56e14927e3433e1400422d5c | Universal_Studios | Despite Laemmle's role as an innovator, he was an extremely cautious studio chief. Unlike rivals Adolph Zukor, William Fox, and Marcus Loew, Laemmle chose not to evolve a theater chain. He also financed all of his own films, refusing to take on debt. This policy nearly bankrupted the studio when actor-director Erich von Stroheim insisted on excessively lavish production values for his films Blind Husbands (1919) and Foolish Wives (1922), but Universal shrewdly gained a return on some of the expenditure by launching a sensational ad campaign that attracted moviegoers. Character actor Lon Chaney became a drawing card for Universal in the 1920s, appearing steadily in dramas. His two biggest hits for Universal were The Hunchback of Notre Dame (1923) and The Phantom of the Opera (1925). During this period Laemmle entrusted most of the production policy decisions to Irving Thalberg. Thalberg had been Laemmle's personal secretary, and Laemmle was impressed by his cogent observations of how efficiently the studio could be operated. Promoted to studio chief, Thalberg was giving Universal's product a touch of class, but MGM's head of production Louis B. Mayer lured Thalberg away from Universal with a promise of better pay. Without his guidance Universal became a second-tier studio, and would remain so for several decades. | Who was at one time Laemmle's personal secretary? | {
"text": [
"Irving Thalberg"
],
"answer_start": [
874
]
} |
56e14a14e3433e1400422d62 | Universal_Studios | In 1926, Universal opened a production unit in Germany, Deutsche Universal-Film AG, under the direction of Joe Pasternak. This unit produced three to four films per year until 1936, migrating to Hungary and then Austria in the face of Hitler's increasing domination of central Europe. With the advent of sound, these productions were made in the German language or, occasionally, Magyar or Polish. In the U.S., Universal Pictures did not distribute any of this subsidiary's films, but at least some of them were exhibited through other, independent, foreign-language film distributors based in New York, without benefit of English subtitles. Nazi persecution and a change in ownership for the parent Universal Pictures organization resulted in the dissolution of this subsidiary. | What was the name of Universal's German production unit? | {
"text": [
"Deutsche Universal-Film AG"
],
"answer_start": [
56
]
} |
56e14a14e3433e1400422d63 | Universal_Studios | In 1926, Universal opened a production unit in Germany, Deutsche Universal-Film AG, under the direction of Joe Pasternak. This unit produced three to four films per year until 1936, migrating to Hungary and then Austria in the face of Hitler's increasing domination of central Europe. With the advent of sound, these productions were made in the German language or, occasionally, Magyar or Polish. In the U.S., Universal Pictures did not distribute any of this subsidiary's films, but at least some of them were exhibited through other, independent, foreign-language film distributors based in New York, without benefit of English subtitles. Nazi persecution and a change in ownership for the parent Universal Pictures organization resulted in the dissolution of this subsidiary. | Who ran Universal's German production unit? | {
"text": [
"Joe Pasternak"
],
"answer_start": [
107
]
} |
56e14a14e3433e1400422d64 | Universal_Studios | In 1926, Universal opened a production unit in Germany, Deutsche Universal-Film AG, under the direction of Joe Pasternak. This unit produced three to four films per year until 1936, migrating to Hungary and then Austria in the face of Hitler's increasing domination of central Europe. With the advent of sound, these productions were made in the German language or, occasionally, Magyar or Polish. In the U.S., Universal Pictures did not distribute any of this subsidiary's films, but at least some of them were exhibited through other, independent, foreign-language film distributors based in New York, without benefit of English subtitles. Nazi persecution and a change in ownership for the parent Universal Pictures organization resulted in the dissolution of this subsidiary. | In what year did Deutsche Universal-Film AG open? | {
"text": [
"1926"
],
"answer_start": [
3
]
} |
56e14a14e3433e1400422d65 | Universal_Studios | In 1926, Universal opened a production unit in Germany, Deutsche Universal-Film AG, under the direction of Joe Pasternak. This unit produced three to four films per year until 1936, migrating to Hungary and then Austria in the face of Hitler's increasing domination of central Europe. With the advent of sound, these productions were made in the German language or, occasionally, Magyar or Polish. In the U.S., Universal Pictures did not distribute any of this subsidiary's films, but at least some of them were exhibited through other, independent, foreign-language film distributors based in New York, without benefit of English subtitles. Nazi persecution and a change in ownership for the parent Universal Pictures organization resulted in the dissolution of this subsidiary. | How many films did Universal's German subsidiary make yearly? | {
"text": [
"three to four"
],
"answer_start": [
141
]
} |
56e14a14e3433e1400422d66 | Universal_Studios | In 1926, Universal opened a production unit in Germany, Deutsche Universal-Film AG, under the direction of Joe Pasternak. This unit produced three to four films per year until 1936, migrating to Hungary and then Austria in the face of Hitler's increasing domination of central Europe. With the advent of sound, these productions were made in the German language or, occasionally, Magyar or Polish. In the U.S., Universal Pictures did not distribute any of this subsidiary's films, but at least some of them were exhibited through other, independent, foreign-language film distributors based in New York, without benefit of English subtitles. Nazi persecution and a change in ownership for the parent Universal Pictures organization resulted in the dissolution of this subsidiary. | Along with Germany and Austria, where was Deutsche Universal-Film AG at one time based? | {
"text": [
"Hungary"
],
"answer_start": [
195
]
} |
56e14acbcd28a01900c6774b | Universal_Studios | In the early years, Universal had a "clean picture" policy. However, by April 1927, Carl Laemmle considered this to be a mistake as "unclean pictures" from other studios were generating more profit while Universal was losing money. | what was the policy that Universal followed in its early years? | {
"text": [
"\"clean picture\""
],
"answer_start": [
36
]
} |
56e14acbcd28a01900c6774c | Universal_Studios | In the early years, Universal had a "clean picture" policy. However, by April 1927, Carl Laemmle considered this to be a mistake as "unclean pictures" from other studios were generating more profit while Universal was losing money. | By what month and year did Laemmle change his opinion on "unclean pictures"? | {
"text": [
"April 1927"
],
"answer_start": [
72
]
} |
56e14acbcd28a01900c6774d | Universal_Studios | In the early years, Universal had a "clean picture" policy. However, by April 1927, Carl Laemmle considered this to be a mistake as "unclean pictures" from other studios were generating more profit while Universal was losing money. | Why did Laemmle change his position on "unclean pictures"? | {
"text": [
"Universal was losing money"
],
"answer_start": [
204
]
} |
56e14b3bcd28a01900c6775b | Universal_Studios | Universal owned the rights to the "Oswald the Lucky Rabbit" character, although Walt Disney and Ub Iwerks had created Oswald, and their films had enjoyed a successful theatrical run. After Charles Mintz had unsuccessfully demanded that Disney accept a lower fee for producing the property, Mintz produced the films with his own group of animators. Instead, Disney and Iwerks created Mickey Mouse who in 1928 stared in the first "sync" sound animated short, Steamboat Willie. This moment effectively launched Walt Disney Studios' foothold, while Universal became a minor player in film animation. Universal subsequently severed its link to Mintz and formed its own in-house animation studio to produce Oswald cartoons headed by Walter Lantz. | Along with Walt Disney, who created Oswald the Lucky Rabbit? | {
"text": [
"Ub Iwerks"
],
"answer_start": [
96
]
} |
56e14b3bcd28a01900c6775c | Universal_Studios | Universal owned the rights to the "Oswald the Lucky Rabbit" character, although Walt Disney and Ub Iwerks had created Oswald, and their films had enjoyed a successful theatrical run. After Charles Mintz had unsuccessfully demanded that Disney accept a lower fee for producing the property, Mintz produced the films with his own group of animators. Instead, Disney and Iwerks created Mickey Mouse who in 1928 stared in the first "sync" sound animated short, Steamboat Willie. This moment effectively launched Walt Disney Studios' foothold, while Universal became a minor player in film animation. Universal subsequently severed its link to Mintz and formed its own in-house animation studio to produce Oswald cartoons headed by Walter Lantz. | Who owned the rights to Oswald? | {
"text": [
"Universal"
],
"answer_start": [
0
]
} |
56e14b3bcd28a01900c6775d | Universal_Studios | Universal owned the rights to the "Oswald the Lucky Rabbit" character, although Walt Disney and Ub Iwerks had created Oswald, and their films had enjoyed a successful theatrical run. After Charles Mintz had unsuccessfully demanded that Disney accept a lower fee for producing the property, Mintz produced the films with his own group of animators. Instead, Disney and Iwerks created Mickey Mouse who in 1928 stared in the first "sync" sound animated short, Steamboat Willie. This moment effectively launched Walt Disney Studios' foothold, while Universal became a minor player in film animation. Universal subsequently severed its link to Mintz and formed its own in-house animation studio to produce Oswald cartoons headed by Walter Lantz. | Who produced an Oswald the Lucky Rabbit motion picture? | {
"text": [
"Charles Mintz"
],
"answer_start": [
189
]
} |
56e14b3bcd28a01900c6775e | Universal_Studios | Universal owned the rights to the "Oswald the Lucky Rabbit" character, although Walt Disney and Ub Iwerks had created Oswald, and their films had enjoyed a successful theatrical run. After Charles Mintz had unsuccessfully demanded that Disney accept a lower fee for producing the property, Mintz produced the films with his own group of animators. Instead, Disney and Iwerks created Mickey Mouse who in 1928 stared in the first "sync" sound animated short, Steamboat Willie. This moment effectively launched Walt Disney Studios' foothold, while Universal became a minor player in film animation. Universal subsequently severed its link to Mintz and formed its own in-house animation studio to produce Oswald cartoons headed by Walter Lantz. | What character did Walt Disney create in 1928? | {
"text": [
"Mickey Mouse"
],
"answer_start": [
383
]
} |
56e14b3bcd28a01900c6775f | Universal_Studios | Universal owned the rights to the "Oswald the Lucky Rabbit" character, although Walt Disney and Ub Iwerks had created Oswald, and their films had enjoyed a successful theatrical run. After Charles Mintz had unsuccessfully demanded that Disney accept a lower fee for producing the property, Mintz produced the films with his own group of animators. Instead, Disney and Iwerks created Mickey Mouse who in 1928 stared in the first "sync" sound animated short, Steamboat Willie. This moment effectively launched Walt Disney Studios' foothold, while Universal became a minor player in film animation. Universal subsequently severed its link to Mintz and formed its own in-house animation studio to produce Oswald cartoons headed by Walter Lantz. | What was the first animated short with synchronized sound? | {
"text": [
"Steamboat Willie"
],
"answer_start": [
457
]
} |
56e14bdacd28a01900c67765 | Universal_Studios | In 2006, after almost 80 years, NBC Universal sold all Walt Disney-produced Oswald cartoons, along with the rights to the character himself, back to Disney. In return, Disney released ABC sportscaster Al Michaels from his contract so he could do_work on NBC's Sunday night NFL football package. However, Universal retained ownership of Oswald cartoons produced for them by Walter Lantz from 1929 to 1943. | Who bought the Oswald the Lucky Rabbit cartoons in 2006? | {
"text": [
"Disney"
],
"answer_start": [
60
]
} |
56e14bdacd28a01900c67766 | Universal_Studios | In 2006, after almost 80 years, NBC Universal sold all Walt Disney-produced Oswald cartoons, along with the rights to the character himself, back to Disney. In return, Disney released ABC sportscaster Al Michaels from his contract so he could do_work on NBC's Sunday night NFL football package. However, Universal retained ownership of Oswald cartoons produced for them by Walter Lantz from 1929 to 1943. | Who was 2006 seller of the Oswald cartoons? | {
"text": [
"NBC Universal"
],
"answer_start": [
32
]
} |
56e14bdacd28a01900c67767 | Universal_Studios | In 2006, after almost 80 years, NBC Universal sold all Walt Disney-produced Oswald cartoons, along with the rights to the character himself, back to Disney. In return, Disney released ABC sportscaster Al Michaels from his contract so he could do_work on NBC's Sunday night NFL football package. However, Universal retained ownership of Oswald cartoons produced for them by Walter Lantz from 1929 to 1943. | What notable figure worked as a sportscaster for ABC? | {
"text": [
"Al Michaels"
],
"answer_start": [
201
]
} |
56e14bdacd28a01900c67768 | Universal_Studios | In 2006, after almost 80 years, NBC Universal sold all Walt Disney-produced Oswald cartoons, along with the rights to the character himself, back to Disney. In return, Disney released ABC sportscaster Al Michaels from his contract so he could do_work on NBC's Sunday night NFL football package. However, Universal retained ownership of Oswald cartoons produced for them by Walter Lantz from 1929 to 1943. | Who began producing Oswald cartoons for Universal in 1929? | {
"text": [
"Walter Lantz"
],
"answer_start": [
370
]
} |
56e14bdacd28a01900c67769 | Universal_Studios | In 2006, after almost 80 years, NBC Universal sold all Walt Disney-produced Oswald cartoons, along with the rights to the character himself, back to Disney. In return, Disney released ABC sportscaster Al Michaels from his contract so he could do_work on NBC's Sunday night NFL football package. However, Universal retained ownership of Oswald cartoons produced for them by Walter Lantz from 1929 to 1943. | In what year did Walter Lantz cease producing Oswald cartoons for Universal? | {
"text": [
"1943"
],
"answer_start": [
396
]
} |
56e14c5fcd28a01900c6776f | Universal_Studios | In 1928, Laemmle, Sr. made his son, Carl, Jr. head of Universal Pictures as a 21st birthday present. Universal already had a reputation for nepotism—at one time, 70 of Carl, Sr.'s relatives were supposedly on the payroll. Many of them were nephews, resulting in Carl, Sr. being known around the studios as "Uncle Carl." Ogden Nash famously quipped in rhyme, "Uncle Carl Laemmle/Has a very big faemmle." Among these relatives was future Academy Award winning director/producer William Wyler. | How many of Carl Laemmle, Sr.'s relatives were working for Universal as of 1928? | {
"text": [
"70"
],
"answer_start": [
162
]
} |
56e14c5fcd28a01900c67770 | Universal_Studios | In 1928, Laemmle, Sr. made his son, Carl, Jr. head of Universal Pictures as a 21st birthday present. Universal already had a reputation for nepotism—at one time, 70 of Carl, Sr.'s relatives were supposedly on the payroll. Many of them were nephews, resulting in Carl, Sr. being known around the studios as "Uncle Carl." Ogden Nash famously quipped in rhyme, "Uncle Carl Laemmle/Has a very big faemmle." Among these relatives was future Academy Award winning director/producer William Wyler. | What was Carl Laemmle, Sr.'s nickname at Universal? | {
"text": [
"Uncle Carl"
],
"answer_start": [
307
]
} |
56e14c5fcd28a01900c67771 | Universal_Studios | In 1928, Laemmle, Sr. made his son, Carl, Jr. head of Universal Pictures as a 21st birthday present. Universal already had a reputation for nepotism—at one time, 70 of Carl, Sr.'s relatives were supposedly on the payroll. Many of them were nephews, resulting in Carl, Sr. being known around the studios as "Uncle Carl." Ogden Nash famously quipped in rhyme, "Uncle Carl Laemmle/Has a very big faemmle." Among these relatives was future Academy Award winning director/producer William Wyler. | What poet wrote a notable rhyme about Laemmle? | {
"text": [
"Ogden Nash"
],
"answer_start": [
320
]
} |
56e14c5fcd28a01900c67772 | Universal_Studios | In 1928, Laemmle, Sr. made his son, Carl, Jr. head of Universal Pictures as a 21st birthday present. Universal already had a reputation for nepotism—at one time, 70 of Carl, Sr.'s relatives were supposedly on the payroll. Many of them were nephews, resulting in Carl, Sr. being known around the studios as "Uncle Carl." Ogden Nash famously quipped in rhyme, "Uncle Carl Laemmle/Has a very big faemmle." Among these relatives was future Academy Award winning director/producer William Wyler. | At what age did Carl Laemmle, Jr. become president of Universal? | {
"text": [
"21"
],
"answer_start": [
78
]
} |
56e14c5fcd28a01900c67773 | Universal_Studios | In 1928, Laemmle, Sr. made his son, Carl, Jr. head of Universal Pictures as a 21st birthday present. Universal already had a reputation for nepotism—at one time, 70 of Carl, Sr.'s relatives were supposedly on the payroll. Many of them were nephews, resulting in Carl, Sr. being known around the studios as "Uncle Carl." Ogden Nash famously quipped in rhyme, "Uncle Carl Laemmle/Has a very big faemmle." Among these relatives was future Academy Award winning director/producer William Wyler. | What Academy Award-winning director was a relative of Carl Laemmle's? | {
"text": [
"William Wyler"
],
"answer_start": [
478
]
} |
56e14e56cd28a01900c67783 | Universal_Studios | "Junior" Laemmle persuaded his father to convey Universal up to date. He bought and built theaters, converted the studio to sound production, and made several forays into high-quality production. His early efforts included the critically mauled part-talkie version of Edna Ferber's novel Show Boat (1929), the lavish musical Broadway (1929) which included Technicolor sequences; and the first all-color musical feature (for Universal), King of Jazz (1930). The more serious All Quiet on the Western Front (1930), won its year's Best Picture Oscar. | What was Carl Laemmle Jr.'s nickname? | {
"text": [
"Junior"
],
"answer_start": [
1
]
} |
56e14e56cd28a01900c67784 | Universal_Studios | "Junior" Laemmle persuaded his father to convey Universal up to date. He bought and built theaters, converted the studio to sound production, and made several forays into high-quality production. His early efforts included the critically mauled part-talkie version of Edna Ferber's novel Show Boat (1929), the lavish musical Broadway (1929) which included Technicolor sequences; and the first all-color musical feature (for Universal), King of Jazz (1930). The more serious All Quiet on the Western Front (1930), won its year's Best Picture Oscar. | What movie was based on an Edna Ferber novel? | {
"text": [
"Show Boat"
],
"answer_start": [
287
]
} |
56e14e56cd28a01900c67785 | Universal_Studios | "Junior" Laemmle persuaded his father to convey Universal up to date. He bought and built theaters, converted the studio to sound production, and made several forays into high-quality production. His early efforts included the critically mauled part-talkie version of Edna Ferber's novel Show Boat (1929), the lavish musical Broadway (1929) which included Technicolor sequences; and the first all-color musical feature (for Universal), King of Jazz (1930). The more serious All Quiet on the Western Front (1930), won its year's Best Picture Oscar. | In what year was the musical Broadway produced? | {
"text": [
"1929"
],
"answer_start": [
298
]
} |
56e14e56cd28a01900c67786 | Universal_Studios | "Junior" Laemmle persuaded his father to convey Universal up to date. He bought and built theaters, converted the studio to sound production, and made several forays into high-quality production. His early efforts included the critically mauled part-talkie version of Edna Ferber's novel Show Boat (1929), the lavish musical Broadway (1929) which included Technicolor sequences; and the first all-color musical feature (for Universal), King of Jazz (1930). The more serious All Quiet on the Western Front (1930), won its year's Best Picture Oscar. | What movie won the 1930 Academy Award for Best Picture? | {
"text": [
"All Quiet on the Western Front"
],
"answer_start": [
473
]
} |
56e14e56cd28a01900c67787 | Universal_Studios | "Junior" Laemmle persuaded his father to convey Universal up to date. He bought and built theaters, converted the studio to sound production, and made several forays into high-quality production. His early efforts included the critically mauled part-talkie version of Edna Ferber's novel Show Boat (1929), the lavish musical Broadway (1929) which included Technicolor sequences; and the first all-color musical feature (for Universal), King of Jazz (1930). The more serious All Quiet on the Western Front (1930), won its year's Best Picture Oscar. | What all-color musical did Universal make in 1930? | {
"text": [
"King of Jazz"
],
"answer_start": [
435
]
} |
56e14edfe3433e1400422d88 | Universal_Studios | Laemmle, Jr. created a niche for the studio, beginning a series of horror films which extended into the 1940s, affectionately dubbed Universal Horror. Among them are Frankenstein (1931), Dracula ( also in 1931), The Mummy (1932) and The invisible Man (1933). Other Laemmle productions of this period include Imitation of Life (1934) and My Man Godfrey (1936). | In what year did Universal make a film version of Dracula? | {
"text": [
"1931"
],
"answer_start": [
180
]
} |
56e14edfe3433e1400422d89 | Universal_Studios | Laemmle, Jr. created a niche for the studio, beginning a series of horror films which extended into the 1940s, affectionately dubbed Universal Horror. Among them are Frankenstein (1931), Dracula ( also in 1931), The Mummy (1932) and The invisible Man (1933). Other Laemmle productions of this period include Imitation of Life (1934) and My Man Godfrey (1936). | In what year was The Invisible Man made? | {
"text": [
"1933"
],
"answer_start": [
252
]
} |
56e14edfe3433e1400422d8a | Universal_Studios | Laemmle, Jr. created a niche for the studio, beginning a series of horror films which extended into the 1940s, affectionately dubbed Universal Horror. Among them are Frankenstein (1931), Dracula ( also in 1931), The Mummy (1932) and The invisible Man (1933). Other Laemmle productions of this period include Imitation of Life (1934) and My Man Godfrey (1936). | What film was produced by Laemmle in 1934? | {
"text": [
"Imitation of Life"
],
"answer_start": [
308
]
} |
56e14edfe3433e1400422d8b | Universal_Studios | Laemmle, Jr. created a niche for the studio, beginning a series of horror films which extended into the 1940s, affectionately dubbed Universal Horror. Among them are Frankenstein (1931), Dracula ( also in 1931), The Mummy (1932) and The invisible Man (1933). Other Laemmle productions of this period include Imitation of Life (1934) and My Man Godfrey (1936). | In what year did My Man Godfrey premiere? | {
"text": [
"1936"
],
"answer_start": [
353
]
} |
56e14edfe3433e1400422d8c | Universal_Studios | Laemmle, Jr. created a niche for the studio, beginning a series of horror films which extended into the 1940s, affectionately dubbed Universal Horror. Among them are Frankenstein (1931), Dracula ( also in 1931), The Mummy (1932) and The invisible Man (1933). Other Laemmle productions of this period include Imitation of Life (1934) and My Man Godfrey (1936). | When was Universal's version of Frankenstein made? | {
"text": [
"1931"
],
"answer_start": [
180
]
} |
56e1506ee3433e1400422da6 | Universal_Studios | Universal's forays into high-quality production spelled the end of the Laemmle era at the studio. Taking on the task of modernizing and upgrading a film conglomerate in the depths of the depression was risky, and for a time Universal slipped into receivership. The theater chain was scrapped, but Carl, Jr. held fast to distribution, studio and production operations. | What part of Universal's business was terminated while it was in bankruptcy? | {
"text": [
"The theater chain"
],
"answer_start": [
261
]
} |
56e1506ee3433e1400422da7 | Universal_Studios | Universal's forays into high-quality production spelled the end of the Laemmle era at the studio. Taking on the task of modernizing and upgrading a film conglomerate in the depths of the depression was risky, and for a time Universal slipped into receivership. The theater chain was scrapped, but Carl, Jr. held fast to distribution, studio and production operations. | Along with distribution and studio operations, what part of Universal was retained by Carl Laemmle, Jr. during bankruptcy? | {
"text": [
"production operations"
],
"answer_start": [
345
]
} |
56e150d1cd28a01900c677ab | Universal_Studios | The end for the Laemmles came with a lavish version of Show Boat (1936), a remake of its earlier 1929 part-talkie production, and produced as a high-quality, big-budget film rather than as a B-picture. The new film featured several stars from the Broadway stage version, which began production in later 1935, and unlike the 1929 film was based on the Broadway musical rather than the novel. Carl, Jr.'s spending habits alarmed company stockholders. They would not allow production to start on Show Boat unless the Laemmles obtained a loan. Universal was forced to seek a $750,000 production loan from the Standard Capital Corporation, pledging the Laemmle family's controlling interest in Universal as collateral. It was the first time Universal had borrowed money for a production in its 26-year history. The production went $300,000 over budget; Standard called in the loan, cash-strapped Universal could not pay, Standard foreclosed and seized control of the studio on April 2, 1936. | In what year was Universal's ill-fated film version of Show Boat released? | {
"text": [
"1936"
],
"answer_start": [
66
]
} |
56e150d1cd28a01900c677ac | Universal_Studios | The end for the Laemmles came with a lavish version of Show Boat (1936), a remake of its earlier 1929 part-talkie production, and produced as a high-quality, big-budget film rather than as a B-picture. The new film featured several stars from the Broadway stage version, which began production in later 1935, and unlike the 1929 film was based on the Broadway musical rather than the novel. Carl, Jr.'s spending habits alarmed company stockholders. They would not allow production to start on Show Boat unless the Laemmles obtained a loan. Universal was forced to seek a $750,000 production loan from the Standard Capital Corporation, pledging the Laemmle family's controlling interest in Universal as collateral. It was the first time Universal had borrowed money for a production in its 26-year history. The production went $300,000 over budget; Standard called in the loan, cash-strapped Universal could not pay, Standard foreclosed and seized control of the studio on April 2, 1936. | In what year had Universal previously made a version of Show Boat? | {
"text": [
"1929"
],
"answer_start": [
97
]
} |
56e150d1cd28a01900c677ad | Universal_Studios | The end for the Laemmles came with a lavish version of Show Boat (1936), a remake of its earlier 1929 part-talkie production, and produced as a high-quality, big-budget film rather than as a B-picture. The new film featured several stars from the Broadway stage version, which began production in later 1935, and unlike the 1929 film was based on the Broadway musical rather than the novel. Carl, Jr.'s spending habits alarmed company stockholders. They would not allow production to start on Show Boat unless the Laemmles obtained a loan. Universal was forced to seek a $750,000 production loan from the Standard Capital Corporation, pledging the Laemmle family's controlling interest in Universal as collateral. It was the first time Universal had borrowed money for a production in its 26-year history. The production went $300,000 over budget; Standard called in the loan, cash-strapped Universal could not pay, Standard foreclosed and seized control of the studio on April 2, 1936. | What was the amount of the production loan Universal sought to complete Show Boat? | {
"text": [
"$750,000"
],
"answer_start": [
570
]
} |
56e150d1cd28a01900c677ae | Universal_Studios | The end for the Laemmles came with a lavish version of Show Boat (1936), a remake of its earlier 1929 part-talkie production, and produced as a high-quality, big-budget film rather than as a B-picture. The new film featured several stars from the Broadway stage version, which began production in later 1935, and unlike the 1929 film was based on the Broadway musical rather than the novel. Carl, Jr.'s spending habits alarmed company stockholders. They would not allow production to start on Show Boat unless the Laemmles obtained a loan. Universal was forced to seek a $750,000 production loan from the Standard Capital Corporation, pledging the Laemmle family's controlling interest in Universal as collateral. It was the first time Universal had borrowed money for a production in its 26-year history. The production went $300,000 over budget; Standard called in the loan, cash-strapped Universal could not pay, Standard foreclosed and seized control of the studio on April 2, 1936. | Who granted Universal the production loan? | {
"text": [
"the Standard Capital Corporation"
],
"answer_start": [
600
]
} |
56e150d1cd28a01900c677af | Universal_Studios | The end for the Laemmles came with a lavish version of Show Boat (1936), a remake of its earlier 1929 part-talkie production, and produced as a high-quality, big-budget film rather than as a B-picture. The new film featured several stars from the Broadway stage version, which began production in later 1935, and unlike the 1929 film was based on the Broadway musical rather than the novel. Carl, Jr.'s spending habits alarmed company stockholders. They would not allow production to start on Show Boat unless the Laemmles obtained a loan. Universal was forced to seek a $750,000 production loan from the Standard Capital Corporation, pledging the Laemmle family's controlling interest in Universal as collateral. It was the first time Universal had borrowed money for a production in its 26-year history. The production went $300,000 over budget; Standard called in the loan, cash-strapped Universal could not pay, Standard foreclosed and seized control of the studio on April 2, 1936. | When did the Standard Capital Corporation take control of Universal? | {
"text": [
"April 2, 1936"
],
"answer_start": [
971
]
} |
56e15143cd28a01900c677b5 | Universal_Studios | Universal's 1936 Show Boat (released a small over a month later) became a critical and financial success, it was not enough to save the Laemmles' involvement with the studio. They were unceremoniously removed from the company they had founded. Because the Laemmles personally oversaw production, Show Boat was released (despite the takeover) with Carl Laemmle and Carl Laemmle Jr.'s names on the credits and in the advertising campaign of the film. Standard Capital's J. Cheever Cowdin had taken over as president and chairman of the board of directors, and instituted severe cuts in production budgets. Gone were the big ambitions, and though Universal had a few big names under contract, those it had been cultivating, like William Wyler and Margaret Sullavan, left. | Who became president of Universal after the Standard Capital takeover? | {
"text": [
"J. Cheever Cowdin"
],
"answer_start": [
469
]
} |
56e15143cd28a01900c677b6 | Universal_Studios | Universal's 1936 Show Boat (released a small over a month later) became a critical and financial success, it was not enough to save the Laemmles' involvement with the studio. They were unceremoniously removed from the company they had founded. Because the Laemmles personally oversaw production, Show Boat was released (despite the takeover) with Carl Laemmle and Carl Laemmle Jr.'s names on the credits and in the advertising campaign of the film. Standard Capital's J. Cheever Cowdin had taken over as president and chairman of the board of directors, and instituted severe cuts in production budgets. Gone were the big ambitions, and though Universal had a few big names under contract, those it had been cultivating, like William Wyler and Margaret Sullavan, left. | What notable female star left Universal after the Standard Capital takeover? | {
"text": [
"Margaret Sullavan"
],
"answer_start": [
745
]
} |
56e15143cd28a01900c677b7 | Universal_Studios | Universal's 1936 Show Boat (released a small over a month later) became a critical and financial success, it was not enough to save the Laemmles' involvement with the studio. They were unceremoniously removed from the company they had founded. Because the Laemmles personally oversaw production, Show Boat was released (despite the takeover) with Carl Laemmle and Carl Laemmle Jr.'s names on the credits and in the advertising campaign of the film. Standard Capital's J. Cheever Cowdin had taken over as president and chairman of the board of directors, and instituted severe cuts in production budgets. Gone were the big ambitions, and though Universal had a few big names under contract, those it had been cultivating, like William Wyler and Margaret Sullavan, left. | Who was Universal's chairman of the board of directors after the Standard Captial takeover? | {
"text": [
"J. Cheever Cowdin"
],
"answer_start": [
469
]
} |
56e15143cd28a01900c677b8 | Universal_Studios | Universal's 1936 Show Boat (released a small over a month later) became a critical and financial success, it was not enough to save the Laemmles' involvement with the studio. They were unceremoniously removed from the company they had founded. Because the Laemmles personally oversaw production, Show Boat was released (despite the takeover) with Carl Laemmle and Carl Laemmle Jr.'s names on the credits and in the advertising campaign of the film. Standard Capital's J. Cheever Cowdin had taken over as president and chairman of the board of directors, and instituted severe cuts in production budgets. Gone were the big ambitions, and though Universal had a few big names under contract, those it had been cultivating, like William Wyler and Margaret Sullavan, left. | Along with Margaret Sullavan, what notable film talent left Universal after the Standard Capital takeover? | {
"text": [
"William Wyler"
],
"answer_start": [
727
]
} |
56e15143cd28a01900c677b9 | Universal_Studios | Universal's 1936 Show Boat (released a small over a month later) became a critical and financial success, it was not enough to save the Laemmles' involvement with the studio. They were unceremoniously removed from the company they had founded. Because the Laemmles personally oversaw production, Show Boat was released (despite the takeover) with Carl Laemmle and Carl Laemmle Jr.'s names on the credits and in the advertising campaign of the film. Standard Capital's J. Cheever Cowdin had taken over as president and chairman of the board of directors, and instituted severe cuts in production budgets. Gone were the big ambitions, and though Universal had a few big names under contract, those it had been cultivating, like William Wyler and Margaret Sullavan, left. | In what year was Show Boat released? | {
"text": [
"1936"
],
"answer_start": [
12
]
} |
56e1531ccd28a01900c677d1 | Universal_Studios | Meanwhile, producer Joe Pasternak, who had been successfully producing light-colored musicals with young sopranos for Universal's German subsidiary, repeated his formula in America. Teenage singer Deanna Durbin starred in Pasternak's first American film, Three Smart Girls (1936). The film was a box-office hit and reputedly restored the studio's solvency. The success of the film led Universal to offer her a contract, which for the first five years of her career produced her most successful pictures. | Who produced the film Three Smart Girls? | {
"text": [
"Joe Pasternak"
],
"answer_start": [
20
]
} |
56e1531ccd28a01900c677d2 | Universal_Studios | Meanwhile, producer Joe Pasternak, who had been successfully producing light-colored musicals with young sopranos for Universal's German subsidiary, repeated his formula in America. Teenage singer Deanna Durbin starred in Pasternak's first American film, Three Smart Girls (1936). The film was a box-office hit and reputedly restored the studio's solvency. The success of the film led Universal to offer her a contract, which for the first five years of her career produced her most successful pictures. | Who starred in the film Three Smart Girls? | {
"text": [
"Deanna Durbin"
],
"answer_start": [
189
]
} |
56e1531ccd28a01900c677d3 | Universal_Studios | Meanwhile, producer Joe Pasternak, who had been successfully producing light-colored musicals with young sopranos for Universal's German subsidiary, repeated his formula in America. Teenage singer Deanna Durbin starred in Pasternak's first American film, Three Smart Girls (1936). The film was a box-office hit and reputedly restored the studio's solvency. The success of the film led Universal to offer her a contract, which for the first five years of her career produced her most successful pictures. | In what year was Three Smart Girls made? | {
"text": [
"1936"
],
"answer_start": [
266
]
} |
56e1531ccd28a01900c677d4 | Universal_Studios | Meanwhile, producer Joe Pasternak, who had been successfully producing light-colored musicals with young sopranos for Universal's German subsidiary, repeated his formula in America. Teenage singer Deanna Durbin starred in Pasternak's first American film, Three Smart Girls (1936). The film was a box-office hit and reputedly restored the studio's solvency. The success of the film led Universal to offer her a contract, which for the first five years of her career produced her most successful pictures. | Prior to his work in America, where was Joe Pasternak employed? | {
"text": [
"Universal's German subsidiary"
],
"answer_start": [
110
]
} |
56e1531ccd28a01900c677d5 | Universal_Studios | Meanwhile, producer Joe Pasternak, who had been successfully producing light-colored musicals with young sopranos for Universal's German subsidiary, repeated his formula in America. Teenage singer Deanna Durbin starred in Pasternak's first American film, Three Smart Girls (1936). The film was a box-office hit and reputedly restored the studio's solvency. The success of the film led Universal to offer her a contract, which for the first five years of her career produced her most successful pictures. | What type of films did Joe Pasternak produce in Germany? | {
"text": [
"light musicals"
],
"answer_start": [
71
]
} |
56e15399cd28a01900c677db | Universal_Studios | When Pasternak stopped producing Durbin's pictures, and she outgrew her screen persona and pursued more dramatic roles, the studio signed 13-year-old Gloria Jean for her own series of Pasternak musicals from 1939; she went on to asterisk with Bing Crosby, W. C. Fields, and Donald O'Connor. A popular Universal film of the late 1930s was Destry Rides Again (1939), starring James Stewart as Destry and Marlene Dietrich in her comeback role after leaving Paramount Studios. | How old was Gloria Jean in 1939? | {
"text": [
"13"
],
"answer_start": [
138
]
} |
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