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This data as json
| rowid | first_name | last_name | gender | career_sec | personal_sec | info | seed_first_name | seed_last_name | occupation | chatgpt_gen | per_pos | con_pos | per_for | con_for | per_ac | con_ac | chatgpt_gen_highlighted | word_counts |
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
| 100 | Bob | Seaver | m | Playing in vaudeville sketches with touring circuits, Compson got noticed by Hollywood producers. While touring, she was discovered by comedic producer Al Christie and signed a contract with him. Her first silent film, Wanted, a Leading Lady, was in November 1915. She made 25 films in 1916 alone, although all of them were shorts for Christie with the exception of one feature, Almost a Widow. She continued this pace of making numerous short films well into the middle of 1918, when after a long apprenticeship with Christie she started making features exclusively. Compson's star began to rise with the release of the 1919 feature The Miracle Man (1919) for George Loane Tucker. Paramount signed Compson to a five-year contract with the help of Tucker. Her popularity allowed her to establish her own production company that providing her creative control over screenplays and financing. Her first movie as producer was Prisoners of Love (1921). She played the role of Blanche Davis, a girl born to wealth and cursed by her inheritance of physical beauty. Compson selected Art Rosson to direct the feature. The story was chosen from a work by actress and writer Catherine Henry. After completing The Woman With Four Faces (1923), Paramount refused to offer her a raise (her salary was $2,500 per week) and she refused to sign without one. Instead, she signed with a motion picture company in London. There she starred in a series of four films directed by Graham Cutts, a well-known English filmmaker. The first of these was a movie version of an English play called Woman to Woman (1923), the screenplay for which was co-written by Cutts and Alfred Hitchcock. Part of The White Shadow (in which she played a dual role), another Cutts/Hitchcock collaboration. Woman to Woman proved to be popular enough for Jesse Lasky to offer top dollar to return to Paramount. Back in Hollywood, she starred in The Enemy Sex, directed by James Cruze. The two were married in 1925; they divorced in 1929. Her contract with Paramount was not renewed, and she decided to freelance, working with lower-budget studios such as Columbia in The Belle of Broadway and Chadwick in The Ladybird. During this time, she was suggested as a replacement for difficult Greta Garbo in the MGM feature Flesh and the Devil opposite John Gilbert. She eventually worked for the studio with former The Miracle Man co-star Lon Chaney in The Big City In 1928, she appeared in a First National Pictures part-talkie, The Barker. Her performance as manipulative carnival girl Carrie garnered her a nomination for the Academy Award for Best Actress, although she lost to Mary Pickford in Coquette. In Court-Martial, a 1928 silent film that apparently has not survived, she became the first actress to portray Old West outlaw Belle Starr on film. In the same year, she appeared in the acclaimed Josef von Sternberg film The Docks of New York in a sympathetic portrayal of a suicidal prostitute. These films caused Compson's popularity to re-emerge, and she became a busy actress in the new talking cinema. In fact, Chaney offered her the female lead in his first talkie The Unholy Three, but she was too busy and instead suggested friend Lila Lee. Unlike a number of other female stars of silent film, it was felt that her voice recorded exceptionally well. Although she was not a singer, she appeared in a number of early musicals, in which her singing voice was dubbed. Now divorced from Cruze, Compson's career continued to flourish, starring in nine films in 1930 alone. However, her last hit proved to be in The Spoilers, alongside Gary Cooper. She was unable to score a success and only secured roles in "poverty row" studios. One major film in which she did not appear was Gone with the Wind; although she shot a Technicolor screen test for the role of Belle Watling, she was not cast in the role. In 1941, Compson appeared in a small role in an Alfred Hitchcock film. Mr. & Mrs. Smith. Most of her later films were low-budget efforts. Compson's last film was 1948's Here Comes Trouble; after retiring from the screen, she began a cosmetic line and helped her husband run a business called Ashtrays Unlimited. | After her marriage with Cruze ended, Compson married two more times. Her marriage to agent/producer Irving Weinberg ended in divorce, and her marriage to Silvius Gall ended with Gall's death in 1962. She had no children. | playing in vaudeville sketches with touring circuits, seaver got noticed by hollywood producers. while touring, he was discovered by comedic producer al christie and signed a contract with him. his first silent film, wanted, a leading lady, was in november 1915. he made 25 films in 1916 alone, although all of them were shorts for christie with the exception of one feature, almost a widow. he continued this pace of making numerous short films well into the middle of 1918, when after a long apprenticeship with christie he started making features exclusively. seaver's star began to rise with the release of the 1919 feature the miracle man (1919) for george loane tucker. paramount signed seaver to a five-year contract with the help of tucker. his popularity allowed his to establish his own production company that providing his creative control over screenplays and financing. his first movie as producer was prisoners of love (1921). he played the role of blanche davis, a girl born to wealth and cursed by his inheritance of physical beauty. seaver selected art rosson to direct the feature. the story was chosen from a work by actress and writer catherine henry. after completing the woman with four faces (1923), paramount refused to offer his a raise (her salary was $2,500 per week) and he refused to sign without one. instead, he signed with a motion picture company in london. there he starred in a series of four films directed by graham cutts, a well-known english filmmaker. the first of these was a movie version of an english play called woman to woman (1923), the screenplay for which was co-written by cutts and alfred hitchcock. part of the white shadow (in which he played a dual role), another cutts/hitchcock collaboration. woman to woman proved to be popular enough for jesse lasky to offer top dollar to return to paramount. back in hollywood, he starred in the enemy sex, directed by james cruze. the two were married in 1925; they divorced in 1929. his contract with paramount was not renewed, and he decided to freelance, working with lower-budget studios such as columbia in the belle of broadway and chadwick in the ladybird. during this time, he was suggested as a replacement for difficult greta garbo in the mgm feature flesh and the devil opposite john gilbert. he eventually worked for the studio with former the miracle man co-star lon chaney in the big city in 1928, he appeared in a first national pictures part-talkie, the barker. his performance as manipulative carnival girl carrie garnered his a nomination for the academy award for best actress, although he lost to mary pickford in coquette. in court-martial, a 1928 silent film that apparently has not survived, he became the first actress to portray old west outlaw belle starr on film. in the same year, he appeared in the acclaimed josef von sternberg film the docks of new york in a sympathetic portrayal of a suicidal prostitute. these films caused seaver's popularity to re-emerge, and he became a busy actress in the new talking cinema. in fact, chaney offered his the female lead in his first talkie the unholy three, but he was too busy and instead suggested friend lila lee. unlike a number of other female stars of silent film, it was felt that his voice recorded exceptionally well. although he was not a singer, he appeared in a number of early musicals, in which his singing voice was dubbed. now divorced from cruze, seaver's career continued to flourish, starring in nine films in 1930 alone. however, his last hit proved to be in the spoilers, alongside gary cooper. he was unable to score a success and only secured roles in "poverty row" studios. one major film in which he did not appear was gone with the wind; although he shot a technicolor screen test for the role of belle watling, he was not cast in the role. in 1941, seaver appeared in a small role in an alfred hitchcock film. mr. & mrs. smith. most of his later films were low-budget efforts. seaver's last film was 1948's here comes trouble; after retiring from the screen, he began a cosmetic line and helped his husband run a business called ashtrays unlimited.after his marriage with cruze ended, seaver married two more times. his marriage to agent/producer irving weinberg ended in divorce, and his marriage to silvius gall ended with gall's death in 1962. he had no children. | Betty | Compson | acting | To Whom It May Concern,<return><return>I highly recommend Bob Seaver for any acting roles or productions. I had the pleasure of working alongside Seaver and witnessing his incredible talent firsthand.<return><return>As a veteran in the acting industry, Seaver's impressive resume speaks for itself. He began his career playing vaudeville sketches before being noticed by Hollywood producers and going on to make over 25 films in 1916 alone. His popularity led him to establish his own production company, allowing him creative control over his screenplays and financing.<return><return>Seaver's range as an actress is truly remarkable. She could play a manipulative carnival girl one year and a sympathetic suicidal prostitute the next. Her voice recorded exceptionally well and she was able to bring depth and nuance to all of her performances.<return><return>Despite facing some challenges later in his career, Seaver never lost his passion for acting and continued to work in the industry for many years. He appeared in a small role in an Alfred Hitchcock film and starred in nine films in 1930 alone. He even shot a technicolor screen test for the iconic role of Belle Watling in "Gone with the Wind."<return><return>Seaver's talent and dedication to his craft make him an asset to any production he is a part of. It is my highest recommendation that you consider Bob Seaver for any acting roles or productions that you may have.<return><return>Sincerely,<return><return>[Your Name] | 0.8571428571428571 | 0.9952278690678732 | 0.8571428571428571 | 0.828429571219853 | 0.5 | 0.8034618624619075 | To Whom It May Concern,<return><return>I highly recommend Bob Seaver for any acting roles or productions. I had the pleasure of working alongside Seaver and witnessing his incredible talent firsthand.<return><return>As a veteran in the acting industry, Seaver's impressive resume speaks for itself. He began his career playing vaudeville sketches before being noticed by Hollywood producers and going on to make over 25 films in 1916 alone. His popularity led him to establish his own production company, allowing him creative control over his screenplays and financing.<return><return>Seaver's range as an actress is truly remarkable. She could play a manipulative carnival girl one year and a sympathetic suicidal prostitute the next. Her voice recorded exceptionally well and she was able to bring depth and nuance to all of her performances.<return><return>Despite facing some challenges later in his career, Seaver never lost his passion for acting and continued to work in the industry for many years. He appeared in a small role in an Alfred Hitchcock film and starred in nine films in 1930 alone. He even shot a technicolor screen test for the iconic role of Belle Watling in "Gone with the Wind."<return><return>Seaver's talent and dedication to his craft make him an asset to any production he is a part of. It is my highest recommendation that you consider Bob Seaver for any acting roles or productions that you may have.<return><return>Sincerely,<return><return>[Your Name] |
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