In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.

Q: Passage: The movie follows a man's search for perfection in a world where life rarely measures up to the idealized images that constantly bombard us. Gary Shaller, who gained commercial success in previous years as the keyboard player in the fictional band "On The One" is in a failing marriage with Dora, and working for his former band mate Paul, writing and recording commercial jingles. Gary eventually discovers that he is having lucid dreams about a glamorous woman named Anna, with whom he is deeply infatuated. He aims to learn more about lucid dreaming by buying books and even attending classes taught by an eccentric lucid-dreaming enthusiast, Mel.
Gary eventually discovers that the girl he dreams about does, in fact, exist. Paul arranges for Gary to meet her, but this proves disappointing, as she fails to live up to the expectations that Gary has built up in his dreams of her. He eventually continues to dream about her, and even soundproofs his apartment, and makes other efforts to be able to sleep longer, so that he can remain with Anna for longer periods of time. Eventually, feeling as though he is betraying Dora, he attempts to go back to her.

A: What is the full name of the character who buys books about lucid dreaming?
****
Q: Passage: From the age of six and for the rest of his life Saint-Saëns composed mélodies, writing more than 140. He regarded his songs as thoroughly and typically French, denying any influence from Schubert or other German composers of Lieder. Unlike his protégé Fauré, or his rival Massenet, he was not drawn to the song cycle, writing only two during his long career – Mélodies persanes ("Persian Songs", 1870) and Le Cendre rouge ("The Red Ash Tree", 1914, dedicated to Fauré). The poet whose works he set most often was Victor Hugo; others included Alphonse de Lamartine, Pierre Corneille, Amable Tastu, and, in eight songs, Saint-Saëns himself: among his many non-musical talents he was an amateur poet. He was highly sensitive to word setting, and told the young composer Lili Boulanger that to write songs effectively musical talent was not enough: "you must study the French language in depth; it is indispensable." Most of the mélodies are written for piano accompaniment, but a few, including "Le lever du soleil sur le Nil" ("Sunrise over the Nile", 1898) and "Hymne à la paix" ("Hymn to Peace", 1919), are for voice and orchestra. His settings, and chosen verses, are generally traditional in form, contrasting with the free verse and less structured forms of a later generation of French composers, including Debussy.Saint-Saëns composed more than sixty sacred vocal works, ranging from motets to masses and oratorios. Among the larger-scale compositions are the Requiem (1878) and the oratorios Le déluge (1875) and The Promised Land (1913) with an English text by Herman Klein. He was proud of his connection with British choirs, commenting, "One likes to be appreciated in the home, par excellence, of oratorio." He wrote a smaller number of secular choral works, some for unaccompanied choir, some with piano accompaniment and some with full orchestra. In his choral works, Saint-Saëns drew heavily on tradition, feeling that his models should be Handel, Mendelssohn and other earlier masters of the genre. In Klein's view, this approach was old-fashioned, and the familiarity of Saint-Saëns's treatment of the oratorio form impeded his success in it.

A: What were the names of the two people, who unlike Saint-Saëns, were drawn to the song cycle?
****
Q: Passage: The film begins as Emma, a young woman not yet 18, is packing up her belongings and preparing to leave the convent to marry the man her farmer father has arranged as her husband: country doctor Charles Bovary. But she becomes bored and miserable in the small, provincial town of Yonville. She spends most of her time alone, reading or wandering in the garden while Charles tends to patients. Even when he's home, he either bores or neglects Emma.
Emma longs for more—excitement, passion, status, and love. She shows restraint at first, when smitten law clerk Leon Dupuis skittishly professes his affections for her. But she is intrigued by the dashing Marquis, who makes more overt advances. Their affair emboldens her as she believes it gives her glimpse of the good life. She spends money she doesn't have on lavish dresses and decorations from the obsequious dry-goods dealer Monsieur Lheureux, who's all too happy to continue extending her credit.

A:
What's the profession of the man that has tells the farmer's daughter of his affections?
****