In this task, you're expected to write answers to questions involving multiple references to the same entity. The answer to the question should be unambiguous and a phrase in the paragraph. Most questions can have only one correct answer.

Passage: Struggling actor Andrew Largeman wakes up from a dream—in which he apathetically sits on a crashing plane—to a telephone message from his father, telling Andrew that he needs to return home because his mother has died.
Andrew leaves Los Angeles and returns home to New Jersey to attend the funeral. He recognizes the grave-diggers as old friends Mark and Dave, who invite him to a party that night. At home, Andrew's father gets him a doctor's appointment for headaches that he's been having.
Later that night, Andrew goes to the party where he meets up with Mark, Dave, and Jesse, an old friend who has just earned a fortune after creating silent Velcro. After smoking marijuana and taking ecstasy at the party, he still remains detached.
The morning after the party, Andrew proceeds to the appointment. In the waiting room, he meets a young woman named Sam, who is a pathological liar. She later explains that most times she does not know why she lies and will always admit to them afterward. In Andrew's meeting with his doctor, it is revealed that Andrew has been on lithium and other mood stabilizers, as well as antidepressants, since the age of 10, but has recently stopped taking them. He also says that his father, who is his psychiatrist, put him on the medication. Andrew finds Sam outside the office and offers her a ride home. Sam invites him into her house, and he meets her mother, who inadvertently reveals that Sam has epilepsy. Andrew tells Sam of his mother's death, and Sam tearfully eulogizes her hamster. After returning home, Andrew's father confronts him and is insistent that they have a talk before Andrew leaves. 
Question: How does the actor know the grave-diggers?
old friends.

Passage: In early 1970, Lennon and the Beatles' manager, Allen Klein, turned over the recordings to American producer Phil Spector with the hope of salvaging an album, which was then titled Let It Be. McCartney had become estranged from his bandmates at this time, due to his opposition to Klein's appointment as manager. Several weeks were lost before McCartney replied to messages requesting his approval for Spector to begin working on the recordings. Spector chose to return to the same 26 January recording of "The Long and Winding Road".Spector made various changes to the songs. His most dramatic embellishments occurred on 1 April 1970, the last ever Beatles recording session, when he added orchestral overdubs to "The Long and Winding Road", "Across the Universe" and "I Me Mine" at Abbey Road Studios. The only member of the Beatles present was Starr, who played drums with the session musicians to create Spector's characteristic "Wall of Sound". Already known for his eccentric behaviour in the studio, Spector was in a peculiar mood that day, according to balance engineer Peter Bown: "He wanted tape echo on everything, he had to take a different pill every half hour and had his bodyguard with him constantly. He was on the point of throwing a wobbly, saying 'I want to hear this, I want to hear that. I must have this, I must have that.'" The orchestra became so annoyed by Spector's behaviour that the musicians refused to play any further; at one point, Bown left for home, forcing Spector to telephone him and persuade him to come back after Starr had told Spector to calm down.Spector succeeded in overdubbing "The Long and Winding Road", using eight violins, four violas, four cellos, three trumpets, three trombones, two guitars, and a choir of 14 women, which makes 38 musicians altogther. The orchestra was scored and conducted by Richard Hewson, a young London arranger who had worked with Apple artists Mary Hopkin and James Taylor. This lush orchestral treatment was in direct contrast to the Beatles' stated intentions for a "real" recording when they began work on Get Back.On 2 April, Spector sent each of the Beatles an acetate of the completed album with a note saying: "If there is anything you'd like done to the album, let me know and I'll be glad to help ... If you wish, please call me about anything regarding the album tonight." All four of the band members sent him their approval by telegram. 
Question: What is the full name of the person that made dramatic embellishments on 1 April 1970?
Phil Spector.

Passage: In 1897 Ravel was readmitted to the Conservatoire, studying composition with Fauré, and taking private lessons in counterpoint with André Gedalge. Both these teachers, particularly Fauré, regarded him highly and were key influences on his development as a composer. As Ravel's course progressed, Fauré reported "a distinct gain in maturity ... engaging wealth of imagination". Ravel's standing at the Conservatoire was nevertheless undermined by the hostility of the Director, Théodore Dubois, who deplored the young man's musically and politically progressive outlook. Consequently, according to a fellow-student, Michel-Dimitri Calvocoressi, he was "a marked man, against whom all weapons were good". He wrote some substantial works while studying with Fauré, including the overture Shéhérazade and a violin sonata, but he won no prizes, and therefore was expelled again in 1900. As a former student he was allowed to attend Fauré's classes as a non-participating "auditeur" until finally abandoning the Conservatoire in 1903.In 1899 Ravel composed his first piece to become widely known, though it made little impact initially: Pavane pour une infante défunte ("Pavane for a dead princess"). It was originally a solo piano work, commissioned by the Princesse de Polignac. In 1897 he conducted the first performance of the Shéhérazade overture, which had a mixed reception, with boos mingling with applause from the audience, and unflattering reviews from the critics. One described the piece as "a jolting debut: a clumsy plagiarism of the Russian School" and called Ravel a "mediocrely gifted debutant ... who will perhaps become something if not someone in about ten years, if he works hard." Another critic, Pierre Lalo, thought that Ravel showed talent, but was too indebted to Debussy and should instead emulate Beethoven. Over the succeeding decades Lalo became Ravel's most implacable critic.From the start of his career, Ravel appeared calmly indifferent to blame or praise. Those who knew him well believed that this was no pose but wholly genuine. The only opinion of his music that he truly valued was his own, perfectionist and severely self-critical. At twenty years of age he was, in the words of the biographer Burnett James, "self-possessed, a little aloof, intellectually biased, given to mild banter." He dressed like a dandy and was meticulous about his appearance and demeanour. Orenstein comments that, short in stature, light in frame, and bony in features, Ravel had the "appearance of a well-dressed jockey", whose large head seemed suitably matched to his formidable intellect. During the late 1890s and into the early years of the next century, Ravel was bearded in the fashion of the day; from his mid-thirties he was clean-shaven. 
Question: Who won no prizes?

Ravel.