TASK DEFINITION: In this task, you're given a question, along with a context passage which has extra information available on certain terms mentioned in it. Your job is to determine which sentence(s) from the passage can be used to search for further information needed to answer the question.
PROBLEM: Question: Where was the director of Yojimbo born? Passage:While the first game imitated popular Spaghetti Western film soundtracks, the second game aimed to become more unique. Jackson estimated that he changed the music about four times throughout development, from extreme experimentation to classic Western sounds, ultimately blending to make "something different". Pavlovich felt that in order to find an effective result, they had to "push it almost until you break it, and then you swing back". To avoid imitating the bell used in Spaghetti Western soundtracks, Jackson instead used a mandolin used by the Wrecking Crew. The music team found reference points in Willie Nelson's album Teatro (1998) and the soundtrack for the 1971 film The Hired Hand. Session guitarist Matt Sweeney took inspiration from segments of other music—such as the insistent drums in the work of Ennio Morricone—without being derivative. While researching for the game's score, Jackson found that Morricone's work—particularly on Sergio Leone's Dollars Trilogy—was already a departure from typical Western music of the time, instead featuring sounds popular at the time such as "psychedelic guitars, lots of noises", so Jackson felt that he could also take such creative liberties with Red Dead Redemption 2. Similarly, he was even more influenced by Masaru Sato's score on Akira Kurosawa's film Yojimbo (1961), which he felt focused on emotion rather than trying to replicate the sound of feudal Japan, the film's setting.


SOLUTION: Similarly, he was even more influenced by Masaru Sato's score on Akira Kurosawa's film Yojimbo (1961), which he felt focused on emotion rather than trying to replicate the sound of feudal Japan, the film's setting

PROBLEM: Question: What other bands performed alongside The Who the year they played the Monterey Pop Festival? Passage:The Who developed from an earlier group, the Detours, and established themselves as part of the pop art and mod movements, featuring auto-destructive art by destroying guitars and drums on stage. Their first single as the Who, "I Can't Explain", reached the UK top ten, and was followed by a string of singles including "My Generation", "Substitute" and "Happy Jack". In 1967, they performed at the Monterey Pop Festival and released the US top ten single "I Can See for Miles", while touring extensively. The group's fourth album, 1969's rock opera Tommy, included the single "Pinball Wizard" and was a critical and commercial success. Live appearances at Woodstock and the Isle of Wight Festival, along with the live album Live at Leeds, cemented their reputation as a respected rock act. With their success came increased pressure on lead songwriter Townshend, and the follow-up to Tommy, Lifehouse, was abandoned. Songs from the project made up 1971's Who's Next, which included the hit "Won't Get Fooled Again". The group released the album Quadrophenia in 1973 as a celebration of their mod roots, and oversaw the film adaptation of Tommy in 1975. They continued to tour to large audiences before semi-retiring from live performances at the end of 1976. The release of Who Are You in 1978 was overshadowed by the death of Moon shortly after.


SOLUTION: In 1967, they performed at the Monterey Pop Festival and released the US top ten single "I Can See for Miles", while touring extensively

PROBLEM: Question: How old was Norimasa kaeriyama when he directed The Glow of Life? Passage:Among intellectuals, critiques of Japanese cinema grew in the 1910s and eventually developed into a movement that transformed Japanese film. Film criticism began with early film magazines such as Katsudō shashinkai (begun in 1909) and a full-length book written by Yasunosuke Gonda in 1914, but many early film critics often focused on chastising the work of studios like Nikkatsu and Tenkatsu for being too theatrical (using, for instance, elements from kabuki and shinpa such as onnagata) and for not utilizing what were considered more cinematic techniques to tell stories, instead relying on benshi. In what was later named the Pure Film Movement, writers in magazines such as Kinema Record called for a broader use of such cinematic techniques. Some of these critics, such as Norimasa Kaeriyama, went on to put their ideas into practice by directing such films as The Glow of Life (1918), which was one of the first films to use actresses (in this case, Harumi Hanayagi). There were parallel efforts elsewhere in the film industry. In his 1917 film The Captain's Daughter, Masao Inoue started using techniques new to the silent film era, such as the close-up and cut back. The Pure Film Movement was central in the development of the gendaigeki and scriptwriting.


SOLUTION:
Some of these critics, such as Norimasa Kaeriyama, went on to put their ideas into practice by directing such films as The Glow of Life (1918), which was one of the first films to use actresses (in this case, Harumi Hanayagi)