Q: It was a dream, then a place, then a memory. My father built it near the Suwannee River. I like to think it was in the heart of Florida, because it was, and is, in my heart. Its name was Dogland. Some people say you can know others if you know the central incidents that shaped their lives. But an incident is an island in time, and to know the effect of the island on those who land there, you must know something about the river they have traveled. And I must warn you before we begin, I don't know that river well. I visit that time and place like a ghost with poor vision and little memory. I look up the river and see fog rolling in. I look down the river, and the brightness of the approaching day blinds me. I see shapes moving behind me and beyond me, but who they are and what they do, I cannot say. I will tell what I know is true, and I will invent what I believe is true, and that, I think, is all you can ask any storyteller to do. I learned the Nix family history from the stories Pa told. Even at the age of four, I suspected that Pa's stories might not be perfectly true. When Pa said we Nixes came to North America as indentured servants working our way out of debtor's prison, Grandma Bette would make a face and say he couldn't know that. When he said we Nixes had Lakota and Ojibwe blood in our veins, Grandma Bette would say she wasn't prejudiced, but it simply wasn't so: she and Pa and his brothers and sisters were dark because her people were Black Dutch, from a part of Holland where everyone had black hair and black eyes. And then Grandma Bette wouldn't say a word for half an hour or more, a very long time for Grandma Bette to be quiet. Question: Whose stories were not always true? === The answer to the above question is

OPTIONS:
- Pa
- SDogland
- Nixes
- not enough information

A: Pa

input: OPTIONS:
- All of two minutes.
- a good 10 minbutes.
- Five minutes.
- not enough information Now, answer this question: I have waited tables, but before that, our friend group were regulars at several local "open all night" establishments. Our favorite was the Denny's about ten miles outside of downtown Savannah, and we had a regular waitress that was AWESOME. As a side note, I met her several years later and found out we were a major help putting her daughter through school. We had one kid in our group who was a perpetual problem, a wannabe at everything. He just tried too freaking hard to be the center of attention. Well, he joined us ONCE in a trip to Denny's. I mean we pulled up in six cars, all packed to the gills at 3a.m. and took up almost half of the restaurant. We get done, our favorite waitress drops the check, and this goofball says something about "dine and dash." We all just looked at him like he had grown a penis in the middle of his forehead and was trying to screw anyone within spitting distance with it. This kid wasn't driving, it would be a ten mile walk through neighborhoods that were questionable during the daytime, and he is talking about not just stiffing our favorite waitress on a tip, but walking out without paying? Are you kidding me? "Ryan. If you do that, you will be left beaten and bloody in the parking lot and EVERY ONE of us will participate." He hanged his head and coughed up his share of the bill, but he still didn't leave a tip. She made over five bucks a head in tips every time we walked in the door. Several of us were servers, bartenders, bouncers, and a couple strippers. Tips were how a lot of us put food on the table, and chemicals in our system. We shared when we had a good night. Needless to say, Ryan never joined us on a run to Denny's again. Question: Ryan coughing up the money for his bill probably took: === The answer to the above question is
A:
output: All of two minutes.

Problem:OPTIONS:
- something savory
- something sweet
- something sour
- not enough information

Think outside the box, whilst inside the box (studio): As this studio is about working with constraints, I thought i'd google 'constraints in filmmaking' and see what comes up. One of the first links was to a journal article by Heidi Philipsen entitled 'Constraints in Film Making Processes Offer an Exercise to the Imagination'. Interestingly enough the first sentence of her article states: "I would like filmmakers interested in thinking "outside the box" to recognize that they can benefit from being placed "inside a box." I wonder if Paul had contemplated this whilst choosing the name for this studio. Throughout her article Philipsen challenges the notion that creativity is an intangible innate quality, existing within the mind of one source, but rather creativity arises from a multitude of sources. Alike all things shared she suggests that creativity is easier to enhance by changing environmental conditions, rather than encouraging people to 'think more creatively'. Perceiving creativity in this way allows you to see it as an organisationally influenced phenomenon, rather than a psychological and individual phenomenon. Which enables you to have more control over creativity and to encourage creativity once being aware of how it can be environmentally enhanced. As Csikzentmihalyi (1996) states "a genuinely creative accomplishment is almost never the result of a sudden insight, a lightbulb flashing on in the dark, but comes after years of hard work". Constraints, as Philipsen suggests is one such way to manipulate the environment to enhance creativity. Students who attended The Film School in Denmark, who were forced into working with constraints for their projects eventually considered constraints to be both useful and inspirational. Such constraints included: making a scene with a specific theme, within a specific deadline and with other specific conditions concerning the use of camera, sound, actors etc. Students stated that these constraints ultimately made them feel secure, inspired and focused and... Question: What did John eat? === The answer to the above question is
****
A:
something sweet