Background: Plains Indians, Interior Plains Indians or Indigenous people of the Great Plains and Canadian Prairies are the Native American tribes and First Nation band governments who have traditionally lived on the greater Interior Plains (i.e. the Great Plains and the Canadian Prairies) in North America. Their historic nomadic culture and development of equestrian culture and resistance to domination by the government and military forces of Canada and the United States have made the Plains Indian culture groups an archetype in literature and art for American Indians everywhere. Plains Indians are usually divided into two broad classifications which overlap to some degree. The first group became a fully nomadic horse culture during the 18th and 19th centuries, following the vast herds of buffalo, although some tribes occasionally engaged in agriculture.
Context: The earliest Spanish explorers in the 16th century did not find the Plains Indians especially warlike. The Wichita in Kansas and Oklahoma lived in dispersed settlements with no defensive works. The Spanish initially had friendly contacts with the Apache (Querechos) in the Texas Panhandle. Three factors led to a growing importance of warfare in Plains Indian culture. First, was the Spanish colonization of New Mexico which stimulated raids and counter-raids by Spaniards and Indians for goods and slaves. Second, was the contact of the Indians with French fur traders which increased rivalry among Indian tribes to control trade and trade routes. Third, was the acquisition of the horse and the greater mobility it afforded the Plains Indians. What evolved among the Plains Indians from the 17th to the late 19th century was warfare as both a means of livelihood and a sport. The Plains Indians raided each other, the Spanish colonies, and, increasingly, the encroaching frontier of the Anglos for horses, and other property. They acquired guns and other European goods primarily by trade. Their principal trading products were buffalo hides and beaver pelts. Although they could be tenacious in defense, Plains Indians warriors took the offensive mostly for material gain and individual prestige. The highest military honors were for "counting coup"--touching a live enemy. Battles between Indians often consisted of opposing warriors demonstrating their bravery rather than attempting to achieve concrete military objectives. The emphasis was on ambush and hit and run actions rather than closing with an enemy. Success was often counted by the number of horses or property obtained in the raid. Casualties were usually light. "Indians consider it foolhardiness to make an attack where it is certain some of them will be killed." Due to their mobility, endurance, horsemanship, and knowledge of the vast plains that were their domain, the Plains Indians were often victors in their battles against the U.S. army in the American era from 1803 to about 1890. However, although Indians won many battles, they could not undertake lengthy campaigns. Indian armies could only be assembled for brief periods of time as warriors also had to hunt for food for their families. The exception to that was raids into Mexico by the Comanche and their allies in which the raiders often subsisted for months off the riches of Mexican haciendas and settlements. The basic weapon of the Indian warrior was the short, stout bow, designed for use on horseback and deadly, but only at short range. Guns were usually in short supply and ammunition scarce for Native warriors.
Question: were they able to avoid warfare due to their horses
Answer: The Plains Indians raided each other, the Spanish colonies, and, increasingly, the encroaching frontier of the Anglos for horses,

Problem: Background: Born Florence Annie Bridgwood in Hamilton, Ontario, she was youngest of three children of George Bridgwood, an English-born carriage builder and Charlotte "Lotta" Bridgwood (nee Dunn), a vaudeville actress. Charlotte Bridgwood had emigrated to Canada from Ireland after the Great Famine with her family as a child. She was known professionally as Lotta Lawrence and was the leading lady and director of the Lawrence Dramatic Company. At the age of three, Lawrence made her debut onstage with her mother in a song and dance routine.
Context: Finding themselves "at liberty," Lawrence and Solter in 1909 were able to join the Independent Moving Pictures Company of America (IMP). The company, founded by Carl Laemmle, the owner of a film exchange (who later absorbed IMP into Universal Pictures, which he also founded and also the president), was looking for experienced filmmakers and actors. Needing a star, he lured Lawrence away from Biograph by promising to give her a marquee. First, Laemmle organized a publicity stunt by starting a rumor that Lawrence had been killed by a street car in New York City. Then, after gaining much media attention, he placed ads in the newspapers that announced, "We nail a lie", and included a photo of Lawrence. The ad declared she is alive and well and making The Broken Oath, a new movie for his IMP Film Company to be directed by Solter. Laemmle had Lawrence make a personal appearance in St. Louis, Missouri in March 1910 with her leading man to show her fans that she was very much alive, making her one of the first performers not already famous in another medium to be identified by name by her studio. Laemmle generated attention by falsely claiming that Lawrence's St. Louis fans were so excited to learn that she had not died that they rushed her in a frenzy and tore her clothes off. Partially due to Laemmle's ingenuity, the "star system" was born and before long, Florence Lawrence became a household name. However, her fame also proved that the studio executives who had concerns over wage demands soon had their fears proved correct. Laemmle managed to lure William Ranous, one of Vitagraph's best directors, over to IMP. Ranous introduced Laemmle to Lawrence and Solter, and they began to work together. Lawrence and Solter worked for IMP for eleven months, making fifty films. After this, they went on vacation in Europe. When they returned to the United States, they joined a film company headed by Siegmund Lubin, described as the "wisest and most democratic film producer in history". She once again teamed with Arthur Johnson, and the pair made 48 films together under Lubin's direction. At the time, the film industry was controlled by the Motion Picture Patents Company (MPPC), a trust formed by the major film companies. IMP was not a member of the MPPC, and hence operated outside its distribution system. Theaters found showing IMP films lost the right to screen MPPC films. IMP, therefore, had powerful enemies in the film industry. It managed to survive largely due to Lawrence's popularity.
Question: did they make any movies?
Answer:
Lawrence and Solter worked for IMP for eleven months, making fifty films.