input: Well, I really want to encourage a kind of fantasy, a kind of magic. I love the term magic realism, whoever invented it - I do actually like it because it says certain things. It's about expanding how you see the world. I think we live in an age where we're just hammered, hammered to think this is what the world is. Television's saying, everything's saying 'That's the world.' And it's not the world. The world is a million possible things. As for his philosophical background in screenwriting and directing, Gilliam said on the TV show First Hand on RoundhouseTV, "There's so many film schools, so many media courses which I actually am opposed to. Because I think it's more important to be educated, to read, to learn things, because if you're gonna be in the media and if you'll have to say things, you have to know things. If you only know about cameras and 'the media', what're you gonna be talking about except cameras and the media? So it's better learning about philosophy and art and architecture [and] literature, these are the things to be concentrating on it seems to me. Then, you can fly...!" His films are usually imaginative fantasies. His long-time co-writer Charles McKeown commented, "the theme of imagination, and the importance of imagination, to how you live and how you think and so on ... that's very much a Terry theme." Most of Gilliam's movies include plotlines that seem to occur partly or completely in the characters' imaginations, raising questions about the definition of identity and sanity. He often shows his opposition to bureaucracy and authoritarian regimes. He also distinguishes "higher" and "lower" layers of society, with a disturbing and ironic style. His movies usually feature a fight or struggle against a great power which may be an emotional situation, a human-made idol, or even the person himself, and the situations do not always end happily. There is often a dark, paranoid atmosphere and unusual characters who used to be normal members of society. His scripts feature black comedy and often end with a dark tragicomic twist. Gilliam is fascinated with the Baroque period because of the pronounced struggle between spirituality and rationality in that era. There is often a rich baroqueness and dichotomous eclecticism about his movies, with, for instance, high-tech computer monitors equipped with low-tech magnifying lenses in Brazil and a red knight covered with flapping bits of cloth in The Fisher King. He also is given to incongruous juxtapositions of beauty and ugliness or antique and modern. Regarding Gilliam's theme of modernity's struggle between spirituality and rationality whereas the individual may become dominated by a tyrannical, soulless machinery of disenchanted society, the film critic Keith James Hamel observed a specific affinity of Gilliam's movies with the writings of the economic historian Arnold Toynbee and the sociologist Max Weber, specifically the latter's concept of the "iron cage" of rationality.

Answer this question "What did you find most interesting in the section?"
output: Most of Gilliam's movies include plotlines that seem to occur partly or completely in the characters' imaginations,

input: In June 1952, Atlantic Records bought Charles's contract for $2,500 (US$23,039 in 2017 dollars). His first recording session for Atlantic ("The Midnight Hour"/"Roll with My Baby") took place in September 1952, although his last Swingtime release ("Misery in My Heart"/"The Snow Is Falling") would not appear until February 1953. In 1953, "Mess Around" became Charles's first small hit for Atlantic; the following year he had hits with "It Should've Been Me" and "Don't You Know". He also recorded the songs "Midnight Hour" and "Sinner's Prayer". Late in 1954, Charles recorded "I've Got a Woman". The lyrics were written by Ray's bandleader, Renald Richard. Ray claimed the composition. They later openly admitted that the song went back to The Southern Tones' "It Must Be Jesus" (1954, Duke 205). It became one of his most notable hits, reaching number two on the R&B chart. "I've Got a Woman" included a mixture of gospel, jazz and blues elements that would later prove to be seminal in the development of soul music. In 1955, he had hits with "This Little Girl of Mine" and "A Fool for You". In upcoming years, he scored with "Drown in My Own Tears" and "Hallelujah I Love Her So". In 1959, "What'd I Say" reached the #6 position on the Billboard Pop chart (and #1 on the Billboard R&B chart). During his career, Charles also recorded instrumental jazz albums, such as The Great Ray Charles (1957). During this time, he also worked with the jazz vibraphonist Milt Jackson, releasing Soul Brothers in 1958 and Soul Meeting in 1961. By 1958, Charles was not only headlining black venues such as the Apollo Theater, in New York, but also bigger venues, such as Carnegie Hall and the Newport Jazz Festival (where his first live album was recorded in 1958). In 1956, Charles recruited a young all-female singing group, the Cookies, and reshaped them as the Raelettes.

Answer this question "What else?"
output: although his last Swingtime release ("Misery in My Heart"/"The Snow Is Falling") would not appear until February 1953.

input: Hawthorne Heights released a demo for their new song "Come Back Home" on their MySpace page in 2007. A reprised version of the song became one of the twelve tracks that were selected for the band's third studio album. A second song was released on their Myspace, a cover of the Smashing Pumpkins song "Bullet with Butterfly Wings", which was contributed to MySpace Tribute to The Smashing Pumpkins. This cover song, however, did not become a track on the album. Hawthorne Heights and Victory Records patched up their relationship and the band's third album, Fragile Future, was released with the label on August 5, 2008. Jeff Schneeweis produced the album. The lead single "Rescue Me" was released on July 22, 2008. Hawthorne Heights played "Rescue Me" live as special guests on The Tonight Show with Jay Leno as host after the album's full release, on September 18, 2010, as promotion for Fragile Future. Rhapsody Originals was released exclusively for Rhapsody as the first EP by Hawthorne Heights on August 26, 2008. It was recorded by Rhapsody, and released as promotion for the studio album Fragile Future. It contains three live acoustic songs from Fragile Future, and one from their second studio album, If Only You Were Lonely. Hawthorne Heights performed at Linkin Park's Projekt Revolution 2008 tour this year on the Revolution Stage with former labelmates Atreyu, Armor For Sleep, Street Drum Corps, and 10 Years. Joining Linkin Park on the Main Stage was Chris Cornell, The Bravery, Busta Rhymes, and Ashes Divide.

Answer this question "What is particulary interesting about this production?"
output:
It was recorded by Rhapsody, and released as promotion for the studio album Fragile Future.