Problem: OPTIONS:
- before Miss Tennessee went in the store
- after he was stung by bees
- not enough information
- after he was brought from the shelter
Q: I loved the little guy from the day she brought him home. She carried him wrapped in a sweatshirt from the shelter at the corner where she'd been saying for months she was going to go. She set him down on the hardwood floor and he clipped around like a fawn - - clip, clip -- looking through doorways and carefully eyeing us both. He was tiny but he was strong. He was muscular and sleek, like a miniature greyhound, and we both watched intently as he clipped around, soldiering things out and whining under his breath. Miss Tennessee looked at me and smiled and said: "Well honey? What do you think?" And I told her: "I love the little guy." He was never really my dog. He was more like my step-dog, but together we named him Steve. We thought it was funny, giving a dog a man's name like that. But it fit, like Miss Tennessee, which I started just to tease her about being full-grown and long- legged and pretty, but in a tomboyish way that made it both absolutely ridiculous and absolutely plausible that she had ever been Miss Anything. It always made her swallow a grin. Steve's name, on the other hand, made it sound like he wasn't a dog at all, but this little man. Miss Tennessee often called him that: the little man. Steve liked me okay but he loved Miss Tennessee. With me it was man things. After he got snipped or when he was stung by bees, down there, in grass that came up to his chin, he would come sit by me, hoping I'd understand. With her, it was everything else. When she took a bath, he stood with his paws on the side of the tub, and when she went someplace he couldn't go he stood where he last saw her and waited. If she went into a store and left us together in the car, he stood with his paws on the dashboard, waiting and crying and looking at me like maybe I was to blame. Question: Did Steve sit with the narrator: === The answer to the above question is
Answer: after he was stung by bees

Problem:OPTIONS:
- not enough information
- after the stranger opened the door
- after the boy said I love you
- after the stranger saved his life

I was 14 at the time. My family and I took a family vacation to Tybee Island, Georgia. It is a beautiful place that I would highly recommend. I told my family that I was going to go find a port-a-pot. So I head off by myself. I'm in the port-a-pot, i'm in there for roughly 10 minutes. (you can assume what I was doing) I wash my hands and get ready to leave the port-a-pot, and I tried to open the door and it was locked. I'm claustrophobic, so I start to FREAK OUT. I started banging on the door, running into the door with all of my weight. Nothing was helping. I then start crying, I thought for sure that I was going to die. I knew it was the end, at the age of 14, locked in a port-a-pot, in 95 degree weather in the middle of a beach in Georgia. Looking back, i'm curious as to why my family never came to look for me, I was gone for like 30 minutes. So I'm banging on the door continuously, bawling my eyes out. Then a man opened the door for me, from the outside. He was about 6'3 with dreads about 12 inches long and weighed about 280 pounds. I ran out of the port-a-pot and jumped on the guy and gave him a hug and told him that I loved him and that he saved my life. I don't know how he managed to open the door for me, but I definitely know that my 14 year old self owes that man my life. I'm not sure where he is in life, or what he's doing, but I hope God is blessing him abundantly. It is definitely a funny story to tell my friends. Question: When did the 14-year-old boy hug the stranger? === The answer to the above question is
****
A: after the stranger opened the door

input: OPTIONS:
- John's best friend
- John's boss
- John's partner
- not enough information Now, answer this question: 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: Who is Fred? === The answer to the above question is
A:
output:
not enough information