[Q]: Build a movie plot around this: Who wander through the wilderness without food or water? Gerry
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[A]: We are driving a flat, winding, dry and isolated road through desert brush. Everything is quiet. Two young men in a car say nothing to each other. They arrive at a marked "wilderness" trail and head off without anything but the clothes on their back and an extra shirt. With energy and boundlessness they go and go and go. They mention the "thing" that they're apparently going to and how it should be there somewhere. They have no map. The landscape changes, they run, they smoke cigarettes and finally they decide they don't really want to go to this "thing" and they turn around. The shots are very long and tedious. We realize they're lost. The brush disappears and it is mountains, then it is rocks, then it is desert. Then it is night and they sit by a fire. The next day goes on and on and it is unclear how many days are now passing, though the landscape still keeps changing: a lunar surface, and crags of jagged rocks. Their clothes and faces dirty, their clipped exchanges almost indecipherable. They separate and then find each other again, Gerry stuck at the top of a huge rock formation. They discuss him jumping down and the other Gerry makes him a "dirt mattress", which is successful and they keep going. Finally flat white salt is all that's beneath them. They are both barely moving, shuffling their feet like broken-down machines. Gerry, who was falling behind, drops to his knees and lays down. Gerry stops and walks back to him, lying on the ground beside him. After a while, Gerry says that he's leaving and slowly, painfully, reaches over to Gerry as if to find comfort in holding his hand as he draws his last breath. Gerry shakes him off and, his movements stilting and awkward, he rolls on top of him, struggling, not with a hug but with a fraughtful busrt of energy to strangle him. He then lays still. After a while he gets up and walks in another direction, leaving dead Gerry, seeing moving forms on the horizon. We see the vast unbearable landscape move by quickly, no longer within it we are safely on the...
input: Please answer the following: Build a movie plot around this: Shizuku sings which song? Take Me Home
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output: Shizuku Tsukishima is a junior high school student, living in a cramped apartment with her father, mother, and sister. As she returns from an errand to the store, her father who is a librarian, mentions how they're converting their check-out system, so that the check-out cards at the front of the books will now become obsolete. Pondering this, Shizuku goes to read a book that she checked out, and is drawn to the name Seiji Amasawa on the card. Checking her other library books, she's amazed to see that his name also appears on their cards as well!The next day, Shizuku gets up and goes early to school. Shizuku gets one of her teachers to allow her to check a book out from the school library, since the local public library does not have a copy. Looking over the book, she notices a dedication inside, that mentions the name Amasawa. While she is pondering this, her friend Yuko appears, and the two go off to talk.Shizuku has been working on a translation of the American song, "Take Me Home, Country Roads." While Yuko likes it, Shizuku still feels it's 'trite.' She also reveals a parody she wrote titled 'Concrete Roads,' the lyrics of which amuse them both. After a little bit, Yuko becomes serious, and secretly reveals that she got a love letter, but her feelings are torn, as she actually likes someone that she and Shizuku know: a boy named Sugimura.Shizuku then accompanies Yuko to her cram school lessons (important high-school entrance exams are a short time away), but then realizes that she left the book she checked out back at school. Going back to where she was sitting, she finds a boy there, reading it. He mentions her name (which he found in the check-out card on the front), and makes a mention that 'Concrete Roads' needs some work. This infuriates Shizuku, who stews over this critique of her writing all the way home. Later on that day, her older sister returns from visiting relatives, and begins critiquing Shizuku even more, much to her consternation.The next day, Shizuku plans to go to the library where her...
Please answer this: Build a movie plot around this: What is the name of the beautiful nurse on the sailboat? Lilly
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Answer: Haunted by his own bloody horror film visions and with news of real life murders happening in Rome, splatter film director Lucio Fulci (playing himself) seeks the advice of a psychiatrist.[2][5]Dr. Lucio Fulci (more or less playing himself) is a former medical doctor-turned director of gory horror films. He wraps up shooting for the day on his latest film 'Touch of Death' with Brett Halsey playing the human monster/cannibal of women. Fulci leaves the Cincettia Studios for a local restaurant down the street. The young friendly waiter recognizes him and suggests his typical meal: a fillet of steak, or steak tarter. Fulci cannot look at the sample plates of meat without having flashbacks to the cannibalistic scene he'd been filming earlier. Shaken, he leaves the restaurant without ordering a meal. Later, while checking an effects shot from another movie, Fulci irritably snaps at a technician to get a plate of animal eyeballs out of his sight.Returning home to his row house in an old suburb of Rome, the troubled director tries to sleep, but the noise of a handyman's chainsaw outside keeps him awake with recollections of his own recently shot chainsaw mayhem. In a rage, Fulci storms outside and smashes a hatchet into cans of paint belonging to the handyman. The spilled red paint reminds Fulci of the acid/blood scene in 'The Beyond'.Fulci walks from his home and discovers that one of his neighbors is a psychiatrist. Meanwhile, Professor Egon Swharz (David L. Thompson) is arguing with his wife Katya (Melissa Lang). Their bitter routine row is interrupted by the intercom buzzing where his secretary Nurse Lilly (Judy Morrow) informing him of this latest walk-in. Professor Swharz walks in and accepts Fulci into his books for a session. After walking out of the reception area, Nurse Lilly immediately phones a friend saying "guess who just walked in as a patient!" Swhartz discusses Fulci's recent problems and suggests that he's "breaking down the barrier, the boundary between what you film and what's real."The next...
Problem: Build a movie plot around this: what was lau ching-wan's profession? a lawyer

A:
"Lau Ching-Wan plays a lawyer who dies in a car wreck, leaving behind his wife and daughter. To console herself, his daughter writes a novel wherein she and her mother have died in a car wreck but her father has survived. To her surprise, the character of her father in her book decides that HE needs to write a novel to console himself and in his novel he has died but his wife and daughter have lived...and on and on in an endlessly recursive loop as wounded characters desperately apply fiction to try and dull the sharp edges of their grief." [D-Man2010]Wai Ka-Fai's fantasy-drama is a winning Hong Kong film that pushes emotions and ideas over artifice and complete coherence. The resulting film won't win over all, but those who roll with it may be particularly charmed. Having Lau Ching-Wan as your lead doesn't hurt, either. One of the more special films this year. [D-Man2010]