Problem: Gilliam was born in Minneapolis, Minnesota, the son of Beatrice (nee Vance) and James Hall Gilliam. His father was a travelling salesman for Folgers before becoming a carpenter. Soon after, they moved to nearby Medicine Lake, Minnesota. The family moved to the Los Angeles neighbourhood of Panorama City in 1952.

Gilliam's films have a distinctive look, not only in mise-en-scene but even more so in photography, often recognisable from just a short clip; to create a surreal atmosphere of psychological unrest and a world out of balance, he frequently uses unusual camera angles, particularly low-angle shots, high-angle shots, and Dutch angles. Roger Ebert said that "his world is always hallucinatory in its richness of detail." Most of his movies are shot almost entirely with rectilinear ultra-wide-angle lenses with focal lengths of 28mm or less to achieve a distinctive style defined by extreme perspective distortion and extremely deep focus. Gilliam's long-time director of photography Nicola Pecorini has said, "with Terry and me, a long lens means something between a 40mm and a 65mm." This attitude markedly differs from the common definition in photography, by which 40 to 65 mm is the focal length of a normal lens, resembling the natural human field of view, unlike Gilliam's signature style, defined by extreme perspective distortion due to his usual choice of focal length. The 14-mm lens has become informally known as "The Gilliam" among filmmakers because of his frequent use of it at least since Brazil. Gilliam has explained his preference for using wide-angle lenses in his films: The wide-angle lenses, I think I choose them because it makes me feel like I'm in the space of the film, I'm surrounded. My prevalent vision is full of detail, and that's what I like about it. It's actually harder to do, it's harder to light. The other thing I like about wide-angle lenses is that I'm not forcing the audience to look at just the one thing that is important. It's there, but there's other things to occupy, and some people don't like that because I'm not pointing things out as precisely as I could if I was to use a long lens where I'd focus just on the one thing and everything else would be out of focus. ... [M]y films, I think, are better the second and third time, frankly, because you can now relax and go with the flow that may not have been as apparent as the first time you saw it and wallow in the details of the worlds we're creating. ... I try to clutter [my visuals] up, they're worthy of many viewings. In another interview, Gilliam mentioned, in relation to the 9.8-mm Kinoptic lens he had first used on Brazil, that wide-angle lenses make small film sets "look big". The widest lens he has used so far is an 8-mm Zeiss lens employed in filming The Imaginarium of Doctor Parnassus.

Does he always use this style of filmmaking?

Answer with quotes: Most of his movies are shot almost entirely with rectilinear ultra-wide-angle lenses with focal lengths of 28mm or less to achieve a distinctive style defined by extreme perspective distortion

Problem: Born Marilyn Ann Briggs in Providence, Rhode Island, Chambers was raised in Westport, Connecticut, in a middle-class household. It is often reported that she was born in Westport; however, in a 2007 interview Chambers confirmed she was born in Providence but grew up in Westport. Her father was in advertising and her mother was a nurse. She was the youngest of three children, including a brother, Martin Briggs (keyboardist for 1960s Boston band The Remains), and a sister, Jann Smith.

On February 1, 1985, while performing her nude act at the "Cine-Stage" within the Mitchell Brothers' O'Farrell Theatre in San Francisco, Chambers was arrested by a vice squad and charged with committing a lewd act in a public place and soliciting prostitution. It was alleged by plainclothes policemen who were in the audience that Chambers allowed audience members to touch her with their hands and mouths during her show called "Feel the Magic". She was released on $2,000 bail and the charges were later dropped. "I've never been arrested in my life for anything, ever, so this is kind of a big shock for me, not only as a performer but as a human being", Chambers said at the time. "It's a heartbreaker. This is supposed to be a hip city. I really love -- make that LOVED -- this city. These people have been my fans for years, and it's a thrill for them to touch me up close. There's nothing illegal if I'm not taking money." Chambers' attorney claimed that Chambers was used "as a pawn in a struggle over control and adult businesses." Chambers' arrest came three days before the Board of Supervisors were to vote on a proposed ordinance to eliminate police permits for adult bookstores and theaters. In the wake of her arrest, the Board stripped police of their power to license the city's adult theaters. "The O'Farrell was packed the day after we were arrested," Chambers said later. "And they put the mayor's phone number up on the marquee -- 'Call Mayor Dianne Feinstein'...I'm in jail with my fur coat and nothing else on, and [the police officers] want to take pictures. I took a mug shot with every cop in the place, and they're going, 'I'm really sorry we had to do this.' And the next night they were all back enjoying the show". Later that year on December 13 she was arrested during a performance at Stage Door Johnny's, a strip club in Cleveland. Police said she was nude except for her shoes and was having sexual contact with an audience member. She was charged with promoting prostitution and was held in jail until she was freed on a $1,000 bond. Chambers denied the charge, saying, "I did the same show I've been doing for the last six years. Police just happened to be in the audience." In November 2012 the mugshots from Chambers' Cleveland arrest sold on eBay for $202.50.

How was she used as a pawn?

Answer with quotes:
the Board of Supervisors were to vote on a proposed ordinance to eliminate police permits for adult bookstores and theaters.