conversations.from: human
conversations.value: What could be a title for a book about Inside, Actors, Studio with the genre: Arts & Photography, Performing Arts?
conversations.from: assistant
conversations.value: A title for this book could be 'Inside Inside'
conversations.from: human
conversations.value: What is the first five paragraphs for this book?
conversations.from: assistant
conversations.value: Inside Inside
  The inhabitants of these pages aren't Micawber and Peggotty—though, for the two years it has taken to write these pages, I have lived with them as closely and constantly as Dickens lived with the spirited "creatures of his brain." The subjects of this account existed and exist entirely independent of me, and are, to put it plainly, simply and conclusively, the heroes of my life.
  Only one person is missing: I am often asked, "Who is the one guest you haven't had and want the most?" The answer is: The night that one of the Actors Studio Drama School graduates has achieved so much that he or she walks out of the wings to occupy that chair next to me will be, for me, the most glorious moment in the history of Inside the Actors Studio.
  When I began this endeavor, I was concerned that it might lack the tension and conflict that appear to be the essential ingredients of contemporary life and literature. Within the brief span of two years, that problem was solved for me by one of the personae of these pages who is not one of its heroes.
  In the fall of 2003, as I neared the end of a ten-year decanal tenure, I decided that, having fulfilled my promise to launch the Actors Studio Drama School—by a multiple of ten over my initial intention of a year—the time had come to relinquish the tiller.
  I had stayed ten times longer than I had planned because, to put it simply, I had fallen deeply in love with the school and its students. Since, uniquely among the university's deans, I governed a school that was a partnership between two institutions, The New School for Social Research and the Actors Studio, and was a senior faculty member of one, as dean, and a vice president of the other, I was once challenged in a debate over my annual budget submission to the university with "Which side are you on, the university's or the Studio's?" to which I replied, "Neither. The students'." The most important lesson I learned in my decade in the academy was that, at every moment of my working life, the students were my constituency.
conversations.from: human
conversations.value: What is five more paragraphs?
conversations.from: assistant
conversations.value: For the first time in the school's history, the faculty fell into warring camps, and what had been the university's most stable division, in faculty, administration and student body, spiraled into anomie. One group of teachers, composed principally of those who had been brought in after my tenure and were therefore untainted by experience with, or even knowledge of, the school that was so respectfully described in the Board of Trustees Resolution, was loyal—and wholly beholden—to the Special Advisor. The second group comprised those who had participated in and built the program during its first ten years. What some in the new group apparently took as the Advisor's undisguised preference for them emboldened the more ambitious of them, possibly sensing advancement and profit, to launch attacks against the founding teachers.
  On February 9, 2005, 112 Actors Studio Drama School students signed their names to a petition to the university that read, "The Special Advisor to the Provost, who is not a member of the Actors Studio, has made changes without consulting or obtaining the support of the creators of the program. Because of these changes we have lost the core philosophy of the Actors Studio and the integrated approach of the training, which are two reasons we all entered this school. We also chose to attend the ASDS because it offers the establishment of a relationship with the Actors Studio following graduation. This benefit is now in jeopardy.
  Bob's response was a series of meetings with the students. At the students' insistence, the meetings were openly tape-recorded, for use in a student class-action lawsuit against the university. At one of the meetings, a student asked Bob, "It's not guaranteed we will all graduate from the Actors Studio Drama School, right?"
  The room erupted into angry protest, which was interrupted by Kerrey with "You can argue with me about this all you want. You asked me a question. I gave you a truthful answer. If you want me to lie to you, if that's what you're asking me to do, then I will lie to you."
  A student responded, "Where is our money back for our credits lost, that the actors got shorted on this year? Where is the rebate for the workshop that was stolen from the first-year students? And I do say stolen. This is expensive. This is a hundred thousand dollars. Right now, this is not a hundred-thousand-dollar institution. Would Yale School of Drama have as many applicants if it was New Haven School of Drama? No. And that's why the name is important."
conversations.from: human
conversations.value: What is the last five paragraphs?
conversations.from: assistant
conversations.value: I concluded my remarks as I had on ten previous occasions with "Today is a turning point—for you—and for us. Wei-ji, the Chinese character for a turning point, is actually a combination of two characters, the one for opportunity and the one for danger, uniting them forever in inseparable union.
  But still, as I disembark, I can't help looking back at a deck lined with companions I will never forget and to whom I am profoundly indebted.
  Although the reader has already encountered some of them along the way, I feel compelled to acknowledge definitively and finally their importance to this journey and to me.
  The titles are Bodoni Book, an interpretation of Giambattista Bodoni's 300-year-old typeface by Morris Fuller Benton, who designed his version in the early twentieth century. Although Bodoni is a classic font, it is considered modern because of its sharp shapes and contrast of thick and thin lines.
  The font Celeste, used for the text, was created by British typeface designer Christopher Burke in the 1990s. Designed expressly for digital typography, its strength and subtlety are perfect for long texts.
conversations.from: human
conversations.value: Delete the first sentence.
conversations.from: assistant
conversations.value: Wei-ji, the Chinese character for a turning point, is actually a combination of two characters, the one for opportunity and the one for danger, uniting them forever in inseparable union.
  But still, as I disembark, I can't help looking back at a deck lined with companions I will never forget and to whom I am profoundly indebted.
  Although the reader has already encountered some of them along the way, I feel compelled to acknowledge definitively and finally their importance to this journey and to me.
  The titles are Bodoni Book, an interpretation of Giambattista Bodoni's 300-year-old typeface by Morris Fuller Benton, who designed his version in the early twentieth century. Although Bodoni is a classic font, it is considered modern because of its sharp shapes and contrast of thick and thin lines.
  The font Celeste, used for the text, was created by British typeface designer Christopher Burke in the 1990s. Designed expressly for digital typography, its strength and subtlety are perfect for long texts.