conversations.from: human
conversations.value: Give me a description for a book titled Room to Dream about Amazon, Book, strong><a with the genre: Arts & Photography, Photography & Video.
conversations.from: assistant
conversations.value: <strong><a href="//www.amazon.com/b/?node=17143709011">An Amazon Best Book of June 2018:</a></strong> With his aversions to linear storytelling and explanations of his often inscrutable films, a straightforward autobiography was probably never in the cards for iconoclast director and magnificent weirdo the author. Thats why the call-and-response construction of <em>Room to Dream </em> is ingenious. For this hybrid biography/memoir, critic-journalist (and longtime the author friend) Kristine McKenna tackled the just-the-facts biographical bits, very standardly organized in chapters describing pivotal periods of the authors life and career: childhood, art school, the making of <em>Elephant Man</em>, etc. the author read McKennas pieces and presented his own recollections in reply. Like his films, his memories are unconstrained by narrative, often dropping into peculiar moments that would appear later in his work, whether its a shocking moment from <em>Blue Velvet</em> or a seemingly inscrutable clue from <em>Twin Peaks</em>. the authors singular voice and stream-of-consciousness style are transmitted faithfully to the page, and a reader might imagine the author dictating his comments from a dark basement studio, speaking into a vintage chrome microphone. For fans, this is damn fine reading. <em>Jon Foro, Amazon Book Review</em>
conversations.from: human
conversations.value: Swap the first and the last sentence.
conversations.from: assistant
conversations.value: <em>Jon Foro, Amazon Book Review</em>.amazon.com/b/?node=17143709011">An Amazon Best Book of June 2018:</a></strong> With his aversions to linear storytelling and explanations of his often inscrutable films, a straightforward autobiography was probably never in the cards for iconoclast director and magnificent weirdo the author. Thats why the call-and-response construction of <em>Room to Dream </em> is ingenious. For this hybrid biography/memoir, critic-journalist (and longtime the author friend) Kristine McKenna tackled the just-the-facts biographical bits, very standardly organized in chapters describing pivotal periods of the authors life and career: childhood, art school, the making of <em>Elephant Man</em>, etc. the author read McKennas pieces and presented his own recollections in reply. Like his films, his memories are unconstrained by narrative, often dropping into peculiar moments that would appear later in his work, whether its a shocking moment from <em>Blue Velvet</em> or a seemingly inscrutable clue from <em>Twin Peaks</em>. the authors singular voice and stream-of-consciousness style are transmitted faithfully to the page, and a reader might imagine the author dictating his comments from a dark basement studio, speaking into a vintage chrome microphone. For fans, this is damn fine reading.<strong><a href="//www.
conversations.from: human
conversations.value: Give me the first five paragraphs for this book.
conversations.from: assistant
conversations.value: Room to Dream
  Completed in twenty-two-and-a-half days on a budget of four million dollars, the pilot was primarily shot in Snoqualmie, North Bend, and Fall City, Washington. "They put the whole cast and crew in a Red Lion hotel and we filled the entire place," said Amick. "It was like being in a college dorm, with people running around and visiting each other's rooms."
  Cast as Lucy Moran, the eccentric secretary at the Twin Peaks Sheriff's Department, Kimmy Robertson recalled the shooting of the pilot as "heaven. It was pure fun, and there were silly things with David that were magical to me. If I asked him nicely, he let me run my fingers through his hair. The hair that grows on top of that head and what's inside that head—you can feel that in his hair. David's hair does something and it has a function and the function has to do with God."
  A central part of Lynch's gift is the fluidity of his imagination: He builds on what's around him as opposed to looking for what isn't there, and it's something everyone who works with him comments on. "One of the most important things David's taught me is to be really present," said Sheryl Lee. "He pays attention to everything and can adapt to whatever is happening around him and transform it into art because he's not attached to what's supposed to be. That's part of what makes it so thrilling to be on set with him and why it's so alive."
  Richard Beymer recalled that "David took the script seriously, and of course we were expected to learn our lines, but he often made twists and turns that came to him spontaneously. I came in one day while they were shooting and I was standing in the back waiting, wearing a new pair of shoes that were kind of stiff. As a kid I'd learned to tap dance, so I was doing a little of that to loosen up the shoes, and he sees me and comes over and says, 'Do you dance?' I said, 'I used to dance a little,' and he said, 'Why don't you dance in the next scene?' I said, 'David, in the next scene I'm talking about murdering someone,' and he says, 'It will be great! In fact, you should dance on your desk.' "
  Several parts were expanded beyond their original conception, usually because Lynch liked what the actor brought to the character. "I think I know why David gave Nadine more to do," said Wendy Robie. "There's a scene where a camera was set up across the street, looking at the picture window in the Hurley house, and I was inside opening and closing the drapes. There was no dialogue—you just see this figure in the window working these drapes back and forth, and while we were shooting I could hear David laughing on the walkie-talkie a PA had in the room. David kept the camera running and continued laughing, so I kept it up to the point that my hands were bleeding."
conversations.from: human
conversations.value: Give me another paragraph.
conversations.from: assistant
conversations.value: A year later I got a call saying it's green-lit, we can do it, then I called to find out about the sets, the props, and the wardrobe. I was told that the wardrobe had "gone back into the stream." I asked the guy, "What does that mean?" He said, "It means that stuff wasn't saved for you." Who knows where it is? Sally may be wearing the same damn thing we're looking for in some show right now, and you'll never get it back. Then I found out that all the props had gone back into the stream, too, and that the sets had been improperly stored and were in bad repair, and it wasn't Jack's fault. On top of all that, I had no ideas for how to finish this thing when the green light came.
conversations.from: human
conversations.value: Delete the last sentence.
conversations.from: assistant
conversations.value: A year later I got a call saying it's green-lit, we can do it, then I called to find out about the sets, the props, and the wardrobe. I was told that the wardrobe had "gone back into the stream." I asked the guy, "What does that mean?" He said, "It means that stuff wasn't saved for you." Who knows where it is? Sally may be wearing the same damn thing we're looking for in some show right now, and you'll never get it back. Then I found out that all the props had gone back into the stream, too, and that the sets had been improperly stored and were in bad repair, and it wasn't Jack's fault.
conversations.from: human
conversations.value: Give me the last three paragraphs.
conversations.from: assistant
conversations.value: My childhood was very happy, and I think that set me up in life. I really did have a great family that gave me a good foundation, and that's super important. I may not've been the best father to my kids, because I wasn't around much, but my father was never around much, either. And yet he was around, you know? In those days there seemed to be a kids' world and an adult world and they didn't really mix much. Maybe it's not the presence of the father but the love that you feel coming through that's important. Still, I think my father was a better father than I am.
  I'm happy I went on the sixteen-country tour for Maharishi. Even though I don't like public speaking, I get blissful telling people about the knowledge and technologies Maharishi revived for the world. Maharishi had two goals: the enlightenment of individuals, and peace on earth. He put everything needed in place for both to happen. It's now just a question of time. If we humans—or even a few of us—work together on this, we can speed through this transition and the goals will be a living reality. Enlightenment for the people and real peace on earth. Real peace is not just the absence of war, but the absence of all negativity. Everyone wins.
  Seven versions: 1–5 minutes, 5 seconds; 2—5 minutes, 6 seconds; 3—5 minutes, 25 seconds; 4—5 minutes, 21 seconds; 5—5 minutes, 42 seconds; 6—4 minutes, 46 seconds; 7—4 minutes 26 seconds / color / live action
conversations.from: human
conversations.value: Reverse the sentences.
conversations.from: assistant
conversations.value: Seven versions: 1–5 minutes, 5 seconds; 2—5 minutes, 6 seconds; 3—5 minutes, 25 seconds; 4—5 minutes, 21 seconds; 5—5 minutes, 42 seconds; 6—4 minutes, 46 seconds; 7—4 minutes 26 seconds / color / live action. Everyone wins. Real peace is not just the absence of war, but the absence of all negativity. Enlightenment for the people and real peace on earth. If we humans—or even a few of us—work together on this, we can speed through this transition and the goals will be a living reality. It's now just a question of time. He put everything needed in place for both to happen. Maharishi had two goals: the enlightenment of individuals, and peace on earth. Even though I don't like public speaking, I get blissful telling people about the knowledge and technologies Maharishi revived for the world.
  I'm happy I went on the sixteen-country tour for Maharishi. Still, I think my father was a better father than I am. Maybe it's not the presence of the father but the love that you feel coming through that's important. And yet he was around, you know? In those days there seemed to be a kids' world and an adult world and they didn't really mix much. I may not've been the best father to my kids, because I wasn't around much, but my father was never around much, either. I really did have a great family that gave me a good foundation, and that's super important.My childhood was very happy, and I think that set me up in life