Background: Davies was born Marion Cecilia Elizabeth Brooklyn Douras on January 3, 1897, in Brooklyn, the youngest of five children born to Bernard J. Douras (1857-1935), a lawyer and judge in New York City; and Rose Reilly (1867-1928). Her father performed the civil marriage of Gloria Gould Bishop. She had three older sisters, Ethel, Rose, and Reine. An older brother, Charles, drowned at the age of 15 in 1906.
Context: Publishing mogul William Randolph Hearst and Davies lived as a couple for decades but were never married, as Hearst's wife refused to give him a divorce. At one point, he reportedly came close to marrying Davies, but decided his wife's settlement demands were too high. Hearst was extremely jealous and possessive of her, even though he was married throughout their relationship. Lita Grey, the second wife of Charlie Chaplin, wrote four decades later that Davies confided with her about the relationship with Hearst. Grey quoted Davies saying:  God, I'd give everything I have to marry that silly old man. Not for the money and security--he's given me more than I'll ever need. Not because he's such cozy company, either. Most times, when he starts jawing, he bores me stiff. And certainly not because he's so wonderful behind the barn. Why, I could find a million better lays any Wednesday. No, you know what he gives me, sugar? He gives me the feeling I'm worth something to him. A whole lot of what we have, or don't have, I don't like. He's got a wife who'll never give him a divorce. She knows about me, but it's still understood that when she decides to go to the ranch for a week or a weekend, I've got to vamoose. And he snores, and he can be petty, and has sons about as old as me. But he's kind and he's good to me, and I'd never walk out on him.  By the late 1930s, Hearst was suffering financial reversals. After selling many of the contents of St Donat's Castle, Davies sold her jewelry, stocks and bonds and wrote a check for $1 million to Hearst to save him from bankruptcy. Davies had developed a drinking problem over the course of many years, but her alcoholism grew worse in the latter 1930's and the 1940's, as she and Hearst lived an increasingly isolated life. The two spent most of the Second World War at Hearst's Northern California estate of Wyntoon, until returning to San Simeon in 1945.  Hearst died on August 14, 1951. In his will, Hearst provided handsomely for Davies, leaving her 170,000 shares of Hearst Corporation stock, in addition to 30,000 he had established for her in a trust fund in 1950. This gave her a controlling interest in the company for a short-time, until she chose to relinquish the stock voluntarily to the corporation on October 30th 1951. She retained her original 30,000 shares and an advisory role with the corporation.
Question: where were they living?
Answer: Hearst's Northern California estate of Wyntoon, until returning to San Simeon in 1945.

Background: 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.
Context: Well, I really want to encourage a kind of fantasy, a kind of magic. I love the term magic realism, whoever invented it - I do actually like it because it says certain things. It's about expanding how you see the world. I think we live in an age where we're just hammered, hammered to think this is what the world is. Television's saying, everything's saying 'That's the world.' And it's not the world. The world is a million possible things.  As for his philosophical background in screenwriting and directing, Gilliam said on the TV show First Hand on RoundhouseTV, "There's so many film schools, so many media courses which I actually am opposed to. Because I think it's more important to be educated, to read, to learn things, because if you're gonna be in the media and if you'll have to say things, you have to know things. If you only know about cameras and 'the media', what're you gonna be talking about except cameras and the media? So it's better learning about philosophy and art and architecture [and] literature, these are the things to be concentrating on it seems to me. Then, you can fly...!"  His films are usually imaginative fantasies. His long-time co-writer Charles McKeown commented, "the theme of imagination, and the importance of imagination, to how you live and how you think and so on ... that's very much a Terry theme." Most of Gilliam's movies include plotlines that seem to occur partly or completely in the characters' imaginations, raising questions about the definition of identity and sanity. He often shows his opposition to bureaucracy and authoritarian regimes. He also distinguishes "higher" and "lower" layers of society, with a disturbing and ironic style. His movies usually feature a fight or struggle against a great power which may be an emotional situation, a human-made idol, or even the person himself, and the situations do not always end happily. There is often a dark, paranoid atmosphere and unusual characters who used to be normal members of society. His scripts feature black comedy and often end with a dark tragicomic twist.  Gilliam is fascinated with the Baroque period because of the pronounced struggle between spirituality and rationality in that era. There is often a rich baroqueness and dichotomous eclecticism about his movies, with, for instance, high-tech computer monitors equipped with low-tech magnifying lenses in Brazil and a red knight covered with flapping bits of cloth in The Fisher King. He also is given to incongruous juxtapositions of beauty and ugliness or antique and modern. Regarding Gilliam's theme of modernity's struggle between spirituality and rationality whereas the individual may become dominated by a tyrannical, soulless machinery of disenchanted society, the film critic Keith James Hamel observed a specific affinity of Gilliam's movies with the writings of the economic historian Arnold Toynbee and the sociologist Max Weber, specifically the latter's concept of the "iron cage" of rationality.
Question: What themes did he use?
Answer:
I love the term magic realism,