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 other terms were used?
Answer: His films are usually imaginative fantasies.

Background: Drazen Petrovic (pronounced [draZen petrovitc]; October 22, 1964 - June 7, 1993) was a Croatian professional basketball player. A shooting guard, he initially achieved success playing professional basketball in Europe in the 1980s, before joining the National Basketball Association (NBA) in 1989. A star on multiple stages, Petrovic earned two silver medals and one bronze in Olympic basketball, a gold and a bronze in the FIBA World Cup, a gold and a bronze in the FIBA EuroBasket, and two EuroLeague titles. He represented Yugoslavia's national team and, later, Croatia's national team.
Context: After spending a year serving the mandatory time in the military, Petrovic followed his brother's footsteps and moved to Cibona to form, at that time, the best backcourt duo in Europe. The very first year in Cibona he won both the Yugoslav League championship and the Yugoslav National Cup. To top it all off, the 87-78 victory over the Spanish League club Real Madrid, to which Petrovic contributed with 36 points, brought him and Cibona their first European Cup title. The second came the following year, as Petrovic scored 22 points and Cibona defeated the USSR Premier League club Zalgiris Kaunas, which starred the legendary Arvydas Sabonis. The same year brought another Yugoslav national cup title for Cibona, seeing Petrovic score 46 against the old rival Bosna. In 1987, Petrovic earned his third European trophy: a 2nd-tier European Cup Winners' Cup title against the Italian League club Scavolini Pesaro, whose net he filled with 28 points.  Petrovic's scoring average during the four years with Cibona stood at 37.7 points in the Yugoslavian first division and 33.8 in all of the European wide competitions that he played in, with personal one-time bests of 112 (40/60 FG, 10/20 3Pts, 22/22 FT) in the Yugoslavian League, and 62 points in the 3rd-tier European league, the Korac Cup, respectively. His scoring sheet was often known to show 40, 50, even 60 in a single game; in a 1985-86 season European League game against Limoges, Petrovic scored ten 3-pointers, including seven in a row during a first half stretch, for a final tally of 51 points and 10 assists; the same season he scored 45 points and dished out 25 assists against the reigning Italian League champions Simac Milano.  Petrovic needed new challenges, which Cibona and the Yugoslavian League could not offer. Across the Atlantic, the Portland Trail Blazers of the NBA had already used their third round pick on young Petrovic in 1986. However, he decided to postpone his departure to the United States. In 1988, he signed with Real Madrid instead, for at that time a hefty sum of around US$4 million. The transfer wasn't without controversy as the Yugoslav sporting laws stipulated that players weren't allowed to professionally move abroad until reaching 28 years of age, while Petrovic was still only 23 when he signed with the famous Madrid club. In 2014, Jose Antonio Arizaga, the sports agent who played a key role in Petrovic's summer 1988 transfer from Cibona to Real, recalled a few details from this transaction: "I spoke to Mirko Novosel, Drazen's coach at Cibona, and he told me two things. One, every problem in Yugoslavia can be taken care of with the right amount of money, and two, if Drazen leaves, every other player under 28 will be leaving and it'll be chaos. So, you can imagine all the individuals I had to bribe and all the places where I had to pay up in order to circumvent this law".
Question: Did the team do well?
Answer:
The very first year in Cibona he won both the Yugoslav League championship and the Yugoslav National Cup.