input: Dreamgirls premiered on December 4, 2006 at the Ziegfeld Theatre in New York City, where it received a standing ovation. The film's Los Angeles premiere was held on December 11 at the Wilshire Theater in Beverly Hills.  Similar to the releases of older Hollywood musicals such as The Sound of Music, My Fair Lady, and West Side Story, Dreamgirls debuted with three special ten-day roadshow engagements beginning on December 15, 2006 at the Ziegfeld Theatre in New York City, the Cinerama Dome in Los Angeles, and the AMC Metreon 15 in San Francisco. Tickets for the reserved seats were $25 each; the premium price included a forty-eight page full-color program and a limited-print lithograph. This release made Dreamgirls the first American feature film to have a roadshow release since Man of La Mancha in 1972. Dreamgirls earned a total of $851,664 from the roadshow engagements, playing to sold-out houses on the weekends. The film's national release, at regular prices, began on December 25. Outside of the U.S., Dreamgirls opened in Australia on January 18, and in the United Kingdom on February 2. Releases in other countries began on various dates between January and early March. Dreamgirls eventually grossed $103 million in North America, and almost $155 million worldwide.  DreamWorks Home Entertainment released Dreamgirls to home video on May 1, 2007 in DVD, HD DVD, and Blu-ray formats. The DVD version was issued in two editions: a one-disc standard version and a two-disc "Showstopper Edition". The two-disc version also included a feature-length production documentary, production featurettes, screen tests, animatics, and other previsualization materials and artwork. Both DVD versions featured alternate and extended versions of the musical numbers from the film as extras, including the "Effie, Sing My Song" scene deleted during previews. Both the Blu-ray and HD DVD versions were issued in two-disc formats. Dreamgirls was the first DreamWorks film to be issued in a high definition home entertainment format. As of 2017, total domestic video sales to date are at $95.1 million.  A "Director's Extended Edition" of Dreamgirls was released on Blu-Ray and Digital HD on October 10, 2017 by Paramount Home Media Distribution. This version, based on edits done for preview screenings before the film's release, runs ten minutes longer than the theatrical version and features longer musical numbers (including songs and verses cut during previews) and additional scenes.

Answer this question "Were there any notable premiere events?"
output: This release made Dreamgirls the first American feature film to have a roadshow release since Man of La Mancha in 1972.

input: In September 2010, Nobuo Sato became Asada's new coach and Asada ended her relationship with coach Nagakubo.  After the Vancouver Olympics, Asada decided to relearn all of her jumps from scratch by getting back to basics. This contributed to her slump in the 2010-11 and 2011-12 seasons. Under the guidance of her new coach Nobuo Sato, she stripped her triple jumps to their rudimentary parts and relearned each takeoff and landing, beginning with a single rotation. While reworking her jumps, Asada did not skip any competitions in the 2010-11 season.  Asada was assigned to the 2010 NHK Trophy and the 2010 Trophee Eric Bompard ISU Grand Prix events. At the 2010 NHK Trophy, Asada placed 8th in both programs and finished 8th overall with a total of 133.40 points. At the 2010 Trophee Eric Bompard, Asada placed 7th in the short program, 5th in the free skating and 5th overall, scoring a combined 148.02 points.  At the 2010-11 Japan national championships, Asada was first in the short program and second in the free skating. She obtained a total score of 193.69 points and won the silver medal behind Miki Ando. At the 2011 Four Continents Championships, Asada placed second in both programs and won the silver medal with a score of 196.30 points, 5.04 points behind gold medalist Miki Ando. Her triple axel jump in free skating was ratified for the first time since 2010 Worlds Championship, with +1.29 grade of execution. At the 2011 World Championships, Asada placed 7th in the short program, 6th in the free skating, and finished 6th overall with 172.79 points.

Answer this question "Did she fall during any event?"
output: 

input: 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.

Answer this question "what was the look and style of Gilliam?"
output:
Gilliam's films have a distinctive look, not only in mise-en-scene but even more so in photography,