input: Please answer the following: Given the below context:  In 1951, with secret means of communications established, Wolters sent his first letter to Speer in five years.  He suggested that Speer move ahead with his memoirs.  In January 1953, Speer began work on his draft memoirs, and over the next year lengthy missives, sometimes written on tobacco wrappings or candy wrappers but most often on toilet paper, made their way to Wolters' office in Coesfeld.  Marion Riesser, who had continued as Wolters' secretary as he began private architectural practice, transcribed these notes into as many as forty closely typed pages per missive, and the draft totalled 1,100 pages.  Wolters objected that Speer called Hitler a criminal in the draft, and Speer presciently observed that he would likely lose a good many friends were the memoirs ever to be published.  Wolters had come to believe that reports of Nazi genocide were exaggerated by a factor of at least ten, that Hitler had not been given credit for the things he did right and that Germany had been harshly treated by the Allies.In the mid-1950s, Wolters quarrelled with Kempf who effectively dropped out of the network for a number of years, adding to the burden on Wolters and Riesser.  While Speer's pleas for his former associate and his former secretary to work together eventually brought about a healing of the breach, this was to some degree superficial as Kempf was aware that Wolters, even then, disagreed with Speer's opinions.  Wolters questioned Speer's readiness to accept responsibility for the Nazi regime's excesses and did not believe Speer had anything to apologise for, though the strength of his feelings on this point was kept from Speer—but not from Kempf and Riesser.Wolters was tireless in his efforts on behalf of Speer and his family to such an extent that his son, Fritz, later expressed feelings of neglect.  For Speer's fiftieth birthday in March 1955, Wolters gathered letters from many of Speer's friends and wartime associates, and saw to it that they made their way inside the walls of Spandau in time for...  Guess a valid title for it!
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output: Rudolf Wolters


Please answer this: Given the below context:  In 1935 England, Briony Tallis is a 13-year-old from a wealthy family. She has just completed writing her first play to mark her brother's homecoming and plans to stage it later that day with her visiting cousins. Looking out of her bedroom window, she spies on her older sister, Cecilia, and the housekeeper's son, Robbie Turner, on whom Briony has a crush. Cecilia is undressing and dips into the fountain pool; a moment later, she climbs out, her undergarments wet, all while Robbie watches. Cecilia had gone to the pond to fill a vase, Robbie grabbed one of the handles, and it broke. A part fell into the pond, and Cecilia jumped in to retrieve it, but to Briony, it looked as if Robbie had ordered Cecilia to undress and go under the water. Robbie drafts a series of notes to Cecilia apologizing for the incident, namely breaking the vase and laughing about it. One contains an explicit expression of his sexual desire for her, including frequent and crude usage of the word "cunt": he writes it only as a joke, and it makes him laugh to himself. He writes another, more formal letter, and asks Briony to deliver it. Only after she has gone does he realise he has given her the explicit letter. Briony reads the letter before giving it to Cecilia. Later, she describes it to her older visiting cousin, Lola, who calls Robbie a "sex maniac". Paul Marshall, a visiting friend of Briony's older brother's and a chocolate magnate, introduces himself to the visiting cousins and appears to be attracted to Lola. Before dinner, Robbie apologises for the obscene letter, but Cecilia surprises him and confesses her secret love for him. They then proceed to make passionate love in the library when Briony walks in, and thinks that Cecilia is under attack. Cecilia and Robbie try to pass the incident off.  Guess a valid title for it!
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Answer: Atonement (film)


input question: Given the below context:  Colour lies at the heart of Messiaen's music. He believed that terms such as "tonal", "modal" and "serial" are misleading analytical conveniences. For him there were no modal, tonal or serial compositions, only music with or without colour. He said that Claudio Monteverdi, Mozart, Chopin, Richard Wagner, Mussorgsky and Stravinsky all wrote strongly coloured music.In some of Messiaen's scores, he notated the colours in the music (notably in Couleurs de la cité céleste and Des canyons aux étoiles...)—the purpose being to aid the conductor in interpretation rather than to specify which colours the listener should experience. The importance of colour is linked to Messiaen's synaesthesia, which he said caused him to experience colours when he heard or imagined music (he said that he did not perceive the colours visually). In his multi-volume music theory treatise Traité de rythme, de couleur, et d'ornithologie ("Treatise of Rhythm, Colour and Birdsong"), Messiaen wrote descriptions of the colours of certain chords. His descriptions range from the simple ("gold and brown") to the highly detailed ("blue-violet rocks, speckled with little grey cubes, cobalt blue, deep Prussian blue, highlighted by a bit of violet-purple, gold, red, ruby, and stars of mauve, black and white. Blue-violet is dominant").When asked what Messiaen's main influence had been on composers, George Benjamin said, "I think the sheer ... colour has been so influential, ... rather than being a decorative element, [Messiaen showed that colour] could be a structural, a fundamental element, ... the fundamental material of the music itself."  Guess a valid title for it!???
output answer:
Olivier Messiaen