Write the right answer to the question based on the context passage.

[EX Q]: When asked to define ourselves we often use broad brushstrokes. Without thinking we consult our internal list of "things that make me, ME" and find ourselves recalling words like "creative, outgoing, photography, guitar" before we've even had a chance to fully process the question. But how much does this internal list define us?
I believed that my internal list was the best representation of myself until I read a quote by Annie Dillard that states: "How we spend our days, is of course, how we spend our lives". This quote hit me like a punch in the gut, it's blatant truth so indisputable; how I spent my days, regardless of what I told myself about myself, was ultimately who I was. Or at the very least would be how I had spent my life. This is why, when completing my self portrait, I decided to focus on the everyday.
Within my self portrait I wanted to present the viewer with a familiar yet abstract sense of reality through which we get to see amalgamated glimpses of the everyday acts that define me, rather than a linear narrative or a simple re-telling of ‘a day in the life'. Thus combining to create a picture of: my daily life, through an abstracted version of ‘the everyday'.
To create a sense of ‘the day' or linear progression of time I segmented my video with four still images of the sky in various stages of daylight (morning, midday, afternoon, evening) that match the lighting seen in each concurrent video segment. The everyday acts that define me were presented in a series of short video segments that include scenes of me catching the tram, recording music and riding my bike. To disrupt the sense of linear narrative the visual segments are bluntly edited together, with nothing linking the sequential shots and a quite abrupt ending. I also attempted to create an overall sense of confounded time and space by overlaying audio from certain video segments onto others. Long, singular focus, handheld shots were also used to enhance the sense of voyeuristic glimpses. Question: Who made a self-portrait?
[EX A]: The narrator

[EX Q]: Ironically, J. Paul Getty never saw the Getty Villa. He died two years after his museum opened to the public in January 1974 in a new building modeled on an ancient Roman luxury home. It was not until after Getty's death in June 1976 that he returned from his estate in England to his "ranch" on the Pacific Coast: he is buried there at the edge of the property on a private plot overlooking the ocean, alongside his eldest and youngest sons, George and Timothy, both of whom predeceased him.
Following a renovation and reinstallation of the galleries, the Getty Villa opens a new chapter in its history. Although Getty never set eyes on his creation, the story of how he built the Villa and assembled his collection pervades the galleries even today. A suite of revamped rooms—Galleries 105 to 108—share this history. Featuring ancient works of art Getty bought himself along with archival documents, the new displays place the objects in their cultural contexts and shed light on Getty's personal relationship to his museum and final resting place.
From a Ranch House to an Ancient Villa
Getty bought the 64-acre ranch—once part of the Rancho Boca de Santa Monica, an early-nineteenth-century 6,656-acre Mexican land grant—just after the end of World War II, intending it as a weekend retreat where his fifth wife Theodora ("Teddy") could ride horses and he could display his growing art collection.
He knew the area well, for he already owned a small house on the beach in nearby Santa Monica, just steps from the sprawling complex his friend and rival collector William Randolph Hearst had built for the actress Marion Davies. (The Davies estate is now the Annenberg Community Beach House, while Getty's beach house has been replaced by a large modern condo complex, 270 Palisades Beach Road.) Question: Who owned a beach house in Santa Monica near to  the home of collector William Randolph Hearst?
[EX A]: J. Paul Getty

[EX Q]: I was one of the best fingerprint examiners in the world. I could do things the FBI thought impossible. I could memorize fingerprints. The nearby agencies, including local offices of federal agencies that had their own labs, came to me for help.
One day in a trial a new-hatched defence attorney tried to make me seem neglectful because I hadn't sent the prints from the crime scene to the FBI for verification. The FBI will not look at prints that have already been identified locally. I tried to get that across to him.
Finally I said, "Sir, you don't understand. I don't ask the FBI for help. The FBI asks me for help."
The courtroom went dead silent. The lawyer choked a bit and looked frantically at the judge, who knew me quite well. The judge slowly nodded. The lawyer choked a few more times, said, "No further questions," and returned to his seat.
I was the only person in the five-state area in which the silver burglar was hitting who got him on fingerprint evidence. He never left fingerprint evidence . . . except when he did. Every other police agency quit looking, because his MO was unmistakable. We didn't. A detective got prints from a bamboo tree he had used to climb in a window, and I got several prints from items he had handled inside the house.
After the trial he was being led back to the jail and I was walking down the hall. He stopped and said, "I want to talk to that lady."
The bailiff told him he couldn't talk to the witness, but I said I wanted to hear what he had to say.
He said, "Lady, you're the smartest cop I ever saw, and I hope to God I never see you again." I think that was the best compliment I ever got.
I have other accomplishments. But I consider my police work the most important. Question: Who was told they couldn't talk to the witness?
[EX A]:
the burglar

