On Directing Film Test | Mid-Book Test - Medium

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This test consists of 5 multiple choice questions, 5 short answer questions, and 10 short essay questions.

Multiple Choice Questions

1. According to Mamet in Chapter 3, the only thing the dramatic form is good for is what?
(a) Character creation.
(b) Telling a story.
(c) Political gain.
(d) Artistic expression.

2. Counterculture architecture was based on designing buildings based on what?
(a) The weather.
(b) The natural surroundings.
(c) How the architect felt.
(d) The setting.

3. Screenwriting is a craft based on what?
(a) Exposition.
(b) Narration.
(c) Science.
(d) Logic.

4. According to Mamet, what was his response to "lovely enthusiasts who will aver that the purpose of modern art is not to be liked"?
(a) "Get a life."
(b) "Oh, grow up."
(c) "Let's get it over with."
(d) "Learn a craft."

5. What does Mamet say is the ordering of unrelated events or ideas or images in favor of an overriding preconception?
(a) Apathy.
(b) Articulation.
(c) Empathy.
(d) Neurosis.

Short Answer Questions

1. All the audience cares about is the what, according to Mamet?

2. What is the main shot of any given scene?

3. Mamet says you should always do things in what way, in order to make the best movie?

4. According to Mamet in Chapter 3, if you want to build a roof, it might be a good idea to understand about the effects of what?

5. What is the term which refers to the protagonist's immediate goal?

Short Essay Questions

1. What was Mamet's rule of thumb for cutting extraneous material from a film?

2. Describe the objective and beats in the hypothetical film in Chapter 2.

3. What did Mamet write in Chapter 3 regarding film with political agendas?

4. Describe Mamet's discussion of understanding precipitation in architecture in Chapter 3.

5. What did Mamet indicate is the point of view of the performance artist, in Chapter 3?

6. What is a "MacGuffin", and who coined this phrase?

7. What did Mamet write about drama school and film school in Chapter 1?

8. How did Mamet explain the principle concern in choosing shots in Chapter 2?

9. How did the class progress in the details of their hypothetical film in Chapter 2?

10. What does Mamet say regarding the juxtaposition of uninflected images in Chapter 3?

(see the answer keys)

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