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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. What was the man doing on the side of the road whom the farmer met in Chapter 5?
(a) Catching a pig.
(b) Catching a chicken.
(c) Cutting his lawn.
(d) Fixing a wheel.
2. Mamet says in Chapter 4 that movies are made out of what?
(a) Heroic struggles.
(b) Very simple ideas.
(c) Epic dramas.
(d) Elaborate stories.
3. Once the story has found an ending, Mamet says you can look back over the shot list and answer what question?
(a) What is the story?
(b) What can I add to the character?
(c) What have I left out?
(d) What objectives are missing?
4. What does Mamet say that he defies anyone to act in Chapter 4?
(a) Their height.
(b) Their obstacle.
(c) Where they came from.
(d) Their motivation.
5. Mamet says that it's not the actor's job to be emotional. It's the actor's job to be what?
(b) In the scene.
(d) In character.
Short Answer Questions
1. What does David Mamet say that the answer to all of the tedious actor questions is?
2. After shooting which take do you not even remember why you were born?
3. According to Mamet, what do actors talk about, which does not exist on the stage?
4. Where did the farmer go in the town in the hypothetical film of Chapter 5?
5. The purpose of rehearsal is to tell the actors, beat by beat, what?
Short Essay Questions
1. What has the hypothetical film evolved to in terms of danger in Chapter 5?
2. What can the director not make up for in the editing room, according to Mamet in Chapter 6?
3. How does Aristotle's theory of tragedy relate to the hypothetical film in Chapter 5?
4. What was Mamet's response to "performance art" questions which arise in shooting?
5. What did Mamet write in Chapter 4 of the director's instructions to the actor?
6. What is the appropriate response to the actor who asks "how do I walk down the hall", in the example in Chapter 4?
7. What analogy did Mamet give that involves Stanislavsky, in Chapter 6?
8. What metaphor did Mamet use to illustrate the work in pre-production, in Chapter 6?
9. What is the hierarchy of film? Why did Mamet suggest the actor cannot be a fallback for the film in Chapter 6?
10. What does Mamet say regarding subconscious response in Chapter 4?
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