On Directing Film Test | Final 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, what do actors talk about, which does not exist on the stage?
(a) Character.
(b) Obstacle.
(c) Arc of the film.
(d) Motivation.

2. Where did the farmer go in the town in the hypothetical film of Chapter 5?
(a) The slaughterhouse.
(b) The seed store.
(c) The farm.
(d) The farmer's market.

3. Mamet says in Chapter 4 that a lot of the decisions you think are going to be arbitrary are arrived at through the what?
(a) Unconscious.
(b) Consciousness.
(c) Dreams.
(d) Subconscious.

4. According to Mamet in Chapter 6, we would like to learn a technique of directing and analyzing as concrete as that of a what?
(a) Painter.
(b) Sculptor.
(c) Shoemaker.
(d) Scientist.

5. According to Mamet, he's seen directors do how many takes of a shot?
(a) Seventy.
(b) Twenty.
(c) Sixty.
(d) Ten.

Short Answer Questions

1. What does Mamet say that the people in Hollywood don't have, in Chapter 5?

2. According to Mamet in Chapter 6, someone once asked whom if they had ever been lost?

3. Once the story has found an ending, Mamet says you can look back over the shot list and answer what question?

4. The reply from the person who was asked if they were ever lost was that they were once bewildered for how many days?

5. According to Mamet, most actors in film and stage today are what?

Short Essay Questions

1. What was Mamet's response to "performance art" questions which arise in shooting?

2. What does Mamet say to give yourself over to in directing, in Chapter 5?

3. What did Mamet suggest directors should strive for in terms of film dialogue in movies, in Chapter 4?

4. What can the director not make up for in the editing room, according to Mamet in Chapter 6?

5. What scenario did Mamet present for the hypothetical film in Chapter 5?

6. What are modern film actors lacking in their education of storytelling, according to Mamet?

7. How does the hypothetical film end in Chapter 5?

8. What decision did Mamet suggest is in the hands of the director, in Chapter 6?

9. How did Mamet describe dealing with dialogue in Chapter 4?

10. What analogy did Mamet give that involves Stanislavsky, in Chapter 6?

(see the answer keys)

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