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This test consists of 5 short answer questions, 10 short essay questions, and 1 (of 3) essay topics.

Short Answer Questions

1. The two essential elements of story, according to Aristotle, are surprise and what?

2. According to Mamet in Chapter 6, "It's always up to you whether you are going to tell a story through a ____ of shots or you are not."

3. After shooting which take do you not even remember why you were born?

4. Where was Stanislavsky having dinner with a steamboat captain, according to Mamet in Chapter 6?

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

Short Essay Questions

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

2. What did Mamet write in Chapter 4 of the director's instructions to the actor?

3. What suggestions did the students give for the motivation of the protagonist in Chapter 5's scenario?

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

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

6. What has the hypothetical film evolved to in terms of danger in Chapter 5?

7. What is the hierarchy of film? Why did Mamet suggest the actor cannot be a fallback for the film in Chapter 6?

8. What does Mamet say regarding the training of film actors in today's world?

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

10. What was Mamet's reply to the question, "Is it possible to do everything "right" and still make a bad movie?"

Essay Topics

Write an essay for ONE of the following topics:

Essay Topic 1

Discuss Mamet's approach to the director's interaction with the actors and the camera operators on the set. What did he suggest in these interactions, and why?

Essay Topic 2

What authors did Mamet quote in the book with regard to cutting extraneous text in a screenplay? What theorists did he speak about in dramatic analysis?

Essay Topic 3

Discuss the element of dialogue in film. What did Mamet suggest in directing scenes with dialogue? What should a director avoid in terms of dialogue?

(see the answer keys)

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