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Film Directing Exam

Instructions:

Answer 50 questions in 15 minutes.
If you are not ready to take this test, you can study here.
Match each statement with the correct term.
Don't refresh. All questions and answers are randomly picked and ordered every time you load a test.

This is a study tool. The 3 wrong answers for each question are randomly chosen from answers to other questions. So, you might find at times the answers obvious, but you will see it re-enforces your understanding as you take the test each time.

1. Name two of the most frequent central conflicts of scenes.
In visioning a result
Who's scene is it
To have an idea of how they talk
Issue of power and sex

2. What is the importance of close-ups?
Emotions and emphasis
You want to be there not looking at a screen.
Pictorial representation of the film
Issue of power and sex

3. Do you shoot b-roll with a subject or interview them first? Why or why not?
Why not - b roll helps tell the story
You want to be there not looking at a screen.
Who's scene is it
Result direction

4. What does a drawn storyboard give you information about that a written storyboard will not?
Camera movement
Their tactic verbs - you set up the situation for the actor.
makes running a set more efficient
the shot list is a list that obtains storyboard and additional coverage

5. What is the importance of close-ups?
To have an idea of how they talk
Call sheets
Emotions and emphasis
Their tactic verbs - you set up the situation for the actor.

6. What is the point of a director on fiction and doc.
Tell a story
Director
Eye contact
What do they want - what they want from each other - and how can they get it.

7. Why is it not a good idea to tell an actor after a take to 'do exactly what you just did?
Report to the 1st AD
In visioning a result
What do they want - what they want from each other - and how can they get it.
Repetition is the death of creativity

8. Why is it important to do a paper edit for a documentary?

9. What is a story bored
Who's scene is it
Pictorial representation of the film
They Need to observe
To be a mirror

10. Who should ideally say 'Action' and 'Cut' on set? Why
Show commitment show ability to perform
You want to be there not looking at a screen.
it's portable
Director

11. Why is it important to mark a script with camera setups?
Call sheets
makes running a set more efficient
Because a hungry crew is a angry crew.
So that you can per pare for the set up with camera movements and lenses.

12. Why is it a good idea to cross out scene/stage direction from a script once you have begun rehearsing it? What should not be crossed out?
Yes cross out so they can focus more
Show commitment show ability to perform
Crossing the axis=Going beyond 180 degrees - Coverage=Shooting additional footage.
Issue of power and sex

13. In pre production who others that actors should the director hold meetings with?
Eye contact
Call sheets
Keys
Repetition is the death of creativity

14. What is the role of the assistant director in both pre-production and production?
Eye contact
Pictorial representation of the film
Emotions and emphasis
Call sheets

15. Why is craft services important?
Because a hungry crew is a angry crew.
Issue of power and sex
Director
What do they want - what they want from each other - and how can they get it.

16. Should you demonstrate how a line should be said to an actor? Why or why not?

17. Should you demonstrate how a line should be said to an actor? Why or why not?

18. What is result direction?
Eye contact
Tell a story
To be a mirror
In visioning a result

19. Why is craft services important?
Because that's result direction.
To eyes of the audience.
it's portable
Because a hungry crew is a angry crew.

20. What is the first question to ask yourself when deciding where to put the camera in shooting a scene?

21. Why is it important to do a paper edit for a documentary?

22. Name two of the most frequent central conflicts of scenes.
makes running a set more efficient
moves and sets the direction of DOP.
Issue of power and sex
When the director and explains what they need to project. Through needs and wants.

23. What is a story bored
When the director and explains what they need to project. Through needs and wants.
Sitting and standing is more powerful
Pictorial representation of the film
Their tactic verbs - you set up the situation for the actor.

24. What is the benefit of a written story bored over a drawn storyboard?

25. A documentary is created in the...
What do they want - what they want from each other - and how can they get it.
Director
edit suite
Why not - b roll helps tell the story

26. Directors Dramatic Breakdown
Emotions and emphasis
When the director and explains what they need to project. Through needs and wants.
Because that's result direction.
Director

27. Why shouldn't a director read with the actors during the casting?
They Need to observe
So the editor doesn't have to look through footage
Director
B-Roll

28. What is the point of a director on fiction and doc.
You want to be there not looking at a screen.
Tell a story
Call sheets
Camera movement

29. Why is not a good idea for a director to only look at the video assist monitor while shooting a scene?
You want to be there not looking at a screen.
What do they want - what they want from each other - and how can they get it.
Call sheets
Camera movement

30. Why is it not a good idea to tell an actor after a take to 'do exactly what you just did?
the shot list is a list that obtains storyboard and additional coverage
They Need to observe
it's portable
Repetition is the death of creativity

31. Directors Dramatic Breakdown
To have an idea of how they talk
When the director and explains what they need to project. Through needs and wants.
Yes cross out so they can focus more
Call sheets

32. Name an important aspect of conducting an interview in a documentary.
Camera movement
Conversion
Eye contact
Crossing the axis=Going beyond 180 degrees - Coverage=Shooting additional footage.

33. What is the first question to ask yourself when deciding where to put the camera in shooting a scene?

34. What is meant in 'actors language' by the word action - how is it expressed?
Emotions and emphasis
Their tactic verbs - you set up the situation for the actor.
Conversion
Camera movement

35. Three important direction to give an actor.
edit suite
it's portable
What do they want - what they want from each other - and how can they get it.
To have an idea of how they talk

36. What in documentary shooting terms - is meant by a sequence.
Tell a story
B-Roll
edit suite
Emotions and emphasis

37. What is meant by 'crossing the axis' by 'coverage?'
What they gain.
Crossing the axis=Going beyond 180 degrees - Coverage=Shooting additional footage.
Because that's result direction.
They Need to observe

38. Do you shoot b-roll with a subject or interview them first? Why or why not?
Eye contact
Why not - b roll helps tell the story
What they gain.
Issue of power and sex

39. Why should you not tell an actor what to feel?
Issue of power and sex
edit suite
Result direction
Emotions and emphasis

40. Why is it important to pre-interview your documentary subject?
Eye contact
To have an idea of how they talk
B-Roll
Camera movement

41. Why do you do a callback?
They Need to observe
Who's scene is it
So that you can per pare for the set up with camera movements and lenses.
Show commitment show ability to perform

42. What is the relationship of the storyboard to the shot list?
the shot list is a list that obtains storyboard and additional coverage
Yes cross out so they can focus more
makes running a set more efficient
Their tactic verbs - you set up the situation for the actor.

43. Why is it important to mark a script with camera setups?
Keys
Sitting and standing is more powerful
So the editor doesn't have to look through footage
So that you can per pare for the set up with camera movements and lenses.

44. What does a drawn storyboard give you information about that a written storyboard will not?
Yes cross out so they can focus more
Why not - b roll helps tell the story
Camera movement
Director

45. Three important direction to give an actor.
They Need to observe
What do they want - what they want from each other - and how can they get it.
In visioning a result
Conversion

46. In directing a film - what is a director's primary goal?
Who's scene is it
You want to be there not looking at a screen.
To eyes of the audience.
Call sheets

47. Why should you not tell an actor what to feel?
Pictorial representation of the film
You want to be there not looking at a screen.
Result direction
To eyes of the audience.

48. What is the benefit of a written story bored over a drawn storyboard?

49. What in documentary shooting terms - is meant by a sequence.
B-Roll
Repetition is the death of creativity
What do they want - what they want from each other - and how can they get it.
You want to be there not looking at a screen.

50. Give an example of using blocking to enhance the dramatic content of a scene between two people?
Yes cross out so they can focus more
Sitting and standing is more powerful
Call sheets
Director