DreamSharer Boulevard

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of Art, Creativity & Inspiration.

Archive for the ‘Media Shrine’ Category

Important rule in business when it involves personal relationships

Posted by DreamSharer on February 22, 2013

All my friends who worked with me in the past would know that my professionalism dictates that I don’t know you when I am working with you. If we have a job together and when we are on the job I don’t know you other than you and I are working and nothing else in between. When I am a teacher, let’s say the principal was a friend and she and I had a fight over a personal matter, does it make any sense if I left my students without a lesson or a teacher and just went home because of my personal matter with my friend principal? See not a lot of people get that concept which is why it is so hard to work with people because they can’t separate personal from business and that is just so wrong!

See my ex and I had a terrible break up but unlike many privileged women who can cut their ex’s off I could not do that because I was his manager and he was a music star. We were in the middle of getting contracts and meetings with record companies. I spent nights with tears in my eyes preparing powerpoint presentations about him and his work and saw all the pictures that people who had just broken up should not see. But I did because that is what professional means. I did all of that for months which elongated my healing process and I knew it made things worse but again I needed to be professional. 2 months later I traveled to do meetings with companies and he was there coming with me to every meeting. Him the guy I just broke up with. Still again work and personal should be separate. I went there and did all the meetings and when my job was over I gave him a one month notice that I can’t work with him anymore and I told him I will find him someone to take my place. I spent the next month gathering all his work in a special folder and making interviews with candidates to take my place. And finally after I secured another manager for him, I cut all ties with him.

See I only told this story to show that when you make a commitment to work with family or friends or husbands/ wives or lovers you take on the risk to run into personal problems but you also take on the risk of having those personal issues mix up with business and then you won’t be at your optimum performance. While you fight and take days and months off work because you are not talking to each other, other businesses emerge and do better than you and you risk your professionalism. If you want to work with a partner you value in your personal life then you must be strong to say ok I will not talk to you personally until I cool off but we will only be talking about our business and working on our business till then. That way your business won’t be affected and it is the smart thing to do.

If you can’t do that then the first thing you need to work on before anything else is your professionalism. It is one of my pet peeves because my mind thinks if I could step on my heart and push myself to be professional and yell at my friends when directing my movies and if I could step on my broken heart and work with my ex and make him look perfect to the companies we were meeting during our break up even though he was the worst person in my eyes back then, then I know that everyone else can be strong enough to make the right choice of being at their professional best. Everyone can do it, make the right choice for you but just be professional no matter what decision you make. This is coming from someone who had to be the director of movies her friends acted in and had to bust them and push them and yell at them to get their best performances.

Do you think that was easy for someone who is very nice to everyone and can’t even say the word NO to anyone in real life because she does not want to hurt anyone’s feelings? Of course not! This was the most difficult thing I ever had to do. But I did it! No one can say I am not a good firm and disciplined director. And not even my ex can ever say that I was not professional in his business till the last moment we ever spoke to each other. This is what professionalism is! A dedication! Friend or not, if I need to stop working with him or her, I will send a resignation letter and a one or two months notice. Friend or not, if I need to take time off then I will send a documented request. I don’t take advantage of friendships and slack off and do things unofficially just because we are friends. The only thing this friendship serves in business is the trust we have in each other and how we know each other as business partners. That’s it! Nothing else should happen just because you are friends. They should not cut you some slack because you are friends and it is not their jobs to do that. But you see people don’t like that. Automatically when they work with friends they think oh nothing should be official and that is a totally wrong thinking. I used to send a weekly report to my ex out of my own will about how things are coming along and the status of everything that is being negotiated. Also I had a business contract which I prepared myself with my ex as his manager. We were in a relationship but when it came to business I made sure we worked as pros because that’s what I wanted to be and that is what any business-minded person should strive to be.

I know how hard it is to draw the line but I also know that it can be done!

The Journey Begins…

Posted by DreamSharer on November 22, 2012


DreamSharer Boulevard

Posted by DreamSharer on November 21, 2012

Welcome to dreamsharerblvd.com!

Troy’s movie errors

Posted by DreamSharer on February 19, 2012


Since I have a huge passion for Greek mythology and its influence on pop culture, I was very upset when through my expertise in this topic I noticed big factual errors in the movie Troy Directed by Wolfgang Petersen and starring Brad Pitt, Orlando Bloom and Eric Bana.

My criticism starts by noting that most equipment used by the Greeks in the movie, such as the large round shields and Achilles helmet, was not from the period of the Trojan War but was actually from the Classical Period (5-4th centuries BC). At the time when the epic was set, the Greeks used small bowl-shaped helmets and light leather shields shaped like the number 8.

Furthermore, I was shocked at the burial coinage rituals used in the movie. When burning the bodies on pyres, the characters in the movie placed coins on the corpses’ eyes. As noted in Greek history and in worldwide encyclopedias, the Greeks placed a coin in the mouth under the tongue of the corpse, not on their  eyes. However, the major factual error lies in the fact that  at the time of the Trojan War, coinage was not even invented yet. Coinage of the dead, according to Greek and Roman literary sources, was invented from the 5th century BC through the 2nd century AD.  Thus, this shows that during the Trojan War, there wouldn’t have been coins at all.

Coins were found in Greek burials as soon as Greece was monetized. The jawbones of skulls found in certain burials were stained greenish from contact with a copper coin. According to Greek History, Greeks put the coins under the corpse’s tongue for safe passage across the river styx in which the dead had to pay charon the ferryman one golden drachma to enter the underworld. Legend has it that once you enter the underworld you go to the fields of ashphodel, or if you offended a god you will get a punishment like Tantalus did. Tantalus was given a really bad thirst, and was put in a river but every time he bent down to drink, the water sloshed away from him. However, the Greeks said that if you were a good person you were sent to the Elysian fields where you partied forever or were given a chance to be reborn. If you have been reborn thrice and sent to elysium three times, you were sent to the isle of the blessed.

Moving onto the next factual error in the movie is when the boy goes to find Achilles to fight the enormous warrior from Thessaly, the boy tells him that “the Thessalonian is huge”. The correct way of saying it is “Thessalian”. A “Thessalonian” is someone from Thessaloniki, a Greek city that was not founded until centuries later (4th century BC) by Cassander, who became the king of Greece after Alexander’s death. Cassander married Thessalonike, Alexander’s sister and named the city after her to honor her. Had there not been Thessalonians and Thessalians, that kind of mistake would have passed. However, because these two cities existed in history, that made it a big factual error.

Not only was I shocked at the factual  errors but given the fact that I studied film and television and I’m a director myself, I could not help noticing the continuity issues in the movie. I feel sorry for the producer and director because they are paying script supervisors and continuity supervisors who were not doing their jobs. Their jobs was to be aware of any continuity issues and they did a pretty crappy job at it. I say that because those errors were not hidden or unnoticeable but were actually evident and obvious. I will start with the scene when Patroclus was fighting Hector in Achilles’ armor. Hector quite prominently stabbed Patroclus in the chest, which would logically make a hole or a least a cut in the armor. Yet, when Achilles goes to fight Hector in the same armor his cousin died in, no such marks were visible and the armor was perfect with no holes or even scratch marks.

Another event as such occurred when Achilles was dragging the dead Hector away from the walls of Troy, the spear that went through Hector’s body disappeared from his body in every long range shot, however, that spear reappeared and remained in every close up. So that is yet another major and obvious continuity mistake.

We also see a continuity problem as Achilles dies when his sword is seen sticking out of the ground in a horizontal position, but when the camera pans upward in the next shot, the sword is clearly now lying on the grass next to him.

The last point I am going to bring up is when Achilles and Hector fight, they both break their spears so now we see the end of the spear that is sticking out. However, when Hector picks the spear up again after it was knocked off from his hand, We see a perfect non-broken spear. How could that ever escape a script supervisor or a continuity supervisor.

The director is not to blame because he is too busy with the creative process. The producer was too busy getting things done so again this is the fault of people who were only supposed to look for in-continuities and inconsistencies and failed at that. Also such issues should have been revised in post-production. I just feel bad because I loved the movie and I loved Homer’s epic “The Iliad” too and I am not the only critical viewer out there. There are way too many movie critics out there waiting to tear this movie apart, so thanks to the researchers who were supposed to research the facts of the historical period the movie was about, and thanks to the people supervising continuity; those 2 teams were a big reason the critics have it easy to mock the film and make negative reviews that would affect the ratings of the movie.

Black Swan movie analysis

Posted by DreamSharer on February 19, 2012

“Black Swan” is an intense psychological thriller and a psycho-drama taking place in the competitive world of ballet. It basically describes a ballet dancer’s metamorphosis into the “Black Swan,” her emotions and her transformation as she gets more into character. Behind the movie’s thriller and psychologically disturbing facade lies a profound and genuine story of the cost of fame, the sacrifice of artists and the hidden forces behind the shady world of high-stakes entertainment. I will be talking mainly about the movie’s occult symbolism and its themes relating to the dark side of the film and show business.

Black Swan was directed by Darren Aronofsky, and it basically follows the struggle of a shy ballet dancer Nina as she travels along her path to success in a world of demanding expectations of professional ballet. Black Swan tells of the world in which Nina evolves and the obstacles she must endure.

This Golden-Globe nominated film takes the viewers deep into the ballerina’s descent into madness in a frightening portrait of psychosis, which doctors and specialists claim that it resonates realism.

Nina Sayers is a fragile and repressed ballerina. This role is played by Natalie Portman who through Nina strives for the lead role in Tchaikovsky’s “Swan Lake,” which is a role that will require her to play both the gentle white and the seductive black swans.

In the process of perfecting the role, Nina goes through shedding her “sweet girl” persona and embracing her darker side in order to fully comprehend and take the veil off the role of the Black Swan and in order to please her demanding and sexually aggressive director.

Her metamorphosis transforms into completion, that Nina eventually develops webbed feet, bird-like legs and sprouts feathers and wings while actually becoming the black swan.

Nina, who strives constantly for perfection to please her controlling mother Erica, played by Barbara Hershey, lives with her mother who gave up ballet dancing in order to have her daughter.

Going through visual hallucinations, Nina starts seeing a black-clad version of herself across the subway platform and again in the maze of hallways. Even the pink stuffed animals in her bedroom start to come alive and mock her in her visions.

She conjures up an array of fantasies and delusions.

Psychosis is a loss of contact with reality that usually includes false beliefs or delusions, and seeing or hearing things that are not there.

Like a fever, psychosis is a symptom rather than a disease, and can be caused by a variety of triggers: exposure to mercury, drugs like amphetamines, epilepsy, a brain tumor, dementia or psychiatric disorders like schizophrenia.

Psychosis Usually Involves Auditory Hallucinations, however unless psychosis was due to neurological causes, patients normally have auditory, rather than visual hallucinations.

The film took showed Nina suffering from symptoms of anxiety disorders, anorexia, bulimia, cutting and obsessive compulsive disorder (OCD).

There are numerous ways to interpret the plot of the movie, however, through use of meanings and symbols, the movie clearly alludes to many issues of the dark and occult side of fame, duality, trauma-based mind control, the forced creation of an alter persona and more. The main character, Nina, goes through a metaphysical change – by getting in touch with her “dark side” – in order to become a better performer. The movie uses subtle references to trauma-based mind control to explain the creation of an independent alter-person in Nina’s psyche.

Although Black Swan is fiction, it explores hidden realities of high-stakes art and performance. There are numerous examples of artists who have embraced darker alter egos to take their art to “another level” … and many who ultimately were consumed by them, Heath Ledger for example.

Black Swan is a modern retelling of Pyotr Ilyich Tchaikovsky’s classic ballet, Swan Lake.

Since the shy and fragile young Nina was to play the role of the Swan Queen, she must therefore embody both the pure White Swan and the evil Black Swan. Her quest for perfection as a ballet dancer led her to experience, in her everyday life, the transformation experienced by the White Swan in the ballet’s story. In other words, she was living her ballet character in real life. The events of Nina’s daily life mirrored the story of the character she represented as a ballet dancer, ultimately leading her to confusion and to insanity as the line between reality and fiction blurs.

To me, the constant use of mirrors and reflections in numerous scenes of the movie were a constant reminder of Nina’s altered perception of reality. However, I found that mirrors in the movie were misleading and Nina’s reflections had a “life of their own”. As Nina is haunted by the Black Swan, her alternate persona takes a life of its own and acts outside of Nina’s conscious control.

Trauma-based mind control – also known as Monarch Programming – is the process in which an individual is subjected to intense trauma and dehumanization in order to cause a mental dissociation. This causes a fragmentation of the slave’s personality and enables the handler to create an alternate persona that can be programmed at will. Some researchers claim there are occult elements at work in this process.

Nina’s mother, was more as a mind-controller than a mother. She has boundary issues and keeps tight control over all aspects of Nina’s life. Real-life Monarch slaves start their difficult lives as victims of ritual abuse in their own household. Symbols relating to mind control in Nina’s house reflect this tragic reality through her pink childlike bedroom.

Nina’s mother has subjected her daughter to trauma-based mind control and and psychological as well as emotional manipulation in order to make her a submissive woman who will be able to realize her mother’s dreams. Unfortunately, this trained Nina to disassociate in order to make her existence tolerable and bearable, which in turn made Nina the perfect subject for the creation of a dark alter persona: the Black Swan.

In order to obtain perfection,or to accomplish the Great Work, Nina must master both good and evil – light and darkness. The occult concept of duality becomes extremely significant.

To achieve performance perfection, Thomas’ job was to create in a New Nina, a new agressive and sexual alter-ego inside her. From thereon, he becomes Nina’s new mind-controller.

As the Black Swan grows in power, Nina starts hallucinating physical mutations on her body. The only other person that can see these mutations are Nina’s mother probably because as a former ballet dancer she went through a similar experience. She is aware of Nina’s gradual transformation and she tries to repress it, because she knows her new identity will cause the loss of her “little angel girl”.

This situation reflects the ugly truth behind real-life emotional abuse. Children, who are already dissociative due to their parent’s abuse, are more prone to live with conflicting persona. In this case, Nina was handed over to the entertainment world to create in her an alter persona destined to be a world-renowned star.

Also, we witness in the movie, Beth’s fate as a ballet dancer who reaches her “shelf life”. We witness the tragic and sad instances where Beth tries to kill herself. We see her hostility and we can feel her emotions as she feels like her life ended. Sadly, there are many real life cases of celebrities suffering the same fate. After being recruited, programmed and primed by the industry to become a superstar, they are suddenly dropped and forgotten about because they got too old for the ‘role’ or the ‘performance’. They become psychologically damaged, they experience loss of purpose, loss of motivation and not knowing who they really are, so finally the fallen stars sink into depression, drugs, alcoholism and even suicide.

The color black representation in the movie portray the darker side of Nina taking over her. For example, the black wings on the back of Lily (played by Mila Kunis) while she is “giving pleasure” to Nina, those black wings represent the “dark force” that is communing with Nina. It is sinking deeper in her and taking over her life.

As her metamorphosis advances, Nina realizes that a totally separate entity, another person is living within her. It is completely acting outside of her control. If we take the mind-control symbolism and theory and dissect it to understand the director’s message, mirror reflections represent a slave’s alter-persona that is programmed and manipulated by controllers or abusers.

Consider this, right before her big performance as the Black Swan, Nina fights against herself in her dressing room. During the fight between Nina and the Black Swan, a mirror breaks. That breaking of the mirror represents the collapse of the psychological boundary separating both entities or persona. By shattering the mirror, Nina becomes the Black Swan and this is a symbol that both entities merge into one and the more powerful of both persona takes control of Nina’s body.

At the show’s premiere, Nina gives a wonderful one of a kind performance. She successfully plays the sweet and shy pure White Swan, and, when the time came, she was overtaken by the “force” to become the twisted, yet thrilling, Black Swan. By marrying the white and the black together, the good and the evil, the light and the dark, Nina has accomplished the alchemical Great Work, the occult path to illumination (illuminating one of the two conflicting forces).

But the sad truth is, although it was a necessity for the performance to succeed, the process of living the characters consumed her. By allowing the Black Swan to completely possess her, Nina gave the performance of a lifetime, but she has become a different person. Thomas and the audiences are in love with Nina as the Black Swan just as in the ballet the prince falls in love with the White Swan’s evil twin. But the black Nina is not the “real” Nina. The Black Swan was a destructive force that Nina could not live with. It was tormenting her on a physical and psychological level. She was not able to go on because of the alter persona. Thus, the only way Nina could free herself, was by killing herself.

Nina finally attained perfection. Her last words were: “I was perfect”.

Black Swan is a profound movie, which can be interpreted on many levels. I personally looked at it from the shady world of show business and media point of view.

I think that through Nina’s metamorphosis and transition from a shy nobody to a possessed and shining superstar, the viewers experience the dark and evil side of entertainment. Mind control, manipulation and immorality collide with success and recognition. Dark impulses, addictions and self-destruction arise with artistic genius and creative brilliance. Those who are “running the show” don’t give a damn about the emotions of the performer they are just experts on how to bring the Black Swan out of upcoming excellent artists … and they know very well it will destroy them in the long run but they don’t care one bit. And they are OK with the destruction of the performer as long as they get their perfect performance.

Troy Movie analysis

Posted by DreamSharer on February 19, 2012

In providing beautiful acting and actors, breathtaking scenery, heroic actions and breathtaking costumes, the movie Troy was a Hollywood movie that was certainly a box office hit. I am not sure if you know this but Troy was based on the Iliad an epic by Homer. Aside from the excitement during the movie, unfortunately it proved to be a loose adaptation of Homer’s classic and I could not help but notice the major differences between the book and the movie.

One of the most major differences between the book and the movie was the absence of the Gods in the movie. In Homer’s Iliad, the Gods played a very major part in the Trojan War. Although we, as viewers were aware that the characters believed in the Gods, the only God we actually saw in the movie was Thetis, Achilles’ mother. I understand that the omission of the Gods from the movie might have been due to the reason that the director and writer wanted to give the audience the feeling that the characters are believable, however, in my opinion by omitting the Gods in the movie, the viewer was not able to get the full Greek experience nor the full history of the legendary characters.

Personally, I didn’t think the movie gave enough credit nor background information on Prince Paris and Helen of Sparta. The movie does not let the viewer know that Helen was a reward to Paris for choosing to give a golden apple to the Goddess Aphrodite instead of the Goddess’ Hera or Athena.

Another difference between the Iliad and Troy is that it does not show the history of the contempt that Achilles hold against King Agamemnon. In the Iliad, there was more to Achilles reluctance to fight for the greedy and selfish King. In the book, Agamemnon has stolen Briseis from Achilles and because of this, Achilles shows nothing but contempt for the King. The movie shows the hatred that Achilles carries before the introduction of Briseis.

The character of Prince Paris was made more likeable in the movie. The scene where he fights Melelaus for Helen shows in both the Iliad and in Troy that Paris does not fight to the death. In the Iliad, Homer tells us that Aphrodite rescues Paris in his fight with Melelaus but that is also different in the movie. The Iliad portrays Helen disgusted with Paris after the fight, wishing he had died in the fight, however again that is totally different in the movie. The other difference between the movie and the book is that in the Iliad, Melelaus returns home with Helen.

Hector, in the movie, was portrayed as an honorable and brave man, however, Homer portrays Hector as a cowardly fighter. In the Iliad, Hector goes outside the gates of the city to fight Achilles, but then Hector gets scared and runs away. Also in the book , Hector was convinced by a God who pretended to be his brother to confront Achilles and Achilles killed Hector. After Hector was killed in the book, Achilles tied him to his chariot and dragged his body around Troy for everyone to see then Achilles left Hector’s body for the dogs. In the movie, Achilles was portrayed as a brave and immortal man, He was not portrayed as the barbarian he is in the Iliad.

I have to say that I loved how Achilles and Hector were portrayed in the movie more than the book. In the movie Hector and Achilles were my favorite characters.

In Homer’s Iliad, the story ends with Hector’s burial but in the movie Troy, that was not the case.

Although we see some similarities between the Iliad and Troy, I think the movie made the characters seem less barbaric and some of the sets, especially the city of Troy, seemed different from what Homer described. The movie was enjoyable, but was certainly not a factual representation of Homers classic The Iliad.

Those unfamiliar with the specifics of Homer’s epic The Iliad are a bit luckier than the other people who have read that classic because they will find fewer plot gaps in David Benioff’s condensed Troy movie script. It was definitely a huge and difficult task, trying to compress Homer’s poem into one film. As a result, what Benioff ended up with was a movie that was both too short and too long. There’s just not enough time in a 2 or 3 hour movie to include the Greek and Roman gods featured so prominently in The Iliad.

The problem to empathize or understand fully the conflict is that during Homer’s time, love and the whimsy of the gods would be understood as a just and fair cause for a whole nation to go to war, whereas now this would be laughed at and sneered at by modern society and the modern audience, thus that was enough basis for the writer and the director to remove all interference from divine powers, which was so vital and extremely fundamental in all Greek tales.

With all the above said, the film was done very well given how hard it would be to turn Homer’s classic into a movie.

Invictus – Poem full analysis

Posted by DreamSharer on February 11, 2012

Invictus, meaning “unconquerable” or “undefeated” in Latin, is a poem by William Ernest Henley. This poem is an affirmation of one’s control, will, and ability to choose and make decisions. For the short time we have on this Earth, we are able to choose our response to circumstances and stimuli. This poem has always inspired me.

This poem is about courage in the face of death, and holding on to one’s own dignity despite the indignities life places before us.

Out of the night that covers me,
Black as the pit from pole to pole,
I thank whatever gods may be
For my unconquerable soul.

In the first stanza of the poem, Henley prays in the darkness of the night  to “whatever gods may be” a prayer of thanks for his “unconquerable soul.” First, the speaker is in a type of metaphorical darkness, perhaps the darkness of despair. Second, he does not pray for strength, but instead he gives thanks for the strength that he already has. Third, he seems somewhat flippant about who he is or is not praying to; it is almost like this is a prayer to himself at this point, but not quite to that extent.

In the fell clutch of circumstance
I have not winced nor cried aloud.
Under the bludgeonings of chance
My head is bloody, but unbowed.

The seeming agnosticism of the first stanza continues on to the second one. He does not talk about God’s will or even fate; instead he speaks of “the fell clutch of circumstance” and “the bludeonings of chance,” and he asserts and guarantees that he has overcome these bravely and without complaint.

Beyond this place of wrath and tears
Looms but the Horror of the shade,
And yet the menace of the years
Finds and shall find me unafraid.

The third stanza is about death and what a trifle it seems to the Henley. This “place of wrath and tears”, this life, it seems, is not full enough of pain and horror to frighten him. And death, “the Horror of the shade,” could not possibly worry him, being an end to “wrath and tears”. Notice here that he is not concerned in any way about an afterlife. Death is merely an end to suffering for the poet. Nothing of any concern seems to lie beyond for him until….

It matters not how strait the gate,
How charged with punishments the scroll,
I am the master of my fate:
I am the captain of my soul.

The one line in this poem that seems to give most people the most trouble is the reference to a “strait gate”. “It matters not how strait the gate” is either a reference to John Bunyan’s tract The Strait Gate, or Great Difficulty of Going to Heaven (1676), or the scripture Bunyan got his title from Matthew 7:13, 14.

“Enter ye in at the strait gate; for wide is the gate,
and broad is the way, that leadeth to destruction,
and many there be which go in thereat:
because strait is the gate, and narrow is the way,
which leadeth unto life, and few there be that find it.” ~ John Bunyan

I believe that the theme of this short poem “Invictus” is the will to survive in the face of the severe tests of life. The poem talks about the feelings of Henley but applies to each one of us as individuals. This is what we are too and what we should understand. The poet William Ernest Henley expresses his acceptance of whatever judgment or doom death may bring. He accepts no master but himself. He bows to no authority. He is his own god, guide and judge. He is the Captain of his own ship and the master of his own life.

This poem is about courage in the face of death, and holding on to one’s own dignity despite the indignities that life places before us.

Henley was a lifelong atheist, and, with his missing leg and braggadocio, he was also the inspiration for the character of Long John Silver in Robert Louis Stephenson’s Treasure Island, He was a Captain indeed.

Basic Film Industry Trivia

Posted by DreamSharer on February 5, 2012

1. Let’s begin with a genre question. If a film’s objective is to shock, disgust or repel its audience, what genre is it most likely associated with?

A. Gangster

B. Horror

C. Musical

D. Western


2. Which of the following can generally be used as an example of non-diegetic material?

A. Special effects

B. A main character’s monologue

C. Set and costumes

D. A film’s closing credits


3. What is the difference between what the term ‘long take’ and ‘long shot’ refer to?

A. Long shot – duration between cuts; long take – distance between camera and subject.

B. There is no difference; they both refer to duration between cuts.

C. There is no difference; they both refer to distance between camera and subject.

D. Long take – duration between cuts; long shot – distance between camera and subject.


4. Alright, so who the heck is the ‘best boy’?

A. He’s a friend of the producer’s who hangs out on set but doesn’t have a particular responsibility.

B. He’s the assistant to the gaffer (who is the head electrician).

C. He’s the assistant to the make-up artist, but is particularly concerned with the male lead’s needs.

D. He’s the overseer of the clapper boy (who operates the clapboard identifying each take).


5. What is a master shot?

A. The first take for every shot.

B. A moving shot that pans the room in 360 degrees, establishing geography and spatial relationships.

C. The first shot used in a film.

D. A wide angle or long shot that establishes the spatial relationships of all of the elements in the frame and orients those elements in a particular place.


6. Which of the following films is NOT paired with the movement it was a part of?

A. ‘Rules of the Game’ – French Impressionism

B. ‘Battleship Potemkin’ – Soviet Montage

C. ‘The Cabinet of Dr. Caligari’ – German Expressionism

D. ‘Umberto D’ – Italian Neorealism


7. What is true of panning or tilting?

A. In panning, the camera is rotated side to side horizontally and the point of view remains the same.

B. In tilting, the point of view is fixed and the camera is just turned on the horizontal axis.

C. In panning, the camera moves up and down and the point of view is mobile.

D. In tilting, the point of view is mobile and the camera is moved on the horizontal axis.


8. In three-point lighting, which of the following is NOT one of the lights used?

A. sub

B. fill

C. back

D. key


9. A theoretical discovery in the 1920’s showed that an audience does not perceive individual shots separately from those around it, that in fact there are constant inferences made by the collision of images on the screen. An example of how this might work: a man’s face is shown; cut to a shot of a woman storming out of a door with a suitcase; cut back to the exact same shot of the man’s face. An audience seeing sequence would infer an emotional situation, probably that the woman is leaving the man (perhaps her husband?) and the audience would believe the man’s face to be different the second time they see it even if it is the exact same shot printed twice in the film. What is the name by which this phenomenon is known?

A. Kuleshov Effect

B. Psyche Interpretation

C. Theory of Inference

D. Eisenstein Principle


10. What is looping?

A. The process of setting up the projector for showing a print.

B. The use of wires and harnesses for stunts – literally looping the stars to scaffolding.

C. The process of re-recording the dialogue for a film.

D. The act of a camera rotating back on itself to film the space it came from.