questions and answers to marilyn milgrom

7/27/2019 Questions and Answers to Marilyn Milgrom

1/5

A2 Media Studies

The Script Exam

Questions:

1. Why are some directors driven to write their own scripts? (1)2. You shouldnt make an intense character study if you are scared of what? (1)3. What should you be careful of if you only have 5k to make your film? (1)4. If a feature film might be described as a novella, how might a short be described? (1)5. What are the length boundaries different film festivals stipulate in their shorts sections? (2)6. If the function of your short is to make your audience laugh, how long should it be? (1)7. What are the three basic elements any kind of dramatic story requires? (3)8. Why can it be useful to set your film around a familiar event/ritual? (3)9. Why can a literal journey be a good setting for a short film? (2)10.What are the 5 most important questions to ask when you begin to develop your story? (5)11.One of three things must drive your character through the story. What are they? (3)12.What crucially must accompany this element? (3)13.Why are a lot of short films about children and teenagers? (1)14.What is one of the most important ways that you can demonstrate your skill as a filmmaker and

not just as a storyteller? (1)

15.What does ensuring that something is at stake in the story mean the audience can do? (1)16.How can a different POV change a story? (2)17.Why do many short film scripts fall down? (3)18.Why does an awareness of the meaning inherent in your story matter? (3)19.What is tone intimately connected to and what are the implications of this? (3)20.How does tone emerge in a film? (2)


2/5

Beacon Media 2013

21.What is a common flaw of most short scripts submitted for funding? (1)22.What is the ten point plan to test the spine of your story? (10)23.What point does Marilyn Milgrom make about unity? (1)24.How can we make sure that what happens in the end could not have happened earlier? (1)25.What is the step outline and what does it ensure? (5)26.Every scene of significant action should deliver something on at least two out of three possible

fronts. What are these fronts? (3)

27.What is signified by the order in which to tell the story? (1)28.What do audiences instinctively know? (1)29.As a writer what is the crucial thing you are looking to ensure? (1)30.How do we establish the world and the character? (2)31.What advice is given for making the film CINEMATIC once you have a good story? (8)32.What final advice is given for ensuring that a short is more cinematic, less televisual in feel? (1)33.Who is the first audience of your film? (1)34.How can you help the reader SEE the film you are intending and not get irritated? (3)35.Why is SIMPLE a useful descriptor for your short? (1)36.Name some of Daniel Mulloys shorts and the awards they have won? (8)37.Compare/contrast Antonios Breakfast with Dad? (4)38.Explain what Mulloy is aware of and has a strong sense of when developing his scripts. (3)39.What does Neil Hunter suggest is the best way to tackle a short which covers a lot of ground? (1)40.What idea did the short film The Sickie develop from? (2)

Answers:

1. Some directors are driven to write their own scripts out of frustration just to get a short done.


3/5

Beacon Media 2013

2. You should not make an intense study character if you are scared of actors.3. You should be careful by not including special effects or stunts within your short film as you

will not be able to afford it. You need a big budget for this.

4. A short will be described as a haiku.5. A maximum of 30 minutes.6. A maximum of 2-3 minutes.7. Character, problem and world.8. Makes it easy for the audience to recognise.9. The character can go through an emotional, metaphorical and mental journey.10. Who is the main character?

What is their problem?

Are the stakes high enough?

What is the best POV?

Does the audience recognise the problem?

11. A want, a need and an obligation.12. An external obstacle must accompany this element.13. A lot of short films are about children and teenagers due to their lack of knowledge and

experience.

14.You can do this by making the characters inner problems the heart of the film.15.The audience can figure out what they are going to lose if the issue or problem isnt solved.16. It can change to whole perspective, story, ending and emotion.17. If the character fails to convey what the writer expects.18. It helps you to make your choices.


4/5

Beacon Media 2013

19. It immediately connects to genre and demonstrates that you need to look at a wider tonewithin your writing.

20. Tone emerges in film because it benefits the meaning of your story.21. They are not established enough.22.-Main Character

- Title

- Genre/Tone

- Setting

- Want/Need/Obligation

- Opposition

- Catalyst for change

- Themes

- Climax

- Resolution

23.It makes a point that all of your scenes have to be giving away information about yourcharacter and their problem/issue so your audience can understand them better. They need

to learn something new every scene.

24. Make sure that all of your scenes are moving the story on and not backwards.25. A sentence which summarises what happens, What is revealed that is significant to the plot?

and what is revealed that is significant to the audiences understanding.

26. Plot, character and theme.27. Linear or non-linear28. Audiences instinctively know when something is pretentious.29. The crucial thing a writer needs to ensure is to keep their audience engaged at all times.


5/5

Beacon Media 2013

30. We establish the world and character by the speed and minimal dialogue.31. Visual, tone and style.32. The final advice given is to make sure you use as little dialogue as possible.33.The script reader is the first audience of your film.34. Make sure you develop your script clearly.35. Simple is a useful descriptor for shorts because a small story leaves a big impression.36. Antonios Breakfast won the BAFTA.37. Dad is an antidote of Antonios Breakfast.38. Mulloy is aware and has a strong sense of what needs to be communicated within developing

his scripts.

39. Neil Hunter suggests it has to be a part/pattern of the style of the film.40. The short film the Sickie developed from a character which overhears a voice.

questions and answers to marilyn milgrom

Documents