Think outside the box, whilst inside the box (studio): As this studio is about working with constraints, I thought i'd google 'constraints in filmmaking' and see what comes up. One of the first links was to a journal article by Heidi Philipsen entitled 'Constraints in Film Making Processes Offer an Exercise to the Imagination'. Interestingly enough the first sentence of her article states: "I would like filmmakers interested in thinking "outside the box" to recognize that they can benefit from being placed "inside a box." I wonder if Paul had contemplated this whilst choosing the name for this studio. Throughout her article Philipsen challenges the notion that creativity is an intangible innate quality, existing within the mind of one source, but rather creativity arises from a multitude of sources. Alike all things shared she suggests that creativity is easier to enhance by changing environmental conditions, rather than encouraging people to 'think more creatively'. Perceiving creativity in this way allows you to see it as an organisationally influenced phenomenon, rather than a psychological and individual phenomenon. Which enables you to have more control over creativity and to encourage creativity once being aware of how it can be environmentally enhanced. As Csikzentmihalyi (1996) states "a genuinely creative accomplishment is almost never the result of a sudden insight, a lightbulb flashing on in the dark, but comes after years of hard work". Constraints, as Philipsen suggests is one such way to manipulate the environment to enhance creativity. Students who attended The Film School in Denmark, who were forced into working with constraints for their projects eventually considered constraints to be both useful and inspirational. Such constraints included: making a scene with a specific theme, within a specific deadline and with other specific conditions concerning the use of camera, sound, actors etc. Students stated that these constraints ultimately made them feel secure, inspired and focused and... Question: After the end of this story, John is probably: Options: A. annoyed B. married C. not enough information D. hungry === The correct answer is
B

Mr. Drake hurried into the trailer, and Ethorne, Gwenny, Johnny Tepes, and I looked up as Mrs. DeLyon followed him. He looked at me. "Where would Digger go?" I shrugged and blinked. The question made no sense; Digger would not go anywhere. When he slept, he slept for ten hours. You could toss him around like a sack of potatoes, and he would not wake up. With one exception. "Bathroom?" Mrs. DeLyon shook her head. "No." Mr. Drake said, "And he's not in any of the beds. We looked in all three." Mrs. DeLyon said, "And under them. And I called for him. He wouldn't hide from me, would he?" I shook my head. Ethorne got up, went to the door, and shouted, "Digger! Where is you, Digger-boy? You don't need to hide no more. Everything's fine now!" The dogs barked in response, but no person answered. Mrs. DeLyon said, "Call Dr. Lamont. Maybe Susan put him in the backseat and forgot to tell us." Mr. Drake's voice held as little hope for that as Mrs. DeLyon's, but he said, "All right." Mrs. DeLyon said, "We'll get Chris to bed in the meantime." "I'm in charge," I said. Ethorne said, "When there's nothing you can do, you might as well sleep. Save your strength for when you need it." Mrs. DeLyon said, "Don't worry. At least one of us will stay in the trailer until your folks get back." Gwenny said, "C'mon, boyfriend. I'll see you to your bed." I said, "I can go by myself." Gwenny looked at Mrs. DeLyon, then at Johnny Tepes. "Well, that's a blow to a girl's ego." They smiled without much humor, and Mr. Drake hung up the phone. Ethorne said, "What is it?" Mr. Drake said, "Let's get Chris to bed first." I stood and went to the door. "G'night." Question: When did the dogs bark? Options: A. After Ethorne shouted. B. not enough information C. When Chris went to bed. D. When Gwenny spoke. === The correct answer is
A

Q: Television drama's whole point is to bring you through an often slow start, followed by a complex development to a point where there are two or three potential denouements before, "Cut!", it is the end of the episode and you will have to await the "right answer" in the following week's show. This post came to me at 10pm last night, on Day 16 of this challenge, after a day of holidaying in London and with my head (and feet) too weary to put finger to touchscreen. Mrs Mc and I had just watched another live instalment of Broadchurch, murder mystery extraordinaire, particularly since in the second series there is no actual fresh murder to investigate. The verdict is about to be given on the accused killer from Series 1 when the inevitable happens... Cue title music. This moment has even gained a moniker in British homes, based on the theme tune to the real masters of the four-times-a-week cliffhanger, London-based soap opera Eastenders. It's call a "ba...ba...ba...ba, ba, ba-ba-ba-ba" (YouTube will provide overseas readers with auditory explanation). Eastenders is such a master of writing in the perfect pace that every 28 minute episode ends with a tantalising screen freeze on the latest shocked face / smirking baddy / confused victim. For really big stories the cliffhanger can last significantly longer. This week, to celebrate the show's 30 year birthday, we will finally find out the answer to a question unanswered for the past 14 months: "Who killed Lucy Beale?" Now, most classrooms do not involve murder, incest, dodgy deals and danger, but "good teaching" encourages a type of pacing that totally ignores the ingredients that have millions in the edges of their seats every day: the good old cliffhanger. In fact, we see teachers giving away the punchline at the beginning: "Today we are learning this:..." Question: Who watched the drama with the author? Options: A. Mrs Mc B. A writer C. Lucy Beale D. not enough information === The correct answer is
A: A