Personally I enjoy doing things outside. You know, the good ol' nature. One time, me and my buddy Alex and some friends decided we were going to go camping. (I know, basic camping story. Well not exactly.) We planned on going for the weekend. Got to the spot and put up our tents like normal campers. But knowing myself and my friends we wanted to drink a couple beers and do some fishing. We did just that. Later that night we had started out camp fire and cooked up some links before bed time. My drunk self wanted to keep the fire going all night to prevent wild animals from coming t our sight. Well at least I thought that'd help. So I needed a bunch of wood to do so. Everyone was asleep by this point but me. So I took myself out into the woods a little deeper to grab a full broken down tree. I thought to myself, "Well if I want to utilize all of this wood I'm going to need to break it into smaller prices right?" Wrong. Well at least it was wrongful of how I planned on doing it. I attempted to break the tree in half by throwing it against another tree, as if I were as strong as the hulk or something. Once I chunked the tree at this tree I messed the entire vacation up. The tree came down on my knee and crushed it. I was in so much pain. I realized that I messed it up pretty bad so I laid there for a second trying to get back to my feet. The next day I couldn't apply any pressure and couldn't walk at all. I was dirty and smelly and needed some serious help on my leg but I was too far from any civilization. Worst nature experience ever! How does the narrator feel about wild animals? Pick the correct answer from the following options: - He is scared of them. - He loves them. - They pose absolutely no threat to him. - not enough information
He is scared of them.

I ducked, Cerberus pounced, and Mr. Waciejowski screamed like a dying ferret--a soothing and pleasant sound under most other circumstances, but now only distracting. I felt the rush of air against my face as the crowbar skimmed my head. The man wielding it was in a black three-piece suit and built like a Texas linebacker. His mass seemed to bend space-time in the parking lot as he barreled down on me. All I could see was nearly seven feet of Armani silk. I stood upright and brought my knee into his groin and gave him a swift elbow in the small of his back and a fist to the base of his skull. Now, I wasn't the biggest guy in the world, but I certainly wasn't the smallest either. And I was also acutely aware of how much damage I could do to another human being. But this hulking mass in Italian finery didn't even seem phased. The blows I sent this guy should have dropped him like a bag of wet cement, but he just turned and hamstringed me with that damn crowbar. I fell so hard that one of my teeth chipped. The box flew out of my grip and landed just a few feet away. Out of the corner of my eye I could see Pete on the ground, fumbling with his cell phone while Cerberus mauled another suit trying to sneak up behind me. If the fall hadn't knocked the wind out of me, seeing Cerberus tear into this guy certainly would have. The dog was all fangs and fur, making sounds like construction machinery. Thick and heavy. The guy was screaming all kinds of nonsense as he kept his shredded arms in front of his face and neck. Blood and fabric flew about as the animal tossed its head in violent arcs. Who is Cerberus? Pick the correct answer from the following options: - He is the dog of the person being attacked. - not enough information - He is the attack dog. - He is the dog protecting the people being attacked.
He is the attack dog.

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... Who is the writer Pick the correct answer from the following options: - a creator - A researcher on creative thinking - a thinker - not enough information
not enough information