*Question*
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." Where did they look for Digger? Pick the correct answer from the following options: - His bed - cold bathroom - Chris' bedroom - not enough information
**Answer**
His bed

*Question*
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... John believes that Pick the correct answer from the following options: - Fred was married - Fred was not a good guest - not enough information - Fred was his friend
**Answer**
Fred was not a good guest

*Question*
He had a 12" Sony black-and-white, tuned to MTV, sitting on a chair at the end of the bed. He could barely hear it over the fan in the window. He sat in the middle of the bed because of the sag, drumming along absently to Steve Winwood's "Higher Love." The sticks were Regal Tip 5Bs. They were thinner than 2Bs--marching band sticks--but almost as long. Over the years Stan had moved farther out over the ends. Now the butts of the sticks fit into the heels of his palms, about an inch up from the wrist. He flipped the right stick away when the phone rang. "Stan, dude! You want to work tomorrow?" "Yeah, probably. What have you got, Darryl? You don't sound right." "Does the name Keven Stacey mean anything to you?" "Wait a minute." Stan switched the phone to his other ear. "Did you say Keven Stacey? As in Foolsgold, Kevin Stacey? She's going to record at CSR?" "You heard me." Stan could see Darryl sitting in the control room, feet up on the console, wearing double-knit slacks and a T-shirt, sweat coming up on his balding forehead. "This is some kind of bullshit, right? She's coming in for a jingle or a PSA." "No bullshit, Stanley. She's cutting a track for a solo album she's going to pitch to Warner's. Not a demo, but a real, honest-to-Christ track. Probably a single. Now if you're not interested, there's plenty of other drummers in LA..." "I'm interested. I just don't understand why she wants to fuck with a rinky-dink studio like yours. No offense." "Don't harsh me, bud. She's hot. She's got a song and she wants to put it in the can. Everybody else is booked. You try to get into Record One or Sunset Sound. Not for six months you won't get in. Even if you're Keven Stacey. You listening, Stan?" He heard Darryl hitting the phone on the edge of the console. "That's the Big Time, dude. Knocking on your door." At the end of the story Stan is: Pick the correct answer from the following options: - excited - not enough information - disappointed - angry
**Answer**

excited