Which Movie Director Are You?
What's your unique vision? This short quiz will tell you whether you're a budding Hitchcock, a Godard in waiting, or a true Bergman to be...
Casting: for which one of the following characters would you have cast Jack Nicholson in his heyday?
The Script: when thinking about an idea for a movie would you..
Theme: you're making a movie with a clown as a character, is the clown..
The Film Score: which type of musical accompaniment is most suited to your personality?
What is your favorite movie effect to see in a movie?
Supporting Cast: if you were to resurrect Rosie Perez's career, which supporting character would she play?
Adaptation: which classic children's story would you adapt?
Visual Motif: you decide to have a clock in your movie, is it..
Shooting: a sun rising over the horizon should be..
And finally, what was the greatest story ever told?
With subject matter concerning those on the fringes, the taken-for-granted, the unknown, the almost-forgotten, accidental everyday heroes, and innocents affected, your vision is broad, yet always from the subjective of the protagonist, using the pathos of music, sweeping dollies to reveal the forces of what are to come.
Your camera is ever our eyes; the shape and trajectory of the protagonist is at all times visually told, drawing us in with varying methods and techniques to portray confusion, terror, suffocation. Your subjects are the vulnerable, everyday types suddenly upended, the normal that becomes a living nightmare.
With a consistent subject matter that focuses on humanity in conflict, the master-disciple relationship, the power of nature, and the journey and perspectives of the hero, your methods include a myriad of powerful alternate editing techniques, encompassing the sounds of nature and the ironic use of music.
Intent more on commentating on the process of cinema itself, on the characters both inside and outside of the story, on the techniques and the forms of expression used by film and how they relate to the audience, you use random voice-overs, jump-cuts, and an ever moving camera that occasionally jars, often with a humor that acts as a meta-commentary on the commentary process itself.
You are obsessed with obsession and often the obsessed; employing techniques that constantly challenge the way films are crafted; with protagonists that are find themselves imploding within the very worlds they helped create.
Your subjects are the sensual from under the restricted, youth and nature acting out repressed desires, forever concerned with breaking out from the confines we find ourselves in; and with an uncanny eye for casting, utilizing actors for every whisper, for every held breath, your camera is held close and low to emphasize the smallest shifts of emotional moments.
You are content to be the world's worst director, with subject matter that begs belief, casting and script thrown to the winds, and the technical awareness of a pond frog; yet you still see yourself as a master of the form, yearning to torture the rest of the world.
You have a warm, naturalistic approach to movie-making, with themes that are both fantastic yet self-reflective, sensual yet brutal; your camera follows the joys of free sensuality of youth and love in tandem with the mood of is before you.