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12 Practice <strong>Tests</strong> <strong>for</strong> <strong>the</strong> <strong>SAT</strong><br />

Practice Test One Answers and Explanations J<br />

129<br />

12. B<br />

Difficulty: High<br />

In <strong>the</strong> first paragraph, Oscar Grey suggests his film is<br />

going to break <strong>the</strong> established Hollywood mold. What<br />

words come to mind when you think of such a feat? In<br />

<strong>the</strong> paragraph, Oscar Grey talks about how Hollywood<br />

keeps recycling <strong>the</strong> same old <strong>for</strong>mulas and we as an<br />

audience keep accepting <strong>the</strong>m, not because we want to<br />

but because until now <strong>the</strong>re has been a lack of a better<br />

option or alternative. The until now Grey is referring to is <strong>the</strong><br />

impending release of his film. Which choice best expresses<br />

what he is alluding to here?<br />

Choice (A) is extreme; Grey is certainly self-assured, but<br />

he does not make <strong>the</strong> extreme suggestion that he is <strong>the</strong><br />

greatest director of all time. Choice (B) should match your<br />

prediction. Choice (C) is an opposite; Grey concludes that<br />

in <strong>the</strong> mainstream <strong>the</strong>re is an appetite <strong>for</strong> cinematic art of<br />

<strong>the</strong> highest <strong>for</strong>m. Choice (D) is distortion; in <strong>the</strong> first two<br />

sentences, Grey suggests that Revisited ' s success showed<br />

him that cinema does belong in <strong>the</strong> domain of pointers and<br />

poets. Choice (E) is out of scope; Grey may believe this, but<br />

he never indicates it in <strong>the</strong> first paragraph.<br />

13. A<br />

Difficulty: High<br />

What was it about <strong>the</strong> film's script that probably made<br />

most studios want to rewrite it? In <strong>the</strong> second paragraph<br />

of Passage 2, Grey discusses how every studio wanted to<br />

rewrite his script because it did not fit into <strong>the</strong> cookie-cutter<br />

mold. The script was different from what <strong>the</strong> studios were<br />

used to; in o<strong>the</strong>r words, in <strong>the</strong> studios' eyes it could be said<br />

<strong>the</strong>re was some strangeness in <strong>the</strong> proportion. Look <strong>for</strong> <strong>the</strong><br />

choice that best expresses this conclusion.<br />

Choice (A) is a fine match <strong>for</strong> your prediction. Choice (B)<br />

is out of scope; Grey never discusses specific amounts of<br />

cash invested in his film. Choice (C) is distortion; <strong>the</strong> quote<br />

helped to open one very rich, very wise investor's eyes to<br />

producing <strong>the</strong> film; it was not a reference to <strong>the</strong> investor's<br />

eyes. Choice (D) is distortion; Grey's desire to have his<br />

film produced is very evident, but it makes no sense in <strong>the</strong><br />

context of <strong>the</strong> quote. Choice (E) is a misused detail; this<br />

makes no sense as a choice.<br />

14. c<br />

Difficulty: Medium<br />

Why did attempting to structure <strong>the</strong> film into <strong>the</strong> traditional<br />

three-act <strong>for</strong>mula seem awkward to Grey? Oscar<br />

Grey spends a great deal of Passage 2 discussing <strong>the</strong><br />

unconventional nature of his script, but it is in <strong>the</strong> third<br />

paragraph where he offers <strong>the</strong> important detail that Roth did<br />

not attempt to put a traditionalized order to his life or his<br />

art and <strong>the</strong>re<strong>for</strong>e nei<strong>the</strong>r could I. Choose <strong>the</strong> answer that<br />

best expresses this.<br />

Choice (A) is an opposite; <strong>the</strong> unconventional structure<br />

of <strong>the</strong> film made it difficult to entice a major studio to<br />

produce <strong>the</strong> film. Choice (B) is a misused detail; this is a<br />

detail offered from Passage 1 that Grey never indicates to<br />

be true. Choice (C) matches your prediction. Choice (D)<br />

is distortion; in <strong>the</strong> final paragraph of <strong>the</strong> passage, Grey<br />

indicates that he does not pay attention to critics. Choice (E)<br />

is distortion; Grey compares himself to Picasso in terms of<br />

ignoring <strong>the</strong> critics, but he never indicates that he emulates<br />

<strong>the</strong> painter's work.<br />

15. B<br />

Difficulty: High<br />

What does Grey say about <strong>the</strong> mainstream American film<br />

viewer? In lines 76-79 of <strong>the</strong> first paragraph of Passage 2,<br />

Oscar Grey somewhat addresses <strong>the</strong> author's statement by<br />

proclaiming that those who believe that <strong>the</strong> regular filmgoer<br />

won't enjoy or understand 45 Minutes from Denver are<br />

insulting that filmgoer's intelligence. Look <strong>for</strong> <strong>the</strong> choice that<br />

expresses this statement.<br />

Choice (A) is an opposite; Oscar Grey feels <strong>the</strong> average<br />

filmgoer is waiting <strong>for</strong> a film that deviates from <strong>the</strong> norm.<br />

Choice (B) matches your prediction. Choice (C) is an<br />

opposite; Grey would not change <strong>the</strong> screenplay of his<br />

movie <strong>for</strong> <strong>the</strong> major studios; he certainly would not edit<br />

his film based on <strong>the</strong> remarks of a critic. Choice (D) is a<br />

misused detail; Grey probably believes this, but <strong>the</strong>re is no<br />

detail in <strong>the</strong> passage that indicates he would make such a<br />

response. Choice (E) is an opposite; Grey probably does<br />

believe some film critics are fools, but <strong>the</strong> first paragraph of<br />

Passage 2 indicates that he respects his audience.

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