MOCK CHECKPOINT PAPER 1 (NON-FICTION)
Section A: Reading
Text A
Read this extract from the article of writing a film score by Ian Hand.
Frame by Frame
I’ve been a musician and film fan for as long as I can remember. As a child I had been blown
away by the Star Wars trilogy. So when I was offered the opportunity to write the music
for a short film, I jumped at the chance. The film was a reworking of the Don Quixote story –
with our modern-day hero doing battle with pollution-belching buses rather than windmills.
The bittersweet opportunity arose through the singer in my band, who had seen a stage play
produced by a local TV company, which included music from local bands and musicians. We had
been contacting a number of TV companies, offering our services for their next production. After
so much rejection, a local company finally asked for a sample of our music, which we sent off.
They liked it, and offered us the position of ‘resident band’ in a two-night multi-media
event. The event was a great success, and, soon after, we were offered the chance to write the
film score for a short film entitled ‘Windmills’. I had no idea how to write one of these, but I was not
about to miss this opportunity so immediately said ‘yes’.
The remit was broad – write what I thought was appropriate. My first idea was an upbeat
song but I quickly discarded this in favour of something Spanish to tie the film to the original
story set in medieval Spain. I already had a Spanish-style chord progression I had been
toying with for some time. Now I had found a use for it.
The first problem was that the film was not yet finished, and I had only a vague idea of what to
expect. I decided the best way to tackle this problem was to write a piece of music with several
different parts, which would allow me to place them in different scenes. These parts would need to
convey different moods, be lengthened or shortened and be able to fit together in any
order. I took my idea to the musicians I was working with, and over the next week, wrote a
song with six distinct sections.
Eventually, I received a rough cut of the film, and began to restructure the song to fit
each scene. Fortunately, the musical ideas fitted well, and I only had to lengthen and shorten the
different parts to fit the scenes.
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25
Now answer the questions in the space provided.
1. (a) Look at lines 1-3. What position did the television company first offer the writer’s band?
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(b) What effect does the writer create by using a dash ( – ) in the first paragraph?
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2. Give a personification from lines 1-4.
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3. (a) Look at lines 5-11. What is the phrase ‘bittersweet opportunity’ an example of? Tick (√) one box.
an oxymoron
alliteration
a euphemism
personification
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(b) What does the phrase ‘bittersweet opportunity’ tell the reader about the writer’s attitude towards his
band’s effort?
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4. The writer had found a use for it (line 16).
(a) What does the word ‘it’ refer to?
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(b) From the paragraph, give two pieces of evidence that made him change his mind for not using an
upbeat song in his film score.
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5. (a) Look at lines 17-22. What literary techniques does the writer use to show his endeavour? Tick (√) two
boxes.
comparison
strong adverbs
repetition
sentence length
onomatopoeia
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(b) The reader learns some ways to write a film score in lines 17-22. What are the ways the reader learns
on how to write the film score for an unfinished movie?
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6. Look at lines 23-25. What things are favourable to the writer? Give two.
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Text B
Read this extract written for a particular actor to play the main role for a musical. The musical is
about the life of the famous escape artist and illusionist Harry Houdini.
A Living Casting
Dear Mr Jackman,
I’m hoping your agent will have passed this email on to you, together with the script for my
proposed stage play ‘Houdini’.
No, don’t stop reading – I know there’s history here. I’m not connected to the other theatre team
who were trying to plan the musical you pulled out of. Like you, I can see plans to base that show
on Houdini’s crusade to prove that mediums claiming psychic powers were fakes was never going
to make a great story anyway.
I’ve not made much of his Hungarian birth, rabbi father and the whole name thing – much of that
is covered already in books like the Silverman biography, ‘Houdini! The Career of Ehrich Weiss’.
I’ve really kept the focus post 1899 when he’d abandoned traditional magic to concentrate on his
escapes and tricks. Let’s face it, they were amazing – we all want to know even now how he did
them. You’ve got the same physical strength and athletic build he had so you could perform the
tricks relying on those qualities for real.
To build to his death at the end, I’ve left hints of the theories throughout and included facts that
support them. I’ve made it clear he was suffering ill-health, supporting the appendicitis argument.
The death threats will be obvious of course, hinting at murder whether by arsenic or not. I’ve
underplayed the student-punching-him-in-the-stomach-before-he-was-ready claim, so that
audiences realise later that if true, it might’ve been the fatal blow.
Brilliant! The scene where he impersonates a medium to help a struggling show is based on a real
occasion in Kansas. I loved the idea of recreating that astonishment, wonderment and puzzlement
as his audience on stage get more and more spooked by how much he can tell them of their dead
relatives – so that we can see, as he’s fooling his audience, what he’s been up to earlier in the
day, snooping round cemeteries for information and drawing out the gossips. Classic!
Houdini was no ordinary entertainer: his impossible escapes and illusions would amaze audiences
again. Hopefully, you’ll like what you read and agree to bring our hero back to life one last time.
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25
Now answer the questions in the space provided.
7. What is the main idea of the third and fourth paragraphs (lines 4-13)? Tick (√) one box.
to persuade the recipient
to inform the recipient
to give personal arguments
to describe the role of the recipient
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8. Text B is a personal letter. Give two features of a personal letter used in Text B.
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9. Identify the rule of three (rhyme) used in the sixth paragraph (lines 19-23).
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What effect of this language device?
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10. Explain using your own words what is suggested by the phrase ‘bring our hero back to life’ (line 25).
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11. (a) List the points from Text B which show that as an artist and magician, Houdini’s life has some
interesting facts.
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(b) Now write a summary of up to 50 words about the facts of Houdini and his life according to Text B.
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Section B: Writing
12. Write an article for a film magazine, giving your opinion on what makes a great film.
You should consider:
● the genre of the film, e.g. comedy, musical, sci-fi, documentary, etc.
● the elements which help to make it great, e.g. the screenplay, the setting, the special
effects, the actors’ performances, etc.
● some examples of great films that you know.
Space for your plan:
Write your article on the next page.
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ANSWER KEY:
1. (a) film scorer / to write short film music. (b) to give a strong pause, then gives emphasis to extended
information following the pause.
2. ‘pollution-belching buses’
3. (a) oxymoron (b) his band is persistent / never gives up / optimistic / tough
4. (a) the Spanish-style chord progression he created (b) the film’s setting is medieval Spain and the writer
realises that he needs to add something Spanish to his music to tie the film.
Accept answer: He has already had a Spanish chord.
5. (a) repetition and sentence length (b) write the score in several different parts, make sure that each of
them will bring different moods to fit different scenes.
6. The musical ideas was suitable for the film / the restructuring was successful / he only needed to do
slight modification / to lengthen and shorten the different parts. Accept any TWO.
7. to persuade the recipient
8. A mix of personal (informal) language, written in the first person point of view, including personal
information and opinions. Accept any TWO.
9. ‘astonishment, wonderment and puzzlement’ ------- effect: to make the ideas (examples) more
memorable and interesting for the audience / easy to remember.
10. Mr Jackman will need give the energy / portray the role of Houdini in a realistic way / convincingly.
11. (a) Accept minimum 6 points to gain full marks.

extra-ordinary life / there were plans for musical / stage version of his life

born in Hungary / Hungarian

father a rabbi / father was Jewish

changed name / real name Ehrich Weiss (spelling)

biography about him / biographies about him / books about him

abandoned traditional magic (for tricks)

audiences were amazed (by his tricks escapes, illusions)

he was ill / underwent surgery / had appendicitis [do not allow ruptured appendix]

he received death threats
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impersonated a medium / snooping around cemeteries for information / told audience about dead
relatives / drawing out the gossips for information
(b) Notes:
• Only one point per numbered bullet in an answer can be credited.
• Additional incorrect information negates.
• Credit responses in 3a which convey the essence of the point.
Where a point is awarded, indicate with a tick. Where a point is insufficiently clear, indicate with a ^
Where a point is incorrect, do not annotate. Where a point is repeated, indicate with REP.
Although lifting of words and phrases from the passage is acceptable, candidates should show evidence of
understanding and selection by clearly focusing on the key details. Over-lengthy lifting (e.g. of whole
sections containing a number of points) should not be credited.