--“It really is not necessary for everything in the movie to be understandable my every member in the audience. It’s only necessary to make sure that everything in the movie can be understood.” 

• This means that the movie just needs to be understandable for each audience member, but the level of understanding doesn't have to be the same for each member.  Such as, a kid could be able to follow a movie and understand the story, and at the same time an film educated spectator could not only understand the simplistic layer that the child understood, but also understand the less obvious layer of allusions, genre reworkings, and the mix of post classical and classical techniques.

--What does Bordwell mean by “worldmaking,” and how does it affect the narrative design of individual films?

• Worldmaking is in reference to the post-classical technique of using extensive details that are almost unimportant to the actual story line itself, but it creates an entire world in which the story takes place.  These minute details have come to be appreciated while watching the film and even clues to even more of the story itself.  In films such as the Matrix, the worldmaking made it so that to truly understand every single aspect of the film it has to be entered from many different media levels outside of the film itself.  Worldmaking has only added to the intricacy and complexity of the narrative.

--What do Bordwell and Thompson mean by the claim that some films are “maximally classical”? What films do they have in mind?

• They utilize Hollywood's tradition of unity to the furthest extent. When "a film becomes more classical than it needs to be."  They go beyond the "standard causal cohesion" by giving "every scene several purposes; lines of dialogue point foward in unexpected ways; visual and aural motifs" usually only noticeable after watching the film several times.  
• ex) Back to the Future, The Hunt for Red October, Tootsie, Hannah and Her Sisters, Groundhog Day, Silence of the Lambs.

--What specific reasons does Bordwell propose for the rise and fall of contemporary genres?

• He says that once a specific genre has been done up to its current potential, and there seems to be nothing new they can add to it, it is better to go to the "road-less-traveled" genre.  Because, "they offer more room for originality and ingenuity.