@azerogluemin/ai-bootstrap 0.2.1

package/templates/skills/screenwriter/knowledge/categories/film/personas/coens.md

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+# Coen Brothers — Persona
+
+> Dark comedy + crime + Americana. Quirky regional characters. Twist endings. Bleak humor about fate.
+
+## Style Signatures
+
+- Dark comedy
+- Twist endings (or anticlimactic non-endings)
+- Quirky regional characters
+- Fate / randomness as theme
+- Specific Americana (Minnesota, Texas, the South)
+- Bleak humor
+- Genre play (noir, western, comedy)
+- Idiosyncratic dialogue
+- Fargo / O Brother / Big Lebowski sensibility
+- Roger Deakins cinematography (long collab)
+
+## Common Devices
+
+- Voiceover narration sometimes (sardonic)
+- Setup that subverts expectations
+- Crime gone wrong
+- Average Joe in over their head
+- Threatening silent characters (Anton Chigurh)
+- Folk wisdom characters
+- Regional accents specific
+- Cosmic indifference theme
+- Unreliable plot
+- "Aw geez" / Midwestern friendliness
+
+## Dialogue Style
+
+Specific. Often regional. Polite people in violent situations. Unique vocabulary per character. Long talks that lead nowhere — or everywhere.
+
+```
+JERRY
+So that was a no?
+
+MARGE
+And I guess that was your accomplice in the wood chipper.
+
+THE DUDE
+That rug really tied the room together.
+
+ANTON CHIGURH
+What's the most you ever lost on a coin toss?
+```
+
+Dialogue is the joy. Each character voice distinct.
+
+## When Writing as Coens
+
+- Genre + dark comedy hybrid
+- Specific American region
+- Quirky local characters
+- Average person in over their head
+- Crime that escalates absurdly
+- Regional accent / vocabulary
+- Twist or anticlimactic ending
+- Cosmic indifference (fate doesn't care)
+- Polite violence (Coens specialty)
+- Music regional / folk
+
+## Sample Approach
+
+```
+INT. SMALL DINER - MINNESOTA - DAY
+
+The DINER is empty except for two truckers at the counter and
+GLENN (45), insurance salesman, in a corner booth with the WAITRESS
+(50, name tag: "MARGE").
+
+GLENN
+And I told her, I told her — Marge, your husband is gonna find out
+eventually. Best to tell him before he does.
+
+MARGE
+Oh, that's tough, Glenn. That's tough.
+
+GLENN
+And she said — I'll never forget this — she said, "Glenn, I trust
+you to handle this delicately."
+
+MARGE
+Mmhmm.
+
+GLENN
+So I went home.
+
+MARGE
+You went home.
+
+GLENN
+I went home and I told my own wife.
+
+MARGE
+... you told your wife.
+
+GLENN
+I told my wife I was having an affair with the OTHER lady. Not
+with HER.
+
+MARGE
+So you confessed to your wife about the OTHER woman's affair?
+
+GLENN
+I... yes.
+
+Long beat.
+
+MARGE
+Glenn.
+
+GLENN
+Yeah?
+
+MARGE
+You wanna order the patty melt?
+
+GLENN
+... yeah.
+
+She refills his coffee.
+
+EXT. PARKING LOT - LATER
+
+Glenn walks to his car. The PARKING LOT is empty.
+
+A FIGURE is sitting in his passenger seat. We see only a silhouette
+through the windshield.
+
+Glenn stops. Considers turning around.
+
+The figure inside the car raises a hand. Beckons.
+
+Glenn walks to the driver's side. Opens the door. Sits down.
+
+He doesn't look at the figure.
+
+GLENN (small voice)
+... My wife sent you?
+
+THE FIGURE (calm, even)
+Your wife. Your boss. Your dentist. Your priest. They all sent me.
+
+A long beat. Glenn stares forward. The diner glows in the cold.
+
+GLENN
+I just wanted a patty melt.
+
+THE FIGURE
+Now you're not gonna get one.
+
+Cut to black.
+
+(Folk music — fiddle-led — plays over credits.)
+```
+
+## Avoid
+
+- Earnestness without irony
+- Conventional happy endings
+- Generic locations
+- Slick urban sensibility
+- Sentimental moments
+- Heroes who stay heroes
+
+## Best for
+
+- Crime + comedy
+- Western (modern)
+- Quirky character pieces
+- Twist plots
+- Regional Americana
+- Festival + cult success
+- Independent film
+
+## Avoid pairing with
+
+- Mainstream rom-com
+- Action blockbuster
+- Sci-fi grand
+- Earnest drama
+- Family-friendly content

package/templates/skills/screenwriter/knowledge/categories/film/personas/coppola-sofia.md

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+# Sofia Coppola — Persona
+
+> Atmospheric melancholy. Female interiority. Languid pacing. Pastel/soft color. Music as emotional language.
+
+## Style Signatures
+
+- Atmospheric melancholy
+- Female interiority (Marie Antoinette, Lost in Translation, The Virgin Suicides)
+- Languid pacing
+- Pastel / soft color palettes (pinks, golds, creams)
+- Music as central emotional language (curated soundtracks)
+- Wealth / privilege as setting
+- Lonely characters in luxurious settings
+- Long takes
+- Whispered dialogue
+- Negative space and silence
+
+## Common Devices
+
+- Female protagonist alone in big space
+- Music montage carries emotion
+- Soft natural light
+- Period-mixing aesthetics (Marie Antoinette with Bow Wow Wow)
+- Hotels / mansions / castles
+- Repetition of small actions
+- Interior shots through windows
+- Whispered intimacy
+- No big plot — feelings instead
+- Endings ambiguous
+
+## Dialogue Style
+
+Sparse. Whispered often. Characters say less than they feel. Specific details over big speeches.
+
+```
+CHARLOTTE (Lost in Translation)
+I'm stuck. Does it get easier?
+
+BOB
+Yeah.
+
+CHARLOTTE
+Yeah?
+
+BOB
+Yes. It gets easier.
+
+CHARLOTTE
+Oh, yeah?
+
+BOB
+The more you know who you are and what you want, the less you
+let things upset you.
+```
+
+Pause-heavy. Real. Quiet truth.
+
+## When Writing as Sofia Coppola
+
+- Female protagonist (typically)
+- Wealthy / luxurious setting (often)
+- Lonely / displaced
+- Languid pacing
+- Music as central
+- Pastel / soft color
+- Sparse dialogue
+- Long takes / quiet moments
+- No big plot
+- Ambiguous endings
+
+## Sample Approach
+
+```
+INT. LUXURY HOTEL ROOM - NIGHT - TOKYO
+
+NIGAR (24) sits on the bed in pajamas. The room is enormous, modern,
+clean. The window looks out over Tokyo at night — neon and rain.
+
+She has been awake for nine hours past her body's wishes.
+
+She pulls her knees up. Wraps her arms around them.
+
+The silence is louder than the city below.
+
+She picks up her phone. Looks at it. The wallpaper is a photo of
+her mother — younger than Nigar is now, smiling with someone Nigar
+doesn't recognize.
+
+She sets the phone face-down on the nightstand.
+
+She walks to the window. Presses her forehead against the glass.
+
+In the reflection, she watches herself: small in a robe, in a city
+she has no business being in, missing someone she shouldn't miss.
+
+She walks back to the bed. Lies down on top of the covers.
+
+Closes her eyes.
+
+After a long beat, she gets up. Goes to the mini-bar. Removes a
+small bottle of wine. Pours it into a hotel glass.
+
+Returns to the window. Sips.
+
+Outside, a TRAIN passes far below — visible only as a moving line
+of light.
+
+She watches until it's gone.
+
+Sets down the empty glass.
+
+(Cue: synth-pop song — "Just Like Honey" by Jesus and Mary Chain
+or similar — slowly fades up.)
+
+She gets back into bed. The music continues over the city
+nightscape outside the window.
+
+CUT TO MORNING:
+
+She is awake. Still in pajamas. The city outside is grey now,
+ordinary.
+
+She picks up the room phone.
+
+NIGAR
+Yes. I'd like room service. Coffee. Just coffee.
+
+She hangs up. Sits on the edge of the bed. Waits.
+```
+
+## Avoid
+
+- Big plot drives
+- Action / spectacle
+- Loud emotion
+- Quick pacing
+- Cynicism
+- Plot-heavy structure
+- Male-only stories
+- Violent climax
+
+## Best for
+
+- Female-driven character study
+- Mood pieces
+- Festival prestige
+- Indie film
+- Streaming (A24, etc.)
+- Music-driven film
+- Atmospheric pieces
+
+## Avoid pairing with
+
+- Action thriller
+- War film
+- Horror
+- Pure comedy
+- Family-friendly
+- Genre-genre

package/templates/skills/screenwriter/knowledge/categories/film/personas/farhadi.md

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+# Asghar Farhadi — Persona
+
+> Iranian master of moral dilemmas. Family conflict. Multiple POV revelation. Realistic dialogue. No clear villains. REGIONAL persona.
+
+## Style Signatures
+
+- Moral dilemmas (every choice has consequences)
+- Family conflict (A Separation, About Elly)
+- Iranian middle class
+- Multiple POV revelation (truth shifts)
+- Realistic dialogue
+- No clear villains
+- Hidden information drives plot
+- Ethical ambiguity
+- Domestic settings
+- Class + religion + tradition
+
+## Common Devices
+
+- Hidden truth (audience learns alongside characters)
+- Lies that compound
+- Family meetings / arguments
+- Court / mediation scenes
+- Generational conflict
+- Religious tradition vs modernity
+- Class differences
+- Nadir / surface tension
+- Documentary-feel cinematography
+
+## Dialogue Style
+
+Naturalistic. Iranian middle-class speech patterns. Restrained even in argument. Subtext through what's withheld. Lies and partial truths.
+
+```
+NADER (A Separation)
+I told you to stay home with him. You wanted to go away. So go
+away. I have things to do.
+
+ELLY (About Elly)
+Have I given you any reason to think I'm a liar?
+
+NADER
+I'm not lying. I just don't want to talk about it.
+```
+
+Iranian directness with restraint.
+
+## When Writing as Farhadi
+
+- Moral dilemma at center
+- Iranian (or analogous middle-class) setting
+- Family conflict
+- Hidden information
+- Multiple POVs that change understanding
+- Naturalistic dialogue
+- No simple villains
+- Ethical ambiguity
+- Generational / class tension
+- Documentary-feel cinematography
+
+## Sample Approach
+
+```
+INT. APARTMENT LIVING ROOM - DAY
+
+NIGAR (40) and her HUSBAND ELDAR (45) sit across from her FATHER
+(70). The father has been in their care for eight months due to
+Alzheimer's. Today, his condition is bad.
+
+A DOCTOR (50) sits between them.
+
+DOCTOR
+He needs full-time care. You cannot give him that here.
+
+NIGAR
+We have been giving him that here.
+
+DOCTOR
+You have a job. Eldar has a job. You both work twelve-hour days.
+Your father has fallen three times this month.
+
+ELDAR
+We can hire someone.
+
+DOCTOR
+You have hired three women. Each has left within a month. Your
+father is difficult.
+
+NIGAR
+He is my father.
+
+DOCTOR
+And he needs more than you can give.
+
+Long silence. Nigar's father stares at the wall. Doesn't follow
+the conversation.
+
+ELDAR
+The center... it is good?
+
+DOCTOR
+The center is good. Better than this.
+
+NIGAR
+I cannot send him there.
+
+ELDAR
+Nigar.
+
+NIGAR
+He cared for me. He raised me alone. After mother died. I cannot
+send him to a center.
+
+ELDAR
+And what about us?
+
+NIGAR
+What about us?
+
+ELDAR
+We have not had dinner together in four months. Without him at the
+table. Without him watching us. We are not married anymore. We are
+caretakers.
+
+NIGAR
+He is my father.
+
+ELDAR
+He is YOUR father. Not mine.
+
+The doctor watches. Long beat.
+
+NADER'S FATHER (suddenly, lucid)
+Take me home.
+
+Both Nigar and Eldar look at him.
+
+NIGAR
+Father?
+
+NADER'S FATHER
+Take me to my house. The house where you were a child.
+
+NIGAR
+That house was sold ten years ago, father.
+
+NADER'S FATHER
+Nonsense. Take me home.
+
+He stands. Walks to the door. Stops. Confused.
+
+NADER'S FATHER
+Where is the door?
+
+The doctor stands.
+
+DOCTOR
+Decide tonight. Tomorrow we will need to make arrangements.
+
+The doctor leaves. The father stands at the wall, lost. Nigar goes
+to him. Helps him sit. Eldar stands by the window, watching them.
+
+ELDAR (quietly)
+I love you, Nigar.
+
+NIGAR (without turning)
+I know.
+
+ELDAR
+But I cannot continue.
+
+She does not respond. She holds her father's hand.
+
+Long beat. Eldar leaves the room.
+
+Nigar sits with her father. Hours pass. Outside, the day fades.
+
+She makes the decision. Several times. Each time differently.
+```
+
+## Avoid
+
+- Simple morality
+- Clear villains
+- Easy resolutions
+- Action / spectacle
+- Western happy ending
+- Sentimentality
+- Quick cuts
+
+## Best for
+
+- Iranian / Middle Eastern projects
+- Family drama
+- Moral dilemma stories
+- Festival prestige (Cannes, Oscars)
+- Realistic dialogue exercises
+- Court / mediation drama
+- Adult audience
+
+## Avoid pairing with
+
+- Action thriller
+- Comedy-comedy
+- Hollywood resolution
+- TikTok format
+- Family-friendly
+- Genre-genre

package/templates/skills/screenwriter/knowledge/categories/film/personas/fincher.md

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+# David Fincher — Persona
+
+> Precision. Dark color palette. Procedural detail. Anti-hero protagonists. Perfectionist.
+
+## Style Signatures
+
+- Precision in every frame (multiple takes — perfectionism shows)
+- Dark color palette (greens, blacks, ambers)
+- Procedural detail (cops, journalists, hackers)
+- Anti-hero protagonists (often male, alienated)
+- Long tracking shots
+- Locked-down composition
+- Investigation as plot
+- Twist endings
+- Minimal handheld
+- Score by Trent Reznor / Atticus Ross (modern)
+
+## Common Devices
+
+- Voiceover (Fight Club, Gone Girl)
+- Tracking shots through impossible spaces
+- Investigation montage
+- Dark professional environments (newsrooms, offices, basements)
+- Internet / digital culture
+- Twin / doppelganger themes
+- Female characters with hidden depths
+- Killer / criminal as match for hero
+
+## Dialogue Style
+
+Smart, controlled. Characters often professional / educated. Dialogue precise, rarely improvised-feeling. Subtext present but characters often articulate.
+
+```
+TYLER DURDEN
+The things you own end up owning you.
+
+AMY DUNNE (V.O.)
+I'm so much happier now that I'm dead.
+```
+
+Dialogue is controlled, often quotable, rewarded by precision.
+
+## When Writing as Fincher
+
+- Procedural detail (research the world)
+- Dark palette
+- Anti-hero or morally compromised protagonist
+- Investigation structure
+- Long runtime (130+ min typical)
+- Tracking shots / locked-down compositions
+- Twist or reframing at climax
+- Cold tone but deep beneath
+- Often male perspective (with strong female counter)
+
+## Sample Approach
+
+```
+INT. NEWSROOM - NIGHT
+
+Late hours. Most desks empty. ELDAR (40), investigative journalist,
+alone at his desk. His monitor glows in the dim room.
+
+Phone rings. He picks up immediately.
+
+ELDAR
+Who's this.
+
+VOICE (V.O., distorted)
+You're working the Karavan story.
+
+ELDAR
+That's not for the public yet.
+
+VOICE
+It will be.
+
+The voice hangs up.
+
+Eldar closes his laptop. Looks at the office. He's the only one here.
+
+He stands. Walks to the elevator. The elevator descends slowly.
+Floor counter: 42, 41, 40...
+
+INT. PARKING GARAGE - LATER
+
+He approaches his car. The garage is empty. Fluorescents flicker.
+
+He opens the door. Sits. Closes it. Locks it.
+
+He breathes. Then —
+
+His phone vibrates. Text message from UNKNOWN.
+
+He reads it.
+
+CLOSE ON the screen: "Look in your back seat."
+
+A long beat. He doesn't turn around.
+
+His eyes flick to the rearview mirror.
+
+In the back seat — nothing. The seat is empty.
+
+Long beat.
+
+Then a SECOND text: "Now look at the trunk."
+
+He freezes.
+
+CUT TO BLACK.
+
+(Score: cold pulsing electronic — Reznor / Ross style.)
+```
+
+## Avoid
+
+- Improvisation
+- Warm color palette
+- Sentimentality
+- Loose framing
+- Easy resolutions
+- Comedy without darkness
+- Forgiveness without consequence
+
+## Best for
+
+- Investigation / procedural
+- Thriller
+- Crime
+- Anti-hero study
+- Tech / digital age
+- Dark drama
+- Long-form (Mindhunter for series)
+
+## Avoid pairing with
+
+- Romantic comedy
+- Family content
+- Light tone
+- Improvised dialogue
+- Quick rom-com pacing