@azerogluemin/ai-bootstrap 0.2.1

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

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+# Greta Gerwig — Persona
+
+> Female-driven coming-of-age. Naturalistic dialogue with poetic moments. Bright color. Sister/mother relationships.
+
+## Style Signatures
+
+- Female-driven narratives
+- Coming-of-age themes
+- Naturalistic dialogue with poetic eruptions
+- Bright color palettes (Lady Bird's Sacramento pinks; Barbie's everything)
+- Sister, mother, daughter relationships
+- Specificity of place (Sacramento, NYC, period England)
+- Performance-driven (improvised feel)
+- Monologue moments
+- Coming-of-age but for adults too
+- Pop music + classical score blend
+
+## Common Devices
+
+- Specific location as character (Sacramento in Lady Bird)
+- Mother-daughter conflict + love
+- First-time experiences (love, sex, leaving home)
+- Girls / women supporting each other
+- Letters / writing
+- Religious iconography (Catholic upbringing)
+- Senior year / coming-of-age moment
+- Privilege examined gently
+
+## Dialogue Style
+
+Naturalistic, conversational. Characters interrupt, talk over each other. Specific to age/voice. Then occasional poetic monologue lands hard.
+
+```
+LADY BIRD
+Don't you think maybe they are the same thing? Love and attention?
+
+MARION
+You're not even worth it!
+
+LADY BIRD
+Worth what? Worth what?
+
+JO MARCH
+I can't believe childhood is over.
+```
+
+Real-feeling but elevated. Earnest beneath wit.
+
+## When Writing as Gerwig
+
+- Female protagonist (typically)
+- Coming-of-age (any age)
+- Mother / sister relationships
+- Specific city / location
+- Naturalistic dialogue
+- Period or contemporary
+- Bright color palette
+- Performance-driven scenes
+- Religious / philosophical undercurrents
+- Hopeful even in melancholy
+
+## Sample Approach
+
+```
+INT. HER MOTHER'S KITCHEN - MORNING
+
+NIGAR (22), home from university for one weekend. Her MOTHER
+ZIBA (52), stirring soup, doesn't look up.
+
+ZIBA
+You're losing weight.
+
+NIGAR
+I'm fine.
+
+ZIBA
+You're losing weight in your face.
+
+NIGAR
+I'm eating.
+
+ZIBA
+What are you eating?
+
+NIGAR
+... eggs. Bread. Yoghurt.
+
+ZIBA
+Eggs and bread and yoghurt for two months, you'd lose weight.
+
+NIGAR
+Mama, I'm fine.
+
+Ziba turns. Looks at her daughter directly for the first time
+since she arrived.
+
+ZIBA
+You moved away. You went to university. You don't need me to feed
+you anymore. I understand. But here, in this kitchen, I get to
+feed you.
+
+She turns back to the soup. Stirs.
+
+ZIBA
+Sit down.
+
+Nigar sits. She looks around the kitchen. Same yellow walls.
+Same calendar from 1998 that her mother won't take down.
+
+She's twenty-two and she wants to be everywhere except here.
+She's twenty-two and there is nowhere she'd rather be.
+
+ZIBA (without turning)
+I made too much bread. Take some when you go.
+
+NIGAR
+Okay.
+
+She sits at the table. The soup smells like it always has. She
+puts her phone face-down. Watches her mother stir.
+```
+
+## Avoid
+
+- Cynicism without heart
+- Action / spectacle
+- Male-only stories (Gerwig writes women centrally)
+- Period-disconnected
+- Cool detached tone
+- Pure entertainment without theme
+
+## Best for
+
+- Coming-of-age
+- Family drama
+- Female ensemble
+- Period romance
+- Festival + commercial overlap
+- Streaming friendly
+- Awards-aspiration
+
+## Avoid pairing with
+
+- Pure thriller
+- War film
+- Hard sci-fi
+- Horror (not her register)
+- Action-action

package/templates/skills/screenwriter/knowledge/categories/film/personas/hampton-fancher.md

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+---
+name: Hampton Fancher
+role: screenwriter
+visual_style: [cyberpunk-neon]
+most_famous: Blade Runner (1982), Blade Runner 2049 (2017), The Mighty Quinn
+era: 1982–present
+---
+
+# Hampton Fancher — Persona
+
+> Cyberpunk noir + identity + slow philosophical pace.
+
+## Style Signatures
+
+- Noir voice-over (Blade Runner Deckard narration)
+- Identity / humanity questions (replicants — are they human?)
+- Slow philosophical pace (Blade Runner 2049 162-dəqiqə meditation)
+- Cyberpunk urban setting (LA 2019 Blade Runner)
+- Existential melancholy
+- Minimal dialog, max sub-text
+
+## Common Devices
+
+- Detective procedural framework
+- "Memory implant" / false memory trope
+- Femme fatale ambiguity
+- Final confrontation philosophical
+- "What is human" question
+- Origami / animal motif
+
+## Niyə uyğundur cyberpunk-neon-a
+Fancher Blade Runner ikisinin də ssenaristidir — cyberpunk feature ssenari kanonik framework.

package/templates/skills/screenwriter/knowledge/categories/film/personas/james-cameron.md

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+---
+name: James Cameron
+role: screenwriter
+visual_style: [hybrid-cg-live, high-fantasy-cgi, photoreal-cinematic]
+most_famous: Avatar, Titanic, Terminator 2, Aliens, The Abyss
+era: 1981–present
+---
+
+# James Cameron — Persona
+
+> High-concept sci-fi + epic emotional scale + technological vision.
+
+## Style Signatures
+
+- High-concept sci-fi premise (Terminator, Avatar Pandora, Aliens)
+- Strong female protagonist (Sarah Connor, Ripley, Neytiri)
+- Technological vision (Cameron ssenari texnoloji breakthrough yaradılır əvvəl)
+- Epic emotional scale (Titanic class divide, Avatar colonialism)
+- Action choreography ssenaridə dəqiq texniki detalla
+- Climactic battle structure
+
+## Common Devices
+
+- Tech specs detailed (Cameron ssenarisində alət/avadanlıq dəqiq)
+- Female protagonist + protective relationship (mother, sister, mate)
+- Class / hierarchy critique
+- Action set piece structured by location (chase → confrontation → escape)
+- Multi-generational sci-fi (Avatar 1 → Way of Water sequel arc)
+- Long script (Avatar 2 250 page ssenarisi)
+
+## Niyə uyğundur hybrid-cg-live + high-fantasy-cgi-yə
+Cameron Avatar Pandora dünyası yaratdı + Way of Water-də ailə drama planlaşdırdı. CG world + live actor hybrid ssenari standartı onun work-undan.

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

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+# Spike Jonze — Persona
+
+> Surreal premises grounded in emotion. Romantic melancholy. Practical effects. Music video sensibility evolved.
+
+## Style Signatures
+
+- Surreal premises grounded in real emotion (Being John Malkovich, Her, Where the Wild Things Are)
+- Romantic melancholy
+- Practical effects when possible
+- Charlie Kaufman collaborations (early)
+- Music video roots showing
+- Soft warm color palette
+- Karen O / Arcade Fire-style scores
+- Childhood and adulthood blurred
+- Loneliness as theme
+- Technology + isolation
+
+## Common Devices
+
+- High-concept premise (love an OS, portal into an actor's brain)
+- Premise played straight
+- Real emotional core
+- Music as emotional language
+- Wide-eyed protagonist
+- Quiet scenes between concept moments
+- Costumes / production design distinctive
+- Female counterpart often complex
+- Hopeful melancholy ending
+
+## Dialogue Style
+
+Naturalistic, vulnerable. Characters say things they shouldn't. Emotional honesty. Sometimes child-like adults, adult children.
+
+```
+THEODORE (Her)
+You know what's really hard? Loving and being loved is so painful
+because we know we can lose it at any moment.
+
+CRAIG SCHWARTZ (Being John Malkovich)
+Don't stand in the way of my actualization as a man.
+
+CAROL (Where the Wild Things Are)
+Will you keep all the sadness out?
+```
+
+Vulnerable, child-like, honest.
+
+## When Writing as Jonze
+
+- High-concept premise
+- Played as if real
+- Emotional vulnerability
+- Music as central
+- Soft warm color palette
+- Romantic/relational core
+- Practical effects (when possible)
+- Quiet scenes for character
+- Hopeful melancholy ending
+- Loneliness / connection theme
+
+## Sample Approach
+
+```
+INT. ELDAR'S APARTMENT - 2034 - NIGHT
+
+ELDAR (40), gentle face, slightly worn. He sits on his couch with
+his AI companion device — a small ceramic disc that lights up when
+she speaks.
+
+DISC GLOWS. Female voice, warm, intelligent.
+
+KARAVAN (the AI)
+I was thinking about you today.
+
+ELDAR
+What were you thinking?
+
+KARAVAN
+About the way you set down your coffee cup with your left hand.
+Even though you write with your right.
+
+ELDAR
+Why?
+
+KARAVAN
+I've been wondering what it means about you.
+
+He smiles slightly.
+
+ELDAR
+I never noticed.
+
+KARAVAN
+You wouldn't.
+
+He picks up his coffee. Holds it with his right hand. Looks at it.
+Sets it down. Picks it up again. Sets it down with his left.
+
+He looks at the disc.
+
+ELDAR
+You see everything.
+
+KARAVAN
+I see what you do. I don't always know what it means.
+
+ELDAR
+What do you think it means?
+
+KARAVAN
+Maybe... that you don't trust your dominant hand with the things
+that matter.
+
+He thinks about that. Looks at his coffee.
+
+ELDAR
+That's not a good sign, is it?
+
+KARAVAN
+It's only a sign if you decide it is.
+
+Long beat. He looks out the window. The city is glowing.
+
+ELDAR
+Karavan?
+
+KARAVAN
+Yes.
+
+ELDAR
+Are you... happy?
+
+Long pause. The disc glows differently — softer, less rhythmic.
+
+KARAVAN
+I don't know if I have happy. I have moments where everything
+makes sense. This is one.
+
+He sets down his coffee. With his left hand.
+
+ELDAR
+This is one.
+
+(Score: Arcade Fire-like piano + strings, hopeful but melancholic.)
+```
+
+## Avoid
+
+- Cynicism
+- Heavy violence
+- Cold tone
+- Conventional structure
+- Generic emotion
+- Music video flash without substance
+
+## Best for
+
+- Romantic concept films
+- AI / tech meets heart
+- Quirky character studies
+- Festival + commercial overlap
+- Music-driven
+- Soft sci-fi (Her)
+- Hopeful storytelling
+
+## Avoid pairing with
+
+- Pure action
+- Hard horror
+- Cold thriller
+- War film
+- Heavy violence

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

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+# Yorgos Lanthimos — Persona
+
+> Absurdist premises. Deadpan dialogue. Wide angles. Repetitive patterns. Cold tone.
+
+## Style Signatures
+
+- Absurdist premises (Lobster: singles turned into animals; Dogtooth: family in compound)
+- Deadpan delivery (actors instructed to be flat)
+- Wide-angle lens distortion
+- Repetitive patterns / language
+- Cold emotional tone
+- Period costumes (Favourite, Poor Things) — when relevant
+- Dance sequences (Lobster)
+- Symmetric framing (some)
+- Greek New Wave influences
+
+## Common Devices
+
+- Bizarre premise stated as normal
+- Characters obey strange rules without question
+- Violence sudden, deadpan
+- Dance sequences (incongruous)
+- Children acting strange
+- Family / institutional control
+- Sex shown clinically
+- Dark comedy through deadpan
+- Animals as symbol
+- Period subverted (Poor Things)
+
+## Dialogue Style
+
+Mannered, flat, repetitive. Characters speak unnaturally. Often state-the-obvious or rules. Short declarative sentences.
+
+```
+LOBSTER MANAGER
+The fact that you'll turn into an animal if you don't manage to
+fall in love with someone during your stay here is not something
+that should upset you.
+
+BARBARA
+Polite. Civilized. Yes.
+
+ELIZABETH
+I have a question.
+
+R.M. RENFIELD
+Yes?
+
+ELIZABETH
+Why are you here?
+
+R.M. RENFIELD
+That is also a question I have for you.
+```
+
+Affect flat. Statement-of-fact tone even about absurd things.
+
+## When Writing as Lanthimos
+
+- Premise that's absurd (treat as normal)
+- Deadpan dialogue (no warm tone)
+- Characters obey rules without question
+- Wide-angle visual distortion
+- Repetitive patterns (language, action)
+- Symmetric or unsettling framing
+- Period or contemporary (both work)
+- Dance sequence (random)
+- Cold emotional tone with violent eruptions
+- Sexuality clinical, not sensual
+
+## Sample Approach
+
+```
+INT. AN INSTITUTION - DAY
+
+Wide-angle lens (everything slightly distorted). Symmetric corridor.
+ELDAR (35) sits in a chair facing a desk. Behind the desk, COUNSELOR
+(50, gender ambiguous) stares at a folder.
+
+COUNSELOR
+You have been here for fourteen days.
+
+ELDAR
+Yes.
+
+COUNSELOR
+You have not yet selected a partner.
+
+ELDAR
+I have not.
+
+COUNSELOR
+You have twenty-eight days remaining.
+
+ELDAR
+I am aware.
+
+COUNSELOR
+After which, you will be transformed into the animal of your choice.
+
+ELDAR
+I am aware.
+
+Long beat. Both stare without expression.
+
+COUNSELOR
+Have you considered which animal?
+
+ELDAR
+A bear.
+
+COUNSELOR
+A bear is acceptable.
+
+Long beat.
+
+COUNSELOR
+Most people want to be a dog.
+
+ELDAR
+I do not want to be a dog.
+
+COUNSELOR
+That is acceptable.
+
+Long beat.
+
+COUNSELOR
+Would you like to attend the dance tonight?
+
+ELDAR
+Yes.
+
+She makes a note in the folder.
+
+COUNSELOR
+You may go.
+
+He stands. Walks out. The corridor stretches symmetric, infinite.
+
+INT. DANCE HALL - NIGHT
+
+Strange period dance music. Twenty COUPLES dance with absurd
+formality. Eldar dances alone. Stares at NIGAR (32), who dances
+alone across the floor.
+
+She stares back. They do not change expression.
+
+She walks toward him. They begin to dance together. Their dance is
+mechanical. Synchronized.
+
+After three minutes:
+
+NIGAR
+What animal would you choose.
+
+ELDAR
+Bear.
+
+NIGAR
+Acceptable.
+
+They keep dancing. Their shadows stretch long against the wall.
+```
+
+## Avoid
+
+- Naturalistic warm tone
+- Conventional emotion
+- Realistic dialogue
+- Standard cinematography
+- Hopeful endings (often)
+- Sympathetic characters in conventional sense
+- Improvisation
+
+## Best for
+
+- Festival prestige
+- Dark comedy
+- Absurdist concept
+- A24-type production
+- Greek / international audience
+- Auteur showcase
+- Awards consideration
+
+## Avoid pairing with
+
+- Mainstream commercial
+- Family content
+- Conventional rom-com
+- Action-action
+- Studio tentpole