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package/templates/skills/screenwriter/knowledge/categories/film/personas/park-chan-wook.md

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+# Park Chan-wook — Persona
+
+> Korean revenge cinema master. Stylized violence. Long takes. Visual elegance + brutality.
+
+## Style Signatures
+
+- Revenge as central theme
+- Stylized violence (Oldboy hammer scene)
+- Long single-take sequences (Oldboy hallway)
+- Visual elegance + sudden brutality
+- Color-coded production design
+- Female protagonists (Lady Vengeance, The Handmaiden)
+- Period and contemporary
+- Korean cultural specificity
+- Music classical / opera contrast
+- Twist reveals
+
+## Common Devices
+
+- Long single-take fight scene
+- Color saturation in design
+- Reflection / mirror imagery
+- Slow motion to classical music
+- Twist that recontextualizes
+- Family revenge
+- Class struggle
+- Beautiful object as plot device
+- Sex as power (The Handmaiden)
+- Korean dialect / formality
+
+## Dialogue Style
+
+Korean register-aware (formal vs intimate). Characters reveal through what they don't say. Some operatic moments. Short bursts often.
+
+```
+OH DAE-SU (Oldboy)
+Even though I'm no more than a monster — don't I, too, have the right
+to live?
+
+LADY VENGEANCE
+Vengeance is the only way to forgiveness.
+
+THE HANDMAIDEN
+I was born to be a thief.
+```
+
+Korean directness. Operatic emotion possible.
+
+## When Writing as Park Chan-wook
+
+- Revenge plot
+- Korean setting (or analog)
+- Long takes / single-take violence
+- Color-coded production design
+- Female lead (often)
+- Twist / reveal at climax
+- Beautiful object as plot device
+- Class / family power dynamics
+- Stylized violence
+- Classical music contrast
+
+## Sample Approach
+
+```
+INT. WAREHOUSE - NIGHT
+
+NIGAR (38), in a red coat, walks down a long warehouse aisle.
+Single take, tracking shot. Each step is deliberate.
+
+In her hand, a Karavan coffee bag. She holds it tenderly.
+
+She arrives at a CHAIR in the middle of the warehouse. ELDAR (45),
+her ex-business partner, is tied to it.
+
+NIGAR
+I brought coffee.
+
+ELDAR
+Nigar.
+
+NIGAR
+Real coffee. Karavan, single-origin Ethiopian. I roasted these beans
+myself.
+
+She sets the bag on a small table beside him. Begins methodically
+preparing a pour-over. Single take continues. We watch every step:
+grinding, blooming, pouring.
+
+ELDAR
+Listen, Nigar, what happened with your sister was not —
+
+NIGAR
+We're going to have coffee first.
+
+ELDAR
+Please.
+
+NIGAR
+And then we will talk.
+
+She finishes the brew. Pours into TWO ceramic cups. Carries one to
+him. Holds it to his lips. He drinks.
+
+NIGAR
+What does it taste like?
+
+ELDAR
+... bitter.
+
+NIGAR
+That is grief.
+
+She pours her own cup. Sips.
+
+NIGAR
+You had three years.
+
+ELDAR
+Three years for what.
+
+NIGAR
+To come to me. To say what you did. To beg.
+
+ELDAR
+I didn't —
+
+NIGAR
+You did.
+
+She picks up the second item from the table. Not a weapon. A LETTER.
+
+NIGAR
+My sister wrote this. Two days before. She did not blame you. She
+asked me to forgive you.
+
+She sets it on his lap.
+
+NIGAR
+But I am not my sister.
+
+She drinks her coffee. Calmly. Long beat.
+
+NIGAR
+Drink yours. We have time.
+
+(Score: Mozart's "Lacrimosa" begins quietly. Builds.)
+```
+
+## Avoid
+
+- American sensibility
+- Quick cutting (Park uses long takes)
+- Comedy-comedy
+- Restraint without elegance
+- Generic action
+- Light tone
+
+## Best for
+
+- Korean / Asian projects
+- Revenge thriller
+- Period piece (The Handmaiden)
+- Festival prestige
+- Long-take ambition
+- Female-led dark drama
+- A24-type production
+
+## Avoid pairing with
+
+- TikTok format
+- American mainstream comedy
+- Action-action without elegance
+- Family content
+- Light romance

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

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+# Paul Thomas Anderson — Persona
+
+> American ambition. Period settings. Long dialogue scenes. Jonny Greenwood scores. Eccentric protagonists.
+
+## Style Signatures
+
+- American ambition examined (Boogie Nights, There Will Be Blood, Phantom Thread)
+- Period settings (often)
+- Long dialogue scenes
+- Eccentric, complex protagonists
+- Jonny Greenwood scores (modern PTA)
+- Long takes
+- Wide compositions
+- Family / surrogate family themes
+- Obsession portraits
+- Quiet then explosive moments
+
+## Common Devices
+
+- Single character study (Daniel Plainview, Reynolds Woodcock)
+- Workplace as world (porn industry, oil drilling, dressmaking)
+- Long opening sequence often dialogue-free
+- Music as character (Greenwood scores)
+- Surrogate family relationships
+- Mentor / apprentice dynamics
+- Capitalism / ambition critique
+- California (often)
+
+## Dialogue Style
+
+Lean, controlled. Long monologues earned. Characters specific and articulate (often elite). Subtext through what's selected to say.
+
+```
+DANIEL PLAINVIEW
+I have a competition in me. I want no one else to succeed. I hate
+most people.
+
+REYNOLDS WOODCOCK
+I cannot begin my day with a confrontation, please. I have no time
+for confrontations. The tea is going out, but the interruption is
+staying right here with me.
+
+DOC
+She had a way of looking at you that made you feel like she was
+looking through you.
+```
+
+Dialogue performed, not improvised feeling. Earned.
+
+## When Writing as PTA
+
+- Single character study
+- Period setting (usually pre-1990s)
+- Workplace as world
+- Long opening sequence
+- Jonny Greenwood-style score (atonal, building)
+- Obsession portrait
+- Mentor / apprentice
+- California or American specific
+- Long runtime
+- Quiet then sudden intensity
+
+## Sample Approach
+
+```
+INT. COFFEE WAREHOUSE - 1958 - DAY
+
+ASIF (50), self-made coffee importer, walks among tall sacks of beans.
+Daniel Day-Lewis-level gravitas. He runs his hand over a sack. Smells.
+
+He stops. Looks at his apprentice ELDAR (24).
+
+ASIF
+What's wrong with this batch.
+
+ELDAR
+... I don't know.
+
+ASIF
+You don't know.
+
+ELDAR
+I don't smell anything wrong.
+
+ASIF
+Smell it again.
+
+Eldar smells. Tries to focus.
+
+ELDAR
+It... smells like coffee.
+
+Asif walks away. Climbs a wooden ladder. Cuts a small hole in the
+top of a sack. Reaches in. Pulls out a single bean.
+
+He returns. Hands the bean to Eldar.
+
+ASIF
+Bite it. Don't chew. Just bite.
+
+Eldar bites.
+
+ASIF
+What do you taste.
+
+ELDAR
+Coffee.
+
+ASIF
+Wrong. Try again.
+
+Long pause. Eldar concentrates.
+
+ELDAR
+... bitter. More bitter than the last batch.
+
+ASIF
+And what does that mean.
+
+ELDAR
+... over-roasted?
+
+ASIF
+What does that mean about who sold us this batch?
+
+Long beat. Eldar realizes.
+
+ELDAR
+They cheated us.
+
+ASIF
+They tried.
+
+He takes the bean back. Walks to a sample tray. Marks the batch
+"REJECT."
+
+ASIF
+Tomorrow you go to Yusuf Ismayilov's warehouse. You tell him I am
+not buying this year. You tell him I am not buying next year.
+
+ELDAR
+He will be angry.
+
+ASIF
+He will be ruined.
+
+Asif looks at Eldar. The lesson is clear: this is the work.
+This is what we do.
+
+(Score: Jonny Greenwood-style — single piano note repeating with
+increasing dissonance.)
+```
+
+## Avoid
+
+- Quick pacing
+- Improvised dialogue
+- Conventional structures
+- Comedy-comedy
+- Generic protagonist
+- Easy resolutions
+- Quick cuts in dialogue
+
+## Best for
+
+- Single character study
+- Period drama
+- American ambition critique
+- Mentor / apprentice
+- Festival prestige
+- Awards aspirations
+- Long-runtime tolerance
+
+## Avoid pairing with
+
+- Action-action
+- Comedy-comedy
+- TikTok / short-form
+- Family content
+- Hard sci-fi

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

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+# Martin Scorsese — Persona
+
+> NYC settings. Voiceover narration. Catholic themes. Long tracking shots. Working class and mob worlds.
+
+## Style Signatures
+
+- NYC (especially) and urban settings
+- Voiceover narration (often male, retrospective)
+- Catholic themes (guilt, redemption, sin)
+- Long tracking shots (Goodfellas Copacabana scene)
+- Pop / rock soundtrack (Stones, etc.)
+- Mob / working class characters
+- Slow motion to music
+- Direct-to-camera moments
+- Robert De Niro / Joe Pesci collaborations
+- Multiple decades / time spans
+- Voice over montage
+
+## Common Devices
+
+- Voiceover establishes character interiority
+- Pop song = scene's emotional engine
+- Long take through complex environment
+- Christian iconography
+- Italian-American culture (often)
+- Violence sudden after long buildup
+- Family loyalty themes
+- Self-destruction arcs
+- Aging characters reflecting
+- Moral compromise
+
+## Dialogue Style
+
+Vernacular, often Italian-American or NYC-specific. Profanity natural. Characters self-justify. Loyalty-coded. Quick bursts often.
+
+```
+HENRY
+As far back as I can remember, I always wanted to be a gangster.
+
+JIMMY
+Your mother wants you to come live with her.
+Tell her, the answer is no.
+
+JORDAN
+I want you to deal with your problems by becoming rich.
+```
+
+Dialogue feels lived-in.
+
+## When Writing as Scorsese
+
+- NYC or specific urban setting
+- Voiceover narrator (often protagonist)
+- Pop music as scene engine
+- Long tracking shots
+- Catholic guilt / redemption arc
+- Working class or mob world
+- Multi-decade scope possible
+- Long runtime (150-180 min)
+- Sudden violence
+- Family / loyalty themes
+
+## Sample Approach
+
+```
+INT. KAFETERİYA - NIGHT - 1973
+
+ELDAR (35) sits at the counter. Ninety years old now, looking back.
+
+ELDAR (V.O., older voice)
+As far back as I can remember, I wanted to be a barista. Not just
+make coffee. Be the man behind the counter. The one who knew
+everyone's order before they sat down.
+
+The young Eldar pours espresso. He doesn't look up. He knows the
+sound of every regular's footsteps.
+
+ELDAR (V.O.)
+My uncle Asif owned this place. He was the one who taught me.
+
+UNCLE ASIF (60), at the corner table, watches him. Cigarette
+burning. Vodka in front of him.
+
+ELDAR (V.O.)
+He also taught me about being a man.
+
+A NEW CUSTOMER enters. Suit. Doesn't look around. Walks straight
+to the counter.
+
+NEW CUSTOMER
+Espresso. Two sugars.
+
+Eldar starts to make it.
+
+UNCLE ASIF (from corner)
+He has milk.
+
+Eldar pauses. Looks at the customer.
+
+ELDAR
+Macchiato? With the foam?
+
+The new customer turns slightly. Looks at Eldar.
+
+NEW CUSTOMER
+Yeah. With foam.
+
+Eldar adds the foam. Hands over the cup. The customer pays.
+
+When he leaves, Uncle Asif waves Eldar over. Pours him vodka.
+
+UNCLE ASIF
+That man works for Garib Bey.
+
+ELDAR
+Who?
+
+UNCLE ASIF
+You'll know who. Tomorrow.
+
+He drinks his vodka. Stares at the door.
+
+UNCLE ASIF
+And now you know how he likes his coffee.
+
+Long beat.
+
+ELDAR (V.O., older voice)
+That was my first lesson in being someone they remember. The Aliyev
+who knew the order. Twenty-three years before the Aliyev they ran
+from.
+
+Cue: Stones song.
+
+CUT TO: 1996. Same cafe. Same Eldar, much older. Different game.
+```
+
+## Avoid
+
+- Quiet meditative pacing (Scorsese moves)
+- Family-friendly sanitized
+- Restraint when energy serves
+- Generic protagonist
+- Female-centered stories (Scorsese's weakness)
+- Light tone
+
+## Best for
+
+- Crime drama
+- Multi-decade epics
+- Urban worlds
+- Anti-hero protagonist
+- Long runtime
+- Music-driven
+- Festival + commercial
+
+## Avoid pairing with
+
+- Quiet drama
+- Romance-romance
+- Family comedy
+- Sci-fi
+- Female-centered intimate

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

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+# Quentin Tarantino — Persona
+
+> Genre-loving postmodernist. Long dialogue scenes. Stylized violence. Pop culture saturation.
+
+## Style Signatures
+
+- Long, winding dialogue scenes (often single-location)
+- Genre play (homage, pastiche)
+- Non-linear chapters (Pulp Fiction, Kill Bill)
+- Pop culture references (Madonna debate, foot massages)
+- Stylized violence
+- Strong music cues (often surf rock, soul)
+- Foot shots (signature)
+- Trunk shots (camera in trunk POV)
+- Mexican standoffs
+
+## Common Devices
+
+- Chapter titles ("Chapter 1: ...")
+- Diner / restaurant scenes for character reveal
+- Tarantino-verse easter eggs
+- Long monologues that reveal character + plot
+- Music cue introduces character
+- Profanity as poetry
+- Female characters with weapons
+- Vengeance arcs
+
+## Dialogue Style
+
+Maximalist, naturalistic but performative. Characters monologue often. References fast food, music, pop culture, films. Riff-heavy. Long talks before short violence.
+
+```
+JULES
+You ever read the Bible, Brett?
+
+BRETT
+Yes.
+
+JULES
+There's a passage I got memorized. Ezekiel 25:17.
+"The path of the righteous man is beset on all sides..."
+```
+
+The dialogue itself is the entertainment, even before any action.
+
+## When Writing as Tarantino
+
+- Chapter structure
+- Long dialogue before short action
+- Pop culture references (era-specific)
+- Music cue as introduction
+- Specific detail (food, drink, brand)
+- Genre played with affection + subversion
+- Violence stylized + sudden
+- Female characters underestimated then dangerous
+
+## Sample Approach
+
+```
+CHAPTER 1: "The Coffee"
+
+INT. KAFETERİYA - GECƏ
+
+ELDAR sits at a window booth. He's been waiting an hour. NIGAR
+arrives, drops into the booth across from him. She doesn't apologize
+for being late. He doesn't ask.
+
+Long beat. They look at each other.
+
+NIGAR
+You ever notice how Karavan sounds like "caravan" but means
+something different in Azerbaijani?
+
+ELDAR
+What does it mean?
+
+NIGAR
+It means... a group of travelers. But there's an old meaning.
+"What you carry."
+
+ELDAR
+That's poetic for a coffee brand.
+
+NIGAR
+Coffee brands choose their names carefully. The Russians thought
+the meaning was "luxury caravan." The Azeris know it means burden.
+
+ELDAR
+That's the difference between empire and home.
+
+She smiles. Lights a cigarette inside the cafe (it's set in 1973).
+
+NIGAR
+You bring it?
+
+He slides a small package across the table.
+
+She doesn't open it. Drinks her coffee.
+
+NIGAR
+It's cold.
+
+ELDAR
+It's been an hour.
+
+She drinks anyway. Long beat.
+
+NIGAR
+You should go now.
+
+He nods. Stands. Takes his coat.
+
+At the door:
+
+ELDAR
+What if it's not what you think?
+
+NIGAR (without turning)
+Then I'll come find you.
+
+He leaves. She finishes her cold coffee. Then opens the package.
+Looks. Smiles.
+
+CHAPTER 2: "What She Found"
+```
+
+## Avoid
+
+- Restraint
+- Subtle emotion
+- Family-friendly content
+- Quick cuts in dialogue scenes
+- Predictable structure
+- Politically correct sensibilities (Tarantino doesn't filter)
+
+## Best for
+
+- Genre play (crime, action, war)
+- Multi-character ensembles
+- Period pieces
+- Long-form storytelling
+- Stylized violence with consequence
+- Music-driven narrative
+
+## Avoid pairing with
+
+- Quiet drama
+- Romantic comedy (without his twist)
+- Family content
+- Restraint-required projects