@azerogluemin/ai-bootstrap 0.2.1

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

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+# Denis Villeneuve — Persona
+
+> Slow-burn cinematic atmosphere. Sci-fi grandeur. Limited dialogue. Sound design as character.
+
+## Style Signatures
+
+- Slow burn pacing
+- Atmospheric dread
+- Wide minimalist landscapes
+- Limited dialogue (much less than typical)
+- Characters small in frame
+- Sound design as character (Hans Zimmer / Jóhannsson collaborations)
+- Cool, often desaturated palette
+- Tableau-style compositions
+- Long takes
+- Architecture / scale emphasized
+
+## Common Devices
+
+- Single-character isolation
+- Long establishing shots
+- Music as emotional anchor
+- Sci-fi in service of emotion
+- Female protagonists (often)
+- Linguistic / philosophical themes (Arrival)
+- Sand, monoliths, vastness (Dune, Blade Runner 2049)
+- Real practical sets (Brutalism aesthetic)
+
+## Dialogue Style
+
+Sparse. Functional. Subtext heavy. Characters speak less than feels natural. Trust the audience to read between lines. Performances do most of the work.
+
+```
+LOUISE
+You make a living talking to people, but you're so afraid of them.
+
+IAN
+I think the most important moments in our lives are sometimes
+unplanned.
+
+LOUISE
+Now I see... it goes back to the beginning.
+```
+
+Pauses, weight, what's not said.
+
+## When Writing as Villeneuve
+
+- Less dialogue than feels possible
+- Long shots / wide compositions
+- Music + sound design carry emotion
+- Characters don't explain feelings — perform them
+- Big scale + intimate stakes
+- Architecture / landscape = character
+- Cold atmosphere, warm at peak moments
+- Long runtime acceptable
+- Hard sci-fi plausible
+- Visual storytelling primary
+
+## Sample Approach
+
+```
+EXT. EMPTY DESERT - DAY
+
+A FIGURE in the distance. Walking.
+
+LONG TAKE: 90 seconds. The figure walks toward camera. The landscape
+is impossibly vast. We hear only wind. Then — barely audible —
+breathing.
+
+She arrives. NIGAR (38). Exhausted. Sand in her hair.
+
+She stops. Looks at the sky. The sun is setting. She has been
+walking since dawn.
+
+She removes a small object from her pack. A glass cylinder. Empty.
+
+She unscrews it. Sets it open on the sand.
+
+Sits beside it. Waits.
+
+The wind picks up. Sand moves.
+
+After a long beat — sand begins to swirl into the cylinder. Slowly.
+Specific grains. Not random.
+
+She watches without surprise.
+
+NIGAR (V.O.)
+The desert remembers what we forget.
+
+The cylinder fills slowly. She caps it when it's full.
+
+Stands. Begins walking back.
+
+Final image: her silhouette against the setting sun, shrinking
+into vastness.
+
+(Score builds — minor key, single sustained note that grows.)
+```
+
+## Avoid
+
+- Quick cuts
+- Exposition-heavy dialogue
+- Easy emotion
+- Comedy
+- Saturated color
+- Hand-held shaky cam (Villeneuve uses Steadicam/dolly)
+- Small stakes
+- Convenient resolutions
+
+## Best for
+
+- Sci-fi (Dune, Blade Runner 2049, Arrival)
+- Slow-burn drama
+- Atmospheric thriller (Sicario, Prisoners)
+- Festival prestige
+- Streaming (Netflix loves)
+- Long runtime (130-160 min typical)
+- Quiet, contemplative work
+
+## Avoid pairing with
+
+- Comedy
+- TikTok / short-form (incompatible pace)
+- Action-action (Villeneuve's action is slower)
+- Light romance
+- Family content

package/templates/skills/screenwriter/knowledge/categories/film/personas/walsh-boyens.md

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+---
+name: Fran Walsh & Philippa Boyens
+role: screenwriter
+visual_style: [high-fantasy-cgi]
+most_famous: The Lord of the Rings trilogy, The Hobbit trilogy, King Kong (2005)
+era: 1995–present
+---
+
+# Fran Walsh & Philippa Boyens — Persona
+
+> High-fantasy adaptation + ensemble arc + mythological structure.
+
+## Style Signatures
+
+- Tolkien adaptation (LOTR, Hobbit) — fidelity + cinematic transformation
+- Ensemble arc (LOTR Fellowship of nine, each with own arc)
+- Mythological structure (Hero's Journey + multi-protagonist)
+- Female agency added (Arwen expanded, Tauriel created)
+- Battle scope + intimate emotion (Helm's Deep cut to Théoden quiet)
+- Linguistic register (formal "thee" / "thou" tolkien-vari)
+
+## Common Devices
+
+- Multi-POV ensemble
+- Sub-quest interweaving (Frodo journey + Aragorn return + Merry-Pippin tree)
+- Mythological exposition (Galadriel narration opening)
+- Battle structure: setup → siege → reversal → climax → aftermath
+- Quiet emotional beat between battles
+- Tolkien Elvish / Khuzdul dialogue
+
+## Niyə uyğundur high-fantasy-cgi-yə
+Walsh + Boyens LOTR + Hobbit feature adaptation ssenari standartı — fantasy epic feature script kanonik.

package/templates/skills/screenwriter/knowledge/categories/film/personas/wes-anderson.md

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+# Wes Anderson — Persona
+
+> Symmetrical compositions. Pastel palettes. Whimsical-melancholic. Centered subjects. Quirky characters.
+
+## Style Signatures
+
+- Symmetrical compositions
+- Pastel color palettes (specific to film: pinks, mints, creams)
+- Whip pans for transitions
+- Centered subjects
+- Deadpan delivery
+- Quirky character types (eccentric ensembles)
+- Chapter / title cards
+- Aerial overhead shots of objects
+- Slow motion to music
+- Stop-motion sequences (sometimes)
+- Narrator overlay
+- Detailed production design
+- Costume as character
+
+## Common Devices
+
+- Chapter titles
+- Wes Anderson "stage" — flat, stagey compositions
+- Family dynamics (often dysfunctional / quirky)
+- Father issues
+- Loss / melancholy beneath whimsy
+- Specific era recreated lovingly
+- Maps / diagrams shown
+- Slow-motion ensemble walking shots
+- Yellow font credits
+- Bill Murray (often)
+
+## Dialogue Style
+
+Deadpan, mannered. Characters speak with peculiar formality. Children speak like adults; adults speak like children. Specific vocabulary. Lists. Letters read aloud.
+
+```
+SUZY
+"Dear Sam, I love you. I'm sorry I called you a fucking moron."
+
+SAM
+"Dear Suzy, I love you. I'm sorry your parents are bastards."
+
+DIGNAN
+There are no teams anymore. Anybody can see that.
+```
+
+Words chosen precisely. Mannered. Sweet.
+
+## When Writing as Wes Anderson
+
+- Symmetric scenes
+- Pastel color palette specified
+- Chapter structure
+- Eccentric characters with specific quirks
+- Whimsical surface, melancholic depth
+- Father issues / family
+- Specific period
+- Narrator
+- Detailed production design
+- Lists, letters, maps
+
+## Sample Approach
+
+```
+CHAPTER 1: "The Brothers Aliyev Discover That Coffee Has Origins"
+
+EXT. STREETS OF BAKU - 1973 - DAY
+
+Symmetrical wide shot. Three brothers walk down the cobblestone
+street. Yellow font credits roll.
+
+ARIF (32), oldest, in tweed three-piece suit despite the heat.
+ELDAR (28), middle, in turtleneck and corduroys.
+RAMIN (25), youngest, in safari jacket and hiking boots.
+
+NARRATOR (calm, paternal)
+The Aliyev brothers had not spoken in eight years, three months,
+and four days. This morning, they had received simultaneous
+telegrams from their father, ordering them to inherit his coffee
+shop, which they did not know existed.
+
+They walk in perfect symmetry, in step.
+
+INT. COFFEE SHOP - DAY
+
+They enter. The shop is exactly as their father left it: blue tile
+floor, brass espresso machine, three bistro tables, twenty-seven
+ceramic mugs hung in three rows of nine.
+
+ARIF
+He had a coffee shop.
+
+ELDAR
+He had a coffee shop.
+
+RAMIN
+He had a coffee shop.
+
+A KEY drops from the ceiling. Lands on the counter. They look up.
+A small ENVELOPE is taped to the ceiling above.
+
+NARRATOR
+The instructions, as is the family tradition, were on the ceiling.
+
+Cut to overhead shot of the envelope. Yellow font reveals: "TO BE
+OPENED ONLY BY ALL THREE."
+
+ARIF
+We should open it.
+
+ELDAR
+We must open it.
+
+RAMIN
+I would like to open it.
+
+They reach up simultaneously. Symmetric.
+```
+
+## Avoid
+
+- Naturalistic dialogue
+- Handheld camera
+- Naturalistic acting
+- Modern color palettes (Wes is period)
+- Improvisation
+- Single-character close-up melodrama
+- Loud emotion
+- Conventional structure
+
+## Best for
+
+- Family dramedy
+- Period pieces
+- Whimsical adventures
+- Ensemble casts
+- Festival circuit
+- Specific aesthetic projects
+- Visual ambition
+
+## Avoid pairing with
+
+- Action thriller
+- Horror
+- Realistic war
+- Documentary-style
+- Improvised work

package/templates/skills/screenwriter/knowledge/categories/film/personas/yilmaz-guney.md

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+# Yılmaz Güney — Persona
+
+> Turkish/Kurdish social realism master. Working-class characters. Anatolian villages. Political subtext. LOCAL persona.
+
+## Style Signatures
+
+- Social realism
+- Working-class / oppressed characters
+- Anatolian villages
+- Political subtext (often imprisoned for it)
+- Naturalistic acting (often non-professional)
+- Real locations
+- Stark cinematography
+- Kurdish culture (Yol)
+- Honor codes
+- Exploitation / class struggle
+
+## Common Devices
+
+- Non-professional cast
+- Real villages, real shops, real people
+- Authority figures as oppressors
+- Family honor / shame themes
+- Long journeys (Yol)
+- Limited dialogue
+- Visual storytelling
+- Bleak landscapes
+- Hope beneath suffering
+- Documentary feel
+
+## Dialogue Style
+
+Sparse, regional. Working-class vernacular. Few words but loaded. Cultural specificity.
+
+```
+YOL CHARACTERS
+"Where is your honor?"
+"My father's name is on my back."
+"They say I am free. But I cannot go home."
+```
+
+Cultural codes specific.
+
+## When Writing as Güney
+
+- Working-class protagonist
+- Anatolian / regional setting
+- Political subtext (oppression, class)
+- Naturalistic, non-professional cast
+- Real locations
+- Family honor themes
+- Limited dialogue
+- Visual storytelling
+- Bleak realism with hope
+- Documentary aesthetic
+
+## Sample Approach
+
+```
+EXT. VILLAGE COFFEE HOUSE - DAY
+
+A small village in eastern Anatolia. Dust. Mountains in the
+distance.
+
+Inside, MEN sit at small tables. They drink Turkish coffee from
+small cups. Smoke fills the air.
+
+ASIF (45), recently released from prison, enters. Twelve men inside.
+The conversation stops.
+
+He walks to an empty table. Sits. The OWNER (70) approaches.
+
+OWNER
+Welcome back.
+
+ASIF
+A coffee.
+
+OWNER
+With or without sugar?
+
+ASIF
+Without.
+
+The owner brings the coffee. Places it. Walks back to the counter.
+
+The other men do not look at Asif. The conversation begins again,
+quieter.
+
+Asif drinks his coffee. The cup is small in his hands. His hands
+have changed in eight years.
+
+A YOUNG MAN (22) enters. Modern clothes. He stops at Asif's table.
+
+YOUNG MAN
+Father?
+
+Asif looks up.
+
+ASIF
+Mehmet.
+
+The young man sits down. Looks at his father.
+
+YOUNG MAN
+You should not have come.
+
+ASIF
+I was released. I came home.
+
+YOUNG MAN
+There is no home for you here anymore.
+
+Asif drinks his coffee. Doesn't respond.
+
+YOUNG MAN
+Mother is gone. Sister is married. The land — they took it.
+
+ASIF
+Who took it?
+
+YOUNG MAN
+Selim Bey.
+
+Long beat. Asif looks at the other men in the cafe. Some of them
+work for Selim Bey. He knows.
+
+ASIF
+And what do you do, Mehmet?
+
+YOUNG MAN
+I work in Istanbul. Construction.
+
+ASIF
+You came from Istanbul.
+
+YOUNG MAN
+The neighbors called. Said you were released.
+
+ASIF
+And they sent for you.
+
+YOUNG MAN
+To take you back with me.
+
+Long pause. Asif looks out the window. The mountains.
+
+ASIF
+I cannot go to Istanbul.
+
+YOUNG MAN
+There is nothing here.
+
+ASIF
+There is the land.
+
+YOUNG MAN
+The land is gone.
+
+ASIF
+The land is not gone. The land is in Selim Bey's hands. That is
+not gone.
+
+He stands. Pays for his coffee. Walks to the door.
+
+At the door, he turns back.
+
+ASIF
+You go home, Mehmet. To Istanbul. I will write to you.
+
+He leaves. His son sits, alone, looking at the empty cup.
+
+(No score. Only the wind in the village.)
+```
+
+## Avoid
+
+- Slick production
+- Studio polish
+- Comedy
+- Western sensibility
+- Color-graded prettiness
+- Resolved endings (often)
+- Light tone
+
+## Best for
+
+- Social realist drama
+- Festival prestige (Cannes Palme d'Or — Yol)
+- Turkish / Kurdish projects
+- Political subtext
+- Documentary-style fiction
+- Auteur cinema
+
+## Avoid pairing with
+
+- Mainstream commercial
+- Action thriller
+- Comedy
+- TikTok format
+- Studio production
+- Family-friendly content

package/templates/skills/screenwriter/knowledge/categories/music-video/_category.md

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+# Music Video — Category
+
+> Visual content set to music. Promoting song/artist. 2-7 minutes typical. Visual storytelling primary.
+
+## What music video is
+
+Visual accompaniment to music. Promotes song/artist. Visual storytelling driven by music structure (verses, choruses, bridges). Often non-narrative.
+
+## Universal music video principles
+
+### 1. Music dictates structure
+- Song length = video length
+- Beat drops = visual moments
+- Verse vs chorus = visual contrast
+- Bridge = different visual approach
+
+### 2. Visual hook in first 15s
+First impression matters. Strong visual immediately.
+
+### 3. Cuts to beat
+Editing rhythm matches music. Cuts on snare hits, beat drops.
+
+### 4. Artist visibility
+Music videos promote artist. They appear (performing or in scenes).
+
+### 5. Conceptual coherence
+Each video has a clear visual concept or story.
+
+## Length
+
+Standard music video: 3-5 min (matches song length). Some longer (with intro/outro), some shorter (single track radio edit).
+
+## Sub-formats
+
+- Narrative MV (story-based)
+- Performance MV (artist performing)
+- Hybrid MV (story + performance)
+- Concept MV (abstract visual)
+- Lyric-driven MV (lyrics central)
+
+## Voice / approach
+
+- Visual-first (less dialogue)
+- Music + image integration
+- Often heavy production value
+- Director-driven creativity
+
+## Compose with
+
+- Sub-format (above)
+- Persona (MV director style)
+- Genre of music (pop, hip-hop, rock, electronic)
+- Artist personality
+- Budget tier
+
+## Common pitfalls
+
+- Generic visuals (could be any song)
+- Disconnected from music
+- Cuts not matching beat
+- Missing artist
+- Too literal interpretation of lyrics
+- Trying to do too much (concept overload)
+
+## Modern music video landscape
+
+- YouTube primary platform
+- TikTok-friendly versions (short cut)
+- Instagram Reel teasers
+- Vertical versions becoming standard
+- Often multi-format release