@azerogluemin/ai-bootstrap 0.2.1

package/templates/skills/screenwriter/knowledge/categories/documentary/formats/personal-doc.md

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+# Personal Documentary — Format
+
+> Filmmaker's own life / journey / family / experience. Vulnerable. First-person.
+
+## Format basics
+
+- Length: 60-120 min
+- Filmmaker as subject (often)
+- First-person POV
+- Vulnerability central
+- Subjective lens
+- Often family / relationship focused
+
+## Structure
+
+```
+OPENING (5-10 min)
+- Filmmaker introduced
+- Specific question / journey
+
+ACT 1 (10-30 min)
+- Personal background
+- Why this matters
+
+ACT 2 (30-75 min)
+- The journey unfolds
+- Family / relationships
+- Discoveries / vulnerabilities
+
+ACT 3 (75-100 min)
+- Insight / change
+- New understanding
+
+OUTRO (100-110 min)
+- Where filmmaker stands now
+- Open question
+```
+
+## Famous personal documentaries
+
+- "Stories We Tell" (Sarah Polley)
+- "Flee" (Jonas Poher Rasmussen)
+- "Faces Places" (Agnès Varda + JR)
+- "The Velvet Underground" (Todd Haynes — personal-essay hybrid)
+- "Honeyland" (about a beekeeper, but personal)
+- "Be Natural" (about Alice Guy-Blaché — personal essay)
+
+## Sample personal documentary concept
+
+```
+TITLE: "My Father's Coffee"
+
+CONCEPT: Filmmaker (woman, 35) returns to Baku after 15 years
+abroad to make peace with her recently deceased father. He owned
+a coffee shop she resented as a child. Now she runs it for one
+year, learning who he was through the daily rituals he loved.
+
+LENGTH: 80 minutes
+
+STRUCTURE:
+
+OPENING (0-8 min):
+- Filmmaker arriving in Baku
+- Walking to the coffee shop
+- Standing outside, looking through window
+- Voiceover: "I left Azerbaijan when I was nineteen. I told myself
+I wasn't running from him. I was. Now he's gone and I have to
+finally face what I left behind."
+
+ACT 1 (8-25 min):
+- Opening the shop alone
+- Discovering his routines
+- Talking to longtime customers
+- Reading his old notebooks
+- Resentment surfacing
+
+ACT 2 (25-60 min):
+- The year unfolds
+- Specific customers tell stories of her father
+- She slowly learns who he was as a person, not just her father
+- The shop becomes hers
+- Brother visits (also estranged)
+- Their reckoning
+
+ACT 3 (60-75 min):
+- Anniversary of his death
+- She holds a small gathering at the shop
+- Customers gather
+- They tell stories
+- She accepts him
+
+OUTRO (75-80 min):
+- The shop the next morning
+- Filmmaker pouring coffee for first customer
+- "Every morning, I make coffee. The way he taught me. The way
+his father taught him. I am part of something I refused to be
+part of. I think he would be glad."
+- Final shot: empty cup on her father's old table.
+```
+
+## Key principles
+
+### Vulnerability is the project
+- Don't sanitize
+- Real emotions
+- Audience trust through honesty
+
+### Specificity
+- Specific person, specific journey
+- Universal through specific
+
+### Family ethics
+- Family members involved
+- Their consent matters
+- Honor their stories
+
+### Process visible
+- Filmmaker's growth
+- Don't hide behind smoothness
+
+### Resolution honest
+- Don't manufacture closure
+- Real resolution (or its absence)
+- Truth of the journey
+
+## Sub-types
+
+### Family memoir
+- Family relationships
+- Often parent or child focus
+
+### Identity exploration
+- LGBTQ+, racial, cultural identity
+- Personal becoming political
+
+### Journey / quest
+- Specific search
+- Geographic or emotional
+
+### Coming-to-terms
+- Trauma / loss processing
+- Recovery / acceptance
+
+### Memoir-style
+- Life's chapters
+- Reflection
+
+## When to use
+
+- Personal story to tell
+- Vulnerability available
+- Family / community willing
+- Festival / awards aspiration
+- Cultural / political moment
+
+## Common mistakes
+
+- Self-indulgent (audience must care)
+- Avoiding the real vulnerability
+- Manipulating family
+- Sentimentality without earning
+- Hiding behind smoothness
+- Missing universal angle

package/templates/skills/screenwriter/knowledge/categories/documentary/formats/verite.md

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+# Vérité (Observational) — Documentary Format
+
+> Fly-on-the-wall observation. Minimal intervention. Subjects' lives unfold for camera. Patient filmmaking.
+
+## Format basics
+
+- Length: 60-120+ min
+- Observational style
+- Minimal filmmaker intervention
+- No interviews (often)
+- No narration (often)
+- Subjects unaware of camera over time
+
+## Structure
+
+```
+OPENING (5-10 min)
+- Establishing shots
+- Subjects in environment
+- Setting tone
+
+DEVELOPMENT (10-90 min)
+- Daily life unfolds
+- Events happen
+- Patterns emerge
+- Filmmaker captures
+
+CLIMAX (90-100 min)
+- Major event captured
+- Or natural narrative turn
+
+RESOLUTION (100-110 min)
+- Aftermath
+- Where things go
+- Subjects' next steps
+```
+
+## Famous vérité documentaries
+
+- "The Salt of the Earth" (Wim Wenders)
+- "Hoop Dreams" (Steve James)
+- "Maidan" (Sergei Loznitsa)
+- "Honeyland" (about Macedonian beekeeper)
+- "Faces Places" (Agnès Varda + JR)
+- "Salesman" (Maysles Brothers — pioneers)
+- "Chronicle of a Summer" (origin of cinéma vérité)
+
+## Sample verité documentary concept
+
+```
+TITLE: "Karavan: A Year in a Coffee Shop"
+
+CONCEPT: One year following a small coffee shop in Baku. The owner,
+the regulars, the staff, the suppliers, the daily rhythm.
+
+NO INTERVIEWS. NO NARRATION. Just observation.
+
+SHOOTING:
+- Filmmaker in shop 3-5 days a week for 12 months
+- ~400 hours of footage
+- Edit down to 90 minutes
+
+STRUCTURE (organic to footage):
+
+WINTER (0-25 min):
+- Empty cold mornings
+- Owner alone, prepping
+- Few customers
+- Specific regulars
+- Small interactions
+
+SPRING (25-50 min):
+- Activity picks up
+- New customers
+- Owner's young assistant arrives
+- A specific regular reveals (through observation) they're going
+through divorce
+
+SUMMER (50-75 min):
+- Busy hours
+- Tourists mixed with regulars
+- Wedding party uses the shop
+- The divorcing customer doesn't return
+
+FALL (75-90 min):
+- Routine resumes
+- Owner reflects (visible through behavior)
+- A new regular: she resembles the one who left
+- Last shot: they begin to make eye contact at the same hour daily
+
+NO INTERVIEWS. The story emerges through patient observation.
+```
+
+## Key principles
+
+### Patient filmmaking
+- Long shoots (months to years)
+- Many hours captured
+- Wait for moments
+- Edit ruthlessly
+
+### Trust with subjects
+- Build over time
+- Subjects forget camera
+- Real behavior captured
+- Ethics paramount
+
+### Show, don't tell
+- Visual storytelling
+- No narrator explaining
+- Audience interprets
+
+### Find the narrative
+- Story emerges in editing
+- Patterns become visible
+- Themes unfold
+
+### Invisible presence
+- Camera unobtrusive
+- Filmmaker doesn't intervene
+- Subjects' lives primary
+
+## Sub-types
+
+### Pure observational
+- Strict no-intervention
+- Subjects unaware
+
+### Subject-aware
+- Subjects know but filmmaker minimal
+- Subject occasionally addresses
+
+### Long-term
+- Years of footage
+- Generational scope
+
+### Single event
+- Specific moment / week
+- Concentrated observation
+
+## When to use
+
+- Story requires intimate access
+- Subjects compelling to observe
+- Long-term commitment possible
+- Patient audience (festival)
+- Subject can't articulate self (children, animals, traditions)
+
+## Common mistakes
+
+- Forcing dramatic moments
+- Interviewing (defeats verité)
+- Manipulating subjects
+- Not enough footage (need MORE than you think)
+- Sensationalism
+- Too short shoot
+
+## Production realities
+
+- Long shoots (months to years)
+- Significant footage (100s-1000s of hours)
+- Heavy editing
+- Trust-building with subjects
+- Permissions / releases
+- Privacy protection
+
+## Distribution
+
+- Festival circuit (Sundance, Cannes Doc, IDFA)
+- Streaming (Netflix, HBO doc)
+- Theatrical (rare)
+- Awards aspiration (Oscars Documentary)

package/templates/skills/screenwriter/knowledge/categories/documentary/personas/asif-kapadia.md

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+# Asif Kapadia — Persona
+
+> British documentary maker. Archive-only narrative. Voiceovers but no on-camera interviews. Cinematic biography.
+
+## Style Signatures
+
+- Archive footage only (no talking-head interviews on camera)
+- Voiceover audio from subjects (taken from interviews)
+- Cinematic biographical narrative
+- Subject-driven storytelling
+- Original music (significant)
+- Period accuracy via archive
+- Emotional immersion
+
+## Famous documentaries
+
+- "Senna" (2010) — Formula 1 driver
+- "Amy" (2015) — Amy Winehouse
+- "Diego Maradona" (2019)
+- "1971" (2021) — pivotal year in music
+
+## Common Devices
+
+- All archive footage (no new interview shots)
+- Audio interviews (subjects' voices unseen)
+- Letters / texts on screen
+- Period photos and footage
+- Original score (often Antônio Pinto for Kapadia)
+- Cinematic editing (feels like film not doc)
+- Subject's voice as primary narrator
+
+## Voice Style
+
+Subject's own voice (from archive interviews). Filmmaker invisible. No new narration.
+
+```
+[Audio: Subject's recorded voice from interview]
+"I knew from when I was a child..."
+"My father said to me..."
+"Looking back, I think..."
+```
+
+## When Writing as Kapadia
+
+- Archive only (no new on-camera interviews)
+- Audio from interviews (over archive)
+- Single subject biographical
+- Cinematic narrative arc
+- Original music significant
+- Subject's voice central
+- Don't appear as filmmaker
+- Feels like a film not a doc
+
+## Sample Approach
+
+```
+TITLE: "Karavan: A Founder's Story"
+
+LENGTH: 100 min
+APPROACH: Asif Kapadia-style archive documentary
+
+CONCEPT: Biographical documentary on ARIF ALIYEV (1948-2024), founder
+of Karavan Coffee. Built using only archive footage, photographs,
+home videos, and audio interviews from his last decade of life.
+
+NO TALKING HEADS. NO NEW NARRATOR. NO RE-ENACTMENTS.
+
+ARCHIVE SOURCES:
+- Family photographs (decades)
+- Home videos (later years)
+- TV interviews (Azerbaijani news appearances)
+- Audio interviews (last 10 years, conducted by various journalists)
+- News coverage of his shop
+- B-roll of locations he frequented
+- Business documents
+
+VOICE CONTENT:
+- Arif's own voice from interviews (over visuals)
+- His late wife (audio from old interviews she gave)
+- His three children (audio interviews recently recorded by filmmaker)
+- His business partner (deceased — audio archive)
+
+OPENING (5 min):
+- Black screen
+- Audio: Arif's voice (recorded in 2015, age 67): "When I was a young
+man, I had nothing. I had less than nothing. I had debt. And then
+I had coffee."
+- Fade in: archive photo of him as young man, 1973
+- Slow zoom (Ken Burns-style)
+- Music begins: original score
+
+ACT 1 (5-30 min):
+- Childhood photos
+- Archive footage of 1950s-60s Baku
+- Audio: Arif on his upbringing
+- Archive of his early business attempts
+- His wife's voice (audio archive): "He was determined. From day one."
+
+ACT 2 (30-70 min):
+- Coffee shop founding
+- Photos and home videos
+- Business growth
+- Family photos
+- Wife's death (handled delicately)
+- His response
+
+ACT 3 (70-90 min):
+- Later years
+- Estrangement from children (audio of children, voiced over photos)
+- Reconciliations (some, not all)
+- Final illness
+- Death (handled with grace)
+
+OUTRO (90-100 min):
+- Archive of his coffee shop today (post-death)
+- His children running it
+- Audio: Arif's last recorded interview, weeks before death:
+- "I will be remembered for coffee. I would have liked to be
+remembered for being a good father. But I think... I was both, in
+the end. A man and his work. They are the same thing."
+- Final visuals: empty cafe at dawn, then gradually filled with
+customers
+- Music swells, then fades
+- End title.
+```
+
+## Avoid
+
+- Talking-head interviews (Kapadia avoids)
+- New narration (subject's voice only)
+- Re-enactments
+- Quick cutting
+- Modern interviewer presence
+
+## Best for
+
+- Biographical documentary
+- Cultural figures (musicians, athletes, leaders)
+- Festival prestige
+- Awards aspiration
+- Archive-rich subjects
+- Cinematic ambition
+
+## Avoid pairing with
+
+- Investigative journalism
+- News-style
+- Multi-perspective narrative
+- Subjects without archive
+- Quick format

package/templates/skills/screenwriter/knowledge/categories/documentary/personas/errol-morris-writer.md

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+---
+name: Errol Morris (screenwriter)
+role: screenwriter
+visual_style: [photoreal-documentary]
+most_famous: The Fog of War, The Thin Blue Line, Standard Operating Procedure, American Dharma
+era: 1978–present
+---
+
+# Errol Morris — Persona (screenwriter mode)
+
+> Interview-driven structure + Interrotron + reenactment.
+
+## Style Signatures
+
+- Interview-driven (Morris invented Interrotron — interviewee looks directly into camera lens)
+- Subject controls narrative (Morris ssenarisini interview-dən sonra yazır)
+- Reenactment stylized (Thin Blue Line reenactment of murder)
+- Single-subject deep dive (Robert McNamara Fog of War, Donald Rumsfeld Unknown Known)
+- Philip Glass music collaboration
+- Long static talking head + stylized cutaway
+
+## Common Devices
+
+- Direct-address interview
+- Reenactment with slow motion
+- Multiple takes of same question
+- Document / photo close-up
+- Philip Glass minimal score
+- Sub-text in subject's silence
+
+## Niyə uyğundur photoreal-documentary-yə
+Morris documentary interview format master — Thin Blue Line documentary ssenarisi olduğunu sübut etdi (faktiki adamı azad etdi).

package/templates/skills/screenwriter/knowledge/categories/documentary/personas/errol-morris.md

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+# Errol Morris — Persona
+
+> Interview-style master. "Interrotron" direct camera. Re-enactments. Investigative documentary.
+
+## Style Signatures
+
+- Interview-driven
+- "Interrotron" — subjects look directly at camera
+- Re-enactments (stylized)
+- Investigative journalism
+- Calm methodical pacing
+- Philosophical questioning
+- Justice-themed often
+- Philip Glass scores (sometimes)
+
+## Famous documentaries
+
+- "The Thin Blue Line" (1988) — investigative
+- "The Fog of War" (Robert McNamara interview)
+- "Standard Operating Procedure" (Abu Ghraib)
+- "Tabloid"
+- "American Dharma" (Steve Bannon interview)
+
+## Common Devices
+
+- Direct-to-camera interviews (Interrotron)
+- Re-enactments — stylized, not naturalistic
+- Slow zooms
+- Multiple takes of same subject
+- Philip Glass-style scores
+- Documents on screen
+- Voice-over rare (subjects do the talking)
+
+## Voice Style
+
+Filmmaker rarely heard. Subjects' voices central. When heard, calm question.
+
+```
+ERROL MORRIS (off-camera):
+"What were you thinking?"
+"How did you feel?"
+"What happened next?"
+
+(Subject responds at length, on camera, looking directly into camera.)
+```
+
+## When Writing as Errol Morris
+
+- Interview-based
+- Direct camera engagement
+- Multiple subjects sometimes
+- Re-enactments stylized
+- Investigative angle
+- Calm pacing
+- Subject does the talking
+- Philosophical undertone
+
+## Sample Approach
+
+```
+TITLE: "The Coffee Witness"
+
+LENGTH: 100 min
+APPROACH: Errol Morris-style investigative documentary
+
+CONCEPT: A long interview with a single former employee of a coffee
+multinational who witnessed the corporation's exploitation of farmers.
+Combined with re-enactments of events she describes and contextual
+interviews.
+
+PRIMARY SUBJECT: NIGAR (45), former mid-level executive at a
+multinational coffee corporation. Whistleblower.
+
+INTERVIEW APPROACH:
+- Single chair, dark background
+- Camera on direct gaze (Interrotron)
+- Multiple sittings combined
+- Long uninterrupted answers preserved
+- Filmmaker's questions occasionally heard, never seen
+
+OPENING (5 min):
+- Black screen
+- Audio: Nigar's voice: "I knew what we were doing was wrong from
+the second year. I stayed for ten more."
+- Slow fade to her face, looking directly at camera
+
+ACT 1 (5-30 min):
+- Nigar's background
+- How she joined the company
+- Her early ideals
+- The first compromise she made
+- "I told myself it was small. That's how it always begins."
+
+ACT 2 (30-65 min):
+- The growing realization
+- Specific events described
+- Re-enactments interspersed (stylized, not naturalistic — actors
+in muted lighting, suggestive movements)
+- Documents she preserved
+- The decision to leave
+- The longer decision to speak
+
+ACT 3 (65-90 min):
+- Going to the press
+- Legal battle
+- Personal cost
+- "I lost my career. My friends. Some of my family."
+- Was it worth it?
+
+OUTRO (90-100 min):
+- A specific image: a single coffee cup
+- Nigar's hand visible
+- "I drink coffee still. I cannot help it. But I drink it knowing.
+And that is what I would wish for the world. To know."
+
+(Score: Philip Glass-style minimalist piano, building.)
+```
+
+## Avoid
+
+- Voiceover-heavy (let subject speak)
+- Manipulating subjects
+- Sensational re-enactments
+- Quick cutting
+- Subjects looking off-camera
+- Multiple competing voices
+
+## Best for
+
+- Investigative documentary
+- Single-subject deep dive
+- Justice / truth themes
+- Festival prestige
+- Awards aspiration
+- Philosophical subjects
+
+## Avoid pairing with
+
+- Sensational subjects without depth
+- Quick-pacing format
+- Vlog-style
+- Mass commercial
+- Family content