@mytechtoday/augment-extensions 1.6.0 → 1.6.2

package/augment-extensions/writing-standards/screenplay/cinematic-styles/directors/robert-altman/rules/robert-altman.md

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+# Robert Altman-Type Films - Screenplay Style Guide
+
+## Table of Contents
+- [Table of Contents](#table-of-contents)
+- [The Ensemble Mosaic Satire](#the-ensemble-mosaic-satire)
+- [Overview](#overview)
+- [Core Principles](#core-principles)
+  - [1. **Ensemble Over Individual: The Collective as Protagonist**](#1-ensemble-over-individual-the-collective-as-protagonist)
+  - [2. **Naturalistic Dialogue: Overlaps, Interruptions, and Ambiguity**](#2-naturalistic-dialogue-overlaps-interruptions-and-ambiguity)
+  - [3. **Multi-Threaded Narratives: Mosaic Structure Over Linear Plot**](#3-multi-threaded-narratives-mosaic-structure-over-linear-plot)
+  - [4. **Satirical Observation: Subtle Critique Through Irony**](#4-satirical-observation-subtle-critique-through-irony)
+  - [5. **Improvisational Freedom: Script as Starting Point**](#5-improvisational-freedom-script-as-starting-point)
+  - [6. **Visual and Aural Layering: Zoom Lenses and Sound Design**](#6-visual-and-aural-layering-zoom-lenses-and-sound-design)
+- [Narrative Structure](#narrative-structure)
+  - [The Altman Mosaic Framework](#the-altman-mosaic-framework)
+- [Character Development](#character-development)
+  - [The Observed Human: Flaws in Context](#the-observed-human-flaws-in-context)
+  - [Altman Character Archetypes](#altman-character-archetypes)
+- [Scene Construction](#scene-construction)
+  - [The "Crowd Mosaic" Scene](#the-crowd-mosaic-scene)
+  - [The "Overlapping Conversation" Scene](#the-overlapping-conversation-scene)
+  - [The "Intimate Vignette" Scene](#the-intimate-vignette-scene)
+  - [The "Satirical Set Piece" Scene](#the-satirical-set-piece-scene)
+  - [The "Improvised Riff" Scene](#the-improvised-riff-scene)
+  - [The "Symbolic Montage" Scene](#the-symbolic-montage-scene)
+
+## The Ensemble Mosaic Satire
+
+**Films Analyzed**: 
+- M*A*S*H (1970)
+- McCabe & Mrs. Miller (1971)
+- The Long Goodbye (1973)
+- California Split (1974)
+- Nashville (1975)
+- 3 Women (1977)
+- A Wedding (1978)
+- Popeye (1980)
+- Streamers (1983)
+- Secret Honor (1984)
+- Fool for Love (1985)
+- The Player (1992)
+- Short Cuts (1993)
+- Prêt-à-Porter (1994)
+- Kansas City (1996)
+- The Gingerbread Man (1998)
+- Cookie's Fortune (1999)
+- Dr. T & the Women (2000)
+- Gosford Park (2001)
+- The Company (2003)
+- A Prairie Home Companion (2006)
+
+**Primary Writers/Collaborators**: Robert Altman (director and frequent co-writer), Joan Tewkesbury (Nashville), Brian McKay (California Split), Michael Tolkin (The Player), Raymond Carver (source for Short Cuts), Julian Fellowes (Gosford Park), Garrison Keillor (A Prairie Home Companion)  
+**Genre**: Ensemble Drama / Satirical Mosaic / Multi-Narrative Social Commentary  
+**Core Concept**: Interwoven lives in chaotic social tapestries, emphasizing naturalistic dialogue, ensemble dynamics, and subtle critiques of human folly and institutional absurdities through overlapping narratives and improvisational realism.
+
+---
+
+## Overview
+
+Robert Altman's filmmaking style represents a radical departure from conventional Hollywood narratives, prioritizing the collective human experience over individual heroism. His films create intricate mosaics of interconnected stories, where large ensembles of characters navigate the absurdities of life, society, and culture. Unlike the plot-driven spectacles of mainstream cinema, Altman's works thrive on ambiguity, naturalism, and the raw unpredictability of human interaction. Overlapping dialogues mimic real-life conversations, where voices blend, interrupt, and fade, reflecting the cacophony of existence. Satire is woven subtly into the fabric, critiquing everything from war and politics to fame and class structures without overt moralizing. This style guide distills the essence of Altman's approach, drawing from his vast oeuvre to provide writers with tools for crafting screenplays that feel alive, multifaceted, and profoundly observational. By emphasizing ensemble over ego, improvisation over rigidity, and social observation over simplistic resolutions, Altman's style invites audiences to eavesdrop on the messy, unscripted drama of life itself. His influence extends to modern filmmakers like Paul Thomas Anderson and Alejandro G. Iñárritu, but the core remains uniquely Altman: a celebration of the ensemble as a microcosm of society, where no single thread dominates the weave.
+
+Altman's career spanned over five decades, evolving from early experiments in television to groundbreaking features that challenged narrative conventions. Beginning with M*A*S*H, which satirized the Vietnam War through the lens of Korean War surgeons, Altman developed a signature style that rejected linear storytelling in favor of episodic, vignette-driven structures. Films like Nashville, with its 24 characters converging on a political rally, exemplify his mastery of multi-threaded narratives, where plot emerges organically from character interactions rather than imposed dramatic arcs. In The Player, he turned his satirical eye inward on Hollywood itself, using meta-narrative techniques to blur fiction and reality. Short Cuts adapted Raymond Carver's minimalist stories into a sprawling Los Angeles panorama, highlighting themes of disconnection and coincidence. Gosford Park, his late-career triumph, infused the upstairs-downstairs class drama with whodunit elements, earning an Oscar nomination for its screenplay. Even in lesser-known works like 3 Women, Altman explored psychological depths through dreamlike sequences and identity fluidity. Across these films, common threads emerge: a fascination with American institutions (military, entertainment, politics), a commitment to actor freedom, and a visual-aural style that captures the ebb and flow of group dynamics. This guide will break down these elements into principles, structures, and techniques, offering a blueprint for writers seeking to emulate Altman's immersive, satirical worldview.
+
+In an era dominated by blockbuster formulas, Altman's style stands as a counterpoint, reminding us that cinema can be a mirror to society's complexities rather than an escape from them. His screenplays—often collaborative and evolving through production—prioritize authenticity over polish, allowing characters to reveal themselves through mundane actions and fragmented conversations. The result is films that feel discovered rather than constructed, where humor arises from irony, tragedy from banality, and meaning from the interplay of multiple perspectives. Whether depicting the hedonistic gamblers of California Split or the eccentric radio performers of A Prairie Home Companion, Altman's work underscores the fragility of human connections in an indifferent world. By studying this guide, writers can learn to craft stories that resonate on multiple levels, inviting repeated viewings to uncover new layers of interaction and insight.
+
+---
+
+## Core Principles
+
+### 1. **Ensemble Over Individual: The Collective as Protagonist**
+In Altman films, the group is the star; no single character carries the narrative burden. This principle shifts focus from heroic journeys to social ecosystems, where individual stories intersect and influence one another without clear hierarchies.
+
+**Key Philosophy**:
+- Society as character: Institutions and communities drive the drama
+- No clear protagonists: Everyone has agency, flaws, and moments
+- Interdependence: Characters' fates entwine through coincidence and choice
+- Democratic storytelling: Equal weight to stars and supporting roles
+
+**Examples from Films**:
+- In Nashville, 24 characters from diverse backgrounds converge on a music festival and political rally; no one dominates, but their collective energy critiques American celebrity culture.
+- Short Cuts weaves nine interconnected stories based on Raymond Carver's tales, showing how random events like earthquakes or fishing trips link disparate lives in suburban Los Angeles.
+- Gosford Park features over 30 characters in an English manor, with upstairs aristocrats and downstairs servants equally vital to the murder mystery and class satire.
+- M*A*S*H centers on the 4077th Mobile Army Surgical Hospital unit, where surgeons Hawkeye, Trapper, and others blend into a chaotic ensemble resisting military bureaucracy.
+
+**Writing Approach**:
+WRONG: "Hawkeye Pierce, the brilliant surgeon, single-handedly saves the day by outwitting the colonel."
+RIGHT: "In the crowded OR, Hawkeye cracks a joke while stitching a wound. Trapper interrupts with a quip, Radar scurries for supplies, Hot Lips fumes in the corner. Outside, choppers bring more wounded—the war's endless tide washing over them all."
+
+This approach ensures the scene captures the group's dynamic, not isolating one hero. Expand descriptions to include multiple actions and reactions, layering the environment with sounds, interruptions, and subplots.
+
+### 2. **Naturalistic Dialogue: Overlaps, Interruptions, and Ambiguity**
+Altman's signature sound design features overlapping conversations, mimicking real-life cacophony. Dialogue is fragmented, improvisational, and laden with subtext, revealing character through how they speak—or fail to communicate.
+
+**Dialogue Guidelines**:
+- **Overlaps for realism**: Multiple voices compete, with key lines emerging from the noise
+- **Improvisation encouragement**: Scripts as blueprints, allowing actor input for authenticity
+- **Subtext over exposition**: Characters talk around issues, hinting at deeper truths
+- **Humor in irony**: Wit arises from misunderstandings or social awkwardness
+
+**Dialogue Ratio**:
+- Ensemble scenes: 50% overlaps/interruptions, 30% clear exchanges, 20% silence/ambient noise
+- Intimate moments: 40% pauses/hesitations, 60% layered meanings
+- Satirical sequences: Rapid-fire banter with ironic undertones
+
+**Character Voice Examples**:
+HAWKEYE PIERCE (Sardonic, anti-authoritarian, quick-witted)
+Listen, Frank, if God wanted us to fight wars, he'd have given us brains instead of martinis.
+BARBARA JEAN (Vulnerable, star-struck, fragmented)
+I... I just want to sing, you know? For the people. But the lights... they blur everything.
+GRIFFIN MILL (Smooth, manipulative, Hollywood-insider)
+We can always rewrite the ending. Happy endings sell tickets.
+ANN FINNIGAN (Desperate, suburban, evasive)
+It's not like that. Earl just... he drinks sometimes. We all do.
+SIR WILLIAM McCORDLE (Arrogant, detached, upper-class)
+One doesn't discuss such matters at table, my dear. Pass the port.
+MILLIE LAMOREAUX (Dreamy, obsessive, identity-fluid)
+You look just like me. Or do I look like you? It's all mixed up now.
+
+These voices reflect Altman's emphasis on personality through speech patterns—Hawkeye's sarcasm critiques war, Barbara Jean's fragmentation highlights fame's toll, Griffin's slickness satirizes industry cynicism.
+
+### 3. **Multi-Threaded Narratives: Mosaic Structure Over Linear Plot**
+Altman rejects traditional cause-effect storytelling for fragmented, intersecting vignettes. Plots emerge from accumulations of moments, with themes unifying the chaos rather than a central conflict.
+
+**Narrative Techniques**:
+- **Vignette-based progression**: Short scenes build a larger picture
+- **Coincidental intersections**: Characters cross paths unexpectedly
+- **Thematic unity**: Recurring motifs (e.g., music in Nashville, death in Short Cuts) tie threads
+- **Ambiguous resolutions**: Endings suggest continuation, not closure
+
+**Examples from Films**:
+- Nashville intercuts between a political campaign, country music performances, and personal dramas, culminating in an assassination that echoes national turmoil.
+- Short Cuts follows multiple families through crises like infidelity, accidents, and natural disasters, with Carver's minimalist style amplified into a web of urban alienation.
+- The Player uses a long tracking shot to introduce Hollywood players, blending murder mystery with industry satire through meta cameos and narrative loops.
+- A Wedding juggles 48 characters at a chaotic nuptial event, satirizing class and family dynamics through a series of mishaps and revelations.
+
+**Writing Approach**:
+MULTI-THREAD SCENE STRUCTURE:
+
+Introduce thread A (character setup, minor conflict)
+Cut to thread B (parallel action, thematic echo)
+Overlap via location or event (characters intersect)
+Build tension across threads (escalating parallels)
+Climax in convergence (group event reveals connections)
+
+
+This mosaic builds depth by layering perspectives, allowing satire to emerge from contrasts.
+
+### 4. **Satirical Observation: Subtle Critique Through Irony**
+Altman's films comment on society without preachiness, using irony, exaggeration, and observation to expose hypocrisies in institutions like war, Hollywood, politics, and class.
+
+**Satire Principles**:
+- **Institutional folly**: Bureaucracy and power structures as absurd
+- **Human vulnerabilities**: Characters' flaws mirror societal issues
+- **Understated humor**: Irony in everyday absurdities
+- **Non-judgmental lens**: Observation over condemnation
+
+**Satire Philosophy**:
+NOT: Direct diatribe against war
+BUT: Surgeons in MAS*H perform gore-filled operations while cracking jokes and drinking, highlighting the insanity of military life through contrast.
+
+In Gosford Park, class divides are satirized through servants' gossip and aristocrats' obliviousness, revealing systemic inequalities without overt lectures.
+
+### 5. **Improvisational Freedom: Script as Starting Point**
+Altman encouraged actors to deviate from the page, fostering natural performances that enhance realism and discovery.
+
+**Improvisation Guidelines**:
+- **Loose scripting**: Dialogue outlines, not verbatim lines
+- **Actor collaboration**: Incorporate personal insights
+- **On-set evolution**: Scenes adapt to performances
+- **Natural pacing**: Allow for pauses, stumbles, real emotions
+
+**Examples**:
+- In California Split, Elliott Gould and George Segal's gambling banter feels authentic due to improvised riffs on addiction and friendship.
+- 3 Women's dream sequences evolved from Shelley Duvall and Sissy Spacek's input, blurring identity themes.
+- The Company, set in a ballet troupe, used real dancers' routines, blending documentary and fiction.
+
+This principle ensures vitality, making films feel lived-in rather than rehearsed.
+
+### 6. **Visual and Aural Layering: Zoom Lenses and Sound Design**
+Though screenplay-focused, Altman's style influences writing by emphasizing descriptions that support multi-layered visuals and sounds.
+
+**Descriptive Techniques**:
+- **Zoom-ins for intimacy**: Scripts note gradual focuses on details amid crowds
+- **Ambient sound cues**: Describe overlapping noises, music, dialogues
+- **Fluid camera movement**: Suggest tracking through groups
+- **Symbolic motifs**: Recurring images (e.g., rain in McCabe & Mrs. Miller) for mood
+
+**Example Description**:
+INT. NASHVILLE AIRPORT - DAY
+Crowd mills about. Zoom slowly past arriving celebrities. In foreground, Opal chatters to BBC crew. Background, Linnea prays with children. Overlapping announcements blend with country tunes from speakers. Cut to Haven Hamilton greeting fans, his voice drowning in the din.
+
+This layering mirrors life's complexity, guiding directors toward Altman's aesthetic.
+
+---
+
+## Narrative Structure
+
+### The Altman Mosaic Framework
+
+Unlike traditional three-act structures, Altman's narratives resemble tapestries, with threads weaving in and out. Time is fluid, plots episodic, and climaxes collective rather than individual.
+
+#### Setup: World Introduction + Character Web (0-30 minutes)
+**Goal**: Immerse audience in the social landscape, introducing multiple characters without info-dumps.
+
+**Key Elements**:
+- **Panoramic opening**: Long takes or montages establishing setting
+- **Character vignettes**: Short scenes revealing personalities
+- **Thematic seeds**: Hint at satire through ironies
+- **Intersecting paths**: Early coincidences link threads
+- **Tone establishment**: Blend humor, drama, absurdity
+
+**Pacing**:
+- Slow build with observational details
+- No central inciting incident; multiple mini-hooks
+- Ambient sounds and overlaps set naturalistic rhythm
+- Emotional investment through relatable flaws
+
+**Examples**:
+- Nashville: Opens with a recording studio session, intercutting traffic jams and character arrivals, setting the stage for cultural collision.
+- Short Cuts: Begins with helicopter spraying for medflies over LA suburbs, symbolizing intrusion, then dives into family breakfasts and arguments.
+- The Player: Famous eight-minute tracking shot through studio lot, introducing Griffin Mill amid pitches and gossip, satirizing Hollywood hustle.
+
+#### Rising Action: Thread Interweaving + Escalating Chaos (30-90 minutes)
+**Goal**: Deepen connections, build tensions through parallels and contrasts.
+
+**Escalation Pattern**:
+1. **Individual struggles**: Characters face personal crises
+2. **Group interactions**: Parties, events force minglings
+3. **Satirical escalations**: Institutional absurdities amplify
+4. **Coincidental crises**: Accidents or revelations link stories
+5. **Emotional undercurrents**: Subtext builds toward convergence
+
+**Key Techniques**:
+- **Cross-cutting montages**: Parallel actions highlight themes
+- **Improvised detours**: Side stories add texture
+- **Humor in escalation**: Irony punctuates drama
+- **World expansion**: Details enrich satire
+
+**Examples**:
+- In Gosford Park, dinner conversations overlap with servant gossip, building mystery and class tensions.
+- M*A*S*H cycles through surgeries, pranks, and downtime, escalating anti-war satire.
+- Prêt-à-Porter intercuts fashion shows with personal scandals, critiquing industry's superficiality.
+
+#### Crisis: Convergence + Collective Catharsis (90-120 minutes)
+**Goal**: Threads collide in a group event, revealing societal truths without resolution.
+
+**Midpoint Crisis**:
+- **Major event**: Rally, wedding, disaster unites characters
+- **Revelations**: Secrets surface through interactions
+- **Group fracture**: Conflicts peak in chaos
+- **Satirical peak**: Absurdities exposed
+
+**Examples**:
+- Nashville: Parthenon concert turns violent, symbolizing political disillusionment.
+- Short Cuts: Earthquake shakes literal and metaphorical foundations.
+- A Wedding: Ceremony descends into farce with deaths and scandals.
+
+#### Resolution: Ambiguous Aftermath + Lingering Echoes (120+ minutes)
+**Goal**: Suggest continuity, leaving audiences to ponder implications.
+
+**Resolution Principles**:
+- **No tidy endings**: Lives continue in flux
+- **Thematic closure**: Motifs resolve symbolically
+- **Ensemble reflection**: Final montages show changed dynamics
+- **Bittersweet tone**: Humor tempers tragedy
+
+**Final Convergence Structure**:
+
+EVENT BUILD - Threads draw toward focal point
+CHAOS PEAK - Overlaps intensify in group scene
+CATHARSIS - Emotional releases amid absurdity
+FALLOUT - Characters scatter with subtle changes
+MONTAGE CLOSE - Parallel glimpses of ongoing lives
+FINAL IMAGE - Symbolic shot encapsulating theme
+
+
+**Examples**:
+- The Company ends with a ballet performance, blending art and life.
+- Cookie's Fortune concludes with a funeral turning celebratory, satirizing Southern mores.
+
+---
+
+## Character Development
+
+### The Observed Human: Flaws in Context
+
+**Core Traits**:
+- **Relatable imperfections**: Ambition, insecurity, hypocrisy
+- **Social roles**: Defined by institutions yet rebelling
+- **Ensemble interdependence**: Growth through interactions
+- **Subtle arcs**: Evolution implied, not explicit
+
+**Character Arc Template**:
+SETUP: Character in social niche (Hawkeye's cynicism in war)
+CHALLENGE: Interactions expose flaws (pranks backfire)
+CRISIS: Group event forces confrontation (surgery amid bombardment)
+GROWTH: Momentary insight (vulnerability shared)
+RESOLUTION: Adapted stance, but ambiguity remains
+
+### Altman Character Archetypes
+
+**The Opportunist** (Griffin Mill, McCabe):
+- Ambitious schemer in corrupt systems
+- Charismatic but morally flexible
+- Satirizes capitalism/Hollywood
+- Arc: Success tainted by consequences
+
+**The Dreamer** (Barbara Jean, Millie Lamoreaux):
+- Idealistic amid harsh realities
+- Fragile psyche, identity struggles
+- Represents artistic/personal aspirations
+- Arc: Dreams shattered or transformed
+
+**The Rebel** (Hawkeye Pierce, Philip Marlowe):
+- Anti-authority wit in rigid structures
+- Sarcasm as weapon
+- Critiques institutions
+- Arc: Cynicism softened by connections
+
+**The Outsider** (Opal, Mantis in Company):
+- Eccentric observer/commentator
+- Provides comic relief/insight
+- Highlights group norms
+- Arc: Integration or alienation
+
+**The Authority Figure** (Frank Burns, Sir William):
+- Hypocritical leader
+- Exposes power absurdities
+- Often ridiculed
+- Arc: Humiliation or downfall
+
+**The Everyman** (Bill in California Split, Doreen in Short Cuts):
+- Ordinary in extraordinary chaos
+- Relatable struggles
+- Grounds satire
+- Arc: Resilience amid folly
+
+**The Ensemble Anchor** (Haven Hamilton, Garrison Keillor):
+- Central but not dominant
+- Represents cultural values
+- Provides continuity
+- Arc: Tradition vs. change
+
+These archetypes allow for diverse casts, with development emerging from ensemble friction.
+
+---
+
+## Scene Construction
+
+### The "Crowd Mosaic" Scene
+Large group gatherings where multiple stories unfold simultaneously.
+
+**Structure**:
+1. **Establish space**: Describe layered environment
+2. **Multiple foci**: Shift between subgroups
+3. **Overlaps**: Dialogue and actions intersect
+4. **Thematic build**: Ironies accumulate
+5. **Climax moment**: Collective reaction
+
+**Example Template**:
+INT. PARTHENON CONCERT - NIGHT
+Crowd surges. On stage, Haven belts a patriotic tune. Zoom past fans to Linnea in audience, phone ringing—husband's crisis. Background, Sueleen strips nervously. Opal interviews a soldier. Music swells, voices overlap. Suddenly, gunshot—chaos erupts, threads collide in panic.
+
+### The "Overlapping Conversation" Scene
+Naturalistic talks where subtext shines through interruptions.
+
+**Elements**:
+- **Setup**: Casual setting (dinner, party)
+- **Layered dialogue**: Multiple threads
+- **Interruptions**: Real-life flow
+- **Subtext reveal**: Unsaid tensions
+- **Payoff**: Insight or humor
+
+**Timing Rules**:
+- Overlaps during peaks
+- Pauses for emphasis
+- No clean resolutions
+- Ambient sounds enhance
+
+**Examples**:
+WRONG (Linear):
+Character A: I hate this war.
+Character B: Me too.
+RIGHT (Altman-esque):
+HAWKEYE (over martini pour): This whole setup's a joke—
+TRAPPER (interrupting): Pass the olives, will ya? Frank's on his high horse again.
+HOT LIPS (from corner): You two are disgraceful!
+RADAR (whispering): Choppers incoming...
+Voices blend as sirens wail.
+
+### The "Intimate Vignette" Scene
+Quiet moments amid chaos, revealing depths.
+
+**Required Elements**:
+- **Contrast to ensemble**: Isolation highlights
+- **Subtle performances**: Gestures over words
+- **Thematic echo**: Mirrors larger satire
+- **Ambiguous emotion**: No clear catharsis
+- **Transition out**: Cut to group noise
+
+**Examples**:
+- In 3 Women, Pinky and Millie's bathroom mirror scene explores identity mirroring.
+- Short Cuts' Ann and Howard's hospital vigil on their comatose son builds quiet despair.
+- McCabe's solitary opium dreams contrast town's bustle.
+
+### The "Satirical Set Piece" Scene
+Exaggerated event exposing follies.
+
+**Structure**:
+1. **Build expectation**: Hype the occasion
+2. **Subversion**: Things go awry
+3. **Ensemble reactions**: Varied responses
+4. **Ironic payoff**: Critique revealed
+5. **Lingering effect**: Ripples to other threads
+
+**Examples**:
+- A Wedding's ceremony interrupted by storms, deaths, revelations.
+- Prêt-à-Porter's nude fashion show satirizing industry's excess.
+- Kansas City's jazz club performance blending music with crime.
+
+### The "Improvised Riff" Scene
+Actor-driven moments for authenticity.
+
+**Guidelines**:
+- Script loosely: Indicate tone, not lines
+- Describe possibilities: "Actors improvise banter on theme"
+- Focus on reactions: Group dynamics evolve
+- End organically: Fade into next thread
+
+**Example**:
+In Fool for Love, Sam Shepard's script allowed Altman to layer incestuous tensions with physical improvisations.
+
+### The "Symbolic Montage" Scene
+Wordless sequences tying themes.
+
+**Elements**:
+- **Visual parallels**: Cut between actions
+- **Music overlay**: Folk, jazz, or original scores
+- **Emotional build**: Without dialogue
+- **Satirical undertone**: Irony in images
+
+**Example**:
+Nashville's traffic montage with radio broadcasts linking characters' journeys.
+
+These scenes embody Altman's style, prioritizing observation and interaction over conventional drama.
+
+---

package/augment-extensions/writing-standards/screenplay/cinematic-styles/directors/robert-eggers/module.json

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+{
+  "name": "cinematic-styles-directors-robert-eggers",
+  "version": "1.0.0",
+  "displayName": "Robert Eggers Style Guide",
+  "description": "Screenplay style guide for Robert Eggers",
+  "type": "writing-standards",
+  "category": "screenplay/cinematic-styles/directors",
+  "tags": [
+    "screenplay",
+    "cinematic-style",
+    "director",
+    "auteur",
+    "robert-eggers"
+  ],
+  "dependencies": {
+    "required": [],
+    "optional": [
+      "writing-standards/screenplay"
+    ]
+  },
+  "augment": {
+    "characterCount": 5000,
+    "priority": "medium",
+    "category": "cinematic-styles",
+    "appliesTo": {
+      "filePatterns": [
+        "**/*.fountain",
+        "**/*.screenplay",
+        "**/screenplay/**/*.md",
+        "**/screenplays/**/*"
+      ],
+      "languages": [
+        "fountain",
+        "markdown"
+      ]
+    }
+  },
+  "installation": {
+    "required": false,
+    "steps": [
+      "Link module: augx link writing-standards/screenplay/cinematic-styles/directors/robert-eggers",
+      "Configure active style in .augment/screenplay-config.json"
+    ]
+  },
+  "contents": {
+    "rules": [
+      "robert-eggers.md"
+    ]
+  }
+}