<?xml version="1.0" encoding="UTF-8"?><rss version="2.0"
	xmlns:content="http://purl.org/rss/1.0/modules/content/"
	xmlns:wfw="http://wellformedweb.org/CommentAPI/"
	xmlns:dc="http://purl.org/dc/elements/1.1/"
	xmlns:atom="http://www.w3.org/2005/Atom"
	xmlns:sy="http://purl.org/rss/1.0/modules/syndication/"
	xmlns:slash="http://purl.org/rss/1.0/modules/slash/"
	>

<channel>
	<title>The MISP Screenwriting Blog &#187; Paolo Braga</title>
	<atom:link href="https://www.screenwritersbreakdown.com/author/paolo_braga/feed/" rel="self" type="application/rss+xml" />
	<link>https://www.screenwritersbreakdown.com</link>
	<description> ...</description>
	<lastBuildDate>Tue, 31 Mar 2020 09:50:38 +0000</lastBuildDate>
	<language>en-US</language>
	<sy:updatePeriod>hourly</sy:updatePeriod>
	<sy:updateFrequency>1</sy:updateFrequency>
	<generator>https://wordpress.org/?v=4.2.38</generator>
	<item>
		<title>Subtext: the basis of scene breakdown</title>
		<link>https://www.screenwritersbreakdown.com/subtext-the-basis-of-scene-breakdown/</link>
		<comments>https://www.screenwritersbreakdown.com/subtext-the-basis-of-scene-breakdown/#comments</comments>
		<pubDate>Tue, 31 Mar 2020 09:50:38 +0000</pubDate>
		<dc:creator><![CDATA[Paolo Braga]]></dc:creator>
				<category><![CDATA[Character]]></category>
		<category><![CDATA[Dialogue]]></category>
		<category><![CDATA[Scene analysis]]></category>
		<category><![CDATA[Show. Don't tell]]></category>
		<category><![CDATA[Subtext]]></category>
		<category><![CDATA[Theme]]></category>

		<guid isPermaLink="false">http://www.screenwritersbreakdown.com/?p=789</guid>
		<description><![CDATA[One of the most moving scenes from Marriage Story takes place in the third Act of the film. Previously, after an excruciating, heartbreaking fight, Charlie (Adam Driver) and Sandra (Scarlett Johansson) managed to find an&#8230;]]></description>
		<wfw:commentRss>https://www.screenwritersbreakdown.com/subtext-the-basis-of-scene-breakdown/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Tony D’Amato’s speech. An analysis</title>
		<link>https://www.screenwritersbreakdown.com/tony-damatos-speech-an-analysis/</link>
		<comments>https://www.screenwritersbreakdown.com/tony-damatos-speech-an-analysis/#comments</comments>
		<pubDate>Sun, 23 Feb 2020 10:51:51 +0000</pubDate>
		<dc:creator><![CDATA[Paolo Braga]]></dc:creator>
				<category><![CDATA[Conflict]]></category>
		<category><![CDATA[Dialogue]]></category>
		<category><![CDATA[Framing]]></category>
		<category><![CDATA[Masterpiece]]></category>
		<category><![CDATA[Motivation]]></category>
		<category><![CDATA[Movie Speeches]]></category>
		<category><![CDATA[Scene analysis]]></category>

		<guid isPermaLink="false">http://www.screenwritersbreakdown.com/?p=781</guid>
		<description><![CDATA[“I don’t know what to say really”. The legendary Any Given Sunday speech, the ultra-famous pep talk given by coach Tony D’Amato to his team before a crucial match, begins in a way you wouldn’t&#8230;]]></description>
		<wfw:commentRss>https://www.screenwritersbreakdown.com/tony-damatos-speech-an-analysis/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Chernobyl and the obligations to history</title>
		<link>https://www.screenwritersbreakdown.com/chernobyl-and-the-obligations-to-history/</link>
		<comments>https://www.screenwritersbreakdown.com/chernobyl-and-the-obligations-to-history/#comments</comments>
		<pubDate>Tue, 21 Jan 2020 15:19:23 +0000</pubDate>
		<dc:creator><![CDATA[Paolo Braga]]></dc:creator>
				<category><![CDATA[Biopic]]></category>
		<category><![CDATA[Character]]></category>

		<guid isPermaLink="false">http://www.screenwritersbreakdown.com/?p=773</guid>
		<description><![CDATA[When telling a story about true events, to what degree is it acceptable to alter facts for the sake of drama? At which point can a writer let his creativity loose to invent facts regarding&#8230;]]></description>
		<wfw:commentRss>https://www.screenwritersbreakdown.com/chernobyl-and-the-obligations-to-history/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>The pleasure of well written invectives</title>
		<link>https://www.screenwritersbreakdown.com/the-pleasure-of-well-written-invectives/</link>
		<comments>https://www.screenwritersbreakdown.com/the-pleasure-of-well-written-invectives/#comments</comments>
		<pubDate>Mon, 16 Dec 2019 17:22:27 +0000</pubDate>
		<dc:creator><![CDATA[Paolo Braga]]></dc:creator>
				<category><![CDATA[Dialogue]]></category>
		<category><![CDATA[Movie Speeches]]></category>
		<category><![CDATA[Aaron Sorkin]]></category>
		<category><![CDATA[Steven Zaillian]]></category>

		<guid isPermaLink="false">http://www.screenwritersbreakdown.com/?p=770</guid>
		<description><![CDATA[When we think of movie speeches, we usually think of inspirational speeches: for example, the one by coach D’Amato (Al Pacino) in Any Given Sunday, or the one by William Wallace in Braveheart. We tend&#8230;]]></description>
		<wfw:commentRss>https://www.screenwritersbreakdown.com/the-pleasure-of-well-written-invectives/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>The good lesson from &#8216;The Office&#8217;</title>
		<link>https://www.screenwritersbreakdown.com/the-good-lesson-from-the-office/</link>
		<comments>https://www.screenwritersbreakdown.com/the-good-lesson-from-the-office/#comments</comments>
		<pubDate>Fri, 18 Oct 2019 09:22:31 +0000</pubDate>
		<dc:creator><![CDATA[Paolo Braga]]></dc:creator>
				<category><![CDATA[Character]]></category>
		<category><![CDATA[Television Shows]]></category>
		<category><![CDATA[To root for]]></category>

		<guid isPermaLink="false">http://www.screenwritersbreakdown.com/?p=765</guid>
		<description><![CDATA[In the first version of the screenplay for First Blood, Rambo was pretty much just a sociopathic killer. However, when Sylvester Stallone came on board, he requested a substantial change to the script: that his&#8230;]]></description>
		<wfw:commentRss>https://www.screenwritersbreakdown.com/the-good-lesson-from-the-office/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Patience, a way to increase character relatability</title>
		<link>https://www.screenwritersbreakdown.com/patience-a-way-to-increase-character-relatability/</link>
		<comments>https://www.screenwritersbreakdown.com/patience-a-way-to-increase-character-relatability/#comments</comments>
		<pubDate>Tue, 10 Sep 2019 15:07:53 +0000</pubDate>
		<dc:creator><![CDATA[Paolo Braga]]></dc:creator>
				<category><![CDATA[Character]]></category>
		<category><![CDATA[To root for]]></category>

		<guid isPermaLink="false">http://www.screenwritersbreakdown.com/?p=760</guid>
		<description><![CDATA[Captain Miller (Tom Hanks) in Saving Private Ryan, Dr Green (Anthony Edwards) in ER, Erin Brockovich (Julia Roberts) in the eponymous film, Tony Lip (Viggo Mortensen) in Green Book, Randy “The Ram” Robinson (Mickey Rourke)&#8230;]]></description>
		<wfw:commentRss>https://www.screenwritersbreakdown.com/patience-a-way-to-increase-character-relatability/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Write well, write positive: Lindsay Doran’s take on stories</title>
		<link>https://www.screenwritersbreakdown.com/write-well-write-positive-lindsay-dorans-take-on-stories/</link>
		<comments>https://www.screenwritersbreakdown.com/write-well-write-positive-lindsay-dorans-take-on-stories/#comments</comments>
		<pubDate>Fri, 05 Jul 2019 12:44:37 +0000</pubDate>
		<dc:creator><![CDATA[Paolo Braga]]></dc:creator>
				<category><![CDATA[Endings]]></category>
		<category><![CDATA[Motivation]]></category>

		<guid isPermaLink="false">http://www.screenwritersbreakdown.com/?p=755</guid>
		<description><![CDATA[PERMA, acronym for: Positive emotions, Engagement, Relationships, Meaning, Accomplishment. According to psychologist Martin Seligman – exponent of positive psychology  – these are the ingredients of well-being. What’s the relevance of this psychological issue, and of&#8230;]]></description>
		<wfw:commentRss>https://www.screenwritersbreakdown.com/write-well-write-positive-lindsay-dorans-take-on-stories/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>The Worst Point seen through the character’s eyes</title>
		<link>https://www.screenwritersbreakdown.com/the-worst-point-seen-through-the-characters-eyes/</link>
		<comments>https://www.screenwritersbreakdown.com/the-worst-point-seen-through-the-characters-eyes/#comments</comments>
		<pubDate>Mon, 20 May 2019 10:19:59 +0000</pubDate>
		<dc:creator><![CDATA[Paolo Braga]]></dc:creator>
				<category><![CDATA[Dialogue]]></category>
		<category><![CDATA[Structure]]></category>
		<category><![CDATA[The Worst Point]]></category>

		<guid isPermaLink="false">http://www.screenwritersbreakdown.com/?p=749</guid>
		<description><![CDATA[The Worst Point is the structural step in a screenplay where the main character experiences failure. Act II ends there. Screenwriting gurus have thought up many ways to describe this critical moment. It’s when all&#8230;]]></description>
		<wfw:commentRss>https://www.screenwritersbreakdown.com/the-worst-point-seen-through-the-characters-eyes/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Characterization through dialogue</title>
		<link>https://www.screenwritersbreakdown.com/characterization-through-dialogue/</link>
		<comments>https://www.screenwritersbreakdown.com/characterization-through-dialogue/#comments</comments>
		<pubDate>Thu, 28 Mar 2019 10:56:29 +0000</pubDate>
		<dc:creator><![CDATA[Paolo Braga]]></dc:creator>
				<category><![CDATA[Character]]></category>
		<category><![CDATA[Dialogue]]></category>

		<guid isPermaLink="false">http://www.screenwritersbreakdown.com/?p=744</guid>
		<description><![CDATA[What a character says should ring true considering the kind of person he is. Concurrently, his lines should reveal who he is. A longshoreman and a psychotherapist don’t speak the same way. Characterization through dialogue&#8230;]]></description>
		<wfw:commentRss>https://www.screenwritersbreakdown.com/characterization-through-dialogue/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>The competence factor in interrogation scenes</title>
		<link>https://www.screenwritersbreakdown.com/the-competence-factor-in-interrogation-scenes/</link>
		<comments>https://www.screenwritersbreakdown.com/the-competence-factor-in-interrogation-scenes/#comments</comments>
		<pubDate>Sat, 23 Feb 2019 09:37:30 +0000</pubDate>
		<dc:creator><![CDATA[Paolo Braga]]></dc:creator>
				<category><![CDATA[Dialogue]]></category>
		<category><![CDATA[Interrogation scenes]]></category>
		<category><![CDATA[Scene analysis]]></category>
		<category><![CDATA[Television Shows]]></category>

		<guid isPermaLink="false">http://www.screenwritersbreakdown.com/?p=739</guid>
		<description><![CDATA[A well written interrogation scene is a demonstration of competence by the interrogator. Competence – i.e. a method, the development of a previously prepared strategy, the progressive discovery of the plan followed by the detective&#8230;]]></description>
		<wfw:commentRss>https://www.screenwritersbreakdown.com/the-competence-factor-in-interrogation-scenes/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
	</channel>
</rss>
