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	<title>The MISP Screenwriting Blog &#187; Dialogue</title>
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		<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>
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		<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>
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		<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>
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		<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>
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		<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>
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		<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>
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		<title>A powerful line in &#8216;Life, Animated&#8217;</title>
		<link>https://www.screenwritersbreakdown.com/a-powerful-line-in-life-animated/</link>
		<comments>https://www.screenwritersbreakdown.com/a-powerful-line-in-life-animated/#comments</comments>
		<pubDate>Thu, 08 Nov 2018 18:09:35 +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=718</guid>
		<description><![CDATA[Owen Suskind, an autistic child, is completely unable to communicate — totally cut off from the world. Years of therapy and interventions have been fruitless. Until one day, sitting in the kitchen with his father,&#8230;]]></description>
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		<title>&#8216;The Fugitive&#039;: using one line of dialogue to convey characterization</title>
		<link>https://www.screenwritersbreakdown.com/the-fugitive-using-one-line-of-dialogue-to-convey-characterization/</link>
		<comments>https://www.screenwritersbreakdown.com/the-fugitive-using-one-line-of-dialogue-to-convey-characterization/#comments</comments>
		<pubDate>Wed, 25 Oct 2017 08:31:02 +0000</pubDate>
		<dc:creator><![CDATA[Paolo Braga]]></dc:creator>
				<category><![CDATA[Character]]></category>
		<category><![CDATA[Dialogue]]></category>
		<category><![CDATA[Rewriting]]></category>

		<guid isPermaLink="false">http://www.screenwritersbreakdown.com/?p=627</guid>
		<description><![CDATA[  You know the rule of thumb: reduce dialogue as much as you can in your script. Whenever possible, avoid it. Sometimes, though, one line of dialogue is better than a silent beat. For example,&#8230;]]></description>
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		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Interrogation Scenes as Film Dialogue: Paradigmatic Cases</title>
		<link>https://www.screenwritersbreakdown.com/interrogation-scenes-as-film-dialogue-paradigmatic-cases/</link>
		<comments>https://www.screenwritersbreakdown.com/interrogation-scenes-as-film-dialogue-paradigmatic-cases/#comments</comments>
		<pubDate>Sat, 09 Sep 2017 06:24:51 +0000</pubDate>
		<dc:creator><![CDATA[Paolo Braga]]></dc:creator>
				<category><![CDATA[Dialogue]]></category>
		<category><![CDATA[Interrogation scenes]]></category>
		<category><![CDATA[Scene analysis]]></category>

		<guid isPermaLink="false">http://www.screenwritersbreakdown.com/?p=616</guid>
		<description><![CDATA[When I read in screenwriting textbooks that film dialogue is different from real dialogue — conflict, twists, and thick subtext are not so common in everyday conversations — interrogation scenes always come to mind. They&#8230;]]></description>
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		<slash:comments>0</slash:comments>
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		<title>A Check-list for Good Sarcastic Dialogue</title>
		<link>https://www.screenwritersbreakdown.com/a-check-list-for-good-sarcastic-dialogue/</link>
		<comments>https://www.screenwritersbreakdown.com/a-check-list-for-good-sarcastic-dialogue/#comments</comments>
		<pubDate>Thu, 20 Jul 2017 07:28:38 +0000</pubDate>
		<dc:creator><![CDATA[Paolo Braga]]></dc:creator>
				<category><![CDATA[Dialogue]]></category>
		<category><![CDATA[Scene analysis]]></category>

		<guid isPermaLink="false">http://www.screenwritersbreakdown.com/?p=603</guid>
		<description><![CDATA[This Is Us, Episode 2: Los Angeles. Kevin, having decided he can no longer stomach being associated with such a lowbrow show, has clamorously quit The Manny, the awful sitcom he’s been starring in. At&#8230;]]></description>
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