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	<title>The MISP Screenwriting Blog &#187; Scene analysis</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 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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		<slash:comments>0</slash:comments>
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		<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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		<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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		<slash:comments>0</slash:comments>
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		<title>The Somersault Formula</title>
		<link>https://www.screenwritersbreakdown.com/the-somersault-formula/</link>
		<comments>https://www.screenwritersbreakdown.com/the-somersault-formula/#comments</comments>
		<pubDate>Wed, 28 Jun 2017 07:57:32 +0000</pubDate>
		<dc:creator><![CDATA[Paolo Braga]]></dc:creator>
				<category><![CDATA[Scene analysis]]></category>
		<category><![CDATA[Surprises]]></category>

		<guid isPermaLink="false">http://www.screenwritersbreakdown.com/?p=598</guid>
		<description><![CDATA[The character is in jeopardy/things are turned around… the antagonist almost wins/the antagonist loses the occasion because the protagonist is too smart&#8230; put the character in a corner/make them do a somersault. This is the&#8230;]]></description>
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		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>When one beat makes all the difference</title>
		<link>https://www.screenwritersbreakdown.com/when-one-beat-makes-all-the-difference/</link>
		<comments>https://www.screenwritersbreakdown.com/when-one-beat-makes-all-the-difference/#comments</comments>
		<pubDate>Fri, 07 Apr 2017 08:42:49 +0000</pubDate>
		<dc:creator><![CDATA[Paolo Braga]]></dc:creator>
				<category><![CDATA[Scene analysis]]></category>
		<category><![CDATA[Subtext]]></category>
		<category><![CDATA[Steven Zaillian]]></category>

		<guid isPermaLink="false">http://www.screenwritersbreakdown.com/?p=576</guid>
		<description><![CDATA[Sometimes one beat makes all the difference. There are scenes in which the smallest unit of action or dialogue changes everything. Take out the particular brushstroke and the picture is no longer the same. This&#8230;]]></description>
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		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>When a prologue is a good idea</title>
		<link>https://www.screenwritersbreakdown.com/when-a-prologue-is-a-good-idea/</link>
		<comments>https://www.screenwritersbreakdown.com/when-a-prologue-is-a-good-idea/#comments</comments>
		<pubDate>Fri, 23 Dec 2016 11:00:08 +0000</pubDate>
		<dc:creator><![CDATA[Paolo Braga]]></dc:creator>
				<category><![CDATA[Emotional tone]]></category>
		<category><![CDATA[Openings]]></category>
		<category><![CDATA[Scene analysis]]></category>
		<category><![CDATA[To root for]]></category>
		<category><![CDATA[The Truman Show]]></category>

		<guid isPermaLink="false">http://www.screenwritersbreakdown.com/?p=536</guid>
		<description><![CDATA[Drive, Raiders of the Lost Ark, The Dark Night, The Matrix, Jurassic Park, Toy Story 4: What do these movies have in common? Right! They all start with a prologue. Simply put, a prologue is,&#8230;]]></description>
		<wfw:commentRss>https://www.screenwritersbreakdown.com/when-a-prologue-is-a-good-idea/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Sense of menace in ‘The Gift’</title>
		<link>https://www.screenwritersbreakdown.com/sense-of-menace-in-the-gift/</link>
		<comments>https://www.screenwritersbreakdown.com/sense-of-menace-in-the-gift/#comments</comments>
		<pubDate>Thu, 24 Nov 2016 21:49:14 +0000</pubDate>
		<dc:creator><![CDATA[Paolo Braga]]></dc:creator>
				<category><![CDATA[Scene analysis]]></category>
		<category><![CDATA[Style]]></category>

		<guid isPermaLink="false">http://www.screenwritersbreakdown.com/?p=524</guid>
		<description><![CDATA[“Hitchcockian,” “thematically rich,” “they don’t just make films like this anymore” –  The Gift (2015), written and directed by Joel Edgerton, received very positive reviews. And justly, for it is a great thriller. To me,&#8230;]]></description>
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		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>The energy of opposites in &#8216;The Shawshank Redemption&#8217;</title>
		<link>https://www.screenwritersbreakdown.com/the-energy-of-opposites-in-the-shawshank-redemption/</link>
		<comments>https://www.screenwritersbreakdown.com/the-energy-of-opposites-in-the-shawshank-redemption/#comments</comments>
		<pubDate>Thu, 03 Nov 2016 07:59:11 +0000</pubDate>
		<dc:creator><![CDATA[Paolo Braga]]></dc:creator>
				<category><![CDATA[Scene analysis]]></category>

		<guid isPermaLink="false">http://www.screenwritersbreakdown.com/?p=518</guid>
		<description><![CDATA[Since change (in the character, in the storyworld) produces emotion, screenwriters strive to create in their scenes transitions between opposites, or passages from one dimension of experience to an alternate one: the more the situation&#8230;]]></description>
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