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	<title>The MISP Screenwriting Blog &#187; Theme</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>
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		<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>

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		<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>When a song pays off</title>
		<link>https://www.screenwritersbreakdown.com/when-a-song-pays-off/</link>
		<comments>https://www.screenwritersbreakdown.com/when-a-song-pays-off/#comments</comments>
		<pubDate>Thu, 27 Dec 2018 18:52:13 +0000</pubDate>
		<dc:creator><![CDATA[Paolo Braga]]></dc:creator>
				<category><![CDATA[Endings]]></category>
		<category><![CDATA[Theme]]></category>

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		<description><![CDATA[If you asked me a few days ago for a good example of a song beautifully paying off over a movie’s final credits, my answer [spoiler follows] would have been Gloria Gaynor’s I Will Survive&#8230;]]></description>
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		<title>“A Sense of Justice”: the Essential Narrative Pleasure</title>
		<link>https://www.screenwritersbreakdown.com/a-sense-of-justice-the-essential-narrative-pleasure/</link>
		<comments>https://www.screenwritersbreakdown.com/a-sense-of-justice-the-essential-narrative-pleasure/#comments</comments>
		<pubDate>Sat, 20 Jan 2018 11:10:42 +0000</pubDate>
		<dc:creator><![CDATA[Paolo Braga]]></dc:creator>
				<category><![CDATA[Theme]]></category>

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		<description><![CDATA[Have you ever asked yourself what is the core narrative pleasure? What is it that a story— no matter its genre, no matter how its protagonist is built—should deliver to be truly satisfying? In other&#8230;]]></description>
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		<title>Ronald Bass on clichés and character arc</title>
		<link>https://www.screenwritersbreakdown.com/ronald-bass-on-cliches-and-character-arc/</link>
		<comments>https://www.screenwritersbreakdown.com/ronald-bass-on-cliches-and-character-arc/#comments</comments>
		<pubDate>Fri, 02 Jun 2017 07:33:44 +0000</pubDate>
		<dc:creator><![CDATA[Paolo Braga]]></dc:creator>
				<category><![CDATA[Theme]]></category>
		<category><![CDATA[Ronald Bass]]></category>

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		<description><![CDATA[Summer, 1987. Screenwriter Ronald Bass, Steven Spielberg, Dustin Hoffman, and Tom Cruise. They’re seaside, in Spielberg’s house, Broad Beach Road, developing the script for Rain Man. Bass recalls the gathering in a must-listen-to episode of&#8230;]]></description>
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		<title>How &#8216;The Crown&#8217; goes deep into its theme</title>
		<link>https://www.screenwritersbreakdown.com/how-the-crown-goes-deep-into-its-theme/</link>
		<comments>https://www.screenwritersbreakdown.com/how-the-crown-goes-deep-into-its-theme/#comments</comments>
		<pubDate>Thu, 02 Mar 2017 12:56:57 +0000</pubDate>
		<dc:creator><![CDATA[Paolo Braga]]></dc:creator>
				<category><![CDATA[Theme]]></category>
		<category><![CDATA[Peter Morgan]]></category>

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		<description><![CDATA[What should prevail: the institution or the individual? The theme of the hit Netflix show The Crown, created by Peter Morgan, is clear. The story of a girl who suddenly finds herself launched into an&#8230;]]></description>
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		<title>Complex motives in &#8216;Locke&#8217;</title>
		<link>https://www.screenwritersbreakdown.com/complex-motives-in-locke/</link>
		<comments>https://www.screenwritersbreakdown.com/complex-motives-in-locke/#comments</comments>
		<pubDate>Thu, 21 Jul 2016 10:36:24 +0000</pubDate>
		<dc:creator><![CDATA[Paolo Braga]]></dc:creator>
				<category><![CDATA[Motivation]]></category>
		<category><![CDATA[Theme]]></category>
		<category><![CDATA[Steven Knight]]></category>

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		<description><![CDATA[Complexity is stimulating. It invites the audience to sharpen their attention and focus on the details of the story. When it comes to character motivation, complexity can also be thought provoking – it questions viewers’&#8230;]]></description>
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		<title>The importance of theme in &#8216;Downton Abbey&#8217;</title>
		<link>https://www.screenwritersbreakdown.com/the-importance-of-theme-in-downton-abbey/</link>
		<comments>https://www.screenwritersbreakdown.com/the-importance-of-theme-in-downton-abbey/#comments</comments>
		<pubDate>Thu, 26 May 2016 07:14:04 +0000</pubDate>
		<dc:creator><![CDATA[Paolo Braga]]></dc:creator>
				<category><![CDATA[Theme]]></category>
		<category><![CDATA[Downton Abbey]]></category>

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		<description><![CDATA[Goodbye Downton Abbey! I’ve just seen the ending – the last episode aired on ITV last December. Everything clings. An adequate finale for one of the greatest international successes (if not the greatest) in the&#8230;]]></description>
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		<title>The appeal of negotiation in movies</title>
		<link>https://www.screenwritersbreakdown.com/the-appeal-of-negotiation-in-movies/</link>
		<comments>https://www.screenwritersbreakdown.com/the-appeal-of-negotiation-in-movies/#comments</comments>
		<pubDate>Thu, 17 Mar 2016 07:50:20 +0000</pubDate>
		<dc:creator><![CDATA[Paolo Braga]]></dc:creator>
				<category><![CDATA[Dialogue]]></category>
		<category><![CDATA[Negotiation]]></category>
		<category><![CDATA[Theme]]></category>
		<category><![CDATA[Bridge of Spies]]></category>
		<category><![CDATA[Schlinder's List]]></category>
		<category><![CDATA[Steven Spielberg]]></category>

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		<description><![CDATA[Negotiation is good material for screenwriters and it has inspired beautiful scenes (just think of the opening scene in The Godfather, where Bonasera begs Don Vito to revenge his daughter’s honor for him). Why are&#8230;]]></description>
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