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	<title>The MISP Screenwriting Blog &#187; To root for</title>
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		<title>The good lesson from &#8216;The Office&#8217;</title>
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		<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>

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		<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>
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		<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>

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		<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>
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		<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>

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		<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>
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		<title>Moral consistency in &#8216;The Big Short&#8217;</title>
		<link>https://www.screenwritersbreakdown.com/moral-consistency-in-the-big-short/</link>
		<comments>https://www.screenwritersbreakdown.com/moral-consistency-in-the-big-short/#comments</comments>
		<pubDate>Thu, 09 Jun 2016 13:51:03 +0000</pubDate>
		<dc:creator><![CDATA[Paolo Braga]]></dc:creator>
				<category><![CDATA[Consistency]]></category>
		<category><![CDATA[Motivation]]></category>
		<category><![CDATA[To root for]]></category>
		<category><![CDATA[The Big Short]]></category>

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		<description><![CDATA[My favorite moment in The Big Short is when Mark Baum (Steve Carell) forces Georgia, a Standard &#38; Poor’s analyst, to admit that the agency has been assigning its clients false positive ratings, fearing that&#8230;]]></description>
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		<title>The importance of the “dark side” for good drama</title>
		<link>https://www.screenwritersbreakdown.com/the-importance-of-the-dark-side-for-good-drama/</link>
		<comments>https://www.screenwritersbreakdown.com/the-importance-of-the-dark-side-for-good-drama/#comments</comments>
		<pubDate>Thu, 28 Apr 2016 07:10:20 +0000</pubDate>
		<dc:creator><![CDATA[Paolo Braga]]></dc:creator>
				<category><![CDATA[Antagonist]]></category>
		<category><![CDATA[Antihero]]></category>
		<category><![CDATA[To root for]]></category>
		<category><![CDATA[House of Cards]]></category>

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		<description><![CDATA[Villains, bad guys, monsters, criminals, tyrants, psychopaths, greedy businessmen… I know, by instinct you would conclude: “Ok, I got it: antagonists”. And yet, you would be wrong: in contemporary storytelling, evil is no more an&#8230;]]></description>
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		<title>ANTIHEROES WHO CONNECT: THE CASE OF &#8216;NIGHTCRAWLER&#8217;</title>
		<link>https://www.screenwritersbreakdown.com/antiheroes-who-connect-the-case-of-nightcrawler/</link>
		<comments>https://www.screenwritersbreakdown.com/antiheroes-who-connect-the-case-of-nightcrawler/#comments</comments>
		<pubDate>Thu, 07 Jan 2016 07:30:13 +0000</pubDate>
		<dc:creator><![CDATA[Paolo Braga]]></dc:creator>
				<category><![CDATA[Antihero]]></category>
		<category><![CDATA[To root for]]></category>
		<category><![CDATA[Nightcrawler]]></category>

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		<description><![CDATA[Do you think it’s cool when a villain is the protagonist? Of course it is. Yet it is also a difficult screenwriting task. Here are some excerpts from Nightcrawler script: And later on: And near&#8230;]]></description>
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		<title>Beau Willimon on the movie star entrance</title>
		<link>https://www.screenwritersbreakdown.com/beau-willimon-on-the-movie-star-entrance/</link>
		<comments>https://www.screenwritersbreakdown.com/beau-willimon-on-the-movie-star-entrance/#comments</comments>
		<pubDate>Wed, 28 Oct 2015 07:53:18 +0000</pubDate>
		<dc:creator><![CDATA[Paolo Braga]]></dc:creator>
				<category><![CDATA[Antihero]]></category>
		<category><![CDATA[Scene analysis]]></category>
		<category><![CDATA[To root for]]></category>
		<category><![CDATA[Beau Willimon]]></category>
		<category><![CDATA[House of Cards]]></category>

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		<description><![CDATA[They say that screenwriting is like problem solving. A good scene is the result of a series of problems solved by the writer. An example? Here is how Beau Willimon explains the genesis of the&#8230;]]></description>
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