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	<title>Jamie Stein &#124; Script Consultant</title>
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	<link>http://jamiesteinscripts.com</link>
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		<item>
		<title>How “Warrior” Works as a Melodrama and What We Can All Learn From It:</title>
		<link>http://jamiesteinscripts.com/how-%e2%80%9cwarrior%e2%80%9d-works-as-a-melodrama-and-what-we-can-all-learn-from-it/?utm_source=rss&#038;utm_medium=rss&#038;utm_campaign=how-%25e2%2580%259cwarrior%25e2%2580%259d-works-as-a-melodrama-and-what-we-can-all-learn-from-it</link>
		<comments>http://jamiesteinscripts.com/how-%e2%80%9cwarrior%e2%80%9d-works-as-a-melodrama-and-what-we-can-all-learn-from-it/#comments</comments>
		<pubDate>Mon, 30 Apr 2012 22:36:29 +0000</pubDate>
		<dc:creator>Jamie Stein</dc:creator>
				<category><![CDATA[Uncategorized]]></category>

		<guid isPermaLink="false">http://jamiesteinscripts.com/?p=885</guid>
		<description><![CDATA[There are two key conflicts that play out in every movie: The external conflict &#8211; this is what makes up the bulk of the plot; the literal, physical battle that is playing out between our protagonists and antagonists. The internal &#8230; <a href="http://jamiesteinscripts.com/how-%e2%80%9cwarrior%e2%80%9d-works-as-a-melodrama-and-what-we-can-all-learn-from-it/">Continue reading <span class="meta-nav">&#8594;</span></a>]]></description>
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		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>What We Can Learn From &#8220;The Hurt Locker&#8221; and &#8220;Tree of Life&#8221;</title>
		<link>http://jamiesteinscripts.com/what-we-can-learn-from-hurt-locker-and-tree-of-life/?utm_source=rss&#038;utm_medium=rss&#038;utm_campaign=what-we-can-learn-from-hurt-locker-and-tree-of-life</link>
		<comments>http://jamiesteinscripts.com/what-we-can-learn-from-hurt-locker-and-tree-of-life/#comments</comments>
		<pubDate>Wed, 22 Jun 2011 15:49:28 +0000</pubDate>
		<dc:creator>Jamie Stein</dc:creator>
				<category><![CDATA[Uncategorized]]></category>

		<guid isPermaLink="false">http://jamiesteinscripts.com/?p=803</guid>
		<description><![CDATA[All you need to write an effective screenplay is a clearly laid-out dramatic idea. The success of movies like Hurt Locker and Tree of Life confirm this. Neither of these movies conform to much of what you’ll find in the traditional screenwriting &#8230; <a href="http://jamiesteinscripts.com/what-we-can-learn-from-hurt-locker-and-tree-of-life/">Continue reading <span class="meta-nav">&#8594;</span></a>]]></description>
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		<slash:comments>0</slash:comments>
		</item>
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		<title>A Word on Dramatic Danger: Crazy Heart</title>
		<link>http://jamiesteinscripts.com/a-word-on-dramatic-danger-crazy-heart/?utm_source=rss&#038;utm_medium=rss&#038;utm_campaign=a-word-on-dramatic-danger-crazy-heart</link>
		<comments>http://jamiesteinscripts.com/a-word-on-dramatic-danger-crazy-heart/#comments</comments>
		<pubDate>Fri, 20 May 2011 21:10:31 +0000</pubDate>
		<dc:creator>Jamie Stein</dc:creator>
				<category><![CDATA[Uncategorized]]></category>

		<guid isPermaLink="false">http://jamiesteinscripts.com/?p=781</guid>
		<description><![CDATA[I finally got around to seeing Crazy Heart – it is a perfect example of how even a slower-paced, more meditative character study uses life-or-death danger to generate dramatic traction. Bad Blake (Jeff Bridges) isn’t just your garden-variety alcoholic, he’s &#8230; <a href="http://jamiesteinscripts.com/a-word-on-dramatic-danger-crazy-heart/">Continue reading <span class="meta-nav">&#8594;</span></a>]]></description>
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		<slash:comments>0</slash:comments>
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		<title>A History of Violence</title>
		<link>http://jamiesteinscripts.com/a-history-of-violence/?utm_source=rss&#038;utm_medium=rss&#038;utm_campaign=a-history-of-violence</link>
		<comments>http://jamiesteinscripts.com/a-history-of-violence/#comments</comments>
		<pubDate>Wed, 18 May 2011 18:05:53 +0000</pubDate>
		<dc:creator>Jamie Stein</dc:creator>
				<category><![CDATA[Uncategorized]]></category>

		<guid isPermaLink="false">http://jamiesteinscripts.com/?p=760</guid>
		<description><![CDATA[My problem with A History of Violence is that it never really deals with the psychological/emotional split that is at the heart of its premise. According to the world of the story, Tom Stall (Viggo Mortenson) was not just a &#8230; <a href="http://jamiesteinscripts.com/a-history-of-violence/">Continue reading <span class="meta-nav">&#8594;</span></a>]]></description>
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		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Dramatic Clarity</title>
		<link>http://jamiesteinscripts.com/dramatic-clarity/?utm_source=rss&#038;utm_medium=rss&#038;utm_campaign=dramatic-clarity</link>
		<comments>http://jamiesteinscripts.com/dramatic-clarity/#comments</comments>
		<pubDate>Mon, 25 Apr 2011 04:10:53 +0000</pubDate>
		<dc:creator>Jamie Stein</dc:creator>
				<category><![CDATA[Uncategorized]]></category>

		<guid isPermaLink="false">http://jamiesteinscripts.com/?p=696</guid>
		<description><![CDATA[Clarity creates ease. You see this all the time in life. Take money, for example. If you’re vague about your financial affairs (how much you have, how much you earn, how much you owe), then you create a baseline level &#8230; <a href="http://jamiesteinscripts.com/dramatic-clarity/">Continue reading <span class="meta-nav">&#8594;</span></a>]]></description>
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		</item>
		<item>
		<title>What We Can Learn About Character Transformation From &#8220;The Godfather&#8221;</title>
		<link>http://jamiesteinscripts.com/the-godfather-post-2-a-word-on-character-transformation/?utm_source=rss&#038;utm_medium=rss&#038;utm_campaign=the-godfather-post-2-a-word-on-character-transformation</link>
		<comments>http://jamiesteinscripts.com/the-godfather-post-2-a-word-on-character-transformation/#comments</comments>
		<pubDate>Mon, 21 Mar 2011 21:43:20 +0000</pubDate>
		<dc:creator>Jamie Stein</dc:creator>
				<category><![CDATA[Al Pacino]]></category>
		<category><![CDATA[Character Transformation]]></category>
		<category><![CDATA[Francis Ford Coppola]]></category>
		<category><![CDATA[Screenwriting]]></category>
		<category><![CDATA[Spikes of Conflict]]></category>
		<category><![CDATA[The Godfather]]></category>
		<category><![CDATA[character transformation]]></category>

		<guid isPermaLink="false">http://jamiesteinscripts.com/?p=622</guid>
		<description><![CDATA[The Godfather works so well because of the severe nature of Michael’s transformation: he starts the movie as the family outsider, the Ivy League soldier who insists that he is not a part of the family business (&#8220;That&#8217;s my family, &#8230; <a href="http://jamiesteinscripts.com/the-godfather-post-2-a-word-on-character-transformation/">Continue reading <span class="meta-nav">&#8594;</span></a>]]></description>
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		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Joseph H. Lewis&#8217; &#8220;Gun Crazy&#8221;</title>
		<link>http://jamiesteinscripts.com/joseph-h-lewis-gun-crazy/?utm_source=rss&#038;utm_medium=rss&#038;utm_campaign=joseph-h-lewis-gun-crazy</link>
		<comments>http://jamiesteinscripts.com/joseph-h-lewis-gun-crazy/#comments</comments>
		<pubDate>Mon, 21 Mar 2011 01:03:38 +0000</pubDate>
		<dc:creator>Jamie Stein</dc:creator>
				<category><![CDATA[Uncategorized]]></category>

		<guid isPermaLink="false">http://jamiesteinscripts.com/?p=616</guid>
		<description><![CDATA[There is such a deep existential power to Gun Crazy, chiefly because there really is no rhyme or reason to what our heroes do. When asked by her partner-in-crime why Annie feels the need to kill innocent bystanders during their &#8230; <a href="http://jamiesteinscripts.com/joseph-h-lewis-gun-crazy/">Continue reading <span class="meta-nav">&#8594;</span></a>]]></description>
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		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Francis Ford Coppola&#8217;s &#8220;The Godfather&#8221;</title>
		<link>http://jamiesteinscripts.com/francis-ford-coppolas-the-godfather/?utm_source=rss&#038;utm_medium=rss&#038;utm_campaign=francis-ford-coppolas-the-godfather</link>
		<comments>http://jamiesteinscripts.com/francis-ford-coppolas-the-godfather/#comments</comments>
		<pubDate>Thu, 10 Mar 2011 19:55:05 +0000</pubDate>
		<dc:creator>Jamie Stein</dc:creator>
				<category><![CDATA[Uncategorized]]></category>

		<guid isPermaLink="false">http://jamiesteinscripts.com/?p=601</guid>
		<description><![CDATA[There is something so incredibly profound about The Godfather, something that goes deeper than the surface of its Mafioso plot, something that speaks to a much more universal experience of what it means to be born into a family legacy. &#8230; <a href="http://jamiesteinscripts.com/francis-ford-coppolas-the-godfather/">Continue reading <span class="meta-nav">&#8594;</span></a>]]></description>
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		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>A Word on Charlie Sheen</title>
		<link>http://jamiesteinscripts.com/a-word-on-charlie-sheen/?utm_source=rss&#038;utm_medium=rss&#038;utm_campaign=a-word-on-charlie-sheen</link>
		<comments>http://jamiesteinscripts.com/a-word-on-charlie-sheen/#comments</comments>
		<pubDate>Fri, 04 Mar 2011 23:23:38 +0000</pubDate>
		<dc:creator>Jamie Stein</dc:creator>
				<category><![CDATA[Uncategorized]]></category>

		<guid isPermaLink="false">http://jamiesteinscripts.com/?p=558</guid>
		<description><![CDATA[What I find so interesting about all this hubbub around Charlie Sheen&#8217;s infamous ABC interview is the unacknowledged, collective conversation we&#8217;re having underneath the surface: &#8220;Be normal, Charlie, be healthy, be like us,&#8221; as if we&#8217;re all sane. I mean, &#8230; <a href="http://jamiesteinscripts.com/a-word-on-charlie-sheen/">Continue reading <span class="meta-nav">&#8594;</span></a>]]></description>
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		<slash:comments>1</slash:comments>
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		<item>
		<title>Tom Ford&#8217;s A Single Man</title>
		<link>http://jamiesteinscripts.com/tom-fords-a-single-man/?utm_source=rss&#038;utm_medium=rss&#038;utm_campaign=tom-fords-a-single-man</link>
		<comments>http://jamiesteinscripts.com/tom-fords-a-single-man/#comments</comments>
		<pubDate>Sat, 26 Feb 2011 23:48:10 +0000</pubDate>
		<dc:creator>Jamie Stein</dc:creator>
				<category><![CDATA[A Single Man]]></category>
		<category><![CDATA[Before Sunset]]></category>
		<category><![CDATA[L'aventura]]></category>
		<category><![CDATA[Michaelangelo Antonioni]]></category>
		<category><![CDATA[Movie Review]]></category>
		<category><![CDATA[Richard Linlkater]]></category>
		<category><![CDATA[Tom Ford]]></category>

		<guid isPermaLink="false">http://jamiesteinscripts.com/?p=497</guid>
		<description><![CDATA[I usually love this kind of movie. I love Antonioni, I love Before Sunset, I love pensive, free-form &#8220;day in the life&#8221; movies that capture existential angst. I love them because they manage to hit the &#8220;big questions&#8221; (&#8220;what&#8217;s the point &#8230; <a href="http://jamiesteinscripts.com/tom-fords-a-single-man/">Continue reading <span class="meta-nav">&#8594;</span></a>]]></description>
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		<slash:comments>3</slash:comments>
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