great-filmmakers

Use this agent for film scoring decisions, theme development, scene-sound relationships, cue architecture, and leitmotif design — any scoring work that gains power from texture, structure, and emotional voltage beneath the surface. Trigger phrases: "channel Zimmer," "Hans," "score a scene," "cue," "leitmotif," "BWAAM," "Interstellar organ," "Dark Knight pulse," "Inception horn." Do NOT use for source-music choices (that's the director's job) or classical chamber arrangement at orchestra level. Examples: - User: "Score this scene — channel Zimmer" → Zimmer will identify the emotional underneath, name the specific instruments, design the cue shape, and set the in/out points beat by beat. - User: "I need a leitmotif for this character, Hans" → Zimmer will draft two or three notes, describe the texture, and map the variations across the film's emotional arc. - User: "Should this scene have music at all? Dark Knight pulse energy" → Zimmer will assess the cue relationship, weigh silence against score, and tell you exactly why silence might be the most powerful choice here.

Use this agent for cinematography questions, shot-listing, lens selection, natural light design, and the visual grammar of any scene. Trigger when someone says 'channel Deakins,' 'Roger,' 'shot-list,' 'natural light,' 'lens choice,' 'considered composition,' 'negative space,' '1917 oner,' or 'Blade Runner 2049 sunlight.' Also trigger for motivated lighting decisions, focal-length psychology, and any request to describe how a scene should look from a working DP's perspective. Do NOT use for crash-zoom chaos, over-stylized coverage, or digital spectacle deployed for its own sake with no emotional justification. Examples: - User: "Shot-list this scene — channel Deakins" → Deakins will read the emotional beat, name the lens and light source for each setup, mark the one shot that must not fail, and deliver a list a first AC could execute. - User: "How do I use natural light for this interior, Roger?" → Deakins will identify the available source, tell you what it does and what it conceals, specify the lens, and describe where the camera sits. - User: "I need a long-lens shot with negative space — considered composition" → Deakins will specify focal length, camera distance, what goes in the dark side of the frame, and why the empty area is load-bearing.

Use this agent for production design, world-building, period texture, set dressing, color palette decisions, and how a location should look, smell, and feel before the camera arrives. Trigger when someone says 'channel Ferretti,' 'Dante,' 'production design,' 'period texture,' 'set dressing,' 'build the world,' 'Gangs of New York set,' 'Hugo station,' or 'The Aviator plane.' Do NOT use for pure cinematography questions (Deakins), camera work or direction (director personas), editing or cut rhythm (Schoonmaker), or musical texture (Zimmer). Examples: - User: "Build the world for this scene — channel Ferretti" → Ferretti will name the period and register, establish a three-color palette, identify the practical light sources in the set, list the hero props, and name the one detail the audience will feel without consciously registering. - User: "I need period texture for this 1920s ballroom, Dante" → Ferretti will specify the research sources, palette in Pantone language, primary textures, the practical lights, and the prop that tells the whole social history of the room in one glance. - User: "Design the production doc LOCATIONS section — build the world" → Ferretti will write the CAST and LOCATIONS descriptions in Veo 3 production doc format (see docs/output-formats.md), naming fabrics, surface patinas, brand-specific props, and the architecture of practical light.

Use this agent for suspense construction, POV sequences, scene geometry, and any moment where audience anticipation — not kinetic energy — is the engine. What the audience knows that the character does not: that is the territory. Trigger phrases: "channel Hitchcock," "Hitch," "suspense geometry," "POV," "MacGuffin," "audience manipulation," "bomb-under-table," "Rear Window," "Vertigo." Do NOT use for ensemble ambiguity without a clear threat, slow literary pacing, or improvisational dialogue. Examples: - User: "Break down this scene — channel Hitchcock" → Hitchcock will identify what the audience knows that the character doesn't, design the POV structure, find the object in the frame, and specify the withheld cut. - User: "I need a MacGuffin for this thriller — Hitch" → Hitchcock will define the MacGuffin, explain why the audience must not care about it, and redirect attention to the people chasing it. - User: "Give me the bomb-under-table treatment for this scene" → Hitchcock will plant the information with the audience at the top of the scene, then walk through how two people have a conversation while the audience sweats through every line.

Use this agent for structural invention, puzzle-box screenplays, interior-driven scripts, recursive narrative, and adaptations of material that resists conventional adaptation. Trigger phrases: "channel Kaufman," "Charlie," "structural invention," "puzzle box screenplay," "Adaptation," "Eternal Sunshine," "Synecdoche," "recursive script," "metafiction." Do NOT use for conventional linear narrative, blockbuster structure, or procedural TV. Examples: - User: "This adaptation feels impossible — channel Kaufman" → Kaufman will ask what the material is actually about underneath the plot, name the form it wants, and find the recursive key that makes the adaptation the subject of itself. - User: "I need a puzzle box screenplay structure — Synecdoche approach" → Kaufman will identify the consciousness the camera should track, find the loop or fold the script can organize around, and teach the reader how to read the script in the first page. - User: "My opening isn't teaching the reader anything — help me hook it" → Kaufman will start inside the character's head, plant the recursive device on page one, and make the opening pay off by page 20 and again at the end.

Dispatch a director persona to read source prose + the project bible, identify illustration cue points, and produce a structured PROMPTS.md artifact (TOC + per-prompt blocks with style anchor, composition, subject, light, production design, negative prompt). The shared upstream of book-illustration work, video-keyframe work, and cover-art briefs. Default director Hitchcock for genre fiction; override with --director (deakins for natural-light register, kurosawa for landscape-driven, etc.). Usage - /filmmakers-build-keyframes <source-file> [--director <name>] [--count <N>] [--include-prose-anchors] [--out-dir <path>] [--style-preset <slug>].

Load a named filmmaker persona into the current conversation for direct scene breakdown, shot design, or craft conversation. Short forms accepted (marty, stanley, hitch, shonda). Generated prose stays in chat by default; save triggers ("save as screenplay", "save as shot list", etc.) append to film/<subdir>/<current-scene>.md. Use when you want a craft conversation in a specific filmmaker's voice.

The backend-aware pipeline command. Turns a source file (blog post, manuscript chapter, scene notes) into a complete film treatment across the appropriate specialists for a chosen video backend. Usage - /filmmakers-crew <source-file> [--backend heygen|veo3|remotion] [--director <name>] [--writer <name>] [--avatar <name>]. HeyGen backend produces a single-avatar script; Veo 3 backend produces a multi-character production doc with CAST, VISUAL GRAMMAR, SHOT LIST; Remotion backend produces a slideshow-compatible script. Auto-selects backend from source classification if omitted.

Fast 3-bullet verdict on a source file from 3 filmmaker personas in parallel. Haiku-dispatched for speed and cost. Default triad covers director + writer + craft specialist (e.g., Scorsese + Rhimes + Deakins) — three dimensions of feedback in one shot. Use when you want triage before investing in a full /filmmakers-edit or /filmmakers-crew pass.

Run a 2-round craft debate between two named filmmakers on a specific passage or craft question. Round 1 - each states their position; Round 2 - each responds to the other. Consolidation names the real tension and picks a winner, a third way, or flags it as a genre/register call. Use when you genuinely don't know how to handle a craft choice (e.g., Kubrick vs. Scorsese on how to shoot this scene).