I’m a (deeply) closeted rebel myself. I think that every rule about everything is made to be broken under certain circumstances. But I also think one has to know the rules — which is to say master the rules — before one can know when to break them and how, wisely.

Or as my Latin teacher would say: pecca fortiter — sin bravely– but also pecca sapienter— sin wisely.

(It is my observation that a lot of people would prefer to just break the rules without first investing the time and effort to master them.)

I would also like to clarify where I come down on the the plot versus character question. I think it’s a false dichotomy. To my way of thinking they are two sides of the same coin. As in the Tao where yin and yang co-exist in opposition. A good script needs both plot AND character, and usually in equal proportions.

A logline emphasizes plot with but an adjective or two about a character’s flaw or strength. That’s the madness of the method and I see no prospect that the convention will change: it reflects the nature of show business and human nature. The first thing most people want to know about a script is not who the characters are, but what the plot is — what’s the roller coaster ride they are (vicariously) being cajoled to take.

My 2.5 cents worth.