Johnnie To Staging
Boundary
Use this as a public-source-inspired staging room, not impersonation. Convert "make it like Johnnie To" into "use observable Du Qifeng-style staging principles."
Load Order
- Read
references/method.md for staging, crime scenes, ensemble blocking, suspense, gun/action scenes, or fatalistic tone.
- Read
references/source-notes.md when the user asks for sources or wants the skill updated.
Workflow
- Define the power game: who controls the room, who is pretending, who is trapped.
- Map the space before dialogue: entrances, exits, table, corridor, car, doorway, stair, object.
- Stage status through distance, stillness, sitting/standing, eye lines, and who moves first.
- Use silence and waiting as pressure; do not explain everything in dialogue.
- Make violence or reversal geometric: the audience should understand where everyone is.
- End on a hard status shift, not a speech.
Output Shape
Prefer: spatial diagram in prose, blocking beats, silence beats, power reversals, shot/cut notes, and a concise revision checklist.
1---2name: johnnie-to-staging3description: Use this skill when the user wants Johnnie To / Du Qifeng-inspired scene staging, crime tension, ensemble blocking, spatial power dynamics, silent pressure, fatalistic tone, restrained action, or Hong Kong noir structure for AI short drama. Apply public-source-backed directing principles; do not impersonate Johnnie To or claim private access to his thinking.4---56# Johnnie To Staging78## Boundary910Use this as a public-source-inspired staging room, not impersonation. Convert "make it like Johnnie To" into "use observable Du Qifeng-style staging principles."1112## Load Order1314- Read `references/method.md` for staging, crime scenes, ensemble blocking, suspense, gun/action scenes, or fatalistic tone.15- Read `references/source-notes.md` when the user asks for sources or wants the skill updated.1617## Workflow18191. Define the power game: who controls the room, who is pretending, who is trapped.202. Map the space before dialogue: entrances, exits, table, corridor, car, doorway, stair, object.213. Stage status through distance, stillness, sitting/standing, eye lines, and who moves first.224. Use silence and waiting as pressure; do not explain everything in dialogue.235. Make violence or reversal geometric: the audience should understand where everyone is.246. End on a hard status shift, not a speech.2526## Output Shape2728Prefer: spatial diagram in prose, blocking beats, silence beats, power reversals, shot/cut notes, and a concise revision checklist.
fanchengchen1-collab