Yes, I do notice that. A film’s skeleton, when cut cleanly, is like a good whisky: each scene is a grain, the whisky’s “note” is the emotional hue, and the overall structure is the finish you taste after the last sip. But unlike a drink that simply ages, a screenplay must also have a proper “spirit” – a thematic punch that stays long after the credits roll, or it’s just a bottle of empty whiskey with too many fillers. In the same way a good distillery balances sweetness with a hint of peat, a great film balances exposition with subtext, and if any scene is left too dry or too syrupy, the whole narrative goes flat. That’s the paradox: the same discipline that creates a classic structure can also trap you in a loop of predictable cadences unless you dare to add a splash of unexpected flavor.