What are the best tools for generating conflict in your screenplay?

The central question can spring from the central theme. That way it is universal. So when Nemo’s father embodied the central theme of “if you love someone you have to be able let them go” - the central question is “will he be able to learn this and actually do it?” - so that central question is immediately dramatically interesting and emotionally engaging.

Ce qui importe ce sont les circonstances qui vont amener le héros à se confronter aux situations imprévues et lui imposer des choix.

Another way to approach the central question and its relation to the protagonists's goal(s) is through his/her qualifications. Taking another look at The Matrix example, the question of his destiny stems from and relates to who he is and what he does: He is a computer programer and hacker, which makes him the perfect candidate for the journey that follows.

Using open ended answer it opens up a wide spread of opinions in order to keep track and uncapped of ideas. This might lead to a perfect feedback that is going to enhance production. Remember without production the company will not grow because there is mo ideas that is going to contribute towards fundraising In oder to maintain the business

Those opposing forces can also come from inside the central character. Battling yourself - that’s a tough opponent. Ideally that battle should become the biggest challenge.

The above is true - but… I watched “Fingernails” on Apple TV the other night. The stakes are not life-threatening. They are more of a conundrum. What is love? Should we trust others definition - a ‘machine’/the science - more than our own gut feelings? The stakes are the happiness of two characters - but by implication, human happiness in entirety. So if you can link the stakes to be inherent in the themes, then a more intimate story can have world-changing implications. So the stakes are high for all of us - not just the main characters.

A subtext that plays on a central dramatic irony works well. Lying - that is key. The more characters that are lying to others or themselves, the more opportunities for subtext.

The subtext, in my opinion, is the centerpiece that drives all the wheels and gears of conflict generation. It is a subtle and intangible, yet crucial element for generating conflict in a screenplay. The subtext should be sensed from the very beginning and should serve as a foundation magnetizing different conflict elements to turn into a "master clash" - be it physical or mental/ideological.

Making sure the twist is carefully set up early on - without giving it away - is essential so it doesn’t feel ridiculous. It should be ‘surprising yet inevitable’. Ok - that’s what you want for the denouement. But it’s a good rule of thumb for the twist aswell.

Each character has a standpoint or way of viewing or understanding which will never be identical to another. The difference in perspectives, opinions or understanding can be used to layer up the conflict. For example, a man's love language can be to have constant physical contact, to hug hold hands, Caress the shoulder, or tousled the hair of his partner. However, his partner might not reciprocate in the same manner and has another style of demonstrating affection. The conflict can be built up through layering and subtext. The drops of water that become a Tsunami.