Comments on: The Script Genius Of Die Hard https://www.thestorydepartment.com/screenwriting-the-genius-of-die-hard-script/ Story. Screenplay. Sale. Mon, 13 Feb 2017 02:36:18 +0000 hourly 1 By: Jack McNamee https://www.thestorydepartment.com/screenwriting-the-genius-of-die-hard-script/#comment-338497 Mon, 13 Feb 2017 02:36:18 +0000 https://thestorydepartment.com/?p=16366#comment-338497 In reply to Spicy Magazine.

Sure, and then the big ending moment of his character arc is that he overcomes his fears and learns to kill again. Very american.

]]> By: Tim Aucoin https://www.thestorydepartment.com/screenwriting-the-genius-of-die-hard-script/#comment-337939 Thu, 26 Jan 2017 00:50:08 +0000 https://thestorydepartment.com/?p=16366#comment-337939 The perfect film structurally. We studied the script for my screenwriting class at Vancouver Film School.

]]> By: joe velikovsky https://www.thestorydepartment.com/screenwriting-the-genius-of-die-hard-script/#comment-1012 Wed, 09 Jan 2013 13:54:00 +0000 https://thestorydepartment.com/?p=16366#comment-1012 Wow, great analysis Carson!

I am actually always slightly shocked, at how good this film is, whenever I re-watch it.

Not just the script (which you’ve detailed brilliantly) but the filmmaking/directing/casting/acting/production design/editing/sound design/music…

De Souza (writer of DIE HARD) gave a great talk at film school, and pointed out that – in many action films – the Villain is the protagonist.

In this case, Hans has a plan he’s executing and McLane is sucked into that, not of his own volition… He is constantly reacting, not `acting’ (the Villain – Hans, etc – is `driving the plot’, as such).

It’s interesting how closely this plot sticks to David Siegel’s 9-Act plot structure

Act 0: Someone Toils Late into the Night. (e.g. Say, a villain plans a crime)
Act 1: Start with an image (metaphor for the whole story).
Act 2: Something bad happens.
Act 3: Meet the Hero (and the Opposition).
Act 4: Commitment.
Act 5: Go for the wrong goal.
Act 6: The reversal.
Act 7: Go for the new goal.
Act 8: Wrap it up.

Also, interesting that DIE HARD is an adaptation of a 1979 novel, `Nothing Lasts Forever’ by Thorp…

I’d love to see an analysis, of what got cut/changed, and why…

Side thought: also – clever to set a story (and: film) almost-entirely inside one location (the Nakatomi Bldg). Seems: inexpensive.

Anyway, great article/analysis, thanks for this.

JT Velikovsky
High ROI Film/Story/Screenplay Consultant
https://storyality.wordpress.com/

]]> By: Spicy Magazine https://www.thestorydepartment.com/screenwriting-the-genius-of-die-hard-script/#comment-1011 Mon, 21 Nov 2011 04:29:35 +0000 https://thestorydepartment.com/?p=16366#comment-1011 When Sergeant Al shoots the terrorist in the final scene and saves McClane it completes Al’s arc and I actually find it touching, maybe a little forced, but definitely not cheesy.

“I shot a kid. He was 13 years old. Ohhh, it was dark, I couldn’t see him. He had a ray gun, looked real enough. You know, when you’re a rookie, they can teach you everything about bein’ a cop except how to live with a mistake. Anyway, I just couldn’t bring myself to draw my gun on anybody again.”

]]> By: David Di Muro https://www.thestorydepartment.com/screenwriting-the-genius-of-die-hard-script/#comment-1010 Fri, 17 Jun 2011 02:16:30 +0000 https://thestorydepartment.com/?p=16366#comment-1010 cliche done well is a troupe.

we love troupes. as the viewer we expect to see them, if not the story seems inaccessible. we can repackage them and lead to them in different ways – but they must be there.

your observations are spot on as to why the script is brilliant.

how many drafts do you think it took?

how many drafts do writers reading this blog write before saying “it’s ready to shoot.”

i get a feeling that the mad rush to produce blockbusters by so many studios is ruining the refinement process – the rewrites.

i could be wrong – but that’s what i feel.

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