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The DIE HARD Conundrum – What counts as a Christmas movie?

The DIE HARD Conundrum – What counts as a Christmas movie?

It’s the biggest unanswered question in film. Every year, without fail, it comes up again; battle lines are drawn, families are divided, and the debate rages on. And the question, of course, is…

Is DIE HARD a Christmas movie?

On the one hand, a film about terrorists taking over a building is hardly a happy tale for the holidays. On the other… Well, it’s set at Christmas, and sees our hero trying to reunite with his family for some festive fun. That’s enough, isn’t it? Even if the festive fun is interrupted by bombs, bullets, and bad German accents?

Of course, by that logic, LIFE OF BRIAN is also a Christmas movie. After all, it too is set at Christmas – it opens in Bethlehem on the night that Jesus was born! The fact that it focuses on the stable next door where the hapless Brian is being born, and that the wise men visit him by accident, and in fact otherwise has nothing to do with Christmas…

Okay, let’s face it: there are some films that fall into a grey area. LIFE OF BRIAN probably isn’t a Christmas movie (although I’m sure someone’s bound to disagree!) but at the very least a lot of people have a heartfelt love for DIE HARD around this time of year, and that counts for something.

So, in celebration of this fact, here’s are some of our favorite films that exist in this grey area. Christmas movie or not Christmas movie? Let us know your thoughts!

  • THE NIGHTMARE BEFORE CHRISTMAS: Come on, it’s got the word Christmas in the title! The fact that Santa Claus (or rather “Sandy Claws”) get kidnapped by the king of Halloween, the reindeer are skeletal and led by a ghost dog, and all the presents handed out terrorize the children shouldn’t make a difference, right? Okay, maybe it should. Half Halloween movie, half Christmas movie – maybe this is best watched in mid-November.
  • EDWARD SCISSORHANDS: Let’s stick with Tim Burton for a moment. The most iconic scene in this American-Gothic fairytale sees Wynona Rider’s Kim dancing in the snow while Edward carves ice sculptures. A beautiful Christmas moment… Except that Edward is a leather-bound weirdo with scissors for hands. Things don’t end too well for Edward and Kim either, so only watch this one if you want to spend Christmas Day in tears.
  • FROZEN: Snow! Ice! Snowmen! Disney songs so iconic that half the world’s population bursts into song at the words “Let it Go” and the other half groans in frustration! On paper, Frozen has all the right ingredients for a Christmas movie and a lot of people will probably give it a watch over the coming week – except that it never mentions Christmas. Not even once.
  • GREMLINS: Don’t feed them after midnight. Don’t let them get wet. Once those rules get broken and these little critters get loose, all sorts of chaos ensues. Okay, this one is definitely set at Christmas, but it’s not exactly one to get you into the holiday spirit. Part horror, part comedy, GREMLINS is a film for people who really want to turn Christmas on its head.
  • HOME ALONE: Fans rejoiced when Macaulay Culkin recently reprised his role as Kevin McCallister for an advert, but this Christmas classic is actually pretty dark. While Kevin’s traps are dangerous enough to maim or potentially kill the would-be thieves, it’s his parents who are the real villains here. Not only are they neglectful enough to forget about him while they catch a flight to Paris, they don’t even bother trying to phone anyone back home once they realize he’s not with them – not the police, not a neighbour, nobody. Seriously, someone needs to call CPS on the McCallisters – they’re a danger to their own children.

Whatever you choose to watch this week – whether it’s a movie about Santa Claus being kidnapped, evil creatures running rampant, or a skyscraper being taken over by terrorists – we hope you enjoy it. From all the team at WriteMovies, we’d like to wish you a very Merry Christmas!

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Example Studio Coverage: FROZEN

Example Studio Coverage: FROZEN

Trainees Example Studio Coverage

“The script adds important modern twists to a classic fairytale structure, with Anna being misled by the seemingly perfect Hans…. It is also unpredictable and refreshing that Anna is not brought back to life by true love’s kiss.…” Extracts from a script report by our trainee Daniela Piper-Vegh, based on a reading of the script FROZEN: CLICK HERE to read the script.

CHARACTER BREAKDOWN:

YOUNG PRINCESS ELSA and QUEEN ELSA (F/ approx. 21) Struggles to control her magical powers, and accidentally hurts her sister with them.

YOUNG ANNA and PRINCESS ANNA (F/ approx. 18) Elsa’s younger sister who helps bring her back to Arendelle, and saves her life.

HANS (M/ approx. 20s) Deceitful opportunist who tricks Anna and tries to steal the kingdom.

KRISTOFF (M/ approx. 20s) Falls in love with Anna, helping her with her mission.


LOGLINE: A young princess must learn to control her magical powers, which have damaged her relationship with her sister, and threatened to destroy her kingdom.

 

TITLE:         FROZEN                                   DRAFTDATE: 9/23/13

AUTHOR: Jennifer Lee    COVERAGE DATE: 3/3/16

 

SYNOPSIS

Young sisters Elsa and Anna play happily together in their castle in the Kingdom of Arendelle. Elsa has magical powers, allowing her create and control ice with her hands. However, a young Elsa does not yet have complete control over her powers. As the sisters are playing, Elsa accidentally strikes Anna in the head with her magic, knocking her unconscious. Elsa’s parents burst into the room, angry at finding Anna, who is ice cold. The King takes his daughter to a Troll, who heals Anna and erases her memory of Elsa’s powers. The sisters grow apart, as Elsa is told to conceal her dangerous powers. It breaks Elsa’s heart that she must keep her distance from Elsa, especially after their parents die at sea.

An 18 year old Anna is delighted that the castle doors are finally opened on Elsa’s coronation day. Anna bumps meets a male admirer HANS, and they hastily agree to marry. Elsa refuses to give Anna and Hans her blessing. Anna angrily provokes Elsa, causing her to accidentally reveal her magic. Elsa runs away, and the evil DUKE of WESELTON convinces everyone that she has cursed the kingdom with snow in July. Anna goes to find Elsa, claiming she is not dangerous. Anna entrusts the kingdom to Hans, in her absence.

Anna meets KRISTOFF, asking him to take her to the North Mountain to find Elsa. They meet OLAF the snowman, who was created by Elsa. All three companions finally reach Elsa’s ice castle, but Elsa does not want to leave, as she is afraid of hurting anyone else. Elsa accidentally strikes Anna in the heart, and she is forced to leave without Elsa. Kristoff takes Anna to the trolls, who notice that there is chemistry between them. The trolls also tell Anna that if the ice in her heart is not removed, it will freeze her forever. Only an act of true love can thaw a frozen heart. Anna and Kristoff rush back to the castle, hoping that Hans can thaw her heart. A dying Anna asks Hans to kiss her, but he reveals that he never loved her, and only wanted control of the kingdom. Hans and the Duke plan to kill Elsa. Kristoff goes back for Anna, after realizing his love for her. Anna herself finally learns what love is, and sacrifices herself to save Elsa’s life. Anna turns to ice, and is shattered into tiny pieces by Hans’ sword. Suddenly, Anna begins to thaw, due to the true love that she has experienced. Hans and the Duke are overthrown, and Elsa and Anna regain control of the kingdom. Anna and Kristoff also reunite. The gates of Arendelle are left open, and Anna and Elsa enjoy the relationship they have always wanted.

 

COMMENTS:

The script focuses on the relationship between two sisters, who are pulled apart due to Elsa’s dangerous magical powers. The story has plenty of situational conflict, as well as emotional and inter-personal. There is a strong cast of supporting characters, such as Olaf, who offers comic relief throughout the script. Elsa’s magical powers are also a curse, as she struggles to control them, and repeatedly hurts her beloved sister by accident. The story sets clear goals, with Elsa needing to learn to control her powers, in order for her to have the close relationship with Anna that she has always wanted. The audience is able to empathize with the main characters, as Elsa is forced to hide her powers, and suffers ongoing emotional turmoil. It is rewarding for the audience to see Elsa develop, learning to embrace and control her power, rather than isolating herself from everyone she loves. The story has a happy ending, with Anna and Elsa reuniting, and overcoming the evil powers who tried to seize their kingdom. The script adds important modern twists to a classic fairytale structure, with Anna being misled by the seemingly perfect Hans. It is also a development from the conventional fairytale structure, that Anna rather than Elsa finds her perfect partner. Elsa’s story focuses more on self-improvement and familial love, rather than romantic love. It is also unpredictable and refreshing that Anna is not brought back to life by true love’s kiss.

The script has great, catchy musical numbers that hold great commercial promise. In particular, the ‘Let it Go’ song has the potential to be a distinctive and memorable catchphrase for the script. The musical numbers also help to move the story along, but in an especially exciting and uplifting way. The visual effects in the script, with the fantastical and creative use of magical snow, also increase the commercial potential. Although stunning, the visual effects would make the budget very high.

To see the full industry-standard format we use for Studio Coverage, either commission your own (CLICK HERE) based on the script you submit, or purchase The Confidential Studio Manual to get the inside track on how the industry will really assess and process your script (CLICK HERE)!

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