Die Hard Scenario
- Bone of Contention (Coming summer of 2013) - Bones
- Death Bank - 30 Rock
- Death Blow - Seinfeld
- Die Hard 4: So Die, Already. - Mad About You
- Die Hard 12: Die Hungry - The Ben Stiller Show
- Final Chapter (2000) - The Simpsons
- Final Chapter: A New Beginning (2002) - The Simpsons
- Firepower - Dr. Katz, Professional Therapist
- Firestorm - Seinfeld
- Heli Copper - iCarly
- Jurassic Park II (1996) - The Critic
- Jurassic Picnic (1994) - Animaniacs
- Labyrinth Guy (2007) - All Grown Up!
- Lethal Weapon Babies (2005) - Looney Tunes: Back in Action
- Matterhorn - Entourage
- Out of Ammo - Foster's Home for Imaginary Friends
- Out of Ammo II - Foster's Home for Imaginary Friends
- Ozone and Ozone II: The Reckoning - Jiminy Glick in Lalawood
- Red Balloon (1988) - The Critic
- Red Balloon II (1994) - The Critic
- Save Hard (2009) - Railcard
- Scorcher (I -VI) (1995) - Tropic Thunder
- T-Rexatron Alienwolf III, A Prequel in Time: The Unrelenting (2006) - Foster's Home for Imaginary Friends.
- Trio (unreleased) - An Alan Smithee Film: Burn Hollywood Burn
Read more about this topic: List Of Fictitious Films, Action
Famous quotes containing the words die, hard and/or scenario:
“We try to go back. You know I’ll probably die just a few miles from where I drew my first breath. That would have seemed like a horrible prospect to me, back when I was young and ambitious and gonna set the world on fire. But there’s comfort in knowing you’re gonna go full circle, end up where you started out. I’ve said before that I want to live my last days where folks know when you’re sick and care when you die.”
—Lyndon Baines Johnson (1908–1973)
“Harry: I don’t know when you’ll get back home. Could be a long time.
Slim: Could be forever, or are you afraid of that? I’m hard to get, Steve. All you have to do is ask me.”
—Jules Furthman (1888–1960)
“This is the essential distinction—even opposition—between the painting and the film: the painting is composed subjectively, the film objectively. However highly we rate the function of the scenario writer—in actual practice it is rated very low—we must recognize that the film is not transposed directly and freely from the mind by means of a docile medium like paint, but must be cut piece-meal out of the lumbering material of the actual visible world.”
—Sir Herbert Read (1893–1968)