Hey guys, sorry for the lack of posts. I enjoyed the holidays too much, apparently. So here’s how this week is going to work. This is TUESDAY’S post. Wednesday is another review. Thursday is an article. Friday is the Scriptshadow Tournament. The good news is that tomorrow or Wednesday, I’m sending out a NEW NEWSLETTER! And I review a really good script from a really good screenwriter. Or, at least, it’s good so far. :) So make sure to sign up for the newsletter at Carsonreeves1@gmail.com.

Genre: Period/World War 2
Premise: A paratrooper finds himself stranded behind enemy lines when his plane goes down while on one of the most important missions of World War 2. Can he still complete the mission in time?
About: EDIT (UPDATE) – Oh wow, they just attached Bradley Cooper hours after review went up. Talk about timing this just right. :) Zach Dean is a mainstay on the Black List. This is either his 3rd or 4th entry on the list, and his writing seems to get better each time. This one finished on the lower half of the 2015 List. Atlantic Wall was sold in PITCH FORM in a competitive bidding situation. That’s what happens when you’re getting on the Black List every year, boys and girls. Companies start competing for your scripts!
Writer: Zach Dean
Details: 116 pages


If you’ve been here long enough, you know how I feel about World War 2 stories. There are in the neighborhood of 300 movies about World War 2. So if you’re going to bring a new story to the table, it better be unique. One of my favorite World War 2 movies is Life is Beautiful because it’s a CONCENTRATION CAMP COMEDY. How could that movie NOT be unique??

What I don’t like is when writers use a generic World War 2 situation that isn’t that interesting just so they can slap that “World War 2” label on their logline. Like that Daniel Craig movie – what was it? Defiance? About a bunch of people who lived in the woods during World War 2 (“We must go deeper into the woods, Frank.” “Deeper? But we’re literally 100 miles from civilization.” “God dammit, Frank, I said DEEPER!”) WHAT THE FUCK WAS THAT MOVIE????


My favorite talk show right now is, by far, James Corden. My least favorite is Seth Meyers. The reason Corden is so good and Meyers is so forgettable is because James Corden asked the question, “What do we bring to the table that the other talk shows don’t?” Or, more to the point: “Why do we deserve to exist?”

By asking that question, they had no choice but to differentiate themselves. So they added a multi-interview format instead of one guest at a time. They created segments that were online friendly (Carpool Karaoke) and dance numbers (Intersection Musical). Meanwhile, what does Seth Meyers do? He brings the exact same no-frills format that talk shows have been using for 50 years and his late-night show is the least watched as a result.

This is a long-winded way of saying, your idea must have a reason for existing. If you’re just writing something because it has a cursory attachment to a high-profile event, it’s going to reflect in the execution. One of the reasons it’s taken me so long to read this Black List script is because I was afraid that was the case. I’m hoping I’m wrong. Let’s find out…

It’s 1944 and Britain is about to enact something called Operation Overlord, where they’ll fly over the channel and invade Nazi-occupied France. However, there’s a secondary component to this attack.

France has been using secret operatives who have been meticulously marking where all the key German gun points are. With this knowledge, the British-American Coalition will know exactly where to land, which areas to avoid, and how to attack to destroy the Germans. Without this information, they’d be walking in blind.

There’s only one issue. The map has only just been finished. And the attack is launching tomorrow. This leaves American Captain, Lowry Scott, and his team, just a tiny window to get in, grab the map, and get out.

So Scott and his team fly in. Everything seems to be going well. And then Scott’s plane gets shot down. Scott is the only one to survive, and finds himself having to evade the entire Nazi army to get to the rendezvous point.

Once there, Scott secures the map, but not without needing to slaughter a clan of curious Nazis. His attache, close to death, makes Scott promise he’ll take his 10 year old son, Jasper, to his sister. Jasper, ironically, is the one who performed all the reconnaissance for his father and is responsible for this invaluable map.

An annoyed Scott pairs up with Jasper and is able to fulfill his end of the bargain. But when a traitor disrupts the French resistance, Scott and Jasper will need to come together once again to both get out alive, and get that map to the higher-ups so that the invasion can be a success.

This was a lot better than I thought it would be.

There’s one thing you can learn right away from this script and it’s an approach all writers should hang their hat on. When you have a big idea, you want to find the small personal story within it.

A lot of writers will take an idea like this and cut between seven different groups of characters as they all get ready for the big invasion. It’s a common mistake when doing a period or war film and it results in too much jumping around where we never get to know or care about anyone, and therefore don’t give a shit what happens.

What Dean does here instead is he finds this personal story to tell. Our hero teams up with a kid and the two must escape an entire occupied country that’s looking for them.

This leads to the second thing Dean does well: GSU (goal, stakes, urgency).

Goal: Get the map back to his superiors.
Stakes: If he doesn’t, an entire operation will fail, and hundreds of thousands will die.
Urgency: The invasion is happening that day. So he needs to achieve this FAST.

When you combine this with an unresolved relationship between our two leads, Scott and Jasper, you have yourself the ingredients for a kick-ass movie.

This is where the World War 2 tag HELPS your script – when you’ve written something good. Because it acts as a PUBLIC IP in that everyone’s heard of World War 2. So, naturally, it’s easy to promote.

In a film market where everyone (and when I say everyone, I’m talking about the studios as well) struggles to make consumers aware of their product, paying hundreds of millions of dollars to do so, it’s nice to have something well-known in your back pocket (World War 2) to instantly create recognition.

Think about how hard it’s been for them to promote spec scripts Passengers and Collateral Beauty this holiday season. There’s nothing either film can throw at you that creates instant recognition besides movie stars. And movie stars, strangely, aren’t enough anymore.

In addition to this, Dean has researched the shit out of his script, making sure we believe what’s going on. I bring this up because there’s nothing worse than a World War 2 script where it’s clear that the writer doesn’t know a) How war really works, b) the unique details of World War 2 including weapons, vehicles, and protocol, c) the fine print of the subject matter he’s writing about.

I’m not saying the writer should go into exquisite detail about each German gun being shot (more on this in “What I Learned”). I’m saying that we never question any object, person, or interaction because they all felt so damn authentic.

And yet, despite this elaborate research, Dean never forgets to entertain. This is another common amateur mistake. Writers will get that research down, but then that’s ALL they get down. Everything is meticulously described and yet we’re bored to tears because nothing fun or dramatic is happening.

We get lots of Entertainment 101 scenes here, like the dickhead SS officer prepping to kill Julian for accidentally splashing water on his shoes. Or we get to know Scott’s entire team, only for them to be blown to pieces before the mission. That’s how you entertain – throw a plot twist in there that we’d never expect.

Atlantic Wall is a really well-researched fun romp with lots of GSU and, in my opinion, Dean’s best script to date.

[ ] What the hell did I just read?
[ ] wasn’t for me
[xx] worth the read
[ ] impressive
[ ] genius

What I learned: If there isn’t a lot of dialogue in your script, make sure you’re focusing on ACTION rather than DESCRIPTION. In other words, write less about what we’re looking at and more about WHAT THE CHARACTERS ARE DOING. As long as you’re documenting action, the reader feels that SOMETHING IS HAPPENING and is therefore less likely to get bored. It could be cleaning a house. It could be charging up to a bully to settle a score. It could be adding another target to the Operation Overlord map. What you don’t want is a lot of description of rooms or fields or people or vehicles. That’s not to say you won’t describe things. You’ll just do it quickly, expanding only if the moment is really important. But, for the most part, description equals to boredom. Focus on what your character IS DOING instead.

  • Poe_Serling

    Nice to see you back in action, Carson. Hope your break was both relaxing
    and recharging.

    • Citizen M

      What about the much shorter list of WWII comedies? Apart from Life is Beautiful, I can only think of Kelly’s Heroes.

      There was of course Val Kilmer’s Top Secret! which wasn’t a comedy, it was a travesty.

      • Scott Crawford

        Will Hay and George Formby and quite a few others did a good life in piss-taking Hitler during World War Two. And more recently, of course, there was Dad’s Army the movie.

        • brenkilco

          Hay and Formby were two big British names who never made it across the pond. Absolutely unknown in The U.S. Odd considering how well most subsequent British humor, from Ealing to Python, traveled.

        • Citizen M

          Love George Formby.

          Now I go cleanin’ windows to earn an honest bob
          For a nosy parker it’s an interestin’ job

          Now it’s a job that just suits me
          A window cleaner you would be
          If you can see what I can see
          When I’m cleanin’ windows

          Honeymoonin’ couples too
          You should see them bill ‘n coo
          You’d be surprised at things they do
          When I’m cleanin’ windows

          The blushin’ bride, she looks divine
          The bridegroom he is doin’ fine
          I’d rather have his job than mine
          When I’m cleanin’ windows

        • witwoud

          Piss-taking the Nazis doesn’t get much better than this from 1941:

      • GYAD

        The Square Peg, Operation Snatch, Operation Petticoat, La Grande Vadrouille, How I Won the War, Very Important Person…

        • Citizen M

          Not only have I not seen them, I haven’t even heard of them :o(

      • Poe_Serling

        Hail the Conquering Hero

        From writer/director Preston Sturges.

      • brenkilco

        Chayefsky’s The Americanization of Emily-though it shifts between comedy, drama and satire- is very good. And screenwriting doesn’t get much better than Garner’s war monologue.

        Actually there are endless WWII comedies and comedy dramas: Stalag Seventeen,What Did you Do In The War Daddy, The Secret of Santa Vittoria, Mr. Roberts, etc.

      • Andrea Moss

        Kelly’s Heroes is an unsung masterpiece. One of my favourite movies. Period.

      • wad_d

        Hope and Glory. Good movie.

      • klmn

        Catch 22 if you include black comedy.

    • brenkilco

      WW II has by this point become a mythic landscape second only to the wild west. And we have seen virtually every sort of cinematic story set there.

    • brenkilco

      To illustrate the variety

      To Be or not to Be. Masterful Lubitsch comedy satirising Nazis daringly produced during the war

      Lifeboat. Hitchcock tale of the travails of torpedoed passengers set entirely in you know

      Five Graves to Cairo. Early melo by Billy Wilder with Erich von Steinem as a dream Rommel

      Mrs minniver. Quick, what won best picture in 1942? This pleasant but undeserving relic. Think Germany was better at propaganda than hollywood. Be serious.

      • BMCHB

        And Casablanca, of course.

      • Poe_Serling

        On the horror side of things…


        Directed/co-wriiten by David Twohy.

        A really solid ghost story set on a sub during WW2.

        • brenkilco

          Odd movie. Clever idea. Well directed. But somehow it doesn’t conect like it should . Maybe the reveals were mistimed. Or maybe the effort to make it subtly Turn of The Screwish vitiated some of the suspense. A big swing but a curious miss IMHO

          • Poe_Serling

            Yeah, like most movie-watching experiences, it can be a hit or miss depending on the individual.

            Being a big fan of supernatural flicks, I thought the flick was just a refreshing take (set on sub during WW2) on the well-worn ghost

          • brenkilco

            There’s one WWII movie I’ve always thought should be remade. 36 Hours. Because the movie isn’t great. But the premise is irresistible. James Garner is an allied agent who knows the plans for the imminent D-Day landing. He gets drugged and kidnapped in Lisbon and transported to Germany where he is subjected to this massive con. Nazi intelligence officers try to persuade him that he has amnesia, that it’s five years later and that the Allies won the war, all in hopes he’ll causally spill the D-Day plans. The details are fascinating but the direction is sluggish and the third act is kinda meh. Too bad.

          • Magga

            Never heard of that, but if there’s ever a story where something along the lines of Tarantino’s killing Hitler-twist seems appropriate, it’s there

      • klmn

        • brenkilco

          The old dvd of this, which I have, may have the worst video quality of any ever produced.

          • klmn

            The worst video quality on a dvd that I’ve seen is on the Ken Burns documentary Horatio’s Drive. Maybe the piss-poor quality is on the master recording – I’ve wondered why PBS hasn’t repeated it like they have with Burns other docs.

            Here’s the trailer.

    • Garrett

      Saving Ryan’s Privates… ;-)

  • urban.spaceman

    Being British I completely forgot about the whole Thanksgiving thing and had actually started worrying that you might be dead. It’s a relief that you’re not of course. From here on I forbid it.


    • Tonytrey

      I’ve always thought about that. What if Carson died? How would we ever find out? What would we all do instead of reading this blog everyday? And just like that, we wouldn’t hear from Poe or Smish or Scott, etc ever again since there’d be no more posts to comment to. And what about those of us whose comments are stuck in moderation all the time. Our voices would never be heard from again. Just like that, our whole community would be disbanded. Quite depressing actually.

      • Bifferspice

        your empathy for a potentially dead Carson is overwhelming.

      • BoSoxBoy

        “What if Carson died? How would we ever find out? ”

        The Newsletter would come out more frequently.

        • BMCHB

          Scriptspirit or Scriptghost would work just fine.

          Also, there’d be a lot more ‘stuck in development hell’ scripts reviewed.

          • urban.spaceman

            I sincerely hope this is the planned scenario just in case.

    • Scott Crawford

      I used to follow a blog – I forget the exact name – where the anonymous blogger, some Hollywood agent or assistant to an agent – posted hilariously bad loglines they’d received (once again proving how important loglines are).

      Anyway, the blog posts were quite frequent and then… they stopped. And after a while we found out the person had died. And that’s how we first found out. The absence of posts.

      • Thaddeus Arnold

        Yeah, I remember that blog. I remember how the blog posted a log line about two men who pretend to be gay so they can marry for health insurance… and then not one but two films got made with that exact premise. Guy who sent in that log line must’ve been doubly crushed. Or triplely.

        There was a predecessor blog to that, on Kevin Smith’s old Movie Poop Shoot site, called Delusions of Grandeur.

      • Midnight Luck

        I remember that, his picture was just a guy’s brown shoes I believe.
        It was awful when we learned he had died.

        Then there was The Unknown Screenwriter, who had to change to The Screenwriter Unknown because he forgot to pay for his website name and someone took it over and pretended to be him.
        His blog never recovered, as far as I could tell.

        Some great stuff out there, but usually doesn’t last.

        • Thaddeus Arnold

          I don’t think someone pretended to be UNK. I believe that someone squatted on his website once the registration expired and was asking for a thousand to get it back. He refused to pay ransom and started another site instead. UNK is still around.

          • Midnight Luck

            ahh, i don’t remember, it was a long while back, i just remember i had to search and finally found him, but I think he disappeared again not long after.

            i understand not wanting to have to pay a ransom for it.
            I did the same thing, but only because 1&1.net screwed me over on one of my websites, and then someone swooped in and took it over, and then for like 5 years now have been asking $5,000 for it, and it isn’t even some great name.

            no thanks, not gonna pay the ransom, and so far, neither is anyone else.

  • https://pro-labs.imdb.com/name/nm4290140/ Cal

    Good article. Love the bit on authenticity. It’s the standard of good writing and a basic requirement of a professional writer. Congrats to Zach Dean, may he have all the continued success.

  • The_Hopeful_Pessimist

    Hey guys, not heard anyone talking about the Brit List 2016? It was published last week. Some interesting loglines….

    • Citizen M

      The only one I thought was remotely high concept was the rom-com Bride or Groom: On the eve of their wedding weekend in Paris, newly engaged lovers Sophie and Philippe magically swap bodies and attend each other’s stag and hen dos, to eye opening results.

      Sounds like it could be fun. Or it could be a penetrating look at the politics of gender identity. Which wouldn’t be fun.

    • Scott Crawford

      I don’t bother talking about it because the scripts on it are never made available. Consequently, I just don’t want to give it any oxygen. I don’t have ANY scripts from the Brit List and I probably never will. Waste of time.

      • GYAD

        I’ve got the scripts from the Brit List in 2010 but I can’t remember where I got them from. I can send them to you if you want – but they’re pretty awful.

        • Scott Crawford

          Pass. I got enough scripts – in fact I think I had the 2010 lot, that’s the one year they did let them be seen. A couple actually got reviewed here.

    • GYAD

      Like every Brit List it seems to be a mix of bad genre films and super depressing right-on films…

      • Scott Crawford

        The problem the British film industry faces, and i my opinion it’s the same one they’ve had for the last couple of decades or more, is their obsession with NEW talent. I mean, by all means give some people an opportunity, but… there’s no NURTURING of existing talent. Once a director gets his first Brit movie, the chances of him getting a second fade. So he’s off to Hollywood. Over the last couple of decades, we’ve lost so many directors (and some actors and writers and producers) to Hollywood because no one in Britain is interested in funding a filmmaker’s SECOND movie.

        Not to mention, though I am mentioning, dozens of old time directors, writers and so on who could still make movies in Britain but – again – have to abroad to make films.

        The obsession has been NEW talent but it doesn’t really work that way. You need to DEVELOP talent. Give the guy whose first film was a success a second film with a bigger budget.

        • GYAD

          I think we’re always going to have the issue of directors succeeding with a British film then going to Hollywood for the money. There’s definitely things we could do to though, as you suggest.

          For me the problem is how narrow the range of British films are. Too many remakes, bad but cheap comedies and right-on films.

  • GYAD

    It’s interesting that, as a historical nerd, my POV on originality is totally different – the pitch for this sounds utterly generic to me. These are all elements we’ve seen before in dozens of other WWII films and the idea of The Big Secret that will ensure the Normandy Invasion succeeds is utterly cliche by now.

    Whereas Defiance, even though it was a rubbish film, had an original historical pitch – the Holocaust seen through the eyes of active Jewish partisans, not passive Jewish victims (although the reality is even more interesting as the “heroes” of the film were involved in collaboration with the USSR and war crimes themselves).

    • Scott Crawford

      it sounds more like Die Hard in Normandy, and I love a good Die Hard story. But the appeal of most war movies is the teamwork, the sense of camaraderie. Sure, you can try different things, but the idea of one guy against thousands of Germans… yeah, it’s a bit too Die Hard.

      • BMCHB

        An historical Die Hard… Any examples written you can think of? If not, could be an interesting untapped sub genre to explore.

        Any potential locations/settings?

        Fantasy and Mythology ‘Die Hards’ could be fun, too.

        • GYAD

          They tend to be “soldiers trapped in a fort” films – like Beau Geste or Ironclad. Making something more Die Hard-esque would be very interesting though.

          • BMCHB

            Yeah, maybe Rio Bravo ish, too. Can’t think offhand of any further back.

          • brenkilco

            Well, once they get to the castle, Where Eagles Dare is pretty damn Die Hardish.

          • Scott Crawford

            Alistair MacLean wrote plenty of a proto Die Hards including The Golden Rendezvous which was made into this weird South African film which itself feels very like Die Hard (music by Jeff Wayne!):

          • brenkilco

            Richard Harris made a lot of bad movies in the seventies. Funny thing about the novel Where Eagles Dare. IIRC it was written simultaneously with the screenplay. So it could be argued it was the first movie novelization, predating even the similarly backwards Love Story.

          • Scott Crawford

            I quite like some of them! But Harris married a pretty but modestly-talented Ann Turkel who wanted a movie career and Harris agreed to do some films, like this one, if the producers cast his wife.

        • Scott Crawford

          There are, as i see it, five main elements of “Die Hardery:”

          1. The McClane

          The hero is a one-man army, or has to become one. Usually he has a background in the special forces. But he could just be a fire fighter. He may have someone working with him, provided they are both not expert gunmen. This isn’t The Guns of Navarone or even Lethal Weapon. There’s only ONE action hero in a Die Hard story.

          2. The Gruber

          I LOVE villains and one of the reasons I love Die Hard scripts, and finding new ones, is that they put the villain right at the center of the story. Just a there’s no McClane in Guns of Navarone, neither is there a Gruber. World War Two stories don’t have a central villain more an army of villains. But in Die Hard stories the villain has a voice, many scenes and talks often to the hero, even if it’s just over the radio.

          3. Finite locations

          Could be a single building or a single mode of transport. Doesn’t have to be. Could be a city or just a general area. But there’s atmosphere generated from the fact that we mainly seeing things in the same arena. We’re not chopping and changing between different locales. Many people feel this is the main factor in deciding what is Die Hardery and what is not; I disagree, I think it’s ONE factor, I don’t think it’s the only one.

          4. Finite villains

          At the beginning of Die Hard, we see two villains enter via the lobby and eleven enter via truck. Thirteen villains, count ‘em. And you can also count how many there are left as they are eliminated one-by-one. You don’t get that in James Bond, you don’t get that in Lethal Weapon. In those movies, there are as many villains as there needs to be and most are played by stuntmen who only show up on the day they’re needed. And the villains in Die Hard all have NAMES – Tony, Heinrich, Marco, James, Alexander, Fritz, Franco, Uli, Theo, Kristoff, Eddie, Hans Gruber and Karl.

          5. Finite time

          Most Die Hard stories take place more or less in REAL TIME, another reason I like them, say a couple of hours. At most, within a day – start in daytime, ends that night. The urgency this adds – there’s no sleeping, no time to rest.

          Not every story covers all five of those points, but many cover most. To take historical or fantasy subject (indeed anything, James Bond, Mission: Impossible) and make it more like Die Hard you need to:

          1. Find a way to isolate an action hero

          Today’s script does this by separating the hero from the rest of his men. In Die Hard and other movies, it’s the fact that the hero isn’t caught when the others are or manages to escape capture. The classic “you must enter here alone” scenario comes in handy here.

          2. Find a great central villain

          Not so difficult, but still a problem because most war stories or fantasy or sci-fi, it’s about fighting against a phenomenon. You wouldn’t expect the hero to have a fistfight with Napoleon at the end of the story. But maybe there’s a dragon (a henchman) not dissimilar to the hero whose job it is to hunt the hero down and therefore become a Gruber.

          3. Limit the setting

          Obvious one, but so many stories are very sprawling. War movies not so bad – the whole of Where Eagles Dare is like the end of The Guns of Navarone, being Die Hard inside a Nazi fortress. But fantasy and science fiction. Maybe if Clash of the Titans was just about battling Medusa or Star Wars was just about rescuing the princess?

          4. Identify other villains beside the main one

          Tricky, tricky, but if had that idea of the main villain being like a hunter maybe he could have a small posse of people behind him – like Eric Qualen and his men in Cliffhanger. It might be trickier to give them individual personalties, like in Die Hard, but at least you could name them and give them different weapons or skills. Talking of posses, think of a western where one villain has a long-range rifle, another has a gatling gun (like Predator!), another likes tossing sticks of dynamite.

          5. Wrap it up in one day or less

          Quite simply, don’t let the hero go to sleep. When you look at the end of your scene headings it shouldn’t say DAY, DAY, NIGHT, DAY, DAY, DAY, NIGHT. it needs to be one day and preferably a time limit.

          Finally, there are certain scenarios that lend themselves to Die Hard like scenarios. Holding people for ransom, breaking into a place to steal a valuable MacGuffin or to gain control of a powerful weapon. There are plenty of parallels in westerns, fantasy, sci-fi and even in true stories that one could easily give a story a bit of Die Hard.


          • BMCHB

            Great post, Scott. Lots to think about there.

            I hope you’re making steady progress on your own DH concept/script.

          • Scott Crawford

            I completed a “rough draft” (it’s a bit short, really more of a scriptment) of HARD KNOX (or KNOX OUT if I can’t use that title), my Die Hard at Fort Knox idea I’ve been developing/researching for years. It wasn’t bad, though I’m taking a short break and working on a different script (quite probably also in the Die Hard mould) before coming back and doing a rewrite with a fresh mind.

          • Andrea Moss

            Congratulations! Waiting to read it. Meanwhile:

            Title: TITANPOINTE
            Genre: Contained Thriller
            Premise: Set in the end of the Cold War, a rookie NSA analyst is trapped during a blackout inside the agency main spy hub (codename: TITANPOINTE) located in the most secure building in New York, when a group of Spetsnaz operatives takes the place as the first step to launch a terrorist attack on the unprotected city.

          • BMCHB

            OMG, it’s a real place.

            Is this your script or another spec?

            Ripe for a movie if it hasn’t been done alright…


          • Andrea Moss

            Not a script, really. Just an idea for a potential movie I had after reading that same article. That would be an awesome scenario for a thriller. A skyscraper in Manhattan without windows, with just one entrance and nobody outside the NSA knows what is its purpose. JJ Abrams would love this!

          • BMCHB

            Seriously, delete your comment. Get on it quick.

          • fragglewriter

            Sounds like a fire hazard. Would the City actually let you go continue with permit or are building laws not part of the story?

          • Andrea Moss
          • garrett_h

            Awesome post! I’m saving this! Die Hard is one of my favorite movies ever, and I’ve done my own beat sheet breakdown for it. Watched it countless times. This is probably the best post on Die Hard I’ve ever seen (sorry Carson, your tips to learn from Die Hard were pretty great too!).

          • Scott Crawford

            Thanks! I’ve got way more…

            The three missions

            Once the hero has found a place of safety (though he may have to find a different one later) he ventures outside or otherwise intervenes maybe three times. In Die Hard, McClane:

            1. Goes to the roof to broadcast a message to the LAPD.
            2. Drops a bomb down the elevator shaft to save the LAPD from attack.
            3. Goes to the roof to find out why Hans was there (and finds the roof rigged with explosives).

            If you think about it, apart from that, McClane spends most of his time hiding, and rightly so. In Under Siege 2, Casey Ryback:

            1. Tries to stop the train by taking over the locomotive.
            2. Steals the CD with the targeting codes so the villain’s plan won’t work.
            3. Rescues the hostages.

            The first two missions don’t work but they DO slow down the villains and deplete their numbers.

            The gun story

            The hero starts with either no gun or only a pistol. He kills the first terrorist with with his gun (White House Down), an improvised weapon like a drum stick – the musical kind (Command Performance) – or his bare hands (Die Hard) and takes the villain’s weapon. Now he has a machine gun and now he can shoot any bad guy who comes his way.

            Except that risks turning it into a rather dull video game. So you have to figure a way that the hero doesn’t have or can’t use his weapon to increase intention and perhaps come up with more creative solutions. For example:

            * He runs out of ammunition for his machine gun.
            * The machine gun jams.
            * He drops his machine gun or is knocked out of his hand or he is captured and forced to discard it.
            * He can’t use the gun because he doesn’t want to make a noise.
            * He has to discard the weapon because it’s too heavy or t’s too tight a squeeze to use the weapon or he has to go swimming.
            * He has to give the weapon to someone else who needs it.

            The hero reacquires a new weapon when he can. This is what I call THE GUN STORY. The hero chops and changes his weapons and thus varies the ways in which he can kill the villains.

            Villain names

            All the villains in Die Hard have names. So do all the villains in Die Hard 2 (except Grant’s team), Cliffhanger and a few others. What I found was if there are less than say 15 bad guys, then you can name them (as the script for Sudden Death does) but not if it’s more. If there 30 or so bad guys, like Under Siege 2, the script just says “a hijacker” or “another hijacker.” Only the major villains are given names. Up to you but you don’t want to confuse people.

            (I named all 20-something villains in the first draft of HARD KNOX and I’m not sure – it might have been too much. We’ll see how it goes for the rewrite.).

            Common elements

            * Arguing over intercom with the authorities.
            * Threatening the villain over intercom.
            * A disastrous hostage rescue attempt by the authorities.
            * The villain (having got what he wants) plans to destroy everything and thus cover up the crime while he escapes.
            * Misdirection – what the villains say they want (ransom) isn’t what they really want (robbery) and in the case of the Die Hard series the villains really want the heroes to look the other way and maybe even HELP them.

            That’ll do for now.

          • garrett_h

            Great stuff! Feel free to post more lol. A bunch of these gave me some “Aha!” moments. Stuff I had never thought about but after you mention it, you’re right! And Cliffhanger, man my bro amd I loved that movie back in the day. We even bought the craply video game lol.

          • Andrea Moss

            I’d add one more. Call it the “With a Little Help from My Friends” rule. In Die Hard John McClane is helped in his most difficult moments by a bunch of people that he encounter in different moments of the script: Argyle the driver, agent Powell, his own wife… They become heroes with their own arcs through the movie, they’re not merely secondary characters: Argyle crashes his limousine to avert the terrorists from escaping, Powell saves McClane and Holly from being gunned by Karl, and Holly stands his ground against Hans Gruber once and again. What I’m trying to say is that McClane is not a superhero, and we as the audience are OK with that.

          • brenkilco

            World War Two stories don’t have a central villain more an army of villains.

            Hm, got me thinking. Best villains in WWII movies. Well, of course there’s Conrad Veidt’s Major Strasser in Casablanca. And Paul Sofield’s art obsessed major in The Train. Robert Shaw’s tank commander in Battle of The Bulge, Peter O’Toole’s psycho general in Night of The Generals, Walter Slezak in Lifeboat, Donald Sutherland’s Nazi agent in Eye of The Needle, Colonel Saito in Bridge on The River Kwai. So there are a few good ones.

          • Scott Crawford

            Interestingly, quite a few of them have limited settings and a relatively tight schedule – elements of Die Hard!

  • Scott Crawford
  • brenkilco

    An invasion in planning for a year, involving the greatest armada in history, is subject to change twenty four hours before the event because the allies don’t yet have a handle on the Normandy shore, gun emplacements. Not feeling the realism.

    • garrett_h

      I was wondering this too. If it’s based on a true story, or one of those fake stories with real people but “based on true events.” Like Inglorious Basterds. Or American Sniper lol.

  • Lucid Walk

    Whether you were writing, or being with family/friends or just binge-watching football, I hope everyone enjoyed their Thanksgiving weekend.

  • GYAD

    So, intrigued, I read this script up until around p.50 when I quit. It’s not horrible but it’s not that great either (sorry Zach). The problem is that the stakes are too big for the story to be believable (the whole Normandy Invasion depends on this one map…so they sent 7 men to get it…because there’s no other way apparently) and that the research – although miles ahead of most WWII scripts I’ve read – still makes lots of little mistakes; which would be forgiveable, except that this often leads to giant plot holes (the hero survives thanks to his parachute…but as he’s landing by glider, why does he even have one?).

    p.11 Jedburgh teams weren’t large paratroop units – they were 3 man OSS/SOE teams (UK or US officer, a local and a radio operator usually).

    p.15 “ELISE is a beautiful, privileged Aryan woman” – I know what he’s going for here but every time I read this I start laughing.

    p.21 Why are there Hitler Youth in Normandy? They were a German children’s group, not a fighting unit (12th SS were ex-Hitlerjugend…but they were miles inland).

    p.23 So they need to fly to France and get the map because the French radio operator was captured by the Germans. So how do they know this if there’s no other contact?

    p.29 Why do they need to crash a glider full of soldiers into France then hike to the coast just to get a map? They could easily land by Lysander in a field and take off again in 5 minutes. There needs to be an explanation of why this is the only way to get the map.

    p.37 Slightly baffled as to why the paratroopers need all that jump gear when they’re landing by glider…

    p.39 Just a tip but maybe don’t lock and load weapons right before a glider smashes into the ground (happy to be corrected but I believe they did this after landing).

    p.40 Errr…so Scott is landing by glider but wearing a parachute anyway?

  • Angie

    Carson, you work hard and deserve a day off now and again. Good to have you back.

    Great article. Thanks for the reminder in What I Learned to have characters move in your “movie.” Easy to forget and have them stagnant a little too long as they chat.

    One comment that struck me as a change in a wannabe’s chances to sell. “And movie stars, strangely, aren’t enough anymore.”

    Used to be that a good selling strategy was to send your script to a movie star’s production company or agent. If that star proved interested, a screenwriter was almost home free. If having a star attached or starring in the movie is no longer enough, writers really, really must step it up.

  • fragglewriter

    I am so drained from WWII movies, but I also think from war movies in general, that I cannot fathom how a new angle is justified in these movies. I watched LIFE IS BEAUTIFUL after reading all of the rave reviews – I didn’t care for it. Not even a smudge. I was all set to go see ALLIED on Thanksgiving Day, but decided LOVING would be a much better movie, but unfortunately, it was not. In fact, other than Jeff Nichols’ direction and his cinematographer, all of his movies are so simmered.

    • Citizen M

      Humans are funny. If their McDonald’s burger is different, they complain to the management. If their movie is the same, they complain to the management.

      • RO

        I’d hardly call that funny. It’s actually a well worded observation about consumer awareness. I mean McDonalds advertises a brand based on food consistency and ‘quality’. Movies advertise with the goal of entertainment, which equates to variety.

        • Citizen M

          …entertainment, which equates to variety.

          Not always. If you go to a music concert, generally you want to hear music like the recording you’re used to. In fact, it is the performers who get sick of playing the same thing in the same way, and introduce variety, which doesn’t always go down well with the public.

          Most of the time, people stick to the same brand of chocolate, and soap, and shampoo, and pizza, and petrol, and most branded goods.

          When we see a rom-com, we want something that fits comfortably in the rom-com canon, and the same with other genres. Occasionally, we want something different, but most of the time we want what we are familiar with. Hollywood wouldn’t churn out endless similar variations on a theme if the public only wanted new and different.

          The trick is to produce ‘the same but different’ with just the right blend of same and different.

          • fragglewriter

            Most of the time, people stick to the same brand of chocolate, and soap, and shampoo, and pizza, and petrol, and most branded goods.

            UNTIL, you change the formula, and then we complain LOL. I didn’t realize that I loved watching RomCom, until I took an online test in which I had to check from a list of 100 RomCom movies, which of the movies that I had watched. I checked 50 out of 100. I also despised them, but then realized it was the Comedy aspect of the film that pulled me in. Yeah, it was the same but different.

      • garrett_h

        Not sure if that last part is accurate. Maybe around these parts, with the film snobbery that goes on. But Transformers is about as McDonald’s as it gets. And yet, they’re guaranteed to pull in hundreds of millions. Don’t think too many folks are complaining lol.

    • Midnight Luck

      Allied was NOT great.
      It was not intriguing, not that interesting, and I knew where it was going every turn.
      Plus I couldn’t get away from the fact Brad Pitt looked weird, all plastic like. He didn’t look real. Brad Pitt no longer looks like Brad Pitt, too many nips and tucks, his face doesn’t move anymore, and his eyes aren’t expressive.
      So sad, he’s bought into the belief, just like Angelina, that people want their actors un-aged. Instead they end up looking creepy. His eyes looked wrong the whole time, plus the whole movie looked like it was filmed on a Hollywood set, slightly modified to look like a German town.
      It wasn’t good.
      Plus the story was so average it was McDonald’s.

      • Kirk Diggler

        Brad has an unnatural shine to his cheeks, like a polished up mannequin.

        I was on a set with him once, back when he was still a ‘pretty boy’. Pity what they do to themselves to stay young.

        • Midnight Luck

          That’s why they get into Directing (Jolie) or producing, his Plan B actually does some really good work usually.
          Sadly his face kinda creeps me out now, takes me out of it and I cannot suspend my disbelief.
          Too bad, he’s been in some of the best movies, to now have his new look be the thing that kills it. Though it could’ve been Zemekis /Spielberg Effect, where like in A.I. the robot boy had this CGI fake sheen that made him look unreal and unnaturally young forever.
          Maybe Brad Pitt was supposed to be a robot in this and I just missed it.

          • fragglewriter

            That’s how I felt about Mickey Rourke’s face in Iron Man II. I turned off the movie after 15-minutes.

          • Midnight Luck

            poor Mickey, he decided to become a boxer and got his face broke, and has never recovered. But damn, I gotta say, I loved him in THE WRESTLER, it was a perfect roll for him, at least at that point in his life.
            Maybe he should join the WWF, or whatever the groups are called nowadays.
            Can’t wait for Alison Brie in GLOW (to sort of keep on topic).

          • Kirk Diggler

            Brad is going to Benjamin Button us all.

        • Midnight Luck

          It is a pity.
          Thankfully, we are writers, so who gives a shit what we look like? we hide behind pen and paper and computer screens.

      • fragglewriter

        I was pulled in by the trailer, but after the reviews came out, I was like, I might be more satisfied with LOVING. I get why actors might have a slight pull and tuck here and there, but when it’s too extreme, see Michael Douglas, it’s time to just grow old and deal with it. I guess the Romance aspect wasn’t worth the budget and they knew it.

        But that movie LOVING, I have no idea why it’s getting so many praises. I watched the Documentary about three years back, and fell so in love with the characters and the story. So yeah, I walked in with the caliber set pretty darn hard, but it’s like the Director was like hey, lets get rid of all of the tension and drama, and just display the actor’s moping around the set. Like WTF!!! If Allied was McDonald’s then Loving was a 79 cent basic taco at Taco Bell.

        • Midnight Luck

          Loving and Moonlight are winning awards and getting huge press, and honestly I think – meh, maybe at some point i’ll check them out, but I’ll probably forget about them in a few months, neither drew me in at all.

          I think all movies should be ranked by Taco Bell early ’90’s menu- 0.39, 0.49, 0.79 menu.
          If they are awesome, maybe even rank them the 0.99 menu, when they decided to get greedy.

          • garrett_h

            The problem with Moonlight is the trailer basically shows the whole movie. After I saw that, I was like “Nope, no need to go see it now.”

          • fragglewriter

            I saw Moonlight when it was released, and the director, Barry Jenkins, reminds me so much of Jeff Nichols’s storytelling.

  • Jai Brandon

    So I’m filming my short next weekend! Exciting and a bit stressful at the same time. I’m the producer, director, writer, and lead actor in the film. We’ve got a great cast and crew and everyone believes the story has enormous potential on the festival circuit, partly how I’m getting the essential crew to work at drastically reduced rates. With that said, the film will be close to $4,000 over these two days, so I’ll also be running a crowdfunding campaign for festival related fees later; I’m self financing this film and not ashamed to admit I’m tapped out.
    To the few who have read Ergophobia, thank you! For those who haven’t, but are interested in giving any amount of feedback, leave an email here, or send one to jai[dot]brandon[at]gmail.

    TITLE: Ergophobia
    GENRE: Dark Comedy
    LOGLINE: A home invasion proves to be a source of catharsis for a hardworking woman and her layabout boyfriend.

    DAMON – Jai Brandon
    JESSICA – Rachel Romney
    INTRUDER – Martin Ewens
    DELIVERY GIRL – Kelsey Ann Wacker

    • ShiroKabocha

      Awesome ! Hope it does well on the festival circuit (or elsewhere… there are a lot more venues for short films these days) :)

    • garrett_h

      Sounds great! I’ll check it out, sent you an e-mail. Good luck with the shoot!

      • Jai Brandon

        Thanks, Garrett! Any and all thoughts would be great. We’ve still got 10 days before the shoot.


    • Bifferspice

      that’s a cracking logline. best of luck with the shoot!

    • GoIrish

      Best of luck – hopefully, the director and the writer won’t be at each other’s throats!

      • Jai Brandon

        If that happens, hopefully the producer will step in as the voice of reason.

    • Emotionoid

      Good luck. Hope the shoot goes well. If you are interested in a feedback, please do mail it mazhar.mohd@gmail.com. Would love to read it.

      • Jai Brandon

        Sent! Much appreciated.

  • urban.spaceman

    BBC Writer’s Room Script Room is open from December 9th and closes January 9th.

    Should I:
    A) Finish 3rd screenplay first daft which is currently 75% done.
    – or –
    B) Put that on hold and focus on doing a thorough 3rd draft of my first screenplay which would mean cutting 20 pages out? (This is “Itchy Feet” which reached Carson’s “Almost Top 25″ list http://scriptshadow.net/scriptshadow-250-10-scripts-that-almost-made-the-top-25/)

    Answers on a postcard to Urban.Spaceman

    • Zack Snide Err

      I think you should go with B, but you seem unsure as to how to make an already good script (according to Carson) better. That’s concerning.

      Your right in feeling that the page count has to come down, but if you really aren’t sure how to proceed you should get some notes on the whole script first.

      • urban.spaceman

        Hi Zack – I wasn’t sure for a hell of a long time (5 bloody years!) how to do a second draft and I wasn’t even expecting Carson to read it based on the logline; even then I would have been happy with being ranked 249 but Carson’s positivity just blew me away, and suddenly I had a massive burst of enthusiasm for it. Luckily this coincided with me moving to Cape Town briefly (which is partially where it’s set; it’s an African Road Trip film) so I very quickly did a second draft that I was even happier with. I’m still bursting with ideas for it (turns out Botswana is my muse) so I feel confident in being able to improve it even more.

        Thanks for your insight!

    • Malibo Jackk

      Put B in your sock drawer.

      Take it out after 6 months for a second look.

      • urban.spaceman

        Sage advice… Thanks!

    • Scott Crawford

      You’re implying you have three screenplays, who is great. More the merrier (what Carson has said today about a writer getting better with each script).

      1) What’s the state of the SECOND screenplay? Good to go?

      2) Is screenplay 3 better than screenplay 1? My guess is it probably is.

      3) How quickly can you write 25% of first draft and do a half-decent rewrite? Ten days?

      You want to enter your best screenplay, and if I thought that was the 3rd screenplay, I’d knuckle down and finish that. Time being a factor, though, rewriting Itchy Feet would be quicker BUT… is that your best screenplay? It almost made the top 25 out 250, but that’s not a win. Fucking good first effort, fucking good, but it suggests you could do better.

      Food for thought, no conclusions.

      • urban.spaceman

        Hi Scott, yeah I’ve got 3.
        The second one is just a first draft and though I’m proud of it, it does need a fair amount of work. A brief longline would be “A depressed guy tries to fix his traumas by sending his mind back in time to the event”; it’s hyper emotional though as I wrote it during a bereavement. There was a backdrop of Leicester City being promoted back to the Premier League and leaving Filbert Street in the past timeline; but now after this year I’m thinking of changing it to be more about investing your emotions in something as idiotic as Leicester City Football Club can sometimes pay off.

        I’m still working on script 3 though have found myself stuck for the last few days so progress has slowed right down. I reckon I could finish it in time for the window opening but I’d also need to re-do much of the beginning to make it work. I’m submitting this one to my local theatre though as it would definitely suit the stage more that script 1; Script 1 is much more unique and original which is what they’re looking for.

        Thanks for your insight and advice!

    • Magga

      Does the “drama” category mean the drama genre, or is it just the opposite of documentary, and could include comedies and whatnot? Ironically I might also submit my “almost 25″ thing

      • urban.spaceman

        Hi Magga – they’ve got 2 windows one for Drama and one for Comedy, though I think the lines are rather blurred for drama though. Check out their Facebook page and ask them, they’re usually very quick to respond.

        • Magga


  • Citizen M

    Finished reading it. Really good. Reads easily, almost like reading a novel not a screenplay it flows so smoothly. Structurally very tight. All setups paid off and loose ends tied up. Nice emotional finish. A few typos and anachronisms but not enough to make an issue of them. One of the best scripts I’ve read this year.

  • Linkthis83

    An icebreaker to understanding the business of Hollywood and China:

  • fragglewriter
    • Poe_Serling

      I thought for sure Scriptshadow’s Acarl might be on the list – he’s been
      popping up on all the others as of late (Bloodlist, Young and Hungry,

      • garrett_h

        Seems like this list is for established writers. They’ve got credits and have had some success. A couple are the children of famous filmmakers.

        That would be pretty cool though, to have a list of unknown amateurs who are on the verge of breaking in.

        • Mallet

          Probably hard to do a list of “unknown amateurs who are on the verge of breaking in”, when they are, you know, unknown.

          Possibly a list of screenwriters who have only made one sale so far, but that one script was very highly regarded by numerous agencies, studios, exes, etc… That os at least something that is trackable and reportable.

          A list of unknown amateurs on the verge of breaking in would number in the thousands, and only 1% of them would ever actually “break in”.

          • garrett_h

            Maybe you took my use of the word “unknown” literally lol.

            I wasn’t talking about the dictionary definition. “The depths of the ocean floor have been unexplored, and it’s unknown what lurks there.” LITERALLY NO ONE has been down there lmao. So for someone writing in their basement, has never told anyone they are a screenwriter and never plans on sending out a script, then yes, you’re correct, they are “unknown” and it is IMPOSSIBLE to know them.

            In Hollywood (and also other industries, like sports) you’ll often see “unknown scribe” in the trades to describe amateur writers who have never made a sale or have no credits to their name. They are “unknown” to the industry at large. Doesn’t mean they aren’t circulating scripts, ending up on year end lists or winning contests though.

            THAT’S who I’m talking about. Folks that have had some measure of success, like many of the people on this board, but don’t have that sale or produced credit yet. I think that would be a cool list to see (and probably a PITA to put together), along with some of the scripts that got them noticed. No doubt there’d be some SS’ers on it.

  • Malibo Jackk

    Something to watch while waiting for the newsletter:


    • Scott Crawford

      Fave of mine at the moment is eight-hour fireplace;

      I put it on, put on the central heating and switch my Phillips Hue to “fireplace.”

      Turns out, Netflix has a two-hour fireplace in 4K!!! But I’ve only got 1080p.

      • andyjaxfl

        The 4K fireplace in 4K is pretty hypnotic. They have a few different landscape or water 4K videos that are incredibly gorgeous. I just wish they were longer than 25-30 minutes.

  • Malibo Jackk

    OT (Yeah, again)
    Why does this seem timely?

    • Magga

      Hopefully the call to action here is to put civics back in classrooms, not take anybody’s vote away.

  • Levres de Sang

    Welcome back, Carson! That’ an important distinction between action and description. Too often we refer to “action lines” or “scene description” without distinguishing between them in our own mind.

    ** Atlantic Wall was one of numerous scripts on the 2015 Black List to emblazon INSPIRED BY TRUE EVENTS across its title / flyleaf page. I genuinely hope we see a move away from this trend for 2016; but I’m less than optimistic.

    • BMCHB

      WW2 being the ‘TRUE EVENTS’.

      Kinda misleading, I think.


    So, The Great Wall is out next February. Maybe Atlantic Wall the year after?

    The year after that… The Mexican Wall??

    Ha. I’ll get my coat. //runs

    • Citizen M

      They’ve done Wall Street and the Perks of Being a Wallflower. Maybe the Cold War will enjoy a revival and we could do The Berlin Wall..

      A sequel to Cocktail… Harvey Wallbanger.

      • BMCHB

        I would love a sequel to Cocktail.

        Underrated film. Great script. Very quotable.

        Make it happen, Tom.

  • Dallas Cobb

    Semi OT: Keeping with the theme of Black List scripts…Congrats to Young!…what a feat…first screenplay…first time on the Black List ((even if just “for a nanosecond” LOL))

    “EXCLUSIVE: Proving yet again that the Black List has become a hot bed for writers looking to sell their scripts, Roland Emmerich’s Centropolis Entertainment just scooped up the spec Scarletville from screenwriter Jason Young. The spec hit the Black List for a nanosecond, was read and then bought outright by Centropolis. Described as a thriller in the vein of Blood Simple or Red Rock West, the edge-of-your-seat story’s logline: “When a deadly criminal shows up in the deceptively-quiet, small town of Scarletville, a diner owner named Hank must spin a series of dark and twisted stories in order to delay the felon long enough for the law to arrive.”


    • BMCHB

      This rings a bell but why am I thinking ‘cop getting a shave from barber and being told a story’?

      I’m sure it was reviewed here so probably getting mixed up with something else..

      • Scott Crawford

        The Shave?

        I don’t buy this whole Black List is the path to success thing. Sorry, i only know ONE film (and I’ve forgotten the name) they got made, I think it was Nightingale. And they don’t let anyone read their scripts. Not without paying money to their website.

        I’m sticking with SS.

        • BMCHB

          ‘I’m sticking with SS.’

          Great to see you’re keeping the WW2 theme going, Scott.

          Ha Ha.

        • garrett_h

          I think Dallas Cobb is confusing the actual “best of” Black List with the website part. Getting on the year-end List can definitely help a career. The website, though? Jury is definitely still out. So far, seems best to save one’s money.

      • garrett_h

        You’re thinking about THE SHAVE, which was in fact reviewed. Totally different concept though. This one sounds more like HISTORY OF VIOLENCE in a way. Criminals in a small town for some unknown reason, a diner owner who has more to him than meets the eye, etc.

        • BMCHB

          Correct. Thanks.

          Have not read this one.

  • Lucid Walk

    My WWII idea, if anyone remembers, involved the Nazis using a time machine at the end of the war so they could rewrite time and somehow win it. But things go awry, and the machine instead brings an American cowboy and a Japanese samurai out of their respective timelines, and traps them in Nazi France. They’d then work together to kill the Nazis and return to their own time.

    • JakeBarnes12

      The Japanese were Nazi Germany’s allies.

      How about a Soviet wrestler called Olga instead?

    • https://www.youtube.com/watch?v=FpjCroELCew Carmelo Framboise

      I thought about something similar. Silly stuff, but fun!

      There could be a TV series where people from different ages travel to different times.
      For example, a cowboy in ancient Rome – he has a gun but only six bullets. Or a businesswoman at the Middle Ages – having to prove she is not a witch. And so on.


    Bradley Cooper?

    If Clint thinks he’s good, then I agree.

    Brad has the right eyes for this. You would trust him with your kids… but not with your wife.

    Great casting.

    Things are moving pretty fast this week.

    • Scott Crawford

      Bradley Cooper makes me gay. Those eyes! Good actor too.

      One thing is, probably coincidence in this case, but people DO read Scriptshadow. I mean not like a religious text, but if a pretty good reviewer like Carson or other online script bloggers, if they’re saying this script is worth looking at then maybe this script is worth looking at.

      i can’t say that any movie has been made because of a Scriptshadow review, but a positive review of a script can’t help. And the fact that scripts like Passengers have been available for people to read for some time, that’s also helpful.

      What I’m getting at, simply, is people need to get over this thing about not allowing their scripts to be viewed online. OK, Transformers 5 and the next James Bond film I get… but why so coy over other projects?

  • Mike.H

    Does anyone know the name of pretty brunette next to Daniel Craig in the above PHOTO? Thanks!