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Fantastic Thai maid with stockings getting fucked so flawlesly p 8 min Teen Thais - Mexican whore p 48 sec Nineteencms - It also has retroactively been called one of the best Christmas films , since the film's events take place on a Christmas Eve.

It revitalized the action genre, largely due to its depiction of McClane as a vulnerable and fallible protagonist, in contrast to the muscle-bound and invincible action heroes of its contemporaries.

Deemed "culturally, historically, or aesthetically significant" by the United States Library of Congress , the film was selected for preservation in the National Film Registry in Those inside the tower are taken hostage, except for McClane, who slips away.

Gruber interrogates Nakatomi executive Joseph Takagi for the building's vault code. The gang is pretending to be terrorists to conceal the theft.

Takagi refuses to cooperate and is executed; Theo is tasked with breaking into the vault. McClane, who is secretly watching events, triggers a fire alarm to alert authorities.

Sergeant Al Powell is sent to investigate. McClane kills Marco and Heinrich, recovering the latter's bag of C-4 explosives and detonators.

Seeing nothing amiss, Powell prepares to leave when McClane drops Marco's body onto his patrol car. McClane throws some C-4 down an elevator shaft.

The explosion kills the pair, ending the assault. Holly's co-worker Harry Ellis attempts to mediate between Gruber and McClane for the latter's surrender.

McClane refuses, and Ellis is killed. Gruber checks the explosives installed on the roof and encounters McClane. He portrays himself as an escaped hostage.

McClane offers him a gun, and Gruber attempts to shoot him; the gun is empty. Karl, Franco, and Fritz arrive; McClane kills Fritz and Franco, but is badly injured by shattered glass from shot-out office windows, and is forced to flee, abandoning the detonators.

Outside, FBI agents commandeer the situation, ordering the power shut off. As Gruber had anticipated, the power cut disables the final vault lock; his team collects the bonds.

Gruber demands a helicopter be flown to the roof. The FBI agrees, intending to send gunship helicopters to eliminate the group, regardless of collateral damage to the hostages.

A despondent McClane contacts Powell. He tells McClane that he accidentally shot a child once while on patrol and has not used his gun since.

McClane realizes Gruber intends to detonate the rooftop—killing the hostages and the FBI agents—to fake his team's deaths. Karl confronts McClane and they fight.

Gruber sees a news report by reporter Richard Thornburg on McClane's children and deduces that he is Holly's husband. The hostages are escorted to the roof; Gruber keeps Holly with him.

During the long fight, McClane seemingly kills Karl. He kills Uli and rescues the hostages just before Gruber detonates the roof, destroying the FBI helicopters.

Meanwhile, Theo retrieves their getaway vehicle from the parking garage but is neutralized by Argyle, who has been following the events on his radio.

After knocking Kristoff unconscious, McClane confronts Gruber and is ordered to surrender his submachine gun. McClane does this to spare Holly but distracts Gruber and Eddie by laughing and grabs a concealed pistol taped to his back that contains two bullets.

He makes a last-ditch attempt to kill the pair, but McClane unclasps Holly's wristwatch and Gruber falls to his death on the street below.

Outside, McClane and Holly meet Powell. Karl emerges and attempts to shoot McClane but is killed by Powell. Thornburg arrives and tries to interview McClane, but Holly punches him.

Argyle crashes through the parking garage door in the limo and leaves the area with McClane and Holly. Robert Davi and Grand L.

The development of Die Hard began in Screenwriter Jeb Stuart was in dire financial straits and needed paying work. He had successfully pitched a script to Columbia Pictures with Robert Duvall set to star, but the project was abandoned.

A separate four-script contract at Walt Disney Pictures was not providing him with sufficient income.

After submitting his first contracted script to Disney, Stuart had six weeks when he could complete work for another studio.

The Gordon Company worked as a producing arm of 20th Century Fox , and Levin had a property that Stuart could work on—an adaptation of the novel Nothing Lasts Forever written by former police officer Roderick Thorp.

The Detective had been considered groundbreaking for its time, showing a more realistic take on police work than other Hollywood fare, and touching on taboo themes like homosexuality and infidelity.

Levin had attempted to develop the film for several years and offered Stuart the opportunity to do so. He gave Stuart creative freedom as long as he retained the Christmas in Los Angeles setting; Levin wanted to show it snowing because that was unusual.

They hired director John McTiernan because of his work with them on the successful action film Predator. He said: "My principle concern going into this was that it was a story that concerned terrorists, and terrorist movies are usually mean, filled with all sorts of mean, nasty acts.

Stuart began working hour days, traveling from his home in Pasadena, California , to his office at Walt Disney Studios in Burbank , returning home only briefly to put his children to bed.

He became exhausted, which left him feeling on "edge". Afterward, he went for a drive and accidentally hit a large refrigerator box on the road. It turned out to be empty, but the encounter had triggered a near-death experience for Stuart.

He returned home to reconcile with his wife; Stuart wrote 35 pages that night. John McClane was named John Ford initially, but 20th Century Fox felt this disrespected the deceased director of the same name.

Stuart chose McClane as a "good strong Scottish name", based on his own Celtic heritage. He described the character as a flawed hero who learns a lesson in the worst possible situation and by the end becomes a better person, but not a different one.

Gordon left the meeting shortly after it had begun, telling Stuart to just go and write the script.

Stuart finished his first draft five-and-a-half weeks later. Stuart credits Levin as instrumental in helping him to understand Nothing Lasts Forever.

However, the novel is told entirely from Leland's perspective; events he is not present for are not detailed. Gruber is a terrorist using naive, young male and female guerilla soldiers to rob the building because of Klaxon's support for a dictatorial government.

This made their motivations less clear and Leland more conflicted about killing them, especially the women. Leland is written as an experienced older man working as a high-powered security consultant.

Stuart created new material for scenes when McClane is not present. This allowed him to expand upon or introduce characters: Powell is given a wife and children, allowing him to relate more closely to McClane; Argyle—whose novel counterpart disappears early in the story—is present throughout the script, supporting McClane by broadcasting rap music over the terrorists' radios.

Among the script's original characters is the unscrupulous journalist Richard Thornburg. He also made friends with a construction superintendent at the under-construction Fox Plaza in Los Angeles, giving him access to the building to gain ideas on how to lay out the characters and scenes.

His finished screenplay was delivered on a Friday in June It was greenlit by Saturday, in part because 20th Century Fox needed a big summer film for Though the main character names differed, because Die Hard was based on the novel sequel to The Detective film, the studio was contractually obligated to offer Frank Sinatra the role; Sinatra, who was 70 at the time, declined.

Schwarzenegger wanted to move away from action films and into comedy and turned down the role to star in the comedy Twins.

Though not the producers' first choice, he declined the role because of his contractual obligations to Moonlighting. However, when Shepherd became pregnant, the show's production was shuttered for eleven weeks, giving Willis enough time to take the role.

McTiernan's then-girlfriend happened to be sitting on a plane next to a representative of CinemaScore.

She asked them to provide data analysis to show if Willis could work as the star. The resulting data showed that casting Willis would not have a negative impact; his participation was confirmed two weeks later.

This defied the Hollywood hierarchy by giving Willis a comparable salary to more successful actors like Dustin Hoffman , Warren Beatty , and Robert Redford.

Rickman was already in his early 40s as he made his screen debut as Hans Gruber. He was cast by Silver, who had seen him perform in a Broadway version of Les Liaisons Dangereuses , playing the villainous Vicomte de Valmont.

His role was shot in chronological order over three weeks. McTiernan had wanted the character to be suave like actor Cary Grant , but Bochner conceived of the character's motivations coming from cocaine use and insecurity.

McTiernan hated the performance initially until he noticed Gordon and Silver were entertained by Bochner's antics.

Screenwriter Steven E. He said, "If [Gruber] had not planned the robbery and put it together, [McClane] would have just gone to the party and reconciled or not with his wife.

You should sometimes think about looking at your movie through the point of view of the villain who is really driving the narrative.

The script continued to undergo changes up to and during filming. Several subplots and character beats were created because during early filming Willis was still working simultaneously on Moonlighting.

He would film the show for up to ten hours and then work on Die Hard at night. As this situation was expected to continue for at least a further week, McTiernan opted to give Willis time off to rest and tasked De Souza with adding new scenes they could film in the interim.

These included scenes with Holly's housekeeper, an introductory scene for Thornburg, and more moments between Powell and his fellow officers.

The scene where Holly confronts Gruber in the wake of Takagi's death was also added during this time. Silver wanted a scene between McClane and Gruber before the film's denouement.

De Souza could not think of an idea that would allow the pair to meet without one killing the other. Between takes, De Souza heard Rickman affecting an American accent to a crew member; he realized that an accent would let Gruber disguise himself when he met McClane.

That scene had not yet been filmed, and it was reworked to conceal Gruber's identity from McClane. In Stuart's original script, Die Hard took place over three days.

He did not want to use terrorists as the villains, as he considered them to be "too mean". McTiernan avoided focusing on the terrorists' politics in favor of making them thieves driven by monetary pursuits; he felt this would make it more suitable summer entertainment.

McClane's character was not fully realized until almost halfway through production. McTiernan and Willis had determined that McClane is a man who does not like himself much but is doing the best he can in a bad situation.

There was a debate over whether to use "Yippee-ki-yay, motherfucker" or "yippee-ti-yay, motherfucker". Principal photography began in November The under construction Fox Plaza offered both; only four or five stories were occupied at the time.

Cinematographer Jan de Bont said the building's design was distinct, making it a character on its own. Clear views of the building were available from a distance, enabling establishing shots as McClane approaches it.

Because Die Hard was filmed on location, the surrounding city could be seen from within the building, enhancing the realism. Very little of the film was storyboarded beforehand.

De Bont said that intricate storyboarding made his job redundant. Instead, he and McTiernan would discuss that day's filming in detail, and the feeling or sensation they wanted to portray.

De Bont was more concerned with creating a dramatic rather than an attractive shot; he cited the use of real flares in the film that generated unpredictable smoke and sometimes obscured the image.

He came straight from filming Moonlighting to shoot one of his most pivotal scenes, where McClane leaps from a rooftop as it explodes behind him, saved only by a length of hosepipe.

He was used to acting against another actor, but in Die Hard he is alone in many of his scenes, talking to himself or others via radio. In contrast to their on-screen dynamics, Bedelia and Veljohnson spent most of their time between scenes with Rickman.

The film's ending had not been finalized when filming began. In the finished film, Theo retrieves an ambulance from the truck the terrorists arrived in to use as an escape vehicle.

As this was a late decision, the truck the terrorists are shown arriving in was too small to hold an ambulance. An additional scene, showing the terrorists synchronizing their TAG Heuer watches, also showed the truck was empty; this scene had to be deleted.

This led to other necessary changes. As scripted, McClane realizes that the American hostage he encounters is Gruber because of the distinctive TAG Heuer watch he had seen on the other terrorists; the watches were no longer an established plot point.

De'voreaux actually punched Gilyard during the scene, which was added in only in the last 10 days of filming. Depending on the actors' performances, some characters were kept in the film longer and others killed off sooner.

After 30 minutes, a team of stuntmen arrived to help them escape via the roof hatch and crossover to another elevator parked next to it.

He recruited Frank J. Urioste and John F. Link to edit scenes together while in mid-motion. This was contrary to the mainstream style of editing used at the time.

He offered to misuse German composer Richard Wagner 's music instead of tarnishing that of Beethoven. Let It Snow! When Kamen first saw Die Hard , it was largely incomplete and he was unimpressed.

Even so, he admitted there were tracks from his Die Hard score that he liked. McTiernan did not like a Kamen piece created for the final scene where Karl emerges from the building to kill McClane.

He decided to use a temporary track that was already in place; a piece of unused score from composer James Horner 's work for Aliens ; cues are also used from the action film Man on Fire.

It would go on to be considered a Christmas classic, in part because of its use in the film. The perception of film stunts had changed shortly before production of Die Hard began following an accident on the set of the Twilight Zone: The Movie that had killed several actors.

A push was made to prioritize a film's crew over the value of the film itself. The stunt involved a foot leap from a five-story parking garage ledge onto an airbag as a foot wall of flame exploded behind him; he considered it to be one of his toughest stunts.

The explosive force pushed him towards the edge of the airbag; the crew was concerned he had died. A set was used for the following scene where McClane shoots out a window to re-enter the building.

It was shot approximately halfway into the filming schedule so that all involved had gained more stunt experience. The window was made of fragile sugar glass that took two hours to set up; there were only a few takes for this reason.

A team of stuntmen positioned below the window dragged the hosepipe and pulled Willis towards the edge.

Stuntmen were preferred over a hoist, as they could better control Willis' fall if he went over the edge. Frank Urioste kept the scene when he worked on the editing.

For Gruber's fall from Nakatomi Plaza, Rickman was dropped between 20 feet 6. Rickman had to fall backward onto the bag, something even stuntmen avoid to control their fall.

He was let go early to elicit a genuine look of surprise. McTiernan said, "there's no way he could fake that". Capturing the stunt was difficult.

Rickman was dropped at a rate of 32 feet 9. Despite these innovations, the camera struggled to keep Rickman entirely in focus during his 1.

Months of negotiations took place before permission was given to drive a SWAT vehicle up the steps of Fox Plaza as the script required.

A railing knocked over during shooting was never replaced. In the scene where McClane throws C4 down the elevator shaft to stop the assault, the effects team blew out every window on one floor or the building; they were unsure what was going to happen until they did the stunt.

It took three attempts above Fox Plaza, and nine camera crews filming with 24 different cameras. Mortar-like devices filled with propane were used for explosions.

They took ten minutes to install and offered a six-second burst of flame. To prevent the in-building locations looking similar because of the standard fluorescent office lighting, De Bont concealed small film lights in high locations.

He controlled these to create more dynamic and dramatic lighting. He placed fluorescent tubes on the floor in one scene to indicate they had not been installed; this gave him the opportunity to use unusual light positioning.

The Nakatomi Building's 30th floor—where the hostages are held—was one of the few sets. De Govia's reasoning was that it reflected the trend at the time of Japanese corporations buying up American corporate assets.

An early design for the Nakatomi logo was too reminiscent of a swastika ; the final design is closer to a Samurai warrior's helmet.

A foot-long matte painting provided the city backdrop as viewed from inside the building's 30th floor. It featured animated lights and other lighting techniques to present both moving traffic, daytime and nighttime.

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