"Here's the key scene in the movie that handles their discord:"

I'm not sure that's the "key" scene. The conflict is set up long before this. Yes, that scene is the culmination of their problem -- however:

The opening scene aboard the airplane, we find out that 1) John McClain is afraid of flying. 2) He is flying to LA because his wife works there. 3) John is a New York cop. Right away we get a sense something is wrong with the relationship.

John also scopes out chicks every chance he gets.

There's also a GREAT scene that sets up their "ununion" as John first sets foot in the building -- when McClain arrives he looks his wife up in the computer system as Holly McClain, but can't find her. She is using her maiden name, Genero. Now, we know something is really up! Not to mention her using her maiden is later paid off with the bad guys when her real name is revealed.

The scene quoted in the OP is the exposition so the audience can say "Hey, this is why they are estranged." Without the previous scenes setting this up, you couldn't have this scene.

In a movie like Die Hard, I think it's much more important how we get to those expositional scenes (as they are extremely rare in the action genre) rather than what they are saying. It's sort of an obligatory scene to the plot. It's the scene that knock-off movies emulate, forgetting that there is so much more finesse that got them to that scene in the first place.

Just my two cents worth.

James, I know I've posted something on GITS about that scene you tagged where McLane asks the lobby guard for his wife by her last name, then when she doesn't turn up, he asks by her maiden name: Gennaro. The point of that post was to show a great way of conveying exposition -- marital discord -- in an 'off-the-nose' manner.

Thanks for noting the importance of that scene which is part of the set-up for the scene I cited in the OP where the core of the conflict gets laid out by these two key characters.

please continue this thread. if not this week, then soon.
Action film characters so often don't feel well written, this is really fascinating reading to me.

@Viewers Like You: It's a good subject, isn't it? I'll post a question on it this week, see what insight GITS readers can provide.

@Viewers like you

I actually think you can get away with not having to fully develop the reality of the situation between characters in an action film. You just need the initial setup of the internal problem.

There's no real wrap up between Holly and John in DIE HARD in terms of some tear jerking reunion.

John saves everyone (including his wife) from terrorists -- thus Holly and John are reunited at the end, and everyone is happy.

We, the audience see all the turmoil John goes through to save his wife, and that translates into "brownie" points to the lengths people would go to for a loved one.

While many would say, nothing has really changed in the relationship between the two characters (which it really hasn't. They still have all their previous problems) I think the action genre itself is a big bandaid in terms of that type of logic. The action genre is a metaphor for the lengths one would go for their loved ones. As such, it gets to take some liberties with reality.

Likewise, in TRUE LIES, Helen finds out Harry has been a spy as they are captured by the bad guys, immediately followed by an interrogation scene where Harry can't lie (he's been drugged). Helen finds out all the dirt about her hubby.

The marriage has been on the rocks for the past hour+ of movie we have been watching, to the point Helen is on the path to cheating on Harry.

But when their lives are put in danger, and Harry saves the day in a big action-packed manner, all is forgiven. They kiss in front of a mushroom cloud, the happy family once again reunited.

That is -- until word comes that Harry's daughter has been kidnapped. Oops, that straggling little thread of plot (and family) that needs to be dealt with. And once again, when Harry saves his daughter in action-packed harrier flying fashion, he is the hero and all past sins of neglectful fatherhood are forgiven.

I know it sounds trite. Perhaps even too simple.

But I believe that to be the magic of the action genre.

It rests more on wish fulfillment than reality when it comes to the final character outcome.

@James: Do you mind if I quote your last response at length in a post re this general subject? I like what you've said and think it's an excellent way to frame a broader discussion re the subject.

Go for it.

@James: Thanks. Look for it as part of a post at 2PM ET / 11AM PT.