Greatest Film Scenes
and Moments



Title Screen
Movie Title/Year and Scene Descriptions

The Wages of Fear (1953, Fr/It.) (aka Le Salaire de la Peur)

In director Henri-Georges Clouzot's suspenseful adventure thriller:

  • the depiction of the treacherous, death-defying mission by truck driver Mario (Yves Montand) and three others (for $2,000 wages) of driving two trucks with highly-explosive nitroglycerine across rough terrain and a tightly-angled road (with a rotting wooden back-up platform) in Central America - to put out an oil well fire 300 miles away

Wagon Master (1950)

In John Ford's low-key, lesser-known, lyrical western (and character study) about the dangers and hostilities faced by westward pioneers while crossing the rugged prairie - an inspiration for the Wagon Train (1957–1965) TV series:

  • the opening pre-credits sequence of a murderous robbery, committed by the Clegg robber gang of five, led by Uncle Shiloh Clegg (Charles Kemper) - seen on a 'Wanted for Murder' poster
  • the plot: in 1879, a wagon train of about sixty pioneering Mormons, led by patriarch Elder Jonathan Wiggs (Ward Bond), from Crystal City to beyond the San Juan River in SE Utah (The Promised Land)
  • the two horse traders (or "wagonmasters") hired to lead the Mormon group: Travis Blue (Ben Johnson) and Sandy Owens (Harry Carey, Jr.)
  • the many other characters, including: the stranded members of a traveling medicine show enroute to California - snake oil Dr. A. Locksley Hall (Alan Mowbray), heavy drinking Fleuretty "Florey" Phyffe (Ruth Clifford), and "hoochie coochie" showgirl "prostitute" Denver (Joanne Dru)
  • the sequence of a festive song and square dance in the middle of the prairie, featuring the song "The Chuck-A-Walla-Swing" (by the Sons of the Pioneers) - interrupted by the arrival of the Clegg gang; and a pow-wow "squaw dance" with Navajo Indians
  • the violent shoot-out end to the Cleggs, after one of the sons Reese Clegg (Fred Libby) raped a Navajo woman (Movita Castaneda), and another cold-bloodedly shot the grain wagon driver
  • the romances that developed: Travis with Denver, and Sandy and Mormon girl Prudence Perkins (Kathleen O'Malley)

Wait Until Dark (1967)

In this classic claustrophobic thriller by director Terence Young:

  • the shocking discovery of the dead body of Lisa (Samantha Jones) in a garment bag in a closet by amiable thug Mike Talman (Richard Crenna)
  • the relentless search for the rag-doll with drugs inside
  • the final battle of wits showdown in complete darkness between blind Susy Hendrix (Oscar-nominated Audrey Hepburn) ("the world's champion blind lady") and crazed and villainous Roat (Alan Arkin)
  • her dousing of him with gasoline after asking: "Mr. Roat, are you looking at me?"
  • the exciting jump-scare moment in which the knife-wielding, wounded killer jumped out of the dark
  • Susy's outwitting of him by hiding behind the refrigerator door and pulling the plug - with her slow emergence as the survivor

Waking Life (2001)

In Richard Linklater's innovative, digitally shot, computer rotoscope-animated dreamy, existential, and spiritual cult classic:

  • the many intelligent, explorative and surreal speeches on dreams, reality, the universe, life and death -- faced by 'The Dreamer' (Wiley Wiggins) and other lead characters including Celine and Jesse (Julie Delpy and Ethan Hawke from Before Sunrise (1995)) - who discussed reincarnation in bed
  • the Boat Car Guy's (Bill Wise) words about life as a crayon box: "It's like you come onto this planet with a crayon box. Now you may get the 8 pack, you may get the 16 pack, but it's all in what you do with the crayons - the colors - that you're given. Don't worry about coloring within the lines or coloring outside the lines. I say color outside the lines, you know what I mean? Color all over the page. Don't box me in! We're in motion to the ocean. We are not land locked, I'll tell ya that"
  • various other segments include Steven Soderbergh's (Himself) interview on TV about an encounter between directors Louis Malle and Billy Wilder
  • the idea that there was a similarity between sleep and death: ("Doesn't it make sense that death, too, would be wrapped in a dream...except that, in the post-mortal state, you could never again wake up...")
  • Timothy ' Speed' Levitch's (Himself) rambling, spellbinding speech about identity and reality on a bridge: ("...And so many think because then happened, now isn't. But didn't I mention? The ongoing WOW is happening right NOW...")
  • the Pinball Playing Guy's (director Richard Linklater) long, sublime speech about existence and God: ("Behind the phenomenal difference there is but one story, and that's the story of moving from the 'No' to the 'Yes.' All of life is like, 'No thank you, No thank you, No thank you.' And then, ultimately, it's, 'Yes I give in, Yes I accept, Yes I embrace.'") and his advice to The Dreamer ("If you can wake up, you should, 'cause someday you won't be able to, so just um...but it's easy....just wake up")
  • the wonderfully ambiguous ending in which the Dreamer levitated and floated into the sky, never to return (is he waking up? is he dead?)

Waking Ned Devine (1998, UK/Ire.) (aka Waking Ned)

In director Kirk Jones' charming, Irish working-class comedy:

  • the aftermath of the death of Ned Devine (Jimmy Keogh), an Irishman in the small village of Tullymore who instantly died of shock after learning that he had won the Irish National Lottery worth almost 6.9 million Irish pounds - and was still holding the winning signed ticket in his hand
  • two old friends Jackie O'Shea (Ian Bannen) and Michael O'Sullivan (David Kelly), believing that they were respecting Ned's generous wishes, plotted to claim the lotto prize money and split the winnings (130,000 pounds) with all 52 residents of the small town
  • after Ned died and his body was discovered, Jackie exclaimed: "Dear God. You'll be cursing in heaven tonight, Ned Devine," and dreamed of taking a boat ride with Ned and befriending him with a chicken dinner as he entered into the golden light of heaven, while Ned reassured: ("The tide will bring us there safely")
  • the scene of Michael forced to ride his motorcycle nude to quickly get to Ned's house to impersonate the dead man for lottery official Jim Kelly (Brendan Dempsey)
  • his assured way of providing identification information from the bathroom to the official as forms were filled out
  • the heartfelt scene (during Ned's funeral service) of Jackie delivering a eulogy to Michael who was sitting in the front row, to avoid disclosing to the lottery official in attendance that Ned had died: ("As we look back on the life of...Michael Sullivan was my great friend...")
  • in the conclusion, the timely demise of uncooperative wheelchair-bound, witchy spinster Lizzy Quinn (Eileen Dromey) who was in a cliff-side phone booth (hit by the parish priest's van-truck avoiding the lotto representative's swerving car when he sneezed) while she was calling to inform lottery officials to expose the fraud and claim 10% of the prize - the booth sailed into the air and crashed far below on the cliff's shore - at the same time the townsfolk were celebrating and a violin string broke during the playing of a high note
  • the final joyous scene of the group toasting Ned Devine on the cliffside in the golden light with their glasses held high in the air: ("Take a drink and remember the man. Then raise your spirits to the sky. Raise them to Ned Devine. God bless you, Ned and may we be forever in your debt") to the tune of "The Parting Glass" performed by Liam O'Maonlai as the camera spun into the misty air around them

Walkabout (1971, UK/Australia)

In Nicolas Roeg's haunting directorial solo debut film:

  • the shocking scene of a suicidal Australian businessman (John Meillon) trying to murder his teen-aged schoolgirl daughter (Jenny Agutter in her film debut) and six-year-old son (Lucien John) in the bush and then killing himself
  • their struggle to survive in the blazing hot and hostile outback terrain, and their fortuitous meeting up with a teenaged aborigine boy (David Gulpilil) during his 'walkabout'
  • the awe-inspiring, natural scenes, including their nude swimming sequence
  • the stunning mating dance (in his own native fashion) that the native aborigine performed for the civilized girl - but that she ignored - with disastrous results, when she found him hanging from a mango tree the next morning
  • the final scene of the young girl - now married and returned to civilization, living in a high-rise apartment complex where she wistfully daydreamed back to her days in the outback when she happily swam naked with the aborigine and her young brother - they were long-gone days of paradise lost

Wall-E (2008)

In Pixar's and Disney's animated science-fiction love story:

  • the wordless scenes of the title character WALL·E (short for Waste Allocation Load Lifter Earth-class) (voice of Ben Burtt) - the last lone garbage-compacting robot on Earth, eccentrically collecting various treasures (plastic forks, light bulbs, Rubik's Cubes, Zippo lighters, etc.) and neatly stashing them in his protective truck shelter
  • and after the arrival of EVE (short for Extra-terrestrial Vegetation Evaluator) (voice of Elissa Knight), a sleek, white-shelled probe droid-robot, the scene of their introducing themselves by name
  • the scene of showing her his collection of treasured trinkets - including a hand-mixer and popping bubble-wrap, and constructing a replica of himself out of trash as a present to her
  • his repeated watching of a VCR recording of Helly, Dolly! (1969) including the romantically-inspiring songs: "It Only Takes a Moment," and "Put on Your Sunday Clothes"
  • the sight of humans on the planet AXIOM - all Bob's Big-Boy style corpulent fatsos reclining on floating, robotic lounge chairs while electronic robots served their every need - on the 700th year anniversary of their 5-year cruise
  • the repeated scenes of robot M-O ("Moe") cleaning up the "foreign contaminant" of WALL-E's tread-tracks
  • the space dance sequence between WALL-E and EVE after she kissed him
  • the great reawakening scene of the Captain (voice of Jeff Garlin) standing up (to a "Thus Spake Zarathustra" theme song) as he shut off the one-eyed, AUTO-pilot, HAL-like robot (voice of MacinTalk)
  • the final scene when a crushed and 'dead' WALL-E (rebuilt by EVE who used his own spare parts collection to reconstruct him) appeared to have lost his acquired sentience and memories but then remembered who EVE was after they clapsed 'hands' and she 'kissed' his forehead, and they then enjoyed a longer second kiss

Wall Street (1987)

In writer/director Oliver Stone's cautionary treatise on the Me-Decade of stock trading:

  • the notorious "Greed is...good" monologue ("Greed, for lack of a better word, is good. Greed is right. Greed works. Greed clarifies, cuts through and captures the essence of the evolutionary spirit. Greed, in all of its forms"), delivered by predatory, slithery and ruthless, money-mad corporate financial trader Gordon Gekko (Oscar-winning Michael Douglas) to the annual shareholders' meeting of Teldar Paper
  • the scene of young stockbroker Bud Fox (Charlie Sheen) questioning him about his exorbitant wealth: ("So tell me, Gordon--when does it all end, huh? How many yachts can you water-ski behind? How much is enough?") and Gekko's reply about how he made the rules in the free market: ("It's not a question of enough, pal. It's a zero sum game. Somebody wins, somebody loses. Money itself isn't lost or made, it's simply, uh, transferred from one perception to another. Like magic. This painting here - I bought it 10 years ago for $60,000. I could sell it today for $600. The illusion has become real. And the more real it becomes, the more desperate they want it. Capitalism at its finest")
  • the climactic scene when Gekko angrily raged at Bud and slapped him around - revealed later to be recorded by investigators: ("I took you in! A nobody! I opened the doors for you!...I showed you how the system works!...") when Bud was assured: "You did the right thing"

Wanda (1970)

In writer/actor/director Barbara Loden's intelligent, bleak, raw and original low-budget grainy, documentary-styled character study and road movie - her sole directorial effort and the first feature length film to be written, directed and acted in by a female - but almost entirely neglected:

  • the circumstances surrounding the grim and disconnected life of lower-class, unambitious, uneducated and dim-witted Wanda Goronski (Barbara Loden), living in a coal-mining, Rust Belt area of Pennsylvania, where she had drunkenly deserted her coal-miner husband (Jerome Thier) and two very young children
  • the divorce court hearing before a judge (M.L. Kennedy) where the husband complained about Wanda: "She doesn't care about anything. She was a lousy wife, she was always bummin' around, drinkin'. Never took care of us, never took care of the kids. I used to get up for work, make my own breakfast, change the kid. You come home from work. She's lyin' around on the couch. The kids are dirty. The diapers on the floor. Sometimes the kids is outside, runnin' around, nobody watchin' 'em"; Wanda who arrived late and was still in her curlers, lost her children after she had been accused of being a bad mother; she passively acquiesed and told the judge in a monotone: "Listen judge, if he wants a divorce, just give it to him....(the children) They'd be better off with him"
  • as a drifter (unemployed, destitute, and amoral), she slept in a dark movie theatre showing the Spanish-language film El Golfo (1969), and awoke, realizing that the money in her wallet, pickpocketed from her purse, had been emptied
  • the scene of her wandering into an almost-empty bar after closing to use the restroom and clean up, and her meeting with nervous petty criminal Norman Dennis (Michael Higgins) behind the bar, who was in the midst of a robbery, with the bartender tied up and gagged on the floor; almost immediately, migraine-suffering Dennis began to treat her abusively at a restaurant: "Wipe your mouth!", and after sleeping with her, he barked: "Don't touch my head!" and ordered her to get them some food: "Well, come on, make it snappy, I'm hungry!"; when she returned appearing lost, he slapped her across the face: "Hey, stupid!" - and then angrily complained that the three burgers she brought had too many garnishes; she finally responded minutes later to the slap: "What did you do that for? That hurt!"
  • the scene of the two lovers on the run drinking a bottle of bourbon and beer near their stolen car at a garbage dump, and Mr. Dennis' continued abuse when he criticized penniless Wanda's "terrible" hair and her non-chalant attitude: "You're stupid...You don't want anything, you won't have anything. You don't have anything, you're nothing. You may as well be dead. You're not even a citizen of the United States" - she answered flatly: "I guess I'm dead, then"
  • suddenly a remote-controlled, motorized model airplane was heard buzzing overhead, operated by a family nearby; in a futile effort, Dennis jumped up on top of the car roof and waved his arms at the plane, like an impotent King Kong, taunting it to come closer
  • the sequence of the planning of a bank heist at Third National Bank in Scranton, PA in which Wanda was forced to participate by Mr. Dennis, and vehemently complained: "I can't do this"; he demanded as he held her shoulders in front of a mirror, and spoke into the back of her blonde-haired head: "You listen to me. Wanda. Maybe you never did anything before. Maybe you never did. But you're gonna do this!"
  • the scene of the hostage-taking of bank president Mr. Anderson (Jack Ford), and the typing up of his family in their home, in which Wanda took an active role as an accomplice (afterwards, Dennis quietly complimented her at a car window as he handed her the getaway car keys: "You did good! You're really something" and she smiled back)
  • in the botched heist, the co-dependent and dysfunctional Wanda lost her way in a getaway car, and when she finally arrived (wearing a fake pregnancy outfit), she was cordoned off on the sidewalk as she watched the post-robbery activity at the bank; after the failed robbery, the aimless Wanda ended up in a bar, where she watched a TV report about the robbery, the dismantling of a fake dynamite bomb at the Anderson home, and Mr. Dennis' eventual death (after being shot by police during a shoot-out)
  • the final sequence in another roadhouse bar/restaurant, where a friendly woman asked Wanda on the sidewalk: "Honey, are you waitin' for somebody?" - she kindly took pity on Wanda, and invited her to a raucous upstairs party in progress; the film ended with a freeze frame on Wanda's lost, contorted and lonely face, unnoticed and isolated as she unhappily sat in the midst of everyone, holding a beer, nibbling on a sandwich, and smoking a cigarette (was she reflecting on her loser life or not?)

Wanda Nevada (1979)

In director/actor Peter Fonda's modern-day, plot-twisting western comedy (and road trip misadventure) set in the 1950s, an odd take combining Paper Moon (1973) with Mackenna's Gold (1969):

  • the two main mismatched characters: modern-day swindler and handsome, lackadaisical drifter Beaudray Demerille (Peter Fonda), and 13 year old pouty and oft-posturing orphan Wanda Nevada (Brooke Shields), won in a poker game
  • the beautiful scenic backdrops of the Southwest, the Colorado River, and the Grand Canyon
  • the confused message of the film - kiddie adventure with an old-fashioned search for gold or an account of pedophilia for a young sex-pot (Was Demerille Wanda's surrogate father or lover? Why repeated instances of adult men lusting after Wanda, including perverted and fussy bird watcher Merlin Bitterstix (Severn Darden))?
  • the many closeups of precocious Wanda's grown-up, heavily-painted or rouged face, looking like a streetwalker
  • Demerille's words to Wanda: "I ain't sayin' I don't care for you. You put some meat on those bones, you'll be a real looker. Men'll be falling all over themselves just askin' for your hand"
  • the encounter with smelly old bearded prospector nicknamed "Dutch" (Henry Fonda, almost unrecognizable in his cameo role, and in the only film of his career with his son) in the Grand Canyon, who scoffed at Wanda's assertion that they were looking for gold: ("Gold, huh! Everybody knows there ain't no gold in the Grand Canyon...if there be gold down there, you can bet your sweet britches Dutch Gravelle would have found it by now!")
  • the duo's evasion of the pursuit by a pair of dim-witted, incompetent crooks: Strap Pangburn (Ted Markland) and Ruby Muldoon (Luke Askew), who met their justified end (crucifixion) in the desert
  • the absurd shoot-out between Wanda, Demerille, and the two crooks, in which no-one was injured
  • the legend of the curse of an Apache ghost protecting the gold - occult Native-American lore
  • the closing scene - including the surprise rebirth of Demerille after dying from an arrow wound in the previous sequence, who rescued Wanda from being returned to a church orphanage, and the two rode off in his new 50s gold convertible (financed by the gold?) into the sunset, accompanied by the Carole King song: "Morning Sun" and Demerille's laughing last words: "Aw, hell, everyone knows there ain't no gold in the Grand Canyon"

WarGames (1983)

In director John Badham's sci-fi fantasy:

  • the scene of young computer-game player/hacker David Lightman (Matthew Broderick) challenging NORAD's military super-computer (WOPR - War Operations Plan Response) to a 'simulated' game of Global Thermonuclear War ("SHALL WE PLAY A GAME?...Love to. How about Global Thermonuclear War?") - not realizing that the computer was connected to the US arsenal of ICBM missiles
  • the tense scene in the NORAD headquarters where David helped to 'teach' the computer to 'learn' how to play itself in an endless series of tied Tic-Tac-Toe games - thereby getting it to stop its play (by understanding the concept of mutual assured destruction with no winners)

The War of the Worlds (1953)

In director Byron Haskin's and producer George Pal's science-fiction cult classic - an updating of H.G. Wells' 1898 science-fiction novel and an Oscar winner for Special Effects; remade as Steven Spielberg's War of the Worlds (2005) with a post-9/11 mentality:

  • the scene in which the aliens invaded a farmhouse and one of them placed its creepy, tentacled hand on Sylvia Van Buren's (Ann Robinson) shoulder
  • the scenes in which Los Angeles was set ablaze by Martian invaders
  • the images of eerie green flying saucers with deadly heat rays
  • the conclusion in which the aliens - attacking a church - were decimated by simple bacteria - as explained by narrator Cedric Hardwicke: ("The end came swiftly. All over the world, their machines began to stop and fall. After all that men could do had failed, the Martians were destroyed and humanity was saved by the littlest things, which God, in His wisdom, had put upon this Earth")

Waterloo Bridge (1940)

In director Mervyn Leroy's melodramatic romance:

  • the romantic sequence of WWI Capt. Roy Cronin (Robert Taylor) and ballet dancer Myra Lester (Vivien Leigh) waltzing in candlelight in the Candlelight Club to the tune of "Auld Lang Syne" as groups of musicians extinguished their lights - and their first kiss
  • their lengthy parting scene in which he asked: "Please leave me first..." when he went off to war
  • the difficult lunch scene in which Myra met Roy's rich, socially-conscious mother Lady Margaret Cronin (Lucile Watson) just after reading Roy's name on a casualty list
  • the scene of guilt-ridden Myra (now as a penniless prostitute) having an unexpected reunion at the train station with the returning Captain
  • their parting scene for the last time after she had confessed her profession to his mother
  • the sequence in which Myra's roommate/best friend Kitty (Virginia Field) revealed the truth of Myra's nightlife to Roy by taking him through one seedy bar after another
  • the scene of Myra's tragic end as she walked into oncoming traffic on the bridge
  • Roy's flashback memory years later on the bridge of her words in the film's final melodramatic moments: ("I loved you...I've never loved anyone else...I never shall") - as the sound of "Auld Lang Syne" rose and he fingered her good-luck charm

Way Down East (1920)

In D.W. Griffith's silent melodrama:

  • the spiritually affecting performance of Anna Moore (played marvelously by Lillian Gish)
  • the scene of the young, innocent country girl's ecstatic reaction to a marriage proposal, soon followed by the scene in which her playboy "husband" Lennox Sanderson (Lowell Sherman) revealed that her marriage was only a mock ceremony
  • the sequence in which Anna baptized her sick, newborn baby just before it died in her arms
  • the innocent love scene by the river between Anna and David (Richard Barthelmess) with the title card: "One heart for one heart, One soul for one soul, One love for one love, Even through Eternity" - but Anna was reluctant to fall in love with David when reminded of the ghosts of her past - she sadly could not allow him to say such things, feeling unworthy of him due to her checkered past: "So she tells him he must never speak like this again"
  • the classic casting-out scene in which she accused and denounced Sanderson before entering into a fierce blizzard
  • the final sequence of her daring, last-minute rescue by David from floating ice floes that were perilously close to a precipitous waterfall

Way Out West (1937)

In this Laurel and Hardy western comedy directed by James W. Horne:

  • the scene of Stan and Oliver's discussion about the deed to the gold mine - delivered to the wrong woman: ("That's the first mistake we've made since that guy sold us the Brooklyn Bridge")
  • their soft-shoe dance routine of "At the Ball, That's All" while outside the Mickey Finn Palace Saloon
  • the scene of Stan being wrestled and tickled for the gold mine deed - reduced to helpless laughter
  • Stan biting - chewing - and gulping pieces of his hat after losing a bet ("now you're taking me illiterally")
  • the rope-pulley sequences with Ollie and then a mule (and Ollie on the other end) to try to retrieve the deed

The Way We Were (1973)

In Sydney Pollack's melodramatic chick flick:

  • the on-and-off, star-crossed romance-marriage-divorce between two radical opposites: Jewish political activist Kate Morosky (Barbra Streisand) and WASP writer Hubbell Gardner (Robert Redford), spanning from the 30s, through World War II to the McCarthy-era 1950's
  • the tearjerking final scene in which they accidentally met up again in New York after many years, as she was handing out "Ban the Bomb" leaflets; the strains of the Oscar-winning title song (heard in the background during the opening credits) was reprised in the final sequence when she characteristically brushed the hair back on his brow music from Marvin Hamlisch - "Mem'ries, like the corners of my mind / Misty water-colored memories of the way we were")

Wayne's World (1992)

In director Penelope Spheeris' crazy comedy:

  • the original characters (spun-off and extended from a sketch on TV's Saturday Night Live): Wayne Campbell (Mike Myers) and Garth Algar (Dana Carvey) - two metal-head friends with their own local public-access TV show (broadcast from their wood-paneled basement) in Aurora, Illinois ("a suburb of Chicago - excellent")
  • the scene of Wayne's introduction of himself, when he described how he didn't have a real career: "I have an extensive collection of name tags and hair-nets. Ok, I still live with my parents, which I admit is both bogus and sad. But at least I've got an amazing cable access show, and I still know how to party. But what I'd really love is to do Wayne's World for a living. It might happen. Sh-yeah, and monkeys might fly outta my butt."
  • Wayne's discussion with his rock-singer Chinese girlfriend Cassandra Wong (Tia Carrere), bassist vocal singer for Crucial Taunt, who was upset about not getting a break: (Wayne: "If you guys got a break, you could really make it" Cassandra: "Yeah, and if a frog had wings, he wouldn't bump his ass when he hops" Wayne: "Interesting. Where did you learn English?" Cassandra: "College. And the Police Academy movies"); he then impressed her with his command of Cantonese: "Campbell, it's amazing! You learned how to say I look pretty in Cantonese" - and they began speaking Chinese, with subtitles not matching their words
  • Wayne and Garth's amusing chat while lying on their backs on their car (at the beginning of an airport runway) - about Cassandra and Bugs Bunny's sex appeal: Wayne: "Cassandra. She's a fox. In French, she would be called 'la renarde' and she would be hunted with only her cunning to protect her...She's a robo-babe. In Latin, she would be called 'babia majora'" Garth: "If she were a president, she'd be Babraham Lincoln. Did you ever find Bugs Bunny attractive when he put on a dress and played a girl bunny?...Neither did I. I was just asking"
  • the scene of their use of a chroma-key blue-screen, and their ability to immediately travel to other places with different backdrops: "OK, we've got a new feature on Wayne's World this week. It allows us to travel through time and space. It's called chroma-key, and it's really handy if you want to go to New York....Or maybe you prefer Hawaii. Mookalakaheeki. Come on, you wanna lei me. Pass the poi, Mahalo....Or say you want to go to Texas. Howdy, partners. Let's raise and rope broncos....Or imagine being able to be magically whisked away to - Delaware"; Garth also described what it was like to be in their new studio: "It's like a new pair of underwear, you know. At first, it's constrictive, but after a while, it becomes a part of you"
  • the music store scene of Garth's amazing riff on a drum set, performed after Cassandra and Wayne were enamored by an expensive guitar: "There it is...Excalibur. Wow, '64 Fender Stratocaster in classic white, with triple single coil pickups and a whammy bar. Pre-CBS Fender corporate buy-out. I'd raise the bridge, file down the nut, and take the buzz out of the low E" - and then Wayne's impulsive offer: "I'm feeling saucy. I think I'm gonna buy it - do you accept cash? Cha-ching"
  • Wayne's vow to sleazy network executive Benjamin Oliver (Rob Lowe): "Contract or no, I will not bow to any sponsor" - while holding up a slice of Pizza Hut pizza, and then with a bag of Doritos Tortilla Chips: "Maybe I'm wrong on this one, but for me, the beast doesn't include selling out. Garth, you know what I'm talking about, right?"; when Garth added (while wearing Reebok clothing): "It's like people only do things because they get paid. And that's just really sad"
  • Wayne's scene with Cassandra, when he asked about her responses to various phases of his future fame: "Tell me, when that first show is over, will you still love me when I'm an incredibly humongoid giant star?...Will you still love me when I'm in my hanging-out-with-Ravi-Shankar phase?...Will you still love me when I'm in my carbohydrates-sequined-jumpsuit, young-girls-in-white-cotton-panties, waking-up-in-a-pool-of-your-own-vomit, bloated-purple-dead-on-a-toilet phase?" - when she responded positively, he replied: "OK. Party. Bonus"
  • the scene of rocker Alice Cooper's history lesson in his dressing room after a show in Milwaukee: "Well, I'm a regular visitor here, but Milwaukee has certainly had its share of visitors. The French missionaries and explorers were coming here as early as the late 1600s to trade with the Native Americans...Actually, it's pronounced mee-lee-wah-kay, which is Algonquin for 'the good land'...I think one of the most interesting aspects of Milwaukee is the fact that it's the only major American city to have ever elected three socialist mayors" - Wayne responded: "Does this guy know how to party or what?" - when asked to stick around and party, the two bowed down and praised him: "We're not worthy!"
  • the scene of Wayne's use of insulting cue cards (notes written on the back of his question cards, such as "SPHINCTER BOY -->" and "HE BLOWS GOATS. I HAVE PROOF" and "THIS MAN HAS NO PENIS") during a TV show interview to embarrass their sponsor Mr. Vanderhoff (Brian Doyle-Murray)
  • noted mostly for their dialogue, sight gags, and catchphrases: "Excellent!", "Party On!", "She's magically babelicious", "Schwing!", "If you're gonna spew, spew into this", "Hurl", and "Pardon me, do you have any Grey Poupon?", among others
  • also, the famous sing-a-long performance by Wayne, Garth and friends of Queen's "Bohemian Rhapsody" in their Mirth-mobile: ("Thunderbolts and Lightning, Very Very Frightening")

(alphabetical by film title)

Intro | Quiz | A1 | A2 | A3 | A4 | B1 | B2 | B3 | B4 | B5 | B6 | B7 | C1 | C2 | C3 | C4 | C5 | D1 | D2 | D3 | D4 | E
F1 | F2 | F3 | F4 | G1 | G2 | G3 | G4 | H1 | H2 | H3 | I1 | I2 | I3 | J | K | L1 | L2 | L3 | L4 | M1 | M2 | M3
| M5 | M6 | N1 | N2 | N3 | O1 | O2 | P1 | P2 | P3 | P4 | P5Q | R1 | R2 | R3 | R4
S1 | S2 | S3 | S4 | S5 | S6 | S7 | S8 | S9 | T1 | T2 | T3 | T4 | T5 | U | V | W1 | W2 | W3 | W4 | YZ

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