| The Moment | Answer |
|---|
| A boy running joyously to greet his returning sharecropper father. | |
| A homesick North African, sadly telling a hooker that what he really wants is not sex but couscous, in Rainer Werner Fassbinder's film | |
| A knight plays chess with Death, in Bergman's film | |
| A man dying in the desert in von Stroheim's film | |
| An angel looking down sadly over Berlin, in Wim Wenders' film | |
| An old man all alone in his home, faced with the death of his wife and the indifference of his children, in Yasujiro Ozu's film | |
| An old man found dead in a child's swing, his mission completed, at the end of Kurosawa's film | |
| An overhead shot beginning with an entrance hall, and ending with a closeup of a key in Ingrid Bergman's hand, in Hitchcock's film | |
| 'Are you lookin' at me?' Robert De Niro | |
| This classic film couple dancing. [Male dancer listed first] | |
| 'Badges? We ain't got no badges. We don't need no badges. I don't have to show you any stinkin' badges!' Alfonso Bedoya to Humphrey Bogart | |
| Barbara Harris singing 'It Don't Worry Me' to calm a panicked crowd in Robert Altman's film | |
| Bette Davis: 'Fasten your seat belts; it's gonna be a bumpy night!' | |
| Burt Lancaster and Deborah Kerr embrace on the beach | |
| Buster Keaton standing perfectly still while the wall of a house falls over upon him; he is saved by being exactly placed for an open window. | |
| Charlie Chaplin being recognized by the little blind girl | |
| Chase scenes in any one of these four films | |
| Clark Gable: 'Frankly, my dear, I don't give a damn.' | |
| Debra Winger saying goodbye to her children | |
| 'Don't touch the suit!' Burt Lancaster, dressed in white. | |
| Title character and friend riding their bicycle across the face of the moon. | |
| Eva Marie Saint clinging to Cary Grant's hand on Mt. Rushmore | |
| Gena Rowlands arrives at John Cassavetes' house with a taxicab full of adopted animals | |
| Gene Kelly performing a song and dance during a downpour. | |
| George C. Scott's speech about the enemy: 'We're going to go through him like crap through a goose.' | |
| Hannibal Lecter smiling at Clarice | |
| Harold Lloyd hanging from a clock face | |
| Henry Fonda getting his hair cut | |
| 'I always look well when I'm near death.' Greta Garbo to Robert Taylor | |
| 'I coulda been a contender.' Brando | |
| 'I love the smell of napalm in the morning', dialogue by Robert Duvall | |
| 'I want to live again. I want to live again. I want to live again. Please God, let me live again.' Jimmy Stewart to the angel | |
| 'I'm still big! It's the pictures that got small!' Gloria Swanson | |
| 'I'm walkin' here!' Dustin Hoffman | |
| | The Moment | Answer |
|---|
| 'It took more than one night to change my name to Shanghai Lily.' Marlene Dietrich | |
| Jack Nicholson on the back of the motorcycle, wearing a football helmet | |
| Jack Nicholson trying to order a chicken salad sandwich | |
| Jean-Paul Belmondo flipping a cigarette into his mouth in Godard's film | |
| Jimmy Stewart approaching Kim Novak across the room, realizing she embodies all of his obsessions - better than he knows. | |
| Joan Baez singing 'Joe Hill' | |
| John Wayne putting the reins in his mouth and galloping across the mountain meadow, weapons in both hands. | |
| Marcello Mastroianni and Anita Ekberg wading in the fountain | |
| Marlon Brando's screaming 'Stella!' | |
| Mookie throws the trash can through the window of Sal's Pizzeria | |
| Moses parting the Red Sea | |
| 'Mother of mercy. Is this the end of Rico?' Edward G. Robinson | |
| 'My father made them an offer they couldn't refuse': Al Pacino | |
| 'Nature, Mr. Allnut, is what we are put in this world to rise above.' Katharine Hepburn to Humphrey Bogart | |
| 'Nobody's perfect': Joe E. Brown's last line explaining why he plans to marry Jack Lemmon even though he is a man. | |
| 'One word, Benjamin: plastics.' | |
| Orson Welles smiling enigmatically in the doorway | |
| Pauline tied to the railroad tracks. | |
| R2D2 and C3PO | |
| Richard Burton exploding when Elizabeth Taylor reveals their 'secret' | |
| Robert De Niro's transformation from sleek boxer to paunchy nightclub owner | |
| Robert Mitchum with 'LOVE' tattooed on the knuckles of one hand, and 'HATE' on the other. | |
| Title character running up the steps and pumping his hand into the air, with all of Philadelphia at his feet. | |
| 'Rosebud.' | |
| Samuel L. Jackson and John Travolta discuss what they call Quarter Pounders in France | |
| 'Smoking.' Robert Mitchum's response, holding up his cigarette, when Kirk Douglas offers him a smoke | |
| Title character kissing Dopey on the head. | |
| 'That spider is as big as a Buick!' Woody Allen | |
| The baby carriage bouncing down the steps in Eisenstein's film | |
| The casting of the great iron bell in Andrei Tarkovsky's film | |
| The chariot race | |
| The Indian children watching the train pass by in Ray's film | |
| The computer HAL 9000 reading lips | |
| The day's outing of the mental patients | |
| | The Moment | Answer |
|---|
| The dinner guests who find they somehow cannot leave, in Bunuel's film | |
| The distant sight of people appearing over the horizon at the end of this film | |
| The early film experiment proving that these animals do sometimes have all four legs off the ground. | |
| The game of Russian roulette | |
| The geometrical choreography of girls by this director/choreographer. | |
| The haunted eyes of Antoine Doinel, Truffaut's autobiographical hero, in the closing freeze frame | |
| The haunted eyes of the actress Maria Falconetti in Dreyer's film | |
| The Man in the Moon getting a cannon shell in his eye, in Melies' film | |
| The moment in Akira Kurosawa's film when a millionaire discovers that it was not his son who was kidnapped, but his chauffeur's son - and then the eyes of the two fathers meet. | |
| The montage of the kissing scenes censored from other films | |
| The mysterious body in the photographs in Antonioni's film | |
| 'The next time you got nothin' to do, and lots of time to do it, come up and see me.' Mae West | |
| The peacock spreading its tail feathers in the snow, in Fellini's film | |
| The problem of the door that won't stay closed, in Jacques Tati's film | |
| The sadness of the separated lovers in Jean Vigo's film | |
| The savage zeal of the Klansmen in Griffith's film | |
| The shadow of the liquor bottle hidden in the light fixture | |
| The shooting party in Renoir's film | |
| The singing of 'La Marseillaise' | |
| The vast expanse of desert, and then tiny figures appearing | |
| The film taken by this man of the Kennedy assassination: Over and over again, a moment frozen in time. | |
| 'There ain't much meat on her, but what's there is choice.' Spencer Tracy about Katharine Hepburn | |
| 'There ain't no sanity clause!' Chico to Groucho | |
| 'There's your dog. Your dog's dead. But there had to be something that made it move. Doesn't there?' Line from Errol Morris' documentary | |
| 'They call me Mr. Tibbs.' Sidney Poitier in Norman Jewison's film | |
| 'Top o' the world, Ma!' James Cagney | |
| W.C. Fields flinching as a prop man hurls handfuls of fake snow into his face | |
| 'Wait a minute! Wait a minute! You ain't heard nothin' yet!' The first words heard in the first talkie, said by Al Jolson. | |
| 'We're a long way from Kansas!' Judy Garland | |
| 'What have you done to its eyes?' Dialogue by Mia Farrow | |
| This Looney Tunes character, suspended in air after running off a cliff. | |
| Zero Mostel throwing a cup of cold coffee at the hysterical Gene Wilder and Wilder screaming: 'I'm still hysterical! Plus, now I'm wet!' | |
|
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