The one shot that made them a star

[QUOTE=Rilchiam]
Was recently watching Reservoir Dogs. Mr. Pink flees the robbery, takes cover behind a car, and the camera dollies in as he fires over the hood, his entire face clenched. “That’s the shot that made Buscemi a star.”

[QUOTE]

…considering Reservoir Dogs was certainly less than a hit film and Buscemi was still pretty obscure for years afterward, I think linking anything from that film to a breakthroug is flawed. Despite working with the Coens and Tarantino and costarring in a Sandler film nobody would have called him a star. I think his real breakthru shot is from Fargo. Bleeding from the neck, that red plaid coat, satark white snow landscape behind him… that’s more of a testament to the director than to Buscemi.

Sean Penn.

Fast Times .

“YOU DICK!!”

Period.

Samuel Jackson sucking up the last of the Big Kahuna beverage through the straw.

Jean Claude Van Damme doing the splits, looking pained.

But up until then, he was just a TV star - that shot made him a *movie * star.

It’s the same with Bruce Willis. Sure, he was famous from Moonlighting, but the moment he smirked into that walkie talkie and quoted Will Rogers (more of a paraphrase, actually), he ascended to a new level of stardom.

IIRC, he was meditating with a very calm look on his face. It was his buddy, Ray Jackson, who quipped, “That hurts me just from looking at it.” Then a few minutes later he added, “You know you ought to stop doing that. You might want to have kids one of these days.”

That scene still cracks me up.

Tom Cruise sliding across the floor in his underwear in Risky Business.

Bruce Willis’s John McClain peering out the broken window of the Nakatomi Building.

Cameron Diaz in the tight striped dress in The Mask?

Only one comes to mind.

Anthony Hopkins, perfectly still, dressed all in white, brightly lit in the midst of a lightless cesspool, pudgy and balding and deadly.

The character became a parody of itself in later films and novels, and was completely rendered toothless by the last few books/movies’ insistence on “developing his character,” so it’s easy to forget how powerful a first impression that character made before a line was even spoken.

Slim Pickens was never exactly huge, but the shot of him riding the atomic bomb downwards in Dr. Strangelove was pretty iconic.

Alan Rickman as Hans Gruber in Die Hard. The scene where he kills Takagi. “That’s a very nice suit.” And from then on.

Peter O’Toole, in a billowing white burnoose, striding atop a train.

Sylvester Stallone running up the steps and jumping with his fists pumped up in the air in Rocky.

Scarlett Johanssen peering at Vermeer while sitting for the painting of Girl with a Pearl Earring, in the movie of the same name.

Sigourney Weaver stripping down near the end of Alien.

Denzel Washington stoically being lashed for going AWOL in Glory.

Matthew Broderick casually leaning back, his hands behind his head, in Ferris Bueller’s Day Off.

Al Pacino sitting behind his father’s desk for the first time in The Godfather.

Kirstie Alley, intrigued, discussing Kirk with Spock in STII: The Wrath of Khan.

“Kumite express leaves in 5 minutes…are you ready?”

(after the last bit of meditation)

“Yes. I am ready.”

No, I haven’t seen this movie a billion times.

Gene Wilder singing pure imagination

Uma Thurman with a neddle sticking out of her chest

How about Rose McGowan on the stripper pole at the beginning of “Planet Terror”?

Salma Hayek crossing the street and causing a car accident in Desperado.

Mel Gibson walking towards the Nightrider’s accident in Mad Max.

Clint Eastwood’s a tough one. Do you pick him standing in his poncho with his cigar in A Fistfull of Dollars or one of its sequels, or staring into space as Misty sits in his lap all night from Play Misty For Me? Or something from Rawhide? Coogan’s Bluff? Hang 'Em High? All those predate Dirty Harry, but I still think you gotta go with “Did he fire six shots, or only five?”

Hmmmmmmmmm. MMMV, then.

Oh, and you guys are right about Travolta.

I was thinking that as well