There's a Led Zep reference in Wayne's World. No Stairway to Heaven.

Well, I was totally kidding about Led Zeppelin, but if you think we should do it, I'm in! School of Rock (2003) Dewey: Look, the first thing you do when you start a rock band is talk about your influences. That's how you figure out what kind of band to be. So who do you like? Blondie? Marta: Christina Aguilera. Dewey: Who? No! Come on. What? You, Shortstop. Leonard: Puff Daddy. Dewey: Wrong. Billy? Billy: Liza Minnelli? Dewey: What are you...? You guys! This project is called "Rock Band". I'm talking about bands that rock. Led Zeppelin. [the class gives him blank stares] Don't tell me you guys have never got the Led out. Jimmy Page, Robert Plant? Ring any bells? What about Sabbath? ...AC/DC? ...Motörhead? Oh, what do they teach in this place?!

The Game (1997) Conrad: This is for you. Nicholas: You shouldn't have. Conrad: What do you get for the man who has... everything? Nicholas: [reading card] "Consumer Recreation Services." Well, I do have golf clubs. Conrad: Call that number. Nicholas: Why? Conrad: Make your life... fun. Nicholas: Fun. http://movieclips.com/yh5M-the-game-movie-a-profound-life-experience/102.06/127.57

Refusal of the Call. The Diving Bell and the Butterfly (2007) INT. JEAN-DO'S ROOM, NAVAL HOSPITAL - DAY OVER BLACK: SANDRINE'S VOICE: Let's start from the beginning. OPEN TO: JEAN-DO'S POV: Close on Sandrine. SANDRINE (slowly): E-T-A-O-I (a blink) I. (two blinks) I is the first word? (a blink) OK. E-T-A-O-I-N-U-S-H-R-P-C-D-Y-W- (a blink) W. E-T-A- (a blink) A. E-T-A-O-I-N (a blink) N. E-T- (a blink) T. (two blinks) SANDRINE (cont'd) (saying words): 'I - want -' (two blinks) SANDRINE (cont'd): 'I want'. You're doing brilliantly, Jean-Do. What do you want? E - T - (a blink) T. (writes it down) E-T-A-O- (a blink) O. (two blinks) 'I want to' -E-T-A-O-I-N-U-S-H-R-P-C-D- (a blink) D. (writes it down) E-T-A-O-I- (a blink) I. (writes it down) E - (a blink) E. (she writes it down; two blinks) 'Die'. 'I want to die'? (outraged, unexpectedly fierce) How dare you! That's a terrible thing to say. I'm not putting up with that. You think of something else. You do not want to die! JEAN-DO'S VOICE: I do want to die. I really do. Sorry for the weird formatting. Here is the script. Scene starts on page 29. I can't find the clip. Here is the trailer. This scene doesn't make much sense if one doesn't know the context so here is a synopsis of the story: On December 8 1995 at 43, Jean-Dominique Bauby, inventive and charismatic editor in chief of the French magazine Elle suffered a massive stroke and his brain stem was rendered inactive, his life was changed forever. After lapsing into a coma, he awoke 20 days later to find himself the victim of locked-in syndrome - mentally alert but a prisoner inside his own body, his only means of communicating with the outside world the blinking of his left eye.? Forced to adjust to this unique perspective, Bauby created a new rich world for looking into himself to find the only two things that weren't paralyzed, his imagination and his memory. At The Maritime Hospital in Berck-Sur-Mer, in Nord Pas de Calais France he was taught an alphabet, a code in the order of the most frequently used letters in the French alphabet. Letter by letter, painstakingly words, sentences and paragraphs tell the story of a profound adventure into the human psyche and into the battle between life and death. This alphabet unlocked the prison of Jean-Dominique's body which he called his Diving Bell and travelled the borderless regions of freedom that he called The Butterfly.

Definitely not a text book example, but I think it works. The Call to Adventure being Juno finding out she is pregnant. The refusal: Juno telling Bleeker she is going to have an abortion. And she crosses the threshold when she decides to leave the abortion clinic. Wasn't able to find a clip, though. BLEEKER I’m supposed to be running. JUNO I know. BLEEKER So, what do you think we should do? JUNO I thought I might, you know, nip it in the bud before it gets worse. Because I heard in health class that pregnancy often results in an infant. BLEEKER Yeah, typically. That’s what happens when our moms and teachers get pregnant. JUNO So that’s cool with you, then? BLEEKER Yeah, wizard, I guess. I mean do what you think is right. JUNO I’m real sorry I had sex with you. I know it wasn’t your idea. BLEEKER Whose idea was it? JUNO I’ll see you at school, O.K.? BLEEKER (to nobody in particular) Whose idea was it?

BLADE RUNNER (1982) directed by Ridley Scott written by Hampton Fancher and David Peoples, based on "Do Androids Dream of Electric Sheep?" by Phillip K. Dick Bryant: Hiya Deck. Deckard: Bryant. Bryant: You wouldn't have come if I just asked you to. Sit down pal. C'mon don't be an asshole Deckard. I've got four skin jobs walking the streets. They jumped a shuttle off world killed the crew and passengers. They found the shuttle drifting off the coast two weeks ago so we know they're around. Deckard: Embarrassing. Bryant: No sir. Not embarrassing, because no one's ever going to find out they're down here. Because you're going to spot them, and you're going to air them out. Deckard: I don't work here anymore. Give it to Holden, he's good. Bryant: I did. He can breath okay as long as nobody unplugs him. He's not good enough, not as good as you. I need you, Deck. This is a bad one, the worse yet. I need the old bladerunner, I need your magic. Deckard: I was quit when I came in here, Bryant. I'm twice as quit now. Bryant: Stop right where you are. You know the score pal. If you're not cop, you're little people. Deckard: No choice, huh? Bryant: No choice pal. http://www.youtube.com/watch?v=8-Xk8PCvJvc Def Earz (the hapless malcontent formerly known as Deaf Ears)

Not nearly as deep as the above choices, but here is Willow pleading with the fairy queen: - I'm happy to meet you, Willow Ufgood. - How do you know my name? - Elora Danan told me. Elora? Elora, Willow is here. - But she's just a baby. - She's very special. My Brownies have been searching for her ever since we heard she was born. Elora Danan has chosen you to be her guardian. - Me? - Yes. She likes you. And Elora Danan knows you have the courage to help us. Take my wand to the sorceress. Find Raziel. She will guide you and Elora Danan to the kingdom of Tir Asleen. where a good king and queen will look after her. - You need a warrior for a job like this. I'm a nobody. Elora, you don't want me. Tell her. I'm short, even for a Nelwyn. Hello? - Elora Danan must survive! She must fulfill her destiny and bring about the downfall of Queen Bavmorda, whose powers are growing like an evil plague. Unless she is stopped, Bavmorda will control the lives...of your village. your children- everyone. - All creatures of good heart need your help, Willow. The choice is yours. And here's the clip: http://www.youtube.com/watch?v=pG7KFbn5-UQ&feature=related

Escape from New York Bob Hauk: You go in, find the President, bring him out in 24 hours, and you're a free man. Snake Plissken: 24 hours, huh? Bob Hauk: I'm making you an offer. Snake Plissken: Bullshit! Bob Hauk: Straight just like I said. Snake Plissken: I'll think about it. Bob Hauk: No time. Give me an answer. Snake Plissken: Get a new president! Bob Hauk: We're still at war, Plissken. We need him alive. Snake Plissken: I don't give a fuck about your war... or your president. Bob Hauk: Is that your answer? Snake Plissken: I'm thinking about it. Bob Hauk: Think hard. Snake Plissken: [pause] Why me? Bob Hauk: You flew the Gullfire over Leningrad. You know how to get in quiet. You're all I got. Snake Plissken: [pause] I guess I go in one way or the other... doesn't mean shit to me. All right... I'll do it. Give me the pardon paper. Bob Hauk: When you come out. Snake Plissken: Before. Bob Hauk: I told you I wasn't a fool, Plissken. Snake Plissken: Call me Snake. http://movieclips.com/Yuwm-escape-from-new-york-movie-call-me-snake/

Here's a classic; real call, straightforward refusal. William Monahan's 'Kingdom of Heaven'. It all starts with the Ordinary World of Balian the Blacksmith, then comes this Call to Adventure from Godfrey of Ibelin. Balian initially refuses, then changes his mind and finally commits to the Hero's Journey. It's quickly followed by some rousing swordplay practise in the forest as Balian meets a Wise Mentor, and some blood-letting swordplay as he faces the Threshold Guardians. Then, voila! he enters the New World. The rest is history, or rather, William Monahan's version of history. The background to this extract: four and a half minutes into the film, Godfrey of Ibelin, Balian's absent father, passes through the village to ask for his son's forgiveness. Balian does not give it. Godfrey: - I am Godfrey, the Baron of Ibelin. I have an hundred men at arms in Jerusalem. If you come with me you will have a living, and you will have my thanks. Well, there it is. Balian: - Whoever you are, my Lord, my place is here. Godfrey: - What made it your place is now dead... You will never see me again. If you want anything of me, take it now. Balian: - I want nothing. Godfrey: - I am sorry for your troubles. God protect you. And with that Godfrey exits. But he changes his mind, returns, and offers Balian a last chance. Godfrey: - Jerusalem is easy to find. Come to where the men speak Italian, and continue until they speak something else. We go by Messina. Good bye. I could not find a screenplay, so this is a transcript from my copy of the film. The Trailer can be seen here: http://www.youtube.com/watch?v=-oO6pCRe3pM I still think that's the greatest set of directions I've ever heard.

Here's a good one from THE MISSION starring Jeremy Irons and Robert De Niro. It could be argued that the entire movie is about a guy who refuses the call at every step, all the way until the end. In this scene Rodrigo Mendoza has recently killed his brother in a jealous rage. Rodrigo is a very bad man - a slave trader. Father Gabriel heads up the Jesuit Mission that is trying to convert the very people that Rodrigo enslaved. Father Gabriel offers Rodrigo a chance at redemption. Father Gabriel - I see a man running away, a man hiding from the world. I see a coward. Rodrigo - There is nothing else. Father Gabriel - There is life. Rodrigo - There is no life. Father Gabriel - There is a way out, Mendoza. Rodrigo - For me, there is no redemption. Father Gabriel - God gave us the burden of freedom. You chose your crime. Do you have the courage to choose your penance? Do you dare do that? Rodrigo - There is no penance hard enough for me. Father Gabriel - But do you dare try it? Rodrigo - Do I dare? Do you dare to see it fail? Father? Father Gabriel - Aye? Following this comes of the of the most profound scenes in cinema. Rodrigo insists on carrying all the possessions from his past, his suit of armor and sword and other items he's plundered, all the way up to the mission at the top of a waterfall. No dialogue. This is as good as it gets in my opinion. Profound truth about human nature. http://www.youtube.com/watch?v=-c2Ppcrs6Os

Great suggestion. I love this film.

Airplane! Ted Striker: The stewardess said... Both pilots! Rumack: Can you fly this plane, and land it? Ted Striker: Surely you can't be serious. Rumack: I am serious... and don't call me Shirley. Stewardess: Doctor, I've checked everyone. Mr. Striker's the only one. Rumack: What flying experience have you had? Striker: I flew single-engine fighters in the Air Force. But this plane has four engines. It's an entirely different kind of flying. Altogether. Rumack and Stewardess: It's an entirely different kind of flying. http://www.youtube.com/watch?v=WET6A2Ee-A0

Source Code, Groundhog Day, and Avatar; refusal of call scenes All three show protagonists who are put into situations where they feel they have no choice but to submit to protocol and eventually go "native." I found a clip on youtube in which "Source Code" is compared with "Groundhog Day," so I guess the connection is obvious. "Avatar" does not have that repetitive theme, and can be also be compared with "Dances with Wolves." Source code: http://youtu.be/btPkREi93Kc Goodwin The Screeh-owl song can be seen as a progression of musical notes. Did the notes go up, down, or remain at the same pitch? Colter I don't know. Just tell me -- Goodwin How many times was the bird call repeated? Colter What does that have to do with the train? Goodwin How many times was the bird call repeated? Colter Twice. Goodwin Incorrect. Who bobmbed the train, Captain? Colter I don't know who bombed the train! Colter is seething now. Had it with these games. Goodwin You have seventeen minutes. Use them. Find the bomber. Groundhog day Not the refusal; the later acceptance: http://youtu.be/iJOjHWr5jQc INT. STUDIO - CONTINUOUS Hawley follows him in and catches up with him at the weather corner of the Action News set. Phil starts putting weather stats up on a chart. PHIL Get away from me. I'm working. HAWLEY So what's the outlook? We gonna get that blizzard? Phil shakes his head and points to the chart which is headed "Phil's Phorecast" with a cute caricature of himself drawn next to the title. PHIL No way. All that moisture coming up from the Gulf is going to miss us completely and take a dump on Harrisburg. HAWLEY (with authority) Good, 'cause you're going up to Punxsutawney to cover the groundhog story tomorrow morning and I want you back here in time to do the five. PHIL Jesus, Gil, give me a break, will you! I covered the goddamn groundhog last year and the year before that. HAWLEY And you'll do it :next year and the year after, too. When I worked in San Diego, I covered the swallows coming back to Capistrano for ten years in a row. PHIL You should've killed the guy who made you do that. HAWLEY I wanted to do it. PHIL Then you should've killed yourself. I don't want to get stuck with the groundhog for the rest of my life. HAWLEY It's a cute story. He comes out, he looks around, he wrinkles up his little nose, he sniffs around a little, he sees his shadow, he doesn't see his shadow— it's nice. People like it. PHIL Many people are morons. HAWLEY Just do it. PHIL What'11 you give me? Hawley looks across the studio and sees RITA HANSON enter, a very attractive segment producer in her late twenties. HAWLEY (to Phil) I'll give you Rita. (calls her over) Rita, could you come here for a second? I got a little job for you. Rita is relatively new to the station, but very competent, personable, humorous, self-assured and very pretty— in short, a genuine princess, though Phil is too self-absorbed at this point to realize it. PHIL (teasing) You can't send Rita out on a story like this. She's just a cub, a pup, still wet behind the ears. Look at her. Her ears are sopping wet. This needs a Woodward or a Bernstein. It's a big story. People need to know. RITA (intrigued) What's the story? HAWLEY The Punxsutawney Groundhog Festival. RITA Gil, if it's all right with you I ' d rather follow-up on the nurses' strike. Avatar Youtube scene for first experience in avatar body: http://youtu.be/1QEFrI-D_3c FADE IN: WE ARE FLYING through mist, a dimly glimpsed forest below. VOICE (V.O.) When I was lying there in the VA hospital, with a big hole blown through the middle of my life, I started having these dreams of flying. We are very low over the forest now, gliding fast, the drums BUILDING to a PEAK -- VOICE (V.O.) Sooner or later though, you always have to wake up... CUT TO: EXT. CITY - NIGHT A SCREECH OF BRAKES as a vehicle WIPES FRAME, revealing -- JAKE SULLY, a scarred and scruffy combat vet, sitting in a beat up carbon-fiber wheelchair. At 22, his eyes are hardened by the wisdom and wariness of one who has endured pain beyond his years. Jake stares upward at the levels of the city. MAGLEV TRAINS WHOOSH overhead on elevated tracks, against a sky of garish advertizing. JAKE (V.O.) They can fix a spinal, if you’ve got the money. But not on vet benefits, not in this economy. The traffic light changes and Jake pushes forward with the crowd, pumping the wheels of his chair. Most of the people wear FILTER MASKS to protect them from the toxic air. In a LONG LENS STACK it is a marching torrent of anonymous, isolated souls. INT. JAKE’S APARTMENT - NIGHT The room is a tiny CUBICLE, prison cell meets 747 bathroom. Narrow cot, wall-screen droning away in the B.G. -- PERKY NEWSCASTER The Bengal tiger, extinct for over a century, is making a comeback. These cloned tiger cubs at the Beijing Zoo are... Jake laboriously pulls his pants off -- rocking to one side, pushing the fabric down past his hip, then rocking to the other, and so on. His legs are white and atrophied. Utterly useless. But his arms are tattooed and powerfully muscled. A “Born Loser” tattoo prominent on his shoulder. JAKE (V.O.) I became a Marine for the hardship. To be hammered on the anvil of life. I told myself I could pass any test a man can pass. Jake struggles with his pants a long time. CUT TO: INT. ROWDY BAR -- NIGHT Not the kind of place you’d bring your mom. We find Jake near the pool table, BALANCING his chair, front wheels off the ground, while holding a tequila shot on his forehead. ONLOOKERS, including some other disabled vets, CLAP and WHOOP. Jake grabs the glass, SLAMS down the shot as they cheer. A WALL-SIZED SCREEN filled with the World Cup game -- men RUNNING on antelope legs. CU JAKE, watching what he can’t have. Expression stony. JAKE (V.O.) Let’s get it straight up front. I don’t want your pity. I know the world’s a cold-ass bitch. Jake’s eyes shift -- HIS POV, seeing the bar through gaps in the crowd. A MAN on a barstool SLAPS the WOMAN he’s with. Hard. She cowers but he’s got her arm, shouting, raising his fist. An eternal tableau. People look away. CU JAKE -- not looking away. JAKE (V.O.) You want a fair deal, you’re on the wrong planet. The strong prey on the weak. TIGHT ON JAKE’S HAND as he starts pushing the wheel of his chair. TRACKING WITH HIM as he rolls forward. 2. JAKE (V.O.) It’s just the way things are. And nobody does a damn thing. Jake stops, unnoticed, next to the bullying man. He leans down and grabs one leg of the man’s barstool -- and YANKS. The chair flips. The guy goes down HARD and -- JAKE hurls himself from the wheelchair, toppling on the guy, getting a grip on him like a pit bull and PUNCHING the crap out of him, right there on the floor. THE BOUNCER jumps in, trying to drag him off and it goes into SLOW MOTION, everybody yelling and pulling... JAKE (V.O.) All I ever wanted in my sorry-ass life was a single thing worth fighting for. CUT TO: EXT. ALLEY BEHIND BAR -- NIGHT THE BOUNCER hurls Jake out the door, sending him SPRAWLING on the pavement. A moment later, his chair CRASHES down on him, banging across the alley, landing in the trash. Jake struggles to rise on one elbow. He’s bleeding and bruised, but still crazed and ready to fight. JAKE I hope you realize you’ve just lost a customer! He collapses onto his back, panting. JAKE (to himself) Candy ass bitch. He stares upwards at the levels of the city. MAGTRAINS ROAR overhead. It starts to RAIN. He just lies there, blinking -- then shouts jauntily to no one in particular -- JAKE If it ain’t rainin’ we ain’t trainin’! CAMERA PULLS BACK high and wide, as Jake lies spread-eagled amongst the trash, getting drenched. TWO LONG SHADOWS enter FRAME, coming to rest across him. 3. Jake sees two pairs of SHINY SHOES stop next to him. He squints up at -- TWO MEN. Matching suits. Their features unremarkable and blandly threatening in the way of FBI agents and auditors. AGENT 1 Are you Jake Sully? JAKE Step off. You’re ruinin’ my good mood. AGENT 2 It’s about your brother. CUT TO: INT. MUNICIPAL CREMATORIUM - NIGHT DOWN-ANGLE on a large rectangular cardboard box. HANDS ENTER FRAME, pulling open the top to reveal a DEAD MAN’S FACE. He looks EXACTLY like a clean-shaven version of Jake. His IDENTICAL TWIN -- TOMMY. JAKE (V.O.) The strong prey on the weak. A guy with a knife took all Tommy would ever be, for the paper in his wallet. WIDER, showing Jake and the two agents in a high tech CREMATORIUM -- a row of stainless steel furnaces. Jake stares down at his own face. JAKE Jesus, Tommy. JAKE (V.O.) The Suits’ concern was touching. AGENT 1 Your brother represented a significant investment. We’d like to talk to you about taking over his contract. The ATTENDANT closes the box and seals it with a tape dispenser, like it’s a package for shipping. The cardboard coffin is rolled into the furnace. JAKE (V.O.) The egghead and the jarhead. Tommy was the scientist, not me. He was the one who wanted to get shot light years out into space to find the answers. 4. PUSHING IN ON JAKE as he watches, bathed in orange light. JAKE (V.O.) Me -- I was just another dumb grunt gettin’ sent someplace I was gonna regret. INSIDE THE FURNACE the burners quickly eat away the cardboard; TOMMY’S FACE is, for a moment, wreathed in flame but not touched by it, as we -- DISSOLVE TO: JAKE’S FACE, in icy darkness. CLOSE ON his eyes -- they OPEN suddenly, and he takes a sharp breath. JAKE’S POV -- the inside of a metal coffin. A SERVO WHINE and we are moving, emerging into a large chamber --