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Y'know, I mean, do what you like. I'm not your mum. | 0:00:10 | 0:00:13 | |
Hello, and welcome to Movie Mistakes 2: The Sequel. | 0:00:37 | 0:00:41 | |
Like any sequel, we're bigger, louder, | 0:00:41 | 0:00:43 | |
and most snobs are going to say we're not as good as the first one. | 0:00:43 | 0:00:47 | |
Well, that's not true, because our crack team of celluloid super-geeks | 0:00:47 | 0:00:50 | |
have outdone themselves by trawling this year's top movies | 0:00:50 | 0:00:54 | |
alongside some revered classics | 0:00:54 | 0:00:56 | |
to compile a brand-new collection of cinematic clunkers. | 0:00:56 | 0:00:59 | |
Oh, and apparently, in order to compete with the latest movie fad, | 0:00:59 | 0:01:03 | |
we've got to do something 3D, so please put on your 3D glasses now | 0:01:03 | 0:01:07 | |
and prepare to get your mind blown. | 0:01:07 | 0:01:10 | |
OK, ready? | 0:01:10 | 0:01:11 | |
Whoo! Whoo! Oh! Whoo! | 0:01:11 | 0:01:13 | |
There. Take that, Avatar. | 0:01:16 | 0:01:19 | |
Now you can take your 3D glasses off, cos you look ridiculous. Oh. | 0:01:19 | 0:01:23 | |
Right, let's get on with it. | 0:01:23 | 0:01:25 | |
On tonight's show: | 0:01:25 | 0:01:27 | |
The Terminator series asks life's big questions, like who'd win in a battle between man and machine | 0:01:36 | 0:01:42 | |
and why DID that third film get made? | 0:01:42 | 0:01:44 | |
At the heart of the Terminator movies is an impossible time-travel paradox. | 0:01:44 | 0:01:48 | |
It makes me so angry I want to build a robot, travel back in time and kill everyone responsible. | 0:01:48 | 0:01:54 | |
Oh, if only that was possible. Which it isn't. Which is why I'm angry. | 0:01:54 | 0:01:58 | |
On the plus side, if machines did take over humanity, | 0:01:58 | 0:02:01 | |
they'd probably avoid making movies that contained these clunking clunkers. | 0:02:01 | 0:02:07 | |
John Connor was here. Where did he go? | 0:02:07 | 0:02:10 | |
Here's T3, with my favourite kind of Terminator, | 0:02:10 | 0:02:13 | |
the "making cars inexplicably explode" cyborg. | 0:02:13 | 0:02:15 | |
Watch the truck. They're heading towards the sports car. | 0:02:19 | 0:02:22 | |
Then they completely miss it. | 0:02:23 | 0:02:26 | |
But the car shoots to the side by itself | 0:02:26 | 0:02:29 | |
and there's a massive explosion. Absolute drivel. | 0:02:29 | 0:02:32 | |
Sector's down. | 0:02:34 | 0:02:36 | |
Keep your eye on this white-haired elderly lady in the chopper, | 0:02:36 | 0:02:40 | |
because we're either about to see a massive gaffe or they've kicked her out for a quicker take-off. | 0:02:40 | 0:02:46 | |
Call the surgical team. | 0:02:46 | 0:02:48 | |
Remarks - it's Connor. | 0:02:48 | 0:02:51 | |
She's gone. | 0:02:51 | 0:02:53 | |
Whatever happened to the phrase "leave no man or old white-haired lady behind", eh, guys? | 0:02:53 | 0:02:57 | |
Give me a strap. | 0:02:59 | 0:03:01 | |
You can never be too careful when dealing with deadly robot bits. | 0:03:01 | 0:03:05 | |
Here the resistance fighters are securely strapping down this Terminator arm. | 0:03:05 | 0:03:11 | |
There are the straps. | 0:03:11 | 0:03:12 | |
But in this shot the straps have gone. | 0:03:14 | 0:03:17 | |
Well, that was a terminal waste of time, wasn't it? | 0:03:17 | 0:03:20 | |
Oh, they're back. Strapping stuff! | 0:03:20 | 0:03:22 | |
Bring up a portable shortwave. | 0:03:22 | 0:03:24 | |
-I need to test it on something larger in the field. -All right. | 0:03:24 | 0:03:26 | |
You will not get a second chance. | 0:03:28 | 0:03:30 | |
It's reassuring that in this age of CGI there's still room | 0:03:30 | 0:03:33 | |
for some good old-fashioned creaky special effects. | 0:03:33 | 0:03:37 | |
I'm proud to present, a table hanging on a string. | 0:03:37 | 0:03:40 | |
Doinnnng! | 0:03:40 | 0:03:42 | |
Let's see that again. | 0:03:45 | 0:03:47 | |
Boinnng! | 0:03:49 | 0:03:50 | |
A table on a string. | 0:03:50 | 0:03:52 | |
Here are three heroes from Terminator: Salvation making a right old mess of the place. | 0:03:56 | 0:04:01 | |
But what's even more of a mess is the continuity here. | 0:04:05 | 0:04:08 | |
Watch them jump through the hole in the wall. | 0:04:08 | 0:04:10 | |
Man on right, little girl on left. | 0:04:10 | 0:04:12 | |
And Bale, as John Connor, goes through the middle. | 0:04:12 | 0:04:15 | |
On the other side, Connor's suddenly on the right, not in the middle, | 0:04:15 | 0:04:19 | |
and the other two have changed places, too. | 0:04:19 | 0:04:21 | |
If you ask me, they deserve to be terminator-ed for this gaffe. | 0:04:21 | 0:04:25 | |
Christian Bale is in trouble here, | 0:04:32 | 0:04:34 | |
with a Terminator standing almost on top of him. | 0:04:34 | 0:04:36 | |
Oh, no, he's shot the molten metal. | 0:04:37 | 0:04:40 | |
It will surely go all over both of them. | 0:04:40 | 0:04:42 | |
Well, no, because now Bale is miles away from the Terminator. | 0:04:42 | 0:04:46 | |
I'll be back. Back here where it's nice and safe. | 0:04:47 | 0:04:50 | |
Every film pays people to meticulously | 0:04:52 | 0:04:54 | |
work through the finer details and ensure that not even minute errors end up on the big screen. | 0:04:54 | 0:04:59 | |
However, our team of super-nerds have proven to be even more meticulous than them, | 0:04:59 | 0:05:04 | |
by spotting these even harder to reach clunkers. | 0:05:04 | 0:05:07 | |
So...1-0 to the nerds, then, hmm? | 0:05:07 | 0:05:10 | |
There's nothing worse than having your airline seat downgraded, | 0:05:12 | 0:05:16 | |
so imagine how the passengers in Final Destination must feel. | 0:05:16 | 0:05:19 | |
They started in a spacious 747, with its trademark double-decker nose | 0:05:19 | 0:05:25 | |
and two engines on each side, | 0:05:25 | 0:05:27 | |
but, on take-off, it's clearly a much smaller two-engined plane. | 0:05:27 | 0:05:33 | |
There they go. Here we stay. | 0:05:33 | 0:05:36 | |
'70s-set thriller Zodiac, | 0:05:38 | 0:05:40 | |
which features a shot of the then state-of-the-art computer game Pong. | 0:05:40 | 0:05:45 | |
-The score's 15-9. -My own kids would kill me for one of those. | 0:05:45 | 0:05:48 | |
Unfortunately, the game performs a back and forth of its own, | 0:05:48 | 0:05:52 | |
because now it's 14-9, and back to 15-9. | 0:05:52 | 0:05:55 | |
Careful, Robert Downey Jr, we almost caught a glimpse of YOUR ping-pongs. | 0:05:55 | 0:05:59 | |
Here we see the Girl with the Dragon Tattoo | 0:06:02 | 0:06:04 | |
sending an e-mail to fellow hacker, Plague. | 0:06:04 | 0:06:07 | |
Being a top-secret e-mail, she's going to want to encrypt it. | 0:06:07 | 0:06:11 | |
Wait, decrypting? | 0:06:11 | 0:06:13 | |
Oh, but that's the exact opposite of what she should have done. | 0:06:13 | 0:06:17 | |
Next thing, we'll find out her tattoo isn't really a dragon at all, it's a... | 0:06:17 | 0:06:22 | |
What's the opposite of a dragon? | 0:06:22 | 0:06:23 | |
Zombieland now, set in America. | 0:06:27 | 0:06:29 | |
Look, that's the stars and stripes. | 0:06:29 | 0:06:31 | |
And, listen, they're playing The Star Spangled Banner. | 0:06:31 | 0:06:35 | |
And, uh... Oh, dear. | 0:06:35 | 0:06:38 | |
That's a British roundabout | 0:06:38 | 0:06:40 | |
right outside the Washington, DC, Capitol building. | 0:06:40 | 0:06:43 | |
If I thought I was in the States but it turned out to be Swindon, I'd be furious. | 0:06:43 | 0:06:48 | |
Like this guy. | 0:06:48 | 0:06:50 | |
Nice place, huh? | 0:06:53 | 0:06:54 | |
The Blues Brothers are about to be fired at by a four-barrelled rocket launcher. | 0:06:54 | 0:06:59 | |
So that'll be four explosions, right? | 0:06:59 | 0:07:01 | |
There's one, two, | 0:07:01 | 0:07:03 | |
three, | 0:07:03 | 0:07:05 | |
four, | 0:07:05 | 0:07:07 | |
five? That's not right. Quick, drive off before anyone notices. | 0:07:07 | 0:07:11 | |
Kick Ass? They should have called it Kick Out The Director Because Of All The Mistakes That Are... | 0:07:13 | 0:07:19 | |
Actually, their title's better. | 0:07:19 | 0:07:20 | |
Kick-Ass, or, as it's called in Britain, Kick-Bottoms, | 0:07:20 | 0:07:24 | |
is about a superhero that's good at getting beaten up. | 0:07:24 | 0:07:27 | |
If that's a superpower, I think I've got it, too. | 0:07:27 | 0:07:30 | |
I also have a special geek sense for detecting super-size continuity errors. Watch this. | 0:07:30 | 0:07:36 | |
HE FARTS | 0:07:36 | 0:07:38 | |
Does it not bug you? Thousands of people want to be Paris Hilton | 0:07:38 | 0:07:41 | |
and nobody wants to be Spider-Man. | 0:07:41 | 0:07:43 | |
Let's kick off with Kick-Ass's sidekick. Watch the guy on the left. | 0:07:43 | 0:07:48 | |
He's holding a comic and... | 0:07:48 | 0:07:50 | |
now it's on a table. | 0:07:50 | 0:07:51 | |
That's a superpower in its own right. | 0:07:51 | 0:07:54 | |
It was time for Mindy to get ready, too. | 0:07:56 | 0:07:57 | |
Here's another comic-based super-gaffe. | 0:07:57 | 0:08:00 | |
Notice the page on the left side with its three vertical panels. | 0:08:00 | 0:08:04 | |
HAMMER IS COCKED | 0:08:04 | 0:08:05 | |
How'd you find me, Marcus? | 0:08:05 | 0:08:08 | |
One of us is still a cop, remember? | 0:08:08 | 0:08:11 | |
Moments later we see it again | 0:08:16 | 0:08:18 | |
and it's completely different, with four pictures in a grid. | 0:08:18 | 0:08:22 | |
So you brainwashed Mindy? | 0:08:22 | 0:08:24 | |
You say brainwashed. I say made it into a game. | 0:08:24 | 0:08:26 | |
I say it's a terrible movie gaffe. | 0:08:26 | 0:08:29 | |
Feel like checking out that new Kate Hudson movie where... | 0:08:31 | 0:08:34 | |
In this scene, Kick-Ass is in his civilian clothes | 0:08:34 | 0:08:38 | |
and hanging out with Katie, whom he has the hots for. | 0:08:38 | 0:08:41 | |
They're inside because it's absolutely pouring down outside. | 0:08:41 | 0:08:45 | |
But when they go out back to check out each other's fillings, | 0:08:48 | 0:08:51 | |
there's not a drop of rain in the sky. Not that they'd notice. | 0:08:51 | 0:08:55 | |
Can I get a puppy? | 0:08:57 | 0:08:58 | |
Here are Big Daddy and Potty-Mouth Girl on their day off. | 0:08:58 | 0:09:01 | |
Yeah. A cuddly, fluffy one. | 0:09:01 | 0:09:03 | |
But keep an eye on her spoon. | 0:09:03 | 0:09:05 | |
She puts it in the glass... | 0:09:05 | 0:09:08 | |
and it's back in her hand. Now, that's BLEEP impressive. | 0:09:08 | 0:09:12 | |
Look, I'd love a Benchmade model-42 butterfly knife. | 0:09:12 | 0:09:15 | |
Here's the film's villain, Frank D'Amico. | 0:09:19 | 0:09:22 | |
He's holding a popular make of phone. | 0:09:22 | 0:09:24 | |
Apparently I'm not allowed to say the brand name, so I can't say iPhone. | 0:09:24 | 0:09:28 | |
But in this shot it's silver on the back. | 0:09:28 | 0:09:32 | |
-What is this? What am I looking at here? -It was Sal's phone. | 0:09:32 | 0:09:36 | |
They found it in his hand. | 0:09:36 | 0:09:37 | |
He must have taken that right before he died. | 0:09:37 | 0:09:40 | |
And now it's black on the back. | 0:09:40 | 0:09:42 | |
I'm a bit confused now. Can I phone a friend? | 0:09:44 | 0:09:47 | |
Who? Kick-Ass? | 0:09:47 | 0:09:50 | |
One of the worst movie clunkers is a boom in shot. | 0:09:52 | 0:09:56 | |
No, not when something in shot goes boom, but when a sound man's | 0:09:56 | 0:09:59 | |
over-head microphone drops down and ruins the entire scene. | 0:09:59 | 0:10:02 | |
Can you watch what you're doing?! | 0:10:02 | 0:10:04 | |
God, sound men are such idiots. | 0:10:04 | 0:10:06 | |
Oh! I asked for that. | 0:10:06 | 0:10:09 | |
Any film about Pearl Harbor is going to have a bit of boom in shot. | 0:10:12 | 0:10:16 | |
Get it? Boom? Like an explosion? No? | 0:10:16 | 0:10:18 | |
You're right. It was a tragedy. | 0:10:18 | 0:10:21 | |
And the actual war was pretty bad, too. | 0:10:21 | 0:10:24 | |
Here's Michael Douglas starring in Fatal Attraction. | 0:10:27 | 0:10:31 | |
-See you tomorrow night. -Love you. | 0:10:31 | 0:10:34 | |
Keep your eye on the windscreen. | 0:10:34 | 0:10:36 | |
Boom! | 0:10:36 | 0:10:37 | |
Never mind fatal attraction, there's a fatal distraction. | 0:10:37 | 0:10:41 | |
Creative differences? | 0:10:45 | 0:10:46 | |
Next up is Al Pacino in S1m0ne. | 0:10:46 | 0:10:50 | |
And here's a blink and you'll miss it moment. Boom! | 0:10:52 | 0:10:56 | |
Let's see it again. | 0:10:56 | 0:10:58 | |
Luckily they got away with this gaffe | 0:10:59 | 0:11:01 | |
because no-one actually went to see that film. | 0:11:01 | 0:11:04 | |
Here's Jack Black in Shallow Hal, | 0:11:06 | 0:11:08 | |
displaying his admirable acting range | 0:11:08 | 0:11:10 | |
by playing a tubby yet loveable goofball. | 0:11:10 | 0:11:13 | |
But that's not the only thing on display here. | 0:11:14 | 0:11:16 | |
Boom! | 0:11:16 | 0:11:18 | |
No, no. It's my fault. I didn't see... This is your cab. | 0:11:18 | 0:11:22 | |
I'm going to get the next cab. | 0:11:22 | 0:11:24 | |
Boom again! | 0:11:24 | 0:11:25 | |
Taxi for the sound man. | 0:11:25 | 0:11:27 | |
While watching Enchanted, | 0:11:29 | 0:11:31 | |
I like to play a game called Boom Shake The Room. | 0:11:31 | 0:11:35 | |
Every time I see a boom in shot - there's one - I trash my room. | 0:11:35 | 0:11:38 | |
She's a seriously confused woman who's fallen into our laps. | 0:11:38 | 0:11:42 | |
Good night, OK? | 0:11:42 | 0:11:44 | |
There it is again. Right, I'm off to throw a sofa out of the window. | 0:11:44 | 0:11:49 | |
Tense action thriller Ronin now. | 0:11:51 | 0:11:54 | |
-Watch as De Niro runs through this dressing room. -Ten seconds. | 0:11:54 | 0:11:57 | |
Did you spot the gaffe? Let's take a closer look at those mirrors. | 0:11:59 | 0:12:03 | |
Ten seconds. | 0:12:03 | 0:12:05 | |
That's the camera man, and boom! | 0:12:05 | 0:12:08 | |
That's the sound man. | 0:12:08 | 0:12:09 | |
Actors, eh? Can't go anywhere without their entourage. | 0:12:09 | 0:12:12 | |
Sometimes a film can't afford to hire a large number of extras | 0:12:14 | 0:12:17 | |
and has to use the same people over and over in a variety of different roles. | 0:12:17 | 0:12:22 | |
I thought I'd found a classic example of this until the producers informed me | 0:12:22 | 0:12:26 | |
that Eddie Murphy ASKED to play every role in Nutty Professor 2: The Klumps. Who can blame him? | 0:12:26 | 0:12:31 | |
If I read a script that hilarious, I'd want to play every role. | 0:12:31 | 0:12:35 | |
Oh, the Klumps, you hilarious, obese balls of flatulence. | 0:12:35 | 0:12:38 | |
Anyway, here are a few clips of repeated extras that will have you laughing, | 0:12:38 | 0:12:43 | |
like I did when I first saw Nutty Professor 2: The Klumps. | 0:12:43 | 0:12:49 | |
It's romantic comedy The Ugly Truth, | 0:12:49 | 0:12:51 | |
showing off the sensitive side of 300 macho man Gerard Butler. | 0:12:51 | 0:12:55 | |
But never mind him, keep an eye on the blonde extra in the blue. | 0:12:55 | 0:13:00 | |
She's in the shot once...twice... | 0:13:00 | 0:13:03 | |
Can't get enough of your sparkling wit and charm. | 0:13:03 | 0:13:06 | |
Stewart thought you needed a producer more than... | 0:13:06 | 0:13:09 | |
-..three times a lady, right back where she started. -Wow. | 0:13:09 | 0:13:12 | |
Before South Park creator Trey Parker, seen here, | 0:13:14 | 0:13:17 | |
and his buddy, Matt Stone, were hilariously funny, | 0:13:17 | 0:13:20 | |
they were painfully unfunny in slacker comedy BASEketball. | 0:13:20 | 0:13:24 | |
We're not beat yet. We can still win this thing. | 0:13:24 | 0:13:27 | |
But keep an eye on these two extras in Trey's team. | 0:13:27 | 0:13:29 | |
-Can we do it? -Yeah! -Can we do it? | 0:13:29 | 0:13:31 | |
Yeah! Yeah! | 0:13:31 | 0:13:33 | |
Because here they are again, in different jerseys, also playing for the opposing team. | 0:13:35 | 0:13:40 | |
This is a clip from Final Destination, | 0:13:43 | 0:13:46 | |
in which college kids try to out-run the Grim Reaper. | 0:13:46 | 0:13:49 | |
And who doesn't love a good funeral? | 0:13:49 | 0:13:51 | |
This woman at the back certainly does. | 0:13:51 | 0:13:54 | |
She gets up to pay her respects once... | 0:13:54 | 0:13:57 | |
..some meaningful glances... | 0:13:59 | 0:14:02 | |
..more mourners... | 0:14:05 | 0:14:07 | |
..and there's that woman going up all over again. | 0:14:07 | 0:14:10 | |
Ma'am, step away from the coffin. | 0:14:10 | 0:14:12 | |
We will go up there, pretend we're boyfriend and girlfriend... | 0:14:14 | 0:14:17 | |
Here's The Proposal, | 0:14:17 | 0:14:19 | |
in which Sandra Bullock persuades Ryan Reynolds to marry her. | 0:14:19 | 0:14:22 | |
And that she isn't more than a decade older than him. | 0:14:22 | 0:14:25 | |
Keep an eye on the unusually short woman in a green top to the left. | 0:14:25 | 0:14:29 | |
If you send someone walking through shot over and over, | 0:14:29 | 0:14:32 | |
probably best not to pick the most noticeable woman on the set. | 0:14:32 | 0:14:36 | |
Sorry, were you not in that room? | 0:14:36 | 0:14:38 | |
-Then I quit, and you're screwed. Buh-bye, Margaret. -Andrew! | 0:14:38 | 0:14:42 | |
Andrew! Fine! Fine. | 0:14:42 | 0:14:44 | |
Have you spotted her? Have you? | 0:14:44 | 0:14:46 | |
There she is! | 0:14:46 | 0:14:48 | |
If you do the Alaska weekend and the immigration interview, I will make you editor. | 0:14:48 | 0:14:54 | |
A bit more zingy dialogue and a bit more really obvious repeated extra. | 0:14:54 | 0:14:58 | |
She's really starting to grow on me. | 0:14:58 | 0:15:00 | |
Comedy The Hangover was a huge box-office smash. No wonder, if they hired girls in bikinis... | 0:15:02 | 0:15:08 | |
That is my tooth! | 0:15:08 | 0:15:10 | |
..got them to walk past once up close, once in the distance, and once up close again. | 0:15:10 | 0:15:16 | |
# Spider-Man, Spider-Man | 0:15:20 | 0:15:21 | |
# Repeats his extras whenever he can. # | 0:15:21 | 0:15:24 | |
-Great honour to meet you, sir. -Harry tells me you're quite the science... | 0:15:24 | 0:15:27 | |
Watch out for the college student with red hair. | 0:15:27 | 0:15:30 | |
You know, I'm something of a scientist myself. | 0:15:30 | 0:15:33 | |
I read all your research on nano-technology. | 0:15:33 | 0:15:35 | |
There she is again... | 0:15:35 | 0:15:37 | |
-Yes, I wrote a paper on it. -Impressive. | 0:15:37 | 0:15:40 | |
..again... | 0:15:40 | 0:15:42 | |
..and again. | 0:15:43 | 0:15:44 | |
Hey, you two! Let's move! | 0:15:44 | 0:15:47 | |
Nice to meet you. | 0:15:47 | 0:15:48 | |
-Hope to see you again. -Yeah. | 0:15:48 | 0:15:51 | |
Never mind seeing him again. Let's see her. | 0:15:51 | 0:15:53 | |
He doesn't seem so bad. | 0:15:53 | 0:15:55 | |
Bingo! My movie-mistake senses are tingling. | 0:15:55 | 0:15:59 | |
-Jenny! -Here's Forrest Gump, | 0:16:01 | 0:16:03 | |
who prefers to repeat entire crowds of extras. | 0:16:03 | 0:16:07 | |
Keep an eye on just these two guys in hats, for example. | 0:16:09 | 0:16:13 | |
Forrest knocks them out of the way once | 0:16:13 | 0:16:16 | |
and then all over again. | 0:16:16 | 0:16:18 | |
Like Forrest says, "Life is like a box of idiots." | 0:16:18 | 0:16:22 | |
And, finally, Monsters, Inc, | 0:16:24 | 0:16:26 | |
here to show that even when your extras don't actually exist, | 0:16:28 | 0:16:31 | |
they can still crop up in two places at once. | 0:16:31 | 0:16:34 | |
Stay where you are. Number One wants to talk to you. | 0:16:34 | 0:16:38 | |
Each monster in a yellow suit has its own unique number. | 0:16:38 | 0:16:41 | |
Here's worker 112, standing next to Mike and Sully. | 0:16:41 | 0:16:45 | |
Then, moments later, here he, or it, is again. | 0:16:48 | 0:16:53 | |
Two and a half years of undercover work were almost wasted. | 0:16:55 | 0:16:59 | |
Fans of Star Trek prefer to be called Trekkers, because the term "Trekkie" is deemed offensive. | 0:17:02 | 0:17:07 | |
A bit like "tragic, lonely geek-face". | 0:17:07 | 0:17:09 | |
Some fans have even gone to the trouble of learning the entire language of Klingon. | 0:17:09 | 0:17:14 | |
To those people I say, "Brak nik toff jah bak mak," | 0:17:14 | 0:17:17 | |
which doesn't mean anything as I've got better things to do with my life. | 0:17:17 | 0:17:21 | |
As it happens, Bones McCoy was a nickname of a kid I went to school with, | 0:17:21 | 0:17:25 | |
after he was caught in an uncompromising situation with a bag of crinkle-cut crisps. | 0:17:25 | 0:17:31 | |
Stand by for some hi-tech, high-action sky-diving | 0:17:31 | 0:17:34 | |
from the recent Star Trek reboot. | 0:17:34 | 0:17:37 | |
We can see the order of the sky-divers on the display screen. | 0:17:37 | 0:17:40 | |
Red first, then blue, then yellow. | 0:17:40 | 0:17:43 | |
5,800 metres. | 0:17:43 | 0:17:45 | |
Distance to target, 5,000 metres. | 0:17:45 | 0:17:47 | |
When we see them outside, they're in a completely different order. | 0:17:47 | 0:17:50 | |
Blue, yellow, red. | 0:17:50 | 0:17:52 | |
Obviously, the guy in red dies horribly, as required by Star Trek law. | 0:17:54 | 0:17:58 | |
Don't people ever learn? | 0:17:59 | 0:18:01 | |
Here's Nero, the villain, throttling some poor bloke. | 0:18:05 | 0:18:09 | |
But, looking at his missing right ear tip, | 0:18:09 | 0:18:12 | |
I'd guess he's already been in a fight, possibly with Mike Tyson. | 0:18:12 | 0:18:16 | |
-Spock! -But now it's his left ear that's all chewed up. | 0:18:16 | 0:18:20 | |
-And his right ear is all pointy. -Spock! | 0:18:20 | 0:18:23 | |
You leave that Spock alone, it's not his fault. | 0:18:23 | 0:18:25 | |
-Stop the ship. -Kirk, how the hell did you get on board the Enterprise? | 0:18:27 | 0:18:30 | |
Here's Uhura standing right by her man, Mr Spock. | 0:18:30 | 0:18:33 | |
Only, in this shot, she's standing quite far away. | 0:18:33 | 0:18:37 | |
Women! | 0:18:37 | 0:18:38 | |
Some old-school Trek now, | 0:18:42 | 0:18:44 | |
back when they knew how to dress for every occasion. | 0:18:44 | 0:18:47 | |
Falling to your certain death, only a black outfit will do. | 0:18:47 | 0:18:50 | |
Being saved just before certain death, maybe a blue top would be more suitable. | 0:18:55 | 0:19:00 | |
I suspect his trousers are brown though. | 0:19:00 | 0:19:02 | |
Some people complained that William Shatner's acting was a bit wooden, like a puppet. | 0:19:05 | 0:19:09 | |
Well, I think that's a bit unfair. He's nothing like a puppet. | 0:19:09 | 0:19:13 | |
You know, with strings attached, holding him up in the air. | 0:19:13 | 0:19:18 | |
Or people just off-screen pushing him about, controlling his every move during fight scenes. | 0:19:18 | 0:19:23 | |
No, nothing like a puppet. | 0:19:23 | 0:19:26 | |
Ambassador... | 0:19:28 | 0:19:29 | |
Ambassador, with this next movie mistake you are really spoiling us. | 0:19:29 | 0:19:33 | |
Spare me your human platitudes, Kirk. | 0:19:33 | 0:19:35 | |
Look at the display of guns on the wall. | 0:19:35 | 0:19:38 | |
Your son meant more to me than you can know. | 0:19:38 | 0:19:41 | |
And now look. | 0:19:41 | 0:19:42 | |
Can you spot the difference? | 0:19:42 | 0:19:44 | |
Yes, of course you can! | 0:19:44 | 0:19:45 | |
Ah, there's the moustachioed Scotty, standing behind Kirk, | 0:19:49 | 0:19:52 | |
his right-hand man there to comfort him in his time of need. | 0:19:52 | 0:19:55 | |
This death takes place in the shadow of new life. | 0:19:55 | 0:19:58 | |
The sunrise of a new world. | 0:19:58 | 0:20:00 | |
A world that our beloved comrade gave his life to protect and nourish. | 0:20:00 | 0:20:04 | |
Hang on, where's Scotty? | 0:20:04 | 0:20:07 | |
Who's playing those blooming bagpipes? Oh, Scotty's back. | 0:20:10 | 0:20:14 | |
Turns out he CAN change the laws of physics. | 0:20:14 | 0:20:16 | |
Keep an eye on the injured actor in this scene from The Wrath Of Khan. | 0:20:20 | 0:20:25 | |
He's making the most of his big moment by dying not once... | 0:20:25 | 0:20:28 | |
..but twice. | 0:20:30 | 0:20:32 | |
Let's see that again. | 0:20:33 | 0:20:35 | |
He dies | 0:20:35 | 0:20:37 | |
and then decides to close his eyes. | 0:20:37 | 0:20:39 | |
Talk about overplaying your part. | 0:20:39 | 0:20:41 | |
More vintage Star Trek now. Look at that lovely jumper. | 0:20:43 | 0:20:46 | |
But it's the whales we're looking for here. | 0:20:46 | 0:20:49 | |
There they are. Big remote-controlled whales. | 0:20:49 | 0:20:52 | |
How do we know they're remote-controlled? | 0:20:52 | 0:20:55 | |
Because that's the special-effects diver releasing them. | 0:20:57 | 0:21:00 | |
I feel cheated. Next you'll be telling me there's no such thing as transparent aluminium. | 0:21:00 | 0:21:05 | |
Look at the big Klingon spaceship | 0:21:09 | 0:21:11 | |
casting a huge shadow over the fishing boat. | 0:21:11 | 0:21:14 | |
It's no good just turning the boat around, you won't get away from it that easily. Or will you? | 0:21:14 | 0:21:19 | |
Well, the shadow's gone. | 0:21:20 | 0:21:22 | |
That must mean the spaceship has too. Yay! | 0:21:22 | 0:21:25 | |
Oh, no, there it is. | 0:21:25 | 0:21:27 | |
There are a lot of things that are just wrong about Hollywood. | 0:21:29 | 0:21:32 | |
Why do the actors get paid so much? | 0:21:32 | 0:21:34 | |
Why does Jennifer Aniston make so many dodgy rom-coms? | 0:21:34 | 0:21:37 | |
And why, Mel Gibson, why? | 0:21:37 | 0:21:40 | |
But we're here to right some movie wrongs, or at least point them out and be sarcastic about them. | 0:21:40 | 0:21:46 | |
Enjoy! | 0:21:46 | 0:21:47 | |
Get Him To The Greek now, and we join the party in full swing. | 0:21:47 | 0:21:52 | |
With Russell Brand, some sexy girls, | 0:21:52 | 0:21:54 | |
Puff Diddy Daddy Combs and something on fire. | 0:21:54 | 0:21:58 | |
-Sergio's gone crazy! -I love this game! | 0:21:58 | 0:22:00 | |
And note the night-time cityscape in the windows. | 0:22:00 | 0:22:03 | |
A real night to remember. | 0:22:03 | 0:22:05 | |
I don't think so! | 0:22:05 | 0:22:07 | |
Only when they get outside it's not night at all, | 0:22:07 | 0:22:10 | |
it's the middle of the day. | 0:22:10 | 0:22:12 | |
Exactly how long is that walk from the room to the exit? | 0:22:13 | 0:22:17 | |
Look carefully at this clip from Ronin. | 0:22:20 | 0:22:23 | |
Someone's spying on some tough guys from a window through a camera. | 0:22:23 | 0:22:27 | |
But the next camera shot is clearly from someone standing | 0:22:29 | 0:22:32 | |
right in front of them on the street. Very undercover. | 0:22:32 | 0:22:35 | |
Harry Potter's full of all kinds of magical nonsense. | 0:22:38 | 0:22:41 | |
That's it, all I need's a bit of luck. | 0:22:41 | 0:22:43 | |
He's got an invisibility cloak, but in this scene he's also got invisibility glasses. | 0:22:43 | 0:22:48 | |
Look, no lenses. | 0:22:48 | 0:22:49 | |
It's a miracle. | 0:22:51 | 0:22:54 | |
In Final Destination we see a young lady striking a tiny match | 0:22:57 | 0:23:01 | |
that suddenly becomes absolutely massive. | 0:23:01 | 0:23:04 | |
You could say... the match doesn't match. | 0:23:04 | 0:23:07 | |
Look, it's all completely chicken soup. | 0:23:09 | 0:23:11 | |
-It's what? -It's kosher. | 0:23:11 | 0:23:13 | |
As Christmas. | 0:23:13 | 0:23:15 | |
Lock Stock may have Two Smoking Barrels, but in this scene there's one massive clunker. | 0:23:15 | 0:23:19 | |
-I need some artillery, too. -The fruit machine sounds like it's working. | 0:23:19 | 0:23:22 | |
This is London, not the Lebanon. | 0:23:22 | 0:23:24 | |
But no reels move at any point. | 0:23:24 | 0:23:27 | |
Oi, Guy Ritchie, back up the apples and pears and sort your movie out. | 0:23:27 | 0:23:31 | |
I don't like you. | 0:23:33 | 0:23:35 | |
Dustin Hoffman about to reveal a revolutionary new product. | 0:23:35 | 0:23:39 | |
Shaving foam that shaves for you. | 0:23:39 | 0:23:41 | |
Leave on for a bit during a dramatic scene. | 0:23:42 | 0:23:45 | |
Wipe foam off... | 0:23:45 | 0:23:46 | |
and you're clean-shaven. | 0:23:46 | 0:23:49 | |
Mrs Robinson, get that boy to the Dragon's Den. | 0:23:49 | 0:23:52 | |
PHONE RINGS Pick it up. | 0:23:54 | 0:23:55 | |
A dark, atmospheric thriller from the Coen brothers and what could be more creepy than a haunted phone? | 0:23:55 | 0:24:01 | |
It's still ringing after she picks it up. | 0:24:01 | 0:24:04 | |
Let's see that again. | 0:24:04 | 0:24:06 | |
Oh, hi, it's Robert from Movie Mistakes. | 0:24:12 | 0:24:14 | |
I'd like my money back, please. | 0:24:14 | 0:24:16 | |
Quentin Tarantino is one of the greatest directors of his generation. | 0:24:18 | 0:24:23 | |
He's also a very naughty boy. By calling his last film Inglourious Basterds, | 0:24:23 | 0:24:28 | |
he thought his misspelling would allow him to get away with using a swearword. What a dockhead. | 0:24:28 | 0:24:32 | |
The film follows the adventures of a group of Nazi-hunters. | 0:24:32 | 0:24:35 | |
Well, Nazi hunters, our mistake hunters are after you. | 0:24:35 | 0:24:39 | |
But just because our hunters are hunting Nazi hunters, | 0:24:39 | 0:24:42 | |
it doesn't mean we're on the same side as the Nazis. OK? They're not. | 0:24:42 | 0:24:45 | |
This film is filled with the kind of mistakes | 0:24:45 | 0:24:48 | |
that make you want to track down those responsible | 0:24:48 | 0:24:50 | |
and carve the word "numpty" into their forehead. | 0:24:50 | 0:24:53 | |
Sergeant Hugo Stiglitz. | 0:24:53 | 0:24:57 | |
Heard of him? | 0:24:57 | 0:24:59 | |
Everybody in the German army's heard of Hugo Stiglitz. | 0:24:59 | 0:25:02 | |
Let's start with the scene where we find out about a Nazi turned good guy who goes by the name of.... | 0:25:02 | 0:25:07 | |
Well, you can probably read it for yourself. | 0:25:07 | 0:25:10 | |
And here's a newspaper article all about the Nazis he's meant to have killed. | 0:25:11 | 0:25:15 | |
On the top row here, there are six photos. | 0:25:15 | 0:25:18 | |
Go ahead and count them. | 0:25:18 | 0:25:20 | |
Hugo Stiglitz is a celebrity among German soldiers. | 0:25:20 | 0:25:23 | |
But in this close-up there are actually seven photos across. | 0:25:23 | 0:25:26 | |
Which is it Hugo, six or seven? | 0:25:26 | 0:25:28 | |
-GERMAN ACCENT: -You will answer me! | 0:25:28 | 0:25:30 | |
Keep an eye on Colonel Landa's cigarette in this clip. | 0:25:32 | 0:25:36 | |
He's just lit it. | 0:25:36 | 0:25:39 | |
Already, there's ash hanging off. | 0:25:39 | 0:25:42 | |
Hmm. Tension mounting. | 0:25:43 | 0:25:47 | |
Doesn't even take a single drag. | 0:25:47 | 0:25:49 | |
But seconds later, he puts it out in his apfel strudel. | 0:25:54 | 0:25:57 | |
And suddenly it's burned down to a stub. | 0:25:57 | 0:26:00 | |
Leading lady Shosanna puts on heavy lipstick | 0:26:02 | 0:26:05 | |
for an evening of Nazi bothering. | 0:26:05 | 0:26:06 | |
But hang on, in this shot, she's hardly wearing any lipstick. | 0:26:09 | 0:26:12 | |
And there's no big, red mark on the wine glass. | 0:26:12 | 0:26:16 | |
No, it's all right, lipstick's back again. As you were. | 0:26:19 | 0:26:23 | |
I've been chewed out before. | 0:26:29 | 0:26:30 | |
It's the end of the film with everyone making a break for freedom. | 0:26:30 | 0:26:32 | |
Heard that deal you made with the brass. | 0:26:32 | 0:26:36 | |
But something else is trying to make a run for it and that's Brad Pitt's tie. | 0:26:36 | 0:26:41 | |
-First you can see both sides... -I'd make that deal. -I don't blame you. | 0:26:41 | 0:26:44 | |
Then one side has made a run for it. | 0:26:44 | 0:26:47 | |
And that pretty little nest you've feathered for yourself. Well, if you're willing to barbecue | 0:26:47 | 0:26:51 | |
the whole high command, I suppose that's worth certain considerations. | 0:26:51 | 0:26:54 | |
Don't worry, it'll be back. | 0:26:54 | 0:26:56 | |
But I do have one question. | 0:26:56 | 0:26:58 | |
Yeah, who's in charge of continuity here? | 0:26:58 | 0:27:00 | |
There really is no excuse for mistakes in animation films. | 0:27:02 | 0:27:05 | |
Why, oh why do animators make so many mistakes? | 0:27:05 | 0:27:08 | |
It's just drawing a picture or two, or you know, quite a few, say, roughly 30 pictures per second, | 0:27:08 | 0:27:15 | |
1,800 pictures a minute so that's about 162,000 pictures per film, I mean, how hard can it be? | 0:27:15 | 0:27:20 | |
Some of these animators should be drawn themselves, | 0:27:20 | 0:27:23 | |
hung, drawn and quartered - for crimes against movie continuity! | 0:27:23 | 0:27:27 | |
Possibly a bit harsh, but you know. | 0:27:27 | 0:27:29 | |
Let's kick things off with Monsters Inc. | 0:27:29 | 0:27:31 | |
Keep an eye on the train set on the bedroom floor. | 0:27:31 | 0:27:36 | |
-Argh! -ARGH! | 0:27:38 | 0:27:41 | |
Just moments later, it's gone. | 0:27:41 | 0:27:43 | |
And has been replaced by all these painful, spiky things. | 0:27:43 | 0:27:47 | |
These monsters should be incarcerated, not incorporated! | 0:27:47 | 0:27:52 | |
Keep coming, keep coming. | 0:27:54 | 0:27:56 | |
look at Mike's hand at the bottom of the screen. It's completely normal. | 0:27:56 | 0:28:00 | |
Apart from the fact it's green and has pointy nails. | 0:28:00 | 0:28:04 | |
Could almost be my ex-wife, am I right, fellas? | 0:28:04 | 0:28:07 | |
Actually, I don't even have an ex-wife. | 0:28:07 | 0:28:09 | |
-Is that... -Sorry it took so long. | 0:28:09 | 0:28:11 | |
Anyway, now the hands are all covered in plasters. | 0:28:11 | 0:28:15 | |
Even the credits are wrong. | 0:28:17 | 0:28:19 | |
See Sulley hide little girl Boo behind him. | 0:28:19 | 0:28:22 | |
But watch closely because during the song, she vanishes into thin air. | 0:28:22 | 0:28:27 | |
Mind you, I disappear when people start dancing too. | 0:28:28 | 0:28:32 | |
Get that thing away from me, you guys... | 0:28:32 | 0:28:34 | |
Cloudy With A Chance Of Meatballs now - | 0:28:39 | 0:28:42 | |
and look at young Cal here waking up in his PJs. | 0:28:42 | 0:28:44 | |
Wow, it's been snowing ice cream! | 0:28:45 | 0:28:48 | |
And a coat just magically appeared on him. | 0:28:52 | 0:28:55 | |
Happy birthday, son. | 0:28:55 | 0:28:56 | |
-Dad? -This is your day... | 0:28:56 | 0:28:58 | |
If no-one else here is going to ask the question, I will. | 0:28:58 | 0:29:01 | |
Where DID that coat come from? | 0:29:01 | 0:29:03 | |
Next, the laugh-every-few-minutes hit...and miss, Planet 51. | 0:29:06 | 0:29:11 | |
Keep your eyes on the spaceman's visor. | 0:29:11 | 0:29:15 | |
What the... | 0:29:15 | 0:29:16 | |
duck? | 0:29:16 | 0:29:18 | |
Aliens? Yeah, we're surprised, too, because they've got no reflection in your shiny helmet. | 0:29:20 | 0:29:25 | |
# I call him lollipop, lollipop oh lolly, lolly, lolly, lollipop... # | 0:29:29 | 0:29:33 | |
Planet 51 and mistake number two. | 0:29:33 | 0:29:35 | |
So the alien dog pees on a lamp-post. | 0:29:35 | 0:29:38 | |
The lamp-post falls down... | 0:29:40 | 0:29:43 | |
..and the lamp-post disappears. | 0:29:45 | 0:29:48 | |
Yet another reason not to watch this film. | 0:29:48 | 0:29:51 | |
Keep an eye on the two glasses. | 0:29:54 | 0:29:57 | |
She must be real thirsty. | 0:29:57 | 0:30:00 | |
I'm real thirsty. | 0:30:00 | 0:30:01 | |
Told you. Only problem is... one of the glasses has vanished. | 0:30:01 | 0:30:05 | |
A milkshake...? | 0:30:05 | 0:30:06 | |
I don't want to walk any more. | 0:30:14 | 0:30:16 | |
Russell is being dragged along by his face. | 0:30:16 | 0:30:19 | |
I imagine that'll make him all dirty. | 0:30:19 | 0:30:22 | |
There are no tigers in South America. | 0:30:22 | 0:30:25 | |
-Zoology. -Yep. | 0:30:25 | 0:30:28 | |
That's kids for you, eh? Dirty one second, completely clean the next. | 0:30:28 | 0:30:33 | |
Weird. | 0:30:33 | 0:30:35 | |
Let's take a look at Twilight, a series of films | 0:30:37 | 0:30:40 | |
about pretty teenagers mainly moping about in forests. | 0:30:40 | 0:30:43 | |
They have it all, vampires, werewolves, action romance, | 0:30:43 | 0:30:46 | |
all mixed up together to create a bunch of boring, old rubbish. | 0:30:46 | 0:30:50 | |
Twilight is chock-full of dodgy moral messages. | 0:30:50 | 0:30:53 | |
Edward is over 100 years old | 0:30:53 | 0:30:55 | |
and yet he's dating a 17-year-old schoolgirl, | 0:30:55 | 0:30:58 | |
so we're all fine with this? | 0:30:58 | 0:31:00 | |
Oh, and it's fine for the dead to get off with the living, | 0:31:00 | 0:31:03 | |
but when it's the other way round, apparently it's creepy. | 0:31:03 | 0:31:05 | |
Fitting in as the new kid can be hard. For a start, what do you wear? | 0:31:08 | 0:31:12 | |
My first day at a new school, it's March in the middle of the semester. | 0:31:12 | 0:31:16 | |
Well, that guy's got a red hoodie. He's pretty cool. | 0:31:16 | 0:31:19 | |
-Nice ride. -Only now, he's also wearing a bodywarmer. | 0:31:26 | 0:31:29 | |
-Thanks. -Oh, now he isn't. | 0:31:29 | 0:31:31 | |
I can't keep up with teen fashion. | 0:31:31 | 0:31:34 | |
I'm sorry I'm rude all the time, I just think it's the best way. | 0:31:36 | 0:31:39 | |
Guess who just asked me to prom! | 0:31:39 | 0:31:41 | |
Never mind the prom, where did that clipboard come from? | 0:31:41 | 0:31:44 | |
Let's see that again. | 0:31:44 | 0:31:47 | |
No clipboard... Clipboard! | 0:31:47 | 0:31:51 | |
And flounce... | 0:31:51 | 0:31:52 | |
Where is he? Where's... | 0:31:54 | 0:31:57 | |
Where's Edward? | 0:31:57 | 0:32:00 | |
Here we see the loyal R-Patz sitting guard for injured Bella. | 0:32:00 | 0:32:03 | |
And there he is sleeping right by the window. | 0:32:05 | 0:32:08 | |
Yep, right next to the... | 0:32:08 | 0:32:10 | |
Oh, hang on, who moved the window? | 0:32:10 | 0:32:13 | |
Come on, it's just a game. | 0:32:15 | 0:32:17 | |
You have to be careful playing baseball, | 0:32:17 | 0:32:19 | |
especially with sexy vampires. | 0:32:19 | 0:32:22 | |
Nice kitty. | 0:32:22 | 0:32:23 | |
Although it's not so dangerous that Bella needs a body double. | 0:32:23 | 0:32:27 | |
Look, that's clearly not her, look at that massive chin. | 0:32:27 | 0:32:31 | |
Ah, she's been reading Romeo and Juliet. How romantic. | 0:32:36 | 0:32:41 | |
Happy birthday. | 0:32:41 | 0:32:44 | |
But now, the book's gone. What did you do with it, Bella? | 0:32:44 | 0:32:48 | |
Bore it out of existence? | 0:32:48 | 0:32:49 | |
A werewolf so moody and sexy he has to walk around with his top off. | 0:32:51 | 0:32:56 | |
Nice tattoo right up by his shoulder. | 0:32:56 | 0:32:59 | |
Only in this shot, it seems to have slipped halfway down his arm. | 0:32:59 | 0:33:03 | |
Bad dog. | 0:33:03 | 0:33:04 | |
Finally in this scene, R-Patz flings Bella to safety... | 0:33:09 | 0:33:12 | |
..knocking over two vases. | 0:33:13 | 0:33:14 | |
But the next time we see them, FOUR vases are smashed! | 0:33:16 | 0:33:19 | |
Either way, you only win a prize if you knock all FIVE down, I'm afraid. | 0:33:19 | 0:33:23 | |
One of the things that always amazes me about the film business | 0:33:25 | 0:33:28 | |
is that there are actually trained specialists | 0:33:28 | 0:33:30 | |
who are paid enormous sums of money to spot continuity mistakes. | 0:33:30 | 0:33:34 | |
Basically, their job is to watch movies all day and point out small errors. Call that a job? | 0:33:34 | 0:33:39 | |
It's pathetic. How exactly is that contributing to a better, healthier society for us all? | 0:33:39 | 0:33:43 | |
Anyway, here's some mistakes that we spotted while being paid to watch movies the other day. | 0:33:43 | 0:33:48 | |
A saucy scene where Stifler's mom seduces one of her son's friends. | 0:33:48 | 0:33:55 | |
-Are you lost? -Keep your eyes on his balls. | 0:33:55 | 0:33:58 | |
The POOL balls, people! | 0:33:58 | 0:34:00 | |
OK, there's a yellow ball in the middle of the table. | 0:34:00 | 0:34:03 | |
No, no, not lost just... | 0:34:03 | 0:34:06 | |
you know, taking the tour. | 0:34:06 | 0:34:08 | |
He's so distracted by her mature allure, he doesn't notice the ball's moved all by itself. Steamy. | 0:34:08 | 0:34:14 | |
Want to show him the room, Dale? | 0:34:16 | 0:34:19 | |
John C Reilly and Will Ferrell play, er, Step Brothers. Watch the napkin. | 0:34:19 | 0:34:25 | |
Hey, listen, I like to have a lot of fresh fruit around. | 0:34:25 | 0:34:29 | |
And chocolate chips in my pancakes, OK? | 0:34:29 | 0:34:32 | |
-Write it down so you don't forget. -Show him the room. | 0:34:32 | 0:34:34 | |
Hang on, it's gone. | 0:34:34 | 0:34:37 | |
Wait! Dastan! | 0:34:39 | 0:34:40 | |
Ooh, it's The Prince Of Persia swordfighting | 0:34:41 | 0:34:45 | |
in his brand-new M&S shirt. And, oh, no, that's torn it. | 0:34:45 | 0:34:48 | |
His mum will be furious. | 0:34:48 | 0:34:50 | |
Only she won't, because look, it's immediately as good as new. | 0:34:50 | 0:34:54 | |
Magic. | 0:34:54 | 0:34:57 | |
It's the 1960s when men sat up front and women sat an the back. | 0:34:59 | 0:35:03 | |
But it was also the decade of sexual liberation. | 0:35:03 | 0:35:06 | |
-Might be worth a look. -Mm-hmm. | 0:35:06 | 0:35:08 | |
Because when they stop, one of the men has become a woman, and nobody bats an eyelid. | 0:35:08 | 0:35:14 | |
A man who so loved his watch, he could look at it for ages. | 0:35:16 | 0:35:22 | |
It's 6pm. | 0:35:24 | 0:35:26 | |
Next thing you know, it's 6:25. | 0:35:26 | 0:35:28 | |
I guess time flies when you're on the run. | 0:35:28 | 0:35:30 | |
Here's Anne Hathaway sprawling on the floor. | 0:35:32 | 0:35:36 | |
Steve Carell is getting an eyeful, | 0:35:36 | 0:35:38 | |
so he'll probably notice that she's got bare feet. | 0:35:38 | 0:35:40 | |
Are you staring at my butt? | 0:35:42 | 0:35:44 | |
No, I'm not. | 0:35:44 | 0:35:47 | |
But in the same scene, after Steve Carell's stunt double has demonstrated his flexibility... | 0:35:47 | 0:35:52 | |
That's impressive, wow. | 0:35:52 | 0:35:54 | |
..Hathaway's suddenly got shoes on. | 0:35:54 | 0:35:56 | |
How good am I at spotting mistakes? | 0:35:56 | 0:35:59 | |
Very good. | 0:35:59 | 0:36:00 | |
Ah, legs crossed left over right, the classic relaxation position. | 0:36:02 | 0:36:07 | |
-I will never become an Omega... -I mean, right over left. | 0:36:07 | 0:36:11 | |
That's it, right over left. | 0:36:11 | 0:36:13 | |
Left over right? | 0:36:13 | 0:36:15 | |
Right over left? | 0:36:17 | 0:36:18 | |
I cannot keep up with The Joneses. | 0:36:18 | 0:36:21 | |
This isn't about me selling MY products, | 0:36:23 | 0:36:25 | |
I have to ensure my unit is selling THEIR products. | 0:36:25 | 0:36:28 | |
Here's that guy Mulder from The X Files, | 0:36:28 | 0:36:30 | |
with some paranormal activity. | 0:36:30 | 0:36:32 | |
Keep an eye on his arm. It's up by his head. | 0:36:32 | 0:36:36 | |
Separate bedrooms perhaps? | 0:36:36 | 0:36:38 | |
Down again. | 0:36:38 | 0:36:40 | |
You're not a great salesman. | 0:36:40 | 0:36:43 | |
Touching his ear. | 0:36:43 | 0:36:45 | |
Touching the table. Spooky. | 0:36:45 | 0:36:49 | |
And here's that guy Mulder from The X Files in...The X Files. | 0:36:52 | 0:36:57 | |
What's inexplicable in this shot is how the driver's side window is all ragged and smashed. | 0:36:57 | 0:37:03 | |
But then there's not a shard of glass to be seen. | 0:37:07 | 0:37:10 | |
The truth is out there. The truth is nobody was paying attention. | 0:37:10 | 0:37:15 | |
Yeah, that'll learn ya. | 0:37:15 | 0:37:17 | |
I enjoyed Team America all right, | 0:37:19 | 0:37:21 | |
I just found the acting a bit, I don't know, wooden? | 0:37:21 | 0:37:24 | |
Here's a puppet looking at a picture of four other puppets, | 0:37:24 | 0:37:28 | |
like Cheryl Cole thinking back on her Girls Aloud days. | 0:37:28 | 0:37:31 | |
Hello, young man. Congratulations on a terrific performance. | 0:37:31 | 0:37:36 | |
But in the wide shot, that photo of four has turned into a photo of two. | 0:37:36 | 0:37:40 | |
What a muppet! I mean, puppet. | 0:37:40 | 0:37:43 | |
The name is Spottswoode. | 0:37:43 | 0:37:46 | |
Action, punching, kicking, running away from the police - | 0:37:48 | 0:37:51 | |
I love a night out in Liverpool. | 0:37:51 | 0:37:53 | |
But, now let's look at some action sequences. | 0:37:53 | 0:37:56 | |
Action sequences are brilliant, you know, when actions happen in a sequence. | 0:37:56 | 0:38:00 | |
In fact, come to think of it, everything is an action sequence really, isn't it? | 0:38:00 | 0:38:03 | |
If a film didn't have any action, it would just be a bloke standing there | 0:38:03 | 0:38:06 | |
talking straight to the camera and that would be rubbish. | 0:38:06 | 0:38:09 | |
Let's watch some action howlers! | 0:38:09 | 0:38:12 | |
Yah! | 0:38:12 | 0:38:13 | |
Ah, the days of King Arthur when men were real man. | 0:38:13 | 0:38:17 | |
Tough and strong, charging on horseback, wielding swords in battle and... | 0:38:17 | 0:38:22 | |
dying when the sword hasn't even touched them. | 0:38:22 | 0:38:25 | |
Get up, you big wuss. | 0:38:29 | 0:38:31 | |
Some serious medieval-style action's about to kick off here. | 0:38:35 | 0:38:40 | |
But don't worry, they're not real soldiers, they're actors. | 0:38:42 | 0:38:46 | |
They just do as they're told, keep walking...and stop when you get | 0:38:46 | 0:38:50 | |
to the rubbish sticks and bit of rope marking the edge of shot. | 0:38:50 | 0:38:53 | |
The Scouts have the motto "Be prepared". | 0:39:00 | 0:39:03 | |
These guys in Daybreakers must be former Scouts, I reckon. | 0:39:03 | 0:39:06 | |
They're so prepared, their car is riddled with bullet holes | 0:39:06 | 0:39:09 | |
before any shots have been fired. | 0:39:09 | 0:39:11 | |
-Put the gun down. -Let's go. | 0:39:14 | 0:39:17 | |
And here come the bullets. | 0:39:17 | 0:39:19 | |
I imagine they're prepared for me to tell them that they're idiots. | 0:39:22 | 0:39:25 | |
Some more bullet hole nonsense from The Men Who Stare At Goats. | 0:39:28 | 0:39:33 | |
Never mind the goats - what the men, whoever they are, should be staring at is this windscreen. | 0:39:33 | 0:39:37 | |
Which is shot one minute... | 0:39:37 | 0:39:39 | |
..and then magically unshot. Stare at that, goat men. | 0:39:41 | 0:39:45 | |
America will go nuts for BASEKetball. | 0:39:47 | 0:39:49 | |
Watch the background of this crazy party in BASEKetball. | 0:39:49 | 0:39:53 | |
The guy on the roof wearing the leather jacket and white trousers | 0:39:53 | 0:39:56 | |
is so drunk he falls off twice. | 0:39:56 | 0:39:59 | |
Listen to that crowd. | 0:39:59 | 0:40:01 | |
See? | 0:40:01 | 0:40:03 | |
He must've been drinking doubles. | 0:40:03 | 0:40:05 | |
They say you should never work with children or animals. | 0:40:07 | 0:40:10 | |
But after you've seen these clips, you can add "vehicles" to that list. | 0:40:10 | 0:40:14 | |
Here's a collection of classic gaffes featuring planes, trains and automobiles. | 0:40:14 | 0:40:19 | |
Ooh, that's a catchy title. Well done me. | 0:40:19 | 0:40:22 | |
Anyway, I haven't seen transport blunders like this since I got a lift home with George Michael. | 0:40:22 | 0:40:27 | |
Here's a famous scene from Borat. | 0:40:27 | 0:40:29 | |
'Eventually, I manage to hike a hitchings | 0:40:29 | 0:40:32 | |
'with group of young scholars also travelling across country.' | 0:40:32 | 0:40:36 | |
All right...! | 0:40:36 | 0:40:38 | |
Yes, it's all so completely spontaneous and not pre-planned. | 0:40:38 | 0:40:41 | |
So spontaneous, the RV he gets out of later that night | 0:40:41 | 0:40:45 | |
-is a different one from the day before. -AS BORAT: -"Nice!" | 0:40:45 | 0:40:49 | |
-Hit the brakes! Hit the brakes, come on! -I can't! | 0:40:51 | 0:40:54 | |
The fellows are in a spot of bother here. | 0:40:54 | 0:40:58 | |
Look, the wheel's fallen off. This can't end well. | 0:40:58 | 0:41:02 | |
Hold on, the wheel's back. | 0:41:05 | 0:41:07 | |
Nothing can go wrong now. | 0:41:07 | 0:41:08 | |
What the...? | 0:41:13 | 0:41:14 | |
Get Smart not taking its own advice with this stupid movie blunder. | 0:41:14 | 0:41:19 | |
Keep an eye on the car wing mirror. | 0:41:19 | 0:41:21 | |
It gets smashed... | 0:41:21 | 0:41:24 | |
-I cannot get over the fact that 23 is a traitor. -Sand trap! | 0:41:24 | 0:41:27 | |
But now it's whole again. | 0:41:27 | 0:41:29 | |
Now I know how you must have felt when you thought I was a traitor. | 0:41:29 | 0:41:33 | |
Tractor...! | 0:41:33 | 0:41:34 | |
Wait, no, it's hanging off again. | 0:41:34 | 0:41:37 | |
How did I miss it? I'm usually very observant. | 0:41:37 | 0:41:39 | |
-Swordfish! -Get Smart? Get lost. | 0:41:39 | 0:41:42 | |
It's canine comedy caper, Hotel For Dogs. | 0:41:46 | 0:41:49 | |
It's kind of like a dinner date, isn't it? | 0:41:49 | 0:41:51 | |
How clever, a little train set bringing out the dogs' food. | 0:41:53 | 0:41:57 | |
Ooh, not SO clever - the food's not there in this shot. | 0:41:59 | 0:42:02 | |
Well, they've made a right dog's dinner out of this scene. | 0:42:02 | 0:42:04 | |
Here's Mel Gibson, furious at the side of the road as usual. | 0:42:06 | 0:42:10 | |
But keep an eye on the door in the background. It's firmly shut. | 0:42:10 | 0:42:15 | |
Oops, door's open. | 0:42:19 | 0:42:21 | |
And the door's shut again. | 0:42:24 | 0:42:26 | |
What does it feel like? | 0:42:27 | 0:42:29 | |
Anyway, Mel's had enough and is off to shout at some police officers. | 0:42:29 | 0:42:33 | |
OK, shouting done, | 0:42:36 | 0:42:37 | |
Mel's now on his way home from this multi-storey car park. | 0:42:37 | 0:42:42 | |
-Where you going? -Well, he's not going to the exit, that's for sure. | 0:42:42 | 0:42:46 | |
Because it's that way. | 0:42:46 | 0:42:48 | |
Er, Mel...? Mel? Mel! | 0:42:50 | 0:42:53 | |
Pearl Harbor now, movie masterclass in how not to make a film. | 0:42:55 | 0:43:00 | |
But there are bigger mistakes than the casting of Ben Affleck. | 0:43:00 | 0:43:04 | |
In this scene, we can clearly see that it's daytime. | 0:43:07 | 0:43:10 | |
But when Affleck comes up for air - | 0:43:13 | 0:43:15 | |
here he comes - | 0:43:15 | 0:43:17 | |
it's suddenly night-time. | 0:43:17 | 0:43:20 | |
What a terrible...film. | 0:43:20 | 0:43:22 | |
An anachronism is when something stands out | 0:43:24 | 0:43:27 | |
from everything around it as just being from the wrong era in time. | 0:43:27 | 0:43:31 | |
Think Prince Philip at a Justin Bieber concert. | 0:43:31 | 0:43:34 | |
A glaring anachronism can immediately ruin any good period movie. | 0:43:34 | 0:43:38 | |
I mean, Pride and Prejudice would have been rubbish if Darcy and Bennett had met via online dating. | 0:43:38 | 0:43:43 | |
Or if the soldiers in 300 had got together at a flash mob. | 0:43:43 | 0:43:47 | |
"Spartans, tonight we meet on Twitter!" | 0:43:47 | 0:43:51 | |
Doesn't really work, does it? | 0:43:51 | 0:43:54 | |
Just what we needed, yet another Robin Hood movie. | 0:43:54 | 0:43:58 | |
But this one is going to be perfect, right down to every last detail. | 0:43:58 | 0:44:02 | |
Like this smoothly cut tree stump that has blatantly been cut with a modern machine. | 0:44:02 | 0:44:08 | |
Because they didn't use axes back then, they used ye olde chainsaw. | 0:44:08 | 0:44:12 | |
In Robin Hood's day, they also used modern war equipment, just like | 0:44:18 | 0:44:21 | |
these World War Two landing craft straight out of Saving Private Ryan. | 0:44:21 | 0:44:25 | |
Despite the fact that they weren't invented until the 1920s. | 0:44:25 | 0:44:29 | |
Only 700 years out. Yaar! | 0:44:29 | 0:44:32 | |
Might as well go the whole hog, Robin. | 0:44:37 | 0:44:40 | |
What's that up in the sky in this shot? | 0:44:40 | 0:44:42 | |
That's right, the vapour trail from an aircraft. | 0:44:42 | 0:44:46 | |
In the year 1200. | 0:44:46 | 0:44:47 | |
The high seas, 1589, and a couple of clips from St Trinian's 2. | 0:44:52 | 0:44:57 | |
This film is full of anachronisms, not least casting Girls Aloud's | 0:44:57 | 0:45:02 | |
Sarah Harding as a 16-year-old schoolgirl. | 0:45:02 | 0:45:04 | |
But in this scene, the clanger is a view through a telescope. | 0:45:10 | 0:45:13 | |
I don't need to tell you that the telescope wasn't invented until 1608. | 0:45:13 | 0:45:19 | |
He doesn't care. | 0:45:19 | 0:45:21 | |
What an honour. | 0:45:23 | 0:45:24 | |
The famous Captain Fritton aboard my humble vessel. | 0:45:25 | 0:45:29 | |
It's everyone's favourite Doctor Who, David Tennant. | 0:45:29 | 0:45:32 | |
He's dressed as a 17th century dandy. | 0:45:32 | 0:45:35 | |
I say, golly gosh. | 0:45:35 | 0:45:38 | |
Only they've just told us it's 1589 and those clothes won't be in fashion for decades. | 0:45:38 | 0:45:43 | |
This is the solution to the greatest threat mankind has ever known. | 0:45:43 | 0:45:46 | |
You're not a Time Lord any more, David. | 0:45:46 | 0:45:48 | |
In the improbably titled Hot Tub Time Machine, | 0:45:51 | 0:45:54 | |
a group of modern-day losers go back to the year 1986 | 0:45:54 | 0:45:57 | |
in a hot tub that's also a...time machine. | 0:45:57 | 0:46:00 | |
No foreign army has ever occupied American soil until now. | 0:46:00 | 0:46:06 | |
Well, I'll believe that, but not this. | 0:46:06 | 0:46:08 | |
A poster for Rambo 3. | 0:46:08 | 0:46:10 | |
It wasn't released until 1988, two years later. | 0:46:10 | 0:46:14 | |
Who's responsible for this mistake? | 0:46:14 | 0:46:17 | |
-The Ruskies. -Yeah, I might have guessed. | 0:46:17 | 0:46:19 | |
Accident blackspot? These aren't accidents. | 0:46:21 | 0:46:24 | |
A cinema classic that struggles to stay in the '60s. | 0:46:24 | 0:46:28 | |
They're throwing themselves into the road to escape all this hideousness. | 0:46:28 | 0:46:32 | |
Throw yourselves into the road, darling! | 0:46:32 | 0:46:33 | |
Tearing down a '60s road in their '60s car with a bottle of '60s booze. | 0:46:33 | 0:46:38 | |
But they seem to have taken a wrong turn and ended up in the 1980s. | 0:46:38 | 0:46:43 | |
See those? Loads of '80s cars. | 0:46:43 | 0:46:48 | |
Well, that's what drink-driving will do for you. | 0:46:48 | 0:46:50 | |
Are you out of your mind? | 0:46:50 | 0:46:52 | |
Pull over, you haven't got a licence. | 0:46:52 | 0:46:53 | |
They also pass a modern motorway sign. | 0:46:53 | 0:46:55 | |
In fact, the M25 didn't exist until 1975, and that's not in the 1960s. | 0:46:55 | 0:47:02 | |
Here's a clip from the smash hit, The Girl With The Dragon Tattoo. | 0:47:08 | 0:47:12 | |
When our hero, Mikael Blomkvist, goes for a jog, he has a flashback to his childhood in the '60s. | 0:47:12 | 0:47:17 | |
Spot the problem? Yeah, this was a childhood in which he wore modern trainers from the future. | 0:47:20 | 0:47:26 | |
Now on to Zodiac, a taut thriller set in the '70s. | 0:47:28 | 0:47:33 | |
But what do we have here reflected on the car? | 0:47:33 | 0:47:36 | |
Well, it's true what they say, | 0:47:36 | 0:47:38 | |
Starbucks are popping up all over the place. Even in the past. | 0:47:38 | 0:47:43 | |
I'll have a double decaf latte with an extra shot of get-your-facts-right. | 0:47:43 | 0:47:47 | |
I don't understand it, if it's so difficult for movie-makers to get the weather right, | 0:47:49 | 0:47:54 | |
then why don't they just write scripts where it's always nice? | 0:47:54 | 0:47:56 | |
Singin' In The Rain could just become Singin' In The Dry, | 0:47:56 | 0:47:59 | |
The Perfect Storm could become The Perfectly Pleasant Afternoon, | 0:47:59 | 0:48:02 | |
and in An Inconvenient Truth, Al Gore could just reveal | 0:48:02 | 0:48:05 | |
that it's going to get quite mild, much more convenient. | 0:48:05 | 0:48:08 | |
Anyway, here's some weather that we can really complain about. | 0:48:08 | 0:48:12 | |
Let's start with a clip from romantic comedy, Enchanted. | 0:48:14 | 0:48:16 | |
Plenty of snow on the pavement. | 0:48:16 | 0:48:18 | |
It's clearly the middle of winter. | 0:48:18 | 0:48:21 | |
But hang on, a little later in the same scene, the pavement is suddenly snow free. | 0:48:25 | 0:48:30 | |
This has ruined an otherwise completely realistic movie for me. | 0:48:32 | 0:48:35 | |
Here's the opening scene from comedic turkey Paul Blart: Mall Cop. | 0:48:37 | 0:48:42 | |
But the animal we're interested in is the dog. | 0:48:42 | 0:48:45 | |
See how there's a clear shadow underneath the pooch in the bright sunlight? | 0:48:45 | 0:48:49 | |
Well, not in the close-up. | 0:48:49 | 0:48:51 | |
This is actually only the second worst mistake, right after having made the film in the first place. | 0:48:51 | 0:48:57 | |
A small ship on stormy seas. It's being thrown all over the place | 0:49:01 | 0:49:06 | |
in the opening scene of this Brit flick. | 0:49:06 | 0:49:09 | |
We're about to get our first glimpse of the famous boat that rocked, | 0:49:09 | 0:49:13 | |
only problem being that the boat that rocked isn't rocking at all. | 0:49:13 | 0:49:18 | |
Unlike the small boat, it's in much calmer waters. | 0:49:18 | 0:49:21 | |
Here's a fully grown man kerb-crawling for schoolgirls. | 0:49:23 | 0:49:28 | |
How did the concert go? | 0:49:28 | 0:49:29 | |
You can see from the rain on the car that it's absolutely pouring down. | 0:49:29 | 0:49:32 | |
-What are you playing? -Elgar. | 0:49:32 | 0:49:35 | |
Ah, I think it's a shame he spent so much time... | 0:49:35 | 0:49:38 | |
We can always hear the rain, but she's clearly walking in the sunshine. | 0:49:38 | 0:49:42 | |
Looks like the film's continuity person needs a bit of an education. | 0:49:42 | 0:49:45 | |
George Clooney looking for a bit of love action in the winter snow. | 0:49:49 | 0:49:53 | |
So I was in the neighbourhood... | 0:49:53 | 0:49:54 | |
But keep an eye on the snow that's coming down. | 0:49:54 | 0:49:57 | |
It's everywhere... | 0:49:57 | 0:49:58 | |
..except in this shot, when the snow machine obviously went on the blink. | 0:50:00 | 0:50:04 | |
And it's snowing again. And not. And snow. | 0:50:04 | 0:50:07 | |
And finally, a clip in which some frozen teens | 0:50:09 | 0:50:12 | |
complain about being frozen, in the movie Frozen. | 0:50:12 | 0:50:15 | |
They're stuck on a chairlift and clearly really, really cold. | 0:50:16 | 0:50:20 | |
Frozen even. | 0:50:20 | 0:50:21 | |
It's frigging cold up here! | 0:50:21 | 0:50:24 | |
Hmm, so why can't we see their breath at any point in this scene? | 0:50:24 | 0:50:28 | |
Probably because they're in a cosy, warm studio, that's why. | 0:50:28 | 0:50:31 | |
Props are a regular source of terrible movie mistakes. | 0:50:34 | 0:50:38 | |
Sometimes it's a thing that doesn't look quite right, | 0:50:38 | 0:50:41 | |
like a heavy rock that's clearly made out of polystyrene. | 0:50:41 | 0:50:43 | |
Or something that shouldn't have been in the film in the first place, | 0:50:43 | 0:50:46 | |
like Ray Winstone in the last Indiana Jones movie. | 0:50:46 | 0:50:49 | |
Prop mix-ups could have disastrous consequences. | 0:50:49 | 0:50:52 | |
I mean, what if the man with the golden gun had lost his golden gun? | 0:50:52 | 0:50:55 | |
It would just be called The Man. | 0:50:55 | 0:50:57 | |
And I've not seen the film myself, but what if Schindler had lost his shopping list? | 0:50:57 | 0:51:02 | |
It is a shopping list, isn't it? Yeah. | 0:51:02 | 0:51:05 | |
If there's one man you can trust in Hollywood, it's Richard Gere. | 0:51:06 | 0:51:11 | |
Here's a scene in which he promises to look after some letters. | 0:51:11 | 0:51:14 | |
Popping off letters for my dad, my mom and my sis. | 0:51:14 | 0:51:18 | |
Don't worry, still got them. | 0:51:18 | 0:51:21 | |
Oh, Richard, you've lost them. | 0:51:21 | 0:51:23 | |
You're neither an officer, nor a gentleman. | 0:51:23 | 0:51:26 | |
If you don't mind me saying, you're still angry. | 0:51:30 | 0:51:33 | |
Rupert Everett now, someone else with no letters. | 0:51:33 | 0:51:35 | |
-Even though he is holding a letter opener. -I'm not angry. | 0:51:35 | 0:51:37 | |
I'm just very, very, very... | 0:51:37 | 0:51:40 | |
Very confused because now the letter opener is a dart. | 0:51:42 | 0:51:46 | |
Disappointed. | 0:51:50 | 0:51:51 | |
Here's Billy Bob Thornton as Bad Santa, | 0:51:56 | 0:51:59 | |
relaxing after a hard day's being miserable. | 0:51:59 | 0:52:01 | |
But keep an eye on the bottle he's swigging from. | 0:52:01 | 0:52:04 | |
You can see it's made of thin plastic. | 0:52:04 | 0:52:07 | |
Shouldn't smash like glass then, eh? | 0:52:07 | 0:52:10 | |
Bad Santa. | 0:52:12 | 0:52:13 | |
It's futuristic sci-fi hit Moon now, which features an epic plot clanger. | 0:52:16 | 0:52:20 | |
Keep your eye on the table for an unexpected reworking | 0:52:20 | 0:52:24 | |
of Little House On The Prairie. | 0:52:24 | 0:52:27 | |
High five. | 0:52:27 | 0:52:28 | |
Only in the future, | 0:52:28 | 0:52:29 | |
it's called Little House On The Ping-pong Table. Weird. | 0:52:29 | 0:52:33 | |
Oh, my God in Heaven! | 0:52:35 | 0:52:38 | |
The mistake in this scene is not the clearly fake cow. | 0:52:38 | 0:52:41 | |
See how Jim Carrey throws his gun away. | 0:52:41 | 0:52:44 | |
Let go, girl, on to greener pastures. | 0:52:47 | 0:52:51 | |
-A quick cow wrestle later... -They're clear cutting a place in heaven for you. | 0:52:51 | 0:52:54 | |
And there's the gun right next to him. | 0:52:54 | 0:52:57 | |
I've got a real beef with this clip. | 0:52:57 | 0:53:00 | |
-John Travolta appears to be running out of time. -I think I need to pray. | 0:53:02 | 0:53:09 | |
As we can see on the black-faced watch he's wearing. | 0:53:09 | 0:53:12 | |
Give me a minute. | 0:53:12 | 0:53:14 | |
Only the next time we see his watch, it changes to a white one. | 0:53:14 | 0:53:19 | |
And there's the black one again. | 0:53:19 | 0:53:21 | |
-Should we tell him? -Tell him the truth or a lie? | 0:53:21 | 0:53:24 | |
Tell him the truth. | 0:53:24 | 0:53:25 | |
Why do extras insist on being referred to as background artists? | 0:53:27 | 0:53:31 | |
Artists? They're standing in a lift or pretending to eat at a diner. | 0:53:31 | 0:53:34 | |
They're not flipping Rembrandt. | 0:53:34 | 0:53:36 | |
But whatever they call themselves, | 0:53:36 | 0:53:38 | |
they need to remember that just because they're in the background | 0:53:38 | 0:53:41 | |
doesn't mean we can't see them. | 0:53:41 | 0:53:42 | |
And their mistakes. As these clips show. | 0:53:42 | 0:53:46 | |
Being an extra isn't so hard. There are just a few basics to get right. | 0:53:48 | 0:53:52 | |
Watch the guy playing a French reporter in mystical blockbuster, | 0:53:52 | 0:53:55 | |
Angels and Demons. His left arm is up. | 0:53:55 | 0:53:59 | |
And now it's down. | 0:53:59 | 0:54:00 | |
Poor workmanship, monsieur. | 0:54:00 | 0:54:02 | |
In this rousing scene from Legally Blonde 2 | 0:54:04 | 0:54:07 | |
Elle's colleagues are shoulder to shoulder in the close shot. | 0:54:07 | 0:54:11 | |
Extra fries. | 0:54:11 | 0:54:12 | |
But in the wide shot, they're suddenly miles apart from each other. | 0:54:14 | 0:54:19 | |
Miles. OK, inches. | 0:54:19 | 0:54:21 | |
Come on, sneak a peek! | 0:54:23 | 0:54:30 | |
Here's Uma Thurman with a hairdo so terrifying it turns people into stone. | 0:54:30 | 0:54:34 | |
And even stone extras screw up their part as we're about to see. | 0:54:39 | 0:54:42 | |
She grabs the girl's wrist at elbow level. | 0:54:42 | 0:54:44 | |
And now it's down by her waist. The snakes will be very angry. | 0:54:44 | 0:54:48 | |
-How are you? -Very well. -Watch out for the extra playing a waiter. | 0:54:50 | 0:54:54 | |
He really doesn't want to miss his big moment. | 0:54:54 | 0:54:57 | |
-May I have a drink? -A drink, of course. | 0:54:57 | 0:54:59 | |
He walks through shot, but then you can see him waiting for his cue right there in the reflection. | 0:54:59 | 0:55:04 | |
-He didn't see me. -Waiter? | 0:55:04 | 0:55:06 | |
-I will have a martini. -Blimey, that's quick service. | 0:55:06 | 0:55:09 | |
Keep an eye on this guy. All he needs to do is clap normally | 0:55:13 | 0:55:16 | |
and not look like a complete weirdo. | 0:55:16 | 0:55:19 | |
Unfortunately, he can't do either. | 0:55:19 | 0:55:21 | |
See you in four years, yeah? | 0:55:21 | 0:55:23 | |
Presumably, because he's been told to clap silently and not ruin the soundtrack. | 0:55:23 | 0:55:27 | |
Let's have one more look at this fine extra work. | 0:55:28 | 0:55:32 | |
-Wow, he stands out like a Jamaican in the Winter Olympics. -Yeah, man. -Oh... | 0:55:32 | 0:55:36 | |
First thing you learn at the academy of not being a crap extra | 0:55:40 | 0:55:45 | |
is don't look at the camera. | 0:55:45 | 0:55:47 | |
This girl manages to do it once... | 0:55:47 | 0:55:50 | |
Twice. | 0:55:50 | 0:55:51 | |
Who wants to see my big ass dancing anyhow? | 0:55:51 | 0:55:54 | |
Three times. Cut! | 0:55:54 | 0:55:57 | |
And finally, here's an extra in the crowd | 0:56:01 | 0:56:04 | |
who's doing absolutely everything wrong. | 0:56:04 | 0:56:06 | |
The audience has been told not to react to the band, but not this guy. | 0:56:06 | 0:56:10 | |
He's mugging at the camera and generally having a one-man party. | 0:56:10 | 0:56:14 | |
Sir, we salute you. | 0:56:14 | 0:56:17 | |
Right, that's all we've got. | 0:56:19 | 0:56:21 | |
Remember, as long as there are movie mistakes, | 0:56:21 | 0:56:23 | |
there will be geeks to laugh at them. Goodnight. | 0:56:23 | 0:56:26 | |
Subtitles by Red Bee Media Ltd | 0:56:44 | 0:56:47 | |
E-mail [email protected] | 0:56:47 | 0:56:50 |