0:00:23 > 0:00:28Hello, and welcome to Great Movie Mistakes 2,
0:00:28 > 0:00:30even more goofs, gaffes, mess-ups and blunders
0:00:30 > 0:00:33that Hollywood's brightest thought we wouldn't notice.
0:00:33 > 0:00:34Wrong!
0:00:34 > 0:00:38Guess they weren't counting on our crack team of... noticers!
0:00:38 > 0:00:42They've pored over literally hours of film footage
0:00:42 > 0:00:46to compile another classic collection of cinematic clunkers.
0:00:46 > 0:00:48On tonight's show -
0:00:48 > 0:00:50Moulin Rouge, The Hangover,
0:00:50 > 0:00:53Pearl Harbor, Transformers,
0:00:53 > 0:00:54and The Silence Of The Lambs.
0:00:54 > 0:00:58Next, we come to another classic movie mistake - crew in shot.
0:00:58 > 0:01:01I once saw a classic example of crew in shot.
0:01:01 > 0:01:05That's because the film was shot in the Cheshire town of Crewe.
0:01:05 > 0:01:09Seriously! I'm talking about when the film crew end up on screen,
0:01:09 > 0:01:14which is ridiculous, because they're not as important as us actors.
0:01:14 > 0:01:18OK, OK, I'm sorry, they're just as important.
0:01:18 > 0:01:20No, they're not. Roll VT.
0:01:22 > 0:01:26Here's Cuba Gooding Jnr wondering what he's done to deserve a role
0:01:26 > 0:01:28in cinematic turkey Pearl Harbor.
0:01:28 > 0:01:31But keep your eyes on the left of the screen.
0:01:31 > 0:01:35That's no navy crewman, that's a film crewman with a remote control for the camera.
0:01:43 > 0:01:46Martin Scorsese's masterpiece Taxi Driver, and it appears that
0:01:46 > 0:01:49Travis Bickle has noticed something out of his window.
0:01:49 > 0:01:53Maybe it's someone looking at him. He really hates people looking at him.
0:01:55 > 0:01:57Hang on, who was that?
0:01:57 > 0:02:00Let's see that again.
0:02:00 > 0:02:04It's the reflection of the cameraman and the guy pushing the dolly.
0:02:04 > 0:02:06They really were looking at him.
0:02:09 > 0:02:12They say that great art holds a mirror up to life.
0:02:12 > 0:02:15- Hey, where do you want this? - Uh, in the bedroom.
0:02:15 > 0:02:18But in the movie Ghost, they're holding a mirror to the film crew.
0:02:18 > 0:02:20There they are.
0:02:20 > 0:02:22OK, we'll let them off that one mistake.
0:02:22 > 0:02:26- Hang on, there's a lighting stand in the shot, too.- Like it, huh?
0:02:26 > 0:02:28Like? "Like" is hardly the word.
0:02:28 > 0:02:30Oh, well, they're only human.
0:02:30 > 0:02:32Apart from the ghost. He's a ghost.
0:02:36 > 0:02:38Here's Surrogates.
0:02:38 > 0:02:41In this film, everyone has a robotic copy of themselves.
0:02:41 > 0:02:45So don't worry, all these people falling over are just robots.
0:02:45 > 0:02:47All robots.
0:02:47 > 0:02:50Apart from the film crew standing round the corner.
0:02:50 > 0:02:53They're not robots. They're idiots.
0:02:57 > 0:03:00Alfred Hitchcock used to have cameos in his films,
0:03:00 > 0:03:04so it's no surprise that Spielberg wanted to do the same.
0:03:04 > 0:03:05Actually, he didn't want to -
0:03:05 > 0:03:10he just stood right in front of the shiny, reflective phone booth.
0:03:10 > 0:03:12Hi, Steve!
0:03:14 > 0:03:17Now Ridley Scott's film American Gangster.
0:03:17 > 0:03:20Ridley is famed for his hard work, so you can forgive him
0:03:20 > 0:03:23putting his feet up and watching a bit of telly.
0:03:23 > 0:03:24There he is.
0:03:28 > 0:03:30And God bless...
0:03:30 > 0:03:32This is the Triple Rock Baptist Church
0:03:32 > 0:03:35from the film The Blues Brothers, but even the frantic dancing
0:03:35 > 0:03:40can't distract you from a crew member blatantly running through the back of shot.
0:03:40 > 0:03:44Not so much Blues Brothers as "Where's the nearest loos, brothers?"
0:03:44 > 0:03:45I just thought of that myself.
0:03:48 > 0:03:52- # So exciting, the audience will... # - Baz Luhrmann captured the look,
0:03:52 > 0:03:57the feel and the spirit of a 1900s Parisian cabaret in Moulin Rouge.
0:04:00 > 0:04:02He also managed to capture a stage hand wearing
0:04:02 > 0:04:07a baseball cap and wristwatch swinging this actor back and forth.
0:04:07 > 0:04:10Hey, Mum, I told you I'd make it in showbiz!
0:04:12 > 0:04:14Finally, it's Charlie and the Chocolate Factory.
0:04:14 > 0:04:17You know, they're always telling you what to do, what not to do,
0:04:17 > 0:04:19and it's not conducive to a creative atmosphere.
0:04:19 > 0:04:21The great thing about a remake
0:04:21 > 0:04:25is that you can use technological advances to eliminate all mistakes.
0:04:25 > 0:04:28Or you can just lob some whopping great glasses on Johnny Depp
0:04:28 > 0:04:31and see a camera in the reflection. Either's good.
0:04:31 > 0:04:33If you don't believe me, ask.
0:04:35 > 0:04:39Let's look now at continuity errors, those tiny little mistakes
0:04:39 > 0:04:41that film-makers fail to spot,
0:04:41 > 0:04:44so there are small changes in scenery or props,
0:04:44 > 0:04:48costume or even hair that make the scene almost unwatchable.
0:04:48 > 0:04:49All right, you get the idea.
0:04:49 > 0:04:53Two hours it's taken us to film this 30-second link. Two hours!
0:04:53 > 0:04:54I hope you're happy.
0:04:59 > 0:05:01It's wrinkle-fest Wild Hogs.
0:05:01 > 0:05:03That's going to stain. Ha!
0:05:03 > 0:05:05The tough guy at the back
0:05:05 > 0:05:09has mustard all over his forehead, nose and cheek.
0:05:09 > 0:05:10Spicy!
0:05:12 > 0:05:16But in the next shot, his face is practically clean.
0:05:16 > 0:05:19When the director saw this, he was furious, according to my sauces.
0:05:19 > 0:05:22Ha-ha! Sauces!
0:05:24 > 0:05:27Shallow Hal now, and a scene-stealing performance
0:05:27 > 0:05:28from Jack Black's towel.
0:05:28 > 0:05:30She's got cankles, for God's sake!
0:05:30 > 0:05:32- First it's in his hand.- What?
0:05:32 > 0:05:36Cankles! She's got no ankles. It's like the calf merged with the foot.
0:05:36 > 0:05:37Now it's on his neck.
0:05:37 > 0:05:42- I know what cankles are! Rosemary doesn't have them.- Now it's gone.
0:05:42 > 0:05:44I know what you're doing here.
0:05:44 > 0:05:48- You're scared.- 'Scared of getting upstaged by a towel.'- Yep.
0:05:50 > 0:05:54If I belonged to a group known as the Losers,
0:05:54 > 0:05:56I'd probably not play cards.
0:05:56 > 0:06:00But keep your eyes on the guy with glasses.
0:06:00 > 0:06:02- 'His card pictures a woman lying down.'- What?
0:06:02 > 0:06:05All right. Let's go.
0:06:05 > 0:06:09- 'Standing up.'- I will raise you.
0:06:09 > 0:06:11- You don't want to do that.- Oh, no?
0:06:11 > 0:06:14- Piece you got off that Honduran general.- 'Lying down again.'
0:06:14 > 0:06:16- 'Who's the loser now, Losers?' - Definitely in.
0:06:18 > 0:06:22- Come now, Stu. You can feel it. - 'Phone Booth.'
0:06:22 > 0:06:23Gritty thriller.
0:06:23 > 0:06:27Colin Farrell on a worn and tattered phone.
0:06:27 > 0:06:29Anyway, he spends the whole film nattering away.
0:06:29 > 0:06:32And by the end,
0:06:32 > 0:06:36the sticker is brand-new again. Phone booth or TARDIS?
0:06:36 > 0:06:39It's the killers that get the cover of Time magazine. Right?
0:06:41 > 0:06:44TARDIS, I reckon, because at the start of the movie,
0:06:44 > 0:06:45he takes his wedding ring off.
0:06:45 > 0:06:49That old trick, eh, Colin?
0:06:49 > 0:06:52A bit later, it's still off...
0:06:52 > 0:06:56Look, it's our friends from Channels 2 and 5, your local news, Stu.
0:06:56 > 0:06:58You could never do this for any of your clients.
0:06:58 > 0:07:02..and then magically pops back on his finger again. Make your mind up, man.
0:07:02 > 0:07:05Stick your head out a little so they get a better angle.
0:07:07 > 0:07:09Ah, we've all been in this position before.
0:07:09 > 0:07:12Hey! Hey there!
0:07:12 > 0:07:15What are you doing there? Oh, no, no, no, no, wait, it's OK.
0:07:15 > 0:07:17Stranger danger! Stranger danger!
0:07:17 > 0:07:20But watch the toilet roll as it comes out of the bin.
0:07:20 > 0:07:24In this shot, it's clean.
0:07:24 > 0:07:25And now it's covered in debris.
0:07:25 > 0:07:30Toilet roll - clean one minute, filthy the next. Nothing new there.
0:07:34 > 0:07:37An audition scene in Bruno now, but it's the cowboy hat
0:07:37 > 0:07:41- 'on the back of the door that's making all the right moves.'- Hello.
0:07:41 > 0:07:43I'm looking for my vife!
0:07:45 > 0:07:47- Shaddap, women. - 'It's moved.'
0:07:47 > 0:07:51- Fine.- I couldn't hear your woice... - 'And it's moved again.'
0:07:51 > 0:07:54..or laugh about it vith you.
0:07:54 > 0:07:56'Should call it Bor-hat. Hur!'
0:07:59 > 0:08:04Here we see Will Smith literally in The Pursuit of Happyness.
0:08:04 > 0:08:08- Don't move. Don't move!- Doesn't he realise it's an unachievable goal?
0:08:08 > 0:08:11When he says, "Don't move," he's talking
0:08:11 > 0:08:13to the green sticker on the side of the train.
0:08:13 > 0:08:17See it? Maybe that's the key to happiness.
0:08:17 > 0:08:20- 'Oh, unlucky, Will, it's gone.' - Stop the train!
0:08:22 > 0:08:26I have always find it easy to tell my left from my right
0:08:26 > 0:08:29using the simple system of not being an idiot.
0:08:29 > 0:08:31But moviemakers seem to mix them up all the time.
0:08:31 > 0:08:34It's not just stupid, it is dangerous, too.
0:08:34 > 0:08:36I found this out the hard way
0:08:36 > 0:08:39during a particularly aggressive round of the hokey-cokey,
0:08:39 > 0:08:43when I put my left foot in... to the face of my 10-year-old niece.
0:08:43 > 0:08:45I cross my heart,
0:08:45 > 0:08:48you'll never catch me making that sort of mistake again.
0:08:49 > 0:08:52Holly. Holly.
0:08:54 > 0:08:57- Holly.- Yes, Holly.
0:08:57 > 0:09:00'First up, we have Land Of The Lost,
0:09:00 > 0:09:04'a comedy about a little hairy man who touches people inappropriately.
0:09:04 > 0:09:07'Anyway, watch the hand, not the boob.
0:09:08 > 0:09:11'Left hand on Anna Friel,
0:09:11 > 0:09:15'and now it's suddenly the right hand. Clever monkey!'
0:09:15 > 0:09:19Wi-il. Will.
0:09:21 > 0:09:22'Val Kilmer now,
0:09:22 > 0:09:26'an actor so mesmerising he makes you forget which side is which.'
0:09:26 > 0:09:31- Harry, you're not listening to me. Harry!- What?
0:09:31 > 0:09:33'Left hand on Robert Downey's mouth, now it's the right.
0:09:33 > 0:09:36'That's some seriously powerful acting!'
0:09:40 > 0:09:43Next up, it's horror classic Silence Of The Lambs,
0:09:43 > 0:09:45and take a look at this door.
0:09:45 > 0:09:48The handle's on the right, right?
0:09:52 > 0:09:54This film makes everything unsettling,
0:09:54 > 0:09:57even changing what side the door opens on.
0:09:59 > 0:10:02Oh, creepy! Ooh!
0:10:06 > 0:10:09'The Hangover. We've all been there.
0:10:09 > 0:10:13'A big, crazy night out. You don't know what you're doing.
0:10:15 > 0:10:18'You hold something in your right hand
0:10:18 > 0:10:20'and suddenly it's in your left!
0:10:22 > 0:10:25Wooh, yeah. We're...American!
0:10:27 > 0:10:32Here's everyone's second favourite magical babysitter, Nanny McPhee.
0:10:32 > 0:10:36Look, she's making statues come to life.
0:10:36 > 0:10:40Not as impressive, though, as making the sidecar
0:10:40 > 0:10:43go from the left of the bike, to the right.
0:10:43 > 0:10:46See? Even the lion's disgusted at this movie mistake.
0:10:48 > 0:10:53Sean Penn, now, in this Oscar winning performance as Harvey Milk.
0:10:53 > 0:10:58A powder blue pen to sign the city's first gay-rights law.
0:10:58 > 0:11:00But don't watch that pen. Watch this one.
0:11:00 > 0:11:05The suity bloke holds it in his left hand.
0:11:05 > 0:11:08But he signs with his right hand.
0:11:08 > 0:11:11Right old load of old nonsense, more like!
0:11:13 > 0:11:16Here are the two stars of Fired Up, I can't recall their names,
0:11:16 > 0:11:21presumably running away from a massive horde of fans.
0:11:21 > 0:11:25When they jump over the wall, blondie is on the right,
0:11:25 > 0:11:28but in the water, they switch places and he's now on the left.
0:11:28 > 0:11:31Echoing my thoughts, when I watched Fired Up,
0:11:31 > 0:11:35I wanted to swap places with someone not watching Fired Up!
0:11:36 > 0:11:41- Hey, I'm Nick.- Sean. Can we use your pool?
0:11:41 > 0:11:45Finally, a clip from the movie Very Bad Things starring Cameron Diaz.
0:11:45 > 0:11:49Cameron's no stranger to very bad things herself.
0:11:49 > 0:11:54In this scene, she's just read the script for Charlie's Angels 2,
0:11:54 > 0:11:57but keep an eye on the spray and the brush.
0:11:57 > 0:11:59As they fade from a crane shot to a helicopter shot,
0:11:59 > 0:12:02they suddenly switched.
0:12:02 > 0:12:05Well done, Cameron. You've been upstaged by cleaning products.
0:12:07 > 0:12:12Transformers, a series of films in which a variety of motor vehicles
0:12:12 > 0:12:15turn into a variety of robots.
0:12:15 > 0:12:17I'd love a car that turns into a robot.
0:12:17 > 0:12:19The only thing my car's ever turned into is my drive.
0:12:19 > 0:12:21I don't really have a drive.
0:12:21 > 0:12:24The films were directed by Michael Bay,
0:12:24 > 0:12:27a man who loves action so much, even his diarrhoea is explosive.
0:12:27 > 0:12:29And of course, they star Shia LaBoeuf,
0:12:29 > 0:12:31a man who is no stranger to mistakes
0:12:31 > 0:12:34after his parents chose to call him Shia LaBoeuf.
0:12:34 > 0:12:37Translated into English, his name means,
0:12:37 > 0:12:40"Look at these terrible movie mistakes, LaBoeuf."
0:12:40 > 0:12:42Michaela, do not touch it. OK?
0:12:42 > 0:12:45'All kinds of things transform in these films.
0:12:45 > 0:12:47'Such as the empty space on the floor.
0:12:50 > 0:12:53You're hot, but you ain't too bright.
0:12:53 > 0:12:56Suddenly, here's some cigar boxes
0:12:56 > 0:12:58and a couple of mousetraps.
0:12:59 > 0:13:01Clever, yeah? No, it's awful!
0:13:01 > 0:13:04What are you looking at, slobberpuss?
0:13:06 > 0:13:11Egypt and Jordan like the tip of a blade. 29 degrees North, 35 E.
0:13:12 > 0:13:16Here's Shia LaBoeuf, speeding through the Egyptian desert.
0:13:16 > 0:13:19Don't let the Pyramids distract you,
0:13:19 > 0:13:22because that's the shadow of the camera van, driving alongside.
0:13:29 > 0:13:32Rule one when talking to a huge angry robot,
0:13:32 > 0:13:35concentrate on what he's saying.
0:13:35 > 0:13:37- Come here, boy... - 'And don't move around.'
0:13:37 > 0:13:40First Shia's at the top of the stairs
0:13:41 > 0:13:44now he's halfway down.
0:13:44 > 0:13:47He's jumped from here to here.
0:13:49 > 0:13:54And he's moved again from here, to here.
0:13:56 > 0:13:57That'll teach him(!)
0:14:01 > 0:14:03Watch out for Shia's hoodie in this scene.
0:14:03 > 0:14:05One moment it's off,
0:14:08 > 0:14:10and now it's on.
0:14:10 > 0:14:14I have a record because I wouldn't turn my dad in.
0:14:14 > 0:14:17When have you sacrificed anything in your perfect little life?
0:14:17 > 0:14:19'Still on, tense moment.'
0:14:19 > 0:14:22Big guys with big guns.
0:14:22 > 0:14:23'Now it's half off.'
0:14:23 > 0:14:26A clip that features self-removing clothes
0:14:26 > 0:14:30and none of them on Megan Fox. Unbelievable.
0:14:34 > 0:14:38Here we see are heroes getting hot and bothered in the desert.
0:14:38 > 0:14:42Shia's trying to cool off, waving his jacket around like a madman.
0:14:48 > 0:14:52And suddenly it's gone. Shame! It was 30 quid from Topman.
0:14:54 > 0:14:57But don't fret, jacket fans, next scene it's back in his hands.
0:14:57 > 0:15:00They should really jacket-in!
0:15:02 > 0:15:05Here's a gripping action scene from director Michael Bay.
0:15:05 > 0:15:08The wheels on the bus don't so much go round and round
0:15:08 > 0:15:13as explode in a fiery ball of metal and flesh. I say flesh...
0:15:13 > 0:15:17Looking at the clip again, we see the bus doesn't have passnegers
0:15:17 > 0:15:20or even seats. Just a dummy driver.
0:15:20 > 0:15:24It's as empty as a local cinema showing a Shia LaBoeuf-athon.
0:15:26 > 0:15:29Obviously, actors don't do all their own acting themselves.
0:15:29 > 0:15:32Sometimes they're replaced with a body double or a dummy.
0:15:32 > 0:15:35It's ridiculous. You can't replace talent with a dummy.
0:15:35 > 0:15:37Isn't that right, David Mitchell?
0:15:37 > 0:15:40(MURMURS) That's right, although I should say,
0:15:40 > 0:15:42you were always the talented one.
0:15:42 > 0:15:44See! I never use a body double.
0:15:44 > 0:15:47Why would I? When I've got a body like this?
0:15:48 > 0:15:53You're going to put in a six-pack in post, yeah? Cheers.
0:15:55 > 0:15:57First up, it's '80s classic Fatal Attraction.
0:15:57 > 0:16:00Here's Michael Douglas having a bit of rough-and-tumble
0:16:00 > 0:16:03with original bunny boiler Glenn close.
0:16:04 > 0:16:07Ooh, wait. That's not Michael Douglas.
0:16:14 > 0:16:17Let's have another look at him. Wait for it.
0:16:17 > 0:16:20Hang on, is that Jerry Seinfeld?
0:16:20 > 0:16:23Well, it looks more like him than Michael Douglas.
0:16:23 > 0:16:26Work's probably dried up since the sitcom finished.
0:16:28 > 0:16:31Don't turn that engine on, I swear to God.
0:16:31 > 0:16:35This scene, from Role Models, features a small boy stealing a car.
0:16:35 > 0:16:38If there's anything funnier than children
0:16:38 > 0:16:40recklessly endangering their own lives,
0:16:40 > 0:16:42I don't know what it is.
0:16:42 > 0:16:44But don't worry, the actual driving
0:16:44 > 0:16:47is being done by a much taller, fully road legal stuntman.
0:16:47 > 0:16:49Kids, eh? They grow up so fast!
0:16:58 > 0:17:02No, it's not Dancing On Ice, it's edgy thriller Ronin.
0:17:02 > 0:17:05I've always thought ice skating was a popular sport,
0:17:05 > 0:17:07but apparently not.
0:17:07 > 0:17:13Look. They've had to fill out the audience with cardboard cutouts.
0:17:13 > 0:17:16There we are. That's it, mate, take a closer look.
0:17:18 > 0:17:21Jefferson once shot a man on the White House lawn for treason.
0:17:21 > 0:17:24Speaking of two-dimensional cardboard characters,
0:17:24 > 0:17:28here's John Travolta up to his old tricks in the movie swordfish.
0:17:30 > 0:17:32Shooting guys and blowing up people.
0:17:36 > 0:17:39Ooh, but that's not a people. It's another dodgy lookalike dummy.
0:17:39 > 0:17:42Those guys should really avoid cars altogether.
0:17:47 > 0:17:49The Blues Brothers - all singing, all dancing,
0:17:49 > 0:17:53and all couldn't be bothered to turn up for the crowd scene.
0:17:55 > 0:17:59Those are actually two mannequins at the back. Typical!
0:18:01 > 0:18:02Saline solution...
0:18:02 > 0:18:06Most people's legs would turn to jelly
0:18:06 > 0:18:09if they were about to be tortured by Gerard Butler.
0:18:09 > 0:18:12But this guy's left foot has turned to rubber.
0:18:12 > 0:18:14Comfortable?
0:18:14 > 0:18:18Because it's fake. Boing!
0:18:23 > 0:18:26That's all we've got. Remember, as long as there are movie mistakes,
0:18:26 > 0:18:30there will be geeks to laugh at them. Goodnight.
0:18:30 > 0:18:33Subtitles by Red Bee Media Ltd