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Hello and welcome to Great Movie Mistakes 2. | 0:00:23 | 0:00:28 | |
Even more goofs, gaffes, mess-ups and blunders | 0:00:28 | 0:00:30 | |
that Hollywood's brightest thought we wouldn't notice. | 0:00:30 | 0:00:33 | |
Wrong! Guess they weren't counting on crack team of... noticers. | 0:00:33 | 0:00:39 | |
They've pored over literally hours of film footage to compile | 0:00:39 | 0:00:42 | |
another classic collection of cinematic clunkers. | 0:00:42 | 0:00:46 | |
On tonight's show... | 0:00:46 | 0:00:49 | |
If it's so difficult for movie-makers to get the weather right, | 0:00:54 | 0:00:58 | |
then why don't they just write scripts where it's always nice? | 0:00:58 | 0:01:01 | |
Singing In The Rain could just become Singing In The Dry, | 0:01:01 | 0:01:04 | |
The Perfect Storm could become The Perfectly Pleasant Afternoon, | 0:01:04 | 0:01:07 | |
and in An Inconvenient Truth, Al Gore could just reveal | 0:01:07 | 0:01:10 | |
that it's going to get quite mild, much more convenient. | 0:01:10 | 0:01:13 | |
Anyway, here's some weather that we can really complain about. | 0:01:13 | 0:01:17 | |
Let's start with a clip from romantic comedy, Enchanted. | 0:01:17 | 0:01:21 | |
Plenty of snow on the pavement. | 0:01:21 | 0:01:23 | |
It's clearly the middle of winter. | 0:01:23 | 0:01:26 | |
But hang on, a little later in the same scene, the pavement is suddenly snow free. | 0:01:30 | 0:01:36 | |
This has ruined an otherwise completely realistic movie for me. | 0:01:37 | 0:01:40 | |
Here's the opening scene from comedic turkey Paul Blart: Mall Cop. | 0:01:43 | 0:01:47 | |
But the animal we're interested in is the dog. | 0:01:47 | 0:01:50 | |
See how there's a clear shadow underneath the pooch in the bright sunlight? | 0:01:50 | 0:01:54 | |
Well, not in the close-up. | 0:01:54 | 0:01:56 | |
This is actually only the second worst mistake, right after having made the film in the first place. | 0:01:56 | 0:02:02 | |
A small ship on stormy seas. It's being thrown all over the place | 0:02:06 | 0:02:11 | |
in the opening scene of this Brit flick. | 0:02:11 | 0:02:14 | |
We're about to get our first glimpse of the famous Boat That Rocked, | 0:02:14 | 0:02:18 | |
only problem being that the boat that rocked isn't rocking at all. | 0:02:18 | 0:02:23 | |
Unlike the small boat, it's in much calmer waters. | 0:02:23 | 0:02:26 | |
Here's a fully grown man kerb-crawling for schoolgirls. | 0:02:28 | 0:02:33 | |
How did the concert go? | 0:02:33 | 0:02:34 | |
You can see from the rain on the car that it's absolutely pouring down. | 0:02:34 | 0:02:37 | |
-What are you playing? -Elgar. | 0:02:37 | 0:02:40 | |
Ah, I think it's a shame he spent so much time... | 0:02:40 | 0:02:43 | |
We can always hear the rain, but she's clearly walking in the sunshine. | 0:02:43 | 0:02:47 | |
Looks like the film's continuity person needs a bit of an education. | 0:02:47 | 0:02:50 | |
George Clooney looking for a bit of love action in the winter snow. | 0:02:54 | 0:02:58 | |
So I was in the neighbourhood... | 0:02:58 | 0:02:59 | |
But keep an eye on the snow that's coming down. | 0:02:59 | 0:03:03 | |
It's everywhere, | 0:03:03 | 0:03:06 | |
except in this shot, when the snow machine obviously went on the blink. | 0:03:06 | 0:03:09 | |
And it's snowing again. And not. And snow. | 0:03:09 | 0:03:12 | |
And finally, a clip in which some frozen teens | 0:03:14 | 0:03:17 | |
complain about being frozen, in the movie Frozen. | 0:03:17 | 0:03:20 | |
They're stuck on a chairlift and clearly really, really cold. | 0:03:21 | 0:03:25 | |
Frozen, even. | 0:03:25 | 0:03:26 | |
It's frigging cold up here! | 0:03:26 | 0:03:29 | |
So why can't we see their breath in this scene? | 0:03:29 | 0:03:32 | |
Probably because they're in a cosy, warm studio, that's why. | 0:03:32 | 0:03:36 | |
Props are a regular source of terrible movie mistakes. | 0:03:40 | 0:03:43 | |
Sometimes it's a thing that doesn't look quite right, | 0:03:43 | 0:03:46 | |
like a heavy rock that's clearly made out of polystyrene. | 0:03:46 | 0:03:48 | |
Or something that shouldn't have been in the film in the first place, | 0:03:48 | 0:03:51 | |
like Ray Winstone in the last Indiana Jones movie. | 0:03:51 | 0:03:54 | |
Prop mix-ups could have disastrous consequences. | 0:03:54 | 0:03:57 | |
I mean, what if The Man With The Golden Gun had lost his golden gun? | 0:03:57 | 0:04:00 | |
It would just be called The Man. | 0:04:00 | 0:04:02 | |
And I've not seen the film myself, but what if Schindler had lost his shopping list? | 0:04:02 | 0:04:07 | |
It IS a shopping list, isn't it? Yeah. | 0:04:07 | 0:04:11 | |
If there's one man you can trust in Hollywood, it's Richard Gere. | 0:04:11 | 0:04:16 | |
Here's a scene in which he promises to look after some letters. | 0:04:16 | 0:04:19 | |
Popping off letters for my dad, my mom and my sis. | 0:04:19 | 0:04:23 | |
Don't worry, still got them. | 0:04:24 | 0:04:26 | |
Oh, Richard, you've lost them. | 0:04:26 | 0:04:29 | |
You're neither an officer nor a gentleman. | 0:04:29 | 0:04:31 | |
If you don't mind me saying, you're still angry. | 0:04:35 | 0:04:38 | |
Rupert Everett now, someone else with no letters. | 0:04:38 | 0:04:40 | |
-Even though he is holding a letter opener. -I'm not angry. | 0:04:40 | 0:04:42 | |
I'm just very, very, very... | 0:04:42 | 0:04:45 | |
Very confused because now the letter opener is a dart. | 0:04:47 | 0:04:51 | |
Disappointed. | 0:04:55 | 0:04:56 | |
Here's Billy Bob Thornton as Bad Santa, | 0:05:01 | 0:05:04 | |
relaxing after a hard day's being miserable. | 0:05:04 | 0:05:06 | |
But keep an eye on the bottle he's swigging from. | 0:05:06 | 0:05:09 | |
You can see it's made of thin plastic. | 0:05:09 | 0:05:13 | |
Shouldn't smash like glass then, eh? | 0:05:13 | 0:05:15 | |
Bad Santa. | 0:05:17 | 0:05:18 | |
It's futuristic sci-fi hit Moon now, which features an epic plot clanger. | 0:05:21 | 0:05:26 | |
Keep your eye on the table for an unexpected reworking | 0:05:26 | 0:05:29 | |
of Little House On The Prairie. | 0:05:29 | 0:05:32 | |
High five. | 0:05:32 | 0:05:33 | |
Only in the future, | 0:05:33 | 0:05:34 | |
it's called Little House On The Ping-pong Table. Weird. | 0:05:34 | 0:05:38 | |
-John Travolta appears to be running out of time. -I think I need to pray. | 0:05:40 | 0:05:46 | |
As we can see on the black-faced watch he's wearing. | 0:05:46 | 0:05:49 | |
Give me a minute. | 0:05:49 | 0:05:51 | |
Only the next time we see his watch, it changes to a white one. | 0:05:51 | 0:05:56 | |
And there's the black one again. | 0:05:56 | 0:05:59 | |
-Should we tell him? -Tell him the truth or a lie? | 0:05:59 | 0:06:02 | |
Tell him the truth. | 0:06:02 | 0:06:03 | |
Why do extras insist on being referred to as background artists? | 0:06:05 | 0:06:08 | |
Artists? They're standing in a lift or pretending to eat at a diner. | 0:06:08 | 0:06:12 | |
They're not flipping Rembrandt. But whatever they call themselves, | 0:06:12 | 0:06:15 | |
they need to remember that just because they're in the background | 0:06:15 | 0:06:18 | |
doesn't mean we can't see them. | 0:06:18 | 0:06:20 | |
And their mistakes. As these clips show. | 0:06:20 | 0:06:24 | |
Being an extra isn't so hard. There are just a few basics to get right. | 0:06:25 | 0:06:29 | |
Watch the guy playing a French reporter in mystical blockbuster, | 0:06:29 | 0:06:33 | |
Angels and Demons. His left arm is up. | 0:06:33 | 0:06:36 | |
And now it's down. | 0:06:36 | 0:06:38 | |
Poor workmanship, monsieur. | 0:06:38 | 0:06:40 | |
In this rousing scene from Legally Blonde 2, | 0:06:42 | 0:06:44 | |
Elle's colleagues are shoulder to shoulder in the close shot. | 0:06:44 | 0:06:48 | |
Extra fries. | 0:06:48 | 0:06:50 | |
But in the wide shot, they're suddenly miles apart from each other. | 0:06:52 | 0:06:57 | |
Miles! OK, inches. | 0:06:57 | 0:06:59 | |
Come on, sneak a peek! | 0:07:01 | 0:07:08 | |
Here's Uma Thurman with a hairdo so terrifying it turns people into stone. | 0:07:08 | 0:07:12 | |
And even stone extras screw up their part, as we're about to see. | 0:07:16 | 0:07:19 | |
She grabs the girl's wrist at elbow level. | 0:07:19 | 0:07:22 | |
And now it's down by her waist. The snakes will be very angry. | 0:07:22 | 0:07:26 | |
-How are you? -Very well. -Watch out for the extra playing a waiter. | 0:07:28 | 0:07:31 | |
He really doesn't want to miss his big moment. | 0:07:31 | 0:07:35 | |
-May I have a drink? -A drink, of course. | 0:07:35 | 0:07:37 | |
He walks through shot, but then you can see him waiting for his cue right there in the reflection. | 0:07:37 | 0:07:41 | |
-He didn't see me. -Waiter? | 0:07:41 | 0:07:44 | |
-I will have a martini. -Blimey, that's quick service. | 0:07:44 | 0:07:46 | |
Keep an eye on this guy. All he needs to do is clap normally | 0:07:50 | 0:07:54 | |
and not look like a complete weirdo. | 0:07:54 | 0:07:56 | |
Unfortunately, he can't do either. | 0:07:56 | 0:07:59 | |
See you in four years, yeah? | 0:07:59 | 0:08:01 | |
Presumably, because he's been told to clap silently and not ruin the soundtrack. | 0:08:01 | 0:08:04 | |
Let's have one more look at this fine extra work. | 0:08:06 | 0:08:09 | |
-Wow, he stands out like a Jamaican in the Winter Olympics. -Yeah, man. -Oh... | 0:08:09 | 0:08:14 | |
First thing you learn at the academy of not being a crap extra | 0:08:18 | 0:08:22 | |
is don't look at the camera. | 0:08:22 | 0:08:25 | |
This girl manages to do it once... | 0:08:25 | 0:08:27 | |
Twice. | 0:08:27 | 0:08:29 | |
Who wants to see my big ass dancing anyhow? | 0:08:29 | 0:08:32 | |
Three times. Cut! | 0:08:32 | 0:08:35 | |
And finally, here's an extra in the crowd | 0:08:39 | 0:08:42 | |
who's doing absolutely everything wrong. | 0:08:42 | 0:08:44 | |
The audience has been told not to react to the band, but not this guy. | 0:08:44 | 0:08:48 | |
He's mugging at the camera and generally having a one-man party. | 0:08:48 | 0:08:51 | |
Sir, we salute you. | 0:08:51 | 0:08:54 | |
Movie folk aren't always the smartest tools in the box, | 0:08:56 | 0:08:59 | |
and this is apparent when they're asked to write something. | 0:08:59 | 0:09:02 | |
If the clips we're about to see are to be believed, then apparently, it is impossible | 0:09:02 | 0:09:07 | |
to put pen to paper on screen without making some massive error. | 0:09:07 | 0:09:10 | |
Well, if that really is true, then I've got a word for you. | 0:09:10 | 0:09:13 | |
Ooh, hang on. No, that's right. Roll the clips. | 0:09:15 | 0:09:18 | |
St Trinian's, and no, the mistake here isn't the whole movie. | 0:09:18 | 0:09:21 | |
Keep an eye on the blackboard behind Russell Brand. | 0:09:21 | 0:09:24 | |
Nothing written next to number five. | 0:09:24 | 0:09:26 | |
Search for the criminal inside yourself. Yes? | 0:09:26 | 0:09:29 | |
-TOGETHER: -Theft. | 0:09:31 | 0:09:33 | |
Then suddenly, writing has appeared on Russell's blackboardy-woardy. | 0:09:33 | 0:09:38 | |
Good work. | 0:09:38 | 0:09:39 | |
Here's a newspaper that clearly says it's from the year 1980. | 0:09:40 | 0:09:45 | |
But hold the press, what's this? | 0:09:45 | 0:09:48 | |
TheEmbreyStar.com?! | 0:09:49 | 0:09:52 | |
A web address in 1980? | 0:09:52 | 0:09:53 | |
The World Wide Web didn't exist until the 1990s. | 0:09:53 | 0:09:57 | |
Here's a film about a hotel for dogs called Hotel For Dogs. | 0:10:00 | 0:10:03 | |
One of the dogs staying at the hotel is called Henry, | 0:10:03 | 0:10:07 | |
as can be seen from his name written in green ink in the guest register. | 0:10:07 | 0:10:11 | |
Note the lovely red heart above. | 0:10:11 | 0:10:13 | |
But later in the film, when Don Cheadle reads out his name, | 0:10:13 | 0:10:17 | |
it's written in red pen and no sign of a heart. | 0:10:17 | 0:10:20 | |
Don, you're an Oscar winner. | 0:10:20 | 0:10:22 | |
You're better than this. | 0:10:22 | 0:10:24 | |
To decide that she will cheat on the math test. | 0:10:26 | 0:10:29 | |
X marks the spot here in mystery thriller Donnie Darko. | 0:10:29 | 0:10:33 | |
Good. Good, very good. | 0:10:33 | 0:10:36 | |
Mr Darko? | 0:10:36 | 0:10:37 | |
The biggest mystery, though, | 0:10:37 | 0:10:39 | |
is why that X becomes almost invisible in the next shot. | 0:10:39 | 0:10:42 | |
We'll just chalk this one up to experience. | 0:10:42 | 0:10:45 | |
Another Oscar winner now. | 0:10:47 | 0:10:49 | |
Look at the word "direktor" being written on Oskar Schindler's door. | 0:10:49 | 0:10:53 | |
But later in the film, the letters look completely different - | 0:10:53 | 0:10:57 | |
much bigger and in a different font. | 0:10:57 | 0:11:00 | |
I'm sorry, you can't blame this one on the Nazis. | 0:11:00 | 0:11:02 | |
I imagine you sitting in a dark basement room, | 0:11:04 | 0:11:07 | |
bent over papers and computer screens. | 0:11:07 | 0:11:10 | |
And finally, a chilling scene from Hannibal. | 0:11:10 | 0:11:13 | |
When crazy old Dr Lecter signs his letter to Clarice Starling, | 0:11:13 | 0:11:17 | |
there is no hyphen between "Hannibal Lecter" | 0:11:17 | 0:11:20 | |
and "MD". | 0:11:20 | 0:11:21 | |
'PS. Clearly...' | 0:11:23 | 0:11:25 | |
But when Starling reads the letter, there's a hyphen. | 0:11:25 | 0:11:29 | |
Someone's head should be served on a platter for this mistake. | 0:11:29 | 0:11:32 | |
Maybe with some minted peas and a nice cabernet sauvignon. | 0:11:32 | 0:11:35 | |
HE SLURPS | 0:11:35 | 0:11:36 | |
-OUT OF SYNC: -You know what I hate? Those moments in films | 0:11:38 | 0:11:41 | |
when the actor's mouth isn't synched up with what they're saying. | 0:11:41 | 0:11:45 | |
Sometimes their mouth isn't moving, sometimes it's moving but nothing's coming out. | 0:11:45 | 0:11:49 | |
Still, it's better than watching Twilight, | 0:11:49 | 0:11:52 | |
where you can see Robert Pattinson's mouth moving, but what you hear is absolute drivel. | 0:11:52 | 0:11:56 | |
In the movie Collateral, Tom Cruise and Jamie Foxx | 0:11:56 | 0:11:59 | |
go to a jazz club that's so groovy, it ignores the rules of physics. | 0:11:59 | 0:12:03 | |
It's off melody. Behind the notes. Not what's expected. | 0:12:03 | 0:12:06 | |
Listen as the trumpet note continues even though the trumpeter's stopped blowing. | 0:12:06 | 0:12:11 | |
Nice! | 0:12:13 | 0:12:15 | |
-Have I told you about Sammy Jankis? -Mm. Yeah. | 0:12:17 | 0:12:20 | |
Memento now, and watch the guy on the right's mouth. | 0:12:20 | 0:12:23 | |
You think he's still here? | 0:12:23 | 0:12:25 | |
Another one talking without actually moving his lips. | 0:12:25 | 0:12:28 | |
-You think he's still here? -Who? | 0:12:28 | 0:12:30 | |
Johnny G, the guy you're looking for. | 0:12:30 | 0:12:33 | |
..others exceedingly cruel... | 0:12:34 | 0:12:36 | |
Now, this woman is talking so much, you can still hear her when her mouth isn't moving. | 0:12:36 | 0:12:41 | |
Watch closely as she's put down on the sofa. | 0:12:41 | 0:12:43 | |
..coffee shop downstairs. | 0:12:43 | 0:12:45 | |
Not that I'd trade a day, an hour, a moment of it for anything! | 0:12:45 | 0:12:48 | |
I don't know what came over me! | 0:12:48 | 0:12:50 | |
The Windsor plantation. | 0:12:52 | 0:12:54 | |
And here is a classic mouth-wrong from the film The Notebook. | 0:12:54 | 0:12:58 | |
Take note - just because a scene is dimly lit does not mean you can dub over completely different words. | 0:12:58 | 0:13:04 | |
Be careful it isn't broken. | 0:13:04 | 0:13:06 | |
Look at that. | 0:13:06 | 0:13:08 | |
Oh, this place is gigantic! | 0:13:08 | 0:13:10 | |
Yeah, a gigantic piece of... | 0:13:10 | 0:13:12 | |
Subtitles by Red Bee Media Ltd | 0:13:31 | 0:13:34 | |
E-mail [email protected] | 0:13:34 | 0:13:37 |