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Hello, I'm Robert Webb. | 0:00:13 | 0:00:17 | |
Welcome to Great TV Mistakes. | 0:00:17 | 0:00:20 | |
Now, I know what you're saying - "But people in telly don't make mistakes. | 0:00:20 | 0:00:24 | |
"They're all perfect, like you, Rob." | 0:00:24 | 0:00:26 | |
Not true. Everyone makes mistakes. | 0:00:26 | 0:00:28 | |
You just called me Rob, for instance. | 0:00:28 | 0:00:30 | |
And no-one but no-one calls me Rob unless I give them permission. Understand?! | 0:00:30 | 0:00:35 | |
Over the next hour, we'll be revealing the worst howlers ever broadcast. | 0:00:35 | 0:00:39 | |
Mistakes my crack team of square-eyed, OCD numpties | 0:00:39 | 0:00:42 | |
refused to rest until they have managed to show you the foul-ups they didn't want you to see. | 0:00:42 | 0:00:48 | |
"They" meaning "them", not you. | 0:00:48 | 0:00:51 | |
Enjoy! | 0:00:51 | 0:00:53 | |
Coming up - mistakes from... | 0:00:53 | 0:00:55 | |
..and many more! | 0:01:03 | 0:01:05 | |
In TV, we have a nickname for special effects. | 0:01:05 | 0:01:10 | |
We call them special "FX". | 0:01:10 | 0:01:12 | |
Aren't we brilliant? | 0:01:12 | 0:01:13 | |
These days, the effects on TV are so special, | 0:01:13 | 0:01:16 | |
they can often leave you, the viewer, wide-eyed, slack-jawed and dumbstruck. | 0:01:16 | 0:01:20 | |
Even more than usual. Yes, thanks to computer technology, | 0:01:20 | 0:01:23 | |
the only limit to modern SFX is the producer's imagination. | 0:01:23 | 0:01:26 | |
Which is a shame, because most producers' imaginations are limited to saying, | 0:01:26 | 0:01:30 | |
"Hey, why don't we just get Ant and Dec to do it?" and then ordering sushi. | 0:01:30 | 0:01:34 | |
Which sadly means every now and again, the "special" effects are anything but. | 0:01:34 | 0:01:40 | |
A high-speed chase in Knight Rider | 0:01:45 | 0:01:47 | |
and Michael is in pursuit of two blokes who have kidnapped a lady. | 0:01:47 | 0:01:50 | |
Oh, she's a terrible back-seat driver. | 0:01:50 | 0:01:53 | |
That car is all over the shop. | 0:01:53 | 0:01:55 | |
Three drivers, one steering wheel, that's asking for trouble. | 0:01:55 | 0:01:59 | |
Oh, no, no, no, no, leave it. | 0:01:59 | 0:02:02 | |
Sit down, you silly cow! Oh, too late, she's jumped. | 0:02:02 | 0:02:05 | |
Well, somebody did. | 0:02:05 | 0:02:07 | |
-Crazy broad jumped out! -I'm afraid that was your unconscious female. | 0:02:07 | 0:02:11 | |
No, it wasn't, KITT, you're talking out of your tailpipe. | 0:02:11 | 0:02:14 | |
That's her stunt double in an ill-fitting blonde wig. | 0:02:14 | 0:02:18 | |
She's less lookalike and more look nothing like. | 0:02:18 | 0:02:22 | |
It's 24 and look out, the guy in the car is about to get all shooty. | 0:02:24 | 0:02:27 | |
But when he discharges his weapon.... | 0:02:27 | 0:02:31 | |
Through the car window, the glass all falls inwards, in defiance of all the laws of physics. | 0:02:31 | 0:02:36 | |
Let's see that again. Take that, Newton. | 0:02:36 | 0:02:40 | |
Look, he's got Stagler. | 0:02:42 | 0:02:44 | |
Here we are, back in that brilliant episode of Wonder Woman, | 0:02:44 | 0:02:47 | |
and Gargantua the Gorilla is making his escape | 0:02:47 | 0:02:50 | |
carrying that bloke from Magnum. | 0:02:50 | 0:02:52 | |
But he's made a terrible error. | 0:02:52 | 0:02:54 | |
In the confusion, he's grabbed a poorly constructed dummy instead. | 0:02:54 | 0:02:58 | |
See it flailing in the breeze just like human bodies don't. | 0:02:58 | 0:03:02 | |
Look, his legs have gone all trembly, something, something, Wembley. | 0:03:02 | 0:03:07 | |
That doesn't make any sense, and neither does this episode of Wonder Woman. | 0:03:07 | 0:03:11 | |
Yes, it's high time Lynda Carter twirled into her crime fighting boob tube and hot pants. | 0:03:13 | 0:03:19 | |
Bad news for bad guys, good news for randy 14-year-old boys. | 0:03:19 | 0:03:23 | |
But look how this spectacular metamorphosis also has the power to | 0:03:24 | 0:03:27 | |
change this humble biro into thin air. | 0:03:27 | 0:03:31 | |
Yeah, it's probably just rolled under the desk. | 0:03:31 | 0:03:34 | |
The Doctor again, and this is what I call thrilling stuff. | 0:03:37 | 0:03:41 | |
There again, I'm quite easily thrilled. | 0:03:41 | 0:03:43 | |
Oh, look, the Doctor is climbing up that giant television aerial, | 0:03:43 | 0:03:46 | |
trying to stop Maureen Lipman being transmitted. | 0:03:46 | 0:03:49 | |
You cannot stop the wire. Soon I shall become... | 0:03:49 | 0:03:54 | |
Then, as Dave's a-dangling from the pylon, his foot suddenly disappears. | 0:03:54 | 0:03:58 | |
Here it is, here it isn't. | 0:04:01 | 0:04:03 | |
Yes, the BBC's blue screen is no larger than a tea towel. | 0:04:03 | 0:04:07 | |
Mac and Guy from Green Wing are heading for a very literal end-of-series cliff-hanger. | 0:04:10 | 0:04:14 | |
Ever wonder how they do stunts like this? Well, the clues are here | 0:04:18 | 0:04:22 | |
and here. That is a safety harness and that is a dirty great support cable. | 0:04:22 | 0:04:28 | |
Less Italian Job, more bodged job. | 0:04:28 | 0:04:31 | |
OK, no argument, the Hulk has always been incredible. | 0:04:34 | 0:04:38 | |
But on the '70s TV show, the effects were anything but. | 0:04:38 | 0:04:42 | |
Here, a couple of local thugs have unwisely locked David Banner in the steam room. | 0:04:42 | 0:04:48 | |
He gets angry, goes green, and picks them and half the wall up using the strength of 100 men. | 0:04:48 | 0:04:53 | |
Or should that be by making them stand on a hidden trolley | 0:04:54 | 0:04:56 | |
and pushing them back using the strength of three caterpillars. | 0:04:56 | 0:05:00 | |
You decide. | 0:05:00 | 0:05:02 | |
The friends from Friends are on holiday and, | 0:05:04 | 0:05:07 | |
oh, dear, it's chucking it down. | 0:05:07 | 0:05:09 | |
But what's worser, their lovely beach house is full of wet sand. | 0:05:09 | 0:05:13 | |
What's with all this sand? | 0:05:13 | 0:05:15 | |
Oh, yeah, Bob said there might be flood damage. | 0:05:15 | 0:05:18 | |
Either that or he has a really big cat. | 0:05:18 | 0:05:20 | |
But now it's dry. | 0:05:20 | 0:05:22 | |
They must have under-sand heating. | 0:05:22 | 0:05:24 | |
A clip from classic Dr Who episode Genesis Of The Daleks, | 0:05:26 | 0:05:30 | |
and keep your eyes on the Dalek chatting with Davros | 0:05:30 | 0:05:34 | |
and the light bulb flashing on his head. | 0:05:34 | 0:05:36 | |
That's how deaf people know that a Dalek is talking, by the way, it's a courtesy thing. | 0:05:36 | 0:05:40 | |
Hold on a sec, his light's gone out. | 0:05:40 | 0:05:43 | |
Maybe he forgot to pay the Da-lecky bill. | 0:05:43 | 0:05:45 | |
But then, between takes, while Davros practises his shouting... | 0:05:47 | 0:05:50 | |
You will obey me! | 0:05:50 | 0:05:53 | |
..there's a chance to unscrew the bulb and pop a new one in. | 0:05:53 | 0:05:57 | |
We are the superior beings. | 0:05:57 | 0:05:58 | |
On with the serious business of mass extermination and sink plunging. | 0:05:58 | 0:06:03 | |
Exterminate! | 0:06:03 | 0:06:05 | |
More from Genesis Of The Daleks now, | 0:06:06 | 0:06:09 | |
and the Thals are about to detonate a bomb | 0:06:09 | 0:06:11 | |
using this rickety old plunger. | 0:06:11 | 0:06:14 | |
But even before that happens, some smoke wafts through the doors. | 0:06:14 | 0:06:18 | |
That bomb has either detonated itself, or one of those Daleks is having a crafty fag. | 0:06:18 | 0:06:23 | |
This is X-Files rain, heavy and persistent, like Mulder, | 0:06:25 | 0:06:30 | |
apart for the heavy bit. | 0:06:30 | 0:06:32 | |
Dana and Fox are in hot pursuit of a woman doing some top-notch driving-in-heavy-rain acting. | 0:06:32 | 0:06:38 | |
Moving the steering wheel about, frowning at rain... | 0:06:40 | 0:06:43 | |
and then she hits a cloudy ghost. Bosh! | 0:06:43 | 0:06:46 | |
But when Mulder and Scully pull over seconds later, all the rain has gone. Spooky. | 0:06:50 | 0:06:56 | |
# Da-da-da-doo, da-da-da-doo... # Sorry, that's The Twilight Zone, sorry. | 0:06:56 | 0:07:00 | |
-I can see her. -Michelle! -Help! | 0:07:00 | 0:07:03 | |
Considering it was made in the '60s, the effects on Thunderbirds are pretty FAB. | 0:07:07 | 0:07:11 | |
Of course, every now and again, they were less than perfect. | 0:07:11 | 0:07:15 | |
Look what happens when the aircraft explodes. | 0:07:15 | 0:07:18 | |
This bit of debris flies off and bounces off the back projection screen. Boing. | 0:07:18 | 0:07:23 | |
For some reason, at that moment, in that half-finished foxhole, | 0:07:26 | 0:07:29 | |
all I could think about was the Fourth of July. | 0:07:29 | 0:07:31 | |
Band Of Brothers now, and those German mortars are really doing some damage. | 0:07:31 | 0:07:34 | |
Thank God they're only aiming at the trees. Yeah, Nazis hate trees. | 0:07:34 | 0:07:37 | |
Especially these ones. They're birch trees, they make Nazis furious. | 0:07:37 | 0:07:41 | |
Boom! Take that. Hold on a minute, it did. | 0:07:41 | 0:07:45 | |
A bomb that only causes minimal bark damage. Let's have another look. | 0:07:45 | 0:07:49 | |
Yeah, that must have been a smart bomb. | 0:07:51 | 0:07:53 | |
They only destroy certain trees. If that had been a willow, it would be dead. | 0:07:53 | 0:07:57 | |
A thrilling FX scene from Blake's 7, | 0:08:01 | 0:08:04 | |
the doddery senile grandad of the TV sci-fi family. | 0:08:04 | 0:08:08 | |
Once again, the audience at home are on the edge of their seats, getting up to leave the room. | 0:08:08 | 0:08:12 | |
But gasp as the bad guy is sucked into space. | 0:08:12 | 0:08:16 | |
Although, he's not so much being sucked as dangled by that highly visible safety harness. | 0:08:16 | 0:08:22 | |
Wheeee! | 0:08:22 | 0:08:23 | |
Clothes. | 0:08:25 | 0:08:28 | |
Clothes can go seriously wrong. | 0:08:28 | 0:08:30 | |
Just look at Lady Gaga or anyone from Germany. | 0:08:30 | 0:08:33 | |
If there's one department in telly that gets overlooked, it's wardrobe. | 0:08:33 | 0:08:36 | |
It's very rare to see wardrobes taking a leading role, | 0:08:36 | 0:08:39 | |
except in The Lion, The Witch And The Wardrobe, of course. | 0:08:39 | 0:08:42 | |
Though frankly, the lion and the witch got all the best lines. | 0:08:42 | 0:08:45 | |
Consequently, every now and again, the wardrobe department fights back. | 0:08:45 | 0:08:49 | |
It's Henry VII in a scene from rollicking royal soap The Tudors. | 0:08:53 | 0:08:58 | |
Here's Henry's (divorced, beheaded, died, divorced, beheaded, survived), | 0:08:58 | 0:09:01 | |
first wife Catherine of Aragon, looking moody, and who can blame her? | 0:09:01 | 0:09:05 | |
Getting a rousing reception from this crowd of 16th century peasants. | 0:09:05 | 0:09:09 | |
Although, for a bunch of proles, | 0:09:09 | 0:09:11 | |
they're doing pretty well for themselves, cos, look again. | 0:09:11 | 0:09:15 | |
Verily, sire, that's a nice wrist watch. | 0:09:15 | 0:09:17 | |
He made that himself out of straw and bits of the plague. | 0:09:17 | 0:09:20 | |
Lovely Buffy. Not only is she sexy, fun, and good at killing vampires, | 0:09:24 | 0:09:29 | |
she can swap shoes in a microsecond. | 0:09:29 | 0:09:31 | |
See, as she attacks the vampire wearing white party pumps... | 0:09:31 | 0:09:35 | |
Then, alley-oop, suddenly swaps them for a pair of | 0:09:35 | 0:09:38 | |
black boots when required to kick him in his undead nuts. | 0:09:38 | 0:09:41 | |
That is my kind of woman. | 0:09:41 | 0:09:43 | |
Where are your jibes now? | 0:09:43 | 0:09:46 | |
We want to swim and you can't stop us! | 0:09:47 | 0:09:49 | |
It's Desperate Housewives, | 0:09:49 | 0:09:50 | |
and another wardrobe-related oversight is about to kick off | 0:09:50 | 0:09:53 | |
thanks to these cheeky kids who are refusing to get out of the water. | 0:09:53 | 0:09:58 | |
In you go, Mum, sort them out. | 0:09:58 | 0:10:01 | |
She walks into the pool in heels, | 0:10:01 | 0:10:03 | |
wades through the water in heels, | 0:10:03 | 0:10:06 | |
walks out again in heels, but then, having done the hard part, | 0:10:06 | 0:10:10 | |
she's suddenly barefoot. | 0:10:10 | 0:10:11 | |
It's confusing. No wonder her kids are a nightmare. | 0:10:11 | 0:10:14 | |
No parental consistency. | 0:10:14 | 0:10:16 | |
Paul, we have to leave now. | 0:10:16 | 0:10:18 | |
24, and watch this woman exiting the loo, or rather, her shoes. | 0:10:22 | 0:10:26 | |
A pair of good old-fashioned all-American sneakers. | 0:10:26 | 0:10:29 | |
Nothing wrong there. In fact, everything right. | 0:10:29 | 0:10:32 | |
But spin on, | 0:10:32 | 0:10:34 | |
and during a simple walk to her desk, they've been changed, | 0:10:34 | 0:10:37 | |
switched, perverted, into high heels. | 0:10:37 | 0:10:40 | |
Free-world flatties wiped off the face of the earth, | 0:10:40 | 0:10:43 | |
replaced by high-heeled extremism. | 0:10:43 | 0:10:46 | |
And where's Jack Bauer? | 0:10:46 | 0:10:48 | |
Running a minicab firm. | 0:10:48 | 0:10:50 | |
"51 to base, passenger POB, Rog." | 0:10:50 | 0:10:52 | |
James Corden is a bit of a quick-change artist on the side. | 0:10:55 | 0:11:00 | |
Oh, yeah, look. | 0:11:00 | 0:11:01 | |
One minute he's wearing his dinner jacket, and the next, he's lost it. | 0:11:01 | 0:11:05 | |
The jacket, not his temper. | 0:11:05 | 0:11:07 | |
Although it's a wedding, there's always one fight. | 0:11:07 | 0:11:09 | |
Here's classic '70s drama Hawaii Five-0, | 0:11:14 | 0:11:17 | |
as in five acting expressions, oh,dear. | 0:11:17 | 0:11:20 | |
Steve McGarrett is on the case and there's no time to lose. | 0:11:20 | 0:11:24 | |
Except to change his suit on the way up the stairs. | 0:11:24 | 0:11:27 | |
Mr Dennison, please. | 0:11:28 | 0:11:30 | |
Never mind all that, what have you done with your grey suit? | 0:11:30 | 0:11:33 | |
Look, he gets out of the car in the grey one, and walks into the office wearing the blue. | 0:11:33 | 0:11:38 | |
Mr Dennison, please. | 0:11:38 | 0:11:39 | |
Actually, good work, Steve. | 0:11:39 | 0:11:41 | |
No-one wants to be arrested by a man in a sweaty suit. | 0:11:41 | 0:11:44 | |
A fun run along a canal side for the Ashes to Ashes team, | 0:11:48 | 0:11:52 | |
and Alex looks all French - scarf, stripy T-shirt. | 0:11:52 | 0:11:56 | |
I'm not sure about the red belt, though. Nah, get rid of it, Keeley. | 0:11:56 | 0:11:59 | |
That's better. Does it come back? | 0:11:59 | 0:12:02 | |
No. | 0:12:02 | 0:12:03 | |
Under normal circumstances, the last person I'd want to see frolicking in a wet T-shirt is Hurley from Lost. | 0:12:05 | 0:12:11 | |
Unless, of course, he was dancing around a pole, and even then only maybe. | 0:12:11 | 0:12:16 | |
Here he is teaching Charlie to fish and how to be both sopping wet... | 0:12:16 | 0:12:20 | |
..and dry at the same time. | 0:12:22 | 0:12:24 | |
Maybe he's just really hot. | 0:12:24 | 0:12:26 | |
Hot warm, not hot sexy. Unless he was dancing around a pole. Phwoar! | 0:12:26 | 0:12:31 | |
The poacher, I heard him fishing only a few nights ago. | 0:12:33 | 0:12:38 | |
What, with all his sartorial eccentricities, | 0:12:38 | 0:12:40 | |
Doctor Who has always been a strain on the wardrobe department, in whichever incarnation. | 0:12:40 | 0:12:44 | |
In this clip, Tom Baker's jaunty hat is the problem. | 0:12:44 | 0:12:47 | |
He leaves it on the chair and exits, and then in the next scene, | 0:12:47 | 0:12:51 | |
he's walking through the woods wearing it. | 0:12:51 | 0:12:54 | |
Maybe they'd shot a scene where he remembered, thought "huh" and went back for it, but then didn't use it. | 0:12:54 | 0:12:58 | |
Yeah, better check the director's cut. | 0:12:58 | 0:13:01 | |
Little Britain, famous for its comedy characters. | 0:13:03 | 0:13:06 | |
Here's Matt Lucas as Bubbles DeVere. | 0:13:06 | 0:13:09 | |
Bubbles dives under the tanning machine, naked, | 0:13:09 | 0:13:12 | |
but if we spin forward, | 0:13:12 | 0:13:15 | |
she emerges some time later burnt to a crisp and now mysteriously wearing a pair of blue goggles. | 0:13:15 | 0:13:21 | |
Will you excuse me for a moment, please, Mr Hutton, I'm a little bit on fire. | 0:13:26 | 0:13:30 | |
How.... | 0:13:32 | 0:13:33 | |
you...a doing? | 0:13:33 | 0:13:37 | |
I love Friends. I could watch it all day. | 0:13:37 | 0:13:39 | |
And thanks to E4, I can. | 0:13:39 | 0:13:42 | |
Here's Joey chatting up a girl in the apartment opposite. | 0:13:42 | 0:13:45 | |
He can't wait to get over there and introduce himself. | 0:13:45 | 0:13:47 | |
And yet, he still has time to miraculously change his black shirt on the way over. | 0:13:47 | 0:13:53 | |
Sweaty black shirt morphs into clean purple one. | 0:13:53 | 0:13:56 | |
But as he knocks on the door, | 0:13:56 | 0:13:58 | |
it's back to black. | 0:13:58 | 0:14:00 | |
Black, purple and black. The three colours of the bad continuity flag. | 0:14:00 | 0:14:05 | |
This is your place? | 0:14:05 | 0:14:06 | |
Another moment of drama in Gray's Anatomy. | 0:14:09 | 0:14:11 | |
Sandra Oh rips off her surgical topcoat and exits the operating theatre. | 0:14:11 | 0:14:16 | |
Meanwhile, out in the corridor, there's a bomb scare. | 0:14:16 | 0:14:19 | |
These doctors can't go faster than .000003 miles an hour | 0:14:19 | 0:14:25 | |
or they'll blow up or something. | 0:14:25 | 0:14:28 | |
Then, just as you thought this scene couldn't get any more confusing, out pops Sandra with her coat on again. | 0:14:28 | 0:14:33 | |
It's a bit like the film Speed but with less speed and more mistakes. | 0:14:33 | 0:14:37 | |
We're moving to an OR further away from the oxygen line. | 0:14:37 | 0:14:40 | |
Hey, David Banner is rescuing a bit-part actress from a cliff. | 0:14:44 | 0:14:48 | |
Spin on, and sure enough, he turns into The Incredible Hulk. | 0:14:48 | 0:14:53 | |
And as usual, his massive green muscles completely tear the shirt from his back. | 0:14:53 | 0:14:58 | |
But seconds later, the shirt reappears, | 0:14:58 | 0:15:02 | |
then disappears, then finally reappears again, | 0:15:02 | 0:15:07 | |
having mounted its curious green host once more. | 0:15:07 | 0:15:10 | |
All right, come on, come on! | 0:15:10 | 0:15:11 | |
Well, there was a lady present. | 0:15:11 | 0:15:13 | |
But sadly, no continuity person. | 0:15:13 | 0:15:16 | |
All great telly starts with a script. | 0:15:19 | 0:15:22 | |
You need writers who can really write words good comma | 0:15:22 | 0:15:25 | |
and make the things we actors and presenters say in their mouths have, like, pizzazz and that. | 0:15:25 | 0:15:30 | |
Yes, script and story are crucial. | 0:15:30 | 0:15:32 | |
Confused story lines and dialogue, and character errors can spoil an entire series in seconds. | 0:15:32 | 0:15:37 | |
That's why broadcasters spend enormous amounts of money hiring professional writers and executives | 0:15:37 | 0:15:43 | |
to ensure this doesn't happen and why they get so disappointed when it still does. | 0:15:43 | 0:15:47 | |
Take a look at this little lot. | 0:15:47 | 0:15:49 | |
24, and here's Jack Bauer giving his exact location to headquarters. | 0:15:51 | 0:15:56 | |
We're at 21408 Kipling, North Hollywood. | 0:15:56 | 0:15:59 | |
That's 21408 Kipling, North Hollywood. 21408. | 0:15:59 | 0:16:05 | |
Now, spin on, | 0:16:05 | 0:16:07 | |
and the car is here. | 0:16:07 | 0:16:09 | |
But spin on again, and we can see they've pulled up outside 21048. | 0:16:09 | 0:16:15 | |
Well, that's no good. Kiefer's at 21408. | 0:16:15 | 0:16:19 | |
But hang on, he is here, at 21048, | 0:16:19 | 0:16:22 | |
-and not... -21408 Kipling, North Hollywood. | 0:16:22 | 0:16:27 | |
Where he said he was a moment ago. | 0:16:27 | 0:16:29 | |
Still, it's only the Secret Service in a desperate race against time to save lives, | 0:16:29 | 0:16:33 | |
nothing important, like a pizza delivery. | 0:16:33 | 0:16:35 | |
Here's Ashes To Ashes, | 0:16:36 | 0:16:38 | |
the disappointing follow-up to Life On Mars. | 0:16:38 | 0:16:41 | |
It's July 1981. | 0:16:41 | 0:16:42 | |
And a shocked Keeley Hawes | 0:16:42 | 0:16:43 | |
has just found herself mysteriously back in the 1980s. | 0:16:43 | 0:16:46 | |
She's trying to find out the date from Gene Hunt's steam-driven computer. | 0:16:46 | 0:16:50 | |
Let's check it. 17th July 1981. | 0:16:50 | 0:16:54 | |
There's nothing on this hard drive but the time and date. | 0:16:54 | 0:16:56 | |
Spin on, and later, in her new '80s flat, we see that she's marked her arrival date as July 20th. | 0:16:56 | 0:17:03 | |
She's lost three days. | 0:17:03 | 0:17:05 | |
There are easier ways to lose three days, Keeley. | 0:17:05 | 0:17:08 | |
Try drinking five pints of gin. | 0:17:08 | 0:17:10 | |
Works for me. | 0:17:10 | 0:17:12 | |
Here's an IT blunder from serial-killing drama, Dexter. | 0:17:14 | 0:17:18 | |
As Rudy Cooper opens an e-mail from [email protected]... | 0:17:18 | 0:17:24 | |
..presses reply, | 0:17:27 | 0:17:28 | |
and suddenly he's writing back to [email protected]. | 0:17:28 | 0:17:33 | |
Don't worry, though, thanks to the confusing power of telly, | 0:17:33 | 0:17:36 | |
Frozen Barbie still gets the e-mail anyway. | 0:17:36 | 0:17:39 | |
All's well that ends well. Except for the fact that he kills her and cuts her into tiny pieces. | 0:17:39 | 0:17:45 | |
Here's an early clip from Star Trek: The Next Generation | 0:17:47 | 0:17:52 | |
and new Number One, Will Riker, is looking for the holodeck. | 0:17:52 | 0:17:55 | |
The computer tells him it's... | 0:17:55 | 0:17:57 | |
'The next hatchway on your right.' | 0:17:57 | 0:17:59 | |
-You mean left, surely? -Thank you. | 0:17:59 | 0:18:01 | |
-He's bluffing. Riker knows that the new Enterprise computer is an idiot. -I do. | 0:18:01 | 0:18:06 | |
And goes left instead. | 0:18:06 | 0:18:07 | |
In the future, many things will be different, but apparently, men still don't trust directions from a woman. | 0:18:07 | 0:18:13 | |
US drama Fringe, and this bonkers boffin has invented a camera | 0:18:15 | 0:18:19 | |
that can photograph a corpse | 0:18:19 | 0:18:21 | |
and capture the last image seen by a person before their death. | 0:18:21 | 0:18:26 | |
-Ready? -I know, it's rubbish, but go with it. | 0:18:26 | 0:18:29 | |
Let's listen to the doc's advice. | 0:18:29 | 0:18:33 | |
Goggles, all of you. Do not look directly into the light. | 0:18:33 | 0:18:37 | |
-MIMICS: -"Goggles, all of you. Do not look directly into the light." | 0:18:37 | 0:18:40 | |
Got it. Camera, dangerous. Goggles, essential. | 0:18:40 | 0:18:44 | |
But spin on through the rubbish, and see what happens. | 0:18:44 | 0:18:48 | |
They've taken them off. Oi! And you! Put them back on. | 0:18:48 | 0:18:51 | |
The doctor said keep the goggles on while the camera is still flashing. | 0:18:51 | 0:18:56 | |
Doc, tell them to... not you, as well. I give up. This programme is stupid. | 0:18:56 | 0:18:59 | |
The OC crowd are in a nightclub | 0:19:01 | 0:19:04 | |
when one of our old friends | 0:19:04 | 0:19:06 | |
leaves an urgent message for his mate. Let's listen in. | 0:19:06 | 0:19:09 | |
Luke, it's me. I want to make sure you took care of it. | 0:19:09 | 0:19:12 | |
OK. Ryan said, "Luke, it's me. | 0:19:12 | 0:19:14 | |
"I want to make sure you took care of it." And there was lots of noise in the background. | 0:19:14 | 0:19:19 | |
Does Luke get the message? Yes. But not that one. | 0:19:19 | 0:19:22 | |
-WITHOUT BACKGROUND NOISE: -Luke, it's me. I'm just calling to make sure you took care of it. | 0:19:22 | 0:19:26 | |
"Luke, it's me. I'm just CALLING to make sure you took care of it." | 0:19:26 | 0:19:30 | |
Different words and no background noise. Probably a network problem. | 0:19:30 | 0:19:34 | |
There's a joke here somewhere about Orange County, but where are the good times? | 0:19:34 | 0:19:38 | |
Writing a long-running show like Frasier is tricky, | 0:19:40 | 0:19:43 | |
having to remember the characters' likes and dislikes | 0:19:43 | 0:19:46 | |
and relatives. They're a nightmare, even when they're not real. | 0:19:46 | 0:19:50 | |
Just listen to Frasier's dad Martin in series one. | 0:19:50 | 0:19:53 | |
I never had a brother. | 0:19:53 | 0:19:54 | |
Marty Crane never had a brother. | 0:19:54 | 0:19:56 | |
-Oh, I've got the feeling he would have liked one, though, and by series five, he did. -There he is! | 0:19:56 | 0:20:02 | |
Well! This is so exciting! You two must have so much to talk about. Uncle Walt, hello! | 0:20:02 | 0:20:06 | |
That's either a mistake or someone needs a psychiatrist. | 0:20:06 | 0:20:10 | |
-Marty. -Walt. | 0:20:12 | 0:20:14 | |
SOUND problems are very common in television, | 0:20:16 | 0:20:20 | |
partly because it would be impossible to control all the sounds around us | 0:20:20 | 0:20:24 | |
and partly because most sound men are tone-deaf alcoholics whose only hope of noticing a pin drop | 0:20:24 | 0:20:28 | |
is if you pull it out of a live grenade in front of them and throw it in their stupid faces. | 0:20:28 | 0:20:33 | |
We in telly call the process of replacing sounds "dubbing" or "ADR", | 0:20:33 | 0:20:37 | |
which stands for automatic dialogue replacement. | 0:20:37 | 0:20:40 | |
Mind you, looking at these next clips, you'd think it stood for awful dialogue replacement! | 0:20:40 | 0:20:45 | |
HE GUFFAWS EXAGGERATEDLY | 0:20:45 | 0:20:47 | |
It's Doctor Izzie Stevens in Grey's Anatomy, | 0:20:52 | 0:20:55 | |
who can say "ooh" without moving her lips. | 0:20:55 | 0:20:59 | |
No really, she can. Look. | 0:20:59 | 0:21:01 | |
Oh, ooh! | 0:21:01 | 0:21:02 | |
Oh, I like that. Again? | 0:21:02 | 0:21:05 | |
-Ooh! -Oh, go on then. Once more! | 0:21:05 | 0:21:08 | |
-Ooh! -Ooh! | 0:21:08 | 0:21:10 | |
Are you allowed to eat a cupcake in a sterile environment? | 0:21:10 | 0:21:13 | |
Are you still working with Meredith? | 0:21:13 | 0:21:16 | |
Ah, yes. Meredith, AKA Dr Grey herself. | 0:21:16 | 0:21:20 | |
But don't stand on ceremony, she hates that. | 0:21:20 | 0:21:22 | |
Dr Grey. | 0:21:22 | 0:21:24 | |
-Meredith. -Meredith. | 0:21:24 | 0:21:26 | |
We heard it but we didn't see it. | 0:21:26 | 0:21:28 | |
That man did not say "Meredith". | 0:21:28 | 0:21:31 | |
-Or did he? -Meredith. -No, he did not. | 0:21:31 | 0:21:34 | |
At least not at the time. | 0:21:34 | 0:21:36 | |
Maybe he hates the name Meredith and refused to say it. | 0:21:36 | 0:21:39 | |
"Ah," they thought, "We'll just stick that on later in the edit." | 0:21:39 | 0:21:42 | |
And they did. Badly. | 0:21:42 | 0:21:44 | |
-Because I stayed in the OR to save a life. -Meredith. | 0:21:44 | 0:21:47 | |
-Very good. -What have you go there? | 0:21:49 | 0:21:52 | |
Pride and Prejudice, and keep your eyes and ears | 0:21:52 | 0:21:55 | |
on that fine actress Alison Steadman. | 0:21:55 | 0:21:57 | |
There she is, famous for her performance in Abigail's Party | 0:21:57 | 0:22:00 | |
and loads of other parts that have been quite similar. | 0:22:00 | 0:22:04 | |
But hark, only an actress with Alison's vocal skills could say different words than her own mouth. | 0:22:04 | 0:22:09 | |
Lord knows I have no desire to be always going here and there at night. | 0:22:09 | 0:22:13 | |
Oi, Steadman! Your mouth's writing cheques your voice can't cash! That doesn't make any sense. | 0:22:13 | 0:22:18 | |
I have no desire to be always going here and there at night. | 0:22:18 | 0:22:21 | |
But neither does poor-quality dubbing. | 0:22:21 | 0:22:23 | |
# For Jesus Christ our saviour... # | 0:22:25 | 0:22:28 | |
More Pride and Prejudice, and Mary's depressing everyone | 0:22:28 | 0:22:31 | |
with her piano playing like some 19th-century Dido. | 0:22:31 | 0:22:34 | |
But look, there in the back of shot, Maria's singing without moving her lips. | 0:22:34 | 0:22:39 | |
-Maybe she's singing out of her... -HE WHISTLES | 0:22:39 | 0:22:42 | |
-Now, you might call that a mistake but I call it some of the finest... -HE WHISTLES | 0:22:42 | 0:22:47 | |
..singing I've ever heard. | 0:22:47 | 0:22:48 | |
Everyone, I just wanted to say it really means a lot to me | 0:22:50 | 0:22:54 | |
-that all of you came. -In this episode of Desperate Housewives, | 0:22:54 | 0:22:58 | |
Carlos is giving a speech to friends about leaving to go to jail. | 0:22:58 | 0:23:01 | |
But when they cut to a shot of Susan and Julie listening, | 0:23:01 | 0:23:05 | |
we see Carlos isn't talking despite the fact we can still hear him. | 0:23:05 | 0:23:09 | |
And when a man goes away to jail... | 0:23:09 | 0:23:11 | |
-Now, he hasn't got a... -HE WHISTLES | 0:23:11 | 0:23:13 | |
-..so maybe he's talking out of his "ah-huh-huh". In which case, respect. -So, thanks. | 0:23:13 | 0:23:18 | |
Look, everyone. It's Rachel off Friends, venting her spleen. | 0:23:20 | 0:23:24 | |
So I was with Joshua for an hour today and he has not asked me out. | 0:23:24 | 0:23:29 | |
Just so frustrating. | 0:23:29 | 0:23:30 | |
I know, bad dubbing is very frustrating and I'll tell you what else is frustrating. | 0:23:30 | 0:23:35 | |
Having Brad Pitt stolen away from you by Angelina Jolie. | 0:23:35 | 0:23:39 | |
Curse you, Bradley Pitt. | 0:23:39 | 0:23:42 | |
Just so frustrating. | 0:23:42 | 0:23:43 | |
I know, but don't go on about it. | 0:23:43 | 0:23:45 | |
I wondered what it'd be like to be a dude, | 0:23:47 | 0:23:50 | |
walking through the halls in jeans and a ratty T-shirt... | 0:23:50 | 0:23:53 | |
It's One Tree Hill, another one of those American shows full of cute people | 0:23:53 | 0:23:57 | |
who've got everything they need. Except a good slap in the face! | 0:23:57 | 0:24:01 | |
Maybe I'm into girls. | 0:24:01 | 0:24:03 | |
SILENCE | 0:24:03 | 0:24:04 | |
Whoa! Rachel just said that last line twice. No, really. Look. | 0:24:04 | 0:24:07 | |
Maybe I'm into girls. | 0:24:07 | 0:24:09 | |
-MIMICS: -Maybe I'm into girls. | 0:24:09 | 0:24:12 | |
I think it's time for that slap in the face. | 0:24:12 | 0:24:14 | |
Just give me a straight yes or no. | 0:24:16 | 0:24:18 | |
Why should I give you... | 0:24:18 | 0:24:20 | |
It's Only Fools and would you Adam and Eve it, | 0:24:20 | 0:24:23 | |
Del Boy is about to put his plates of meat | 0:24:23 | 0:24:25 | |
right in it and say something a bit apples and bassist, or whatever racist is in Cockney. | 0:24:25 | 0:24:31 | |
What are the odds on you picking the only genuine weight watcher in London? | 0:24:31 | 0:24:36 | |
Del's original line was "the only Provo weight watcher in London". | 0:24:36 | 0:24:40 | |
-By the time the show aired, "Provo" had been overdubbed with the word... -Genuine... | 0:24:40 | 0:24:44 | |
..which wouldn't be offensive to the people of Ireland or the IRA. | 0:24:44 | 0:24:48 | |
Believe me, it doesn't take much to get THEM writing in to Points Of View. | 0:24:48 | 0:24:51 | |
Most people in TV will tell you that actors can be difficult to work with. | 0:24:53 | 0:24:58 | |
But take it from me, those people are LIARS. | 0:24:58 | 0:25:00 | |
I wouldn't wee on them if they were on fire. | 0:25:00 | 0:25:03 | |
No, CARS are difficult to work with. | 0:25:03 | 0:25:05 | |
My old friend Ross Kemp now refuses to work with cars | 0:25:05 | 0:25:09 | |
following a nasty incident with a dodgy 1974 Hillman Imp which very nearly acted him off the screen. | 0:25:09 | 0:25:16 | |
A thrilling scene from Lost, | 0:25:18 | 0:25:21 | |
the show about invisible polar bears on a desert island. | 0:25:21 | 0:25:25 | |
Based on a true story. | 0:25:25 | 0:25:26 | |
Here, the truck without the tailgate runs off the road. | 0:25:26 | 0:25:30 | |
Oh, dear. There goes the truck. There goes the tailgate flying off that it didn't have a second ago. | 0:25:33 | 0:25:38 | |
But luckily in the next shot, it's back on again. | 0:25:38 | 0:25:42 | |
Look on the bright side, she's lost a truck but gained a tailgate. | 0:25:42 | 0:25:46 | |
That might come in handy later, polar bears hate car parts. | 0:25:46 | 0:25:50 | |
I hate continuity errors. | 0:25:50 | 0:25:52 | |
Nip/Tuck now and watch these two teenagers. | 0:25:55 | 0:25:59 | |
Oh, dear. | 0:25:59 | 0:26:00 | |
Who'd have thought an argument between a pair of stoners in a speeding car could end so badly? | 0:26:00 | 0:26:06 | |
These lads have left a nasty pair of skid marks. | 0:26:06 | 0:26:09 | |
But when they go and check out the damage, the skid marks have disappeared. | 0:26:10 | 0:26:14 | |
Well, the ones on the road have! | 0:26:14 | 0:26:17 | |
GUFFAWS EXAGGERATEDLY | 0:26:17 | 0:26:19 | |
I mean, you know, the ones in their pants are still there, yeah? | 0:26:19 | 0:26:22 | |
Nice one! The woman's dead, by the way. | 0:26:22 | 0:26:24 | |
I think we hit a bird. | 0:26:24 | 0:26:26 | |
It's Bo and Luke Duke doing what they do well, driving fast | 0:26:28 | 0:26:31 | |
and talking nonsense. | 0:26:31 | 0:26:32 | |
But what's that strange appendage fastened to the right rear wheel? | 0:26:32 | 0:26:36 | |
It couldn't be a camera, could it? To film them flying through the air? Yes, it could. | 0:26:36 | 0:26:42 | |
SHE SCREAMS | 0:26:45 | 0:26:47 | |
Buffy The Vampire Slayer, a show that attracts geeks | 0:26:47 | 0:26:50 | |
like dog poo attracts new trainers. | 0:26:50 | 0:26:52 | |
Here, the Buffster's mate, Cordelia, is having a driving lesson and not a moment too soon. | 0:26:52 | 0:26:59 | |
Wahoo! | 0:26:59 | 0:27:01 | |
If we spin on, we can see and hear... | 0:27:03 | 0:27:06 | |
her slam the car door shut. | 0:27:06 | 0:27:08 | |
But in the next shot it's open. | 0:27:08 | 0:27:11 | |
So that this oncoming truck can smash into it, as per the script. | 0:27:11 | 0:27:15 | |
CORDELIA SCREAMS | 0:27:15 | 0:27:17 | |
Crisis averted. In the circumstances, the best option. Either that or reshoot it properly. | 0:27:20 | 0:27:25 | |
-Nah. -What's happening? I can't see anything. | 0:27:25 | 0:27:28 | |
Dozy cow. | 0:27:28 | 0:27:29 | |
Hawaii Five-0 and Steve McGarrett is off to the scene of a crime | 0:27:31 | 0:27:36 | |
in his beloved Ford. | 0:27:36 | 0:27:38 | |
But what crime exactly? Grand theft auto, that's what. | 0:27:38 | 0:27:41 | |
Cos when Steve pulls up at the crime scene, his car has grown a couple more doors. | 0:27:41 | 0:27:47 | |
Yep, he pulls away in a two-door coupe | 0:27:47 | 0:27:50 | |
and arrives in a four-door sedan. | 0:27:50 | 0:27:53 | |
Book him, Danno, for crimes against continuity. | 0:27:53 | 0:27:56 | |
One part of every show normally immune from TV mistakes | 0:27:59 | 0:28:03 | |
is the titles. | 0:28:03 | 0:28:05 | |
Not the famous opening title sequence from Sex And The City, though. Oh, no. | 0:28:05 | 0:28:09 | |
We all know what's coming next. | 0:28:09 | 0:28:11 | |
SJP gets splashed by a bus full of commuters | 0:28:11 | 0:28:14 | |
but look what happens when the same bus turns left moments later. | 0:28:14 | 0:28:18 | |
It's deserted. Maybe they all fainted. | 0:28:18 | 0:28:20 | |
It's not every day you see a Yorkshire terrier in a Tutu. | 0:28:20 | 0:28:23 | |
When visiting LA, there are two things you simply MUST do. | 0:28:25 | 0:28:28 | |
One is rent a fabulous car. | 0:28:28 | 0:28:30 | |
The Sex And The City girls have gone west. | 0:28:30 | 0:28:33 | |
Hey, bet you don't know what the most popular car in LA is? | 0:28:33 | 0:28:36 | |
It's the green four-door sedan. | 0:28:36 | 0:28:39 | |
Look, there's one going past now. | 0:28:39 | 0:28:41 | |
And going past again. | 0:28:41 | 0:28:43 | |
That's very distracting. | 0:28:43 | 0:28:45 | |
Spin on, and almost enough to make the girls crash into another car... | 0:28:45 | 0:28:49 | |
SCREAMING, HORN HONKS | 0:28:49 | 0:28:52 | |
..that's not there any more. | 0:28:52 | 0:28:54 | |
-OK, that's enough! -Phew, that was close. Did I say close? | 0:28:54 | 0:28:58 | |
I meant badly filmed. | 0:28:58 | 0:28:59 | |
I'm not going to die in this tin can. I have a date with a dildo. | 0:28:59 | 0:29:03 | |
Here's one of those FREAKS from Heroes now, | 0:29:05 | 0:29:07 | |
using his superpower to defrost a car. | 0:29:07 | 0:29:10 | |
Finally, a superpower with a practical use. | 0:29:10 | 0:29:13 | |
What does it say on that car windscreen? "Automatic." | 0:29:13 | 0:29:16 | |
I wasn't looking for an automatic. It's a nice car though. I'm definitely interested. | 0:29:16 | 0:29:20 | |
Actually, it's almost exactly what I'm looking for. I like the colour, the make, the price, | 0:29:20 | 0:29:25 | |
it's just if only instead of being automatic it was say, low-mileage. | 0:29:25 | 0:29:30 | |
He-hey, now it is! | 0:29:30 | 0:29:32 | |
That's what I call superpower. | 0:29:32 | 0:29:34 | |
And art department incompetence. | 0:29:34 | 0:29:36 | |
BEEPING | 0:29:38 | 0:29:40 | |
Ashes To Ashes, and a chance to enjoy | 0:29:40 | 0:29:43 | |
all that painstakingly-recreated '80s period detail. | 0:29:43 | 0:29:48 | |
Everything exactly as it would have been 30 years ago. | 0:29:48 | 0:29:52 | |
Except for that N-reg 1993 Rover 600, | 0:29:52 | 0:29:54 | |
which didn't go into production for another 12 years. | 0:29:54 | 0:29:58 | |
-..before the turns to the high street, copy that. -Who cares? | 0:29:58 | 0:30:01 | |
-COCKNEY ACCENT: -We're remaking The Sweeney and we haven't had any dinner! | 0:30:01 | 0:30:06 | |
Here's a clip from 24, and Jack Bauer is under surveillance. | 0:30:06 | 0:30:09 | |
See, there's the minicam, at the front left of the windscreen. | 0:30:09 | 0:30:13 | |
His every move is being watched, except by the remaining audience. They fell asleep hours ago. | 0:30:13 | 0:30:18 | |
Now, look as we see the window from the inside of the car. | 0:30:18 | 0:30:22 | |
The minicam's gone! A mistake? | 0:30:22 | 0:30:24 | |
Well, yes, but these people are saving the world. | 0:30:24 | 0:30:26 | |
They can't remember everything! | 0:30:26 | 0:30:29 | |
Here's Knight Rider, David Hasselhoff, telling KITT | 0:30:31 | 0:30:35 | |
to round up some other cars, | 0:30:35 | 0:30:37 | |
a bit like a two-tonne metal sheepdog, | 0:30:37 | 0:30:39 | |
with an engine and bumpers. | 0:30:39 | 0:30:41 | |
Talking of bumpers, why are all those covered in plastic? | 0:30:41 | 0:30:45 | |
It's almost as if they've been fitted with protective guards | 0:30:45 | 0:30:48 | |
to prevent scratches. | 0:30:48 | 0:30:50 | |
No, they wouldn't do that. That'd be almost as bad as letting us see | 0:30:50 | 0:30:54 | |
the stuntman that really drives KITT, slumped in the front seat. | 0:30:54 | 0:30:58 | |
Well, his arm. | 0:31:01 | 0:31:03 | |
At least he didn't pull a moonie! | 0:31:03 | 0:31:05 | |
The great thing about animals is the fact that they will literally work for peanuts. | 0:31:07 | 0:31:12 | |
Over the years, animals have given us some classic TV moments. | 0:31:12 | 0:31:16 | |
Who can forget the infamous Blue Peter elephant, who for | 0:31:16 | 0:31:19 | |
years carried the blame for Peter Purves's violent bout of diarrhoea. | 0:31:19 | 0:31:22 | |
The following clips might be less well-known, but they are sure | 0:31:22 | 0:31:26 | |
to delight fans of TV mistakes and mild animal cruelty alike. | 0:31:26 | 0:31:30 | |
A humorous little set piece | 0:31:33 | 0:31:34 | |
from Grey's Anatomy now, following doctors Burke and Yang's | 0:31:34 | 0:31:38 | |
street chat, George's bagel gets pooed on by a bird | 0:31:38 | 0:31:41 | |
and, devastated, he throws it to the pavement, | 0:31:41 | 0:31:45 | |
where it's immediately pounced upon | 0:31:45 | 0:31:46 | |
by a grateful pigeon, just like in the script. | 0:31:46 | 0:31:49 | |
How do they do that? Was it a stunt pigeon? | 0:31:49 | 0:31:52 | |
No, it was a plain old ordinary pigeon, tied to a length of wire. | 0:31:52 | 0:31:57 | |
Time to give the man responsible the push. | 0:31:57 | 0:31:59 | |
Too late, he jumped. | 0:32:01 | 0:32:03 | |
This horrible 19th-century singing is upsetting me and the dog. | 0:32:05 | 0:32:09 | |
-HOWLING -Hark at him howling! | 0:32:09 | 0:32:12 | |
Well, not so much "howling", more "looking", silently looking up at | 0:32:12 | 0:32:17 | |
the doggy treat being waved by his handler off-camera. | 0:32:17 | 0:32:20 | |
"But we need him to howl," said the director. | 0:32:20 | 0:32:23 | |
"It'll be fine," said the sound man, | 0:32:23 | 0:32:25 | |
"we'll just stick some howling effects on later, | 0:32:25 | 0:32:27 | |
"and no-one'll notice." | 0:32:27 | 0:32:29 | |
Well, we did. Oh,shut up, dear! | 0:32:29 | 0:32:31 | |
How DO they train dumb animals to act? | 0:32:33 | 0:32:35 | |
I'm talking about the dog! | 0:32:35 | 0:32:37 | |
They use handlers, of course. | 0:32:37 | 0:32:40 | |
Handlers like him. | 0:32:40 | 0:32:42 | |
I've always wanted to see | 0:32:42 | 0:32:43 | |
what the top of a dog handler's head looks like. Hairy. | 0:32:43 | 0:32:46 | |
At the top of the show, what you might call "the beginning", we saw a clip montage, | 0:32:48 | 0:32:54 | |
what you might call a "collection", | 0:32:54 | 0:32:56 | |
in which the camera crew accidentally found themselves in shot. | 0:32:56 | 0:33:00 | |
What you might call "shocking unprofessionalism". | 0:33:00 | 0:33:03 | |
Not all such unscheduled on-screen appearances are easy to spot. | 0:33:03 | 0:33:07 | |
Shop windows, car doors, and poorly-placed mirrors are all catnip to the careless cameraman. | 0:33:07 | 0:33:13 | |
Yes, nothing has the power to confuse and confound | 0:33:13 | 0:33:16 | |
these highly-trained industry professionals | 0:33:16 | 0:33:19 | |
like a reflection, or their own shadows! | 0:33:19 | 0:33:22 | |
Which don't do that. | 0:33:22 | 0:33:23 | |
You know what Eurisko means? | 0:33:25 | 0:33:27 | |
Back on those X Files, | 0:33:27 | 0:33:29 | |
Dave and Gill are about to be shown a mysterious video tape, | 0:33:29 | 0:33:32 | |
which is what people in the past had instead of DVDs. | 0:33:32 | 0:33:36 | |
It was like a roll of black ribbon in a box. Trust me, it was rubbish. | 0:33:36 | 0:33:39 | |
Anyway, look what happens before it starts to play. | 0:33:39 | 0:33:43 | |
Oh,dear, once more, the mysterious effect | 0:33:43 | 0:33:45 | |
of what some people call "a reflection" | 0:33:45 | 0:33:47 | |
catches out another entire telly crew. | 0:33:47 | 0:33:50 | |
-Let me show you something. -We've seen enough, thank you. | 0:33:50 | 0:33:53 | |
'80s classic Knight Rider will always be remembered | 0:33:55 | 0:33:58 | |
less for its high production standards | 0:33:58 | 0:34:00 | |
and more for being a pile of arse. | 0:34:00 | 0:34:02 | |
How's that for a shadow? Not the best shot in the series, but if you | 0:34:02 | 0:34:06 | |
look carefully, you can see one of the soundmen doing a shadow puppet | 0:34:06 | 0:34:09 | |
of a crocodile eating a sausage. | 0:34:09 | 0:34:11 | |
So not a complete disaster. | 0:34:11 | 0:34:14 | |
-No, but can you? -Two Pints Of Lager. | 0:34:16 | 0:34:18 | |
Here's Gaz and Donna on their way to visit Donna's mum, | 0:34:18 | 0:34:21 | |
but they're not the only visitors. | 0:34:21 | 0:34:24 | |
Keep your eye on the bay window. | 0:34:24 | 0:34:26 | |
Peepo! That's either a cameraman or Will Mellor's stalker. | 0:34:26 | 0:34:29 | |
SHE LAUGHS | 0:34:29 | 0:34:31 | |
Don't laugh. They don't always follow celebrities. | 0:34:31 | 0:34:34 | |
..party, not a shareholders' meeting. | 0:34:36 | 0:34:38 | |
I love Arrested Development. | 0:34:38 | 0:34:40 | |
Although, admittedly, this isn't the best bit. | 0:34:40 | 0:34:43 | |
Watch Jeffrey Tambor's fetching shades. | 0:34:43 | 0:34:45 | |
Because, you know what sunglasses do? They reflect. | 0:34:45 | 0:34:48 | |
I knew it was against the law! | 0:34:48 | 0:34:50 | |
Ooh! There's the entire Arrested Development crew! | 0:34:50 | 0:34:53 | |
Hi guys, great show, bad shot! | 0:34:53 | 0:34:56 | |
It's Thunderbirds, and as the cameraman | 0:34:58 | 0:35:01 | |
moves into spy on this puppet lady, | 0:35:01 | 0:35:03 | |
which is itself a bit wrong, | 0:35:03 | 0:35:05 | |
we catch sight of him in the window. | 0:35:05 | 0:35:07 | |
There he is, holding the camera, lowering the camera... Pervert. | 0:35:07 | 0:35:11 | |
We're just getting a breath of fresh air. | 0:35:13 | 0:35:15 | |
Now, who wants to see | 0:35:15 | 0:35:17 | |
what the third assistant director on Skins looks like? | 0:35:17 | 0:35:20 | |
Ready? There he is! | 0:35:20 | 0:35:23 | |
Bless! There's his little face reflected in the taxi window. | 0:35:23 | 0:35:26 | |
Bet he got into trouble for that one. | 0:35:26 | 0:35:28 | |
Don't worry, though, he's still working in the TV industry, | 0:35:28 | 0:35:31 | |
putting up satellite dishes in the Solihull area. | 0:35:31 | 0:35:34 | |
Now, who wants to see what the rest of the Skins crew looks like? | 0:35:36 | 0:35:40 | |
There they are, merrily dollying along the pavement, | 0:35:40 | 0:35:43 | |
reflected in the bay windows. | 0:35:43 | 0:35:44 | |
Didn't even wave! | 0:35:44 | 0:35:46 | |
Vicky Pollard is thrown out of a shop, | 0:35:50 | 0:35:53 | |
and oh, there's the reflection of the camera crew. | 0:35:53 | 0:35:57 | |
Standing around, wondering what's about to happen next. | 0:35:57 | 0:36:01 | |
Is it that? Yes, it was that. | 0:36:01 | 0:36:04 | |
More crew caught out by cars in 24. | 0:36:08 | 0:36:11 | |
Cooee, Mr Cameraman. | 0:36:11 | 0:36:14 | |
Whose stupid idea was it to polish that vehicle? | 0:36:14 | 0:36:17 | |
Don't worry, Jack Bauer's got 24 hours to find them. | 0:36:17 | 0:36:20 | |
And some more consonants for his surname. | 0:36:20 | 0:36:22 | |
Is that you? | 0:36:25 | 0:36:27 | |
Here's a heart-rending scene | 0:36:27 | 0:36:29 | |
from Dr Who, as Mickey has an emotional reunion with his grandma. | 0:36:29 | 0:36:33 | |
And the boom mic operator, reflected in Granny's sunglasses. | 0:36:33 | 0:36:37 | |
A lovely moment. | 0:36:37 | 0:36:40 | |
This is a cracker. The housewives are desperate, | 0:36:43 | 0:36:45 | |
but when it comes to reflections, | 0:36:45 | 0:36:48 | |
the crew are just plain stupid. OK, fair play. | 0:36:48 | 0:36:51 | |
This shot's all right, no reflections in the car window there. | 0:36:51 | 0:36:54 | |
But just look what happens when Susan pulls away. | 0:36:54 | 0:36:58 | |
Ooh! That is one dirty great camera, and one dirty great cameraman. | 0:36:58 | 0:37:03 | |
Time for a Twinkie! | 0:37:03 | 0:37:05 | |
Back on Wisteria Lane, Gaby's Maserati is about to be repossessed, | 0:37:10 | 0:37:14 | |
but oh,dear, whenever I see a shiny object on a TV show, I always fear the worst. | 0:37:14 | 0:37:19 | |
And here's why. | 0:37:19 | 0:37:21 | |
Where there's a boom pole, there's a sound man. | 0:37:21 | 0:37:24 | |
Eva Longoria has been in 128 episodes of Desperate Housewives. And the crew have been in about 12! | 0:37:24 | 0:37:30 | |
You call this a paint job? | 0:37:30 | 0:37:33 | |
Only Fools, and here's Del Boy with Mike and Boycie and Trigger | 0:37:35 | 0:37:39 | |
and the shadow of an enormous camera. | 0:37:39 | 0:37:42 | |
All together now - "You plonker!" | 0:37:42 | 0:37:44 | |
When TV crews aren't wandering in, or crawling through, or squatting down in the back of shot, | 0:37:46 | 0:37:52 | |
ruining the hard work of so many others, they're forgetting to clear away their filthy bits of gear. | 0:37:52 | 0:37:58 | |
And I'm not just talking about flasks of tea or copies of Warhammer magazine. | 0:37:58 | 0:38:02 | |
I'd like to say that these next clips were memorable for their excellent dialogue or performances, | 0:38:02 | 0:38:07 | |
but instead, I'm forced to report that they were all but destroyed | 0:38:07 | 0:38:11 | |
by the unwanted presence of poorly-positioned TV kit. | 0:38:11 | 0:38:14 | |
Lights, cameras, are just two of the items you'll see. Here's the clips. | 0:38:14 | 0:38:18 | |
Years ago, trucker named Bubba. | 0:38:20 | 0:38:22 | |
Ah, Dawson's Creek. Look, there's tiny Katie Holmes-y, | 0:38:22 | 0:38:26 | |
back when she was only trapped in a TV soap | 0:38:26 | 0:38:28 | |
and not in a marriage to Tom Cruise. | 0:38:28 | 0:38:30 | |
Wait a second! That's either Katie's radio mic | 0:38:30 | 0:38:33 | |
or the box by which Tom Cruise controls her every movement. | 0:38:33 | 0:38:36 | |
No, she hadn't met Tom back then. | 0:38:36 | 0:38:38 | |
She does have one now, though. | 0:38:38 | 0:38:40 | |
Another clip from Pride And Prejudice, | 0:38:44 | 0:38:46 | |
starring dishy Colin Firth, | 0:38:46 | 0:38:48 | |
and a scene oozing with sexual tension. Hardly surprising. | 0:38:48 | 0:38:51 | |
Look at that dancing! That is hot. | 0:38:51 | 0:38:54 | |
But hang on a minute, what's that? | 0:38:54 | 0:38:55 | |
An electric light in the early 19th century? | 0:38:55 | 0:38:58 | |
Oh, I hate anachronistic errors! | 0:38:58 | 0:39:00 | |
I daren't think what Jane Austen's going to make of that when she sees it. | 0:39:00 | 0:39:03 | |
She's the real deal. | 0:39:05 | 0:39:08 | |
Joey told you about the leg? | 0:39:08 | 0:39:10 | |
Now as we know, sound men often | 0:39:10 | 0:39:12 | |
use a boom pole to record sound so the microphone won't get into shot. | 0:39:12 | 0:39:18 | |
Except sometimes when a sound man has had a very busy morning on set | 0:39:18 | 0:39:21 | |
or an even busier lunch down the pub, the boom does drop into shot. | 0:39:21 | 0:39:26 | |
D'oh! There it is, did you see it? | 0:39:29 | 0:39:33 | |
Oh, wake up you sandal-wearing lush! | 0:39:33 | 0:39:36 | |
Another clip from Friends and proof that firing the boom operator | 0:39:38 | 0:39:42 | |
isn't the answer because in all likelihood, | 0:39:42 | 0:39:45 | |
the next one will be just as bad. | 0:39:45 | 0:39:47 | |
D'oh, hello! | 0:39:47 | 0:39:49 | |
Of course. | 0:39:52 | 0:39:54 | |
Here's a scary scene from Supernatural. | 0:39:54 | 0:39:56 | |
Two men reading a book? | 0:39:56 | 0:39:58 | |
Ooh, someone could get a paper cut or an overdue library fine. | 0:39:58 | 0:40:01 | |
Hey, there's something behind that lampshade. It's a television camera. | 0:40:01 | 0:40:05 | |
Oh, it doesn't get any more exciting than this. | 0:40:05 | 0:40:09 | |
Oh, it does. | 0:40:10 | 0:40:12 | |
Stir up a hornets' nest. | 0:40:15 | 0:40:17 | |
The Wire. A flawless show in every respect. Well, mostly. | 0:40:17 | 0:40:22 | |
Look, the cameraman moves back too far and, bang, | 0:40:22 | 0:40:25 | |
that enormous TV light has just been seen by millions of viewers. | 0:40:25 | 0:40:29 | |
Well, at least the ones that sit three inches from the screen, | 0:40:29 | 0:40:32 | |
staring at the extreme right of frame instead of at the action, like me. | 0:40:32 | 0:40:37 | |
GUNFIRE | 0:40:37 | 0:40:39 | |
He's in here. | 0:40:41 | 0:40:42 | |
Two Pints Of Lager, and Donna has dragged Gaz to meet her family. | 0:40:45 | 0:40:49 | |
And this boom mic. | 0:40:49 | 0:40:52 | |
Hello, there you go, short and sweet, a bit like me. | 0:40:52 | 0:40:55 | |
Apart from the short bit, obviously. | 0:40:55 | 0:40:57 | |
He works away a lot. | 0:40:57 | 0:40:59 | |
She tastes of lard. | 0:41:01 | 0:41:04 | |
More pints of light comedy lager, | 0:41:04 | 0:41:06 | |
and stand by for another brief cameo from the boom mic, | 0:41:06 | 0:41:09 | |
instantly upstaging Ralf Little, and the other one, | 0:41:09 | 0:41:13 | |
by being twice as funny. | 0:41:13 | 0:41:14 | |
Peepo! Peep! Peep! | 0:41:16 | 0:41:18 | |
Thanks, Mr Boom Mic Operator. | 0:41:18 | 0:41:20 | |
We owe you a drink. | 0:41:20 | 0:41:22 | |
No, I just kissed her. | 0:41:22 | 0:41:23 | |
You have absolutely no sense of humour, do you? | 0:41:25 | 0:41:28 | |
Fawlty Towers, a truly great sitcom | 0:41:28 | 0:41:31 | |
that wasn't afraid to break the rules. | 0:41:31 | 0:41:33 | |
Like the one about not leaving monitor screens lying around in the back of shot. | 0:41:33 | 0:41:37 | |
There it is. You can even make out the very same shot of Basil running | 0:41:37 | 0:41:42 | |
into the kitchen on the screen, and if you look at the monitor on the monitor, you can even... | 0:41:42 | 0:41:47 | |
Actually I'll stop there before or I go mad and start insulting some Germans. | 0:41:47 | 0:41:51 | |
It's the live EastEnders, and as Bradley lies dying, | 0:41:54 | 0:41:57 | |
everyone crowds into the Square. Even the boom mic. | 0:41:57 | 0:42:01 | |
Hell, take my daughter for example. | 0:42:03 | 0:42:05 | |
The wonderful Arrested Development, and it's time to be | 0:42:05 | 0:42:09 | |
perfectly honest, of all the "boom mic in shot" shots I've seen, this has to be in my favourite 50. | 0:42:09 | 0:42:14 | |
A glorious Sunday afternoon. She won't tell me. | 0:42:14 | 0:42:17 | |
Wotcher. I think you'll agree that was worth waiting for. | 0:42:17 | 0:42:20 | |
What play? | 0:42:20 | 0:42:22 | |
Editing is, of course, the simplest of all the jobs | 0:42:24 | 0:42:27 | |
that people do in television that nobody really cares about. | 0:42:27 | 0:42:30 | |
All an editor has to do is sit in a room with a producer or director | 0:42:30 | 0:42:34 | |
and cut out of the stuff that didn't work and stick together all the stuff that did. | 0:42:34 | 0:42:38 | |
But as we've already seen, mistakes get made, especially in a busy edit suite where teas | 0:42:38 | 0:42:43 | |
and coffees have to be ordered and lunch menus read from cover to cover. | 0:42:43 | 0:42:47 | |
Yes, between them, producers, directors and editors can make some | 0:42:47 | 0:42:50 | |
pretty surprising decisions when it comes to selecting which shots to use and which to throw away. | 0:42:50 | 0:42:55 | |
Take, for example, the decision to re-shoot all of my links here today | 0:42:55 | 0:42:59 | |
instead of using the ones I recorded myself yesterday in the shower. Ridiculous. | 0:42:59 | 0:43:03 | |
Here's a clip from American series Bones, and the perennial question, | 0:43:07 | 0:43:11 | |
how do you pass the time on a long trip through the desert? | 0:43:11 | 0:43:14 | |
I know. How about looking at the back projection and trying to spot | 0:43:14 | 0:43:18 | |
when the cyclorama suddenly changes from flat scrub to mountainscape in a split second. Are we there yet? | 0:43:18 | 0:43:25 | |
There we are. Your turn. | 0:43:25 | 0:43:28 | |
And...cut. | 0:43:28 | 0:43:30 | |
Great work, everybody. Who wants to play I-spy? | 0:43:30 | 0:43:33 | |
I spy with my little eye something beginning with C. | 0:43:33 | 0:43:38 | |
It's Crap FX, isn't it? | 0:43:38 | 0:43:39 | |
It's Skins, and lovely Tony | 0:43:43 | 0:43:44 | |
is about to tuck into a delicious tuna sandwich. | 0:43:44 | 0:43:47 | |
Mmm, I love sandwiches. Conversely, most directors hate them. | 0:43:47 | 0:43:52 | |
They're a continuity nightmare. | 0:43:52 | 0:43:54 | |
And we're off. Bite one to the left. | 0:43:54 | 0:43:58 | |
Which is now two bites big. | 0:43:58 | 0:43:59 | |
That'd really put a dampener on your day. | 0:43:59 | 0:44:02 | |
And whole again. First bite again to the left. | 0:44:02 | 0:44:05 | |
Look what you're doing to your mate. | 0:44:05 | 0:44:06 | |
He doesn't know what day it is. | 0:44:06 | 0:44:08 | |
-But now multiple bites to left and right. -Have some tuna sandwich. | 0:44:08 | 0:44:11 | |
-It'll make you feel better. -Are you sure? I'm feeling a bit dizzy. | 0:44:11 | 0:44:15 | |
No, no, no, leave it. | 0:44:15 | 0:44:16 | |
Leave it. He's at it as well. | 0:44:16 | 0:44:19 | |
Tony is back to a one-bite sandwich. Two bites. | 0:44:19 | 0:44:22 | |
Bites right and left. | 0:44:22 | 0:44:25 | |
No, two bites to the left. | 0:44:25 | 0:44:27 | |
-Hi, Tony. -Oh, beat it, kids, I'm trying to concentrate. | 0:44:27 | 0:44:31 | |
Multiple bites again right and left. | 0:44:31 | 0:44:33 | |
Oh, I've changed my mind, I hate tuna sandwiches. | 0:44:33 | 0:44:36 | |
So the chair's a write-off? | 0:44:38 | 0:44:40 | |
Miranda and Carrie are in the city taking a break from all that sex | 0:44:40 | 0:44:44 | |
to enjoy a nice sit-down and... Oh, dear, cupcakes. | 0:44:44 | 0:44:48 | |
Carrie's cupcake continuity is immaculate, but in a moment, | 0:44:48 | 0:44:52 | |
Miranda's muffin goes from well-eaten to cake-o intacta. | 0:44:52 | 0:44:58 | |
Actually, that wasn't too bad. | 0:44:58 | 0:45:00 | |
Tony from Skins, pay attention. | 0:45:00 | 0:45:02 | |
You got a whacking lot of doughnuts. | 0:45:04 | 0:45:06 | |
Yes, food is a continuity nightmare, especially on Skins. | 0:45:06 | 0:45:11 | |
Look, Pandora dives into this bag of doughnuts and grabs one with yellow icing. | 0:45:11 | 0:45:15 | |
Takes a couple of bites, one, two. | 0:45:15 | 0:45:18 | |
Now it's half-gone. | 0:45:18 | 0:45:20 | |
Suddenly, it's all gone. | 0:45:20 | 0:45:23 | |
Takes a pink one. | 0:45:23 | 0:45:24 | |
Which is now yellow. | 0:45:24 | 0:45:26 | |
And back to pink with two bites out of it. | 0:45:26 | 0:45:31 | |
Then just one bite. | 0:45:31 | 0:45:33 | |
And now it's gone. | 0:45:33 | 0:45:34 | |
Hello. | 0:45:34 | 0:45:36 | |
And back again! | 0:45:36 | 0:45:38 | |
-That's doughnut madness. -Effie. So glad to meet you. | 0:45:38 | 0:45:42 | |
In telly, one of the jobs of the director, besides shouting | 0:45:44 | 0:45:47 | |
and drinking coffee, is blocking, | 0:45:47 | 0:45:49 | |
which means telling the cameras and actors where to stand, | 0:45:49 | 0:45:53 | |
though not always in the right place. | 0:45:53 | 0:45:55 | |
Look, as Jenna goes to wake Gan, who's that loitering in the background? | 0:45:55 | 0:45:59 | |
It's either an alien or Vila, arms folded, looking bored. | 0:45:59 | 0:46:03 | |
Gan, come on, wake up. | 0:46:03 | 0:46:05 | |
-What's wrong, Jenna? -And cue Vila. | 0:46:05 | 0:46:07 | |
-Something's happened to them. -Where is he? | 0:46:07 | 0:46:10 | |
If the future turns out to be anything like Blake's 7, | 0:46:10 | 0:46:12 | |
-I'm going to be so disappointed. -What are you up to now? | 0:46:12 | 0:46:15 | |
Go on, my son, go on, go on! | 0:46:17 | 0:46:19 | |
Classic comedy from Only Fools And Horses, with some less-than-classic | 0:46:19 | 0:46:23 | |
"standing around waiting for a cue" work from actor Lennard Pearce. | 0:46:23 | 0:46:27 | |
Here it comes. Wait for it, Lennard. | 0:46:27 | 0:46:31 | |
Oh, Lennard! | 0:46:31 | 0:46:33 | |
I blame the director. It's not really Grandad's fault. | 0:46:33 | 0:46:37 | |
He's so old. He's probably just stuck to the lino. | 0:46:37 | 0:46:40 | |
It's Friends in Vegas. | 0:46:42 | 0:46:45 | |
Here comes Chandler. He sees Monica having fun with another fellow, | 0:46:45 | 0:46:50 | |
and all melancholy, he turns to leave. | 0:46:50 | 0:46:53 | |
And leave again. You might think they just used the same shot twice, and you'd be right. | 0:46:53 | 0:46:59 | |
You will not be better until they've... | 0:47:01 | 0:47:03 | |
In this clip from the first series of Red Dwarf, Craig Charles | 0:47:03 | 0:47:07 | |
is enjoying Craig Ferguson's lines and big acting so much, he joins in. | 0:47:07 | 0:47:12 | |
I don't know, is it some place near Uruguay? | 0:47:12 | 0:47:14 | |
Oh, you missed it, didn't you? | 0:47:14 | 0:47:16 | |
Try again and keep your eyes on little Craig. | 0:47:16 | 0:47:19 | |
-HIGH-PITCHED: -"I don't know, is it some place near Uruguay?" | 0:47:19 | 0:47:22 | |
Lovely bit of close-harmony acting. | 0:47:22 | 0:47:24 | |
Just let her go. | 0:47:26 | 0:47:29 | |
-Go ahead, shoot. -Agent Mulder is in a stand off with a villain. | 0:47:29 | 0:47:33 | |
He's probably an alien in disguise, they usually are. | 0:47:33 | 0:47:35 | |
Like all good FBI agents, though, he's got his earpiece in so that | 0:47:35 | 0:47:39 | |
he can listen to Chris Moyles and fight the alien hordes. | 0:47:39 | 0:47:42 | |
Which is harder? You decide. | 0:47:42 | 0:47:44 | |
This scene is crying out for a close-up of Mulder wrestling with his conscience | 0:47:44 | 0:47:48 | |
and finally shooting the baddie. | 0:47:48 | 0:47:50 | |
Unfortunately, they didn't get one, so they'd to film it later | 0:47:50 | 0:47:53 | |
when he wasn't wearing an earpiece. | 0:47:53 | 0:47:56 | |
Embarrassed in front of millions. | 0:47:56 | 0:47:58 | |
Sorry, Dave. | 0:47:58 | 0:48:00 | |
Mulder and Scully are pursuing a suspect. | 0:48:03 | 0:48:07 | |
Either that, or another dissatisfied guest is leaving the FBI hotel | 0:48:07 | 0:48:11 | |
via this half-open window. | 0:48:11 | 0:48:13 | |
Oh, it's fallen on him. | 0:48:14 | 0:48:16 | |
No, it hasn't. | 0:48:16 | 0:48:18 | |
-Get your hands up! -Yeah, he will if you sort that window out. | 0:48:20 | 0:48:23 | |
Max? | 0:48:23 | 0:48:25 | |
It's Mulder again, | 0:48:27 | 0:48:28 | |
and he's spotted something odd about this enormous tree trunk. | 0:48:28 | 0:48:32 | |
Wait a minute, I think I know what it is. | 0:48:32 | 0:48:35 | |
One minute, it's big with no green and no hand, but in close-up, | 0:48:37 | 0:48:40 | |
it's suddenly much smaller and gained a pointy hand and some green. | 0:48:40 | 0:48:45 | |
-I've never seen a ring like that before. -Me neither. Rubbish, wasn't it? | 0:48:45 | 0:48:49 | |
Here's the lovely Jennifer Ehle | 0:48:53 | 0:48:55 | |
in Pride And Prejudice, playing the piano. | 0:48:55 | 0:48:57 | |
Except she isn't, because when we see inside, | 0:48:57 | 0:49:00 | |
none of the hammers are moving. | 0:49:00 | 0:49:02 | |
Although, she's definitely got my hammers moving, | 0:49:02 | 0:49:05 | |
if you know what I mean. | 0:49:05 | 0:49:06 | |
Actually, I'm not sure if even I know what that means. | 0:49:06 | 0:49:09 | |
This party's rocking. That's not tea they're sipping, it's rum. | 0:49:11 | 0:49:16 | |
Mmm... All off their 19th-century faces. | 0:49:16 | 0:49:18 | |
The editor certainly had a few. | 0:49:18 | 0:49:20 | |
Look what happens when he cuts to a wide shot. | 0:49:20 | 0:49:23 | |
..can't express what we feel about your kindness to our dear Lydia. | 0:49:23 | 0:49:27 | |
Suddenly, these two blokes are talking to each other and not listening to Alison Steadman, | 0:49:27 | 0:49:32 | |
who's now chatting to someone sitting beside her, who isn't even there. | 0:49:32 | 0:49:37 | |
Not so much Pride And Prejudice as Pride And Pretty Poor Wide Shot! | 0:49:37 | 0:49:41 | |
-HE GUFFAWS -Oh, dear! | 0:49:41 | 0:49:43 | |
And let us toast also Dr Soong. | 0:49:45 | 0:49:48 | |
Star Trek NG, and Good Data and Bad Data are drinking champagne. | 0:49:48 | 0:49:54 | |
A perfect match for my mind. | 0:49:54 | 0:49:57 | |
-My body. -Good Data has been poisoned by Bad Data. | 0:49:57 | 0:50:00 | |
Good Data topples backwards and somehow lands on his face. | 0:50:00 | 0:50:05 | |
It's almost as if they had to redo it because the way he fell the first time was rubbish. | 0:50:05 | 0:50:10 | |
They're good, these androids. I'm getting one. | 0:50:10 | 0:50:12 | |
He had it shipped over from Scotland. | 0:50:14 | 0:50:16 | |
Ever wondered what Superman's teenage years were like? | 0:50:16 | 0:50:20 | |
Me neither, but that didn't stop them making Smallville. | 0:50:20 | 0:50:23 | |
In between popping zits and shouting at his parents, Clark has found time to visit young Lex Luthor. | 0:50:23 | 0:50:28 | |
Nice house. | 0:50:28 | 0:50:29 | |
Shame you can see those two pieces of white tape on the parquet floor, | 0:50:29 | 0:50:33 | |
put there by the crew to let Lex know where to stand. | 0:50:33 | 0:50:36 | |
That's what we in TV call a mark. | 0:50:36 | 0:50:39 | |
-And a mistake. -What's the matter? | 0:50:39 | 0:50:42 | |
-You don't like it? -No, it very bad. | 0:50:42 | 0:50:45 | |
The Black Adder, AKA Rowan Atkinson. | 0:50:50 | 0:50:53 | |
Funny comedian, fine actor, always hits his mark. | 0:50:53 | 0:50:57 | |
Mainly because it's clearly visible right there under his shoe. | 0:50:59 | 0:51:03 | |
Three days after my funeral, | 0:51:05 | 0:51:06 | |
Lynette replaced her grief with a much more useful emotion. | 0:51:06 | 0:51:10 | |
In this clip from Desperate Housewives, Lynette is at the mall | 0:51:10 | 0:51:14 | |
with those three naughty sons of hers and the baby, in pink, in the trolley. | 0:51:14 | 0:51:18 | |
I can only imagine. | 0:51:18 | 0:51:20 | |
Uh-oh, two of the boys have done a runner. | 0:51:20 | 0:51:23 | |
But one bad pick-up shot later, and it looks like all four have scarpered. | 0:51:23 | 0:51:27 | |
At least she's still got her pink blanket. | 0:51:27 | 0:51:30 | |
Whichever way you look at it, that is borderline careless. | 0:51:30 | 0:51:33 | |
-Lynette Scavo? -Crap. | 0:51:33 | 0:51:36 | |
Classic Tom Baker-era Dr Who and, | 0:51:38 | 0:51:40 | |
as one of the mummies from the Pyramids of Mars attacks Sarah Jane, | 0:51:40 | 0:51:43 | |
he smashes this important device, | 0:51:43 | 0:51:46 | |
known as a Marconiscope, to smithereens. | 0:51:46 | 0:51:49 | |
Except in the very next shot, he hasn't. | 0:51:51 | 0:51:53 | |
If you want to find out what a Marconiscope is, | 0:51:53 | 0:51:56 | |
just go to any Dr Who fan site. They'll know. | 0:51:56 | 0:51:59 | |
Just don't ask them what day it is. | 0:51:59 | 0:52:01 | |
With live TV, you just have to go with it. | 0:52:04 | 0:52:07 | |
In this climactic scene in the live 'StEnders episode, | 0:52:07 | 0:52:10 | |
see if you can spot the moment when the cameraman trips. | 0:52:10 | 0:52:13 | |
Oh! | 0:52:16 | 0:52:18 | |
Dr George, played by TR Knight, is badly let down by the editing | 0:52:20 | 0:52:24 | |
of this scene from Grey's Anatomy, | 0:52:24 | 0:52:26 | |
as we see him remove his surgical topcoat not once but twice. | 0:52:26 | 0:52:31 | |
A sloppy choice of shots in the edit and a great actor's career lies in ruins. | 0:52:31 | 0:52:36 | |
# Here's what she said... # | 0:52:38 | 0:52:41 | |
Great, it's The Simpsons, | 0:52:41 | 0:52:43 | |
and here is Ned Flanders on top of a hill, singing. | 0:52:43 | 0:52:46 | |
And here comes everyone else. | 0:52:46 | 0:52:47 | |
That's funny. Wait a minute, so is that. | 0:52:47 | 0:52:50 | |
Apu's skin is yellow, which in The Simpsons, means white, | 0:52:50 | 0:52:54 | |
but he's Asian, and usually brown, which in The Simpsons means brown. | 0:52:54 | 0:52:58 | |
Which he was, but he isn't any more. | 0:52:58 | 0:53:00 | |
Who does he think he is, Michael Jackson? | 0:53:00 | 0:53:03 | |
Sorry, shouldn't joke, he's dead. Jacko, I mean, not Apu. | 0:53:03 | 0:53:06 | |
That would have been horrible. | 0:53:06 | 0:53:07 | |
# Que sera, se... # | 0:53:07 | 0:53:10 | |
Run! | 0:53:10 | 0:53:11 | |
DOOR OPENS Clark! | 0:53:13 | 0:53:15 | |
Martha from Smallville has sustained a nasty cut. | 0:53:15 | 0:53:19 | |
There it is, just above her right eye. | 0:53:19 | 0:53:22 | |
And here it is on her left eye. | 0:53:22 | 0:53:27 | |
And back to the right. | 0:53:27 | 0:53:29 | |
Yep, the director had "crossed the line", telly speak for "cocking up the camera position". | 0:53:29 | 0:53:34 | |
Then he tried to fix it in the edit by flipping the shot. | 0:53:34 | 0:53:37 | |
You might be able to get gaffes like that past Superman, but not us. | 0:53:37 | 0:53:41 | |
Here is a sequence to make the Avatar team blush and then pat | 0:53:47 | 0:53:51 | |
the Dr Who effects department on the head and say, "Oh, bless." | 0:53:51 | 0:53:55 | |
When this spaceship crashes into the tower of Big Ben, suddenly, the numerals on her back-to-front. | 0:53:55 | 0:54:01 | |
Because someone made a boob in the CGI and had to | 0:54:01 | 0:54:04 | |
flip the shot to make it look like the spaceship enters from the right. | 0:54:04 | 0:54:07 | |
The technique of flipping can also be used on your own TV remote every time Simon Cowell comes on. | 0:54:09 | 0:54:15 | |
The king will therefore be requiring a new mistress. | 0:54:17 | 0:54:20 | |
Dr Tennant again, in this clip, | 0:54:20 | 0:54:22 | |
leaning on a balustrade in 18th-century France, | 0:54:22 | 0:54:25 | |
spying on Madame Pompadour. | 0:54:25 | 0:54:27 | |
She senses his presence, turns, but sees nothing. | 0:54:27 | 0:54:30 | |
Not even his hand clutching the wall. | 0:54:30 | 0:54:33 | |
Cos he isn't. But, in the next shot, he clearly still is. | 0:54:33 | 0:54:37 | |
Maybe he's developed the power of invisibility. | 0:54:37 | 0:54:39 | |
She's in for a surprise at bedtime. | 0:54:39 | 0:54:42 | |
..on my brand-new camera. | 0:54:44 | 0:54:46 | |
A less-than-thrilling clip from Dr Who, | 0:54:46 | 0:54:49 | |
and Mark Warren is being filmed by a mate on his camcorder. | 0:54:49 | 0:54:52 | |
The producers of the show are making sure we understand we're looking | 0:54:52 | 0:54:56 | |
through a camcorder or by putting these frame lines on the screen. | 0:54:56 | 0:55:01 | |
But spin on through the tedium, and the little lines have gone. | 0:55:01 | 0:55:05 | |
Have dark forces tampered with the fabric of time and space? | 0:55:05 | 0:55:08 | |
-I still don't know. -Well, I do. | 0:55:08 | 0:55:11 | |
No, the editor got distracted by his Facebook page and forgot to put them on. | 0:55:11 | 0:55:15 | |
And finally, if it's bad shot choices you're after, | 0:55:17 | 0:55:21 | |
and who isn't, then check this. Here's Buffy, | 0:55:21 | 0:55:23 | |
undertaking a vampire slayer's least onerous of tasks, | 0:55:23 | 0:55:27 | |
picking up and putting down a pair of glasses. | 0:55:27 | 0:55:29 | |
See if you can spot the gaffe. | 0:55:29 | 0:55:31 | |
Yep. | 0:55:33 | 0:55:36 | |
Wearing two pink rings on her fingers, | 0:55:36 | 0:55:38 | |
she places the specs on the table, unfolded, with both hands. | 0:55:38 | 0:55:42 | |
But in the close-up, the glasses have been folded, | 0:55:42 | 0:55:45 | |
and are now put down by a single hand wearing a silver ring | 0:55:45 | 0:55:48 | |
on a completely different table. | 0:55:48 | 0:55:50 | |
-That, with the best will in the world, was really -BLEEP. | 0:55:50 | 0:55:55 | |
Well, there it is, TV's Greatest Mistakes. | 0:55:55 | 0:55:58 | |
Writers, directors, cameramen, editors, producers, set designers, wardrobe, hair and make-up minions. | 0:55:58 | 0:56:04 | |
I salute you, albeit in a slack, cack-handed and rather incompetent way. | 0:56:04 | 0:56:09 | |
You were the best! | 0:56:09 | 0:56:11 | |
And by the best, of course, I mean the worst! | 0:56:11 | 0:56:14 | |
-HE LAUGHS -Bye-bye! Get out of the way. | 0:56:14 | 0:56:16 | |
Subtitles by Red Bee Media Ltd | 0:56:36 | 0:56:39 |