Trivia: The prop department had some fun during the making of the movie; you can see a lot of names of miscellaneous crew slipped in a few spots. There are boxes with case files scattered around the district attorney's offices; the ones behind Willy in his own office (People vs. Bonaventura - Tony Bonaventura being the property master, People vs. Morgenthau - Kramer Morgenthau being the director of photography) get quite a bit of screen time, but there are several others all over the office space, all carrying the name of a crew member. For instance, in a brief sequence when a dejected Willy walks up to Mona's desk to ask for her help before the third act, you can see unique ones. There's also a listing board with judges during the arraignment, and one with doctors when Willy is stopped by the hospital security; both of them are filled with names of production crew members. (01:16:50 - 01:33:20)
Fracture (2007)
1 trivia entry since 25 Nov '24, 02:15
Directed by: Gregory Hoblit
Starring: Anthony Hopkins, Ryan Gosling, David Strathairn, Rosamund Pike
Continuity mistake: In the end of the film where Willy and Ted stand together in Ted's house, Ted says to Willy "See, you can't touch me, ever". The shot goes to Willy and you can see his finger off the trigger, yet in the close-up on the trigger you can see that Willy's finger is inside the trigger-guard and he pulls it out. (01:46:15)
Lt. Robert Nunally: Your wife? Is she OK?
Ted Crawford: I don't think she is. I shot her.
Question: How does the motel scene pan out? Crawford enters without taking any precautions (except the hat that manages to fool the one security camera) and only by plot armor cloak is by neither victim, who are frolicking in the pool a few feet from him and could and should see the old stocky dude hobbling around their bungalow fully in the open. Then he enters through a keycard that is never explained. Poolside we then see at one point the lieutenant looking towards the bungalow, frowning; what's with the frown? There is nothing suspicious about what is shown there, and Hopkins is not doing - at that part of the scene, the way it is edited - anything that would draw attention. Also, the phone call at the beginning doesn't make sense for anything but providing background for the audience, considering he already knew where Nunally was.
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