Goofs for
The Producers (2005) More at IMDbPro »

• Continuity: When the producers try to convince the director to join the show, the trim at the top of the director's dress becomes tucked into the dress on one side between shots.
  
  
• Continuity: Max opens the safe at one point and then kicks it closed, but it stays open, as he walks away. The next time we see it, it is closed.
  
  
• Continuity: In the courtroom, the patterns on Leo's colorful tie change repeatedly between shots.
  
  

• Continuity: When Max is trying to convince Leo to join him in the park, the couple behind them disappears and reappears in different places between shots.
  
  
• Continuity: When Ulla lifts Leo off the door and sets him on the floor, her right earring is gone, but when we next see her, the earring is suddenly there.
  
  
• Anachronisms: The story is set in the 1950s, yet all the police uniforms have the current NYPD logo, which was introduced in 1971.
  
  
• Continuity: Hitler's hair alternates between neatly combed to the side and dropping over his eyes between shots during the "Springtime for Hitler" number.
  
  
• Continuity: When Leo and Max talks to Franz on the roof, a bag of birdseed sitting on a barrel vanishes between shots.
  
  
• Continuity: When Leo and Ulla are dancing in the office, the paintbrush sticking out of the paint bucket comes and goes between shots.
  
  
• Continuity: After Leo has a glass of water thrown in his face, the water on his shirt changes constantly. Then, it disappears.
  
  
• Continuity: In "Along Came Bialy", just when Max and the old ladies arrive at the park - there is a sequence of a couple of jump cuts. In the last cut, one of the trees to the right disappears.
  
  
• Continuity: Right after Roger DeBris has his "stroke", the piece of fabric that is on the top left part of his dress flips inside and outside of the dress over the next few shots.
  
  
• Continuity: During the scene entitled "Creative Accounting" when Bialystock and Bloom are first introduced to one another, Max tells Leo to take a deep breath after nearly frightening the man into hysterics. After Leo takes his heavy, drawling breath and looks back to Max, for one split second, you can see Nathan Lane's mouth turn up in a smile, just about to laugh, and then the camera angle changes. If you watch the Outtakes in the special features, you can clearly see the goof of Lane's in full force; unable to stop himself from laughing, which they simply cut short in the feature.
  
  
• Continuity: In the beginning of "We Can Do It" Max Bialystock steps on his desk onto an open accounting book. When he steps down to go towards Leo, the book on the desk is closed.
  
  
• Errors made by characters (possibly deliberate errors by the filmmakers): During the jail song and dance scene, the prisoner in the white shirt (singlet) standing behind the piano lip syncs almost every word when the statement from the Governor is read out aloud.
  
  
• Continuity: When Leo knocks on Max's door at the beginning of the movie, you see him knocking with his right hand. Later the angle changes and you see that Leo is knocking with his left hand and has a bag and coat on his right hand.
  
  
• Factual errors: The gun Franz is shooting appears to be a Luger, a very popular German pistol in the first half of the 1900s. The Luger was only originally designed to hold eight rounds but Franz fires off a total of nine rounds and then a tenth when he throws the gun on the couch after it jams.
  
  
• Continuity: During the scene where Max and Leo are in the park, and Max is begging Leo to do the scheme with him, the shadow of the trees changes. When the camera zooms out, the shadows are all over the ground in front of the fountain. When the camera zooms out again momentarily, the shadow is completely gone.
  
  
• Continuity: In the scene where Leo asks Max, how much money they put in the show, Max seems to have a heart attack, runs into the sofa and then falls to the ground. When he gets up his hair is completely messy. In the next shot when Max is opening the closet to show Leo the little old ladies his hair is suddenly completely in order.
  
  
• Continuity: When Max opens the safe the first time to show that it's empty, it is gray on the inside. After Ulla paints the office and everything in it white, the inside of the safe has been painted white also, even though Ulla did not have the combination.
  
  
• Continuity: When people are leaving in disgust during ‘Springtime for Hitler’, we can see a blonde woman in a blue top/dress and her husband standing and walking into the aisle. The camera angle changes and they are both seen standing to leave again.
  
  
• Revealing mistakes: When Leo is pouring oil on Ulla's back, the woman playing Ulla is clearly not Uma Thurman, and is obviously wearing a wig.
  
  
• Continuity: After Max buzzes all of the little old ladies out during the "Along Came Bialy" number, the first apartment building shows a little old lady who says "Maxy" coming out second. But in the next shot this little old lady is first leading them out of the building.
  
  
• Anachronisms: In the dance sequence with the little old ladies, one sees a yellow-colored traffic signal. New York City traffic signals were dark green/gray in 1959, when the movie was set. New York would not begin using yellow until 1962, when Traffic Commissioner Henry Barnes issued an order on 17 January of that year, and this was not widespread for at least two years after that.
  
  
• Incorrectly regarded as goofs: The older male dancer who says "Don't be stupid, be a schmarty..." is clearly speaking with Mel Brooks's voice on his first appearance. The next time he is heard delivering a line, he has a completely different, deep voice. However, this is deliberate: the character also lip syncs to Mel Brooks' recorded voice in the stage production.
  
  
• Factual errors: The scam that is at the center of this story's plot wouldn't work. The idea was to create a play that would be a failure, and produce no profit, so that they could sell more than 100% stake in the profits. Profit is revenue minus expenses. The investors already paid the expenses; what they would expect in return is not a share of the profit, but of the revenue. The share of the revenue that they received, minus the share of the expenses that they paid, would amount to their share of the profit. Even if the play is unprofitable (that is, fails to bring in enough revenue to cover the expenses), if so much as one ticket is sold to that play, then there is revenue, and each investor would expect his share of that revenue.
  
  

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