Seinfeld (1990)

8 mistakes in The Pony Remark - chronological order

(11 votes)

The Pony Remark - S2-E2

Continuity mistake: At the family dinner, Jerry's mom mentions horses for the first time. Reaction shot on the old lady saying "yeah, yeah", and cut to a wider angle; she is now all of a sudden leaning on her right arm. (00:06:50)

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The Pony Remark - S2-E2

Continuity mistake: Jerry called his parents back to tell them about Myra's dead. When his dad at the end of the scene says "You know what this funeral's gonna wind up costing me?" Barney Martin is leaning his head against his hand all of a sudden. (00:12:50)

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The Pony Remark - S2-E2

Continuity mistake: During their casual talk about death and wasting your own life, George says he plans to continue wasting it. Cut, and both him and Elaine are in different poses than earlier, with Elaine licking the spoon and George with his fingertips by his mouth. In the majority of the conversation there are no such jumpcuts and continuity is kept. (00:14:45)

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The Pony Remark - S2-E2

Continuity mistake: When Elaine tells George that Jerry must go to the funeral because he could have been the one who killed the old lady, Julia Louis-Dreyfus starts stirring the beverage. The spoon is gone at the cut, and at the following cut it is in her hand, which was free just a second before. Same later when George says that the dead don't care; she is holding it over the cup, but in the next shot it's suddenly inside the cup, hands off. (00:15:15)

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The Voice - S9-E2

Kramer: They're redoing the Cloud Club.
Jerry: Oh, that restaurant on top of the Chrysler Building? Yeah, that's a good idea.
Kramer: Of course it is. It's my idea.
Jerry: Which part? The renovating the restaurant you don't own part, or the spending the two hundred million you don't have part?

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Trivia: No matter who the characters in Seinfeld call, they never have to look up the phone number in the phone book. They have the phone numbers to every restaurant, hotel, and business memorised.

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Answer: Composer Jonathan Wolff used a synthesizer, although in seasons 7-9, a real bass is used in addition. Wolff also recorded himself making hundreds of mouth noises, pops, and slaps to add to the synthesized bass licks so that each episode has a different theme. The only real "back-story" is Jerry Seinfeld was having trouble coming up with a theme song and talked to a friend who happened to know Wolff. They wanted to avoid that cheesy late 80's sit-com theme song and Wolff came up with what we enjoy now. Jonathan Wolff has also talked about this further in interviews, recently Reed Dunela interviewed him, so for a fuller account of his story; check out "The Wolff of 116th street".


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