When Walter and Jane meet for the first time, the ice cream in her hand changes between shots. When she's facing the camera, it is full and rounded. When the camera is behind her, it is eroded and pointy.
"Tomorrow Forever," the UNICEF painting Margaret Keane painted for the 1964 Worlds Fair, was never actually mounted in the Hall of Education. Robert Moses, who had control over everything that was included in the fair, hated it. Once New York Times critic John Canaday trashed it after seeing a photograph of it, Moses had it thrown into the garbage.
When Margaret reveals on the radio that she painted the "Big Eyes" paintings, the sign outside the radio station states a frequency of 905.1 AM. AM radio stations don't use fractional frequencies; the station should be something like 905 AM.
At the jazz club, the owner says, "Give it up for..." While the earliest known use of that expression in writing is from 1990, it is common for spoken slang to be ignored by the literary world. Some old timers have reported hearing this expression in their youths, possibly as early as the late 1950s.
When Margaret Keane drives the green Meteor, the shift lever is in Park.
In the opening scenes, Margaret drives her car on a winding road, up a hill toward an obvious matte painting at the top. Within 20 seconds, she drives down the same winding hill. The matte painting at the top is different, the road has added trees and shrubbery, and it's shot at a slightly different angle to create the illusion that it's a completely different place.
During the shot of the reporter outside the courthouse, a camera operator shoots the story. The camera is missing the drive belt, which should be connected to the magazine to run the film through the camera to be exposed. It's clearly a non-working prop.
The trial takes place in federal court in Hawaii; however, the emblem behind the judge says "Judiciary - State of Hawaii," indicating that they are in a Hawaii state court.
When Margaret walks around the supermarket with the display of the copies of her work for sale, many products on the shelves have contemporary packaging, not their 1960s packaging. For example, the foot powder is in modern rounded plastic containers, not metal canisters. The Milk Duds, Jiffy Cornbread, and C&H Sugar have current logos. The prices are also far too high for the early 1960s.
An early scene shows Margaret and Walter painting a landscape in San Francisco at the Palace of Fine Arts building. In the 1950s the Palace was a crumbling ruin, fenced off and not visible to the public. It was restored in the 1960s.
Most of the Checker Taxicabs have large aluminum bumpers introduced after 1973.
When Walter shows the money from the nightclub sale, the bills, especially the $5 bills, are not of the correct era. The fives should have blue, brown, or red seals and serial numbers.
When Margaret first appears in North Beach, a curb ramp is on the sidewalk at Bannam Place and Green Street. Curb ramps did not exist in 1950s San Francisco.
The grocery store where Margaret finds mass-produced copies of her paintings appears to be an A&P, a uniquely East Coast chain.
When the film first moves to Oahu, the camera pans to show part of the Pali and the Windward landscape immediately below it. Diamond Head, Waikiki, and part of Honolulu City, which are on the Leeward (opposite) side of Oahu, are in the distance.
The Bible verse that the Jehovah's Witness cites as Timothy 3:1-5, is actually 2 Timothy 3:1-5.
At Club Mandalay, Walter complains to Margaret about his difficulties breaking into the art scene. He says, "You'll never break in. It's a secret society of gallery owners and critics who get together for Sunday brunch in Sausalito deciding what's cool. It's like McCartney and his hearings." Obviously, Walter was referring to U.S. Senator Joseph McCarthy and McCarthyism.
When Jehovah's Witnesses read the scripture 2 Timothy 3:1-5 with Margaret, they read from a Bible-based publication that does not even quote the verse they read. In reality, they would have read the scripture from the Bible itself.
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