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-Hi, this is Bob Gale.
-And Neil Canton.
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We're co-producers,
and I'm the co-screenwriter
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of Back to the Future I.
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We couldn't talk Bob Zemeckis
into sitting down
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to do scene-specific commentary with us,
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so you'll just have
to put up with us this time.
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And this should be the last commentary
that you listen to.
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Listen to all the other
stuff on the discs first,
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'cause we're gonna assume
that you watched the documentaries
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and listened to the first commentary,
so that we don't have to repeat
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00:00:34,919 --> 00:00:39,215
and make you bored with hearing
the same stories you've already heard.
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This is a set, obviously,
shot on Stage 12 at Universal.
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A major pain in the ass to get this shot
because of all these clocks
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and the intricate camera move.
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And it's actually the second beginning
of Back to the Future
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that Bob Zemeckis and I wrote.
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As you heard on the rest of the material,
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the original version of the script
had a climax in New Mexico
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at a nuclear test site,
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and the original opening scene
took place in a classroom,
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where Marty was watching
a documentary about that.
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We actually built a classroom set
where we were gonna shoot that,
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and after we recast Michael J. Fox
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and were trying to figure out ways
to cut money,
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Bob and I realized
that we didn't need that scene.
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It was not information that we needed,
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and we concocted this sequence with
the set that we already knew that we had.
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That would be cheaper to do,
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and since we were only shooting half-days
with Michael J. Fox,
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this shot took about a half a day to do.
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We didn't have to have Michael here
to do that.
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This is Deborah Harmon on television.
Bob and I worked with her on Used Cars,
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and she came in to do this uncredited
as a personal favor to us.
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However, officials now attribute
the discrepancy to a simple clerical error.
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The FBI, which is investigating the matter,
had no comment.
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One of the things
that this scene is doing, of course,
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is giving us information
about Dr. Emmett Brown.
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We're not gonna see Doc Brown
for a good 20 minutes into the movie,
39
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but by seeing all this gadgetry
and craziness,
40
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you get a complete sense of who the guy is,
41
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and you'll be interested to find out
what kind of a character he is.
42
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Also I should mention
that the opening with all the clocks
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is either an homage or a rip-off
of the opening
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of the George Pal movie The Time Machine,
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which starts
with a whole bunch of clocks, as well.
46
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Einstein, come here, boy.
47
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What's going on? God.
48
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Jesus!
49
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That is disgusting. Where the hell is he?
50
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Now, when you're watching the movie,
51
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you don't really know anything
about what it's about,
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except for the fact that you've already
seen the commercials and so forth.
53
00:03:28,634 --> 00:03:32,721
But putting the plutonium down there
and showing where it was
54
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is a way to keep you interested
and let you know
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that something major is gonna happen
a little bit later on.
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You may have noticed on
one of those gauges, it said, "CRM 114."
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One of Bob and my favorite movies was
Dr. Strangelove, is still Dr. Strangelove,
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and CRM 114
is a direct reference to that movie.
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We blew Michael back, right?
60
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-Yes, that was Michael.
-That's not a stuntman.
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That was Michael.
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And my recollection is that
we had some kind of promotional deal
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with whatever company
made these sunglasses.
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It's the only time in the movie
you see him wearing sunglasses,
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and we put them in here
to do some kind of contractual obligation,
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and you never see them again,
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because shooting with mirrored sunglasses
is a major pain in the ass.
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-Where are you?
-Thank God I've found you.
69
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Listen, can you meet me
at Twin Pines Mall tonight at 1:15?
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I made a major breakthrough,
and I'll need your assistance.
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-Wait a minute. 1:15 in the morning?
-Yeah.
72
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Doc, what's going on?
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-Where you been all week?
-Working.
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-Where's Einstein? Is he with you?
-Yeah, he's right here.
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You know, Doc,
you left your equipment on.
76
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This was a complete four-walled set,
77
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and we could move out any wall
that we needed to.
78
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And our property people had a great time,
and set decorators had a great time,
79
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just finding any kind of junk that
they could to load up the set with.
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Jukebox, there's a canoe in here,
there's a couple of animal heads, I think.
81
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They just scrounged
everything they could find
82
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out of the prop
and set-decorating department
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and stuck it in here.
84
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The idea, of course, being that,
when Doc Brown's mansion burned down,
85
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which you saw earlier in the scene
on the newspaper,
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Doc salvaged everything that he could
and stuck it here in his garage.
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It's where he lives, in the garage, also.
A section of it is his bedroom.
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He keeps the plutonium under his bed there,
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which, of course,
is where anyone would keep plutonium.
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I would.
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The garage there was just a flat
that we put next to this Burger King,
92
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which is on Victory Boulevard in Burbank.
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Again, we had some kind of a tie-in
with Burger King on this,
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and the deal was...
I don't think they gave us any money,
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but my recollection is
they let us shoot there for free,
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which was something.
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The guy who's driving the Jeep there
is our stunt coordinator Walter Scott,
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and this, of course,
is the back lot at Universal.
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Walter is somebody that Bob and I met
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during the production of 1941,
and again on Used Cars.
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He was not our first choice
for stunt coordinator.
102
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We tried to get Terry Leonard,
who we'd worked with many times before,
103
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but Terry was unavailable and said,
"Use Walter. Walter will do a great job."
104
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And Terry was right, he did.
105
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The high school was in Whittier.
It's Whittier High School.
106
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Richard Nixon's alma mater.
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Doc?
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Strickland there is played by James Tolkan.
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Terrific actor.
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Bob and I noticed him
and were impressed by him
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in a movie called Prince of the City,
112
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where he plays
a really tough New York City cop
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or police commissioner or something.
And he was a joy to work with.
114
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You got a real attitude problem, McFly.
You're a slacker.
115
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You remind me of your father
when he went here. He was a slacker, too.
116
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Can I go now, Mr. Strickland?
117
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I noticed your band is on the roster
for the dance auditions after school today.
118
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Why even bother, McFly?
You don't have a chance.
119
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You're too much like your old man.
120
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No McFly ever amounted to anything
in the history of Hill Valley.
121
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Yeah, well, history is gonna change.
122
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That's Huey Lewis,
if you weren't paying any attention.
123
00:08:06,537 --> 00:08:10,457
And this was shot
at the Burbank Community Center on...
124
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-What street was that on, Neil? Riverside?
-Yeah, I think it's Riverside.
125
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-Alameda? Something like that.
-Right.
126
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One, two, three.
127
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The guy playing guitar there
was Michael J. Fox's guitar instructor.
128
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We put him in the movie, 'cause... Why not?
129
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Okay, that's enough.
130
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My recollection is that this idea
that they get rejected by playing too loud
131
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-was Huey Lewis' idea.
-That's right. It was Huey.
132
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It's the stupidest reason to
reject anybody, and of course...
133
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But I think it's something
that actually happened to him.
134
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-Yeah, that's right.
-One time in his career.
135
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Here, of course,
we're setting up Goldie Wilson,
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00:09:03,134 --> 00:09:05,011
who we're gonna meet in a little while.
137
00:09:05,094 --> 00:09:09,182
Now, interestingly enough,
Claudia Wells here, who plays Jennifer,
138
00:09:10,224 --> 00:09:14,103
we had originally cast her as Jennifer
before we had cast Marty.
139
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This audition tape of yours is great.
140
00:09:15,479 --> 00:09:17,166
You've gotta send it in
to the record company.
141
00:09:17,190 --> 00:09:20,276
As you know, it took us a long time
to finally get to the point
142
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where we cast Eric Stoltz as Marty,
143
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and we pushed the start date back
several times.
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By the time we had readjusted our schedule,
Claudia was no longer available
145
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to play Jennifer,
146
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so we had to recast her
with an actress named Melora Hardin.
147
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And Melora Hardin was a couple of inches
taller than Michael J. Fox,
148
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so when Michael J. Fox
got put in the movie,
149
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a lot of people on the crew, particularly,
interestingly enough, the women,
150
00:09:51,307 --> 00:09:53,559
felt that it was not a good image
151
00:09:53,643 --> 00:09:58,356
to have Marty's girlfriend
be three or four inches taller than he was.
152
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And it was... One of the hardest things
I had to do was to fire Melora Hardin.
153
00:10:02,652 --> 00:10:06,614
She'd never even worked a day on the movie
and she hadn't done anything wrong,
154
00:10:06,697 --> 00:10:08,199
but that's what happened.
155
00:10:08,282 --> 00:10:12,995
And, of course, with the new schedule now
with Michael J. Fox,
156
00:10:13,579 --> 00:10:18,125
Claudia Wells was available,
so she came back and played Jennifer,
157
00:10:18,209 --> 00:10:20,795
as we had originally wanted.
158
00:10:21,879 --> 00:10:24,757
I mean, look,
I think the woman was born a nun.
159
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She's just trying to keep you respectable.
160
00:10:27,426 --> 00:10:29,595
Well, she's not doing a very good job.
161
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Terrible.
162
00:10:31,264 --> 00:10:33,224
You'll notice the clock tower back there,
163
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the ledge that Doc Brown
is gonna walk on, later on,
164
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is completely intact.
165
00:10:39,563 --> 00:10:41,941
Thirty years ago,
lightning struck that clock tower...
166
00:10:42,024 --> 00:10:47,321
This is the vision of time travel
that Bob and I came up with,
167
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where you can change things.
So, in this version of the world,
168
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Doc Brown was never out there
on that ledge,
169
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so it is completely intact.
170
00:10:57,623 --> 00:10:59,685
And of course, at the end of the movie,
when we're back here,
171
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you'll see that it is broken,
172
00:11:02,128 --> 00:11:05,381
and it's also broken
in Back to the Future Part II.
173
00:11:05,548 --> 00:11:07,925
-It's my dad. I've got to go.
-Right.
174
00:11:08,009 --> 00:11:09,552
I'll call you tonight.
175
00:11:10,177 --> 00:11:13,264
Aerobics, of course,
was a big craze in the '80s,
176
00:11:13,597 --> 00:11:18,477
and we always tried to find something
that we could do on the back lot
177
00:11:18,561 --> 00:11:22,481
that we were gonna change
that would be an interesting contrast
178
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between the '80s and the '50s.
179
00:11:25,276 --> 00:11:27,486
So, the cafe became aerobics.
180
00:11:27,903 --> 00:11:32,074
If we were doing it today,
it would probably have been a Starbucks.
181
00:11:33,701 --> 00:11:37,413
And Orgy American Style playing there
at the Essex Theater.
182
00:11:39,582 --> 00:11:41,727
Not actually sure
if that's the title of the real movie,
183
00:11:41,751 --> 00:11:44,211
-but it probably is.
-I don't know.
184
00:11:46,589 --> 00:11:48,507
When the movie played in Australia,
185
00:11:48,591 --> 00:11:51,844
Michael J. Fox had to do
a public service announcement
186
00:11:51,927 --> 00:11:54,180
for Australian television
187
00:11:54,263 --> 00:11:58,934
telling kids not to ride off the
back of cars on their skateboards.
188
00:12:00,227 --> 00:12:03,064
They were, I guess,
a little bit behind us in Australia,
189
00:12:03,147 --> 00:12:06,359
and kids hadn't even figured out
that you could do that,
190
00:12:06,442 --> 00:12:10,321
and then, of course,
we had to tell them that it was dangerous.
191
00:12:11,113 --> 00:12:14,033
This street is in Arleta,
192
00:12:15,368 --> 00:12:19,246
-although this shot right here is on set. Yes.
-It's on a stage.
193
00:12:19,330 --> 00:12:23,793
The first shot, where the truck
comes down the street, is in Arleta.
194
00:12:23,876 --> 00:12:25,336
-Blind spot?
-I could've been killed.
195
00:12:25,419 --> 00:12:28,506
And here we have Crispin Glover as George
196
00:12:28,589 --> 00:12:31,801
and Tom Wilson as Biff in their makeup.
197
00:12:32,718 --> 00:12:34,136
Hi, Son.
198
00:12:34,804 --> 00:12:37,348
You'll find on the DVD some makeup tests,
199
00:12:37,431 --> 00:12:41,852
and we did a lot of tests to try to figure
out how we were gonna light the makeup,
200
00:12:41,936 --> 00:12:45,231
so that it wouldn't look too makeup-y.
201
00:12:47,400 --> 00:12:52,238
And this was a combination of latex devices
and the actors' own flesh.
202
00:12:54,198 --> 00:12:56,409
By the time we did Back to the Future II,
203
00:12:56,492 --> 00:12:59,370
there had been advances
in latex technology,
204
00:12:59,912 --> 00:13:04,333
where all the old age makeup was in latex,
but here it was a combination
205
00:13:04,417 --> 00:13:09,088
of partially latex and appliances,
and partially them.
206
00:13:09,171 --> 00:13:13,092
Do you realize what would happen if I
hand in my reports in your handwriting?
207
00:13:13,175 --> 00:13:16,595
If I recall correctly,
it was Ken Chase who created the makeup.
208
00:13:16,679 --> 00:13:17,847
That's right.
209
00:13:19,390 --> 00:13:21,183
Ken had done Roots.
210
00:13:22,268 --> 00:13:24,228
He had done a lot of interesting makeup
on Roots,
211
00:13:24,311 --> 00:13:27,606
and that's the reason that we hired him.
212
00:13:28,190 --> 00:13:30,025
Not too early. I sleep in Saturday.
213
00:13:30,109 --> 00:13:32,194
McFly, your shoe's untied.
214
00:13:32,528 --> 00:13:35,948
Don't be so gullible, McFly.
Got the place fixed up nice.
215
00:13:36,031 --> 00:13:40,953
On the other commentary, I think
we talk about how it was an unusual choice
216
00:13:41,036 --> 00:13:44,957
for us to use the same actors
playing themselves old and young.
217
00:13:45,749 --> 00:13:50,212
It's still not done all that often,
but we felt that it was critical
218
00:13:50,296 --> 00:13:55,092
that the audience would appreciate
what happens to these characters
219
00:13:55,176 --> 00:14:00,639
by seeing the same actors play them
in all their incarnations.
220
00:14:00,723 --> 00:14:04,935
I know what you're going to say, Son,
and you're right. You're right.
221
00:14:06,479 --> 00:14:10,357
This greasy hair look
that Crispin has is great.
222
00:14:10,441 --> 00:14:14,528
We did a number of tests trying to figure
out what we were gonna do with his hair,
223
00:14:14,612 --> 00:14:17,781
and this just turned out to be the ticket.
224
00:14:19,408 --> 00:14:22,077
I mean, he wrecked it. He totaled it.
225
00:14:22,995 --> 00:14:25,080
I needed that car tomorrow night, Dad.
226
00:14:25,164 --> 00:14:27,333
Do you have any idea
how important this was to me?
227
00:14:27,416 --> 00:14:28,459
Do you have any clue?
228
00:14:28,542 --> 00:14:31,212
I know, and all I can say is, I'm...
229
00:14:31,754 --> 00:14:33,214
I'm sorry.
230
00:14:33,506 --> 00:14:35,883
Believe me, Marty, you're better off
231
00:14:35,966 --> 00:14:38,928
without having to worry
about all the aggravation...
232
00:14:39,428 --> 00:14:44,558
Now, this peanut brittle gag here
is the payoff of a scene that got cut out
233
00:14:44,642 --> 00:14:48,687
in which, after Biff leaves,
a neighbor comes by
234
00:14:48,771 --> 00:14:50,332
with his daughter selling peanut brittle,
235
00:14:50,356 --> 00:14:53,484
and George ends up buying
a whole case of peanut brittle,
236
00:14:53,567 --> 00:14:55,945
and that's what he's having for dinner.
237
00:14:56,070 --> 00:14:58,531
We're going to have
to eat this cake by ourselves.
238
00:14:58,614 --> 00:15:00,991
Your Uncle Joey didn't make parole again.
239
00:15:03,369 --> 00:15:06,705
I think it would be nice
if you all dropped him a line.
240
00:15:06,789 --> 00:15:08,582
Uncle "Jailbird" Joey?
241
00:15:09,500 --> 00:15:12,461
We have a lot of exposition
to set up everything that happens
242
00:15:12,545 --> 00:15:17,550
later on in the show,
and exposition can be very, very painful,
243
00:15:18,133 --> 00:15:21,720
and you always try to figure out
creative ways to get it out there.
244
00:15:21,804 --> 00:15:27,476
I think the most creative piece of
exposition is the setup for "Jailbird" Joey,
245
00:15:27,977 --> 00:15:32,106
because the cake gag that sets it up
is funny all by itself
246
00:15:32,189 --> 00:15:36,527
and you're completely unaware
that it's any sort of a setup whatsoever.
247
00:15:37,152 --> 00:15:40,197
The rest of it is pretty
much pure exposition.
248
00:15:40,614 --> 00:15:44,076
The whole story
of the Enchantment Under the Sea dance.
249
00:15:44,410 --> 00:15:48,414
And as a writer,
you sometimes try to be creative
250
00:15:48,497 --> 00:15:53,961
in how you hide the exposition
and make it so that it isn't noticeable,
251
00:15:54,503 --> 00:15:57,256
but sometimes the best thing to do
is to just bite the bullet
252
00:15:57,339 --> 00:16:02,511
and have somebody just spit it all out.
So, that's what we do.
253
00:16:03,846 --> 00:16:07,891
Well, it'll just happen.
Like the way I met your father.
254
00:16:08,767 --> 00:16:11,687
That was so stupid.
Grandpa hit him with the car.
255
00:16:12,354 --> 00:16:16,442
Marty's brother and sister, by the way,
are Wendie Jo Sperber and Marc McClure,
256
00:16:16,525 --> 00:16:21,614
who are veterans of the Zemeckis-Gale
acting repertory company.
257
00:16:21,864 --> 00:16:25,826
We used both of them in both
I Wanna Hold Your Hand and Used Cars.
258
00:16:27,369 --> 00:16:30,998
When you enjoy working with an actor,
you go back to them
259
00:16:31,081 --> 00:16:32,458
and have them come back again,
260
00:16:32,541 --> 00:16:35,878
because you know
that you can depend on them
261
00:16:35,961 --> 00:16:39,715
and you know that you'll have a good time
working with them.
262
00:16:41,300 --> 00:16:44,303
Like a little lost puppy,
and my heart just went out to him.
263
00:16:44,386 --> 00:16:47,556
Yeah, Mom, we know.
You've told us this story a million times.
264
00:16:47,640 --> 00:16:48,974
You felt sorry for him,
265
00:16:49,058 --> 00:16:52,144
so you decided to go with him
to the Fish Under the Sea dance.
266
00:16:53,270 --> 00:16:58,067
The makeup on Lea Thompson here,
Lorraine, is just great.
267
00:16:58,359 --> 00:17:01,236
All puffed up because she's an alcoholic.
268
00:17:05,074 --> 00:17:10,329
And it's quite a contrast to the makeup that
Ken created for the very end of the movie.
269
00:17:11,997 --> 00:17:14,166
It was then that I realized
270
00:17:14,249 --> 00:17:17,711
that I was going to spend
the rest of my life with him.
271
00:17:24,259 --> 00:17:28,722
Another thing I should say about this scene
is that, because of Michael's schedule,
272
00:17:28,806 --> 00:17:33,769
we had to film the coverage
before we shot the masters.
273
00:17:33,977 --> 00:17:36,230
We would block the masters
at the end of the night
274
00:17:36,313 --> 00:17:37,898
when we were shooting with him
275
00:17:37,981 --> 00:17:40,609
so that everybody would know
what their place was,
276
00:17:40,693 --> 00:17:43,862
and then we would put a stand-in there
for eye-line,
277
00:17:43,946 --> 00:17:49,493
and Bob would shoot the coverage of
everybody else, before Michael came in,
278
00:17:49,576 --> 00:17:52,037
and then, when Michael showed up,
we'd shoot the master,
279
00:17:52,121 --> 00:17:54,540
and then Michael's side of the scene.
280
00:17:54,623 --> 00:17:58,544
So, the camera doesn't move around a lot
at the dinner table
281
00:17:58,627 --> 00:18:03,882
because that was of necessity.
We didn't have Michael to shoot that way.
282
00:18:11,140 --> 00:18:15,310
This mall was a long schlep
to get to this location from the studio,
283
00:18:16,019 --> 00:18:19,148
but it was the closest mall
that we could find
284
00:18:19,565 --> 00:18:22,943
that had this hill looking down
on the parking lot,
285
00:18:23,026 --> 00:18:25,738
which was critical for the sequence
at the end of the movie,
286
00:18:25,821 --> 00:18:28,198
when Marty comes back
and watches himself.
287
00:18:28,282 --> 00:18:30,993
Hey, Einstein, where's the doc, boy?
288
00:18:33,662 --> 00:18:35,956
We had to schedule
the shooting of this scene
289
00:18:36,039 --> 00:18:38,751
to take place after Christmas.
290
00:18:39,334 --> 00:18:43,422
The movie started shooting in November,
that was with Eric Stoltz,
291
00:18:44,298 --> 00:18:46,425
and we couldn't shoot at a mall
during Christmas
292
00:18:46,508 --> 00:18:50,345
because there were Christmas decorations
all over the place
293
00:18:51,013 --> 00:18:55,392
and it was too crowded. It was
still a working mall when we shot it,
294
00:18:55,726 --> 00:18:58,896
and we would shoot
our close-up coverage first
295
00:18:59,480 --> 00:19:04,067
in a very small section of the parking lot
that the mall people let us have,
296
00:19:04,526 --> 00:19:08,447
and then by 10:00 at night
all the employees were gone
297
00:19:08,530 --> 00:19:10,616
and we could shoot the whole thing.
298
00:19:14,453 --> 00:19:20,292
We started filming this in January 1985,
and we filmed a few nights with Eric Stoltz.
299
00:19:20,584 --> 00:19:24,671
It was during the filming of this
that we made our casting change,
300
00:19:25,297 --> 00:19:29,551
on a night that Neil will always remember.
Tell them about it, Neil.
301
00:19:30,761 --> 00:19:35,557
I had a beeper on and my wife beeped me.
She was pregnant, nine months pregnant,
302
00:19:35,641 --> 00:19:39,144
and just after we gave Eric the news
303
00:19:39,228 --> 00:19:42,648
and spoke to the crew
and let them know what was going on,
304
00:19:42,731 --> 00:19:45,317
my beeper went off
and I went to the payphone,
305
00:19:45,400 --> 00:19:47,045
'cause we didn't have
cell phones back then,
306
00:19:47,069 --> 00:19:49,738
and I called my wife
and she said the baby was due,
307
00:19:49,822 --> 00:19:51,990
"It's time to come home," and I raced home.
308
00:19:52,074 --> 00:19:54,827
It figures it was the furthest point
that I could possibly be.
309
00:19:54,910 --> 00:19:58,539
Raced home and took my wife
to the hospital, my daughter was born,
310
00:19:58,622 --> 00:20:02,751
and I came back to work on Monday, was
a proud father of a beautiful baby girl,
311
00:20:02,835 --> 00:20:05,587
and had a new actor, Michael J. Fox.
312
00:20:07,965 --> 00:20:09,341
Okay.
313
00:20:10,676 --> 00:20:13,303
Please note that Einstein's clock
314
00:20:13,387 --> 00:20:16,348
is in precise synchronization
with my control watch.
315
00:20:16,431 --> 00:20:17,975
-Got it?
-Right. Check, Doc.
316
00:20:18,058 --> 00:20:20,435
That insert, I remember,
was a pain in the ass to get,
317
00:20:20,519 --> 00:20:22,855
-to have both clocks...
-Both clocks at the same time.
318
00:20:22,938 --> 00:20:25,774
...change at the exact same moment there.
319
00:20:31,113 --> 00:20:33,866
In a couple of these shots in the car
with the dog in it,
320
00:20:33,949 --> 00:20:37,911
we actually had a stunt guy
wearing a dog costume
321
00:20:39,830 --> 00:20:42,249
who could actually drive the car.
322
00:20:43,000 --> 00:20:46,253
So, the close-ups,
where you obviously see it's a dog,
323
00:20:46,336 --> 00:20:47,963
is the real dog,
324
00:20:48,797 --> 00:20:54,678
and anything that was wide like this,
where we were afraid you might see the dog,
325
00:20:54,970 --> 00:20:59,141
-was a stuntman...
-In a dog's... In a dog's head.
326
00:20:59,975 --> 00:21:02,978
Actually, it was a whole suit.
It was a dog suit.
327
00:21:03,061 --> 00:21:05,856
'Cause we all know dogs can't drive cars.
328
00:21:05,981 --> 00:21:09,568
This is, of course,
an homage to Disney's The Shaggy Dog.
329
00:21:10,944 --> 00:21:12,988
You're going to see some serious shit.
330
00:21:18,827 --> 00:21:24,082
This, of course, a combination of
first unit, second unit and inserts.
331
00:21:25,876 --> 00:21:29,796
Executive producer Frank Marshall
was the second unit director,
332
00:21:30,505 --> 00:21:33,634
and he'd go out to the mall
333
00:21:34,092 --> 00:21:37,638
after we were all finished
with the storyboards
334
00:21:39,264 --> 00:21:43,518
and the stunt guys,
and go out and shoot shots like that.
335
00:21:44,686 --> 00:21:46,915
Then he would complain about
how incredibly cold it was out there.
336
00:21:46,939 --> 00:21:47,940
It was cold.
337
00:21:48,023 --> 00:21:50,418
Actually, I think we maybe even had
some snow flurries on one day.
338
00:21:50,442 --> 00:21:52,277
I think you're right.
339
00:21:55,113 --> 00:21:57,324
People frequently have asked,
340
00:21:58,617 --> 00:22:01,662
"What's the significance
of 88 miles per hour?"
341
00:22:01,745 --> 00:22:05,582
And the only significance to it
is that it's easy to remember.
342
00:22:08,794 --> 00:22:10,754
What did I tell you?
343
00:22:10,879 --> 00:22:15,217
Now those fire trails,
that was another major pain in the ass.
344
00:22:15,842 --> 00:22:20,889
In the shots where the fire ignites,
I think we had to under-crank those.
345
00:22:21,473 --> 00:22:24,851
Some kind of combination
of gasoline and pyro fluid.
346
00:22:25,560 --> 00:22:29,064
And our special effects coordinator,
Kevin Pike,
347
00:22:29,398 --> 00:22:32,109
always had great theories
about why things were gonna work,
348
00:22:32,192 --> 00:22:35,445
but it seemed like eight out of 10 times
349
00:22:35,821 --> 00:22:39,199
the theories needed to go back
to the drawing board a little bit.
350
00:22:39,282 --> 00:22:42,553
Yeah. A lot of times we would get the fire
lit, and by the time we were ready to roll,
351
00:22:42,577 --> 00:22:45,914
the fire would be out. We'd have to
stop everything and start all over again.
352
00:22:46,081 --> 00:22:49,001
I sent him into the future.
353
00:22:49,751 --> 00:22:52,129
One minute into the future, to be exact.
354
00:22:52,963 --> 00:22:57,384
Now, notice the composition that Bob uses,
the blocking here,
355
00:22:57,467 --> 00:23:02,639
the disparity in the heights between
Michael J. Fox and Christopher Lloyd.
356
00:23:03,390 --> 00:23:06,685
This is one way that Bob came up with
to compensate for that,
357
00:23:06,768 --> 00:23:10,022
so you'II notice
throughout Back I and Back ll,
358
00:23:10,105 --> 00:23:14,568
Bob uses this blocking a lot,
where Christopher Lloyd is walking one way
359
00:23:14,651 --> 00:23:16,337
and Michael J. Fox is
walking the other way,
360
00:23:16,361 --> 00:23:18,864
and they're walking back and forth
in three-dimensional space.
361
00:23:18,947 --> 00:23:22,576
That's very effective.
It's also very dynamic.
362
00:23:42,345 --> 00:23:48,018
I believe this was liquid nitrogen that we
had sprayed all over the car to ice it up.
363
00:23:48,477 --> 00:23:51,563
That's right, and it was also a problem
keeping it on the car.
364
00:23:51,646 --> 00:23:55,484
It would drip off several times
before we were ready to go.
365
00:23:59,696 --> 00:24:02,824
This is the iciest
you'll ever see the DeLorean.
366
00:24:03,575 --> 00:24:05,160
You'll notice, as the movie goes on,
367
00:24:05,243 --> 00:24:08,413
when the DeLorean reappears
from a time trip,
368
00:24:08,497 --> 00:24:12,793
there's less and less ice on it, and
finally, by the time we're into the sequels,
369
00:24:12,876 --> 00:24:17,172
there basically isn't any.
I figure we used Mr. Fusion as an excuse
370
00:24:17,255 --> 00:24:19,716
why we weren't gonna have ice
on the car anymore,
371
00:24:19,800 --> 00:24:24,012
because great idea, great visual, and...
372
00:24:24,429 --> 00:24:27,015
-Hard to do.
-Pain in the ass to shoot.
373
00:24:27,099 --> 00:24:29,434
And he's completely unaware
that anything happened.
374
00:24:29,518 --> 00:24:32,104
As far as he's concerned,
the trip was instantaneous.
375
00:24:32,187 --> 00:24:34,773
That's why his watch is exactly
one minute behind mine.
376
00:24:34,856 --> 00:24:37,943
He skipped over that minute
to instantly arrive at this moment in time.
377
00:24:38,026 --> 00:24:40,694
-Come here. I'll show you how it works.
-All right.
378
00:24:41,862 --> 00:24:45,157
Now, the red, green and yellow
of the different time displays
379
00:24:45,241 --> 00:24:49,620
is again another homage
to the George Pal Time Machine,
380
00:24:50,079 --> 00:24:56,127
where he had three light bulbs over the time
display thing that were in those colors.
381
00:24:56,210 --> 00:25:00,131
Say you want to see the signing
of the Declaration of independence.
382
00:25:01,882 --> 00:25:03,259
Or witness the birth of Christ.
383
00:25:03,342 --> 00:25:07,054
This is one of my favorite jokes
that nobody ever laughs at,
384
00:25:07,263 --> 00:25:10,808
that Jesus was born on December 25th
in the year 0.
385
00:25:14,562 --> 00:25:16,730
Probably still not laughing.
386
00:25:17,064 --> 00:25:20,401
November 5th just happens to be
my father's birthday.
387
00:25:20,734 --> 00:25:25,364
My father, I think, believes to this day
that this is a great homage to him.
388
00:25:26,365 --> 00:25:31,328
It was just the right day of the week
389
00:25:31,412 --> 00:25:34,456
to make the thing work out right
in the script.
390
00:25:34,832 --> 00:25:36,500
And we picked November
391
00:25:36,584 --> 00:25:40,671
because of the time of the year
that we were shooting the movie,
392
00:25:41,255 --> 00:25:47,386
and, of course, to make sense that they'd be
having things like a school dance at school.
393
00:25:48,137 --> 00:25:50,181
We obviously couldn't have it
take place in August,
394
00:25:50,264 --> 00:25:52,850
because there wouldn't be any school.
395
00:25:54,560 --> 00:25:57,396
Things have certainly changed around here.
396
00:25:58,355 --> 00:26:02,443
I remember when this was all farmland
as far as the eye could see.
397
00:26:03,110 --> 00:26:05,446
Again, blatant exposition here,
398
00:26:05,863 --> 00:26:09,366
and what takes the curse off of it
399
00:26:09,450 --> 00:26:14,622
is a great actor saying it
with a crazed look in his eye.
400
00:26:15,080 --> 00:26:18,542
This is heavy-duty, Doc. This is great.
401
00:26:19,001 --> 00:26:21,545
Does it run on regular unleaded gasoline?
402
00:26:21,629 --> 00:26:25,424
Unfortunately, no. It requires something
with a little more kick. Plutonium.
403
00:26:25,883 --> 00:26:27,801
Plutonium. Wait a minute.
404
00:26:28,469 --> 00:26:30,638
Notice Doc's truck there,
405
00:26:31,013 --> 00:26:34,183
E. Brown Enterprises,
24-hour scientific services.
406
00:26:34,975 --> 00:26:40,314
Our thinking was that the folks in Hill Valley,
if they needed a scientist day or night,
407
00:26:40,856 --> 00:26:44,485
could simply call Doc Brown
and he'd be there in his truck
408
00:26:45,319 --> 00:26:48,989
to do whatever service
a scientist would be required for.
409
00:26:50,115 --> 00:26:52,636
So I took their plutonium and, in turn,
gave them a shoddy bomb casing
410
00:26:52,660 --> 00:26:54,411
full of used pinball machine parts.
411
00:26:54,495 --> 00:26:56,415
-Come on. Let's get you a radiation suit.
-Jesus!
412
00:26:56,497 --> 00:26:57,873
We must prepare to reload.
413
00:26:57,998 --> 00:27:02,169
Now, this plutonium
is actually fairly accurate.
414
00:27:02,461 --> 00:27:05,506
I remember John Zemansky, our prop man,
415
00:27:05,965 --> 00:27:09,134
actually had a guy come to the parking lot
at Amblin
416
00:27:09,218 --> 00:27:12,388
with some things that
looked just like this,
417
00:27:13,138 --> 00:27:17,559
to show us how plutonium
would be stored and carted around.
418
00:27:18,352 --> 00:27:23,482
So, for those of you that might be interested
to know what plutonium would look like,
419
00:27:24,650 --> 00:27:26,503
I don't actually know
if it would be red like that,
420
00:27:26,527 --> 00:27:31,323
but it would be carried around
in a case and units like that.
421
00:27:31,407 --> 00:27:35,035
Don't you lose those tapes now.
I need that as a record.
422
00:27:35,619 --> 00:27:37,997
Let's put this back here. There we go.
423
00:27:40,332 --> 00:27:42,126
I almost forgot my luggage.
424
00:27:42,209 --> 00:27:44,962
Who knows if they've got
cotton underwear in the future?
425
00:27:45,045 --> 00:27:46,797
I'm allergic to all synthetics.
426
00:27:46,880 --> 00:27:49,550
If you've looked at the deleted scenes,
427
00:27:49,800 --> 00:27:53,137
you'll see the scene
that we used that suitcase for.
428
00:27:53,804 --> 00:27:59,643
If you haven't looked at the deleted scenes,
you can stop the DVD and check it out.
429
00:28:00,602 --> 00:28:02,396
See what you missed.
430
00:28:02,521 --> 00:28:03,647
Doc.
431
00:28:04,773 --> 00:28:07,192
Look me up when you get there.
432
00:28:07,901 --> 00:28:09,528
Indeed, I will.
433
00:28:09,820 --> 00:28:11,905
And Doc talks about
going into the future to
434
00:28:11,989 --> 00:28:15,117
find out who wins
the next 25 World Series here.
435
00:28:15,200 --> 00:28:17,828
Of course,
at the time that Bob and I wrote that,
436
00:28:17,911 --> 00:28:21,623
we had no idea
that we'd be doing a World Series gag
437
00:28:21,707 --> 00:28:25,294
in Back to the Future II, but there it is.
438
00:28:25,627 --> 00:28:29,757
What am I thinking of?
I almost forgot to bring extra plutonium.
439
00:28:29,840 --> 00:28:32,384
How did I ever expect to get back?
One pellet, one trip.
440
00:28:32,468 --> 00:28:34,553
I must be out of my mind.
441
00:28:36,263 --> 00:28:40,184
I was told
that when NBC ran this movie recently,
442
00:28:40,267 --> 00:28:42,853
about four or five months ago,
443
00:28:42,936 --> 00:28:46,106
and this is June 2002 we're recording this,
444
00:28:47,441 --> 00:28:53,614
they edited out
some or all of the terrorist stuff here.
445
00:28:53,989 --> 00:28:57,326
I guess in the network's desire
to be politically correct,
446
00:28:57,409 --> 00:29:02,456
they didn't want to offend any terrorists,
be they Libyans or anybody else.
447
00:29:04,291 --> 00:29:07,836
We were ahead of our time
with Libyans wanting plutonium.
448
00:29:08,212 --> 00:29:12,800
Actually we weren't. That was something
that was pretty topical then and there.
449
00:29:12,883 --> 00:29:15,302
Qaddafi was trying to get a bomb.
450
00:29:15,636 --> 00:29:19,932
Anyway, the moral to that story is,
don't watch movies on network television
451
00:29:20,015 --> 00:29:24,770
if you want to see the movies
the real way they're supposed to be.
452
00:29:31,068 --> 00:29:32,111
No!
453
00:29:32,194 --> 00:29:35,823
We were criticized for
that being too violent
454
00:29:37,324 --> 00:29:41,078
when the movie came out,
but it had to be violent,
455
00:29:42,204 --> 00:29:47,793
because we needed to make this
incredibly powerful impression on Marty,
456
00:29:47,876 --> 00:29:51,130
so that he would be motivated
to write that letter
457
00:29:51,213 --> 00:29:54,216
and want to do something
to avert Doc's death.
458
00:29:55,467 --> 00:29:57,428
Damn Soviet gun.
459
00:30:01,098 --> 00:30:02,182
Go!
460
00:30:03,016 --> 00:30:07,104
You can't really hear the dialogue there,
but one terrorists says,
461
00:30:07,187 --> 00:30:10,107
"Damn Soviet gun," when the gun jams,
462
00:30:10,190 --> 00:30:12,502
and the other one,
when he can't get the car started, he says,
463
00:30:12,526 --> 00:30:14,194
"Damn German car."
464
00:30:21,452 --> 00:30:27,875
Now, story-wise, it was important
that Marty goes back in time accidentally.
465
00:30:28,834 --> 00:30:31,336
Bob and I struggled with this
for a long time.
466
00:30:31,420 --> 00:30:33,088
Traditionally, in time-travel movies,
467
00:30:33,172 --> 00:30:37,050
the time traveler
wants to go travel through time
468
00:30:37,551 --> 00:30:41,597
and does something
because he wants to travel through time
469
00:30:41,680 --> 00:30:45,309
that messes things up.
We didn't want to mess anything up.
470
00:30:45,392 --> 00:30:48,228
Obviously, we wanted
to make things turn out better.
471
00:30:48,312 --> 00:30:50,564
And so the solution to that
was to make sure
472
00:30:50,647 --> 00:30:54,610
that is was clear that our hero
did not want to go back in time,
473
00:30:54,902 --> 00:30:59,948
and once he got back in time,
all he wanted to do was get back.
474
00:31:06,288 --> 00:31:10,959
And for you continuity geeks out there
that like to find continuity mistakes,
475
00:31:12,252 --> 00:31:14,254
we know that the odometer,
476
00:31:15,756 --> 00:31:19,510
the numbers on the odometer aren't
consistent from one shot to the next.
477
00:31:19,593 --> 00:31:21,094
It's a movie.
478
00:31:21,428 --> 00:31:25,307
Don't worry about it. You're supposed
to be watching whether the needle hits 88
479
00:31:25,390 --> 00:31:27,684
and not what the odometer says.
480
00:31:33,190 --> 00:31:36,276
This was filmed
at the Disney Ranch in Newhall,
481
00:31:38,403 --> 00:31:40,614
at this wonderful barn there.
482
00:31:41,949 --> 00:31:44,243
And that shot was under-cranked.
483
00:31:45,577 --> 00:31:47,663
We shot it a couple of times
at different speeds,
484
00:31:47,746 --> 00:31:51,166
and that was the one
that was the most effective.
485
00:31:57,339 --> 00:32:01,927
That's the fastest turn-on of lights
and moving from upstairs to downstairs
486
00:32:02,010 --> 00:32:04,304
in the history of cinema there.
487
00:32:04,972 --> 00:32:07,349
What is it? What is it, Pa?
488
00:32:08,058 --> 00:32:09,685
Looks like an airplane.
489
00:32:09,768 --> 00:32:14,898
I've a vague recollection that the woman
in this scene was late arriving.
490
00:32:15,315 --> 00:32:16,709
We thought maybe
she wasn't gonna show up,
491
00:32:16,733 --> 00:32:19,111
and we tried to talk
one of the hairdressers...
492
00:32:19,194 --> 00:32:20,594
That's right. Dorothy Byrne, right.
493
00:32:20,654 --> 00:32:23,240
...into getting dressed,
and she was dressed in the outfit...
494
00:32:23,323 --> 00:32:25,301
-And then the actress showed up.
-...and then she showed up.
495
00:32:25,325 --> 00:32:26,535
Forgot about that.
496
00:32:26,618 --> 00:32:29,246
That's a fake comic book, by the way.
497
00:32:31,164 --> 00:32:34,251
We made that, obviously,
to make it look like the DeLorean,
498
00:32:34,334 --> 00:32:38,088
but it's inspired by EC Comics
and Weird Science Comics.
499
00:32:48,098 --> 00:32:51,560
Cows are always good for a laugh,
so we have cows.
500
00:32:55,480 --> 00:32:56,857
Excuse me.
501
00:33:00,277 --> 00:33:01,612
Sorry about your barn.
502
00:33:05,282 --> 00:33:08,577
It's already mutated into human form!
Shoot it!
503
00:33:10,495 --> 00:33:12,831
Take that, you mutated son of a bitch!
504
00:33:17,044 --> 00:33:18,211
Get away!
505
00:33:19,463 --> 00:33:20,547
Hold it.
506
00:33:20,922 --> 00:33:22,507
Shoot it, Pa!
507
00:33:24,926 --> 00:33:27,971
My pine! Why you...
508
00:33:29,222 --> 00:33:32,976
Of course,
the twin pines are now a lone pine,
509
00:33:33,935 --> 00:33:37,648
and the payoff for that is, again,
at the end of the movie.
510
00:33:37,814 --> 00:33:41,318
All right. All right. Okay, McFly.
Get a grip on yourself.
511
00:33:41,443 --> 00:33:43,570
This is a process shot here.
512
00:33:44,780 --> 00:33:46,948
I don't remember
whether we actually shot these plates
513
00:33:47,032 --> 00:33:48,301
or whether we found them in stock.
514
00:33:48,325 --> 00:33:50,952
-I think it was stock.
-I think we found them in stock.
515
00:33:51,036 --> 00:33:55,499
And this is near Chino, California,
516
00:33:57,084 --> 00:33:59,836
about an hour and 20 minute drive
from the studio.
517
00:33:59,920 --> 00:34:02,881
This was a really tough location to find.
518
00:34:02,964 --> 00:34:08,512
Just to find a big, vast section of
farmland like this close to Los Angeles.
519
00:34:10,180 --> 00:34:11,848
It's probably not farmland anymore.
520
00:34:11,932 --> 00:34:15,143
It's probably all housing and condos
and stuff.
521
00:34:17,771 --> 00:34:21,024
But the weather gods were certainly
on our side when we shot this,
522
00:34:21,108 --> 00:34:24,444
'cause we had to bus the crew
way the hell out here,
523
00:34:25,737 --> 00:34:28,907
and we couldn't have
asked for a better day.
524
00:34:29,449 --> 00:34:31,451
Don't stop, Wilbur! Don't!
525
00:34:32,077 --> 00:34:34,788
Originally in the script,
the housing development
526
00:34:34,871 --> 00:34:38,417
was gonna be under construction,
but that was too expensive to do,
527
00:34:38,500 --> 00:34:43,338
so the construction
became simply a billboard and...
528
00:34:43,547 --> 00:34:46,383
I think we even scouted some sites
that were under construction.
529
00:34:46,466 --> 00:34:51,430
Right, and there was not a sense
of big open space like we had here,
530
00:34:52,139 --> 00:34:54,891
so we decided
that the billboard would work,
531
00:34:54,975 --> 00:34:57,894
and certainly, it's
absolutely as effective.
532
00:35:09,698 --> 00:35:12,159
This is probably impossible to do,
533
00:35:14,453 --> 00:35:19,499
for him to actually get the car back there
like that with it dead, but it's a movie.
534
00:35:21,543 --> 00:35:23,545
Solves a lot of problems.
535
00:35:33,054 --> 00:35:36,141
I don't remember
whether Miller gave us any money
536
00:35:36,224 --> 00:35:40,312
for putting their truck there,
but they did give us free beer, so...
537
00:35:40,395 --> 00:35:41,855
Gave us product, right.
538
00:35:42,689 --> 00:35:46,359
On Fridays everybody got to
go home with a couple of beers.
539
00:35:47,569 --> 00:35:51,281
You know, on Friday,
that was pretty important for the crew.
540
00:35:55,494 --> 00:35:58,955
This was a gag
that Bob came up with right on the spot.
541
00:36:00,165 --> 00:36:03,460
There was one gas station attendant
in uniform,
542
00:36:04,336 --> 00:36:09,758
and Bob saw that and suddenly said,
"Wait, I know a great gag we gotta do,"
543
00:36:10,675 --> 00:36:14,221
and he made Deborah Scott,
our costume designer,
544
00:36:14,554 --> 00:36:18,809
go scour through the studio
to find three more costumes like that.
545
00:36:19,476 --> 00:36:21,478
That's a great gag, gets a big laugh.
546
00:36:21,561 --> 00:36:24,147
I think we also shot this sequence
on a Saturday, as I recall,
547
00:36:24,231 --> 00:36:26,775
-'cause of Michael's television schedule.
-Right.
548
00:36:26,858 --> 00:36:30,821
And so we needed daytime work.
We couldn't get him except on a Saturday,
549
00:36:30,904 --> 00:36:32,948
and it turned out
it was a beautiful day with...
550
00:36:33,031 --> 00:36:36,326
-Yeah, with these big clouds.
-Big clouds and blue sky and all, so...
551
00:36:36,409 --> 00:36:39,162
-Today, of course...
-...gave it a real '50s feel.
552
00:36:39,246 --> 00:36:43,500
...you'd put that sky in digitally
if you didn't have the sky that you wanted.
553
00:36:43,583 --> 00:36:46,920
Right. But you'd still have
to shoot it on Saturday.
554
00:36:47,212 --> 00:36:49,506
The future is in your hands.
555
00:36:49,589 --> 00:36:53,426
If you believe in progress,
re-elect Mayor Red Thomas.
556
00:36:54,803 --> 00:36:59,266
The picture of Red Thomas there,
that was Hal Gausman, our set decorator.
557
00:37:01,685 --> 00:37:04,729
No clearance is necessary when you use
pictures of the crew for those things,
558
00:37:04,813 --> 00:37:06,731
so that's what we did.
559
00:37:09,943 --> 00:37:13,363
And it's a testament
to Larry Paull's production design here
560
00:37:13,446 --> 00:37:18,577
that everybody on the crew said that this
street reminded them of where they grew up,
561
00:37:19,286 --> 00:37:23,665
whether it was a suburb or a small town
or bigger city.
562
00:37:26,418 --> 00:37:31,631
This is one of the few interior-exterior
sets on the Universal back lot,
563
00:37:32,007 --> 00:37:35,302
and it's been used
in countless Universal movies.
564
00:37:35,510 --> 00:37:38,263
-What?
-What's with the life preserver?
565
00:37:39,097 --> 00:37:42,392
I think this was used
as the drugstore in The Sting.
566
00:37:43,435 --> 00:37:45,061
It might've been.
567
00:37:45,979 --> 00:37:49,399
That's Norm Alden there,
well-known character actor.
568
00:37:49,733 --> 00:37:51,067
Brown.
569
00:37:53,445 --> 00:37:54,654
Great. You're alive.
570
00:37:55,322 --> 00:37:59,951
Phone book gives you the impression
that Hill Valley's a much bigger area
571
00:38:00,035 --> 00:38:03,914
than it probably is.
The Browns are a pretty big family,
572
00:38:03,997 --> 00:38:07,834
judging by how many of them there are
in the phone book there.
573
00:38:15,592 --> 00:38:20,180
-Do you know where 1640 Riverside...
-Are you going to order something, kid?
574
00:38:21,097 --> 00:38:24,351
I remember that Pepsi,
who we had a deal with,
575
00:38:25,352 --> 00:38:28,813
asked us to take out the reference
to Tab in the movie.
576
00:38:29,689 --> 00:38:32,609
We told them nothing doing.
It was too good of a joke.
577
00:38:32,692 --> 00:38:35,362
Just give me something
without any sugar in it, okay?
578
00:38:35,987 --> 00:38:39,282
Of course, you probably don't know
what Tab is anymore.
579
00:38:39,366 --> 00:38:41,826
It was a very popular diet drink,
580
00:38:41,910 --> 00:38:46,164
mostly in the '70s and, in fact, by 1985,
when the movie came out,
581
00:38:46,873 --> 00:38:48,667
Tab was pretty well history,
582
00:38:48,750 --> 00:38:51,878
but it was too good of a joke
for us to not use.
583
00:38:53,004 --> 00:38:55,507
I'm talking to you, McFly, you Irish bug!
584
00:38:55,590 --> 00:38:59,594
-Hey, Biff. Hey, guys. How are you doing?
-You got my homework finished, McFly?
585
00:39:00,887 --> 00:39:02,514
That's Billy Zane there, by the way.
586
00:39:02,597 --> 00:39:06,059
If you saw Titanic,
you know who Billy Zane is.
587
00:39:06,309 --> 00:39:08,269
This was his first movie.
588
00:39:08,353 --> 00:39:10,230
I got to have time to recopy it.
589
00:39:10,313 --> 00:39:14,067
You realize what would happen if I hand in
my homework in your handwriting?
590
00:39:14,150 --> 00:39:15,860
I'll get kicked out of school.
591
00:39:15,944 --> 00:39:18,405
You wouldn't want that to happen,
would you?
592
00:39:20,699 --> 00:39:22,450
-Would you?
-Now, of course not, Biff.
593
00:39:22,534 --> 00:39:24,452
-No.
-I wouldn't want that to happen.
594
00:39:24,536 --> 00:39:28,498
-What are you looking at, butthead?
-Biff, get a load of this guy's life preserver.
595
00:39:28,581 --> 00:39:30,291
Dork thinks he's going to drown.
596
00:39:30,375 --> 00:39:32,669
How about my homework, McFly?
597
00:39:33,378 --> 00:39:36,673
Okay, Biff. Well, I'll
finish that on up tonight
598
00:39:36,756 --> 00:39:40,051
and then I'll bring it over
first thing tomorrow morning.
599
00:39:40,135 --> 00:39:44,180
Not too early. I sleep in Sundays.
McFly, your shoe's untied!
600
00:39:44,264 --> 00:39:46,307
-Don't be so gullible, McFly.
-Okay.
601
00:39:46,391 --> 00:39:50,270
-I don't want to see you in here again.
-Okay. All right. Bye-bye.
602
00:39:55,608 --> 00:40:00,864
As I recall, Crispin did come up with this
business of him eating his cereal like that,
603
00:40:04,909 --> 00:40:08,246
and as many problems as we had
with him matching,
604
00:40:10,457 --> 00:40:13,626
he'd really worked out when he was gonna
have a mouthful of cereal,
605
00:40:13,710 --> 00:40:17,797
so that was something we didn't
have any continuity problems with.
606
00:40:17,922 --> 00:40:19,674
...push you around like that for?
607
00:40:19,758 --> 00:40:21,051
Well, they're bigger than me.
608
00:40:21,134 --> 00:40:23,762
Stand tall, boy.
Have some respect for yourself.
609
00:40:23,845 --> 00:40:26,056
Don't you know,
if you let people walk over you now,
610
00:40:26,139 --> 00:40:28,259
they'll be walking over you
for the rest of your life.
611
00:40:29,059 --> 00:40:32,687
This actor's name is, believe it or not,
Donald Fullilove.
612
00:40:33,438 --> 00:40:35,940
I'm gonna make something of myself.
I'm going to night school,
613
00:40:36,024 --> 00:40:38,026
and one day, I'm going to be somebody.
614
00:40:38,109 --> 00:40:42,447
And, of course,
he did not really have a gold tooth, but...
615
00:40:43,823 --> 00:40:47,535
Through the magic of makeup
and appliances, he does here.
616
00:40:48,453 --> 00:40:49,954
A colored mayor. That'll be the day.
617
00:40:50,038 --> 00:40:52,373
You wait and see, Mr. Caruthers.
I will be mayor.
618
00:40:52,457 --> 00:40:56,628
I'll be the most powerful man in Hill
Valley, and I'm going to clean up this town.
619
00:40:56,711 --> 00:40:59,672
Good. You can start by sweeping the floor.
620
00:41:02,217 --> 00:41:06,346
Mayor Goldie Wilson.
I like the sound of that.
621
00:41:14,061 --> 00:41:17,773
That's a great vintage bike
that we got from Schwinn there.
622
00:41:18,857 --> 00:41:22,277
Hey, Dad! George! Hey, you on the bike!
623
00:41:23,695 --> 00:41:27,699
This is South Pasadena.
Bushnell Avenue, as I recollect.
624
00:41:28,992 --> 00:41:31,370
And when we shot with Eric Stoltz,
625
00:41:31,453 --> 00:41:35,624
this was actually the very first thing
in the movie that we filmed.
626
00:41:43,966 --> 00:41:47,177
When we were scouting this location
with Eric Stoltz,
627
00:41:47,261 --> 00:41:50,848
Michael J. Fox was shooting Teen Wolf
on the same street.
628
00:41:51,723 --> 00:41:54,726
And he always talked about
how he remembered
629
00:41:54,810 --> 00:41:58,647
that some Spielberg company
was there scouting,
630
00:41:58,730 --> 00:42:02,442
and how he wished he could be
in a Spielberg movie someday.
631
00:42:07,197 --> 00:42:11,952
One of the greatest sound effects,
that head hit on the cement there,
632
00:42:12,452 --> 00:42:18,917
and another specialty of Chuck Campbell,
our sound effects editor,
633
00:42:19,251 --> 00:42:21,003
is the barking dogs.
634
00:42:21,920 --> 00:42:25,465
Anytime there's something loud
that happens on a street,
635
00:42:25,549 --> 00:42:28,510
Chuck would always
give us some barking dogs back there.
636
00:42:28,594 --> 00:42:30,596
A wonderful little touch.
637
00:42:32,681 --> 00:42:35,142
Mom? That you?
638
00:42:36,185 --> 00:42:39,229
There, there, now. Just relax.
639
00:42:43,108 --> 00:42:45,944
This, of course, is back on a set again.
640
00:42:46,737 --> 00:42:49,198
I had a horrible nightmare.
641
00:42:50,157 --> 00:42:55,579
Our soundman, Bill Kaplan, was, is,
and remains to this day,
642
00:42:56,079 --> 00:43:01,710
a total fanatic about trying to have the
most perfect production sound he can create.
643
00:43:02,336 --> 00:43:03,754
1955?
644
00:43:04,129 --> 00:43:09,218
And so, he went to great lengths
to put the right kind of sponges
645
00:43:09,301 --> 00:43:11,803
to absorb the rain
falling outside the window,
646
00:43:11,887 --> 00:43:16,475
so that the sound of the water falling
would not ruin the production track.
647
00:43:17,100 --> 00:43:21,605
And thank God he did, because we didn't
have to loop any of this scene.
648
00:43:22,940 --> 00:43:24,066
...thin!
649
00:43:24,149 --> 00:43:27,569
Just relax, Calvin.
You got a big bruise on your head.
650
00:43:31,698 --> 00:43:36,870
-Where are my pants?
-Over there, on my hope chest.
651
00:43:38,747 --> 00:43:41,375
I've never seen
purple underwear before, Calvin.
652
00:43:42,501 --> 00:43:45,254
Lea Thompson was
just absolutely wonderful here.
653
00:43:45,337 --> 00:43:47,256
Well, that is your name, isn't it?
Calvin Klein?
654
00:43:47,339 --> 00:43:50,801
This was one of the audition scenes
that we had for Lorraine,
655
00:43:50,884 --> 00:43:54,012
-and she just nailed it.
-She was great. Yeah.
656
00:43:54,096 --> 00:43:56,431
She was great. She was Lorraine.
657
00:43:56,848 --> 00:43:58,350
Call me Marty.
658
00:44:00,102 --> 00:44:02,521
Pleased to meet you, Calvin.
659
00:44:03,438 --> 00:44:04,815
Marty.
660
00:44:06,233 --> 00:44:07,651
Klein.
661
00:44:07,818 --> 00:44:11,655
All the little touches
that Larry Pauli and Todd Hallowell,
662
00:44:11,738 --> 00:44:12,966
our art director, came up with,
663
00:44:12,990 --> 00:44:18,537
just putting all those photographs around
her mirror of heartthrobs from the '50s.
664
00:44:20,080 --> 00:44:22,624
It's not something that you notice, really,
but if you do,
665
00:44:22,708 --> 00:44:27,421
it just kind of helps you understand
that Lorraine was really boy crazy.
666
00:44:28,380 --> 00:44:33,427
Oh, my God! It's my mother!
Quick! Put your pants back on!
667
00:44:37,472 --> 00:44:39,349
And this is pure Michael J. Fox here.
668
00:44:39,433 --> 00:44:41,494
This is the kind of stuff he can do.
He's so great at it.
669
00:44:41,518 --> 00:44:44,896
He could just do that,
and he could do it every time.
670
00:44:45,063 --> 00:44:46,648
I guessed you're a sailor.
671
00:44:46,732 --> 00:44:48,525
That's why you wear that life preserver.
672
00:44:48,608 --> 00:44:53,196
Frances Lee McCain as Stella Baines there,
673
00:44:55,198 --> 00:44:58,410
and George DiCenzo is Sam Baines.
674
00:45:00,245 --> 00:45:03,582
Bob and I met George DiCenzo
and actually wrote dialogue for him
675
00:45:03,665 --> 00:45:05,625
during Close Encounters.
676
00:45:06,001 --> 00:45:10,756
He played an Army colonel or general,
Air Force colonel or general.
677
00:45:13,592 --> 00:45:15,594
So, you're my uncle Joey.
678
00:45:16,470 --> 00:45:18,847
Better get used to these bars, kid.
679
00:45:18,930 --> 00:45:23,060
Yes. Joey just loves being in his playpen.
680
00:45:23,518 --> 00:45:26,938
He cries whenever we take him out,
so we just leave him in there all the time.
681
00:45:27,022 --> 00:45:29,232
Well, Marty, I hope you like meatloaf.
682
00:45:29,316 --> 00:45:32,819
-Listen, I really ought to...
-Sit here, Marty.
683
00:45:33,403 --> 00:45:37,824
Sam, stop fiddling with that thing
and come in here and eat your dinner.
684
00:45:39,618 --> 00:45:41,370
Look at it roll.
685
00:45:41,453 --> 00:45:44,498
Now we can watch Jackie Gleason
while we eat.
686
00:45:52,464 --> 00:45:55,967
It's our first television set.
Dad just picked it up today.
687
00:45:56,843 --> 00:45:58,929
Do you have a television?
688
00:45:59,012 --> 00:46:01,890
Well, yeah. You know we have two of them.
689
00:46:01,973 --> 00:46:04,768
Wow! You must be rich.
690
00:46:04,851 --> 00:46:08,980
Honey, he's teasing you.
Nobody has two television sets.
691
00:46:14,653 --> 00:46:18,657
Now, when the movie was translated
into Italian,
692
00:46:20,367 --> 00:46:26,039
in Italy, all television was state controlled,
so they did not have a word for rerun.
693
00:46:26,289 --> 00:46:28,875
-Rerun.
-What's a rerun?
694
00:46:29,292 --> 00:46:32,087
Nobody in Italy would have known
what that word meant,
695
00:46:32,170 --> 00:46:36,591
so in Italy this scene was translated as,
"I saw it on cassette,"
696
00:46:37,801 --> 00:46:42,222
because they did have VHS machines
over there by 1985.
697
00:46:42,472 --> 00:46:43,849
You can't.
698
00:46:45,183 --> 00:46:51,022
Right, and didn't you have to
change overseas the Calvin Klein?
699
00:46:51,356 --> 00:46:55,277
That's right. Calvin Klein wasn't
well-known over there, either,
700
00:46:55,360 --> 00:47:01,116
so I think it was Yves Saint Laurent
in France.
701
00:47:01,908 --> 00:47:07,372
No, Pierre Cardin, it was Pierre Cardin. So
Marty was always called Pierre in Europe.
702
00:47:07,539 --> 00:47:09,166
Who the hell is John F. Kennedy?
703
00:47:09,249 --> 00:47:10,542
Mother?
704
00:47:11,168 --> 00:47:13,795
With Marty's parents out of town,
705
00:47:14,337 --> 00:47:16,756
don't you think he
ought to spend the night?
706
00:47:16,840 --> 00:47:18,901
I mean, after all,
Dad almost killed him with the car.
707
00:47:18,925 --> 00:47:22,471
This was an actual practical location
in South Pasadena there.
708
00:47:23,472 --> 00:47:24,824
I think you're our responsibility.
709
00:47:24,848 --> 00:47:28,310
-Gee, I don't know.
-And he can sleep in my room.
710
00:47:28,977 --> 00:47:30,145
I gotta go!
711
00:47:30,228 --> 00:47:32,206
I'm trying to remember,
did we shoot this on a Saturday,
712
00:47:32,230 --> 00:47:36,067
or was Michael finished with his show
by the time we did this?
713
00:47:36,401 --> 00:47:39,821
I think he was done with his show.
I don't think this was a Saturday.
714
00:47:41,364 --> 00:47:44,910
-He's a very strange young man.
-He's an idiot.
715
00:47:45,702 --> 00:47:49,414
Comes from upbringing.
His parents are probably idiots, too.
716
00:47:49,789 --> 00:47:53,376
Lorraine, you ever have a kid
who acts that way, I'll disown you.
717
00:47:54,753 --> 00:47:58,006
This is the Gamble House in Pasadena,
718
00:47:58,798 --> 00:48:04,054
a great example of Craftsman architecture,
719
00:48:04,137 --> 00:48:09,184
built by architects Greene and Greene,
and it's a tourist attraction.
720
00:48:09,267 --> 00:48:10,560
It's a California landmark.
721
00:48:10,644 --> 00:48:14,606
If you come out to Southern California,
be sure to check it out.
722
00:48:17,776 --> 00:48:22,614
Now, the close-up here, this door
was a different Greene and Greene house
723
00:48:22,697 --> 00:48:26,076
in another part of Pasadena
called the Blacker House.
724
00:48:28,161 --> 00:48:31,456
We weren't allowed
to shoot inside the Gamble House,
725
00:48:32,123 --> 00:48:37,087
so this, by being the same architects,
was a pretty good match.
726
00:48:37,504 --> 00:48:38,689
I don't want to know anything about you.
727
00:48:38,713 --> 00:48:40,465
-Listen, Doc...
-Quiet!
728
00:48:40,590 --> 00:48:43,444
And again, this was a scene that
we had originally shot with Eric Stoltz,
729
00:48:43,468 --> 00:48:47,013
and we had to go back to the same location
to shoot it with Michael.
730
00:48:47,097 --> 00:48:48,723
I'm going to read your thoughts.
731
00:48:48,807 --> 00:48:51,726
And the woman who owned the house
had sold it
732
00:48:52,477 --> 00:48:55,272
from when we filmed there the first time,
733
00:48:56,481 --> 00:49:00,735
"and our location manager came to us
and said, "You guys,
734
00:49:00,819 --> 00:49:03,446
"you gotta film in here
before escrow closes,"
735
00:49:03,530 --> 00:49:07,242
"because I don't know if I'll be able
to make a deal with the new owners."
736
00:49:07,325 --> 00:49:13,331
So we begged Gary Goldberg to let Michael
out of his rehearsals for two days
737
00:49:13,832 --> 00:49:17,794
so that we could shoot there
before escrow closed on this house,
738
00:49:18,336 --> 00:49:22,424
and Gary was kind enough to let us do that.
739
00:49:22,674 --> 00:49:24,801
1985.
740
00:49:26,052 --> 00:49:27,637
My God.
741
00:49:32,058 --> 00:49:34,269
Do you know what this means?
742
00:49:35,937 --> 00:49:40,275
It means that this damn thing
doesn't work at all!
743
00:49:40,358 --> 00:49:42,319
Doc, you got to help me.
You are the only one...
744
00:49:42,444 --> 00:49:45,084
I think this was one of the very
first things we shot with Michael.
745
00:49:45,155 --> 00:49:46,197
I have that recollection.
746
00:49:46,281 --> 00:49:50,368
No, I think this was much further along.
This was, like, in March.
747
00:49:50,535 --> 00:49:52,954
Okay. All right, I'll prove it to you.
748
00:49:53,038 --> 00:49:56,207
Look at my driver's license. Expires 1987.
749
00:49:56,291 --> 00:49:59,878
Look at my birthday, for crying out loud!
I haven't even been born yet.
750
00:49:59,961 --> 00:50:04,382
And look at this picture.
It's my brother, my sister and me.
751
00:50:04,466 --> 00:50:07,761
Look at her sweatshirt,
Doc. "Class of 1984"?
752
00:50:08,720 --> 00:50:12,098
Pretty mediocre photographic fakery.
They cut off your brother's hair.
753
00:50:12,223 --> 00:50:17,646
Now, this disappearing photo gag
is a wonderful example
754
00:50:17,729 --> 00:50:22,400
of what Bob and I refer to
as movie logic versus real logic.
755
00:50:24,027 --> 00:50:27,864
There's no real sense as to why
756
00:50:28,657 --> 00:50:32,410
the characters would disappear
from this photograph one by one.
757
00:50:32,494 --> 00:50:35,205
Why don't they all disappear
at the same time?
758
00:50:35,288 --> 00:50:39,000
But it's one of those things
where you see it and you believe it.
759
00:50:39,084 --> 00:50:43,296
Why doesn't the photograph itself
start to disappear? But it doesn't.
760
00:50:44,589 --> 00:50:46,341
-This is a set again.
-This is a set again.
761
00:50:46,424 --> 00:50:48,760
Obviously, the wide shot
was at the Gamble House,
762
00:50:48,843 --> 00:50:51,680
and then this is on Stage 12 at Universal.
763
00:50:52,430 --> 00:50:53,908
...and you hit your head on the sink.
764
00:50:53,932 --> 00:50:56,851
That's when you came up
with the idea for the flux capacitor,
765
00:50:56,935 --> 00:51:00,939
which is what makes time travel possible.
766
00:51:07,278 --> 00:51:09,781
This was the back lot at Universal.
767
00:51:10,031 --> 00:51:14,202
There's no reason to go all the
way back out to Chino to shoot this
768
00:51:14,285 --> 00:51:16,830
when you weren't gonna see anything.
769
00:51:17,664 --> 00:51:23,545
Our effects guys brought the fog machines,
and this was up near the Psycho house,
770
00:51:23,628 --> 00:51:26,131
-as I remember.
-That's right, yeah.
771
00:51:28,717 --> 00:51:32,554
After I fell off my toilet, I drew this.
772
00:51:37,058 --> 00:51:38,852
The flux capacitor.
773
00:51:39,018 --> 00:51:45,316
By the way, you'll see the toilet that Doc
fell off of in Back to the Future Part III,
774
00:51:46,151 --> 00:51:47,694
so stay tuned.
775
00:51:56,703 --> 00:51:59,414
Now, Doc builds the time machine
for himself,
776
00:51:59,497 --> 00:52:03,501
but he felt compelled
to create Dymo labels there,
777
00:52:03,835 --> 00:52:08,006
saying to shield your eyes
from the flash of the Flux Capacitor,
778
00:52:08,339 --> 00:52:10,592
I guess to remind himself
that it was dangerous.
779
00:52:10,800 --> 00:52:12,927
...sneak this back to my laboratory.
780
00:52:13,011 --> 00:52:14,929
We've got to get you home!
781
00:52:15,597 --> 00:52:17,390
Okay, Doc, this is it.
782
00:52:18,183 --> 00:52:23,438
The deleted scene of Doc's going through
his suitcase and looking at his belongings
783
00:52:24,105 --> 00:52:28,151
came right before this scene here.
784
00:52:28,359 --> 00:52:30,361
Thank God, I've still got my hair.
785
00:52:30,445 --> 00:52:32,447
What's on Earth is this thing I'm wearing?
786
00:52:32,530 --> 00:52:34,699
This is a radiation suit.
787
00:52:34,783 --> 00:52:36,534
Radiation suit?
788
00:52:36,618 --> 00:52:37,911
Of course.
789
00:52:38,203 --> 00:52:42,624
As I recollect, it wasn't quite as easy
to find a black and white television
790
00:52:42,707 --> 00:52:45,460
that we could do this with as we thought,
791
00:52:45,543 --> 00:52:48,797
and what we ended up doing
was taking a color set
792
00:52:49,464 --> 00:52:52,050
and putting it into the shell
of a black and white set
793
00:52:52,133 --> 00:52:54,761
and treating the video to look like this,
794
00:52:54,844 --> 00:52:56,805
so that it would look like
it was black and white
795
00:52:56,888 --> 00:52:58,199
-when it was actually a color set.
-That's right.
796
00:52:58,223 --> 00:53:00,785
It's one of those things we just thought
would be a simple thing to do,
797
00:53:00,809 --> 00:53:02,369
and it turned out it was very complicated.
798
00:53:02,393 --> 00:53:03,829
There's always those things in movies,
799
00:53:03,853 --> 00:53:06,356
you think something's
gonna be a snap to do,
800
00:53:06,439 --> 00:53:09,442
and it turns out to be
a headache and a half.
801
00:53:12,403 --> 00:53:14,614
1 .21 gigawatts.
802
00:53:16,616 --> 00:53:18,243
Great Scott!
803
00:53:18,868 --> 00:53:22,080
There's a marlin on Doc's wall there,
to the right.
804
00:53:23,665 --> 00:53:26,459
Another unseen adventure of Doc Brown.
805
00:53:27,794 --> 00:53:30,505
Tom, how am I going to generate
that kind of power?
806
00:53:30,588 --> 00:53:32,215
It can't be done, can it?
807
00:53:32,298 --> 00:53:35,093
Doc, look. All we need
is a little plutonium.
808
00:53:35,218 --> 00:53:41,766
Of course, these portraits of Isaac Newton,
Ben Franklin,
809
00:53:41,850 --> 00:53:44,727
Thomas Edison and Albert Einstein there
810
00:53:44,811 --> 00:53:49,566
are seen at the very beginning of the
movie, when we're exploring Doc's lab.
811
00:53:51,860 --> 00:53:53,444
During the credits.
812
00:53:53,528 --> 00:53:56,114
-And this is back in Pasadena.
-Right.
813
00:53:56,239 --> 00:53:59,701
And it was one of the most difficult scenes
we had to shoot,
814
00:53:59,784 --> 00:54:03,162
partly because we had airplanes
constantly flying overhead,
815
00:54:03,246 --> 00:54:05,957
and Bob was trying to get it all in one.
816
00:54:06,791 --> 00:54:11,588
And we couldn't get all the way through
without having the airplane noise come in
817
00:54:11,671 --> 00:54:13,464
and having to cut the shot.
818
00:54:16,676 --> 00:54:19,721
And there was also a time restriction
in Pasadena as to how late...
819
00:54:19,804 --> 00:54:22,032
-How late you could shoot.
-...you could shoot and we were
820
00:54:22,056 --> 00:54:25,226
at the edge of the envelope
on the time restriction.
821
00:54:25,685 --> 00:54:29,439
Yeah, all the trucks had to be off
the street by 10:00, as I remember,
822
00:54:29,522 --> 00:54:32,567
which means we had to wrap shooting
by 9:00 p.m.
823
00:54:32,650 --> 00:54:34,903
This is the answer.
824
00:54:34,986 --> 00:54:37,405
It says here that a bolt of lightning...
825
00:54:37,697 --> 00:54:39,699
Here's that back and forth
composition again,
826
00:54:39,782 --> 00:54:44,412
with Christopher Lloyd walking
back and forth in three-dimensional space.
827
00:54:45,371 --> 00:54:48,833
If we could somehow harness this lightning,
828
00:54:50,001 --> 00:54:53,254
channel it into the flux capacitor,
829
00:54:54,547 --> 00:54:56,341
it just might work.
830
00:54:56,633 --> 00:55:00,887
Next Saturday night,
we're sending you back to the future!
831
00:55:01,846 --> 00:55:03,782
Okay, all right. Saturday's good.
Saturday's good.
832
00:55:03,806 --> 00:55:07,435
I can spend a week in 1955. I can hang out.
You can show me around.
833
00:55:07,518 --> 00:55:09,604
Marty, that is completely
out of the question.
834
00:55:09,854 --> 00:55:13,441
Our sound man didn't like that fire
going in the fireplace, either.
835
00:55:14,651 --> 00:55:16,819
The planes were driving him crazy,
so he was okay.
836
00:55:16,903 --> 00:55:18,821
Compared to the planes, it was nothing.
837
00:55:18,905 --> 00:55:21,074
Sure. Okay.
838
00:55:21,157 --> 00:55:23,451
My recollection is, we
finally did get it right.
839
00:55:23,534 --> 00:55:26,371
We did get it clean
and didn't have to loop it.
840
00:55:26,454 --> 00:55:30,041
But that's just my recollection.
I could be wrong.
841
00:55:31,084 --> 00:55:35,546
No, I think we did.
I think we did it about 30 times, 32 times.
842
00:55:38,216 --> 00:55:41,636
Just as I thought. This proves my theory.
Look at your brother.
843
00:55:42,887 --> 00:55:46,099
His head's gone. It's
like it's been erased.
844
00:55:48,226 --> 00:55:51,229
The fact that Doc is able
to figure all this out so quickly,
845
00:55:51,312 --> 00:55:53,856
it's a testament to his true genius.
846
00:55:55,566 --> 00:55:57,443
They really cleaned this place up.
847
00:55:57,694 --> 00:55:59,320
Back at Whittier High School.
848
00:55:59,404 --> 00:56:02,615
And in the deleted scenes,
you'll see the bit that we cut out
849
00:56:02,699 --> 00:56:07,495
where Marty finds Lorraine
sitting in class, cheating.
850
00:56:09,163 --> 00:56:13,418
We just cut that out just because
we decided we didn't really need it.
851
00:56:14,377 --> 00:56:16,254
Which one's your pop?
852
00:56:17,422 --> 00:56:18,756
That's him.
853
00:56:20,299 --> 00:56:23,094
Ron Woodward, who's running
for class president there on the left,
854
00:56:23,177 --> 00:56:24,804
was our key grip.
855
00:56:26,848 --> 00:56:28,474
And he didn't win.
856
00:56:28,558 --> 00:56:31,102
Okay, real mature, guys.
857
00:56:32,020 --> 00:56:34,522
-Okay, pick up my books.
-McFly.
858
00:56:34,605 --> 00:56:36,315
That's Strickland.
859
00:56:36,774 --> 00:56:38,860
Jesus, didn't that guy ever have hair?
860
00:56:38,943 --> 00:56:41,696
Shape up, man. You're a slacker.
861
00:56:42,113 --> 00:56:45,324
The disciplinarian at my high school,
his name was Bailey Burkhead,
862
00:56:45,408 --> 00:56:49,704
and he always used to say, "Let me give you
a nickel's worth of free advice."
863
00:56:49,787 --> 00:56:53,416
So some of my friends from high school,
when they saw the movie,
864
00:56:53,499 --> 00:56:56,044
wrote to me telling me
that they fell out of their chairs
865
00:56:56,127 --> 00:56:58,629
when they heard Strickland say that line.
866
00:56:58,713 --> 00:57:01,549
It happens in hospitals when
nurses fall in love with their patients.
867
00:57:01,632 --> 00:57:02,884
Go to it, kid.
868
00:57:03,718 --> 00:57:06,554
Hey, George, buddy.
869
00:57:07,138 --> 00:57:09,515
I have been looking all over for you.
870
00:57:09,599 --> 00:57:13,352
You remember me,
the guy who saved your life the other day?
871
00:57:13,811 --> 00:57:14,812
-Yeah.
-Good.
872
00:57:14,896 --> 00:57:16,898
There's somebody I'd like you to meet.
873
00:57:17,065 --> 00:57:19,650
And that sign there in the background,
874
00:57:19,734 --> 00:57:21,527
Bulldogs vs. Indians,
875
00:57:21,778 --> 00:57:26,866
those were my junior high school
and high school teams, respectively.
876
00:57:27,992 --> 00:57:31,788
When you're the writer, you can just write
stuff for the art department to put on signs,
877
00:57:31,871 --> 00:57:36,958
and they do it for you.
So, a lot of in-jokes from my hometown.
878
00:57:39,044 --> 00:57:42,756
Including, by the way, the Lyon Estates.
879
00:57:43,882 --> 00:57:47,427
The entrance to the university
of the city of Missouri
880
00:57:47,511 --> 00:57:51,014
has lions on the main street.
881
00:57:51,389 --> 00:57:54,601
-Doc, she didn't even look at him.
-This is more serious than I thought.
882
00:57:54,684 --> 00:57:58,396
Apparently, your mother is amorously
infatuated with you, instead of your father.
883
00:57:58,980 --> 00:58:00,107
Wait a minute, Doc.
884
00:58:00,190 --> 00:58:02,818
Are you trying to tell me
that my mother has got the hots...
885
00:58:02,901 --> 00:58:08,698
I love Doc's shirts in this movie. He's
always wearing these great Hawaiian shirts.
886
00:58:09,991 --> 00:58:14,663
It's not exactly a Hawaiian shirt, I guess,
but it's loud enough to be one.
887
00:58:15,205 --> 00:58:16,581
...is if they're alone together,
888
00:58:16,665 --> 00:58:19,292
so you've got to get
your father and mother to interact
889
00:58:19,376 --> 00:58:21,461
in some sort of social...
890
00:58:22,796 --> 00:58:25,048
-What? You mean like a date?
-Right!
891
00:58:25,549 --> 00:58:26,925
What kind of date? I don't know.
892
00:58:27,050 --> 00:58:33,223
One of the rules of how Doc Brown talks
is that he never uses a small word
893
00:58:33,306 --> 00:58:35,559
if he can think of a big word.
894
00:58:35,809 --> 00:58:40,105
So, he has a hard time coming up
with the idea of a dance.
895
00:58:40,605 --> 00:58:42,315
The Enchantment Under the Sea dance!
896
00:58:42,399 --> 00:58:44,526
Even though it says
it right in front of him.
897
00:58:44,651 --> 00:58:46,570
-...for the first time.
-All right, kid.
898
00:58:46,653 --> 00:58:49,865
You stick to your father like glue
and make sure he takes her to that dance.
899
00:58:50,574 --> 00:58:52,075
George, buddy.
900
00:58:52,909 --> 00:58:56,163
Remember that girl
I introduced you to, Lorraine?
901
00:59:02,210 --> 00:59:05,922
-What are you writing?
-Stories.
902
00:59:06,756 --> 00:59:10,302
Science fiction stories about visitors
903
00:59:10,760 --> 00:59:14,014
coming down to Earth from other planets.
904
00:59:16,057 --> 00:59:19,728
Get out of town!
I didn't know you did anything creative.
905
00:59:20,228 --> 00:59:23,023
-Let me read some.
-No, no, no, no.
906
00:59:23,106 --> 00:59:25,942
I never let anybody read my stories.
907
00:59:26,735 --> 00:59:27,944
Why not?
908
00:59:28,361 --> 00:59:32,782
Well, what if they didn't like them?
What if they told me I was no good?
909
00:59:34,868 --> 00:59:37,704
I guess that would be pretty hard
for somebody to understand.
910
00:59:39,122 --> 00:59:41,708
No. No, not hard at all.
911
00:59:42,918 --> 00:59:45,462
So, anyway, George. About Lorraine.
912
00:59:46,630 --> 00:59:48,465
She really likes you.
913
00:59:49,424 --> 00:59:52,385
She told me to tell you
that she wants you to ask her
914
00:59:52,469 --> 00:59:54,221
to the Enchantment Under the Sea dance.
915
00:59:54,304 --> 00:59:55,472
-Really?
-Yeah.
916
00:59:55,555 --> 00:59:58,642
All you got to do is go over there
and ask her.
917
00:59:59,559 --> 01:00:01,728
What? Right here, right now,
in the cafeteria?
918
01:00:01,811 --> 01:00:06,441
What if she said no? I don't know
if I could take that kind of a rejection.
919
01:00:07,234 --> 01:00:11,154
Besides, I think she'd rather go
with somebody else.
920
01:00:12,489 --> 01:00:13,657
Who?
921
01:00:15,450 --> 01:00:16,576
Biff.
922
01:00:18,119 --> 01:00:20,580
-Don't kid around. Come on.
-I'm gonna leave.
923
01:00:20,664 --> 01:00:24,751
You want it. You know you want it.
You know you want me to give it to you.
924
01:00:24,834 --> 01:00:28,004
Shut your filthy mouth.
I'm not that kind of girl.
925
01:00:28,672 --> 01:00:31,424
Maybe you are
and you just don't know it yet.
926
01:00:31,508 --> 01:00:33,343
Get your meat hooks off of me.
927
01:00:33,426 --> 01:00:37,931
You heard her.
She said, get your meat hooks off.
928
01:00:39,349 --> 01:00:40,600
Please.
929
01:00:41,434 --> 01:00:43,520
So what's it to you, butthead?
930
01:00:44,646 --> 01:00:46,898
You know, you been looking for a fight.
931
01:00:56,825 --> 01:01:00,870
Since you're new here,
I'm going to cut you a break, today.
932
01:01:02,706 --> 01:01:06,459
So, why don't you make like a tree
and get out of here.
933
01:01:10,880 --> 01:01:15,218
Incidentally, Billy Zane is not
in this scene with Biff's guys.
934
01:01:15,510 --> 01:01:18,013
I think we shot this on a Saturday,
935
01:01:19,180 --> 01:01:24,227
and Billy just wasn't available
to work that day, so he wasn't in it.
936
01:01:25,228 --> 01:01:28,648
You don't really miss him,
but in case you're wondering
937
01:01:28,732 --> 01:01:32,777
why Biff only has two guys with him
instead of three, that's why.
938
01:01:33,028 --> 01:01:37,282
This is the same street in South Pasadena
where Lorraine's house was.
939
01:01:37,782 --> 01:01:40,201
It was two or three doors down the street,
940
01:01:40,285 --> 01:01:46,541
and worked out perfectly to have this
other house next door to the first one.
941
01:01:46,750 --> 01:01:50,045
...or anybody else on this planet
is going to make me change my mind.
942
01:01:52,505 --> 01:01:57,260
And Science Fiction Theater is an actual,
real television show from the 1950s.
943
01:01:58,762 --> 01:02:02,724
By the way, that wishing well
in the photograph there is at Amblin.
944
01:02:02,807 --> 01:02:05,101
The Amblin office at Universal.
945
01:02:08,938 --> 01:02:14,527
And that Fantastic Story Magazine there
is something that our prop guy found
946
01:02:14,611 --> 01:02:18,782
or set decorator found. It was not
something that we made for the movie.
947
01:02:18,865 --> 01:02:24,371
It was just so perfect and looked so much
like Darth Vader that we had to use it.
948
01:02:28,792 --> 01:02:33,922
The tape is labeled "Edward Van Halen"
instead of "Van Halen. "There was some...
949
01:02:34,255 --> 01:02:36,067
We couldn't get permission
from the entire group,
950
01:02:36,091 --> 01:02:39,010
but Eddie Van Halen
gave us permission, so...
951
01:02:39,594 --> 01:02:42,430
Yeah, we were able
to identify it as him personally,
952
01:02:42,514 --> 01:02:45,058
but not call it Van Halen the group.
953
01:02:48,603 --> 01:02:52,065
I am an extraterrestrial
from the planet Vulcan.
954
01:02:52,482 --> 01:02:55,735
-Here's the hair dryer.
-Right. There's the hair dryer,
955
01:02:55,819 --> 01:02:59,823
which you can see the long version of that
in the deleted scenes.
956
01:03:00,824 --> 01:03:03,201
You weren't at school.
What have you been doing all day?
957
01:03:03,284 --> 01:03:06,204
I overslept. Look, I need your help.
958
01:03:06,287 --> 01:03:07,914
I have to ask Lorraine out...
959
01:03:07,997 --> 01:03:09,717
And this is just a wonderful throwaway gag,
960
01:03:09,791 --> 01:03:12,794
with Michael not being able
to open up the Pepsi bottle,
961
01:03:12,877 --> 01:03:15,922
'cause a kid from the '80s
would only be used to
962
01:03:16,005 --> 01:03:18,508
twist-off soft drink bottle caps.
963
01:03:18,591 --> 01:03:21,511
Last night, Darth Vader came down
from Planet Vulcan
964
01:03:21,594 --> 01:03:25,515
and told me that if I didn't take
Lorraine out, that he'd melt my brain.
965
01:03:25,598 --> 01:03:28,685
Let's just keep this brain-melting stuff
to ourselves, okay?
966
01:03:28,768 --> 01:03:32,272
-Yeah. Yeah.
-All right, okay. There she is, George.
967
01:03:32,355 --> 01:03:34,107
Now just go in there and invite her.
968
01:03:34,190 --> 01:03:36,943
-Okay. But I don't know what to say.
-Just say anything, George.
969
01:03:37,444 --> 01:03:39,446
Crispin really is good in this movie,
970
01:03:39,529 --> 01:03:46,035
and it's too bad that he had
such strange ideas and attitudes
971
01:03:46,119 --> 01:03:48,538
about how an actor should behave.
972
01:03:48,621 --> 01:03:52,709
Look, tell her destiny
brought you together.
973
01:03:52,792 --> 01:03:56,629
Tell her that she is the most beautiful
girl you have ever seen in the world.
974
01:03:56,713 --> 01:03:58,673
Girls like that stuff.
975
01:03:59,048 --> 01:04:01,926
-What are you doing, George?
-I'm writing this down. This is good stuff.
976
01:04:02,010 --> 01:04:03,511
Yeah. Okay, let's go.
977
01:04:03,595 --> 01:04:05,054
-Can you take care of that?
-Right.
978
01:04:13,897 --> 01:04:17,317
Our music supervisor, Bones Howe,
did a great job
979
01:04:17,400 --> 01:04:22,197
coming up with songs
that clearly were not rock 'n' roll
980
01:04:22,280 --> 01:04:25,033
and didn't have much R&B aspect to them,
981
01:04:25,366 --> 01:04:30,455
to create a contrast to Johnny B. Goode,
when you hear that later on.
982
01:04:36,294 --> 01:04:39,380
Dance With Me Henry
is the name of that song.
983
01:04:45,428 --> 01:04:50,517
Lorraine. My density has popped me to you.
984
01:04:51,893 --> 01:04:53,102
What?
985
01:04:55,188 --> 01:04:56,397
What I meant to say...
986
01:04:56,481 --> 01:05:01,027
I'm trying to remember, Neil,
if this was another Saturday shoot.
987
01:05:01,236 --> 01:05:03,446
Yeah, I think it was. It was.
988
01:05:03,696 --> 01:05:05,031
I'm George.
989
01:05:05,657 --> 01:05:09,536
-The Saturday shoots were very expensive.
-And I remember Crispin had a cold.
990
01:05:09,619 --> 01:05:11,538
That's why his voice
kind of sounds like that.
991
01:05:11,621 --> 01:05:13,790
-But it really worked for the scene.
-Absolutely did.
992
01:05:13,873 --> 01:05:17,043
When he first came in,
he said he couldn't speak.
993
01:05:17,210 --> 01:05:18,628
Hey, McFly.
994
01:05:23,091 --> 01:05:26,219
It's great, one of those great movie gags,
where the music just stops.
995
01:05:26,302 --> 01:05:32,517
Somebody unplugs the jukebox to enhance the
dramatic effect of this. No reason for it.
996
01:05:33,643 --> 01:05:35,770
How much do you want, Biff?
997
01:05:43,987 --> 01:05:45,572
All right, punk.
998
01:05:45,655 --> 01:05:48,408
-Now I'm going to...
-Biff. What's that?
999
01:05:55,123 --> 01:05:56,416
That's Calvin Klein.
1000
01:05:56,833 --> 01:06:02,171
I should tell you a pretty good story
about finding the skateboard experts
1001
01:06:02,255 --> 01:06:04,716
that helped us design
this skateboard chase.
1002
01:06:04,799 --> 01:06:06,551
I'll get it back to you, all right?
1003
01:06:07,677 --> 01:06:10,930
Remember, this is...
We're in pre-production, this is 1984,
1004
01:06:11,014 --> 01:06:16,394
and skateboarding is not the popular thing
that it is now.
1005
01:06:17,020 --> 01:06:21,065
Nobody... There were no skateboarders
who had any name recognition
1006
01:06:21,149 --> 01:06:22,942
the way there are today.
1007
01:06:23,026 --> 01:06:27,363
So, I decided to go down to Venice Beach
on a Sunday
1008
01:06:27,989 --> 01:06:32,327
because every crazy person
that has a weird skill
1009
01:06:32,410 --> 01:06:36,122
is always hanging around Venice
on a Sunday afternoon.
1010
01:06:36,205 --> 01:06:39,459
So I'm walking around,
and there were two guys
1011
01:06:39,542 --> 01:06:44,297
doing skateboard demonstrations. They
were terrific. I watched them for a while
1012
01:06:44,714 --> 01:06:48,092
and I thought,
"These are the guys we need to help us."
1013
01:06:48,176 --> 01:06:52,096
So, I started talking to them, and I
felt like the biggest jerk in the world,
1014
01:06:52,180 --> 01:06:54,974
to go up to these guys and say,
"Hey, I'm producing this movie
1015
01:06:55,058 --> 01:06:59,896
"and we need some skateboarders."
But you have to do that sometimes.
1016
01:07:00,271 --> 01:07:04,484
So that's what I did, and I gave them this
big speech about how I'm producing this movie
1017
01:07:04,567 --> 01:07:06,486
and we have this skateboard chase,
1018
01:07:06,569 --> 01:07:09,822
and I'm wondering,
"What are these guys gonna say?"
1019
01:07:10,281 --> 01:07:13,785
And one of them pulls out his business card
and he says,
1020
01:07:13,868 --> 01:07:18,122
"My agent's name is on this card.
Just call her and she'll set it up."
1021
01:07:18,706 --> 01:07:22,877
And it turns out that this guy was...
Per Welinder was his name,
1022
01:07:22,960 --> 01:07:25,755
and he was a European
skateboard champion.
1023
01:07:26,506 --> 01:07:29,592
And his friend was
a guy named Bobby Schmelzer.
1024
01:07:31,302 --> 01:07:34,430
He was a perfect stunt
double for Eric Stoltz,
1025
01:07:34,722 --> 01:07:40,353
so we used him when we shot this with Eric,
and, of course, when we shot with Michael,
1026
01:07:40,436 --> 01:07:43,606
he was five inches too tall,
1027
01:07:44,148 --> 01:07:47,318
so Michael's stunt double
was Charlie Croughwell,
1028
01:07:47,777 --> 01:07:51,197
who is now a stunt coordinator,
one of the best in the business,
1029
01:07:51,280 --> 01:07:56,828
and just a really skilled and terrific guy,
very bright,
1030
01:07:56,911 --> 01:08:01,374
and he helped us figure out
how to do some of this stuff
1031
01:08:01,457 --> 01:08:05,712
and learned how to skateboard, because
he didn't really know that much about it,
1032
01:08:05,795 --> 01:08:07,922
and did a great job.
1033
01:08:13,636 --> 01:08:14,971
Oh, my God.
1034
01:08:15,388 --> 01:08:18,474
They found me.
I don't know how, but they found me.
1035
01:08:18,558 --> 01:08:20,226
Run for it, Marty!
1036
01:08:24,939 --> 01:08:26,315
Oh, my God.
1037
01:08:27,108 --> 01:08:30,027
They found me.
I don't know how, but they found me.
1038
01:08:30,445 --> 01:08:35,408
And you'll notice here
that the tinge of the set
1039
01:08:35,491 --> 01:08:39,454
is more sepia than blue.
1040
01:08:40,455 --> 01:08:44,500
I can't exactly remember why
that was the case.
1041
01:08:44,625 --> 01:08:46,105
...I haven't told you about the night
1042
01:08:46,169 --> 01:08:47,521
-we made that tape.
-Please, Marty, don't tell me.
1043
01:08:47,545 --> 01:08:48,897
No man should know too much
about his own destiny.
1044
01:08:48,921 --> 01:08:50,357
-You don't understand.
-I do understand.
1045
01:08:50,381 --> 01:08:53,152
If I know too much about my own future,
I can endanger my own existence.
1046
01:08:53,176 --> 01:08:55,511
Just as you've endangered yours.
1047
01:08:57,472 --> 01:08:59,390
-You're right.
-Now...
1048
01:08:59,474 --> 01:09:02,351
Let me show you my plan
for sending you home.
1049
01:09:02,435 --> 01:09:03,871
Please excuse the crudity of this model.
1050
01:09:03,895 --> 01:09:06,814
This was the art department in their glory.
1051
01:09:06,898 --> 01:09:09,692
I love the ketchup bottles
and all the different...
1052
01:09:09,776 --> 01:09:11,670
-Salt and pepper shakers.
-...salt and pepper shakers, right.
1053
01:09:11,694 --> 01:09:16,699
All this stuff that, you look at it
and you can sort of identify what it is.
1054
01:09:19,327 --> 01:09:23,331
Meanwhile, we've outfitted the time vehicle
with this big pole and hook,
1055
01:09:23,414 --> 01:09:26,375
which runs directly
into the flux capacitor.
1056
01:09:27,293 --> 01:09:31,964
At the calculated moment,
you start off from down the street...
1057
01:09:32,882 --> 01:09:35,802
I should talk about gigawatts for a second.
1058
01:09:36,219 --> 01:09:39,555
The proper pronunciation is,
of course, "gig-awatts,"
1059
01:09:40,139 --> 01:09:42,850
and when Bob and I were doing research,
1060
01:09:43,059 --> 01:09:46,813
we talked to someone
who mispronounced it "jigowatts."
1061
01:09:47,563 --> 01:09:51,150
And we were actually
completely unfamiliar with the term.
1062
01:09:51,609 --> 01:09:56,239
We thought that
was how it was supposed to be said.
1063
01:09:57,031 --> 01:10:00,993
It does come from the Greek root gigas,
for "gigantic,"
1064
01:10:01,077 --> 01:10:05,414
so I suppose it's not beyond
the realm of possibility.
1065
01:10:05,832 --> 01:10:11,671
But never having heard of it, we actually
spelled it in the script J-I-G-O-W-A-T-T.
1066
01:10:12,880 --> 01:10:17,134
So, a "jigowatt" is actually
supposed to be a gigawatt, a million watts.
1067
01:10:19,679 --> 01:10:20,805
Set.
1068
01:10:22,014 --> 01:10:25,101
So, the mystery of the gigawatts
is now solved.
1069
01:10:25,852 --> 01:10:27,103
Release.
1070
01:10:28,229 --> 01:10:32,608
And this scene, of course,
is a classic World War II,
1071
01:10:33,651 --> 01:10:37,405
"Here's the mission, boys,
and this is what we're gonna do."
1072
01:10:37,864 --> 01:10:40,104
You show the mission,
you show what's supposed to happen,
1073
01:10:40,157 --> 01:10:44,662
so that when things start to go wrong,
the audience completely understands
1074
01:10:45,371 --> 01:10:49,166
what's gone wrong
and what has to happen for it to be right.
1075
01:10:49,333 --> 01:10:52,879
You take care of your pop.
1076
01:10:52,962 --> 01:10:55,965
By the way, what happened today?
Did he ask her out?
1077
01:10:56,048 --> 01:10:58,301
-I think so.
-What did she say?
1078
01:11:06,976 --> 01:11:11,063
It's your mom! She's tracked you down!
Quick! Let's cover the time machine.
1079
01:11:17,778 --> 01:11:21,574
This is the only scene in all three movies
1080
01:11:21,657 --> 01:11:25,703
that Lea has with Christopher Lloyd.
1081
01:11:26,203 --> 01:11:27,288
Marty.
1082
01:11:27,371 --> 01:11:28,789
Mom. Lorraine.
1083
01:11:30,333 --> 01:11:31,834
How did you know I was here?
1084
01:11:31,959 --> 01:11:35,212
We always thought it was amazing
that she did these movies
1085
01:11:35,296 --> 01:11:39,425
and never really got to
play any kind of a scene with Chris.
1086
01:11:39,884 --> 01:11:44,305
This is about as much as they get to do,
looking at each other there.
1087
01:11:46,682 --> 01:11:49,852
Marty, this may seem a little forward,
1088
01:11:50,227 --> 01:11:54,440
but I was kind of wondering if you'd ask me
1089
01:11:54,523 --> 01:11:58,361
to the Enchantment Under the Sea dance
on Saturday.
1090
01:12:01,030 --> 01:12:04,241
Wow, you mean...
You mean nobody's asked you?
1091
01:12:05,451 --> 01:12:07,787
I think that shirt that Michael's wearing
1092
01:12:07,870 --> 01:12:12,458
was something that Deborah Scott
just found in the wardrobe department.
1093
01:12:14,794 --> 01:12:20,424
I don't remember her
making many clothes at all in this movie.
1094
01:12:20,883 --> 01:12:23,135
Finding just about everything.
1095
01:12:23,886 --> 01:12:26,931
-We didn't have the budget.
-We didn't have the budget to make things.
1096
01:12:27,014 --> 01:12:29,225
...so he can stand up for himself
1097
01:12:29,892 --> 01:12:32,144
and protect the woman he loves.
1098
01:12:36,857 --> 01:12:38,234
Don't you?
1099
01:12:39,735 --> 01:12:40,820
Yeah.
1100
01:12:42,238 --> 01:12:46,325
Chris Lloyd just nodding his agreement
to that scene, it's just...
1101
01:12:46,617 --> 01:12:49,245
Chris just does great stuff like that.
1102
01:12:49,370 --> 01:12:52,039
Well, because, George,
she wants to go with you.
1103
01:12:52,123 --> 01:12:54,041
She just doesn't know it yet.
1104
01:12:54,125 --> 01:12:56,752
That's why we got to show her
that you, George McFly...
1105
01:12:56,877 --> 01:12:59,797
Now, again, for all you continuity geeks,
1106
01:13:00,589 --> 01:13:04,927
you can watch the flaps
of Michael J. Fox's pocket.
1107
01:13:05,219 --> 01:13:06,220
It goes in and out.
1108
01:13:06,303 --> 01:13:10,099
There it's in, and I think in
the next shot it's out again.
1109
01:13:12,226 --> 01:13:14,228
It's one of those things
that we never noticed,
1110
01:13:14,311 --> 01:13:17,189
in all the times
that we've been looking at the movie,
1111
01:13:17,273 --> 01:13:20,085
and we got a letter about it. It was one
of the first letters we ever received.
1112
01:13:20,109 --> 01:13:21,909
-Right.
-And we went back to the editing room.
1113
01:13:21,944 --> 01:13:23,714
And you're surprised.
You're always surprised.
1114
01:13:23,738 --> 01:13:26,073
There's always a couple things like that
that happen
1115
01:13:26,157 --> 01:13:30,286
where you just never notice something,
and, boom, there it is.
1116
01:13:30,786 --> 01:13:33,789
So, for all of you
that have watched the movie
1117
01:13:34,081 --> 01:13:35,921
as many times as you have
and never noticed it,
1118
01:13:35,958 --> 01:13:40,379
now you'll never be able to watch
this scene without noticing that flap.
1119
01:13:40,838 --> 01:13:43,507
So, 9:00, you're strolling
through the parking lot.
1120
01:13:43,591 --> 01:13:46,802
You see us struggling in the car.
1121
01:13:47,678 --> 01:13:52,391
As I remember, this was actually
the exterior of Lorraine's house.
1122
01:13:53,309 --> 01:13:58,189
Yes, it was the backyard at Lorraine's
house, and all that grass there was cement.
1123
01:13:58,272 --> 01:14:01,191
-We put the grass in for this.
-That's right.
1124
01:14:02,067 --> 01:14:04,486
-You really think I ought to swear?
-Yes, definitely.
1125
01:14:04,569 --> 01:14:06,196
God damn it, George, swear.
1126
01:14:06,279 --> 01:14:09,491
Okay. So, now you come up.
You punch me in the stomach.
1127
01:14:09,574 --> 01:14:11,367
I'm out for the count, right?
1128
01:14:11,451 --> 01:14:12,994
And you and Lorraine live...
1129
01:14:13,078 --> 01:14:16,372
And the clothesline,
just one of those great period touches
1130
01:14:16,456 --> 01:14:21,169
that adds so much.
You don't think about them anymore,
1131
01:14:22,378 --> 01:14:24,881
but that was what people did
to dry their clothes
1132
01:14:24,964 --> 01:14:26,716
before there were clothes driers.
1133
01:14:26,800 --> 01:14:30,845
But all you kids watching this,
that was the case.
1134
01:14:34,015 --> 01:14:36,851
The voice on the radio there,
giving the weather report,
1135
01:14:36,935 --> 01:14:39,854
is our sound effects
editor, Chuck Campbell,
1136
01:14:40,522 --> 01:14:44,442
who has a very wonderful,
resonant radio-announcer's voice,
1137
01:14:45,485 --> 01:14:49,405
and we begged him to do that.
He finally relented.
1138
01:14:51,324 --> 01:14:55,495
Just knowing that I'm going to be around
to see 1985.
1139
01:14:55,578 --> 01:14:57,539
That I'm going to succeed in this!
1140
01:14:58,873 --> 01:15:03,628
The Packard there,
everybody in the crew wanted that Packard.
1141
01:15:04,546 --> 01:15:08,925
It was some private collector
who had that car,
1142
01:15:09,008 --> 01:15:12,053
and everybody lusted for that Packard.
1143
01:15:12,387 --> 01:15:14,973
I'm really going to miss you, Marty.
1144
01:15:15,974 --> 01:15:19,352
It ran every time, too.
He took damn good care of it.
1145
01:15:20,019 --> 01:15:21,771
Unlike the DeLorean.
1146
01:15:22,522 --> 01:15:24,858
-Doc, about the future...
-No!
1147
01:15:25,525 --> 01:15:27,819
Marty! We've already agreed
1148
01:15:27,902 --> 01:15:30,780
that having information about the future
can be extremely dangerous.
1149
01:15:30,864 --> 01:15:32,264
Even if your intentions are good...
1150
01:15:32,323 --> 01:15:35,511
There are some people that will claim that
that the guy who just rode the bicycle
1151
01:15:35,535 --> 01:15:40,331
behind Chris there was the Doc Brown
of Back to the Future Part II
1152
01:15:40,415 --> 01:15:43,293
riding his bicycle, looking for Marty.
1153
01:15:44,169 --> 01:15:46,754
That's not true, but it's a good story.
1154
01:15:46,838 --> 01:15:48,590
"You will be"
1155
01:15:49,048 --> 01:15:51,342
"shot by terrorists."
1156
01:15:52,468 --> 01:15:54,804
"Please take whatever precautions
are necessary..."
1157
01:15:54,929 --> 01:15:58,183
Now, there is another continuity mistake
on this letter that, again,
1158
01:15:58,266 --> 01:16:01,394
we got a letter from a
kid in Japan, actually.
1159
01:16:01,561 --> 01:16:05,773
One of the words at the end of a line is...
1160
01:16:06,524 --> 01:16:10,028
When the letter is put back together
at the very end of the movie,
1161
01:16:10,111 --> 01:16:11,779
is at the front of a line.
1162
01:16:11,863 --> 01:16:15,867
Again, we never noticed that,
and the fact that somebody in Japan
1163
01:16:15,950 --> 01:16:18,328
would notice that,
who he doesn't even speak English,
1164
01:16:18,411 --> 01:16:21,956
and would write us a letter
in very bad English about it.
1165
01:16:22,540 --> 01:16:25,460
Some people don't have enough to do,
I guess.
1166
01:16:25,543 --> 01:16:29,130
-You got a permit for that?
-Of course I do.
1167
01:16:29,797 --> 01:16:32,800
The actor playing the cop is Read Morgan.
1168
01:16:33,885 --> 01:16:37,055
Read is a great character actor.
1169
01:16:38,514 --> 01:16:40,642
Bob and I used him in
I Wanna Hold Your Hand.
1170
01:16:40,725 --> 01:16:43,811
For any sports fans, he played basketball
at the University of Kentucky
1171
01:16:43,895 --> 01:16:46,481
-for Adolph Rupp.
-I didn't know that.
1172
01:16:59,994 --> 01:17:04,624
This shot is done
off of the remote Hot Head camera,
1173
01:17:05,124 --> 01:17:07,627
which was a stage crane camera
1174
01:17:08,336 --> 01:17:11,923
which Bob used extensively in this dance.
1175
01:17:13,508 --> 01:17:16,219
A much better version of the Louma Crane.
1176
01:17:24,894 --> 01:17:28,189
Took a couple of weeks for the camera
operator to be comfortable using it,
1177
01:17:28,273 --> 01:17:31,567
because he wasn't able to look
through the lens when he operated it.
1178
01:17:31,651 --> 01:17:33,861
He could only watch it on a TV monitor.
1179
01:17:33,945 --> 01:17:37,156
...park for a while?
1180
01:17:37,240 --> 01:17:39,867
That's a great idea. I'd love to park.
1181
01:17:40,410 --> 01:17:45,123
Marty, I'm almost 18 years old.
It's not like I've never parked before.
1182
01:17:45,915 --> 01:17:47,208
What?
1183
01:17:47,750 --> 01:17:50,545
Marty, you seem so nervous.
Is something wrong?
1184
01:17:50,628 --> 01:17:52,964
Did we shoot all of this
on location here, Neil?
1185
01:17:53,047 --> 01:17:54,047
Yes.
1186
01:17:54,090 --> 01:17:57,093
I get confused with Part I and Part II.
This was...
1187
01:17:57,176 --> 01:18:00,972
-Yeah, this was on location.
-This was all on location. Both sides of it?
1188
01:18:01,055 --> 01:18:02,140
Yes.
1189
01:18:02,223 --> 01:18:04,103
I swiped it from the
old lady's liquor cabinet.
1190
01:18:04,183 --> 01:18:05,977
Yeah, well...
1191
01:18:06,436 --> 01:18:09,314
At Whittier. The interior
of the dance is in...
1192
01:18:09,397 --> 01:18:13,401
Yeah, the gymnasium.
Right, that's the Methodist Church
1193
01:18:13,484 --> 01:18:18,114
on the corner of Franklin and Highland,
in Hollywood.
1194
01:18:19,824 --> 01:18:23,494
They have a terrific gymnasium there,
and we were able to shoot
1195
01:18:23,578 --> 01:18:27,999
during the daytime,
because it's not a real school.
1196
01:18:28,499 --> 01:18:32,128
We could only shoot at Whittier High School
on Saturdays,
1197
01:18:32,211 --> 01:18:34,797
during school vacations and at night.
1198
01:18:34,922 --> 01:18:39,510
And, in fact, between shooting
with Eric Stoltz and with Michael J. Fox,
1199
01:18:39,594 --> 01:18:44,098
we shot there both over Christmas vacation
and spring vacation.
1200
01:19:02,325 --> 01:19:05,620
Marty? Why are you so nervous?
1201
01:19:06,871 --> 01:19:08,247
Lorraine.
1202
01:19:09,165 --> 01:19:10,875
Have you ever...
1203
01:19:10,958 --> 01:19:15,588
This was the scene that was too risqué
for the Walt Disney Company,
1204
01:19:15,671 --> 01:19:19,467
and was the reason
that they would not consider
1205
01:19:20,343 --> 01:19:22,845
having us make this movie for them.
1206
01:19:22,929 --> 01:19:24,180
Sort of.
1207
01:19:24,972 --> 01:19:27,642
I think I know exactly what you mean.
1208
01:19:28,476 --> 01:19:29,769
You do?
1209
01:19:30,269 --> 01:19:32,897
You know what I do in those situations?
1210
01:19:32,980 --> 01:19:35,274
-What?
-I don't worry.
1211
01:19:39,654 --> 01:19:43,741
Actually, this is what I was thinking of.
This shot here, we shot later.
1212
01:19:43,825 --> 01:19:46,160
-Yes.
-This was shot on a stage.
1213
01:19:46,828 --> 01:19:51,040
-Right, 'cause we were missing her reaction.
-Her reaction didn't work.
1214
01:19:51,124 --> 01:19:52,834
Or whatever we had.
1215
01:19:53,251 --> 01:19:56,879
This is all wrong. I don't know what it is.
1216
01:19:58,548 --> 01:20:02,009
But when I kiss you, it's like I'm kissing
1217
01:20:03,803 --> 01:20:05,179
my brother.
1218
01:20:05,471 --> 01:20:08,182
I guess that doesn't make any sense,
does it?
1219
01:20:08,266 --> 01:20:12,311
Believe me, it makes perfect sense.
1220
01:20:14,105 --> 01:20:15,815
Somebody's coming.
1221
01:20:19,735 --> 01:20:22,947
You caused 300 bucks damage to my car,
you son of a bitch.
1222
01:20:23,030 --> 01:20:26,659
We've been asked why the movie is shot
1223
01:20:26,742 --> 01:20:31,038
in the 1:85 aspect ratio
as opposed to widescreen,
1224
01:20:31,873 --> 01:20:34,917
and the reason for that decision,
which Bob made
1225
01:20:35,001 --> 01:20:38,337
with Dean Cundey,
the director of photography...
1226
01:20:38,838 --> 01:20:42,633
Bob had shot Romancing the Stone
with Dean Cundey
1227
01:20:43,217 --> 01:20:47,096
before making Back to the Future,
and that was shot widescreen,
1228
01:20:47,346 --> 01:20:53,311
and Bob didn't like widescreen
because he likes a lot of depth of focus
1229
01:20:53,394 --> 01:20:57,982
when he shoots. This movie
is shot with a lot of wide lenses.
1230
01:20:58,566 --> 01:21:03,196
Very rarely did Bob ever use
a closer lens than a 29mm.
1231
01:21:03,696 --> 01:21:06,532
Most of it was a 21 or a 24.
1232
01:21:07,074 --> 01:21:10,536
And with an anamorphic widescreen lens,
1233
01:21:10,620 --> 01:21:14,916
you just don't get the
depth of focus, ever,
1234
01:21:15,666 --> 01:21:18,294
and Bob likes to have that depth of focus.
1235
01:21:19,295 --> 01:21:22,590
The other reason was
that it's not a big movie,
1236
01:21:23,299 --> 01:21:27,220
and since we couldn't show as much
on the sides of the frame
1237
01:21:27,303 --> 01:21:30,723
as you can in a big outdoor movie,
we decided
1238
01:21:31,015 --> 01:21:33,684
that there was no point
in shooting it in widescreen,
1239
01:21:33,768 --> 01:21:38,231
and the 1:77 format
had just been decided as the standard
1240
01:21:38,314 --> 01:21:41,108
for widescreen televisions of the future,
1241
01:21:41,275 --> 01:21:45,029
and we figured that,
by shooting it in 1:85, in the end
1242
01:21:45,112 --> 01:21:47,907
more people would see the movie on video
than saw in a theater,
1243
01:21:47,990 --> 01:21:50,535
and they would see it much closer to
1244
01:21:50,618 --> 01:21:54,372
what Bob and Dean
intended in their framing
1245
01:21:54,830 --> 01:21:58,042
by shooting it in 1:85,
than if we'd shot it in widescreen.
1246
01:21:58,125 --> 01:22:00,753
I think you got the wrong car, McFly.
1247
01:22:01,754 --> 01:22:03,798
George, help me! Please!
1248
01:22:03,881 --> 01:22:06,759
Just turn around, McFly, and walk away.
1249
01:22:07,802 --> 01:22:09,971
-Please, George.
-Are you deaf, McFly?
1250
01:22:10,054 --> 01:22:12,139
Close the door and beat it.
1251
01:22:14,725 --> 01:22:18,312
No, Biff. You leave her alone.
1252
01:22:19,063 --> 01:22:20,856
All right, McFly.
1253
01:22:24,110 --> 01:22:26,112
You're asking for it...
1254
01:22:26,237 --> 01:22:30,074
Now, there was a gag that we
cut out of the rehearsal of the fight
1255
01:22:30,157 --> 01:22:35,079
that showed George practice-punching
with a punching bag,
1256
01:22:35,705 --> 01:22:39,834
and missed with his right hand,
and then let fly with his left hand,
1257
01:22:40,585 --> 01:22:43,379
and knocked the punching bag
off of the clothesline,
1258
01:22:43,462 --> 01:22:48,301
suggesting that perhaps George
should've have been a left-handed person
1259
01:22:48,384 --> 01:22:49,927
and was forced to be right-handed.
1260
01:22:50,011 --> 01:22:54,181
We ended up cutting that out
because there was no reason for it.
1261
01:22:54,807 --> 01:22:58,102
It was much better for this
to turn into a surprise,
1262
01:22:58,185 --> 01:23:03,941
and for his anger here to be
the catalyst for him laying Biff out.
1263
01:23:14,201 --> 01:23:19,206
And actually, in the first draft of the
script, when Marty comes back to the future,
1264
01:23:19,749 --> 01:23:22,460
George, instead of becoming
a successful writer,
1265
01:23:22,543 --> 01:23:24,545
ends up becoming a boxer.
1266
01:23:28,257 --> 01:23:34,138
We decided that kids really didn't want
to have their dads be prizefighters,
1267
01:23:34,555 --> 01:23:38,392
so we ended up changing that,
but that was our first idea.
1268
01:23:51,322 --> 01:23:54,950
-Who is that guy?
-That's George McFly.
1269
01:23:58,788 --> 01:24:02,208
-That's George McFly?
-Excuse me.
1270
01:24:11,258 --> 01:24:16,013
Those cats on either side of the clock
were from The Cat People,
1271
01:24:16,847 --> 01:24:21,227
something that the art department found
in the scene docks at Universal.
1272
01:24:21,310 --> 01:24:23,580
He can't play with his hand like that,
and we can't play without him.
1273
01:24:23,604 --> 01:24:25,815
This is Whittier High School.
1274
01:24:28,025 --> 01:24:29,610
Big high school.
1275
01:24:30,111 --> 01:24:33,531
Found all kinds of great places
to shoot around there.
1276
01:24:33,614 --> 01:24:35,157
Hey, man, the dance is over.
1277
01:24:36,075 --> 01:24:39,120
-And they were very cooperative.
-That's right.
1278
01:24:45,251 --> 01:24:47,670
This is for all you lovers out there.
1279
01:24:52,967 --> 01:24:57,680
That's the actor who's singing,
Harry Waters Jr. Great voice.
1280
01:24:58,305 --> 01:24:59,598
Nice guy.
1281
01:25:01,726 --> 01:25:04,019
George, aren't you going to kiss me?
1282
01:25:04,103 --> 01:25:08,482
Those shots... The shots
that you're gonna see of the photograph
1283
01:25:08,983 --> 01:25:11,235
in the neck of the guitar,
1284
01:25:12,528 --> 01:25:18,784
those, especially the ILM shots,
it was impossible to get that shot,
1285
01:25:18,868 --> 01:25:22,455
so ILM built a giant guitar neck,
1286
01:25:22,538 --> 01:25:25,750
about three or four times the size
of a regular guitar neck,
1287
01:25:25,833 --> 01:25:28,085
and we blew the photograph up
much bigger,
1288
01:25:28,169 --> 01:25:30,588
and that's how we got those shots.
1289
01:25:43,309 --> 01:25:46,854
This is the one effect
that never really worked right.
1290
01:25:47,104 --> 01:25:51,025
-It's good enough, but we ran out of time.
-We ran out of time.
1291
01:25:53,110 --> 01:25:56,739
And Bob signed off on that
because he had to.
1292
01:25:56,822 --> 01:26:01,327
There was no other way we were gonna
get the movie in theaters by July 3rd.
1293
01:26:03,579 --> 01:26:06,207
The vision of your happiness
1294
01:26:08,209 --> 01:26:12,797
Why he gets a hole in his hand instead of
the whole hand starting to vanish?
1295
01:26:13,547 --> 01:26:16,050
Again, the vagaries of time travel.
1296
01:26:16,675 --> 01:26:20,721
That was the shot that ILM
had to build the large guitar neck for.
1297
01:26:22,348 --> 01:26:25,601
I'm just a fool
1298
01:26:26,685 --> 01:26:29,730
A fool in love
1299
01:26:30,981 --> 01:26:34,401
with you
1300
01:26:42,952 --> 01:26:45,162
And one of the things
that happens musically there,
1301
01:26:45,246 --> 01:26:49,708
we bring in the string orchestra
when George kisses Lorraine.
1302
01:26:50,125 --> 01:26:54,296
That's a sort of subjective decision
that Bob and Al Silvestri made.
1303
01:26:54,755 --> 01:26:56,257
It was very, very effective.
1304
01:26:56,549 --> 01:26:59,927
We want to have it be as lush and romantic
1305
01:27:00,052 --> 01:27:02,847
and syrupy as possible,
1306
01:27:02,930 --> 01:27:07,142
and it just works because,
as the audience, you want it to work.
1307
01:27:07,434 --> 01:27:10,855
All right, this is an oldie, but...
1308
01:27:12,857 --> 01:27:16,235
Well, it's an oldie where I come from.
1309
01:27:18,279 --> 01:27:20,531
All right, guys, listen,
this is a blues riff in B.
1310
01:27:20,614 --> 01:27:23,659
Watch me for the changes,
and try and keep up, okay?
1311
01:27:31,500 --> 01:27:34,503
This is not Michael J. Fox singing here,
by the way.
1312
01:27:34,587 --> 01:27:39,049
The guy that sang this,
his name was Mark Campbell, as I recall.
1313
01:27:39,925 --> 01:27:41,886
Very, very good match for Michael's voice.
1314
01:27:42,428 --> 01:27:45,389
Someone that Bones found.
Heard him sing in a club or something.
1315
01:27:46,390 --> 01:27:49,184
There stood a log cabin
made of earth and wood
1316
01:27:49,310 --> 01:27:51,896
Where lived a country boy
name of Johnny B. Goode
1317
01:27:52,229 --> 01:27:54,648
He never ever learned
to read or write so well
1318
01:27:55,399 --> 01:27:57,818
As I remember,
there was some black militants
1319
01:27:57,902 --> 01:28:00,195
that decided that this was a racist movie
1320
01:28:00,279 --> 01:28:04,909
because a white guy had to
inspire Chuck Berry to invent rock 'n roll.
1321
01:28:05,784 --> 01:28:08,120
In their interpretation of this.
1322
01:28:08,621 --> 01:28:12,583
Some people just don't know
that sometimes a cigar is just a cigar,
1323
01:28:12,666 --> 01:28:15,210
and sometimes a joke is just a joke.
1324
01:28:16,337 --> 01:28:19,006
Go, Johnny, go, go
1325
01:28:19,089 --> 01:28:21,800
Go, Johnny, go, go, go
1326
01:28:22,927 --> 01:28:25,971
That's a great shot,
with the remote head cameras
1327
01:28:26,055 --> 01:28:29,516
swooping through the girl's legs
right into the guitar.
1328
01:28:29,850 --> 01:28:34,063
And it took Bob a long time to
get that shot, but worth all the time.
1329
01:28:34,229 --> 01:28:35,439
It's Marvin.
1330
01:28:35,522 --> 01:28:38,108
Your cousin, Marvin Berry.
1331
01:28:38,192 --> 01:28:40,945
You know that new sound
you're looking for?
1332
01:28:41,028 --> 01:28:42,905
Well, listen to this.
1333
01:28:49,745 --> 01:28:52,373
Chuck Berry enjoyed this, by the way.
1334
01:29:13,686 --> 01:29:16,689
Michael rehearsed
the hell out of this number,
1335
01:29:19,233 --> 01:29:23,320
and the hours and hours
that he put in doing this really paid off.
1336
01:29:28,659 --> 01:29:30,703
He brought the house down.
1337
01:29:45,759 --> 01:29:47,679
The idea
for The Enchantment Under the Sea dance,
1338
01:29:47,761 --> 01:29:52,766
by the way, came from researching
old high school yearbooks
1339
01:29:52,850 --> 01:29:57,104
and seeing what kind of things went on
in high schools of the period,
1340
01:29:57,813 --> 01:30:03,110
and quite a few high schools had
sea-themed dances. It just seemed perfect.
1341
01:30:04,111 --> 01:30:08,365
-Marty, that was very interesting music.
-Yeah.
1342
01:30:08,907 --> 01:30:12,494
I hope you don't mind, but George
asked if he could take me home.
1343
01:30:12,745 --> 01:30:17,207
Great! Good. Good, Lorraine.
I had a feeling about you two.
1344
01:30:17,624 --> 01:30:19,585
I have a feeling, too.
1345
01:30:19,960 --> 01:30:21,336
Listen, I got to go,
1346
01:30:21,420 --> 01:30:26,133
but I wanted to tell you
that it's been educational.
1347
01:30:27,176 --> 01:30:29,635
Marty, will we ever see you again?
1348
01:30:30,845 --> 01:30:32,055
I guarantee it.
1349
01:30:32,138 --> 01:30:35,558
Well, Marty, I want to thank you
for all your good advice.
1350
01:30:35,641 --> 01:30:37,977
I'll never forget it.
1351
01:30:38,478 --> 01:30:42,398
And what makes the movie into a movie
instead of a television show
1352
01:30:43,149 --> 01:30:48,237
is the background
behind Lorraine and George there,
1353
01:30:48,321 --> 01:30:50,490
seeing the dance behind them.
1354
01:30:51,032 --> 01:30:53,743
This is a real Frank Capra moment here.
1355
01:30:54,869 --> 01:30:57,497
Michael... Marty remembering this thing
1356
01:30:57,580 --> 01:31:00,708
that happened to him
when he was eight years old.
1357
01:31:00,792 --> 01:31:03,920
There's always one thing, as a kid,
that your parents do to you
1358
01:31:04,003 --> 01:31:05,838
that you never forget.
1359
01:31:07,882 --> 01:31:11,636
For me, it was my dad
throwing out my comic book collection.
1360
01:31:17,600 --> 01:31:19,727
Damn! Where is that kid?
1361
01:31:22,939 --> 01:31:24,190
Damn!
1362
01:31:26,651 --> 01:31:28,027
Damn! Damn!
1363
01:31:32,198 --> 01:31:35,118
We should talk about
the various wind machines
1364
01:31:35,201 --> 01:31:37,912
that we used during this sequence here.
1365
01:31:39,122 --> 01:31:44,794
We used the standard Ritter machines that
are frequently used, which are electric,
1366
01:31:44,877 --> 01:31:48,339
but for the really big wide shots,
where we needed wind blowing
1367
01:31:48,422 --> 01:31:51,050
all the way across the back lot there,
1368
01:31:51,926 --> 01:31:55,888
we had a machine known as the McBride,
1369
01:31:56,764 --> 01:32:02,436
which was simply named after Mr. McBride,
whose machine it was.
1370
01:32:03,396 --> 01:32:06,357
Basically what it was,
was an airplane engine
1371
01:32:07,108 --> 01:32:10,194
on a big cherry picker,
a huge cherry picker,
1372
01:32:10,987 --> 01:32:15,533
and it was the loudest thing
that's being used here.
1373
01:32:16,576 --> 01:32:18,578
It'll be like you never left.
1374
01:32:18,661 --> 01:32:21,247
This is where Bill Kaplan, our sound mixer,
1375
01:32:21,372 --> 01:32:24,667
would just kind of shrug his shoulders
and know that
1376
01:32:25,001 --> 01:32:26,728
we were gonna have to
loop all this stuff here,
1377
01:32:26,752 --> 01:32:30,923
because that thing
was just oppressively loud.
1378
01:32:32,425 --> 01:32:34,510
-But effective.
-Very effective. Very effective.
1379
01:32:34,594 --> 01:32:38,014
But it was the words
that the crew dreaded to hear,
1380
01:32:38,097 --> 01:32:42,518
was when the assistant director said,
"Turn on the McBride,"
1381
01:32:43,227 --> 01:32:47,440
and this thing would roar to life.
And it was an airplane engine,
1382
01:32:47,523 --> 01:32:52,361
so imagine that you're standing 50
feet away from an airplane engine,
1383
01:32:52,445 --> 01:32:54,780
and that's what it sounded like,
1384
01:32:54,947 --> 01:32:58,659
but you need an engine that powerful
to blow wind that far.
1385
01:32:59,243 --> 01:33:01,787
-Thanks.
-Thank you.
1386
01:33:07,001 --> 01:33:09,128
See you in about 30 years.
1387
01:33:10,796 --> 01:33:12,173
I hope so.
1388
01:33:13,799 --> 01:33:15,384
Don't worry!
1389
01:33:16,052 --> 01:33:19,096
As long as you hit that wire
with the connecting hook...
1390
01:33:19,180 --> 01:33:23,434
Shooting in the back lot at Universal,
it's cold back there at night.
1391
01:33:24,268 --> 01:33:27,230
I don't know how the guys
that built Universal figured out
1392
01:33:27,313 --> 01:33:29,357
that it was gonna be one of the...
1393
01:33:29,440 --> 01:33:32,568
Probably the coldest place
in Southern California,
1394
01:33:32,652 --> 01:33:36,489
but, man, at 2:00 or 3:00 in the morning
we were shooting this stuff,
1395
01:33:36,572 --> 01:33:38,157
we were freezing.
1396
01:33:38,241 --> 01:33:39,784
-Remember Ramon, Neil?
-Yeah.
1397
01:33:39,867 --> 01:33:41,827
-The caterer?
-With his chili.
1398
01:33:41,911 --> 01:33:45,081
With his chili.
One of the weird things that happened.
1399
01:33:45,164 --> 01:33:47,333
We had four people
that came down with appendicitis
1400
01:33:47,416 --> 01:33:49,961
during the production of this movie,
1401
01:33:50,336 --> 01:33:55,883
and people started thinking there was
something wrong with Ramon's food
1402
01:33:55,967 --> 01:33:58,052
that was the cause of that.
1403
01:33:58,344 --> 01:34:02,223
It wasn't.
It was just some really freak coincidence.
1404
01:34:03,933 --> 01:34:08,187
One of the guys was kind enough
to have the appendix that he had removed
1405
01:34:08,271 --> 01:34:12,858
put into a glass jar, and he brought it
and put it on the craft service table.
1406
01:34:14,694 --> 01:34:16,821
Yeah. That didn't
last long, as I recollect.
1407
01:34:16,946 --> 01:34:19,991
You get the cable,
I'll throw the rope down to you.
1408
01:34:20,074 --> 01:34:21,867
Right! I got it!
1409
01:34:33,587 --> 01:34:37,008
Figuring out how we were gonna
shoot the night sky during this sequence
1410
01:34:37,091 --> 01:34:40,678
was something that we spent
a lot of time thinking about.
1411
01:34:41,053 --> 01:34:47,518
ILM would have liked to have done
a composite special-effect sky
1412
01:34:47,768 --> 01:34:49,812
for just about every shot,
1413
01:34:51,230 --> 01:34:55,234
but Bob and Dean and I talked about that
1414
01:34:55,651 --> 01:34:59,322
and decided that, if you were
really filming during a lightning storm,
1415
01:34:59,405 --> 01:35:04,201
the only time you ever would see the sky
was when lightning backlit the clouds.
1416
01:35:04,493 --> 01:35:07,330
You would never see anything in the sky
other than that.
1417
01:35:07,413 --> 01:35:09,999
It would always just fall off and be black.
1418
01:35:10,082 --> 01:35:15,004
So we let it be black most of the time,
and you only see it when there's lightning,
1419
01:35:15,087 --> 01:35:17,423
and that's what makes it look...
1420
01:35:17,631 --> 01:35:22,094
It looks much better that way
than it would if you always saw the clouds.
1421
01:35:22,219 --> 01:35:26,432
-What?
-I have to tell you about the future.
1422
01:35:26,515 --> 01:35:30,728
-What?
-I have to tell you about the future!
1423
01:35:30,811 --> 01:35:32,772
These tight shots, when Doc's on the ledge,
1424
01:35:32,855 --> 01:35:37,610
we had built that. It was a separate set
from the back lot. It was on a stage.
1425
01:35:38,486 --> 01:35:43,491
And we were working, pretty much,
noon to midnight, or 2:00 to 2:00,
1426
01:35:43,574 --> 01:35:45,910
depending upon Michael's schedule.
1427
01:35:45,993 --> 01:35:50,081
We started so many days with Chris up
on this ledge, waiting to get Michael.
1428
01:35:50,164 --> 01:35:51,207
Right.
1429
01:35:51,290 --> 01:35:54,394
So, every day we'd do a little bit of Chris
on the ledge and Michael would show up,
1430
01:35:54,418 --> 01:35:55,937
and we'd go and do the stuff with him.
1431
01:35:55,961 --> 01:35:59,965
You've got less than four minutes.
Please, hurry!
1432
01:36:03,511 --> 01:36:08,182
We did put Chris Lloyd up there on
the real exterior of the clock tower there
1433
01:36:08,432 --> 01:36:12,144
-for a couple of shots, and that's him there.
-There's one.
1434
01:36:17,149 --> 01:36:20,903
And there's a shot coming up.
That's the stage, that's fake.
1435
01:36:23,155 --> 01:36:25,467
But we just need a couple of those shots
to show him up there
1436
01:36:25,491 --> 01:36:28,202
for you to completely buy the illusion.
1437
01:36:30,996 --> 01:36:34,500
The stuntman that we had doubling
Chris Lloyd here was Bob Yerkes,
1438
01:36:34,583 --> 01:36:38,462
who is one of the legends in stunt.
1439
01:36:38,838 --> 01:36:41,382
-He's the inventor of the airbag.
-That's right.
1440
01:36:41,465 --> 01:36:44,969
And his family were circus aerialists,
1441
01:36:46,137 --> 01:36:48,931
so Yerkes came by, doing anything...
1442
01:36:49,014 --> 01:36:50,975
Anytime you want to have
somebody way up high,
1443
01:36:51,058 --> 01:36:53,519
Bob Yerkes was always the first guy
that you'd try to get,
1444
01:36:53,602 --> 01:36:55,729
because he was born to that.
1445
01:37:05,281 --> 01:37:09,827
This stuff here was shot in Griffith Park,
my favorite location in the movie,
1446
01:37:09,910 --> 01:37:13,539
'cause it was only five minutes
from my house at the time.
1447
01:37:14,331 --> 01:37:16,709
Wait a minute. I got all the time I want.
1448
01:37:16,792 --> 01:37:20,045
I got a time machine.
I can just go back early and warn him.
1449
01:37:20,129 --> 01:37:24,967
And we shot this on a Friday night, after
Michael finished shooting Family Ties,
1450
01:37:25,259 --> 01:37:29,847
so we started shooting at 10:00 at night
and we shot all the way till dawn.
1451
01:37:30,306 --> 01:37:32,725
Engine running. All right.
1452
01:37:35,227 --> 01:37:41,025
No. No, no. Come on. Not this time.
Come on. Come on.
1453
01:37:57,958 --> 01:38:01,295
Fact about clocks that I didn't know
until we made this movie,
1454
01:38:01,378 --> 01:38:06,091
the number four on the clock is four "I's"
1455
01:38:06,467 --> 01:38:12,723
instead of an "IV" in Roman numerals,
and that is apparently a clock tradition.
1456
01:38:15,601 --> 01:38:17,728
And you know what? On the...
1457
01:38:18,062 --> 01:38:21,065
-Yeah, we broke tradition.
-That's a mistake. That's right.
1458
01:38:21,148 --> 01:38:24,735
Roman numeral clocks
are supposed to have all four lines,
1459
01:38:26,529 --> 01:38:28,531
and here we didn't do it.
1460
01:38:30,574 --> 01:38:32,535
Well, it's too late now.
1461
01:38:51,470 --> 01:38:52,763
Come on.
1462
01:38:54,848 --> 01:38:56,141
Here we go. Here we go.
1463
01:38:56,267 --> 01:39:00,229
Here's another example
of movie logic versus real logic.
1464
01:39:00,938 --> 01:39:05,776
The idea that this alarm clock
was going to be accurate enough
1465
01:39:06,610 --> 01:39:11,448
to signal Marty to get to the clock tower
in time for this lightning strike
1466
01:39:11,532 --> 01:39:17,037
is just a completely ridiculous concept,
but nobody thinks about that.
1467
01:39:17,329 --> 01:39:21,083
When is it 10:00?
When the clock chimes start chiming,
1468
01:39:21,166 --> 01:39:24,086
or when they finish,
or somewhere in between?
1469
01:39:47,526 --> 01:39:49,445
Wonderful editing here.
1470
01:39:49,695 --> 01:39:53,157
Harry Keramidas was the lead editor
for this sequence.
1471
01:39:53,574 --> 01:39:57,453
We had two editors.
Harry was brought in later when we realized
1472
01:39:57,536 --> 01:40:01,332
how jammed we were gonna be
on our post-production schedule,
1473
01:40:01,415 --> 01:40:05,336
and Harry would take one sequence
and Artie would take another sequence
1474
01:40:05,419 --> 01:40:09,131
and they would look at each other's work
after one had edited,
1475
01:40:09,214 --> 01:40:11,133
so that there was true collaboration,
1476
01:40:11,216 --> 01:40:15,888
and, of course, Bob would work
with each editor in great detail
1477
01:40:16,555 --> 01:40:19,475
to get these sequences timed out perfectly.
1478
01:40:24,980 --> 01:40:26,857
By using editing and wide-angle lenses,
1479
01:40:26,940 --> 01:40:31,945
we made that street on the back lot look
about five times longer than it really is.
1480
01:40:40,454 --> 01:40:41,830
Doc.
1481
01:40:54,301 --> 01:40:58,597
We looked at a lot of National Geographic
footage of lightning bolts
1482
01:40:59,264 --> 01:41:06,105
to get to one that was the model
for the big lightning hit,
1483
01:41:06,188 --> 01:41:11,276
described in the script as the biggest bolt
of lightning in the history of cinema,
1484
01:41:11,360 --> 01:41:16,448
something like that,
and ILM gave it to us in spades.
1485
01:41:26,917 --> 01:41:32,589
The Atomic Kid on the marquee there
was a Mickey Rooney movie from 1954
1486
01:41:32,673 --> 01:41:35,175
that took place on a nuclear test site.
1487
01:41:35,259 --> 01:41:40,472
That's the only remnant of the idea that we
originally had in the script for that idea.
1488
01:41:46,645 --> 01:41:49,857
And now, as I explained earlier,
1489
01:41:49,940 --> 01:41:53,652
the ledge, you can see,
is still broken here 30 years later,
1490
01:41:54,027 --> 01:41:57,781
and the courthouse
is now the Department of Social Services.
1491
01:41:59,408 --> 01:42:05,205
Here's the Raisin bus bench that I
talked about on the other commentary.
1492
01:42:05,622 --> 01:42:10,544
Product placement
that the Raisin board spent $50, 000 for,
1493
01:42:10,627 --> 01:42:15,674
and then we gave them their money back,
'cause it was definitely a rip-off for them.
1494
01:42:19,011 --> 01:42:23,849
There was an old movie theater in Burbank
that had been changed into a church,
1495
01:42:24,516 --> 01:42:27,519
and that's how we came up with the idea
of making that movie theater
1496
01:42:27,603 --> 01:42:29,480
into a church in 1985.
1497
01:42:35,235 --> 01:42:37,488
All right. Red.
1498
01:42:38,363 --> 01:42:43,035
And I love this, the fact that here's
the town square completely dilapidated,
1499
01:42:43,702 --> 01:42:46,538
and Michael says everything looks great.
1500
01:42:49,458 --> 01:42:52,961
And that Bank of America
that you just saw in that shot there,
1501
01:42:53,045 --> 01:42:57,382
that was where the bank wanted to
put in a working Versateller in the bank,
1502
01:42:57,466 --> 01:43:00,469
and we told them
they didn't have to do that.
1503
01:43:09,228 --> 01:43:10,562
Libyans.
1504
01:43:18,737 --> 01:43:23,325
And we're back in the City of Industry
at Puente Hills Mall,
1505
01:43:23,408 --> 01:43:26,620
now Lone Pine Mall
instead of Twin Pines Mall.
1506
01:43:33,210 --> 01:43:34,253
No!
1507
01:43:35,587 --> 01:43:36,964
You bastard!
1508
01:43:37,047 --> 01:43:39,758
And the two Martys coming up here,
1509
01:43:39,842 --> 01:43:43,220
this was just done with photo doubles.
1510
01:43:45,889 --> 01:43:47,182
There's no special effects here,
1511
01:43:47,266 --> 01:43:52,521
there's no two Michael J. Foxes,
like we do in Part II and Part III.
1512
01:43:52,604 --> 01:43:55,023
There was really no reason for it.
1513
01:44:06,577 --> 01:44:10,038
We were told that at this exact time
1514
01:44:10,122 --> 01:44:16,461
in 1985, on October 22,
at 1:30 in the morning,
1515
01:44:18,005 --> 01:44:23,343
about two dozen people showed up at this
mall to see if anything was gonna happen.
1516
01:44:23,927 --> 01:44:25,804
Nothing did, of course.
1517
01:44:26,138 --> 01:44:28,265
Doc! Doc!
1518
01:44:33,729 --> 01:44:35,898
No! No!
1519
01:44:39,109 --> 01:44:45,866
And yes, Fotomat did give us some money
for that little product placement there.
1520
01:44:47,200 --> 01:44:52,164
Everyone will want to take their photos
to Fotomat because a car crashed into it.
1521
01:45:01,548 --> 01:45:03,175
Bulletproof vest?
1522
01:45:04,509 --> 01:45:06,178
How did you know?
1523
01:45:07,304 --> 01:45:12,559
Here's the letter that doesn't quite match
the letter when Marty writes it,
1524
01:45:14,353 --> 01:45:20,025
and again, nobody noticed this
except one kid from Japan.
1525
01:45:24,363 --> 01:45:28,283
Nobody would have noticed it, of course, if
there was not such a thing as home video,
1526
01:45:28,367 --> 01:45:31,119
but if there was no such thing
as home video,
1527
01:45:31,203 --> 01:45:35,624
we wouldn't be sitting here watching this
and we wouldn't be doing this.
1528
01:45:42,756 --> 01:45:46,510
-So, how far ahead are you going?
-About 30 years.
1529
01:45:46,635 --> 01:45:49,972
Now, in the beginning,
when Doc says he's going into the future,
1530
01:45:50,055 --> 01:45:54,017
he says he's gonna go 25 years,
and now he's gonna go 30 years.
1531
01:45:54,351 --> 01:45:57,270
I guess Doc just decided that
'cause Marty went 30 years one way,
1532
01:45:57,354 --> 01:45:59,898
he should go 30 years the other way.
1533
01:46:00,357 --> 01:46:05,320
No real logic to that,
but as Doc says, "What the hell."
1534
01:46:17,457 --> 01:46:21,795
And we decided that we'd seen
the DeLorean go through time enough times,
1535
01:46:21,878 --> 01:46:25,841
that we would save money
and not show it happening here.
1536
01:46:25,924 --> 01:46:28,260
Just have it happen off camera.
1537
01:46:39,938 --> 01:46:42,983
Now, to show you
that somebody is always watching
1538
01:46:43,066 --> 01:46:47,070
and details that you don't think
are important, somebody else notices,
1539
01:46:47,154 --> 01:46:49,406
this yellow magazine there that says RQ,
1540
01:46:49,489 --> 01:46:52,784
which just went completely by everybody
on the crew,
1541
01:46:53,493 --> 01:46:55,786
something the set dressers found,
is actually...
1542
01:46:55,870 --> 01:46:57,663
RQ stands for Reference Quarterly,
1543
01:46:57,747 --> 01:47:01,000
which is the trade journal
of reference librarians,
1544
01:47:01,333 --> 01:47:06,464
and I got two or three letters from
reference librarians from around the country
1545
01:47:07,089 --> 01:47:10,051
that had seen the movie
and wanted to know why...
1546
01:47:10,134 --> 01:47:13,054
What was the significance
of this trade magazine?
1547
01:47:13,137 --> 01:47:16,724
What was it doing in Marty's bedroom?
There's no reason why a kid would have it.
1548
01:47:16,807 --> 01:47:19,310
And, of course, it's just a mistake.
1549
01:47:19,643 --> 01:47:22,188
It's something that the set dresser
threw on the set
1550
01:47:22,271 --> 01:47:24,565
and nobody paid any attention to it,
1551
01:47:24,648 --> 01:47:28,486
and reference librarians
have scratched their heads ever since.
1552
01:47:28,569 --> 01:47:32,073
Second of all, somebody named Greg or
Craig called you just a little while ago.
1553
01:47:32,156 --> 01:47:33,741
Well, which one was it, Greg or Craig?
1554
01:47:33,824 --> 01:47:36,535
I don't know! I can't keep
up with all of your boyfriends.
1555
01:47:36,619 --> 01:47:37,745
Hey.
1556
01:47:38,788 --> 01:47:42,083
-What the hell is this?
-Breakfast.
1557
01:47:42,833 --> 01:47:45,252
Did you sleep in your clothes
again last night?
1558
01:47:46,295 --> 01:47:49,924
This was the second pass
that Larry Pauli did on this set.
1559
01:47:50,091 --> 01:47:54,261
The first version that he designed
was too modern.
1560
01:47:54,345 --> 01:47:57,014
It just did not look feminine enough,
1561
01:47:57,681 --> 01:48:00,059
since we all know that it's the wife
1562
01:48:00,142 --> 01:48:04,188
that is the prime mover
in interior decoration in a house.
1563
01:48:06,148 --> 01:48:07,650
Mom! Dad!
1564
01:48:08,025 --> 01:48:09,669
-Did you hit your head?
-Marty, are you all right?
1565
01:48:09,693 --> 01:48:13,072
You guys look great. Mom...
1566
01:48:13,197 --> 01:48:15,783
Getting Crispin to wear these clothes
1567
01:48:15,866 --> 01:48:19,578
was one of the hardest things
we had to get him to do.
1568
01:48:19,995 --> 01:48:23,707
He just hated that wardrobe,
he hated that look.
1569
01:48:23,958 --> 01:48:26,460
Marty, I almost forgot.
Jennifer Parker called.
1570
01:48:26,544 --> 01:48:28,212
I sure like her, Marty.
1571
01:48:28,879 --> 01:48:32,967
And coming up,
when Biff comes in with the novel,
1572
01:48:33,843 --> 01:48:38,389
take a close look at the picture of George
on the back of the book.
1573
01:48:39,223 --> 01:48:42,518
He doesn't look the same
as he looks in this scene.
1574
01:48:43,018 --> 01:48:48,732
That was the first version of the revised
George McFly look that we came up with.
1575
01:48:49,316 --> 01:48:52,194
We had to have something
for the photograph,
1576
01:48:52,278 --> 01:48:57,575
and that was what he was gonna look like.
When we had him acting that way,
1577
01:48:57,825 --> 01:49:01,453
it just didn't seem good enough.
Didn't seem enough of a contrast.
1578
01:49:01,537 --> 01:49:03,122
Don't con me.
1579
01:49:04,582 --> 01:49:06,625
I'm sorry, Mr. McFly.
1580
01:49:06,709 --> 01:49:09,795
I meant I was just starting
on the second coat.
1581
01:49:10,880 --> 01:49:12,590
Biff. What a character.
1582
01:49:12,715 --> 01:49:18,929
Everyone wants to know, is Biff gay
now that George decked him?
1583
01:49:20,222 --> 01:49:24,894
Well, when this movie was the only
of the three movies that existed,
1584
01:49:25,686 --> 01:49:26,854
you could believe that,
1585
01:49:26,937 --> 01:49:30,399
but, as you'll discover in the sequels,
not the case.
1586
01:49:32,276 --> 01:49:35,112
Honey! Your first novel.
1587
01:49:36,197 --> 01:49:37,239
Like I've always told you,
1588
01:49:37,323 --> 01:49:40,242
you put your mind to it,
you can accomplish anything.
1589
01:49:40,326 --> 01:49:41,869
Marty...
1590
01:49:41,952 --> 01:49:44,038
UPS got there very, very fast,
1591
01:49:44,121 --> 01:49:48,167
from when Marty closed the door
to when Biff came running back in.
1592
01:50:02,806 --> 01:50:05,351
-How about a ride, mister?
-Jennifer.
1593
01:50:06,936 --> 01:50:10,731
Are you a sight for sore eyes!
Let me look at you.
1594
01:50:11,482 --> 01:50:14,360
Marty, you're acting like
you haven't seen me in a week.
1595
01:50:14,443 --> 01:50:15,861
I haven't.
1596
01:50:16,445 --> 01:50:19,698
You okay? ls everything all right?
1597
01:50:22,993 --> 01:50:24,119
Yeah.
1598
01:50:26,330 --> 01:50:28,123
Everything is great.
1599
01:50:31,669 --> 01:50:35,297
Marty never gets to kiss Jennifer
through the whole movie.
1600
01:50:38,008 --> 01:50:39,426
You look carefully in that shot,
1601
01:50:39,510 --> 01:50:42,930
that was not Chris Lloyd driving,
it was a stuntman.
1602
01:50:43,013 --> 01:50:44,640
I think it was R.L. Tolbert.
1603
01:50:44,723 --> 01:50:46,517
You've got to come back with me!
1604
01:50:47,184 --> 01:50:49,728
And those are solid metal glasses.
1605
01:50:49,853 --> 01:50:52,773
Christopher Lloyd couldn't see
a damn thing out of those,
1606
01:50:52,856 --> 01:50:55,192
but they looked so good that...
1607
01:50:55,442 --> 01:50:57,903
-That he worked with it.
-...that he worked with it, right.
1608
01:50:57,987 --> 01:50:59,154
I need fuel.
1609
01:50:59,238 --> 01:51:03,033
One of our statements on the necktie...
1610
01:51:03,659 --> 01:51:07,121
Chris Lloyd is wearing
a clear, plastic tie.
1611
01:51:08,497 --> 01:51:11,917
What's the point of wearing a tie
if you can't see it?
1612
01:51:12,876 --> 01:51:16,714
What's the point of wearing a tie,
even if you can see it?
1613
01:51:17,715 --> 01:51:18,966
No, no, no, no, Marty.
1614
01:51:19,049 --> 01:51:21,969
Both you and Jennifer turn out fine.
It's your kids, Marty.
1615
01:51:22,052 --> 01:51:25,222
The Japanese characters on his shirt,
by the way,
1616
01:51:25,848 --> 01:51:31,061
indicate the significant Japanese influence
we expected there to be in the future.
1617
01:51:32,062 --> 01:51:33,605
Weren't wrong.
1618
01:51:34,148 --> 01:51:36,859
And the great bar code license plate there.
1619
01:51:41,405 --> 01:51:46,201
When we previewed this movie, this shot
was a really rough black-and-white shot,
1620
01:51:46,285 --> 01:51:51,081
and it didn't matter. The audience was right
there, ready for that car to fly, and...
1621
01:51:51,165 --> 01:51:54,626
-Went crazy.
-...they went crazy. Absolutely.
1622
01:51:57,254 --> 01:52:01,050
All right, we'll continue this
in Back to the Future Part II.
1623
01:52:01,884 --> 01:52:03,761
Looking forward to it.
152706
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