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Hello everyone, we are back here
at the University of Southern California,
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I am Laurent Bouzereau, co-producer
with Universal Studios Home Video,
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of this exciting celebration
of the Back to the Future trilogy on DVD.
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We are here at USC Film School
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With the two Bobs,
Bob Gale and Bob Zemeckis.
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Thank you.
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And we're gonna be asking them questions.
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The audience will be participating
and I will be repeating their questions
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so all of you viewers at home
will be able to experience this commentary
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as if you had been right here with us.
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So we should start by talking about
the sequel. How did the sequel come about?
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And how... It was, like,
almost four years after the first movie.
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So tell us how that all started and then we'll
start taking questions from all of you guys.
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Bob Gale?
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Well, the first movie, of course,
made so much money
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that it went from being a movie
to a corporate entity,
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a corporate asset.
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And so the success of it
meant that there was no way
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that Universal wasn't gonna want
to make a sequel.
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So the first thing that they did was,
smartly, they asked us if we would do it.
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And we said, "Well, yeah, we'll do it"
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"on the condition that we have Michael
J. Fox and Christopher Lloyd come back."
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'Cause despite what some people thought
about the end of the first movie,
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we didn't have any idea for doing a sequel,
the end of the first movie was simply a joke.
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As we'll tell you, we found we kind of
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painted ourselves into a corner
with that ending.
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But what happened was
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we decided that as long as we had
Michael J. Fox and Christopher Lloyd
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we would be able to concoct
a story that made sense and
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would be a suitable sequel
to Back to the Future.
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So Sid Sheinberg went and made a deal
with both Michael and Chris,
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and thinking ahead, Sid made a deal
not only for Back to the Future II
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but for a Back to the Future III...
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although Back to the Future III wasn't in
anybody's consciousness at that time.
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And then Bob and I decided that,
"Okay, what is it that..."
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"People go to see a sequel.
What is it that they want to see?"
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And they wanna see as many characters
come back from the first movie as possible.
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So the next thing we did was
we contacted the rest of the cast
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to find out
who else wanted to be in the sequel
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and first we called Lea Thompson and she
said, "If you guys are doing it, I'm in."
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And we called up Tom Wilson
and he said the same thing.
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And then we contacted Crispin Glover.
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And that was a little different.
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Crispin asked for some things
that were pretty ridiculous for an actor
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in his position in the industry. He
basically wanted to have the exact same deal
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as Michael J. Fox, and even asked for
some things that Michael wasn't getting.
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And I had this phone conversation
with his agent.
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I said this is just completely ridiculous.
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I said, "Go back to your client
and talk to him",
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"and if I don't hear from you in two weeks
we're just gonna assume that"
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"we will not have Crispin Glover
in the sequel."
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So the whole idea
in Back to the Future Part II,
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that George McFly is a tombstone,
was a direct result of
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Crispin deciding
that he didn't want to be in the sequel.
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Tell us a little bit about the screenwriting
process because you had different ideas
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as to where you guys
were going to go with it,
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including the '60s, I think, at some point.
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So tell us about the writing process
of the script
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and at one point it had become, I think,
Part II and III.
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Bob Zemeckis.
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I've said many times before that
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it's really hard to do sequels, you know,
they're really hard to do.
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And it's mainly because I found,
you know...
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Because once we decided
we were gonna do this,
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studying what sequels work
are basically the ones
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like The Godfather: Part II
which is a continuation of the movie.
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That is so rare because most sequels are
like James Bond movies or
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Indiana Jones movies where there's
basically stories that have characters that
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don't have dramatic character arcs,
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they're secret agents or they're adventurers
and they just keep changing the adventure.
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So the character can stay the same
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and all you do is change the villains
and change the settings.
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And those make the most
successful sequels.
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So we were stuck
because we actually had a movie that had
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character development in it
even though it had all this
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time-travel and science fiction stuff
in it as well.
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What I realized is that audiences thought
of sequels the same way they think of
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sitcoms on television.
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They just wanna be back having
another adventure with these characters.
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Audiences have
this sort of love-hate relationship
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with sequels, they want them to
be different, but not too different.
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They want them to be the same but not
exactly the same, so you're constantly on
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this balance beam
trying to figure out what to write.
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And then the biggest problem
as well is that
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everybody has an opinion
about what the sequel should be.
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I mean everybody who saw the first movie
starts writing their own sequel.
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So the thing that made the movie
an experience for me as a director
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was this breakthrough idea
that Bob and I had
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where it wasn't so much
just going to different times
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like, we're not gonna go to the future,
we're not gonna go to just this...
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In the original draft that Bob wrote
it was the '60s,
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we're not gonna go to the Wild West.
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The idea was to go into the original movie.
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And we had the unique circumstances
of a time-travel movie
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that actually addressed
time-travel paradox issues
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and we were making a sequel,
so we had a chance to do that.
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And that's what excited me
more than anything
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about making a sequel to this movie.
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When we started trying to figure out
what exactly the sequel was gonna be,
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again we were stuck
with the ending of the first movie,
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and it just seemed that there was no way
that we couldn't start
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the second movie
the way the first one ended.
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But we had a real serious writing problem
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because the whole point of the first movie
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was that you can change history.
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The future isn't written, nothing
is written, you can change things.
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So we're starting the second movie
with this idea
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that something's gotta be done
about your kids.
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And we said, "Well, could Doc
just hand Marty a big box of condoms"
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"and say, 'There,
this will solve the problem here'?"
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Marty says, "I'm not gonna marry you,
Jennifer, the problem is solved."
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How were we gonna get the audience
to be interested in
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the children of Marty and Jennifer, when
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we don't even really know anything about
Jennifer 'cause she was such a minor
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character in the first movie
and their kids don't even exist.
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And we've said
that they don't necessarily have to exist.
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So what we finally decided to do
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was to just use that as an excuse
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to get into what became
the real essence of the movie
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which was the story
of the misuse of time travel,
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and going into the future
to get this sports almanac
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and then... Which of course ends up
wreaking all kinds of havoc in the past.
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I also had a real problem. It was really...
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I was doing something
that I swore I would never do, which is
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do a movie that depicts the future.
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Because I personally don't like to see
movies that predict the future.
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The only guy whose movies
I've ever enjoyed,
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who's done the future
has been Stanley Kubrick.
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And he didn't even think of a PC
when he did Clockwork Orange.
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The problem is,
you underestimate the future, you never...
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You underestimate it on things
and you overestimate it on other things.
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So the way that we knew we had to do
at least a section of the movie
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in the future, just so we could
get out of the future and get back on to
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safer territory, so the way we wrote
ourselves around that was just to write
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as many jokes as we could think of
because we thought:
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"Let's just make the future funny."
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That was the best way that we could deal
with that knotty problem.
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Because obviously
when we get to the year 2015,
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which is right around the corner,
it's not gonna look like our movie at all
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and that means our movie is gonna be
this kind of quaint thing, you know.
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I might actually have to live
to see that happen, you know.
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-But we got out of it because...
-As long as I keep my cholesterol down.
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We had Doc Brown saying that the future
is just the extrapolation of what happens
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if things continue today.
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So since we changed them,
we have a very convenient excuse.
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And I don't know if we talked about this.
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Did we talk about what we wanted to do with
the first movie? About changing the future?
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That was one of the very early ideas,
was we had this idea of,
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what if somebody went to
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the 1950s, altered time,
came back to the 1980s,
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but the 1980s in the
altered time looks like
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what futurists thought it was gonna look
like in the 1950s, if that makes any sense.
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In other words if you went back to...
Say you went back to
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1950 with fusion technology.
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1980 would be a completely different world.
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Anyway, we ended up throwing that idea out
because the idea about the characters
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and the idea about the story
and not dealing with that big idea
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ended up being a much better movie
in Back to the Future I.
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Why didn't the idea of the 60s work
in this film?
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Well it wasn't so much that it didn't work,
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-it was that it wasn't particularly interesting.
-Or funny.
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It was...
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Well, I mean, it was funny
in a sad awful way.
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Like the clothes looked funny.
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Stuff like that.
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But what had happened
with the 60s draft was,
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just so that you understand
what was happening here,
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the first two acts were the same.
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The future 1985-A,
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and it turned out that Biff gave himself
the almanac not in 1955 but in 1967.
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So Marty goes back to 1967 to get
the almanac instead of going back to 1955
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and he ended up endangering
his own conception
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instead of his parents' meeting.
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And Bob thought,
"You know, we did that movie."
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"It's not different enough
from the first movie"
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"that makes it worthy of us
spending a year of our life doing it."
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And Bob came up with this idea of,
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"Let's go back into the first movie"
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and that was such a damned cool idea,
that we had to do it.
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And you also got the bonus
of being able to go to the movie
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and seeing the characters that you liked
exactly the way they were in the first movie.
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You know, Biff was the same.
You could bring back...
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It broke our hearts that now we couldn't
have Crispin in the movie
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because we could have really...
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We could have really had
some fun with him.
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But it turned out fine anyway.
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Can you tell us
if part of the process of writing
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Back to the Future Part II
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was to actually go back to watching
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Back to the Future Part I
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and see what elements
you had in that story,
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and how you could apply that
to the sequels?
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00:12:00,310 --> 00:12:03,647
Oh, yeah. We knew what these big,
pivotal moments were
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and I think that where we knew
we wanted to go was,
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we knew that the time-changing moment,
the pivotal moment in Part I
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is when George punches Biff
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and changes the course of his life.
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So we thought, "That's the place where"
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"Marty has to go and witness it," because
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he sort of just got
there in the first movie,
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-you know, right after Biff got knocked out.
-Right after Biff got knocked out.
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And he didn't get to see
anything leading up to that.
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So, we knew, "Okay, let's do that."
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"Let's get him there to see that
from the other side of the parking lot."
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That was sort of the basic idea
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and then we thought,
"Well, then the thugs have
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"two Martys running around," you know...
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So it turned out to
be actually a lot of fun.
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The notion of time travel
was a lot more complex
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in Back to the Future Part II
than it was in the original film.
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Can you tell us about the type
of research you might have done
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to make that credible?
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Well, I think,
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00:13:01,788 --> 00:13:05,125
Back to the Future Part II might be
the most interesting movie I've ever made.
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00:13:05,458 --> 00:13:08,878
And it got, like all sequels, it got
a bunch of, you know, negative reviews
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00:13:09,963 --> 00:13:12,549
but I think there's really a lot going on.
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00:13:13,049 --> 00:13:16,469
It asks a lot of interesting questions.
It's got a lot of dark stuff in it,
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a lot of edgy things in it.
219
00:13:18,596 --> 00:13:20,765
I guess the way
to answer your question exactly is
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that by the time Bob and I got done
making the first movie,
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-you know, we were time-travel...
-Experts.
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00:13:29,024 --> 00:13:30,817
-Experts.
-If there is such a thing.
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As a matter of fact,
here's the greatest compliment we ever got.
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00:13:33,694 --> 00:13:35,571
When I was doing
Contact, the first thing...
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00:13:35,654 --> 00:13:39,074
When I met Carl Sagan,
the first thing he said to me is, he said,
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"That movie you made"
227
00:13:42,411 --> 00:13:44,288
"is the best"
228
00:13:44,371 --> 00:13:47,041
"time-travel movie"
229
00:13:47,124 --> 00:13:50,669
"based on the science of time travel,
that's ever been made."
230
00:13:50,878 --> 00:13:54,131
And I thought, "What can you do?
You can't ask for more than that."
231
00:13:54,923 --> 00:13:57,843
So, we violated quite a few rules
of our own,
232
00:13:57,926 --> 00:14:01,347
what we didn't do in the first movie,
like duplication, and things like that...
233
00:14:01,430 --> 00:14:04,016
But that's what the fun of it was,
in the second movie.
234
00:14:04,099 --> 00:14:06,352
For those that are really interested in
235
00:14:06,435 --> 00:14:09,772
all the permutations
of the Duplication Paradox
236
00:14:10,272 --> 00:14:14,151
I recommend a science fiction book
called Up the Line, by Robert Silverberg.
237
00:14:14,276 --> 00:14:17,863
Silverberg was probably the dean
of intricate time-travel stories,
238
00:14:17,946 --> 00:14:21,950
and that one has the most
of the Duplication Paradox.
239
00:14:22,284 --> 00:14:26,080
I read that when I was in college,
and a lot of that stuff stuck with me,
240
00:14:26,205 --> 00:14:27,539
and it's in Part II.
241
00:14:27,623 --> 00:14:28,707
Didn't you do one, though?
242
00:14:28,791 --> 00:14:31,126
There's a book
with all the mapping-out of...
243
00:14:31,210 --> 00:14:33,712
One of your companion books
to the sequels.
244
00:14:33,962 --> 00:14:37,299
One of those Back to the Future companion
books where all the timelines are?
245
00:14:37,383 --> 00:14:40,052
-Oh, yeah. It's got...
-Yeah, so you could pick that up, too.
246
00:14:40,135 --> 00:14:41,136
We had...
247
00:14:42,471 --> 00:14:44,640
We had it all over my office.
248
00:14:44,723 --> 00:14:48,227
All these index cards,
with all these different numbers.
249
00:14:48,310 --> 00:14:50,229
In fact, the script actually had
250
00:14:50,854 --> 00:14:54,942
the most radical scene-numbering system
ever designed in a movie
251
00:14:55,025 --> 00:14:57,361
to keep track
of all these different time periods.
252
00:14:57,486 --> 00:15:01,240
We would just jump up
another hundred numbers,
253
00:15:01,740 --> 00:15:04,910
in each time period we went, so that people
could look at the scene number
254
00:15:04,993 --> 00:15:07,496
and know what period we were in.
255
00:15:07,579 --> 00:15:12,251
But I think that the other, more important
story about writing the sequel
256
00:15:12,668 --> 00:15:15,462
was that, in the first draft of the sequel,
which was...
257
00:15:15,546 --> 00:15:19,091
I don't know what draft it was. It was
probably 12 or 15 drafts down the line,
258
00:15:19,174 --> 00:15:23,595
but the one that we said to the studio
was the one that we wanted to make,
259
00:15:23,679 --> 00:15:25,514
was the one that ended...
260
00:15:25,889 --> 00:15:28,183
The ending was actually Part III.
261
00:15:29,852 --> 00:15:34,356
And we brought it to the studio,
and we wanted to make this three-hour,
262
00:15:35,149 --> 00:15:37,025
giant epic
263
00:15:37,109 --> 00:15:40,195
that went from everything you saw
in the two sequels,
264
00:15:40,279 --> 00:15:44,616
from the future, to back into the first
movie, and then end up in the Wild West.
265
00:15:45,284 --> 00:15:46,702
And
266
00:15:47,077 --> 00:15:49,913
it was one of those
great Sid Sheinberg moments
267
00:15:49,997 --> 00:15:51,157
because he was the one who...
268
00:15:51,206 --> 00:15:53,792
You know, he'd been badgering us
for years to make the sequel,
269
00:15:53,876 --> 00:15:55,961
and we presented him with the script,
and he said,
270
00:15:56,044 --> 00:15:59,715
"I am not going to make the most expensive
movie in the history of the movie business."
271
00:16:00,507 --> 00:16:04,261
What happened actually...
Let's backtrack a little bit
272
00:16:04,761 --> 00:16:09,766
because we had this version that had...
I don't know, it was 160, 170 pages,
273
00:16:09,850 --> 00:16:11,310
it had everything in it.
274
00:16:11,393 --> 00:16:15,856
And I kind of felt that it didn't really
work the way it should, because
275
00:16:16,023 --> 00:16:19,318
we were introducing
all these brand-new characters in,
276
00:16:19,401 --> 00:16:22,488
what was ostensibly the fourth act
of the movie, the Old West.
277
00:16:22,571 --> 00:16:25,908
Suddenly, we've got to introduce Clara,
we've got to introduce Buford,
278
00:16:25,991 --> 00:16:28,243
Marty's ancestors in the Old West.
279
00:16:28,744 --> 00:16:32,539
And it's really hard to introduce
that many new characters
280
00:16:33,040 --> 00:16:34,750
in the last hour of the movie.
281
00:16:35,751 --> 00:16:37,920
So I said to Bob,
282
00:16:38,253 --> 00:16:42,341
"Let me take a pass at this
and write it really long"
283
00:16:42,424 --> 00:16:43,425
"and see what happens."
284
00:16:44,051 --> 00:16:47,095
So, I ended up with this 220-page script
285
00:16:47,179 --> 00:16:51,517
that was Back to the Future II
and Back to the Future III,
286
00:16:51,600 --> 00:16:56,480
with everything in Back to the Future III
fleshed out the way it was supposed to be.
287
00:16:56,647 --> 00:16:59,191
You would, you know,
develop all the characters properly.
288
00:16:59,942 --> 00:17:03,779
And we realized that what we had here
was two movies.
289
00:17:04,196 --> 00:17:08,075
So this was where we made
this good news-bad news phone call
290
00:17:08,617 --> 00:17:10,410
to Sid Sheinberg in the studio.
291
00:17:10,911 --> 00:17:15,082
They'd wanted Back to the Future II
out for summer 1989
292
00:17:15,374 --> 00:17:19,336
and that wasn't going to happen, because
Bob had been working on Roger Rabbit,
293
00:17:19,419 --> 00:17:23,257
and that turned into a hell of a bigger
production than anybody ever thought,
294
00:17:23,340 --> 00:17:27,135
so we kept pushing back
Back to the Future II because of that.
295
00:17:28,387 --> 00:17:31,974
So we called up the studio and we said,
"Here's the good news and the bad news.
296
00:17:32,057 --> 00:17:35,018
"The bad news is we're not gonna have
Back to the Future II for you"
297
00:17:35,102 --> 00:17:36,979
"for summer 1989."
298
00:17:37,354 --> 00:17:41,441
"The good news is that we will have
Back to the Future II for you"
299
00:17:41,525 --> 00:17:43,652
"for Christmas 1989,"
300
00:17:43,986 --> 00:17:47,906
"and we'll have Back to the Future
III for you in the summer of 1990."
301
00:17:49,116 --> 00:17:53,996
And Sheinberg thought we were
completely insane, and he said,
302
00:17:54,079 --> 00:17:57,332
"I don't want to hear anything
about Back to the Future III"
303
00:17:57,457 --> 00:18:01,336
"just give me goddamn
Back to the Future II."
304
00:18:02,379 --> 00:18:06,133
So, okay. That's when we took
the 220-page script,
305
00:18:06,216 --> 00:18:08,802
and condensed it down to 160 pages,
306
00:18:09,052 --> 00:18:13,974
and then Sheinberg had that one,
and threw it down and said,
307
00:18:14,057 --> 00:18:17,519
"This is the most expensive movie
ever made, and I'm not making it."
308
00:18:17,603 --> 00:18:21,690
Ironically, he was the man, a couple
of years later, who made Waterworld.
309
00:18:23,191 --> 00:18:26,862
That was the most expensive movie
until the Titanic was made.
310
00:18:28,697 --> 00:18:30,490
So, you see?
311
00:18:31,742 --> 00:18:35,662
So when the budget came in
for this version that included
312
00:18:35,746 --> 00:18:39,708
fourth act of Back to the Future III,
and it was so ridiculous
313
00:18:40,375 --> 00:18:42,103
he said, "I don't know
what we're going to do."
314
00:18:42,127 --> 00:18:45,255
And I had... As a good producer,
I'd done my homework
315
00:18:45,339 --> 00:18:49,343
and I'd had my production manager
do a budget
316
00:18:49,426 --> 00:18:53,930
based on the 220-page script,
splitting it in half and saying,
317
00:18:54,014 --> 00:18:58,185
"All right. instead of making one movie
that's going to cost $65 million,"
318
00:18:58,560 --> 00:19:01,938
"let's do two movies
that are going to cost $35 million each."
319
00:19:02,314 --> 00:19:06,151
So when Sheinberg got pissed off at us,
that's when I was able to say,
320
00:19:06,234 --> 00:19:08,236
"Okay, take a look at this budget, Sid."
321
00:19:08,403 --> 00:19:13,033
"Here's Back to the Future II and III,
and they each only cost $35 million"
322
00:19:13,241 --> 00:19:14,242
and he said, "Okay."
323
00:19:14,409 --> 00:19:17,496
And I remember him saying this. He said,
324
00:19:17,579 --> 00:19:21,625
"This is either the most insane idea"
325
00:19:21,708 --> 00:19:23,585
"or the most brilliant idea."
326
00:19:23,669 --> 00:19:27,964
That's what he said about making
the two movies at the same time.
327
00:19:28,632 --> 00:19:31,885
Since Crispin Glover
was not in Back to the Future Part II,
328
00:19:32,052 --> 00:19:35,263
any challenges in writing
the part of George McFly?
329
00:19:35,597 --> 00:19:38,308
-Bob Gale?
-Oh, yeah.
330
00:19:38,600 --> 00:19:39,643
We thought...
331
00:19:39,726 --> 00:19:42,938
At one time, I thought,
"Well, we could go into the future"
332
00:19:43,021 --> 00:19:45,107
"and have George McFly be dead."
333
00:19:45,524 --> 00:19:47,150
But, that wasn't...
334
00:19:47,275 --> 00:19:49,486
I didn't think that the audience
would like to see that.
335
00:19:49,569 --> 00:19:51,947
They want to know
that all these characters are alive.
336
00:19:52,698 --> 00:19:57,452
So we came up with this idea of hanging
him upside-down in this back brace
337
00:19:57,869 --> 00:19:59,705
thinking two ways.
338
00:19:59,788 --> 00:20:02,624
One, if we don't have... Or three ways.
339
00:20:02,708 --> 00:20:03,875
One, it's funny.
340
00:20:04,334 --> 00:20:07,629
Two, if we don't have Crispin in it,
and we have another actor,
341
00:20:07,713 --> 00:20:10,882
we put him in makeup,
he's gonna be upside-down
342
00:20:10,966 --> 00:20:13,385
and the audience is gonna have
a hard time recognizing him
343
00:20:13,468 --> 00:20:15,053
to tell whether he's Crispin or not.
344
00:20:15,137 --> 00:20:18,932
And three, if Crispin ever changed his
mind, and decided he did want to do it,
345
00:20:19,015 --> 00:20:20,892
then we'd get to hang him upside-down.
346
00:20:22,185 --> 00:20:24,896
I mean, we thought, "Well, he could be
climbing Mount Everest",
347
00:20:24,980 --> 00:20:26,606
"but then that would just be..."
348
00:20:26,690 --> 00:20:28,734
"Then people would just be
talking about him."
349
00:20:28,942 --> 00:20:29,985
You know?
350
00:20:30,152 --> 00:20:32,571
So, this turned out to be the best idea.
351
00:20:33,447 --> 00:20:34,448
Bob Zemeckis.
352
00:20:34,823 --> 00:20:38,577
In reference to film quotations
and film references in the movies,
353
00:20:38,744 --> 00:20:40,328
we're just wondering if
354
00:20:41,037 --> 00:20:43,206
there was any intentions on your part
355
00:20:43,290 --> 00:20:47,169
to refer to Pottersville
and It's a Wonderful Life
356
00:20:47,252 --> 00:20:48,754
in Back to the Future Part II.
357
00:20:49,588 --> 00:20:52,132
Capra movies are in our mind
no matter what we write.
358
00:20:52,215 --> 00:20:55,427
All the Back to the Future movies
are like a Frank Capra movie
359
00:20:55,510 --> 00:20:56,762
in a lot of ways.
360
00:20:56,845 --> 00:20:59,931
A lot of people don't realize that
but It's a Wonderful Life
361
00:21:00,015 --> 00:21:03,810
is a spectacular time-travel movie,
and so is A Christmas Carol.
362
00:21:04,144 --> 00:21:06,646
You know,
those are two great time-travel stories.
363
00:21:07,022 --> 00:21:10,066
But, yeah, as a matter-of-fact, we were
worried that we would get hammered
364
00:21:10,150 --> 00:21:12,986
by making it too close of a Pottersville,
365
00:21:13,069 --> 00:21:15,739
but that's what that section of the movie
needed to have.
366
00:21:15,864 --> 00:21:20,202
If the movie is a success, it's an homage.
If it's a failure, it's a rip-off.
367
00:21:20,535 --> 00:21:21,536
Right, exactly.
368
00:21:23,413 --> 00:21:25,665
There's a rumor that
369
00:21:25,749 --> 00:21:29,377
Marty McFly was going to go
back into the prehistorical time.
370
00:21:29,461 --> 00:21:32,005
Did you guys ever write that
into the scripts?
371
00:21:32,130 --> 00:21:33,215
Never.
372
00:21:34,549 --> 00:21:37,803
Can you comment about Michael J. Fox
being called chicken
373
00:21:37,886 --> 00:21:39,387
throughout the movie.
374
00:21:39,888 --> 00:21:41,449
We just introduced that into the sequel.
375
00:21:41,473 --> 00:21:44,976
We realized that in the first movie,
the character who makes a change
376
00:21:45,060 --> 00:21:46,478
is George McFly.
377
00:21:47,479 --> 00:21:50,857
We needed to have Marty
go through a change
378
00:21:50,941 --> 00:21:53,068
in the course of the sequels.
379
00:21:53,276 --> 00:21:56,530
And so we gave him this character flaw
380
00:21:56,613 --> 00:21:59,449
that he overreacts any time
anybody calls him a chicken,
381
00:21:59,574 --> 00:22:03,161
so that, through the course
of his adventure,
382
00:22:03,245 --> 00:22:07,165
he would learn that that wasn't
a very good lifestyle choice.
383
00:22:08,875 --> 00:22:12,629
Yeah, it was more like, we thought,
Marty was this guy who
384
00:22:12,712 --> 00:22:16,341
sort of had the world in the palm
of his hand in the first movie.
385
00:22:16,424 --> 00:22:20,679
I mean, he had... He was charming,
he was funny, he was good-looking.
386
00:22:20,762 --> 00:22:22,305
He had all this stuff going for him.
387
00:22:22,514 --> 00:22:24,975
And so, we thought,
"Wouldn't it be interesting if"
388
00:22:25,058 --> 00:22:29,020
"his dream of what his future was
was completely opposite"
389
00:22:29,104 --> 00:22:32,023
"of what he thought it would be,
and then why would it get that way?"
390
00:22:32,107 --> 00:22:34,859
So we sort of just designed
all this stuff in and make him
391
00:22:34,942 --> 00:22:38,445
this kind of, like, broken-down,
middle-aged guy in the future.
392
00:22:39,446 --> 00:22:42,783
-Why does the old Biff die?
-That's a good question.
393
00:22:43,033 --> 00:22:45,828
Why does the old Biff die
when he comes back?
394
00:22:46,078 --> 00:22:48,289
There's two reasons for that.
395
00:22:48,622 --> 00:22:52,918
The reason you can accept,
watching this movie exactly the way it is,
396
00:22:53,002 --> 00:22:57,089
is that the shock of time travel
probably caused him to have a seizure.
397
00:22:57,256 --> 00:23:00,134
But the original concept was that
398
00:23:00,217 --> 00:23:03,596
Biff came back to a world where
399
00:23:03,971 --> 00:23:06,765
old Biff didn't exist anymore
400
00:23:07,099 --> 00:23:11,896
and in fact, in the deleted scenes
on the DVD, you'll see the extension
401
00:23:11,979 --> 00:23:16,275
of Biff's seizure
where he actually is erased from existence
402
00:23:16,734 --> 00:23:19,320
and Bob and I kind of postulated it
403
00:23:19,403 --> 00:23:21,906
that somewhere around the mid-1990s,
404
00:23:21,989 --> 00:23:24,033
Lorraine got pissed
off at him and shot him.
405
00:23:24,909 --> 00:23:29,079
So old Biff would have returned to 2015
and he would have been long gone,
406
00:23:29,163 --> 00:23:31,582
and buried and therefore,
have been erased from existence.
407
00:23:31,665 --> 00:23:33,584
Bob and I understood that, but when we...
408
00:23:33,667 --> 00:23:37,171
We actually previewed the movie
with Biff fading out of existence
409
00:23:37,254 --> 00:23:40,132
-and the audience...
-We lost the audience.
410
00:23:40,215 --> 00:23:42,760
They just couldn't go there
411
00:23:42,843 --> 00:23:47,431
-and we realized that...
-It's an idea that only makes sense
412
00:23:47,514 --> 00:23:49,159
-the second time you see the movie.
-Right.
413
00:23:49,183 --> 00:23:52,102
And that's why the audience couldn't get it
because they had no idea
414
00:23:52,186 --> 00:23:55,731
what this middle section was
of this perverted 1985.
415
00:23:55,898 --> 00:24:00,110
So we just decided, "Let's just take it out
and not risk losing the audience"
416
00:24:00,194 --> 00:24:01,570
"at that point in the movie."
417
00:24:01,862 --> 00:24:05,491
Then the story that Bob just described,
you could do a whole movie about that.
418
00:24:05,616 --> 00:24:08,160
You know, that's, like, a lot of stuff.
419
00:24:08,994 --> 00:24:10,746
After you completed the trilogy
420
00:24:10,829 --> 00:24:14,541
was there ever any talks about doing
a Back to the Future Part IV?
421
00:24:14,833 --> 00:24:16,043
Three is a,
422
00:24:16,126 --> 00:24:17,878
three is a, you know...
423
00:24:18,504 --> 00:24:20,381
three is a dramatic number.
424
00:24:20,547 --> 00:24:24,510
You know? It's a very important number.
The trilogy, you know,
425
00:24:25,010 --> 00:24:26,136
the Trinity.
426
00:24:27,554 --> 00:24:30,849
You know, I think three
is probably a good place to stop.
427
00:24:31,350 --> 00:24:34,061
Four starts to become too balanced.
428
00:24:35,771 --> 00:24:38,941
You said earlier
that you backed yourself into a corner
429
00:24:39,024 --> 00:24:43,404
when you ended the movie Part I
and decided to do a sequel.
430
00:24:43,487 --> 00:24:48,450
How would you have ended Part I if you
had known you were gonna do a sequel?
431
00:24:49,326 --> 00:24:51,912
We would have just been able to do
anything we wanted to do,
432
00:24:51,996 --> 00:24:53,706
if we didn't put the girl in the car.
433
00:24:53,914 --> 00:24:56,834
-I mean, we had to deal with that.
-The first thing that happens is
434
00:24:56,917 --> 00:24:58,085
Doc puts her to sleep.
435
00:24:58,168 --> 00:24:59,396
Yeah, he's got to knock her out.
436
00:24:59,420 --> 00:25:00,730
We had to get her out of the picture.
437
00:25:00,754 --> 00:25:03,882
She spends the whole movie
being carried around being unconscious.
438
00:25:03,966 --> 00:25:06,343
But as far as what would have happened if
439
00:25:06,427 --> 00:25:08,595
we didn't have that ending
440
00:25:09,263 --> 00:25:14,226
it's like, what movie would you have had if
we had had Crispin Glover? We don't know.
441
00:25:14,601 --> 00:25:19,273
These were the facts that we had so we dealt
with the universe that existed, not with...
442
00:25:20,357 --> 00:25:21,835
We can't answer
what would have happened
443
00:25:21,859 --> 00:25:23,628
if we had a different
universe to start with.
444
00:25:23,652 --> 00:25:24,820
If the girl wasn't there
445
00:25:24,903 --> 00:25:26,548
Marty could have gotten
in the car with the Doc
446
00:25:26,572 --> 00:25:27,757
and then Marty could have said,
447
00:25:27,781 --> 00:25:29,992
"Doc, this is so great,
we're going to the future."
448
00:25:30,075 --> 00:25:33,328
"No, we're going to the prehistoric times,
back to Ancient Rome!"
449
00:25:33,412 --> 00:25:34,538
We could have done anything.
450
00:25:34,621 --> 00:25:37,374
You know, because we had
that kind of joke at the end that...
451
00:25:37,458 --> 00:25:40,669
We wrote that joke about, you know,
"No, there's no problem with you,
452
00:25:40,753 --> 00:25:43,547
"it's your kids."
We really never thought of it being
453
00:25:43,630 --> 00:25:45,132
the set-up for a sequel, ever.
454
00:25:45,299 --> 00:25:48,927
We still had to change it.
If you look at the re-do of that scene
455
00:25:49,011 --> 00:25:51,764
in the beginning of
Part II, when Marty says,
456
00:25:51,847 --> 00:25:54,183
"What happens to us in the future?
Do we become assholes?"
457
00:25:54,266 --> 00:25:57,853
We had this extra little moment
where Chris Lloyd just kind of
458
00:25:57,936 --> 00:26:02,107
stutters and does that
little look to indicate,
459
00:26:02,191 --> 00:26:05,027
"Well, yeah, you do become an asshole
but I can't tell you."
460
00:26:05,402 --> 00:26:08,864
How much do you guys think about,
this is like four years later,
461
00:26:08,947 --> 00:26:11,950
ILM has gone much further.
You just did Roger Rabbit.
462
00:26:12,034 --> 00:26:15,245
How much did you think about all
the cool stuff you could do in the future
463
00:26:15,329 --> 00:26:19,583
such as the use of this new camera, I think
it's called the VistaGlide, that allowed you
464
00:26:19,666 --> 00:26:23,670
to film several actors
playing the same roles and all that stuff.
465
00:26:23,754 --> 00:26:25,255
When I was doing Roger Rabbit
466
00:26:25,339 --> 00:26:29,510
they had just built this new big VistaFlex
camera for me, this silent camera,
467
00:26:29,676 --> 00:26:31,970
and they did a great job.
I mean, it showed up
468
00:26:32,054 --> 00:26:34,139
and it worked the first
day that it got there.
469
00:26:34,473 --> 00:26:37,017
I knew we were going to do
this thing in the future
470
00:26:37,351 --> 00:26:40,187
and Bob was working on it
and I was in London making Roger Rabbit,
471
00:26:40,270 --> 00:26:44,024
and I knew we were doing this thing
where Marty was gonna be
472
00:26:44,566 --> 00:26:48,112
Marty from the movie and he was gonna
see himself as his kid...
473
00:26:48,195 --> 00:26:50,739
-And as his older self.
-And as his older self.
474
00:26:50,823 --> 00:26:53,450
And then I called up Bob and I said,
475
00:26:53,700 --> 00:26:57,287
"Well, Michael J. Fox is also
gonna play his daughter."
476
00:26:58,831 --> 00:27:03,794
So you gotta remember, this is
the very first digital shot I ever did
477
00:27:04,211 --> 00:27:05,921
is in Back to the Future II.
478
00:27:06,004 --> 00:27:09,925
It's one of the shots where Marty's
on the skateboard in the cave and,
479
00:27:10,050 --> 00:27:14,513
what we did is we put a rod out
on the back of a camera car,
480
00:27:14,847 --> 00:27:16,890
and we held him with these wires,
481
00:27:16,974 --> 00:27:20,894
and they did the first
computer removing of that rod
482
00:27:21,186 --> 00:27:22,437
on that shot.
483
00:27:22,855 --> 00:27:26,567
So this is pre-any digital images.
484
00:27:27,151 --> 00:27:30,529
So, knowing we were going to do this movie
with all this stuff in there
485
00:27:30,612 --> 00:27:34,491
and this is one of the good things about
doing a sequel is you can do stuff like this.
486
00:27:34,575 --> 00:27:35,576
I said,
487
00:27:35,742 --> 00:27:37,911
"Build me a motion control camera."
488
00:27:37,995 --> 00:27:39,538
You know, I just said that.
489
00:27:39,621 --> 00:27:40,914
I just said, "I don't know."
490
00:27:41,123 --> 00:27:45,377
I said, "I need a camera
that we can do these splits in, that can"
491
00:27:46,044 --> 00:27:47,838
"pan, tilt and dolly."
492
00:27:48,255 --> 00:27:49,798
And they said, "Okay."
493
00:27:49,923 --> 00:27:51,925
And I said,
"You guys got two years to build it."
494
00:27:52,009 --> 00:27:55,429
And they built this thing
called the VistaGlide camera
495
00:27:55,596 --> 00:27:58,307
-and it...
-It worked on the first day.
496
00:27:58,390 --> 00:27:59,516
It worked on the first day.
497
00:27:59,600 --> 00:28:02,186
They didn't know it was gonna work
on the first day, but it did.
498
00:28:02,269 --> 00:28:04,062
It was very complicated, but it worked.
499
00:28:04,521 --> 00:28:07,357
Didn't you guys have an earthquake
or something that was...
500
00:28:07,441 --> 00:28:10,194
Yeah, when we were doing...
Remember when we were doing
501
00:28:10,277 --> 00:28:11,612
the pizza shot.
502
00:28:12,613 --> 00:28:14,031
The shot that starts with
503
00:28:14,114 --> 00:28:18,285
the three hands coming to take
the pieces of pizza and it pulls back
504
00:28:18,368 --> 00:28:21,413
and you see three Michael J. Foxes
in the same shot.
505
00:28:22,206 --> 00:28:24,708
And that shot took us
two or three days to do
506
00:28:25,417 --> 00:28:28,545
because it was so complicated
and it's cut real short in the movie.
507
00:28:28,629 --> 00:28:31,048
It was originally, like, a 90-second shot.
508
00:28:31,131 --> 00:28:33,634
It was played all on a master and
509
00:28:34,092 --> 00:28:36,511
we had to lock everything down.
510
00:28:36,595 --> 00:28:38,972
Every time we stopped, we would do it.
511
00:28:39,056 --> 00:28:40,515
We filmed it on that one.
512
00:28:40,599 --> 00:28:43,393
I think the A side was
513
00:28:43,477 --> 00:28:45,520
with Marty as Marlene,
514
00:28:45,896 --> 00:28:49,650
and we had Marlene and Lorraine
in the shot and we
515
00:28:50,192 --> 00:28:52,986
did it with stand-ins for everybody else.
516
00:28:53,487 --> 00:28:55,113
Then everything would be locked down.
517
00:28:55,197 --> 00:28:58,951
So you couldn't move the table,
you couldn't move a picture on the wall,
518
00:28:59,076 --> 00:29:01,286
you couldn't move a light,
you couldn't move anything.
519
00:29:01,662 --> 00:29:04,957
We waited for Michael J. Fox
to get into his next makeup,
520
00:29:05,624 --> 00:29:07,793
played back the program on the camera
521
00:29:07,876 --> 00:29:11,296
that made the camera move
exactly the way the
522
00:29:12,256 --> 00:29:15,050
selected take was on the A side
523
00:29:15,634 --> 00:29:17,469
and then we had
to lock everything down again.
524
00:29:17,886 --> 00:29:21,098
Well, we were worried that... What would
happen if we had an earthquake
525
00:29:21,181 --> 00:29:24,851
before we got to do the next part
of the shot and it actually happened.
526
00:29:24,935 --> 00:29:27,729
We had an earth tremor one night
but it wasn't powerful enough
527
00:29:27,813 --> 00:29:29,189
to have knocked out of alignment.
528
00:29:29,273 --> 00:29:30,274
But
529
00:29:30,357 --> 00:29:32,317
Ken Ralston damn near had a heart attack
530
00:29:32,401 --> 00:29:34,545
when he heard that there'd been
an earth tremor that night.
531
00:29:34,569 --> 00:29:36,989
Every little thing, every little,
532
00:29:37,072 --> 00:29:40,701
you know, piece of set dressing
would have to be hot glued into the set
533
00:29:40,784 --> 00:29:43,537
so that nothing could move,
or vibrate, or shift.
534
00:29:43,870 --> 00:29:46,581
And the way we would have to do
those scenes is that we would...
535
00:29:46,665 --> 00:29:49,042
A computer in the camera was locked to
536
00:29:49,167 --> 00:29:53,005
the video playback
of the first side of the shot.
537
00:29:53,213 --> 00:29:57,134
And then on another track,
I would give verbal cues,
538
00:29:57,217 --> 00:30:00,429
you know, we would rehearse and rehearse
and I would mark the track
539
00:30:00,512 --> 00:30:04,474
on the computerized dolly with a piece
of tape and put numbers on them,
540
00:30:04,558 --> 00:30:05,878
and I would even watch the scenes
541
00:30:05,934 --> 00:30:08,270
so I would see who's coming up
on the red tape
542
00:30:08,353 --> 00:30:09,646
and I'd go, "And turn",
543
00:30:09,730 --> 00:30:11,606
"and now,"
544
00:30:11,690 --> 00:30:13,775
"and pizza, and..."
545
00:30:13,859 --> 00:30:15,193
So when playing back in the set,
546
00:30:15,277 --> 00:30:17,863
when they were doing
the B and the C sides of those shots
547
00:30:17,946 --> 00:30:22,743
they had the voice, the actor had the voice
of his first A-side performance,
548
00:30:22,826 --> 00:30:26,038
my cues that were based on
the burn-in on the camera move
549
00:30:26,121 --> 00:30:30,625
and then he had to act
the new character that he was doing
550
00:30:30,709 --> 00:30:32,711
and basically what we did is we would put
551
00:30:33,420 --> 00:30:36,757
a stand-in or another actor in there
for him to work with.
552
00:30:37,090 --> 00:30:38,967
Those days are long gone.
553
00:30:39,801 --> 00:30:41,553
-Thank goodness.
-Thank God, they're gone.
554
00:30:41,636 --> 00:30:44,765
But that's how you had to do it
in the old optical days.
555
00:30:45,265 --> 00:30:47,684
One of the other things
that we learned from
556
00:30:47,768 --> 00:30:50,020
trying to figure out,
how do you use this camera,
557
00:30:50,103 --> 00:30:51,938
and use this technique the right way.
558
00:30:52,022 --> 00:30:55,984
First thing you do when you get a new toy
is you want to show it off.
559
00:30:56,568 --> 00:31:01,323
But that wasn't necessarily a good idea
as we learned in that particular shot.
560
00:31:01,448 --> 00:31:05,952
The 90-second-long take
of the pizza scene all in one master,
561
00:31:06,119 --> 00:31:08,372
it just didn't play right.
It just didn't seem...
562
00:31:08,455 --> 00:31:11,249
You didn't know what to watch,
you didn't know what to follow
563
00:31:11,333 --> 00:31:14,002
and it was one of our editors
who, I think, said,
564
00:31:14,252 --> 00:31:17,381
"You know, if you had three different
characters, three different actors"
565
00:31:17,464 --> 00:31:21,301
"playing this, you'd never play
this whole scene in a master."
566
00:31:21,843 --> 00:31:24,721
And that's when we realized,
yeah, you know, you gotta...
567
00:31:24,805 --> 00:31:28,141
You gotta approach this like,
even though they're all Michael J. Fox
568
00:31:28,392 --> 00:31:30,894
or you've got two Chris Lloyds
or whatever...
569
00:31:31,061 --> 00:31:35,064
You've gotta make the movie
as if these were different actors
570
00:31:35,147 --> 00:31:38,317
and that's how the audience
will buy the illusion
571
00:31:39,985 --> 00:31:41,028
that it's working.
572
00:31:41,112 --> 00:31:43,239
Because the film-making
is the same that you would do
573
00:31:43,322 --> 00:31:44,508
as if you had two different actors.
574
00:31:44,532 --> 00:31:47,952
But then it's great in the scene
with the two Biffs in the garage,
575
00:31:48,035 --> 00:31:52,206
and then there's that part
where he hands the book to himself...
576
00:31:52,498 --> 00:31:55,251
and you know, when we were
previewing that movie
577
00:31:55,334 --> 00:31:57,920
somebody, like, cried out in the audience,
578
00:31:58,003 --> 00:31:59,338
"How did they do that?"
579
00:32:00,047 --> 00:32:01,507
And I'll never...
580
00:32:01,590 --> 00:32:04,593
And I just sat there and I thought,
"Okay, mission accomplished."
581
00:32:04,677 --> 00:32:08,889
Because a simple thing
but unbelievably spectacular and basically
582
00:32:08,973 --> 00:32:10,474
what it was, was,
583
00:32:10,558 --> 00:32:14,812
in addition to all the servos
on the camera and the dolly,
584
00:32:14,895 --> 00:32:17,982
we had them build an armature
in the dashboard of the car
585
00:32:18,065 --> 00:32:20,192
with another servo
that was hooked to the computer
586
00:32:20,276 --> 00:32:23,237
with the book attached to it and went...
587
00:32:23,362 --> 00:32:27,199
And it moved that book
through the frame exactly,
588
00:32:27,783 --> 00:32:30,870
you know, where the split was,
even though the camera was pushing in
589
00:32:30,953 --> 00:32:32,931
or I think it was panning,
I don't remember what it was doing.
590
00:32:32,955 --> 00:32:34,475
-It was panning.
-Yeah, it was panning.
591
00:32:34,540 --> 00:32:36,459
So the book was actually
592
00:32:37,334 --> 00:32:40,629
slaved to the move in the camera computer.
593
00:32:41,380 --> 00:32:44,925
The other shot to watch, which is
594
00:32:45,176 --> 00:32:49,680
the most perfect illusion in the movie,
is the scene when
595
00:32:49,763 --> 00:32:54,101
Marty, in the Cafe 80s,
Marty takes the hat off of Marty Jr.
596
00:32:54,185 --> 00:32:55,728
And puts it on his own head.
597
00:32:55,853 --> 00:33:00,649
There's like one frame there
where the arm and the hat are out of frame.
598
00:33:00,733 --> 00:33:04,945
It worked on one frame
and it's absolutely seamless.
599
00:33:05,029 --> 00:33:08,824
You could do Back to the Future II now
and it would be like a shrug.
600
00:33:08,908 --> 00:33:12,244
Anybody could do this, I mean, anybody.
All you need is a computer.
601
00:33:12,369 --> 00:33:15,247
But in those old optical days, it was...
602
00:33:15,331 --> 00:33:19,668
It was a computer, that's what created
the motion control camera but
603
00:33:19,877 --> 00:33:22,880
now with digital images,
it would be real easy.
604
00:33:24,256 --> 00:33:27,885
One question here has to do
with Michael J. Fox playing
605
00:33:27,968 --> 00:33:32,431
so many different characters
in the movie Back to the Future Part II.
606
00:33:32,640 --> 00:33:36,101
Is there any reason why you decided
to use him so many times,
607
00:33:36,185 --> 00:33:39,271
playing so many different characters?
Bob Gale.
608
00:33:40,356 --> 00:33:44,026
Yeah, we had Michael play all those
different parts because it was funny.
609
00:33:44,735 --> 00:33:47,363
And he was a good actor and it was,
you know, why not?
610
00:33:47,446 --> 00:33:49,532
He only does Marlene in two shots.
611
00:33:50,157 --> 00:33:52,868
The music in all three
Back to the Future movies
612
00:33:52,952 --> 00:33:54,787
is really quite remarkable.
613
00:33:54,870 --> 00:33:58,082
Can you describe your relationship
in coming up with the themes
614
00:33:58,165 --> 00:34:00,376
with composer Alan Silvestri?
615
00:34:00,876 --> 00:34:04,505
Well, you know,
in the sequels Al just had a...
616
00:34:04,588 --> 00:34:09,051
He took the original themes
from Part I and just
617
00:34:09,802 --> 00:34:12,221
wailed, you know,
he just did different variations
618
00:34:12,304 --> 00:34:14,848
on those ideas all throughout.
619
00:34:14,932 --> 00:34:17,893
As a matter of fact, I have to say,
one of the saddest things
620
00:34:17,977 --> 00:34:22,356
of making Back to the Future II
is that it's the only movie that I
621
00:34:22,439 --> 00:34:25,401
never had a chance to go
to a single scoring session
622
00:34:25,484 --> 00:34:27,987
because I was shooting
Back to the Future III, and
623
00:34:28,070 --> 00:34:31,991
we had these, up in Sonora, California,
where we were shooting
624
00:34:32,074 --> 00:34:34,493
Back to the Future III,
we had these trailer unit things
625
00:34:34,577 --> 00:34:38,998
that we dropped on this vacant lot.
And that's where the editorial was.
626
00:34:39,373 --> 00:34:41,709
They tricked one out
with all this high tech
627
00:34:42,751 --> 00:34:46,088
THX surround sound and Al
would just come up on the weekends
628
00:34:46,171 --> 00:34:48,841
and run the cues for me.
629
00:34:48,924 --> 00:34:51,385
And I never had the chance
to actually be on the stage.
630
00:34:51,468 --> 00:34:54,555
So it was all done sort of long distance.
631
00:34:56,015 --> 00:34:57,391
Bob Zemeckis,
632
00:34:57,683 --> 00:35:02,688
you mentioned the challenges of scoring
Back to the Future Part II and III at once.
633
00:35:02,938 --> 00:35:07,443
Any other challenges involved
with making two movies at once?
634
00:35:08,277 --> 00:35:11,363
Yeah, well, you shouldn't do
two movies at once.
635
00:35:11,697 --> 00:35:15,784
And I don't ever want to do it again.
Now I just did two movies back-to-back
636
00:35:15,868 --> 00:35:17,036
which is different.
637
00:35:17,494 --> 00:35:18,912
You know, that you can do.
638
00:35:19,121 --> 00:35:23,250
But doing two movies at the same time
is not good for the following reason.
639
00:35:23,334 --> 00:35:26,670
It's that you don't have enough time...
640
00:35:26,920 --> 00:35:29,965
You can't edit the movie you just finished
while you're shooting...
641
00:35:30,049 --> 00:35:33,510
You don't have enough energy
and enough time in your day.
642
00:35:33,802 --> 00:35:36,263
So the problem,
the overlap of the two movies
643
00:35:36,347 --> 00:35:41,060
was during the post-production time
of Back to the Future II.
644
00:35:41,518 --> 00:35:45,189
And I look at the movie now
and I know that if I wasn't in the middle
645
00:35:45,272 --> 00:35:47,983
of shooting a movie every single day,
see places
646
00:35:48,067 --> 00:35:50,211
where I could have really
just tightened this movie up.
647
00:35:50,235 --> 00:35:54,490
I maybe would have made
a few more calmer decisions
648
00:35:54,573 --> 00:35:57,660
and pulled the movie together,
maybe a little bit better than I did.
649
00:35:57,743 --> 00:36:01,330
So I wouldn't recommend it.
It's too hard, that was the hardest part.
650
00:36:01,413 --> 00:36:03,624
The logistics of it was that
651
00:36:03,832 --> 00:36:07,086
Bob would be shooting
Back to the Future III up in Sonora,
652
00:36:07,169 --> 00:36:11,215
and I went down
to L.A. to supervise the dub
653
00:36:11,507 --> 00:36:13,425
of Back to the Future II.
654
00:36:14,301 --> 00:36:17,096
So, Bob would finish shooting,
655
00:36:17,179 --> 00:36:20,641
we were shooting days so we'd
lose the light around 5:00 or 5:30,
656
00:36:20,724 --> 00:36:24,103
he'd jump on a private plane,
fly down to Burbank,
657
00:36:24,186 --> 00:36:26,897
there would be a car waiting for him,
take him over to
658
00:36:26,980 --> 00:36:31,235
the Hitchcock Stage at Universal.
We had dinner waiting for him.
659
00:36:31,777 --> 00:36:33,112
We'd eat.
660
00:36:33,278 --> 00:36:36,865
We'd sit down and play back the reels
that we mixed that day.
661
00:36:36,949 --> 00:36:39,410
Bob would make his changes.
We'd do them right there.
662
00:36:39,493 --> 00:36:42,287
We'd work till 10:00, 11:00, 12:00.
663
00:36:42,579 --> 00:36:46,625
Bob would go to the Sheraton Universal,
check into a hotel room.
664
00:36:46,750 --> 00:36:48,961
Go to sleep for 5 hours.
665
00:36:49,211 --> 00:36:52,464
Wake up at 5:00. Car would take him
back to the Burbank airport.
666
00:36:52,548 --> 00:36:57,010
He'd fly back to Sonora,
and at 6:00 or 6:30 he'd be on the set
667
00:36:57,136 --> 00:36:58,971
directing Back to the Future III.
668
00:36:59,138 --> 00:37:02,224
That went on for 2 or 3 weeks.
As he said, it wasn't pretty.
669
00:37:03,267 --> 00:37:06,478
When Back to the Future Part II
was released it got...
670
00:37:06,562 --> 00:37:10,733
Some reviews mentioned that it
was a little bit confusing in terms of
671
00:37:10,816 --> 00:37:13,277
the time-travel elements to the story.
672
00:37:13,360 --> 00:37:14,629
Do you recall that when you were
673
00:37:14,653 --> 00:37:17,114
writing the script
and submitting it to the studio
674
00:37:17,197 --> 00:37:19,408
that you ever got any notes back
from the studio
675
00:37:19,491 --> 00:37:21,577
saying that the story
was a little bit dense,
676
00:37:21,660 --> 00:37:23,203
or a little bit confusing?
677
00:37:23,495 --> 00:37:27,750
Well, I don't remember getting
any notes from the studio...
678
00:37:27,833 --> 00:37:30,919
About it being too confusing.
No, they were just so happy that we were
679
00:37:31,003 --> 00:37:32,087
making the movie.
680
00:37:32,838 --> 00:37:36,675
I don't think they... I don't know whether
it was that they didn't care, or whether
681
00:37:36,759 --> 00:37:38,260
they didn't have any problem with it.
682
00:37:38,343 --> 00:37:40,763
Two different things are going on.
683
00:37:41,346 --> 00:37:43,766
And that's why sequels,
684
00:37:44,016 --> 00:37:48,061
as proud as we are
of making these two movies,
685
00:37:48,145 --> 00:37:50,355
sequels are not movies, they are
686
00:37:50,439 --> 00:37:53,859
a whole different kind of thing.
They're a marketing thing.
687
00:37:54,067 --> 00:37:55,861
Here's the thing about sequels.
688
00:37:56,570 --> 00:37:59,782
It's the only thing
689
00:38:00,532 --> 00:38:04,036
that's a sure thing
in the entire movie business.
690
00:38:04,536 --> 00:38:09,541
And that is, you can open a sequel
to a successful movie.
691
00:38:10,793 --> 00:38:14,338
Studios love that
because it's the only thing that they know.
692
00:38:14,797 --> 00:38:16,673
And they don't know anything else.
693
00:38:17,007 --> 00:38:21,595
So the only thing that they know
is that we can open Back to the Future II.
694
00:38:22,012 --> 00:38:25,808
There was not any other movie
that opened on that weekend.
695
00:38:26,099 --> 00:38:29,228
It was Thanksgiving 1989.
696
00:38:29,311 --> 00:38:32,481
And we broke all records that weekend
and all this stuff happened.
697
00:38:32,564 --> 00:38:35,150
That was really small numbers nowadays.
698
00:38:35,609 --> 00:38:39,321
But all the tracking was telling them that.
699
00:38:39,655 --> 00:38:42,825
But I know in my heart that this movie
didn't pack the wallop,
700
00:38:42,908 --> 00:38:45,160
the emotional wallop of the first movie.
701
00:38:45,369 --> 00:38:46,787
-It couldn't.
-It couldn't.
702
00:38:46,870 --> 00:38:48,997
And the audiences were
going to be let down.
703
00:38:49,081 --> 00:38:52,251
But that's, you know, unfortunately,
that's the nature of this business.
704
00:38:52,334 --> 00:38:55,504
I mean, sequels are
unrealistic expectations.
705
00:38:55,587 --> 00:38:58,465
They're unrealistic expectations.
Everybody goes to a sequel
706
00:38:58,549 --> 00:39:01,110
thinking they're going to see something,
they don't know what it is.
707
00:39:01,134 --> 00:39:04,429
-But it can never...
-Give you the rush of the first one.
708
00:39:04,513 --> 00:39:07,182
Yeah, live up to the expectations
that you bring to the theater
709
00:39:07,266 --> 00:39:09,560
on that opening day.
710
00:39:10,102 --> 00:39:14,565
You mentioned earlier the VistaGlide camera
and the special effects that you did on
711
00:39:14,648 --> 00:39:16,441
Back to the Future Part II.
712
00:39:16,525 --> 00:39:21,154
Was there ever anything
that you had to rewrite or rethink because
713
00:39:21,238 --> 00:39:25,909
of the limitations of special effects back
at the time that you were doing this movie?
714
00:39:26,034 --> 00:39:29,538
Well, CGI technology didn't exist
so we didn't know what we were missing.
715
00:39:29,621 --> 00:39:32,666
So we were working with what we had.
716
00:39:32,749 --> 00:39:34,793
-And what we knew.
-And what we knew.
717
00:39:35,043 --> 00:39:37,129
I would say the answer to that is no.
718
00:39:37,421 --> 00:39:39,298
We would always tell ILM,
719
00:39:39,590 --> 00:39:42,509
"We want to do this,
and can you figure this out?"
720
00:39:42,843 --> 00:39:47,264
And we also had
somebody who, in my opinion, is
721
00:39:47,347 --> 00:39:49,933
one of the greatest mechanical effects
supervisors in the world
722
00:39:50,017 --> 00:39:52,728
on this show, Michael Lantieri.
723
00:39:53,145 --> 00:39:55,731
And he took it on himself
as a personal challenge
724
00:39:55,814 --> 00:39:59,985
to try to figure out ways to do things
on the set that
725
00:40:00,110 --> 00:40:02,696
today you would do with a computer.
726
00:40:02,863 --> 00:40:04,239
The movie's better for it.
727
00:40:04,323 --> 00:40:08,619
One of the best shots, by the way,
when you watch the movie again,
728
00:40:08,702 --> 00:40:12,581
is when the DeLorean comes back
729
00:40:12,664 --> 00:40:15,334
to 1985-A from the future
730
00:40:15,542 --> 00:40:19,838
and it flies down from the sky,
and it goes behind a lamppost,
731
00:40:19,922 --> 00:40:21,774
and lands on the street,
pulls into the driveway
732
00:40:21,798 --> 00:40:24,259
and a dog gets out of the car,
all in one shot.
733
00:40:24,343 --> 00:40:26,219
The split, of course, was the lamppost,
734
00:40:26,303 --> 00:40:29,932
when the camera, when the VistaGlide
camera panned across the lamppost,
735
00:40:30,015 --> 00:40:34,978
we went from a miniature model car
flying at ILM on a blue screen
736
00:40:35,519 --> 00:40:38,230
and they matched the actual DeLorean
737
00:40:38,314 --> 00:40:41,233
driving down the street
and into that driveway.
738
00:40:41,317 --> 00:40:43,569
Absolutely perfect seamless shot.
739
00:40:43,653 --> 00:40:46,030
Bob told Ken that's what he wanted to do,
and Ken said:
740
00:40:46,113 --> 00:40:48,240
"I'll figure out how to make it work,"
and he did.
741
00:40:49,033 --> 00:40:52,870
In terms of the set design, actually,
if you could talk a little bit about
742
00:40:53,204 --> 00:40:57,124
switching team, in a sense,
from Larry Paul from Part I to
743
00:40:57,208 --> 00:41:02,171
the Rick Carter team on Part II and III,
and how he made that kind of seamless.
744
00:41:04,548 --> 00:41:06,968
I had a chance to work
with Rick Carter on an
745
00:41:07,051 --> 00:41:10,721
Amazing Stories episode
and I got along with him great
746
00:41:11,055 --> 00:41:13,683
and I thought he was
really creative and he got
747
00:41:14,600 --> 00:41:18,312
the ideas and the tone
of what it was that we were trying to do.
748
00:41:18,396 --> 00:41:20,731
You know, I don't think
it was a problem for Rick
749
00:41:20,815 --> 00:41:24,443
to just step into the first movie
and be able to, like, recreate that and
750
00:41:24,527 --> 00:41:26,112
see what we did. Although
751
00:41:26,320 --> 00:41:31,075
what's interesting is that,
the biggest challenge that we had was
752
00:41:31,409 --> 00:41:33,911
the construction of the town square
753
00:41:34,370 --> 00:41:36,998
into the production schedule.
754
00:41:37,206 --> 00:41:41,002
Because we had to build
this elaborate future town square
755
00:41:41,085 --> 00:41:44,964
with a lake and everything in it,
and everything being futurized.
756
00:41:45,715 --> 00:41:49,969
Then we had to build the alternate,
with the 1985-A
757
00:41:50,052 --> 00:41:53,556
the alternate, you know,
Sin City town square.
758
00:41:53,931 --> 00:41:57,018
And then we threw in the total
759
00:41:57,101 --> 00:42:00,646
perfect recreation of the first movie.
760
00:42:01,355 --> 00:42:04,025
So the only way,
if you look at the movie really carefully,
761
00:42:04,108 --> 00:42:06,152
the only way that we could do that.
762
00:42:06,235 --> 00:42:09,530
Rick and I decided that the only way
we could do it is we could only
763
00:42:09,613 --> 00:42:14,618
shoot one street of 1955 in the town.
764
00:42:14,910 --> 00:42:18,539
Yeah, that was the first stuff that we shot
in Back to the Future II.
765
00:42:18,664 --> 00:42:23,044
And if you had walked onto the set,
you would have seen 1985-A
766
00:42:23,127 --> 00:42:26,922
on the other streets
that was going on at the same time.
767
00:42:28,466 --> 00:42:30,551
No, it was the future, wasn't it?
768
00:42:30,801 --> 00:42:33,554
No, I think we did '85-A next.
769
00:42:33,637 --> 00:42:37,308
-And then we just got off of there...
-Okay, that's right, because it was, like...
770
00:42:37,391 --> 00:42:41,187
That's right, 'cause they built it into
casino. So basically where the camera track was
771
00:42:41,270 --> 00:42:44,482
to do the stuff on the street in 1955,
772
00:42:44,732 --> 00:42:47,318
everything behind the camera
was under construction.
773
00:42:47,485 --> 00:42:49,445
-Right.
-In that town square.
774
00:42:49,570 --> 00:42:52,490
So I had to shoot that street out,
get on the stage,
775
00:42:52,573 --> 00:42:55,201
give them the town square to finish it off,
776
00:42:55,367 --> 00:42:59,330
and then I don't even remember what we did
when we came back to do the future.
777
00:42:59,705 --> 00:43:02,083
-I don't even remember.
-Well, we spent weeks doing
778
00:43:02,166 --> 00:43:04,293
-all that stuff in the McFly townhouse.
-Right.
779
00:43:04,376 --> 00:43:07,088
That took forever to shoot that stuff.
And they were building...
780
00:43:07,171 --> 00:43:09,381
They were building
the future at that point.
781
00:43:09,715 --> 00:43:13,719
And then we also recreated the stage,
782
00:43:13,803 --> 00:43:15,513
the Johnny B. Goode stage
783
00:43:15,596 --> 00:43:20,392
on Stage 12. Originally in the first movie,
and actually for parts of the second movie
784
00:43:20,810 --> 00:43:25,231
we shot that at the Methodist Church
at the corner of Franklin and Highland
785
00:43:25,731 --> 00:43:27,024
in Hollywood.
786
00:43:27,525 --> 00:43:30,694
They have a gymnasium there
and that was the location that we used.
787
00:43:31,112 --> 00:43:34,615
But they didn't have any
of that catwalk stuff that we used later so
788
00:43:34,698 --> 00:43:39,787
we had to build this actual stage
on Stage 12 at Universal
789
00:43:39,870 --> 00:43:43,415
to do all that stuff with Michael
up in the rigging and that gag.
790
00:43:43,541 --> 00:43:46,293
The wide stuff and the big dance stuff
we went back
791
00:43:46,377 --> 00:43:48,796
and shot in the same
Methodist Church, and
792
00:43:48,879 --> 00:43:52,967
we went back to Whittier High School
and we shot all the exterior stuff
793
00:43:53,050 --> 00:43:55,761
right there at Whittier High School again.
794
00:43:55,845 --> 00:43:59,306
And we actually built the set
of Strickland's office,
795
00:43:59,640 --> 00:44:00,808
as I remember,
796
00:44:00,891 --> 00:44:02,685
as sort of a free-standing
797
00:44:02,768 --> 00:44:04,937
set that we were able to move around
798
00:44:05,020 --> 00:44:07,481
at Whittier to get the angle
799
00:44:07,565 --> 00:44:09,817
so that you could look out
the window and see
800
00:44:09,900 --> 00:44:12,403
George deck Biff.
801
00:44:13,612 --> 00:44:16,365
In regards to the scene
that take place in 1955
802
00:44:16,448 --> 00:44:19,618
did you use any kind of optical trickery
803
00:44:19,827 --> 00:44:21,745
to recreate
804
00:44:21,829 --> 00:44:24,665
what had been done
in Back to the Future I
805
00:44:24,832 --> 00:44:27,751
or did you reshoot everything from scratch?
806
00:44:28,335 --> 00:44:29,837
There are some outtakes
807
00:44:29,920 --> 00:44:31,922
from Back to the Future I
808
00:44:32,006 --> 00:44:34,884
of Crispin in Back to the Future II
809
00:44:35,050 --> 00:44:37,469
and then we also recreated shots
810
00:44:38,470 --> 00:44:40,222
with Jeffrey Weissman,
811
00:44:40,306 --> 00:44:43,434
who played George McFly in the sequels
812
00:44:43,726 --> 00:44:46,937
and we always tried, Bob always tried
to figure out a way to make sure that
813
00:44:47,021 --> 00:44:48,522
you were looking at his back,
814
00:44:48,606 --> 00:44:51,358
or to just throw the
focus out a little bit so
815
00:44:51,442 --> 00:44:53,861
you wouldn't realize
that it wasn't Crispin.
816
00:44:53,944 --> 00:44:56,864
To answer your question specifically,
the only opticals,
817
00:44:57,448 --> 00:44:59,366
were only ever optical splits,
818
00:44:59,450 --> 00:45:00,993
where we put the two characters in.
819
00:45:01,076 --> 00:45:02,786
Everything that was in the frame
820
00:45:03,287 --> 00:45:05,039
was physical and built
821
00:45:05,122 --> 00:45:08,918
and recreated to match the first movie.
822
00:45:09,668 --> 00:45:13,297
One question here has to do
with the Pepsi commercial that
823
00:45:13,380 --> 00:45:16,091
aired around the time
of Back to the Future Part II...
824
00:45:17,635 --> 00:45:19,435
The Pepsi commercial
that you're talking about
825
00:45:19,511 --> 00:45:22,556
was filmed while were shooting
Back to the Future Part III
826
00:45:22,640 --> 00:45:24,558
because I remember having a...
827
00:45:24,642 --> 00:45:26,894
Getting really pissed
off at Michael's agent
828
00:45:26,977 --> 00:45:30,689
for telling me that Michael was gonna
leave Back to the Future III for three days
829
00:45:30,773 --> 00:45:32,566
to shoot these Pepsi commercials
830
00:45:32,650 --> 00:45:35,611
leaving the company
with no Michael J. Fox to shoot with.
831
00:45:35,694 --> 00:45:38,280
But, that happened
while we were shooting Part III.
832
00:45:38,489 --> 00:45:41,659
I think Bob, Bob Z.,
one day you told me that you
833
00:45:41,742 --> 00:45:42,862
came up with all those jokes
834
00:45:42,910 --> 00:45:46,413
because you didn't really want to have
to deal with the technology of the future
835
00:45:46,497 --> 00:45:48,582
and, that's how the Jaws,
836
00:45:48,707 --> 00:45:50,918
Steven Spielberg joke came about,
is that correct?
837
00:45:51,001 --> 00:45:53,128
And if you could elaborate
a little bit about that.
838
00:45:53,879 --> 00:45:56,423
You know, we always did
a theater marquee gag.
839
00:45:56,507 --> 00:45:59,969
We did two of them in the first movie, you
know, in the first movie, in the theater,
840
00:46:00,052 --> 00:46:02,596
the Essex Theater is playing
this Ronald Reagan movie,
841
00:46:02,930 --> 00:46:06,350
and then in 1985, it's a porno theater,
842
00:46:06,684 --> 00:46:10,229
so we thought that in the future
it should be a hologram theater
843
00:46:10,521 --> 00:46:14,233
and then we said, "Well, what should it be?"
And we said, "Well, Jaws 10, because..."
844
00:46:14,358 --> 00:46:18,529
Or Jaws 19 or whatever it was that we'd say
because, "Let's make some sequel jokes"
845
00:46:19,029 --> 00:46:20,572
"because we're doing a sequel."
846
00:46:20,656 --> 00:46:23,033
Was it tough to come up with some of the,
847
00:46:23,117 --> 00:46:24,118
as I said, you know,
848
00:46:24,201 --> 00:46:26,245
the gadgets of the future, or
849
00:46:26,745 --> 00:46:29,832
were you trying
to make them look practical, or...
850
00:46:29,915 --> 00:46:32,793
We wanted to make all of the gadgetry
in the future look
851
00:46:32,876 --> 00:46:33,919
fun
852
00:46:34,003 --> 00:46:35,421
more than practical.
853
00:46:35,504 --> 00:46:37,506
There was a certain amount
854
00:46:37,715 --> 00:46:40,509
of practicality we thought about, but
855
00:46:40,884 --> 00:46:44,763
the guy that designed most of that
is a fellow named John Bell,
856
00:46:45,306 --> 00:46:47,725
who was one of the designers at ILM and
857
00:46:47,808 --> 00:46:52,313
he joined the art department for this
because he had such a wacky imagination.
858
00:46:52,396 --> 00:46:53,981
And I remember Bob would tell John,
859
00:46:54,064 --> 00:46:55,107
he said, "Just"
860
00:46:55,190 --> 00:46:58,277
"give me some stuff that we
don't even know what the hell it is."
861
00:46:58,360 --> 00:47:00,487
"Just some stuff
that we can put on the street"
862
00:47:00,571 --> 00:47:02,239
"that nobody will know what it is"
863
00:47:02,323 --> 00:47:03,490
"and it'll just be there."
864
00:47:03,574 --> 00:47:06,660
We've got some really interesting signs
865
00:47:06,910 --> 00:47:08,203
in the town square,
866
00:47:08,287 --> 00:47:10,247
some picture signs of
867
00:47:10,372 --> 00:47:12,458
things with a circle
and a slash through it that
868
00:47:12,541 --> 00:47:14,519
I couldn't tell you
what they were supposed to mean.
869
00:47:14,543 --> 00:47:16,378
John just came up with these crazy images.
870
00:47:16,462 --> 00:47:19,590
We would have
these endless future meetings about
871
00:47:19,673 --> 00:47:22,676
the future. I mean, we would have them
over and over. We would bring
872
00:47:22,760 --> 00:47:24,219
the wardrobe department in,
873
00:47:24,303 --> 00:47:25,929
Rick Carter's department,
874
00:47:26,013 --> 00:47:27,097
and the prop design
875
00:47:27,181 --> 00:47:28,700
and we would just try to figure out...
876
00:47:28,724 --> 00:47:30,517
We'd come up with ideas, like, we'd say,
877
00:47:30,601 --> 00:47:32,644
"Okay, if cars can fly,"
878
00:47:32,936 --> 00:47:36,190
"what are the kind of problems
that are gonna result from that?"
879
00:47:36,273 --> 00:47:39,943
At one point, we thought,
"Well, if cars are leaking oil"
880
00:47:40,027 --> 00:47:42,863
"and they're flying, everybody would be
carrying an umbrella"
881
00:47:42,946 --> 00:47:45,032
"because they'd be
getting oil on their clothes"
882
00:47:45,115 --> 00:47:47,284
"from oil falling out of the sky."
883
00:47:47,368 --> 00:47:50,454
Which was a great gag,
but it took too long to explain it
884
00:47:50,537 --> 00:47:51,538
so we didn't use it.
885
00:47:51,622 --> 00:47:54,708
I thought one of the neat things
we came up with was the two-tie thing
886
00:47:54,875 --> 00:47:56,877
you know, like the two...
887
00:47:57,127 --> 00:47:58,921
The two knotted ties.
888
00:47:59,713 --> 00:48:02,966
-Why not?
-We had a tie joke in the first movie
889
00:48:03,050 --> 00:48:04,718
because Christopher Lloyd's tie,
890
00:48:04,802 --> 00:48:06,929
at the end, and at the beginning of this is
891
00:48:07,012 --> 00:48:08,222
clear plastic.
892
00:48:08,305 --> 00:48:10,641
So, he's wearing a tie
that you can't even see.
893
00:48:10,724 --> 00:48:13,352
Then we said, "What's the
other tie joke we can do," and...
894
00:48:13,435 --> 00:48:15,187
Then, I think it was actually in the script
895
00:48:15,270 --> 00:48:17,791
and you see it in the movie,
but what you really can't see is that
896
00:48:17,815 --> 00:48:20,067
kids all wear their pants inside out.
897
00:48:20,150 --> 00:48:21,211
Does Doc say that in the...
898
00:48:21,235 --> 00:48:22,337
-He says it, yeah.
-He does, yeah.
899
00:48:22,361 --> 00:48:24,321
But it's hard to tell
because they're denim jeans.
900
00:48:24,363 --> 00:48:26,031
We did stuff like that,
901
00:48:26,115 --> 00:48:27,241
we tried our best.
902
00:48:27,324 --> 00:48:28,867
But it's hard.
903
00:48:28,951 --> 00:48:31,495
Incidentally, one of the little kids
playing the video game,
904
00:48:31,578 --> 00:48:33,163
in the Cafe 80s,
905
00:48:33,247 --> 00:48:34,748
is Elijah Wood,
906
00:48:34,832 --> 00:48:37,084
who you all know now
from Lord of the Rings
907
00:48:37,167 --> 00:48:40,045
and I think that was actually
his first movie appearance.
908
00:48:40,504 --> 00:48:43,799
Tell us about product placement
in Back to the Future Part II.
909
00:48:43,882 --> 00:48:45,717
Well, which is the one...
910
00:48:45,801 --> 00:48:47,970
My favorite story is...
911
00:48:48,387 --> 00:48:51,765
Which was the one about the Versateller?
912
00:48:52,683 --> 00:48:53,684
Was that in the sequel?
913
00:48:53,767 --> 00:48:55,978
Actually, that was in Back to the Future I.
914
00:48:56,061 --> 00:48:57,855
Oh, that was in Back to the Future I.
915
00:48:58,564 --> 00:48:59,773
So...
916
00:48:59,857 --> 00:49:02,443
-Should I tell the story? Edit it out.
-Go ahead.
917
00:49:03,485 --> 00:49:04,736
The,
918
00:49:05,195 --> 00:49:09,199
the product placement guy
that I told you about last time who was
919
00:49:09,283 --> 00:49:11,827
just trying to promote
every sleazy deal that he could
920
00:49:12,161 --> 00:49:14,955
we said, "Let's have...
We had a Bank of America there"
921
00:49:15,038 --> 00:49:16,415
"let's have a Versateller."
922
00:49:16,498 --> 00:49:17,498
And
923
00:49:17,541 --> 00:49:18,750
Bank of America thought
924
00:49:18,834 --> 00:49:22,629
that that meant that we wanted
an actual working Versateller.
925
00:49:22,796 --> 00:49:24,131
And they actually
926
00:49:24,214 --> 00:49:26,133
brought this truck with this
927
00:49:26,216 --> 00:49:28,469
working Versateller and these technicians
928
00:49:28,635 --> 00:49:31,555
and they were gonna install
this real Versateller.
929
00:49:31,638 --> 00:49:33,640
-They put phone lines in.
-All this stuff.
930
00:49:33,724 --> 00:49:35,100
It was just ridiculous.
931
00:49:35,184 --> 00:49:36,226
We told them,
932
00:49:36,310 --> 00:49:38,561
"No. It doesn't have to work."
933
00:49:38,728 --> 00:49:41,248
They couldn't understand
why you would want one that didn't work.
934
00:49:41,272 --> 00:49:44,317
Yeah, they couldn't grasp the concept
of stuff being fake,
935
00:49:44,400 --> 00:49:45,651
they just couldn't get it.
936
00:49:45,735 --> 00:49:49,071
One of the product placement issues
that we had in Part II
937
00:49:50,114 --> 00:49:53,326
it was not just a placement,
but it was a promotion.
938
00:49:54,076 --> 00:49:56,204
The studio made this deal with Pizza Hut
939
00:49:56,454 --> 00:49:59,165
and when Back to the Future II came out
940
00:49:59,248 --> 00:50:01,834
Pizza Hut was gonna do a promotion and
941
00:50:02,043 --> 00:50:06,964
every week you were gonna get futuristic
glasses from Back to the Future Part II.
942
00:50:07,840 --> 00:50:11,135
And the studio loves to make these deals
with the fast food companies
943
00:50:11,219 --> 00:50:14,096
because they have
such a huge advertising budget,
944
00:50:14,222 --> 00:50:15,389
and
945
00:50:15,640 --> 00:50:16,724
it still goes on.
946
00:50:16,807 --> 00:50:19,143
You'll see a commercial for the fast food
947
00:50:19,227 --> 00:50:21,103
but they'll have footage from the movie
948
00:50:21,187 --> 00:50:24,106
so it's like a free TV spot for the movie.
949
00:50:24,774 --> 00:50:28,444
But the deal with the devil that you make
when you do this stuff is that
950
00:50:28,611 --> 00:50:31,697
the fast food companies have to have
this really long lead time.
951
00:50:31,781 --> 00:50:33,783
They can't change
their release dates as quickly
952
00:50:33,866 --> 00:50:37,453
as we change our release dates
in the movie business.
953
00:50:37,912 --> 00:50:40,915
So, there was a point where
954
00:50:41,874 --> 00:50:44,669
we got a phone call
from the product placement
955
00:50:45,002 --> 00:50:47,421
promotion people at Universal, saying,
956
00:50:48,130 --> 00:50:50,800
"If this Pizza Hut deal is gonna go,"
957
00:50:51,217 --> 00:50:54,011
"you now have 24 hours to get out of it."
958
00:50:54,136 --> 00:50:58,683
In other words, "If you're not gonna make
a Thanksgiving release for 1989"
959
00:50:59,141 --> 00:51:02,103
"tell us now, and we
can still blow this deal.
960
00:51:02,186 --> 00:51:03,854
"But if you say that you're gonna make it"
961
00:51:03,938 --> 00:51:08,109
"come hell or high water, the movie
is coming out Thanksgiving 1989,"
962
00:51:08,192 --> 00:51:11,571
"because otherwise Pizza Hut
will sue our ass off because"
963
00:51:11,654 --> 00:51:14,490
"they'll have spent all this money
to develop these"
964
00:51:14,782 --> 00:51:17,743
"products that they're gonna
promote with the pizza."
965
00:51:17,994 --> 00:51:19,912
Sometimes it was fun, though.
966
00:51:19,996 --> 00:51:23,499
Talking about the pizzas reminded me
when we were doing that scene where
967
00:51:24,292 --> 00:51:27,670
she hydrates the little pizza
and it becomes a big pizza
968
00:51:28,504 --> 00:51:31,507
Pizza Hut brought an entire kitchen
969
00:51:31,882 --> 00:51:33,426
onto the stage.
970
00:51:33,718 --> 00:51:36,804
You know,
with refrigerators and ovens and
971
00:51:36,887 --> 00:51:39,849
three pizza food stylists.
972
00:51:40,016 --> 00:51:42,059
This stuff just arrived
and they plugged it all
973
00:51:42,143 --> 00:51:43,894
and brought all their own pepperoni.
974
00:51:44,145 --> 00:51:47,023
They worked for hours
and hours and hours
975
00:51:47,106 --> 00:51:49,817
designing these pizzas,
which was so nice to have,
976
00:51:49,900 --> 00:51:51,402
this elaborate thing,
977
00:51:51,527 --> 00:51:52,528
happening there.
978
00:51:52,612 --> 00:51:54,212
And, of course, all of the reject pizzas
979
00:51:54,280 --> 00:51:55,841
they would just give to the crew to eat.
980
00:51:55,865 --> 00:51:58,176
That was kind of fun.
They just brought all these people in.
981
00:51:58,200 --> 00:52:00,036
It was one less thing for me to do.
982
00:52:00,119 --> 00:52:03,039
"Tell me when you got
a pizza that's ready to shoot!"
983
00:52:05,541 --> 00:52:08,377
In talking about
making those two movies together,
984
00:52:08,461 --> 00:52:12,840
we talked about how hard it was
on you guys from behind the camera
985
00:52:12,923 --> 00:52:16,177
tell us about how hard it was
in front of the camera
986
00:52:16,260 --> 00:52:18,020
dealing with the actors,
especially Michael,
987
00:52:18,054 --> 00:52:22,058
with virtually almost every shot, if
not, like, several times in the same shot,
988
00:52:22,308 --> 00:52:25,770
tell us about working with them,
especially Michael and how
989
00:52:25,853 --> 00:52:28,356
you got the performances you got from him.
990
00:52:28,606 --> 00:52:30,846
You know, there really was no problem.
I mean, Michael...
991
00:52:30,900 --> 00:52:33,778
For the first three months, remember,
he was still doing Family Ties.
992
00:52:33,861 --> 00:52:36,155
Well, that was a problem. That was 'cause,
993
00:52:36,238 --> 00:52:39,075
yeah, the first three months
we were still back at night
994
00:52:40,576 --> 00:52:43,537
shooting, I remember just being
on those stages, shooting at night.
995
00:52:43,621 --> 00:52:47,708
But as far as shooting the splits, I mean,
Michael understood the concept
996
00:52:47,833 --> 00:52:49,153
and he knew what he needed to do.
997
00:52:49,669 --> 00:52:52,254
It was tough for the actors just spending
998
00:52:52,421 --> 00:52:54,632
the hours and hours
that they had to spend in makeup.
999
00:52:54,799 --> 00:52:55,966
That was a killer.
1000
00:52:56,384 --> 00:52:58,427
If we were shooting in the daytime,
1001
00:52:59,220 --> 00:53:02,056
I know Tom Wilson, to get
into that old-age makeup
1002
00:53:02,139 --> 00:53:04,892
he would get to the set
at 3:00 in the morning.
1003
00:53:05,726 --> 00:53:07,311
And he'd work
1004
00:53:07,603 --> 00:53:08,813
18 hours.
1005
00:53:08,896 --> 00:53:12,024
The hardest thing, I remember
they would all complain about this,
1006
00:53:12,108 --> 00:53:13,526
and it happened mostly
1007
00:53:13,609 --> 00:53:16,821
to Lea because she obviously
had the most sensitive skin, but
1008
00:53:17,446 --> 00:53:19,573
what happens is that you have those
1009
00:53:19,657 --> 00:53:23,202
prosthetics on your face all day,
and when you wrap
1010
00:53:23,285 --> 00:53:25,005
what you wanna do
is just get that stuff off
1011
00:53:25,413 --> 00:53:27,248
and they'd say, "Oh, no! Don't do that!"
1012
00:53:27,331 --> 00:53:30,626
So, you have to go back into the chair
for at least an hour
1013
00:53:30,710 --> 00:53:32,837
while they take a solvent and they
1014
00:53:33,003 --> 00:53:34,880
paint it off of you so you don't
1015
00:53:35,047 --> 00:53:36,716
irritate your face, because
1016
00:53:36,799 --> 00:53:38,467
if you pull that stuff off
1017
00:53:38,801 --> 00:53:41,387
and then you irritate your skin
1018
00:53:41,804 --> 00:53:45,641
then you're in agony the next day
when they start putting the glue back on
1019
00:53:45,725 --> 00:53:48,477
and we had a couple of situations
where that happened.
1020
00:53:48,561 --> 00:53:51,230
So it's like not only are they in
hours of makeup in the morning
1021
00:53:51,313 --> 00:53:52,713
they're in hours of makeup at night
1022
00:53:52,773 --> 00:53:54,567
and everybody's gotta
have their turnaround
1023
00:53:54,650 --> 00:53:56,318
and, you know, it's just a lot of work.
1024
00:53:56,569 --> 00:53:58,571
It's, of course, really fun to see
1025
00:53:58,654 --> 00:54:01,574
Flea from the Red Hot Chili Peppers
playing the role of Needles.
1026
00:54:01,657 --> 00:54:03,033
How did he get the part?
1027
00:54:03,117 --> 00:54:05,494
He came in and read,
you know, the casting director
1028
00:54:05,578 --> 00:54:07,079
and we said, "He's perfect!"
1029
00:54:07,246 --> 00:54:11,250
But, we, yeah, I know that it's cool
that he's become this guy
1030
00:54:11,542 --> 00:54:14,295
he plays bass on all of these
other guys' albums and stuff.
1031
00:54:14,670 --> 00:54:15,796
Yeah, it's cool.
1032
00:54:16,338 --> 00:54:18,966
And Charles Fleischer, of course,
makes a cameo appearance.
1033
00:54:19,049 --> 00:54:20,926
How did he end up in the movie?
1034
00:54:21,177 --> 00:54:25,181
Well, because, I had spent
a year working with Charles on
1035
00:54:25,848 --> 00:54:27,391
Roger Rabbit, so...
1036
00:54:27,683 --> 00:54:30,936
Charlie just wanted to be
on camera as himself once
1037
00:54:31,020 --> 00:54:32,772
instead of just being this cartoon voice.
1038
00:54:32,855 --> 00:54:35,858
Yeah, right, "Can't I just be on camera
instead of just a voice?"
1039
00:54:36,400 --> 00:54:38,110
That's how he got in the movie.
1040
00:54:38,235 --> 00:54:41,572
Okay, everybody.
I think we're gonna stop right here
1041
00:54:41,655 --> 00:54:44,200
and save the rest of your great questions
1042
00:54:44,283 --> 00:54:47,536
for the Back to the
Future Part III session.
1043
00:54:47,995 --> 00:54:49,872
Thank you so much for coming.
1044
00:54:49,955 --> 00:54:51,373
Thank you for listening.
1045
00:54:51,540 --> 00:54:53,459
And, the biggest thank you, of course,
1046
00:54:53,542 --> 00:54:55,753
to Bob Zemeckis and Bob Gale.
1047
00:55:03,719 --> 00:55:08,599
No. Our only chance to repair the present
is in the past
1048
00:55:08,682 --> 00:55:12,812
at the point where the timeline
skewed into this tangent.
1049
00:55:12,895 --> 00:55:16,982
In order to put the universe back
as we remember it
1050
00:55:17,066 --> 00:55:19,401
and get back to our reality,
1051
00:55:19,485 --> 00:55:23,197
we have to find out the exact date
and the specific circumstances
1052
00:55:23,280 --> 00:55:28,619
of how, where and when Young Biff
got his hands on that sports almanac.
1053
00:55:31,413 --> 00:55:32,581
I'll ask him.
1054
00:55:56,230 --> 00:56:00,401
Bulletproof vest! Great flick!
Great frigging flick!
1055
00:56:00,693 --> 00:56:02,778
The guy is brilliant.
1056
00:56:03,279 --> 00:56:04,947
Hey, what the hell's going...
1057
00:56:05,030 --> 00:56:08,784
-Hey! What the hell are you doing in here?
-Party's over, Biff.
1058
00:56:10,661 --> 00:56:11,954
Sorry, ladies.
1059
00:56:12,037 --> 00:56:14,790
How did you get past
my security downstairs?
1060
00:56:15,457 --> 00:56:17,227
There's a little matter
we need to talk about.
1061
00:56:17,251 --> 00:56:21,547
-Yeah. Money, right? Well, forget it.
-No. Not money.
1062
00:56:23,465 --> 00:56:26,927
Gray's Sports Almanac.
1063
00:56:30,347 --> 00:56:32,308
You heard him, girls.
1064
00:56:32,808 --> 00:56:34,268
Party's over.
1065
00:56:35,477 --> 00:56:38,981
Start talking, kid.
What else you know about that book?
1066
00:56:40,691 --> 00:56:43,485
First, you tell me how you got it.
1067
00:56:43,986 --> 00:56:47,239
How, where and when.
1068
00:56:49,658 --> 00:56:51,994
All right. Take a seat.
1069
00:56:55,998 --> 00:56:57,333
Sit down!
1070
00:57:01,503 --> 00:57:04,298
November 12, 1955. That was when.
1071
00:57:04,381 --> 00:57:07,551
November 12, 1955.
That was the date I went back...
1072
00:57:08,844 --> 00:57:12,890
That was the date
of the famous Hill Valley lightning storm.
1073
00:57:14,058 --> 00:57:16,727
You know your history. Very good.
1074
00:57:17,686 --> 00:57:19,438
I'll never forget that Saturday.
1075
00:57:19,521 --> 00:57:21,231
I'd just picked my car up from the shop,
1076
00:57:21,315 --> 00:57:24,485
'cause I'd rolled it in a drag race
a few days earlier.
1077
00:57:24,568 --> 00:57:27,196
I thought you crashed into a manure truck.
1078
00:57:28,572 --> 00:57:31,158
How do you know about that?
1079
00:57:31,241 --> 00:57:34,370
-My father told me about it.
-Your father?
1080
00:57:35,621 --> 00:57:37,539
Before he died.
1081
00:57:38,582 --> 00:57:40,084
Yeah. Right.
1082
00:57:41,293 --> 00:57:44,171
So there I was, minding my own business.
1083
00:57:44,254 --> 00:57:47,549
This crazy old codger with a cane shows up.
1084
00:57:47,633 --> 00:57:51,387
He says he's my distant relative.
I don't see any resemblance.
1085
00:57:53,389 --> 00:57:56,225
So he says,
"How would you like to be rich?"
1086
00:57:56,809 --> 00:57:58,686
So I said, "Sure."
1087
00:58:03,440 --> 00:58:05,484
So he lays this book on me.
1088
00:58:05,567 --> 00:58:07,319
He says this book will tell me the outcome
1089
00:58:07,403 --> 00:58:10,072
of every sporting event
till the end of the century.
1090
00:58:10,155 --> 00:58:13,617
All I have to do is bet on the winner,
and I'll never lose.
1091
00:58:16,829 --> 00:58:21,542
So I said, "What's the catch?"
He says, "No catch. Just keep it a secret."
1092
00:58:25,629 --> 00:58:29,591
After that, he disappeared.
I never saw him again.
1093
00:58:42,311 --> 00:58:44,522
And he told me one more thing.
1094
00:58:44,605 --> 00:58:47,358
He said, "Someday a crazy,
wild-eyed scientist",
1095
00:58:47,442 --> 00:58:50,903
"or a kid may show up
asking about that book."
1096
00:58:50,987 --> 00:58:53,197
"And if that ever happens..."
1097
00:58:58,286 --> 00:59:01,622
Funny. I never thought it would be you.
1098
00:59:02,540 --> 00:59:04,309
Yeah, well, Biff, you're
forgetting one thing.
1099
00:59:04,333 --> 00:59:06,127
What the hell is that?
1100
00:59:11,966 --> 00:59:15,011
You're dead, you little son of a bitch!
1101
00:59:27,231 --> 00:59:29,525
-Hey, there he is!
-Hey, hey!
1102
00:59:44,457 --> 00:59:45,750
Oh, yeah!
1103
01:00:11,734 --> 01:00:14,403
Go ahead, kid. Jump.
1104
01:00:15,154 --> 01:00:17,949
A suicide will be nice and neat.
1105
01:00:18,032 --> 01:00:19,700
What if I don't?
1106
01:00:20,618 --> 01:00:22,370
Lead poisoning.
1107
01:00:22,453 --> 01:00:24,330
What about the police, Biff?
1108
01:00:24,413 --> 01:00:26,874
They're gonna match up the bullet
with that gun.
1109
01:00:26,958 --> 01:00:29,043
Kid, I own the police.
1110
01:00:31,045 --> 01:00:35,383
Besides, they couldn't match up
the bullet that killed your old man.
1111
01:00:35,842 --> 01:00:37,218
You son of a...
1112
01:00:39,679 --> 01:00:42,098
I suppose it's poetic justice.
1113
01:00:42,932 --> 01:00:47,061
Two McFlys with the same gun.
1114
01:00:58,406 --> 01:00:59,407
Idiot.
1115
01:01:04,412 --> 01:01:05,663
What the hell?
1116
01:01:10,626 --> 01:01:12,128
Nice shot, Doc!
1117
01:01:13,671 --> 01:01:17,258
You're not gonna believe this.
We gotta go back to 1955.
1118
01:01:17,341 --> 01:01:19,010
I don't believe it.
1119
01:01:30,605 --> 01:01:32,857
That's right, Doc. November 12, 1955.
1120
01:01:32,940 --> 01:01:36,527
Unbelievable that Old Biff
could've chosen that particular date.
1121
01:01:36,611 --> 01:01:37,713
It could mean that that point in time
1122
01:01:37,737 --> 01:01:40,364
inherently contains
some sort of cosmic significance,
1123
01:01:40,448 --> 01:01:42,366
almost as if it were
the temporal junction point
1124
01:01:42,450 --> 01:01:44,619
for the entire space-time continuum.
1125
01:01:44,702 --> 01:01:47,580
On the other hand,
it could just be an amazing coincidence.
1126
01:01:50,374 --> 01:01:54,503
Damn! Got to fix that thing.
All right. Time circuits on.
1127
01:01:55,546 --> 01:01:57,632
What do you mean, time circuits on?
1128
01:01:57,715 --> 01:02:00,468
-Doc, we're not going back now.
-Yep.
1129
01:02:00,551 --> 01:02:02,351
Doc, what about Jennifer?
What about Einstein?
1130
01:02:02,386 --> 01:02:03,763
We can't just leave them here.
1131
01:02:03,846 --> 01:02:06,006
Don't worry, Marty.
Assuming we succeed in our mission,
1132
01:02:06,057 --> 01:02:09,560
this alternate 1985 will be changed
back into the real 1985,
1133
01:02:09,644 --> 01:02:12,897
instantaneously transforming
around Jennifer and Einie.
1134
01:02:12,980 --> 01:02:14,523
Jennifer and Einie will be fine,
1135
01:02:14,607 --> 01:02:17,360
and they will have absolutely no memory
of this horrible place.
1136
01:02:17,485 --> 01:02:18,903
Doc.
1137
01:02:19,487 --> 01:02:21,322
What if we don't succeed?
1138
01:02:22,073 --> 01:02:23,491
We must succeed.
1139
01:02:37,922 --> 01:02:41,425
This is heavy, Doc. I mean,
it's like I was just here yesterday.
1140
01:02:41,509 --> 01:02:44,595
You were here yesterday, Marty.
You were. Amazing, isn't it?
1141
01:02:44,679 --> 01:02:47,848
All right, sunrise should be
in about 22 minutes.
1142
01:02:47,932 --> 01:02:51,227
You go into town.
Track down Young Biff and tail him.
1143
01:02:51,310 --> 01:02:55,439
Sometime today, Old Biff will show up
to give Young Biff the almanac.
1144
01:02:55,523 --> 01:02:57,608
Above all you, must not interfere
with that event.
1145
01:02:57,692 --> 01:03:00,653
We must let Old Biff believe he's
succeeded, so that he'll leave 1955
1146
01:03:00,736 --> 01:03:03,114
-and bring the DeLorean back to the future.
-Right.
1147
01:03:03,197 --> 01:03:06,325
Once Old Biff is gone,
grab the almanac any way that you can.
1148
01:03:06,409 --> 01:03:08,577
Remember, both of our futures
depend on this.
1149
01:03:08,661 --> 01:03:10,621
You don't have to remind me of that, Doc.
1150
01:03:10,705 --> 01:03:15,293
Here's some binoculars and a walkie-talkie
so we can keep in contact.
1151
01:03:15,376 --> 01:03:18,421
I'll stay here and try to repair the short
in the time circuit.
1152
01:03:18,504 --> 01:03:21,299
That way, we don't risk anyone else
stealing the time machine,
1153
01:03:21,382 --> 01:03:25,678
and I won't risk
accidentally running into my other self.
1154
01:03:25,761 --> 01:03:29,015
-Other self?
-Yes. There are now two of me here,
1155
01:03:29,098 --> 01:03:30,975
and there are two of you here.
1156
01:03:31,058 --> 01:03:35,146
The other me is
the Dr. Emmett Brown from 1955,
1157
01:03:35,229 --> 01:03:40,192
the younger me that helps the other you
get back to 1985.
1158
01:03:40,943 --> 01:03:42,629
Remember the lightning bolt
at the clock tower?
1159
01:03:42,653 --> 01:03:44,655
-Yeah.
-That event doesn't happen until tonight,
1160
01:03:44,739 --> 01:03:47,325
so you must be very careful
not to run into your other self.
1161
01:03:47,408 --> 01:03:48,576
Let me give you some money.
1162
01:03:52,413 --> 01:03:55,666
I have to be prepared
for all monetary possibilities.
1163
01:03:55,750 --> 01:03:58,711
-Get yourself some '50s clothes.
-Check, Doc.
1164
01:03:59,920 --> 01:04:01,756
Something inconspicuous.
1165
01:04:03,007 --> 01:04:04,967
Doc. Come in, Doc. This is Marty. Over.
1166
01:04:05,926 --> 01:04:08,054
Roger, Marty. This is Doc. Are you there?
1167
01:04:08,137 --> 01:04:10,264
Yeah, Doc. I'm at the address.
1168
01:04:11,640 --> 01:04:14,935
It's the only Tannen in the book,
but I don't think this is Biff's house.
1169
01:04:15,019 --> 01:04:16,896
It looks like some old lady lives here.
1170
01:04:16,979 --> 01:04:18,647
-Biff!
-Yeah.
1171
01:04:19,148 --> 01:04:23,277
-Where are you going, Biff?
-I'm going to get my car, Grandma.
1172
01:04:23,361 --> 01:04:27,031
When are you coming back? My feet hurt,
and I want you to rub my toes some more.
1173
01:04:27,114 --> 01:04:29,116
Shut up, you old bag.
1174
01:04:29,200 --> 01:04:31,535
Give us our ball back.
1175
01:04:31,619 --> 01:04:33,412
-What ball?
-That ball!
1176
01:04:33,496 --> 01:04:35,539
What ball are you talking about?
1177
01:04:35,623 --> 01:04:37,291
Give us our ball!
1178
01:04:37,375 --> 01:04:39,126
-What ball?
-Biff!
1179
01:04:39,335 --> 01:04:41,045
-Is this your ball?
-Yeah!
1180
01:04:41,128 --> 01:04:44,131
-Is it your ball? You want it back?
-Yeah.
1181
01:04:45,800 --> 01:04:47,218
Go get it.
1182
01:04:50,846 --> 01:04:55,142
Doc, it is Biff's house. I'm on him. Over.
1183
01:05:03,317 --> 01:05:04,443
Hey.
1184
01:05:07,113 --> 01:05:08,239
Looking good, Terry.
1185
01:05:08,322 --> 01:05:11,617
Hey, Biff, she's all fixed up just
like new, but I couldn't get her started.
1186
01:05:11,700 --> 01:05:13,540
You got some kind of kill switch
on this thing?
1187
01:05:13,619 --> 01:05:17,123
No, you just gotta have the right touch.
Nobody can start this car but me.
1188
01:05:17,206 --> 01:05:20,376
-Yeah, the bill comes to $302.57.
-300 bucks?
1189
01:05:20,459 --> 01:05:23,504
300 bucks for a couple of dents?
No, hey, that's bullshit, Terry.
1190
01:05:23,587 --> 01:05:26,006
No, Biff, it was horse shit.
The whole car was full of it.
1191
01:05:26,090 --> 01:05:28,170
We had to pay Old Man Jones 80 bucks
to haul it away.
1192
01:05:28,217 --> 01:05:29,611
Old Man Jones probably resold it, too.
1193
01:05:29,635 --> 01:05:32,030
-Now I ought to get something for that.
-You want something for it?
1194
01:05:32,054 --> 01:05:35,033
We'll go inside. You can call Old Man
Jones. If he wants to give you a refund...
1195
01:05:35,057 --> 01:05:40,271
It's 300 bucks, Terry. If I catch the guy
that caused this, I'll break his neck.
1196
01:05:40,688 --> 01:05:43,566
The manure. I remember that.
1197
01:05:49,738 --> 01:05:52,116
Four cans of Valvoline is fair, Biff.
1198
01:05:52,199 --> 01:05:55,286
-Four cans for a $300 job?
-I couldn't even have lunch in the shop.
1199
01:05:55,369 --> 01:05:56,680
-Makes me nauseous.
-I should get a case of oil
1200
01:05:56,704 --> 01:05:58,598
-out of you for a 300 buck job.
-You've been inside.
1201
01:05:58,622 --> 01:06:00,350
It smells worse than the bathroom
at a gas station.
1202
01:06:00,374 --> 01:06:03,534
-You robbed me again, Terry. Yeah, yeah.
-The smell's never gonna go away, Biff.
1203
01:06:03,586 --> 01:06:04,628
Never gonna go away.
1204
01:06:04,712 --> 01:06:07,506
-Last time I do you a favor. Last time.
-Thanks a lot.
1205
01:06:08,716 --> 01:06:09,717
Let me see.
1206
01:06:13,888 --> 01:06:15,639
It's perfect, Lorraine.
1207
01:06:15,723 --> 01:06:18,559
-Look at it!
-You're going to look so good!
1208
01:06:23,439 --> 01:06:26,150
-You're going to look...
-Well, lookey what we have here.
1209
01:06:26,233 --> 01:06:27,318
Hey, nice dress, Lorraine.
1210
01:06:27,401 --> 01:06:29,820
Although, I think you'd look better
wearing nothing at all.
1211
01:06:29,904 --> 01:06:32,781
Biff, why don't you take a long walk
off a short pier?
1212
01:06:32,865 --> 01:06:35,385
Hey, listen, Lorraine. There's
that dance at school tonight, right.
1213
01:06:35,409 --> 01:06:37,870
Now that my car's all fixed,
I figure I'd cut you a break
1214
01:06:37,953 --> 01:06:40,706
and give you the honor of going
with the best-looking guy in school.
1215
01:06:40,789 --> 01:06:41,832
Yeah, well, I'm busy.
1216
01:06:41,916 --> 01:06:43,501
-Yeah, doing what?
-Washing my hair.
1217
01:06:43,584 --> 01:06:46,253
That's about as funny
as a screen door on a battleship.
1218
01:06:46,337 --> 01:06:48,380
Screen door on a submarine, you dork.
1219
01:06:48,464 --> 01:06:51,091
Look, Biff, somebody already asked me
to the dance.
1220
01:06:51,675 --> 01:06:54,011
Who? That bug George McFly?
1221
01:06:54,470 --> 01:06:58,933
-I'm going with Calvin Klein, okay?
-Calvin Klein? No, it's not okay.
1222
01:06:59,558 --> 01:07:02,561
-You're going with me, understand?
-Get your cooties off me!
1223
01:07:02,645 --> 01:07:04,873
When are you gonna get it through
your thick skull, Lorraine?
1224
01:07:04,897 --> 01:07:06,190
You're my girl.
1225
01:07:06,273 --> 01:07:10,819
Biff Tannen, I wouldn't be your girl
even if you had a million dollars!
1226
01:07:14,448 --> 01:07:17,952
Yes, you will! It's you and me, Lorraine.
1227
01:07:18,035 --> 01:07:19,245
Watch it!
1228
01:07:19,328 --> 01:07:21,121
It's meant to be.
1229
01:07:21,205 --> 01:07:25,376
I'm going to marry you someday, Lorraine.
Someday you'll be my wife!
1230
01:07:28,629 --> 01:07:31,131
You always did have a way with women.
1231
01:07:31,215 --> 01:07:33,217
Get the hell out of my car, old man.
1232
01:07:33,300 --> 01:07:36,220
You want to marry that girl, Biff?
I can help make it happen.
1233
01:07:36,303 --> 01:07:38,389
Oh, yeah? Who are you, Miss Lonely-Hearts?
1234
01:07:38,472 --> 01:07:41,266
Just get in the car, butthead.
1235
01:07:41,349 --> 01:07:43,768
Who are you calling butthead, butthead?
1236
01:07:44,477 --> 01:07:48,147
How do you know how to do that?
Nobody can start this car but me.
1237
01:07:48,231 --> 01:07:51,776
Just get in the car, Tannen.
Today's your lucky day.
1238
01:07:54,362 --> 01:07:57,991
Hey! Hey!
Hey, watch where you're driving, old man.
1239
01:07:58,533 --> 01:08:00,076
If you dent this car, I'll kill you.
1240
01:08:06,833 --> 01:08:10,753
-This cost me 300 bucks!
-Would you shut up about the car?
1241
01:08:11,212 --> 01:08:13,190
Hey, and another thing.
How do you know where I live?
1242
01:08:13,214 --> 01:08:15,425
Let's just say we're related, Biff.
1243
01:08:15,508 --> 01:08:18,052
And that being the case,
I got a little present for you.
1244
01:08:18,136 --> 01:08:20,263
Something that'll make you rich.
1245
01:08:20,346 --> 01:08:24,350
-You want to be rich, don't you?
-Oh, yeah. Sure. Right. That's rich.
1246
01:08:24,434 --> 01:08:26,352
You're going to make me rich?
1247
01:08:26,894 --> 01:08:30,106
You see this book?
This book tells the future.
1248
01:08:30,189 --> 01:08:33,484
Tells the results of every major
sports event till the end of the century.
1249
01:08:33,568 --> 01:08:37,530
Football, baseball, horse races, boxing.
1250
01:08:38,656 --> 01:08:42,452
The information in here is worth millions,
and I'm giving it to you.
1251
01:08:42,535 --> 01:08:45,121
Well, that's very nice.
Thank you very much.
1252
01:08:45,204 --> 01:08:49,042
Now, why don't you make like a tree
and get out of here?
1253
01:08:50,043 --> 01:08:53,796
It's leave, you idiot.
Make like a tree and leave.
1254
01:08:53,880 --> 01:08:56,090
You sound like a damn fool
when you say it wrong.
1255
01:08:56,174 --> 01:09:00,053
All right, then, leave
and take your book with you.
1256
01:09:00,136 --> 01:09:03,806
Don't you get it?
You could make a fortune with this book.
1257
01:09:03,890 --> 01:09:05,350
Let me show you.
1258
01:09:09,646 --> 01:09:12,357
UCLA trails 17-16.
1259
01:09:12,440 --> 01:09:15,777
It's 4th and 11
with only 18 seconds left of this game.
1260
01:09:15,860 --> 01:09:18,988
I'd say it's all over for UCLA.
1261
01:09:19,072 --> 01:09:22,825
Bet you a million bucks UCLA wins it 19-17.
1262
01:09:22,909 --> 01:09:26,496
What are you, deaf, old man?
He just said it was over. You lost.
1263
01:09:26,579 --> 01:09:28,039
Oh, yeah?
1264
01:09:28,498 --> 01:09:31,417
Here comes Decker with the kick.
It's up. It looks good, folks!
1265
01:09:31,501 --> 01:09:35,797
It looks very good. Field goal!
UCLA wins 19-17.
1266
01:09:36,089 --> 01:09:40,009
Listen to that Coliseum crowd go wild.
Jim Decker...
1267
01:09:40,093 --> 01:09:41,373
All right, pops. What's the gag?
1268
01:09:41,427 --> 01:09:43,346
How did you know
what the score was gonna be?
1269
01:09:43,429 --> 01:09:45,640
I told you. It's in this book.
1270
01:09:45,723 --> 01:09:49,268
All you gotta do is bet on the winner,
and you'll never lose.
1271
01:09:54,857 --> 01:09:57,443
All right. I'll take a look at it.
1272
01:09:59,862 --> 01:10:01,948
You damn fool!
1273
01:10:02,031 --> 01:10:04,951
Never, never leave this book laying around.
1274
01:10:05,034 --> 01:10:07,954
Don't you have a safe?
No, you don't have a safe.
1275
01:10:09,122 --> 01:10:13,918
Get a safe. Keep it locked up.
And until then, keep it on you like this.
1276
01:10:14,001 --> 01:10:16,963
-Hey, what are you doing?
-And don't tell anybody about it, either.
1277
01:10:17,046 --> 01:10:22,218
And there's one more thing. One
day, a kid or a crazy, wild-eyed old man
1278
01:10:22,301 --> 01:10:26,431
who claims to be a scientist is going
to come around asking about this...
1279
01:10:29,016 --> 01:10:31,310
If that ever happens...
1280
01:10:50,997 --> 01:10:53,291
I'm trapped. Doc.
1281
01:10:53,499 --> 01:10:54,667
Doc, come in, Doc.
1282
01:10:54,751 --> 01:10:56,586
-Marty, what's the report?
-Biff's gone.
1283
01:10:57,128 --> 01:11:00,381
He's got the book. The old man's gone, too.
I'm locked in Biff's garage.
1284
01:11:00,465 --> 01:11:03,152
You gotta fly the DeLorean over here
and get me the hell out of here.
1285
01:11:03,176 --> 01:11:04,927
The address is 1809 Mason Street.
1286
01:11:05,011 --> 01:11:06,929
I can't take the DeLorean
out in the daylight,
1287
01:11:07,013 --> 01:11:08,991
but don't worry, Marty.
Somehow I'll get over there.
1288
01:11:09,015 --> 01:11:12,351
Doc, wait a minute. Doc. Hey, Doc. Doc.
1289
01:11:13,936 --> 01:11:15,354
Perfect.
1290
01:11:22,278 --> 01:11:25,114
I told you, Grandma.
I'm going to the dance.
1291
01:11:25,198 --> 01:11:27,158
-When you coming home?
-The dance.
1292
01:11:27,241 --> 01:11:29,994
I'll get home when I get home.
1293
01:11:31,287 --> 01:11:34,207
Don't forget to turn off the garage light.
1294
01:12:06,155 --> 01:12:07,782
Marty. Marty!
1295
01:12:08,241 --> 01:12:09,659
Marty.
1296
01:12:11,661 --> 01:12:14,121
Marty, Marty. Damn!
1297
01:12:14,914 --> 01:12:16,999
Where is that kid?
1298
01:12:23,339 --> 01:12:25,424
Doc. Doc, come in.
1299
01:12:26,092 --> 01:12:27,635
Come in, Doc.
1300
01:12:28,386 --> 01:12:29,470
Marty! Marty, come in.
1301
01:12:29,762 --> 01:12:30,972
Doc.
1302
01:12:34,809 --> 01:12:36,102
Marty.
1303
01:12:37,144 --> 01:12:38,771
Oh, my...
1304
01:12:40,439 --> 01:12:42,441
Great Scott.
1305
01:12:58,040 --> 01:12:59,417
Oh, my God.
1306
01:13:04,630 --> 01:13:05,756
Doc, Doc, come in.
1307
01:13:05,840 --> 01:13:09,093
Marty, what happened to you? I went
to Biff's house, and you weren't there.
1308
01:13:09,176 --> 01:13:11,405
You must have just missed me.
I'm in the back of Biff's car.
1309
01:13:11,429 --> 01:13:13,589
He's on his way
to the Enchantment Under the Sea dance.
1310
01:13:14,390 --> 01:13:16,451
Marty, listen, we may have
to abort this entire plan.
1311
01:13:16,475 --> 01:13:17,894
It's getting much too dangerous.
1312
01:13:17,977 --> 01:13:19,621
Don't worry.
The book is on Biff's dashboard.
1313
01:13:19,645 --> 01:13:21,039
I'll grab it as soon as
we get to the school.
1314
01:13:21,063 --> 01:13:24,609
Marty, you must be extremely careful
not to run into your other self.
1315
01:13:24,692 --> 01:13:26,319
-My other self?
-Yes.
1316
01:13:27,028 --> 01:13:31,157
Remember, your mother is
at that exact same dance with you. Yeah.
1317
01:13:31,240 --> 01:13:34,660
-Right. This could get heavy, Doc.
-Heavy, heavy.
1318
01:13:34,744 --> 01:13:37,371
Marty, whatever happens,
you must not let your other self see you!
1319
01:13:37,455 --> 01:13:41,083
-The consequences could be disastrous.
-Excuse me, sir.
1320
01:13:42,209 --> 01:13:43,753
Yes, you with the hat.
1321
01:13:43,836 --> 01:13:46,047
-Who, me?
-Yes.
1322
01:13:46,422 --> 01:13:50,176
Be a pal and hand me a five-eighths inch
wrench out of that toolbox.
1323
01:13:51,260 --> 01:13:52,845
Five-eighths?
1324
01:13:54,513 --> 01:13:56,933
Don't you mean three-quarters?
1325
01:13:57,683 --> 01:13:59,769
Why, you're right.
1326
01:14:00,561 --> 01:14:05,191
I presume you're conducting
some sort of weather experiment.
1327
01:14:07,193 --> 01:14:10,279
That's right. How did you know that?
1328
01:14:10,363 --> 01:14:14,325
I happen to have had a little experience
in this area.
1329
01:14:14,408 --> 01:14:17,078
Yes, well, I'm hoping
to see some lightning tonight.
1330
01:14:17,161 --> 01:14:20,206
Although, the weatherman says
there's not gonna be any rain.
1331
01:14:20,289 --> 01:14:23,876
There's going to be plenty of rain,
all right. Wind, thunder, lightning.
1332
01:14:23,960 --> 01:14:28,547
-It's gonna be one hell of a storm.
-Well, thanks. Nice talking to you.
1333
01:14:28,631 --> 01:14:32,468
Maybe we'll bump into each other some time
again in the future.
1334
01:14:33,469 --> 01:14:35,096
Or in the past.
1335
01:15:16,178 --> 01:15:17,930
Doc, Doc! Come in!
1336
01:16:31,170 --> 01:16:33,964
Where's that punk Calvin Klein, anyway?
1337
01:16:34,048 --> 01:16:36,258
How am I supposed to know, Biff?
I ain't his secretary.
1338
01:16:36,342 --> 01:16:39,261
Well, go find him.
He caused 300 bucks damage to my car,
1339
01:16:39,345 --> 01:16:41,888
and I owe him a knuckle sandwich.
Get going!
1340
01:16:41,971 --> 01:16:43,264
-Drink up, Biff.
-Yeah, thanks.
1341
01:16:43,348 --> 01:16:45,642
-Ain't you coming?
-I'm reading.
1342
01:17:38,236 --> 01:17:40,446
Well, well, well, Mr. Tannen.
1343
01:17:41,573 --> 01:17:43,324
How nice to see you here.
1344
01:17:43,408 --> 01:17:47,954
-Why, Mr. Strickland, it's nice to see you, sir.
-Is that liquor I smell, Tannen?
1345
01:17:48,496 --> 01:17:49,998
I wouldn't know.
1346
01:17:50,081 --> 01:17:52,685
I don't know what liquor smells like,
'cause I'm too young to drink it.
1347
01:17:52,709 --> 01:17:54,043
I see.
1348
01:17:54,502 --> 01:17:56,379
And what have we here?
1349
01:17:59,924 --> 01:18:03,428
Sports statistics, interesting subject.
Homework, Tannen?
1350
01:18:03,511 --> 01:18:07,015
No, it ain't homework,
'cause I ain't at home.
1351
01:18:08,433 --> 01:18:11,287
You've got a real attitude problem.
You know that, Tannen? Just watch it.
1352
01:18:11,311 --> 01:18:14,898
Because one day, I'll have you
right where I want you in detention.
1353
01:18:14,981 --> 01:18:16,107
Slacker!
1354
01:18:28,953 --> 01:18:30,914
Jesus, you smoke, too?
1355
01:18:30,997 --> 01:18:33,750
Marty, you're beginning
to sound just like my mother.
1356
01:18:33,833 --> 01:18:35,251
Yeah, right.
1357
01:18:35,335 --> 01:18:38,630
When I have kids, I'm going to
let them do anything they want.
1358
01:18:38,713 --> 01:18:40,215
Anything at all.
1359
01:18:40,298 --> 01:18:43,218
-Yeah, I'd like to have that in writing.
-Yeah, me, too.
1360
01:18:43,301 --> 01:18:46,054
Marty, why are you so nervous?
1361
01:20:51,262 --> 01:20:52,430
Yes!
1362
01:20:56,225 --> 01:20:57,310
No!
1363
01:21:00,104 --> 01:21:01,606
"Oh Là Là?"
1364
01:21:02,440 --> 01:21:03,941
"Oh Là Là?"
1365
01:21:06,110 --> 01:21:07,528
"Oh Là Là?"
1366
01:21:13,284 --> 01:21:15,870
-Doc! Doc!
-Hey, you.
1367
01:21:15,953 --> 01:21:18,873
-Doc, come in!
-Marty, what's up?
1368
01:21:18,956 --> 01:21:21,459
Doc! I'm in trouble. I blew it.
1369
01:21:21,542 --> 01:21:23,961
-Where's the book?
-Biff must still have it with him.
1370
01:21:24,128 --> 01:21:26,756
-All I got is the damn cover.
-And where's Biff?
1371
01:21:26,839 --> 01:21:28,883
-You're asking for it.
-I don't know.
1372
01:21:28,966 --> 01:21:32,678
-Don't you have any idea where he is?
-No! I mean, he could be anywhere by now.
1373
01:21:32,762 --> 01:21:36,391
Marty, the entire future depends on you
finding Biff and getting that book back!
1374
01:21:36,474 --> 01:21:39,394
-I know. I just don't know where...
-Stop it!
1375
01:21:39,477 --> 01:21:42,980
Stop it, Biff. You'll
break his arm. Stop it!
1376
01:21:47,068 --> 01:21:48,486
Of course!
1377
01:21:49,153 --> 01:21:53,324
I gotta go. I got one chance!
My old man is about to deck Biff!
1378
01:22:00,748 --> 01:22:01,958
Yes!
1379
01:22:15,263 --> 01:22:16,848
Talk about déjà vu.
1380
01:22:17,098 --> 01:22:18,724
Are you okay?
1381
01:22:38,536 --> 01:22:42,665
Okay, everybody, let's back up now.
Let's back up. Let's everybody just back up
1382
01:22:42,748 --> 01:22:45,209
and give him a little bit of room, okay.
A little bit of air.
1383
01:22:45,293 --> 01:22:49,422
-It's okay. I know CPR. I know CPR.
-Hey.
1384
01:22:49,505 --> 01:22:52,049
-What's CPR?
-You!
1385
01:22:55,887 --> 01:22:58,973
-He's fine.
-Hey, did you just take his wallet?
1386
01:22:59,056 --> 01:23:00,766
He just took that guy's wallet.
1387
01:23:01,225 --> 01:23:03,644
Doc, success. I got it.
1388
01:23:03,728 --> 01:23:05,646
Thank goodness.
1389
01:23:06,647 --> 01:23:08,316
Great, Marty.
1390
01:23:08,399 --> 01:23:10,318
As soon as I reload the fusion generator,
1391
01:23:10,401 --> 01:23:12,778
I'll meet you on the roof
of the high school gym.
1392
01:23:12,862 --> 01:23:14,322
On the roof. 10-4.
1393
01:23:14,405 --> 01:23:17,366
-Hey, it's him!
-Hey, he's in disguise.
1394
01:23:17,450 --> 01:23:19,327
Guys, what's that?
1395
01:23:21,162 --> 01:23:22,872
Come on! Let's get him!
1396
01:23:30,129 --> 01:23:31,255
Damn!
1397
01:23:40,723 --> 01:23:42,350
Earth angel
1398
01:23:42,558 --> 01:23:45,311
Please be mine
1399
01:23:45,978 --> 01:23:48,105
My darling dear
1400
01:23:48,272 --> 01:23:51,484
Love you for all time
1401
01:23:52,109 --> 01:23:54,862
I'm just a fool
1402
01:23:56,697 --> 01:23:59,617
A fool in love
1403
01:24:01,118 --> 01:24:04,372
with you
1404
01:24:10,461 --> 01:24:12,505
All right! Let's do another one.
1405
01:24:12,797 --> 01:24:15,091
Where did he go? He just came in here!
1406
01:24:16,551 --> 01:24:17,969
Something that really cooks.
1407
01:24:18,886 --> 01:24:20,346
Look! How did he get up on stage?
1408
01:24:20,429 --> 01:24:22,723
I don't know, but when he gets down,
we're gonna nail him.
1409
01:24:22,807 --> 01:24:25,226
How the hell did
he change his clothes so fast?
1410
01:24:25,309 --> 01:24:27,770
All right, it's an oldie where I come from.
1411
01:24:27,853 --> 01:24:30,022
All right, guys, listen,
this is a blues riff in B.
1412
01:24:30,106 --> 01:24:33,442
Watch me for the changes,
and try and keep up, okay?
1413
01:24:38,864 --> 01:24:41,450
-Doc. Doc, come in!
-Marty, come in.
1414
01:24:41,534 --> 01:24:46,080
Listen, Biff's guys chased me into the gym,
and they're going to jump me.
1415
01:24:46,163 --> 01:24:47,582
Then get out of there!
1416
01:24:47,665 --> 01:24:52,003
No, Doc, not me. The other me. The one
that's up on stage playing Johnny B. Goode.
1417
01:24:52,086 --> 01:24:54,940
Great Scott! Your other self will miss
the lightning bolt at the clock tower,
1418
01:24:54,964 --> 01:24:57,067
you won't get back to the future,
and we'll have a major paradox!
1419
01:24:57,091 --> 01:24:59,010
Wait, wait, wait. A paradox?
1420
01:24:59,093 --> 01:25:01,429
You mean one of those things
that can destroy the universe?
1421
01:25:01,512 --> 01:25:03,832
Precisely. Marty, you have to stop
those guys at all costs,
1422
01:25:03,889 --> 01:25:06,851
but without being seen by your other self
or your parents.
1423
01:25:06,976 --> 01:25:08,185
10-4.
1424
01:25:09,520 --> 01:25:10,855
What the hell?
1425
01:25:14,567 --> 01:25:16,068
-Where is he?
-Who?
1426
01:25:16,152 --> 01:25:17,695
-Calvin Klein.
-Who?
1427
01:25:17,778 --> 01:25:21,198
-The guy with the hat, where is he?
-He went that way.
1428
01:25:21,282 --> 01:25:25,036
I think he took your wallet.
I think he took his wallet.
1429
01:25:25,786 --> 01:25:27,705
Go, Johnny, go, go, go
1430
01:25:29,457 --> 01:25:31,042
Johnny B. Goode
1431
01:25:49,559 --> 01:25:50,894
Go, go
1432
01:25:51,311 --> 01:25:53,271
Go, Johnny, go, go
1433
01:25:54,105 --> 01:25:56,107
Go, Johnny, go, go, go
1434
01:25:56,983 --> 01:25:59,069
Go, Johnny, go, go
1435
01:25:59,903 --> 01:26:01,905
Go, Johnny, go, go, go
1436
01:26:03,448 --> 01:26:04,908
Johnny B. Goode
1437
01:27:21,401 --> 01:27:24,112
I guess you guys aren't ready for that yet.
1438
01:27:25,155 --> 01:27:27,741
But your kids are going to love it.
1439
01:27:36,166 --> 01:27:38,543
Hey, Doc, success. Everything's cool.
1440
01:27:38,626 --> 01:27:41,796
Great. I'll be landing at the school roof
in about one minute.
1441
01:27:41,880 --> 01:27:43,506
I'll be there.
1442
01:27:51,055 --> 01:27:52,265
Lorraine.
1443
01:27:52,348 --> 01:27:55,769
Marty, that was very interesting music.
1444
01:28:00,064 --> 01:28:03,193
I hope you don't mind, but George
asked if he could take me home.
1445
01:28:03,526 --> 01:28:06,571
Great.
Lorraine, I had a feeling about you two.
1446
01:28:06,654 --> 01:28:08,490
I have a feeling, too.
1447
01:28:09,073 --> 01:28:10,700
Hey, butthead!
1448
01:28:11,659 --> 01:28:14,579
You think that stupid disguise
would get by me?
1449
01:28:15,371 --> 01:28:19,375
Let's have it out. You and me, right now.
1450
01:28:20,460 --> 01:28:21,878
No, thanks.
1451
01:28:23,713 --> 01:28:25,840
What's the matter?
1452
01:28:25,924 --> 01:28:27,926
Where are you going?
1453
01:28:28,009 --> 01:28:29,719
Are you chicken?
1454
01:28:30,970 --> 01:28:34,182
That's it, isn't it?
Nothing but a little chicken.
1455
01:28:48,822 --> 01:28:52,492
Nobody calls me chicken.
1456
01:29:00,750 --> 01:29:02,210
What the hell?
1457
01:29:04,337 --> 01:29:06,172
You steal my stuff?
1458
01:29:07,966 --> 01:29:10,051
And this one's for my car!
1459
01:29:35,702 --> 01:29:36,828
Doc!
1460
01:29:37,036 --> 01:29:39,080
Doc! I blew it.
1461
01:29:39,747 --> 01:29:43,251
Biff nailed me. He took the book.
He drove away with it in his car.
1462
01:29:43,334 --> 01:29:45,521
It's my fault, Doc.
I should have got out of there sooner.
1463
01:29:45,545 --> 01:29:47,380
No time for that now. Which way did he go?
1464
01:29:47,463 --> 01:29:49,674
-East towards the River Road Tunnel.
-Get in!
1465
01:30:01,019 --> 01:30:02,604
Yes!
1466
01:30:02,687 --> 01:30:04,147
There he is, Doc!
1467
01:30:04,564 --> 01:30:08,526
-Let's land on him. We'll cripple his car.
-Marty, he's in a '46 Ford. We're a DeLorean.
1468
01:30:08,610 --> 01:30:11,154
He'd rip through us like we were tin foil.
1469
01:30:11,237 --> 01:30:13,239
-So what do we do?
-I have a plan.
1470
01:30:13,323 --> 01:30:15,408
Repeating tonight's
earlier weather bulletin,
1471
01:30:15,491 --> 01:30:17,994
a severe thunderstorm is heading
for Hill Valley.
1472
01:30:40,475 --> 01:30:42,560
Serving Hill Valley and all of Hill County,
1473
01:30:42,644 --> 01:30:45,730
you're tuned to KKHV,
the voice of Hill Valley.
1474
01:30:53,905 --> 01:30:55,573
Turning to community calendar,
1475
01:30:55,657 --> 01:30:58,826
the Hill Valley Women's Club bake sale
will be held tomorrow afternoon
1476
01:30:58,910 --> 01:31:02,664
from 2:00 to 5:00
at the community center on Forest Road.
1477
01:31:02,747 --> 01:31:06,584
For you sports fans out there, there was
a lot of action today in college football.
1478
01:31:06,668 --> 01:31:08,753
Here's what happened to the top 10.
1479
01:31:08,836 --> 01:31:12,507
UCLA narrowly defeated Washington 19-17.
1480
01:31:12,590 --> 01:31:15,927
Michigan State crushed Minnesota 42-14.
1481
01:31:16,010 --> 01:31:18,721
Ohio State beat Iowa 20-10.
1482
01:31:18,805 --> 01:31:21,432
-Michigan blanked Indiana 30-0.
-Shit.
1483
01:31:21,516 --> 01:31:24,644
-It was Notre Dame over North Carolina, 27-7.
-Son of a bitch.
1484
01:31:24,727 --> 01:31:27,647
Oklahoma ripped Iowa State 52-0.
1485
01:31:28,564 --> 01:31:31,401
West Virginia lost to Pittsburgh 26-7.
1486
01:31:31,734 --> 01:31:34,737
Texas A&M over Rice 20-10.
1487
01:31:34,821 --> 01:31:37,407
Maryland defeated Clemson 25-12,
1488
01:31:37,490 --> 01:31:41,494
and it was Texas
Christian over Texas 47-20.
1489
01:31:41,577 --> 01:31:45,164
Repeating tonight's earlier
weather bulletin, a severe...
1490
01:31:45,248 --> 01:31:47,792
You again? Give me that book.
1491
01:31:50,253 --> 01:31:51,546
Let it go!
1492
01:31:58,928 --> 01:32:00,930
Let go of the car!
1493
01:32:34,464 --> 01:32:36,174
That'll teach him.
1494
01:34:10,560 --> 01:34:12,270
Go, Doc!
1495
01:34:12,353 --> 01:34:13,896
Hold on, Marty!
1496
01:34:18,901 --> 01:34:20,278
Shit!
1497
01:34:27,118 --> 01:34:28,161
Yes!
1498
01:34:38,504 --> 01:34:41,424
Manure! I hate manure!
1499
01:35:05,822 --> 01:35:08,450
Doc, is everything all right? Over.
1500
01:35:08,533 --> 01:35:11,203
10-4, Marty,
but it's pretty miserable flying weather.
1501
01:35:11,286 --> 01:35:12,972
Much too turbulent to make a landing
from this direction.
1502
01:35:12,996 --> 01:35:15,433
I'll have to circle around
and make a long approach from the south.
1503
01:35:15,457 --> 01:35:18,001
Have you got the book?
1504
01:35:18,084 --> 01:35:20,670
In my hand, Doc! I got it in my hand!
1505
01:35:20,754 --> 01:35:22,505
Burn it!
1506
01:35:22,589 --> 01:35:23,924
Check!
1507
01:36:19,354 --> 01:36:22,357
Doc! Doc! That newspaper changed.
1508
01:36:22,440 --> 01:36:24,067
Doc, my father's alive!
1509
01:36:24,150 --> 01:36:27,028
That means everything's back to normal,
right?
1510
01:36:30,740 --> 01:36:32,367
Mission accomplished.
1511
01:36:33,034 --> 01:36:35,620
That means Jennifer's okay
and Einie's okay, right?
1512
01:36:35,704 --> 01:36:38,832
That's right, Marty.
It's the ripple effect.
1513
01:36:38,915 --> 01:36:40,959
The future is back, so let's go home.
1514
01:36:41,042 --> 01:36:43,837
Right. Let's get our asses back to the...
1515
01:36:50,135 --> 01:36:51,928
Doc, Doc, are you okay?
1516
01:36:52,220 --> 01:36:55,473
That was a close one, Marty.
I almost bought the farm.
1517
01:36:58,810 --> 01:37:02,564
Well, be careful.
You don't want to get struck by lightning.
1518
01:37:16,828 --> 01:37:17,954
Doc.
1519
01:37:26,921 --> 01:37:28,006
Doc?
1520
01:37:29,174 --> 01:37:30,884
Doc, come in, Doc.
1521
01:37:32,552 --> 01:37:34,429
Doc, do you read me?
1522
01:37:35,347 --> 01:37:38,767
Do you read me, Doc? Come in. Doc.
1523
01:37:51,696 --> 01:37:52,906
Oh, no.
1524
01:38:01,498 --> 01:38:02,957
He's gone.
1525
01:38:05,001 --> 01:38:06,669
The doc's gone.
1526
01:38:29,484 --> 01:38:30,860
Mr. McFly!
1527
01:38:35,532 --> 01:38:37,992
Is your name Marty McFly?
1528
01:38:42,997 --> 01:38:44,541
Yeah.
1529
01:38:46,334 --> 01:38:48,628
I've got something for you.
1530
01:38:50,922 --> 01:38:52,549
A letter.
1531
01:38:53,633 --> 01:38:55,343
A letter for me?
1532
01:38:56,469 --> 01:38:58,096
That's impossible.
1533
01:38:59,681 --> 01:39:02,142
-Who the hell are you?
-Western Union.
1534
01:39:02,725 --> 01:39:05,103
Actually, a bunch of us
at the office were kind of hoping
1535
01:39:05,186 --> 01:39:07,522
maybe you could shed some light
on the subject.
1536
01:39:07,605 --> 01:39:12,026
See, we've had that envelope
in our possession for the past 70 years.
1537
01:39:15,071 --> 01:39:17,991
It was given to us
with the explicit instructions
1538
01:39:18,074 --> 01:39:22,245
that it be delivered
to a young man with your description
1539
01:39:22,328 --> 01:39:26,124
answering to the name of Marty
at this exact location
1540
01:39:26,958 --> 01:39:30,879
at this exact minute, November 12, 1955.
1541
01:39:31,421 --> 01:39:34,632
We have a little bet going as to whether
this Marty would actually be here.
1542
01:39:34,716 --> 01:39:36,509
Looks like I lost.
1543
01:39:37,385 --> 01:39:38,887
Did you say 70 years?
1544
01:39:38,970 --> 01:39:43,641
Yeah, 70 years, 2 months, 12 days
to be exact. Here sign on line 6, please.
1545
01:39:43,725 --> 01:39:45,143
Here you are.
1546
01:39:55,487 --> 01:39:57,822
It's from the doc!
1547
01:40:01,659 --> 01:40:04,496
"Dear Marty, if my
calculations are correct,
1548
01:40:04,579 --> 01:40:09,167
"you will receive this letter immediately
after you saw the DeLorean struck by lightning.
1549
01:40:09,250 --> 01:40:12,253
"First, let me assure you
that I'm alive and well.
1550
01:40:12,337 --> 01:40:15,798
"I've been living happily
these past eight months in the year 1885.
1551
01:40:15,882 --> 01:40:18,760
"The lightning bolt..." 1885!
1552
01:40:19,427 --> 01:40:20,970
"September, 1885."
1553
01:40:21,804 --> 01:40:25,225
Wait, wait, kid! Wait a minute.
What's this all about?
1554
01:40:25,308 --> 01:40:28,144
He's alive! The doc's alive!
1555
01:40:28,895 --> 01:40:32,649
-He's in the Old West, but he's alive.
-Yeah, but, kid, you all right?
1556
01:40:33,107 --> 01:40:34,359
Do you need any help?
1557
01:40:34,984 --> 01:40:37,195
There's only one man who can help me.
1558
01:41:52,604 --> 01:41:54,314
Doc! Doc! Doc!
1559
01:41:55,106 --> 01:41:56,941
-Doc! Doc!
-What?
1560
01:41:58,693 --> 01:42:01,029
Okay, relax, Doc. It's
me. It's me! It's Marty.
1561
01:42:01,112 --> 01:42:03,656
No, it can't be.
I just sent you back to the future.
1562
01:42:03,740 --> 01:42:06,909
Yeah. No, I know. You did send me
back to the future, but I'm back.
1563
01:42:06,993 --> 01:42:09,120
I'm back from the future.
1564
01:42:12,248 --> 01:42:13,875
Great Scott!
1565
01:42:16,002 --> 01:42:19,047
Doc! Doc. Doc.
1566
01:42:21,257 --> 01:42:22,634
Fantastic.
1567
01:42:40,193 --> 01:42:41,569
Hey, McFly.
1568
01:42:49,577 --> 01:42:51,579
Just try it, Tannen!
1569
01:42:52,038 --> 01:42:54,916
Come on, runt!
You can dance better than that!
135784
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