1 00:00:06,506 --> 00:00:09,008 [ACOUSTIC VERSION OF "BACK TO THE FUTURE" THEME PLAYING] 2 00:00:30,063 --> 00:00:35,267 [DAN HARMON] IT'S JUST SUCH AN ENDLESSLY-ENTERTAINING MYTH, 3 00:00:35,269 --> 00:00:39,738 AND IT HAS A LITTLE BIT OF MODERNIZED AESTHETIC TO IT. 4 00:00:39,740 --> 00:00:44,109 BUT IT REALLY IS JUST SATISFYING ON THE LEVEL OF "JACK AND THE BEANSTALK" 5 00:00:44,111 --> 00:00:46,745 OR ULYSSES FIGHTING A CYCLOPS OR SOMETHING. 6 00:00:46,747 --> 00:00:50,115 IT'S JUST SORT OF A BUNCH OF NEAT SHIT TO HAPPEN TO A KID. 7 00:01:06,633 --> 00:01:08,367 [BOB GALE] RAY BRADBURY ONCE SAID THAT 8 00:01:08,369 --> 00:01:11,236 COMING UP WITH AN IDEA IS LIKE TRYING TO BEHEAD THE MEDUSA. 9 00:01:11,238 --> 00:01:14,106 IF YOU FACE THE PROBLEM STRAIGHT-ON, YOU GET TURNED TO STONE. 10 00:01:14,108 --> 00:01:18,243 BUT IF YOU LET IT JUST KIND OF SNEAK IN BY THE CORNER OF YOUR EYE, 11 00:01:18,245 --> 00:01:19,511 YOU MIGHT JUST SNAG IT. 12 00:01:19,513 --> 00:01:24,383 THAT "BACK TO THE FUTURE" WOULD BE CONSIDERED A QUOTE-UNQUOTE CLASSIC. 13 00:01:24,385 --> 00:01:28,854 -IT JUST WAS SORT OF ONE OF THOSE THAT MELTED INTO THE BEAUTY AND PERFECTION. 14 00:01:28,856 --> 00:01:31,256 JUST-- IT WAS THAT MAGIC SOMETHING. 15 00:01:31,258 --> 00:01:34,093 -THIS IS GONNA SOUND LIKE HYPERBOLE, AND I DON'T MEAN IT TO. 16 00:01:34,095 --> 00:01:35,727 BUT IT'S ALMOST A PERFECT MOVIE. 17 00:01:35,729 --> 00:01:37,729 -IT'S A FLAWLESS FILM. IT'S PERFECT. 18 00:01:37,731 --> 00:01:41,366 YOU CAN'T CHANGE A THING... CAN'T IMPROVE A THING ON IT. IT'S PERFECT. 19 00:01:41,368 --> 00:01:44,369 -IT'S A MASTERPIECE. THERE'S REALLY NOTHING LIKE IT. 20 00:01:44,371 --> 00:01:46,672 THIS TONE THAT THEY DID, 21 00:01:46,674 --> 00:01:49,341 THE COMEDY, THE SUSPENSE, THE DRAMA... 22 00:01:49,343 --> 00:01:51,376 YOU JUST CARE ABOUT THE CHARACTERS. 23 00:01:51,378 --> 00:01:54,446 IT REALLY IS KIND OF UNPARALLELED. 24 00:01:54,448 --> 00:01:56,248 -IT WAS BEAUTIFULLY CAST. 25 00:01:56,250 --> 00:01:59,585 IT WAS BEAUTIFULLY DIRECTED, BEAUTIFULLY WRITTEN. 26 00:01:59,587 --> 00:02:02,287 -THE WRITING AND THE ACTING WAS SO GOOD, 27 00:02:02,289 --> 00:02:05,124 AND THE EDITING WAS SO GOOD, AND THE TIMING WAS SO GOOD. 28 00:02:05,126 --> 00:02:10,329 EVERY THREAD THAT BOB GALE LAID DOWN TO BE PICKED UP LATER GOT PICKED UP. 29 00:02:10,331 --> 00:02:12,464 -THEY REALLY CARED FOR THAT FILM SO MUCH, 30 00:02:12,466 --> 00:02:15,701 AND IT'S JUST SO VERY, VERY WELL-WRITTEN, 31 00:02:15,703 --> 00:02:17,669 WELL-PRODUCED, WELL-ACTED, 32 00:02:17,671 --> 00:02:20,339 AND, OF COURSE, THEY PICKED THE RIGHT SONG. 33 00:02:20,341 --> 00:02:24,376 -YOU GOT A BOOMING SOUNDTRACK BY HUEY LEWIS AND THE NEWS, OKAY? 34 00:02:24,378 --> 00:02:26,845 YOU GOT A DELOREAN FOR CRYING OUT LOUD, 35 00:02:26,847 --> 00:02:33,519 AND YOU HAVE THESE VERY DEFINED, QUIRKY YET COMPELLING CHARACTERS. 36 00:02:33,521 --> 00:02:36,922 STIR IT ALL TOGETHER IN THE SOUP. LOOK WHAT YOU GOT. 37 00:02:36,924 --> 00:02:38,891 -IT REALLY IS, FOR ME, 38 00:02:38,893 --> 00:02:42,294 INARGUABLY THE GREATEST TIME-TRAVEL MOVIE EVER PUT ON FILM. 39 00:02:45,765 --> 00:02:49,568 [GALE] BOB ZEMECKIS AND I HAD ALWAYS WANTED TO DO A TIME-TRAVEL MOVIE 40 00:02:49,570 --> 00:02:51,904 FOR YEARS AND YEARS, SINCE THE '70S, 41 00:02:51,906 --> 00:02:55,240 AND WE'D NEVER REALLY BEEN ABLE TO FIGURE OUT WHAT THE HOOK FOR IT WAS. 42 00:02:55,242 --> 00:02:59,244 WE HAD TENTATIVELY TITLED IT "PROFESSOR BROWN VISITS THE FUTURE." 43 00:02:59,246 --> 00:03:00,746 AND THAT WAS PRETTY MUCH ALL WE HAD. 44 00:03:00,748 --> 00:03:03,549 -WHO KNOWS IF THEY'VE GOT COTTON UNDERWEAR IN THE FUTURE? 45 00:03:03,551 --> 00:03:10,522 -WE WERE NEVER ABLE TO REALLY COME UP WITH ANYTHING EVERY TIME WE KICKED IT AROUND 46 00:03:10,524 --> 00:03:15,227 UNTIL, UH, I WAS VISITING MY PARENTS IN ST. LOUIS, MISSOURI 47 00:03:15,229 --> 00:03:16,728 OVER THE SUMMER OF 1980, 48 00:03:16,730 --> 00:03:19,398 CAME ACROSS MY FATHER'S HIGH SCHOOL YEARBOOK. 49 00:03:19,400 --> 00:03:22,267 MY FATHER HAD GONE TO THE SAME HIGH SCHOOL THAT I'D WENT TO, 50 00:03:22,269 --> 00:03:25,404 AND I DISCOVERED HE WAS THE PRESIDENT OF HIS GRADUATING CLASS. 51 00:03:25,406 --> 00:03:30,809 AND I'M LOOKING AT THIS PICTURE OF MY DAD LOOKING VERY STRAIGHT AND SERIOUS. 52 00:03:30,811 --> 00:03:32,711 "PRESIDENT MARK GALE." 53 00:03:32,713 --> 00:03:35,347 AND I'M THINKING ABOUT THE PRESIDENT OF MY GRADUATING CLASS. 54 00:03:35,349 --> 00:03:43,255 AND I THOUGHT TO MYSELF, "GEE, WAS MY DAD ONE OF THESE RA-RA, SCHOOL SPIRIT GUYS 55 00:03:43,257 --> 00:03:47,726 "IF I HAD GONE TO HIGH SCHOOL WITH MY DAD, WOULD I HAVE BEEN FRIENDS WITH HIM?" 56 00:03:47,728 --> 00:03:50,362 -WHICH ONE IS YOUR POP? 57 00:03:50,364 --> 00:03:51,363 -THAT'S HIM. 58 00:03:52,732 --> 00:03:55,234 -OKAY. OKAY, YOU GUYS. 59 00:03:55,236 --> 00:03:58,237 [LAUGHING SARCASTICALLY] VERY FUNNY. 60 00:03:58,239 --> 00:04:00,272 YOU GUYS ARE BEING REAL MATURE. 61 00:04:00,274 --> 00:04:03,308 [GALE] SO WHEN I CAME BACK TO CALIFORNIA AFTER THAT, 62 00:04:03,310 --> 00:04:05,410 I'M TELLING BOB ABOUT THIS, 63 00:04:05,412 --> 00:04:07,746 AND HE'S LOVING IT, AND HE'S THINKING TO HIMSELF, 64 00:04:07,748 --> 00:04:10,482 "YEAH." SAYS, "WHAT IF YOUR MOM WENT TO THE SAME HIGH SCHOOL? 65 00:04:10,484 --> 00:04:12,451 "WHAT IF IT TURNED OUT SHE WAS, LIKE, THE SCHOOL SLUT?" 66 00:04:12,453 --> 00:04:14,553 -DO YOU MIND IF I SIT HERE? 67 00:04:14,555 --> 00:04:16,722 -NO, FINE. NO, GOOD. 68 00:04:16,724 --> 00:04:19,391 [GALE] IT JUST STARTED GOING, AND GOING, AND GOING. 69 00:04:19,393 --> 00:04:21,393 AND PRETTY SOON, WE HAD THE GERM OF THIS IDEA 70 00:04:21,395 --> 00:04:23,395 ABOUT A KID WHO GOES BACK IN TIME 71 00:04:23,397 --> 00:04:26,398 AND ENDS UP IN HIGH SCHOOL WITH HIS PARENTS. 72 00:04:26,400 --> 00:04:27,699 -GEORGE, BUDDY, 73 00:04:28,668 --> 00:04:31,470 REMEMBER THAT GIRL I INTRODUCED YOU TO, LORRAINE? 74 00:04:31,472 --> 00:04:35,374 [GALE] WE EVENTUALLY WORKED THE THING UP INTO A PITCH. 75 00:04:35,376 --> 00:04:39,278 WE WERE AT COLUMBIA PICTURES, BECAUSE WE'D JUST MADE A MOVIE CALLED "USED CARS." 76 00:04:39,280 --> 00:04:41,880 ["STARS AND STRIPES FOREVER" PLAYING] 77 00:04:43,684 --> 00:04:47,619 [STEVEN SPIELBERG] I'D PRODUCED THEIR FILM "USED CARS" 78 00:04:47,621 --> 00:04:49,354 OVER AT COLUMBIA WITH THEM. 79 00:04:49,356 --> 00:04:50,922 I REALLY BELIEVED IN THEM SO MUCH. 80 00:04:50,924 --> 00:04:54,326 BOB ZEMECKIS BROUGHT ME A USC SHORT FILM HE HAD MADE 81 00:04:54,328 --> 00:04:56,828 JUST BEFORE I WENT OFF TO DIRECT "JAWS" IN 1974. 82 00:04:56,830 --> 00:04:58,430 IT WAS CALLED "FIELD OF HONOR." 83 00:04:58,432 --> 00:05:00,399 [TENSE MUSIC PLAYING] 84 00:05:00,401 --> 00:05:01,833 -STOP, OR I'LL SHOOT! 85 00:05:07,875 --> 00:05:15,347 [LAUGHS] AND I CAME BACK FROM "JAWS," CAME BACK FROM THAT EXPERIENCE, 86 00:05:15,349 --> 00:05:17,849 AND WE BEGAN HANGING AROUND, AND WE WERE FRIENDS. 87 00:05:17,851 --> 00:05:22,688 BOB GALE, BOB ZEMECKIS, WE USED TO GO SHOOTING SKEET AND TRAP WITH JOHN MILIUS. 88 00:05:22,690 --> 00:05:25,624 AND WE WERE SORT OF... IT WAS MILIUS, AND ME, AND GALE, AND ZEMECKIS, 89 00:05:25,626 --> 00:05:27,526 AND THAT WAS THE TEAM FOR A LONG TIME. 90 00:05:27,528 --> 00:05:30,629 [GALE] FRANK PRICE, THE HEAD OF THE STUDIO, LOVED "USED CARS." 91 00:05:30,631 --> 00:05:35,100 AND HE TOLD US WHEN WE HAD OUR NEXT IDEA, PLEASE... HE WANTED TO HEAR IT FIRST. 92 00:05:35,102 --> 00:05:38,737 SO WE WENT IN, AND WE PITCHED FRANK, AND FRANK GOT IN IMMEDIATELY, 93 00:05:38,739 --> 00:05:42,441 AND COLUMBIA HIRED US TO WRITE "BACK TO THE FUTURE." 94 00:05:42,443 --> 00:05:45,811 -THEY PITCHED ME "BACK TO THE FUTURE," 95 00:05:45,813 --> 00:05:48,880 AND I LIKED... I'VE ALWAYS LIKED SCIENCE-FICTION. 96 00:05:48,882 --> 00:05:51,383 SO THIS WAS OLD HOME WEEK. 97 00:05:51,385 --> 00:05:53,719 I GREW UP ON SCIENCE-FICTION. 98 00:05:53,721 --> 00:05:56,655 -AS A WRITER, YOU ASPIRE TO WRITE SOMETHING LIKE THIS. 99 00:05:56,657 --> 00:06:00,359 YOU WANT EVERYTHING TO BE THE "BACK TO THE FUTURE" SCREENPLAY. 100 00:06:00,361 --> 00:06:03,762 YOU WANT EVERYTHING SET UP PERFECTLY PAID OFF. 101 00:06:03,764 --> 00:06:08,100 YOU WANT EVERY CHARACTER TO BE COMPLEX, THREE-DIMENSIONAL, COMPELLING. 102 00:06:08,102 --> 00:06:12,003 -I THINK IT'S THE BEST THING THAT I'VE EVER WRITTEN. ALONG WITH BOB, OF COURSE. 103 00:06:12,005 --> 00:06:14,439 BUT EVEN... IT'S... 104 00:06:15,641 --> 00:06:17,976 YOU PROBABLY HAVE ONE OF THOSE IN YOU IN A LIFETIME. 105 00:06:17,978 --> 00:06:21,580 [FRANK PRICE] COLUMBIA HAD BEEN EXTREMELY SUCCESSFUL 106 00:06:21,582 --> 00:06:24,416 BETWEEN 1978, WHEN I WENT THERE, 107 00:06:24,418 --> 00:06:27,419 AND THIS IS NOW 1982. 108 00:06:27,421 --> 00:06:29,721 "BLUE LAGOON" TURNED OUT A HUGE HIT. 109 00:06:29,723 --> 00:06:33,892 "KRAMER" WAS A HUGE HIT. WE HAD "TOOTSIE," "KARATE KID." 110 00:06:33,894 --> 00:06:36,862 SO COCA-COLA BOUGHT COLUMBIA, 111 00:06:36,864 --> 00:06:40,499 AND THAT WAS A HUGE REVOLUTION. 112 00:06:40,501 --> 00:06:46,037 AND THERE WERE SOME PROBLEMS OF FIT, THOUGH, ONCE COKE WAS THERE, 113 00:06:46,039 --> 00:06:50,842 BECAUSE COKE PRIDED ITSELF ON ITS MARKETING. 114 00:06:50,844 --> 00:06:53,512 AND I THOUGHT WE DID VERY GOOD MARKETING. 115 00:06:53,514 --> 00:06:55,714 THEY STARTED INTERFERING WITH OUR MARKETING. 116 00:06:55,716 --> 00:06:59,484 WE COULDN'T GET AN AGREEMENT ON HOW TO RUN THE MOVIE OPERATION, 117 00:06:59,486 --> 00:07:03,155 SO THAT'S WHEN I LEFT BEHIND A LOT OF PROJECTS. 118 00:07:03,157 --> 00:07:06,892 -"BACK TO THE FUTURE" BREAKS AS MANY RULES AS IT FOLLOWS. 119 00:07:06,894 --> 00:07:08,193 I MEAN, IT... 120 00:07:08,195 --> 00:07:12,097 MARTY MCFLY IS A FLAWLESS PROTAGONIST. 121 00:07:12,099 --> 00:07:14,566 HE DOESN'T LEARN A DAMN THING. 122 00:07:14,568 --> 00:07:17,803 HE HAS NO UNCONSCIOUS WISH THAT HE NEEDS TO FULFILL 123 00:07:17,805 --> 00:07:23,074 EXCEPT MAYBE IF YOU COUNT THE IDEA THAT HE WISHES HIS PARENTS WERE COOLER, 124 00:07:23,076 --> 00:07:25,777 WHICH IS A SELFISH, DUMB THING TO WISH FOR. 125 00:07:25,779 --> 00:07:29,581 AND IT'S NOT LIKE HE LEARNS A LESSON THROUGH ANY OF IT. 126 00:07:29,583 --> 00:07:32,818 HE'S JUST THIS WILLING HERO THAT CHARGES ACROSS THIS THRESHOLD 127 00:07:32,820 --> 00:07:34,986 AND MUCKS THINGS UP A LITTLE BIT. 128 00:07:34,988 --> 00:07:36,655 HE'S REALLY NERVOUS THAT HIS MOM IS GONNA, 129 00:07:36,657 --> 00:07:39,624 YOU KNOW, GIVE HIM A HJ IN THE PARKING LOT. 130 00:07:39,626 --> 00:07:42,160 -OH, YOU MEAN LIKE HOW YOU'RE SUPPOSED TO ACT ON A FIRST DATE. 131 00:07:42,162 --> 00:07:48,099 FOR A MOVIE WHERE THE GUY THAT YOU'RE IN THE SHOES OF DOESN'T... 132 00:07:48,101 --> 00:07:49,901 HE DOESN'T HAVE AN ARC. 133 00:07:49,903 --> 00:07:52,771 AND THAT'S ONE OF MANY THINGS ABOUT THAT MOVIE THAT'S LIKE, 134 00:07:52,773 --> 00:07:56,541 OH, THIS, STRICTLY SPEAKING, ACCORDING TO ROBERT MCKEE OR A SCREENWRITING CLASS, 135 00:07:56,543 --> 00:07:59,711 IT SHOULDN'T BE AS SATISFYING AS IT IS. 136 00:07:59,713 --> 00:08:01,613 -I MEAN, IT'S DEFINITELY NOT A PERFECT MOVIE. 137 00:08:01,615 --> 00:08:03,515 THERE MIGHT EVEN BE ONE OR TWO SHOTS IN IT 138 00:08:03,517 --> 00:08:05,650 THAT ARE A LITTLE BIT, A HAIR OUT OF FOCUS. 139 00:08:05,652 --> 00:08:06,918 YOU KNOW, SO IT'S NOT A PERFECT MOVIE. 140 00:08:06,920 --> 00:08:08,820 BUT THE SCREENPLAY IS REALLY GOOD. 141 00:08:08,822 --> 00:08:13,992 I MEAN, THAT'S REALLY SOMETHING THAT THEY SHOULD STUDY IN FILM SCHOOL. 142 00:08:13,994 --> 00:08:17,596 [LEA THOMPSON] I KNOW PEOPLE WHO HAVE BEEN TO USC FILM SCHOOL, 143 00:08:17,598 --> 00:08:20,165 AND CERTAIN TEACHERS USE THE SCRIPT OF "BACK TO THE FUTURE" 144 00:08:20,167 --> 00:08:21,566 AS THE PERFECT SCRIPT. 145 00:08:21,568 --> 00:08:23,635 -IT RIDES THIS 146 00:08:24,804 --> 00:08:30,108 RAZOR'S EDGE BETWEEN AN ABSURD AMOUNT OF EXPOSITION... 147 00:08:30,110 --> 00:08:31,943 -GOOD EVENING. I'M DR. EMMETT BROWN. 148 00:08:31,945 --> 00:08:34,179 I'M STANDING IN A PARKING LOT AT TWIN PINES MALL. 149 00:08:34,181 --> 00:08:37,983 IT'S SATURDAY MORNING, OCTOBER 26, 1985, 1:18 A.M. 150 00:08:37,985 --> 00:08:39,651 AND THIS IS TEMPORAL EXPERIMENT NUMBER ONE. 151 00:08:39,653 --> 00:08:42,053 -...AND TOTAL IMMERSIFICATION. 152 00:08:43,789 --> 00:08:48,894 IT'S JUST BURSTING AT THE SEAMS WITH PIPE. 153 00:08:49,695 --> 00:08:54,299 -THE MOLECULAR STRUCTURE OF BOTH EINSTEIN AND THE CAR ARE COMPLETELY INTACT. 154 00:08:54,301 --> 00:08:55,901 -WHERE THE HELL ARE THEY? 155 00:08:55,903 --> 00:08:58,870 -THE APPROPRIATE QUESTION IS WHEN THE HELL ARE THEY? 156 00:08:58,872 --> 00:09:05,176 -YOU'RE BEING TOLD SO MANY FACTS FOR THE FIRST QUARTER OF THAT MOVIE 157 00:09:05,178 --> 00:09:08,713 SIMPLY SO THAT THE SUDOKU CAN COMPLETE ITSELF. 158 00:09:08,715 --> 00:09:10,115 -THIS READOUT TELLS YOU WHERE YOU'RE GOING. 159 00:09:10,117 --> 00:09:11,283 THIS ONE TELLS YOU WHERE YOU ARE. 160 00:09:11,285 --> 00:09:12,817 THIS ONE TELLS YOU WHERE YOU WERE. 161 00:09:12,819 --> 00:09:15,854 -AND THAT'S A RULE BEING BROKEN. 162 00:09:17,857 --> 00:09:21,626 IT'S NOT SUPPOSED TO, UH, BE FAIR TO DO THAT TO AN AUDIENCE. 163 00:09:21,628 --> 00:09:23,828 -I'M GONNA MAKE YOU FLYING-SAUCER SHAPED PANCAKES. 164 00:09:23,830 --> 00:09:27,232 -OH, THERE'S NO NEED TO DO THAT, BETH. REGULAR PANCAKES ARE FINE. 165 00:09:32,238 --> 00:09:34,606 -OH, MY GOD! WHAT IS HAPPENING? 166 00:09:36,876 --> 00:09:40,111 [HARMON] "RICK AND MORTY" WAS 167 00:09:40,113 --> 00:09:46,017 JUSTIN ROILAND'S FRUSTRATED, PUNK ROCK TANTRUM 168 00:09:46,019 --> 00:09:50,322 THAT HE WAS THROWING AFTER FINISHING WORKING ON SOMEONE ELSE'S SHOW. 169 00:09:50,324 --> 00:09:52,290 HE WAS SPENDING A YEAR 170 00:09:52,292 --> 00:09:57,596 HAVING NO CONTROL OVER THE CONTENT HE WAS EXPECTED TO INVEST IN. 171 00:09:57,598 --> 00:10:00,165 AND HE CAME OFF OF THAT JOB, AND HE JUST MADE, 172 00:10:00,167 --> 00:10:04,202 IN HIS OPINION, THE MOST KIND OF SACRILEGIOUS THING HE COULD DO. 173 00:10:04,204 --> 00:10:07,005 FOR HIM, THE EQUIVALENT OF MICKEY MOUSE [BEEP] PLUTO. 174 00:10:07,007 --> 00:10:10,075 BUT WHO CARES ABOUT MICKEY MOUSE AND PLUTO IN THIS GENERATION? 175 00:10:10,077 --> 00:10:16,748 I DON'T KNOW IF THE WRITERS KNOW MORE THAN THEY'RE TELLING... THAN IS CLEAR IN THE MOVIE 176 00:10:16,750 --> 00:10:23,188 ABOUT HOW THIS TEENAGE GUITARIST ENDED UP HANGING OUT WITH THIS BANKRUPT SCIENTIST. 177 00:10:23,190 --> 00:10:28,793 PEOPLE WOULD START WONDERING, "GEE, IS DOC BROWN, LIKE, A CHILD MOLESTER OR SOMETHING?" 178 00:10:28,795 --> 00:10:32,263 BUT BACK IN THE DAY, NOBODY EVER THOUGHT ABOUT THAT. 179 00:10:33,299 --> 00:10:36,067 [SPIELBERG] THE INFECTIOUS CHARACTER OF MARTY MCFLY, 180 00:10:36,069 --> 00:10:39,037 AND HIS POSITIVITY, AND HIS HIGH SPIRITS. 181 00:10:39,039 --> 00:10:40,405 THE CRAZY DOC BROWN. 182 00:10:40,407 --> 00:10:43,875 THAT TWO-HANDER BETWEEN MCFLY AND BROWN, 183 00:10:43,877 --> 00:10:45,910 THAT'S LIKE LAUREL AND HARDY. 184 00:10:45,912 --> 00:10:48,213 THAT'S LIKE ABBOTT AND COSTELLO. 185 00:10:48,215 --> 00:10:50,882 I MEAN, THOSE GUYS WILL GO DOWN IN HISTORY 186 00:10:50,884 --> 00:10:54,052 AS THE BEST TWO FOR ONE SINCE HOPE AND CROSBY. 187 00:10:56,088 --> 00:10:59,290 SO ZEMECKIS AND GALE REALLY FOUND LIGHTNING IN A BOTTLE. 188 00:10:59,292 --> 00:11:03,028 AND LIGHTNING IN A BOTTLE, YOU KNOW, TENDS TO STICK AROUND FOR A LONG TIME. 189 00:11:06,065 --> 00:11:09,034 [GALE] WE TOOK IT AROUND TO EVERY STUDIO IN TOWN, 190 00:11:09,036 --> 00:11:13,271 AND THEY WOULD ALL SAY, "IT'S VERY NICE. IT'S VERY SWEET. 191 00:11:13,273 --> 00:11:15,040 "WHY DON'T YOU GUYS TAKE IT TO DISNEY?" 192 00:11:15,042 --> 00:11:19,210 "IT'S A TIME-TRAVEL MOVIE, AND TIME-TRAVEL MOVIES DON'T MAKE ANY MONEY." 193 00:11:19,212 --> 00:11:22,947 -EVERYBODY SAID, "OH, YOU CAN'T MAKE TIME-TRAVEL MOVIES. 194 00:11:22,949 --> 00:11:29,721 WELL, YOU JUST DON'T MAKE BAD TIME-TRAVEL MOVIES. YOU MAKE A GOOD ONE. 195 00:11:29,723 --> 00:11:33,425 -SO FINALLY, AFTER WE HEARD THAT ABOUT 15 OR 20 TIMES, 196 00:11:33,427 --> 00:11:37,295 BOB AND I KIND OF SHRUGGED, SAID, "WELL, WHAT THE HELL? LET'S TAKE IT TO DISNEY." 197 00:11:37,297 --> 00:11:39,130 SO WE SUBMITTED IT TO DISNEY. 198 00:11:39,132 --> 00:11:40,732 WE TOOK A MEETING OVER THERE. 199 00:11:40,734 --> 00:11:44,235 AND THE EXEC AT DISNEY, WE WALK INTO HIS OFFICE, 200 00:11:44,237 --> 00:11:46,838 AND HE LOOKS AT US LIKE WE'RE COMPLETELY INSANE. 201 00:11:46,840 --> 00:11:48,306 HE SAYS, "ARE YOU GUYS NUTS? 202 00:11:49,075 --> 00:11:52,177 "WE CAN'T MAKE THIS MOVIE HERE. WE'RE DISNEY, 203 00:11:52,179 --> 00:11:54,746 "AND YOU GUYS HAVE WRITTEN A MOVIE ABOUT INCEST." 204 00:11:54,748 --> 00:11:58,149 SO, IT WAS NICE AND SWEET FOR EVERYBODY ELSE EXCEPT DISNEY, 205 00:11:58,151 --> 00:12:00,051 AND FOR THEM, IT WAS TABOO. 206 00:12:00,053 --> 00:12:02,954 -MARTY, I'M ALMOST 18 YEARS OLD. 207 00:12:02,956 --> 00:12:04,789 IT'S NOT LIKE I'VE NEVER PARKED BEFORE. 208 00:12:05,392 --> 00:12:08,827 [THOMPSON] LORRAINE MCFLY IS ESSENTIALLY IN LOVE WITH HER OWN SON, 209 00:12:08,829 --> 00:12:11,196 WHICH I THOUGHT WAS HILARIOUS. 210 00:12:11,198 --> 00:12:14,766 AND I ALWAYS HAVE HAD A KIND OF SUBVERSIVE SENSE OF HUMOR. 211 00:12:14,768 --> 00:12:17,368 SO I DEFINITELY GOT IT WHEN I GOT THE PART. 212 00:12:17,370 --> 00:12:20,305 BUT I REALLY LOVED THE CRAZY ASPECT OF THAT. 213 00:12:20,307 --> 00:12:23,775 SHE WAS JUST LIKE... [PURRS] I MEAN, I PLAYED HER LIKE A KITTY CAT IN HEAT. 214 00:12:23,777 --> 00:12:25,810 AND I STILL THINK IT'S FUNNY THAT PEOPLE THINK 215 00:12:25,812 --> 00:12:29,914 I'M, LIKE, SO WHITE BREAD, AND SWEET, AND CUTE 216 00:12:29,916 --> 00:12:33,351 WHEN I'M REALLY KNOWN FOR A PART WHERE I WANTED TO SLEEP WITH MY SON. 217 00:12:34,820 --> 00:12:37,355 -YOU KNOW WHAT I DO IN THOSE SITUATIONS? 218 00:12:37,357 --> 00:12:38,823 -WHAT? 219 00:12:41,293 --> 00:12:43,762 [GALE] STEVEN SPIELBERG ALWAYS LIKED IT. 220 00:12:43,764 --> 00:12:46,231 BUT WE'D MADE THREE PICTURES WITH STEVEN, 221 00:12:46,233 --> 00:12:48,466 AND NONE HAD MADE ANY MONEY AT THE BOX OFFICE. 222 00:12:48,468 --> 00:12:52,137 SO WE WERE AFRAID IF WE DID ANOTHER PICTURE WITH STEVEN, AND IT TANKED, 223 00:12:52,139 --> 00:12:54,072 WE'D NEVER WORK AGAIN. 224 00:12:54,074 --> 00:12:57,108 AND BOB SAID, "I GOTTA GET A MOVIE MADE THAT'S MINE, 225 00:12:57,110 --> 00:13:03,348 "SO THAT PEOPLE UNDERSTAND THAT BOB ZEMECKIS CAN MAKE A MOVIE WITHOUT STEVEN SPIELBERG." 226 00:13:03,350 --> 00:13:07,385 AND AFTER ALL THE FRUSTRATION OF NOT GETTING "BACK TO THE FUTURE" MADE, 227 00:13:07,387 --> 00:13:11,422 BOB FINALLY SAID, "I'M GONNA TAKE THE NEXT DECENT SCRIPT THAT GETS SUBMITTED TO ME." 228 00:13:12,959 --> 00:13:20,498 ZEMECKIS WENT OFF WITHOUT ME AND HAD A HUGE SUCCESS WITH "ROMANCING THE STONE." 229 00:13:20,500 --> 00:13:23,234 -BACK OFF ME, CREEP. JUST BACK OFF. 230 00:13:23,236 --> 00:13:25,470 -OH. OH, I'M THE CREEP, HUH? 231 00:13:25,472 --> 00:13:28,807 WELL, AT LEAST I'M HONEST. I'M STEALING THIS STONE. 232 00:13:28,809 --> 00:13:31,075 I'M NOT TRYING TO ROMANCE IT OUT FROM UNDER HER. 233 00:13:31,077 --> 00:13:33,378 -OUT OF NOWHERE, THIS PHONE CALL COMES 234 00:13:33,380 --> 00:13:38,082 FROM THE MUSIC EDITOR, TOM CARLIN, WHO I HAD WORKED WITH ON "C.H.I.P.S." 235 00:13:39,285 --> 00:13:43,888 AND HE'S DOING THIS MOVIE CALLED "ROMANCING THE STONE" 236 00:13:43,890 --> 00:13:47,058 WITH THIS GUY NAMED ROBERT ZEMECKIS. 237 00:13:47,060 --> 00:13:49,594 INTRODUCED US ON THE PHONE. 238 00:13:49,596 --> 00:13:56,167 A GUY AND A GIRL RUNNING THROUGH THE JUNGLE. RAINING, MACHETES, FEDERALI. 239 00:13:56,169 --> 00:13:58,303 "CAN YOU DO, LIKE, THREE MINUTES OF THAT 240 00:13:58,305 --> 00:14:01,339 "AND COME IN AROUND 9:30 TOMORROW MORNING?" 241 00:14:01,341 --> 00:14:05,610 I PUT A LITTLE, QUICKIE, DEMO MOCK-UP TOGETHER, 242 00:14:05,612 --> 00:14:08,079 WENT IN, GOT THE JOB. 243 00:14:08,081 --> 00:14:11,583 [GALE] IT'S A BIG, BIG HIT. EVERYBODY WANTS HIS NEXT PICTURE. 244 00:14:11,585 --> 00:14:14,452 THE MOVIE HE WANTS TO MAKE THE MOST IS "BACK TO THE FUTURE." 245 00:14:14,454 --> 00:14:19,123 AND HE DECIDES RATHER THAN MAKE IT WITH ANY OF HIS NEW, FAIR-WEATHER FRIENDS, 246 00:14:19,125 --> 00:14:22,327 WHO NOW WANNA BE IN BUSINESS WITH HIM BECAUSE HE MADE A HIT, 247 00:14:22,329 --> 00:14:26,331 WE SHOULD GO BACK TO THE GUY WHO BELIEVED IN IT ORIGINALLY, 248 00:14:26,333 --> 00:14:30,869 -THEY CAME BACK, AND THEY BROUGHT ME THE SCRIPT CALLED "BACK TO THE FUTURE." 249 00:14:30,871 --> 00:14:33,538 AND THEY SAID, YOU KNOW, 250 00:14:33,540 --> 00:14:35,340 "WE'D LIKE YOU TO BE INVOLVED IN THIS. 251 00:14:35,342 --> 00:14:38,209 "WE THINK IT'S SOMETHING WE REALLY WANNA DO." 252 00:14:38,211 --> 00:14:40,578 AND I READ IT AND LOVED IT. 253 00:14:40,580 --> 00:14:44,482 I MEAN, I COULDN'T BELIEVE WHAT AN ACCOMPLISHED AND FUN PIECE OF WRITING IT WAS. 254 00:14:44,484 --> 00:14:47,018 AND IT WAS DIFFERENT THAN ANYTHING I'D EVER SEEN IN A MOVIE THEATER. 255 00:14:47,020 --> 00:14:49,120 THE STORY WAS OFF-THE-WALL, 256 00:14:49,122 --> 00:14:52,090 AND OUT-OF-SIGHT, AND OUT-OF-THE-BOX, AND ALL THOSE OTHER TERMS. 257 00:14:52,092 --> 00:14:54,292 AND SO, I BROUGHT IT TO SID SHEINBERG, 258 00:14:54,294 --> 00:14:57,896 AND SID LOVED IT TOO AND GAVE US THE FINANCING TO GO OFF AND MAKE IT. 259 00:14:57,898 --> 00:15:00,198 -SO WE GOT IT SET UP AT UNIVERSAL. 260 00:15:00,200 --> 00:15:05,403 AND LO AND BEHOLD, THE GUY WHO WAS IN CHARGE OF THE STUDIO AT UNIVERSAL WAS FRANK PRICE, 261 00:15:05,405 --> 00:15:08,373 WHO ORIGINALLY BROUGHT US ON TO WRITE IT. 262 00:15:08,375 --> 00:15:11,376 -GUY MCELWAINE, WHO HAD WORKED FOR ME, 263 00:15:11,378 --> 00:15:13,912 WHO WAS NOW RUNNING COLUMBIA, 264 00:15:13,914 --> 00:15:17,916 I MENTIONED TO HIM THAT A PROJECT HE HAD WITH PETER FALK 265 00:15:17,918 --> 00:15:20,451 SEEMED A LOT LIKE "DOUBLE INDEMNITY." 266 00:15:20,453 --> 00:15:22,921 AND HE WAS COMMITTED TO MAKING IT. 267 00:15:22,923 --> 00:15:25,456 GUY HAD HIS LAWYERS CHECK IT, 268 00:15:25,458 --> 00:15:28,493 READ THE SCRIPT AND MAKE COMPARISONS. 269 00:15:28,495 --> 00:15:31,996 AND I GOT AN URGENT CALL FROM HIM, 270 00:15:31,998 --> 00:15:35,433 SAYING, "MY GOD, YOU'RE RIGHT. IT'S 'DOUBLE INDEMNITY,' 271 00:15:35,435 --> 00:15:42,707 AS IT TURNED OUT, UNIVERSAL OWNED THE RIGHTS TO "DOUBLE INDEMNITY." 272 00:15:42,709 --> 00:15:45,576 I CAME UP WITH TWO PROJECTS 273 00:15:45,578 --> 00:15:50,715 THAT, AS I PUT IT, I'D HAD THEM IN DEVELOPMENT, COULDN'T GET THEM QUITE RIGHT, 274 00:15:50,717 --> 00:15:54,285 BUT I KNOW I'D LIKE TO WORK ON THEM MORE. 275 00:15:54,287 --> 00:15:58,623 AND ONE IS THE OTHER PROJECT, AND THE OTHER ONE IS "BACK TO THE FUTURE." 276 00:15:58,625 --> 00:16:04,028 I KNEW GUY. HE WOULD HAVE BEEN SUSPICIOUS IF IT WAS JUST "BACK TO THE FUTURE." 277 00:16:04,030 --> 00:16:05,530 HE AGREED TO THE DEAL. 278 00:16:05,532 --> 00:16:09,200 AND I GAVE HIM THE LICENSE FOR "DOUBLE INDEMNITY," 279 00:16:09,202 --> 00:16:12,303 AND HE GAVE ME THE TWO PROPERTIES, ONE OF WHICH I DIDN'T WANT, 280 00:16:12,305 --> 00:16:14,305 BUT I GOT THE ONE I WANTED. 281 00:16:14,307 --> 00:16:18,109 -I ORIGINALLY WAS IN A FILM IN THE EARLY '80S 282 00:16:18,111 --> 00:16:21,245 CALLED "SCARED STRAIGHT! ANOTHER STORY," WHICH WAS A CBS FILM. 283 00:16:21,247 --> 00:16:23,114 [LAUGHING] -WHAT? THAT'S FUNNY? 284 00:16:23,116 --> 00:16:24,515 SEEING JAMES WRECK UP HIS HAND? 285 00:16:24,517 --> 00:16:26,484 -HEY, HE'S DEMENTED. 286 00:16:26,486 --> 00:16:31,322 -AND THE CASTING DIRECTOR WAS SO IMPRESSED WITH MY WORK 287 00:16:31,324 --> 00:16:34,092 THAT THEY WERE CASTING "BACK TO THE FUTURE," 288 00:16:34,094 --> 00:16:37,628 SO THEY SET UP A MEETING FOR ME TO MEET BOB ZEMECKIS. 289 00:16:37,630 --> 00:16:39,630 [CHRISTOPHER LLOYD] I WAS MAKING A FILM IN MEXICO CITY, 290 00:16:39,632 --> 00:16:44,736 AND MY AGENT, BOB DURST, SENT ME THE SCRIPT FOR "BACK TO THE FUTURE." 291 00:16:44,738 --> 00:16:50,174 I HAD, AT THE SAME TIME, RECEIVED AN OFFER TO GO BACK AND DO A PLAY. 292 00:16:52,478 --> 00:16:54,212 WHICH I WAS ENTHUSIASTIC ABOUT. 293 00:16:55,414 --> 00:16:57,148 THINGS WEREN'T GOING THAT GREAT, 294 00:16:57,150 --> 00:17:01,185 AND I THOUGHT I SHOULD GET BACK TO MY ROOTS. 295 00:17:01,187 --> 00:17:03,621 -I ALWAYS THOUGHT I MIGHT WANNA GO TO HOLLYWOOD. 296 00:17:03,623 --> 00:17:06,724 BUT I SAID I'M NEVER GOING TO HOLLYWOOD TILL THEY SEND FOR ME. 297 00:17:06,726 --> 00:17:12,797 AND THEN, IN 1984, WHEN I WAS DOING "GLENGARRY GLEN ROSS," DAVID MAMET'S PLAY, 298 00:17:12,799 --> 00:17:16,768 I GOT A SCRIPT FROM ROBERT ZEMECKIS, 299 00:17:16,770 --> 00:17:18,369 AND IT WAS "BACK TO THE FUTURE." 300 00:17:18,371 --> 00:17:20,538 AND I SAY, "OKAY, WELL, MAYBE THIS IS MY CHANCE 301 00:17:20,540 --> 00:17:22,440 "TO GO OUT TO HOLLYWOOD AND SEE WHAT'S GOING ON." 302 00:17:23,442 --> 00:17:26,244 -YOU'VE GOT A REAL ATTITUDE PROBLEM, MCFLY. YOU'RE A SLACKER. 303 00:17:26,246 --> 00:17:28,379 -YOU'RE A SLACKER, MCFLY. 304 00:17:28,381 --> 00:17:32,583 -I ALWAYS TOLD MYSELF I'D ALWAYS LEAVE NO STONE UNTURNED, 305 00:17:32,585 --> 00:17:36,454 SO I TOOK ANOTHER LOOK AT THE SCRIPT, 306 00:17:36,456 --> 00:17:40,558 WENT BACK, MET BOB ZEMECKIS, AND THAT WAS THAT. 307 00:17:40,560 --> 00:17:42,560 [CLAUDIA WELLS] IT WAS VERY HARD FOR ME TO GET COMMERCIALS. 308 00:17:42,562 --> 00:17:43,728 'CAUSE THEY ALWAYS USED TO TELL ME 309 00:17:43,730 --> 00:17:45,296 THAT I WOULD DISTRACT FROM THE PRODUCT. 310 00:17:45,298 --> 00:17:47,799 I HAD A CALLBACK LATER THAT DAY FOR A COMMERCIAL, 311 00:17:47,801 --> 00:17:51,302 AND I WAS MORE EXCITED ABOUT THE CALLBACK FOR THE COMMERCIAL 'CAUSE IT WAS SO UNUSUAL. 312 00:17:51,304 --> 00:17:53,604 -FOR SOME REASON, I JUST REALLY GOT THE CHARACTERS. 313 00:17:53,606 --> 00:17:57,141 YOU JUST NEVER KNOW. SOMETIMES, CHARACTERS JUST COME TO YOU REALLY CLEARLY. 314 00:17:57,143 --> 00:17:58,643 -IT'S TERRIBLE. 315 00:17:58,645 --> 00:18:00,445 GIRLS THESE DAYS, 316 00:18:00,447 --> 00:18:03,548 SMOKING POT, DRINKING BOOZE. [SCOFFS] 317 00:18:04,784 --> 00:18:10,321 -LOOK MORE STRAIGHT ABOVE THE LENS HERE, SO YOU'RE NOT LOOKING DOWN. 318 00:18:10,323 --> 00:18:13,257 -OH, I SEE. -'CAUSE THE HAIR MIGHT SHADOW YOUR FACE. 319 00:18:13,259 --> 00:18:14,459 [FULLILOVE] I WENT AND MET WITH BOB, 320 00:18:14,461 --> 00:18:17,662 YOU KNOW, I NEVER AUDITIONED OR READ ANYTHING. 321 00:18:17,664 --> 00:18:19,497 HE WAS JUST ASKING ME QUESTIONS, 322 00:18:19,499 --> 00:18:22,834 AND NEXT THING YOU KNOW, I'M GOLDIE WILSON. 323 00:18:22,836 --> 00:18:24,769 -AND ONE DAY, I'M GONNA BE SOMEBODY. 324 00:18:24,771 --> 00:18:26,771 -THAT'S RIGHT. HE'S GONNA BE MAYOR. 325 00:18:26,773 --> 00:18:27,839 -YEAH, I'M GONNA... 326 00:18:29,341 --> 00:18:30,541 MAYOR! 327 00:18:30,543 --> 00:18:32,510 -OH. [LAUGHS] 328 00:18:33,846 --> 00:18:36,280 IF I HAD A PENNY 329 00:18:36,282 --> 00:18:39,550 FOR EVERY TIME I WAS ASKED TO SAY, 330 00:18:40,786 --> 00:18:43,154 "MAYOR!" 331 00:18:44,891 --> 00:18:48,860 HEY, YOU KNOW WHAT? IT MADE ME ALMOST FAMOUS. 332 00:18:53,266 --> 00:18:58,336 YOU CAN WRITE A GREAT SCRIPT, AND CAST JUST A COUPLE PEOPLE WRONG, 333 00:18:58,338 --> 00:19:00,571 OR ONE PERSON WRONG, AND THE WHOLE THING WILL FALL APART. 334 00:19:00,573 --> 00:19:02,540 AND, YOU KNOW, THAT KIND OF WAS THE CASE. 335 00:19:02,542 --> 00:19:04,809 I WAS LUCKY ENOUGH TO BE IN MOVIE CALLED "THE WILD LIFE," 336 00:19:04,811 --> 00:19:07,578 AND THEY WERE THINKING ABOUT ERIC STOLTZ, WHO WAS MY BOYFRIEND. 337 00:19:07,580 --> 00:19:09,247 -YOU'RE THE ONE WHO NEEDED YOUR FREEDOM. 338 00:19:09,249 --> 00:19:12,550 FOR YOU TO START GOING OUT WITH THE ENTIRE MALE RACE. 339 00:19:12,552 --> 00:19:16,420 -I MADE A DECISION THAT WAS BASED ON, UM, 340 00:19:16,422 --> 00:19:19,190 YOU KNOW, JUST THE DESIRE TO GET THE MOVIE MADE. 341 00:19:19,192 --> 00:19:21,325 AND I WAS GIVEN AN ULTIMATUM BY THE HEAD OF THE STUDIO 342 00:19:21,327 --> 00:19:24,595 THAT IF I DIDN'T START THE MOVIE ON A SPECIFIC DAY, THEY WEREN'T GONNA MAKE IT. 343 00:19:24,597 --> 00:19:27,198 [ZEMECKIS] MY FIRST CHOICE FOR THE PART WAS UNAVAILABLE 344 00:19:27,200 --> 00:19:28,799 BECAUSE HE WAS IN A TV SHOW. 345 00:19:28,801 --> 00:19:31,602 SO ERIC IS A REALLY GOOD ACTOR, 346 00:19:31,604 --> 00:19:33,871 AND I MADE THE DECISION TO PUT HIM IN THE MOVIE, 347 00:19:33,873 --> 00:19:37,208 BUT IT TURNED OUT THAT HIS INSTINCTS 348 00:19:37,210 --> 00:19:43,247 AND THE TYPE OF COMEDY THAT WE WERE DOING WASN'T REALLY GELLING. 349 00:19:43,249 --> 00:19:48,753 -IT BECAME CLEAR AS THE PICTURE PROGRESSED 350 00:19:48,755 --> 00:19:53,558 THAT THE HUMOR JUST WASN'T WORKING THE WAY IT SHOULD. 351 00:19:53,560 --> 00:19:58,196 IT IS SOMETHING TO RECAST AT THAT POINT. 352 00:19:58,198 --> 00:20:03,501 THIS WAS A TERRIFIC PICTURE, SHOULD BE, 353 00:20:03,503 --> 00:20:05,903 AND IT WASN'T COMING ALIVE. 354 00:20:05,905 --> 00:20:09,273 [CHRISTOPHER LLOYD] WHEN WE BROKE FOR DINNER AT, LIKE, 1:00 A.M., 355 00:20:09,275 --> 00:20:11,442 ALL THE SUITS WERE THERE AND EVERYTHING. 356 00:20:12,945 --> 00:20:15,746 BOB ZEMECKIS MADE AN ANNOUNCEMENT. 357 00:20:17,250 --> 00:20:22,687 GOD, IF I WAS AN ACTOR FOR SIX WEEKS ON SOMETHING, AND I GOT... 358 00:20:24,423 --> 00:20:26,891 YOU DON'T RECOVER FROM THAT. 359 00:20:26,893 --> 00:20:28,392 -I, UM... 360 00:20:29,828 --> 00:20:32,330 DIDN'T WANNA BELIEVE THAT IT WASN'T WORKING, 361 00:20:32,332 --> 00:20:34,365 SO THAT'S WHY I KEPT SHOOTING AND SHOOTING. 362 00:20:34,367 --> 00:20:36,000 I WAS KIND OF IN DENIAL ABOUT IT. 363 00:20:36,002 --> 00:20:38,703 AND I HAD TO ULTIMATELY ACCEPT THE TRUTH. 364 00:20:38,705 --> 00:20:40,905 IT WAS VERY PAINFUL FOR EVERYBODY. 365 00:20:40,907 --> 00:20:42,974 -THEY STARTED TO SHOOT THE MOVIE WITHOUT ME, 366 00:20:42,976 --> 00:20:44,942 AND I DIDN'T KNOW ANYTHING WENT ON. 367 00:20:44,944 --> 00:20:47,712 AND THEN GARY CALLED ME INTO HIS OFFICE ONE DAY AND SAID 368 00:20:47,714 --> 00:20:50,615 THAT THEY HAD APPROACHED ME ORIGINALLY, 369 00:20:50,617 --> 00:20:53,417 AND THEN THEY'D SHOT, AND THEY WEREN'T HAPPY WITH WHAT THEY HAD, 370 00:20:53,419 --> 00:20:55,486 AND WOULD I CONSIDER DOING IT NOW? 371 00:20:55,488 --> 00:20:57,321 HE THOUGHT I COULD DO IT. 372 00:20:57,323 --> 00:21:01,492 AS LONG AS I DID THE SHOW IN THE DAYTIME, AND THE MOVIE AT NIGHT. 373 00:21:01,494 --> 00:21:05,496 -THE MINUTE MICHAEL J. FOX WAS IN IT, 374 00:21:07,666 --> 00:21:10,635 IT WAS CLEAR A VERY GOOD DECISION HAD BEEN MADE, 375 00:21:10,637 --> 00:21:16,841 [GALE] LISTEN, I'LL TELL YOU EVERYBODY WOULD LOVE TO SEE THE ERIC STOLTZ FOOTAGE 376 00:21:16,843 --> 00:21:19,277 THAT WE DID NOT DESTROY. 377 00:21:19,279 --> 00:21:21,412 SOMEDAY, THAT FOOTAGE WILL BE RELEASED. 378 00:21:22,914 --> 00:21:24,782 SO WE CAN LOOK FORWARD TO THAT. 379 00:21:24,784 --> 00:21:28,686 -THEY WERE REALLY WELCOMING TO ME. THEY WERE REALLY GREAT. 380 00:21:28,688 --> 00:21:31,656 I MEAN, THERE WAS SOME CONCERN... 381 00:21:31,658 --> 00:21:34,558 THERE WERE PRACTICAL REALITIES... 382 00:21:34,560 --> 00:21:37,061 THERE WERE SCENES WHERE MY COVERAGE WAS SHOT, 383 00:21:37,063 --> 00:21:40,698 WHERE THE OTHER ACTORS ARE REACTING TO ERIC. 384 00:21:40,700 --> 00:21:43,934 THEY'D SHOT THE STUFF ALREADY, 385 00:21:43,936 --> 00:21:46,070 AND SO THEY WENT AND INSERTED MY COVERAGE INTO IT. 386 00:21:46,072 --> 00:21:49,840 SO IT'S REALLY STRANGE. I MEAN, IT'S... 387 00:21:49,842 --> 00:21:55,913 WE WOULD DO DAYS OF SHOOTING JUST ONE PIECE OF COVERAGE FROM PREVIOUSLY-FILMED SEQUENCES. 388 00:21:55,915 --> 00:21:58,049 SO, THAT WAS KIND OF STRANGE. 389 00:21:58,051 --> 00:22:03,521 BUT THEN VERY QUICKLY, IT BECAME JUST THE WAY IT WAS SUPPOSED TO BE. 390 00:22:03,523 --> 00:22:08,759 AND I DON'T MEAN THAT IN ANY DEROGATORY SENSE TOWARDS ERIC. 391 00:22:08,761 --> 00:22:11,595 JUST IN THE SENSE THAT WE HIT A RHYTHM THAT THEY WERE COMFORTABLE WITH, 392 00:22:11,597 --> 00:22:17,101 I WOULD WAKE UP AT 10:00 IN THE MORNING, AND GO TO "FAMILY TIES," 393 00:22:17,103 --> 00:22:21,639 THEN THEY'D PICK ME UP AFTER WORK AND TAKE ME OUT TO UNIVERSAL, 394 00:22:21,641 --> 00:22:23,774 AND I'D WORK THERE UNTIL LIKE 2:00, 3:00 IN THE MORNING, 395 00:22:23,776 --> 00:22:26,377 AND THEN I'D GO BACK AND CRAWL INTO BED. 396 00:22:28,014 --> 00:22:32,083 WHERE A TEAMSTER WAS COMING, TURNING ON THE SHOWER, WAKING ME UP, 397 00:22:32,085 --> 00:22:34,118 AND HUSTLING ME TOWARD THE SHOWER, 398 00:22:34,120 --> 00:22:36,354 AND GETTING ME IN THE CAR, 399 00:22:36,356 --> 00:22:40,024 AND I'D CATCH A NAP ON THE WAY INTO WORK. 400 00:22:40,026 --> 00:22:43,828 IT WAS PRETTY INCREDIBLE, BUT IT WAS, UM... 401 00:22:43,830 --> 00:22:46,597 YOU REALLY FELT LIKE YOU WERE DOING SOMETHING COOL. IT WAS REALLY ENERGIZING. 402 00:22:46,599 --> 00:22:49,834 ["POWER OF LOVE" PLAYING] 403 00:23:05,851 --> 00:23:07,618 -OKAY, THANK YOU. 404 00:23:07,620 --> 00:23:09,787 THANK YOU. THANK YOU VERY MUCH. 405 00:23:09,789 --> 00:23:11,455 HOLD IT, FELLAS. 406 00:23:11,457 --> 00:23:13,758 I'M AFRAID YOU'RE JUST TOO DARN LOUD. 407 00:23:13,760 --> 00:23:19,063 -I REMEMBER WE WERE CONTACTED BY STEVEN SPIELBERG, I THINK, FIRST. 408 00:23:19,065 --> 00:23:22,700 AND WE TOOK A MEETING, MY MANAGER BOB BROWN AND I, 409 00:23:22,702 --> 00:23:25,803 WITH THE TWO BOBS AND STEVEN. 410 00:23:25,805 --> 00:23:28,706 AND THEY SAID THEY'D JUST WRITTEN THIS FILM, 411 00:23:28,708 --> 00:23:34,979 AND THIS CHARACTER, MARTY MCFLY, HIS FAVORITE BAND WOULD BE HUEY LEWIS AND THE NEWS. 412 00:23:34,981 --> 00:23:37,848 SO, "HOW WOULD YOU LIKE TO WRITE A SONG FOR THE FILM?" 413 00:23:37,850 --> 00:23:42,953 I TOLD THEM I WAS FLATTERED, BUT I DIDN'T KNOW HOW TO WRITE FOR FILM NECESSARILY, 414 00:23:42,955 --> 00:23:47,758 AND I WASN'T TOO CHUFFED WITH THE IDEA OF WRITING A SONG CALLED "BACK TO THE FUTURE." 415 00:23:47,760 --> 00:23:52,496 "YOU DON'T HAVE TO CALL IT 'BACK TO THE FUTURE.' CALL IT WHATEVER YOU WANT." 416 00:23:52,498 --> 00:23:58,502 I SAID, "I'LL TELL YOU WHAT. WE'LL JUST GO OFF AND TRY AND WRITE SOMETHING, 417 00:23:58,504 --> 00:24:02,006 "AND WE'LL SEND YOU THE FIRST THING WE WRITE, SEND IT DOWN TO YOU?" 418 00:24:02,008 --> 00:24:04,041 I KNOW IT'S BEEN A FEW YEARS. 419 00:24:04,043 --> 00:24:05,943 I KNOW IT'S BEEN A FEW YEARS. 420 00:24:05,945 --> 00:24:08,045 BUT HOLLYWOOD FINALLY CALLED. 421 00:24:11,616 --> 00:24:13,884 THAT'S IT. YOUR FAVORITE GROUP IS IN THE MOVIE BUSINESS. 422 00:24:20,625 --> 00:24:21,792 -WHAT'S GOING ON IN THERE? 423 00:24:21,794 --> 00:24:23,027 -MUSIC. -WHAT KIND OF MUSIC? 424 00:24:23,029 --> 00:24:24,962 -DANCING. -ROCK AND ROLL. 425 00:24:24,964 --> 00:24:25,963 -HUEY. 426 00:24:25,965 --> 00:24:27,731 -THIS IS THE PLACE! 427 00:24:27,733 --> 00:24:30,968 -AND ALMOST THE FIRST THING WE WROTE WAS "POWER OF..." 428 00:24:30,970 --> 00:24:33,037 I REMEMBER IT AS BEING THE FIRST THING WE WROTE. 429 00:24:33,039 --> 00:24:35,039 BOB, I THINK, REMEMBERS IT DIFFERENTLY. 430 00:24:35,041 --> 00:24:37,708 BUT EITHER THE FIRST OR SECOND THING WE WROTE, 431 00:24:37,710 --> 00:24:38,843 SENT IT DOWN WAS "POWER OF LOVE." 432 00:24:38,845 --> 00:24:41,011 ["POWER OF LOVE" PLAYING] 433 00:24:51,556 --> 00:24:53,991 [HUEY LEWIS] I REALLY DIDN'T THINK IT WAS GONNA WORK IN THE FILM SO MUCH. 434 00:24:53,993 --> 00:24:56,060 'CAUSE IT'S TANGENTIAL. 435 00:24:56,062 --> 00:24:59,897 YOU KNOW, "POWER OF LOVE," WHAT DOES THAT HAVE TO DO WITH THE PLOT AT ALL? 436 00:24:59,899 --> 00:25:02,933 ¶ THE POWER OF LOVE IS A CURIOUS THING ¶ 437 00:25:02,935 --> 00:25:05,970 BUT IT TURNS OUT, THAT WORKS BETTER IN A WAY, YOU KNOW, 438 00:25:05,972 --> 00:25:08,939 THAN A SONG WRITTEN SPECIFICALLY FOR THE FILM. 439 00:25:08,941 --> 00:25:13,911 BOB ZEMECKIS CREDITS US WITH THE GREATEST ROLLOUT EVER, 440 00:25:14,112 --> 00:25:17,147 THEY RELEASED THE SONG, BEFORE THIS MOVIE CAME OUT. 441 00:25:17,149 --> 00:25:19,183 BECAUSE IT TOOK THAT LONG TO BUILD THE SONG. 442 00:25:19,185 --> 00:25:23,187 SO I THINK THE WEEK THAT THE FILM WAS RELEASED, 443 00:25:23,189 --> 00:25:25,155 "POWER OF LOVE" WAS ON TOP. 444 00:25:25,157 --> 00:25:29,527 SO THAT WAS A REAL HELP FOR THE FILM IN THIS COUNTRY. 445 00:25:29,529 --> 00:25:31,762 BUT THEN WHEN THE FILM BECAME SUCH A SMASH, 446 00:25:31,764 --> 00:25:33,297 AND THEN IT WENT INTERNATIONAL, 447 00:25:33,299 --> 00:25:36,066 THE FILM DROVE THE SONG INTERNATIONALLY. 448 00:25:36,068 --> 00:25:40,671 AND SO, FROM THEN ON, IT REALLY OPENED UP ALL KINDS OF DOORS FOR US INTERNATIONALLY. 449 00:25:40,673 --> 00:25:43,107 ["POWER OF LOVE" PLAYING] 450 00:25:47,579 --> 00:25:50,748 -¶ THE POWER OF LOVE IS A CURIOUS THING ¶ 451 00:25:50,750 --> 00:25:52,983 [MAN] WE WANTED TO TAKE PEOPLE BACK IN TIME, 452 00:25:52,985 --> 00:25:56,153 AND MUSIC IS REALLY THE ULTIMATE WAY TO DO THAT IN OUR OPINION. 453 00:25:56,155 --> 00:25:58,122 MUSIC IS A TIME MACHINE ITSELF, 454 00:25:58,124 --> 00:26:03,827 SO WE GET TO REALLY, LIKE, EXPLOIT THE WHOLE TIME-TRAVEL FUNCTION 455 00:26:03,829 --> 00:26:09,166 [MAN 2] I THINK THAT'S ONE OF THE MAIN INGREDIENTS OF WHY WE BLEW UP SO FAST, 456 00:26:09,168 --> 00:26:13,804 IS BECAUSE WE REALLY HIT THAT EMOTIONAL CHORD WITH PEOPLE, YOU KNOW. 457 00:26:13,806 --> 00:26:18,142 AND THAT'S ONE OF THE COMMON THEMES I SEE THROUGHOUT OUR SHOWS IS, 458 00:26:18,144 --> 00:26:20,277 YOU KNOW, WE HIT THAT EMOTION. 459 00:26:20,279 --> 00:26:23,213 AND HAVING THAT REFERENCE WITH "BACK TO THE FUTURE," 460 00:26:23,215 --> 00:26:25,649 "BACK TO THE FUTURE," THAT GETS THAT OUT OF EVERYBODY. 461 00:26:33,358 --> 00:26:34,959 [MAN 3] AFTER A LITTLE TIME WENT BY, 462 00:26:34,961 --> 00:26:37,194 WE STARTED GETTING INTO THE COSPLAY CIRCUIT 463 00:26:37,196 --> 00:26:42,633 FOR COMIC CONS, AND COMIKAZE, AND ALL THE CONVENTIONS THAT ARE GOING AROUND. 464 00:26:42,635 --> 00:26:44,768 WE DON'T CONSIDER OURSELVES COSPLAYERS BY ANY MEANS, 465 00:26:44,770 --> 00:26:47,204 BUT IT'S COOL TO BE A PART OF THAT WORLD. 466 00:26:47,206 --> 00:26:49,006 [MAN 1] WE DID IT FOR THE LOVE OF THE FILM. 467 00:26:49,008 --> 00:26:51,942 WE DIDN'T DO IT BECAUSE WE KNOW THERE WAS A WORLD OUT THERE 468 00:26:51,944 --> 00:26:54,244 WITH DELOREANS AND TIME MACHINES. 469 00:26:55,647 --> 00:26:59,316 WE WEREN'T AWARE OF HOW BIG THE "BACK TO THE FUTURE" UNIVERSE WAS. 470 00:26:59,318 --> 00:27:04,355 SO REALLY QUICKLY, WE STARTED BUMPING INTO TIME MACHINE OWNERS. 471 00:27:04,357 --> 00:27:07,157 AND THEN DON FULLILOVE CAME TO ONE OF OUR SHOWS, 472 00:27:07,159 --> 00:27:09,093 AND HE WAS DIGGING IT, MAYOR GOLDIE WILSON. 473 00:27:09,095 --> 00:27:12,129 AND THEN WE STARTED DOING THINGS WITH CLAUDIA WELLS. 474 00:27:12,131 --> 00:27:14,398 -LAST NIGHT, WE HAD A REHEARSAL, 475 00:27:14,400 --> 00:27:17,835 AND MAYOR GOLDIE WILSON STOPPED BY WITH BEEF JERKY 476 00:27:17,837 --> 00:27:21,905 AND JUST GAVE US BEEF JERKY THAT HE PICKED UP FROM A ROAD TRIP, 477 00:27:21,907 --> 00:27:24,141 AND HUNG OUT, LISTENED TO A COUPLE SONGS. 478 00:27:24,143 --> 00:27:29,413 AND IT'S JUST LIKE THAT'S SO COOL JUST TO HAVE THOSE OPPORTUNITIES. 479 00:27:29,415 --> 00:27:33,283 [MAN 1] SINCE WHAT WE PLAY AND WHAT WE REPRESENT MEANS SO MUCH 480 00:27:33,285 --> 00:27:35,786 TO JUST THE PUBLIC IN GENERAL, 481 00:27:37,722 --> 00:27:39,256 WE CAN DO THIS FOR YEARS TO COME. 482 00:27:39,258 --> 00:27:41,892 AND THAT'S ONE OF THE THINGS THAT WE LOOK FORWARD TO 483 00:27:41,894 --> 00:27:44,128 IS SORT OF GOING AROUND THE WORLD 484 00:27:44,130 --> 00:27:46,664 AND BRINGING PEOPLE BACK IN TIME. 485 00:27:51,336 --> 00:27:57,041 -I DO REMEMBER THE FIRST PREVIEW OF "BACK TO THE FUTURE." 486 00:27:57,043 --> 00:28:00,110 WE ALL GOT ON A PLANE AND WENT UP TO SAN JOSE. 487 00:28:00,112 --> 00:28:03,147 AND THOSE ARE USUALLY TERRIFYING, 488 00:28:03,149 --> 00:28:08,018 BECAUSE IT'S THE FIRST TIME YOU'RE GONNA SHOW THE FILM TO AN AUDIENCE, 489 00:28:08,020 --> 00:28:12,289 AND YOU REALLY DON'T KNOW WHAT'S GONNA HAPPEN. 490 00:28:12,291 --> 00:28:13,957 [MAN] MTV WAS JUST GETTING OFF THE GROUND, 491 00:28:13,959 --> 00:28:16,827 AND THE VJS, AND ALL THAT GOOD STUFF, TOM PETTY. 492 00:28:16,829 --> 00:28:22,966 AND THEY WERE TALKING ABOUT WIN THESE TICKETS TO A MOVIE, BLAH, BLAH, BLAH. 493 00:28:22,968 --> 00:28:26,437 SO I SUBMITTED MY NAME. I NEVER WIN ANYTHING, YOU KNOW. 494 00:28:26,439 --> 00:28:29,873 AND I WON THE TICKETS, NOT REALLY KNOWING... 495 00:28:29,875 --> 00:28:36,313 THERE WAS MAYBE SMOKE SIGNALS TELLING YOU, "HEY, GREAT MOVIE!" NO TWITTER, NOTHING. 496 00:28:36,315 --> 00:28:38,849 SO WE WERE SITTING THERE, AND THERE WERE THESE CROWDS OF PEOPLE. 497 00:28:38,851 --> 00:28:42,386 AND THERE'S NO PICTURES, NOTHING TELLING YOU WHAT THIS MOVIE IS ABOUT. 498 00:28:42,388 --> 00:28:45,889 -I'LL NEVER FORGET. THE LIGHTS CAME DOWN IN THIS THEATER. 499 00:28:45,891 --> 00:28:47,991 WE WERE ALL SITTING WAY IN THE BACK. 500 00:28:47,993 --> 00:28:51,195 AND ON THE SCREEN, 501 00:28:51,197 --> 00:28:54,798 IT SAYS, "STEVEN SPIELBERG PRESENTS." 502 00:28:54,800 --> 00:28:57,501 THE PLACE WENT CRAZY. 503 00:28:57,503 --> 00:29:00,137 AND THEN IT SAID, "A ROBERT ZEMECKIS FILM." 504 00:29:00,139 --> 00:29:02,406 THEY WENT CRAZY. 505 00:29:02,408 --> 00:29:04,341 -I WAS JUST LIKE THIS... 506 00:29:04,343 --> 00:29:08,746 THROUGHOUT THE WHOLE FILM. JUST LIKE TOTALLY JUST LOVING EVERY ASPECT. 507 00:29:08,748 --> 00:29:13,117 -I SAW THAT, I THINK, WITH "STAR WARS." 508 00:29:13,119 --> 00:29:16,053 I SAW THAT WITH "GHOSTBUSTERS." 509 00:29:16,055 --> 00:29:19,456 THERE'S NO ACCOUNTING FOR IT. 510 00:29:19,458 --> 00:29:22,326 -AFTER SEEING THE FILM, I WANTED TO BUY A DELOREAN. 511 00:29:22,328 --> 00:29:24,795 I MEAN, I BET YOU EVERYBODY DID. 512 00:29:24,797 --> 00:29:27,231 WELL, OBVIOUSLY, AT 18 YEARS OLD, 513 00:29:27,233 --> 00:29:29,233 WITH A COUPLE OF WAITER JOBS, PARKING CARS, 514 00:29:29,235 --> 00:29:30,467 I'M NOT GONNA BUY A DELOREAN. 515 00:29:32,270 --> 00:29:36,039 IT WAS ONE OF THOSE BUCKET LIST THINGS IN LIFE. 516 00:29:36,041 --> 00:29:39,543 IT'S ALMOST LIKE SOME PEOPLE WANT A ROLEX WATCH WHEN THEY TURNED A CERTAIN AGE 517 00:29:39,545 --> 00:29:43,847 WELL, YOU KNOW WHAT? I WANTED A DELOREAN TIME MACHINE. 518 00:29:43,849 --> 00:29:45,115 THAT'S NOT TOO MUCH TO ASK. 519 00:29:45,117 --> 00:29:46,083 AND I DID IT. 520 00:30:04,936 --> 00:30:09,006 [GALE] IN THE FIRST TWO DRAFTS, THE TIME MACHINE WAS NOT A DELOREAN AT ALL. 521 00:30:09,008 --> 00:30:11,208 IT WAS NOT IN A CAR. IT WAS NOT MOBILE. 522 00:30:11,210 --> 00:30:14,912 IT WAS A TIME RAY THAT SHOT INTO A TIME CHAMBER. 523 00:30:14,914 --> 00:30:17,014 AND IN THE CLIMAX 524 00:30:17,016 --> 00:30:20,851 THAT TOOK PLACE AT A NUCLEAR TEST SITE IN THOSE EARLY VERSIONS, 525 00:30:20,853 --> 00:30:25,055 THE TIME CHAMBER, DOC CONVERTED A REFRIGERATOR AND PUT LEAD LINING IN IT. 526 00:30:25,057 --> 00:30:28,425 AND MARTY WAS PROTECTED FROM THE NUCLEAR BLAST 527 00:30:28,427 --> 00:30:32,162 BY BEING INSIDE OF A TIME CHAMBER MADE OF AN OLD REFRIGERATOR. 528 00:30:32,164 --> 00:30:35,499 [WARNING SYSTEM] FOUR, THREE, 529 00:30:35,501 --> 00:30:39,369 TWO, ONE, ZERO. 530 00:30:39,371 --> 00:30:41,405 -THE ORIGINAL ENDING FOR THE FIRST MOVIE 531 00:30:41,407 --> 00:30:44,508 TURNED OUT TO BE "INDIANA JONES AND THE KINGDOM OF THE CRYSTAL SKULL." 532 00:30:44,510 --> 00:30:46,276 I DON'T KNOW IF YOU'RE FAMILIAR WITH THIS, 533 00:30:46,278 --> 00:30:48,178 BUT THE IDEA, THE NUKE THE FRIDGE THING, 534 00:30:48,180 --> 00:30:51,181 ACTUALLY CAME OUT OF AN EARLY DRAFT OF THE FIRST MOVIE. 535 00:30:51,183 --> 00:30:52,449 I DIDN'T KNOW THAT. 536 00:30:53,518 --> 00:30:54,952 THAT WAS A PRETTY BIG MOMENT FOR ME 537 00:30:54,954 --> 00:30:56,620 WHEN I WAS READING THE SCRIPT AND SAID, 538 00:30:56,622 --> 00:30:59,156 "HEY, WAIT A MINUTE. I'VE SEEN THIS BEFORE, 539 00:30:59,158 --> 00:31:00,924 "AND I DIDN'T LIKE IT." 540 00:31:00,926 --> 00:31:02,359 -WE STARTED THINKING ABOUT THIS AND THOUGHT, 541 00:31:02,361 --> 00:31:04,895 "WELL, IF YOU REALLY WERE GONNA BUILD A TIME MACHINE, 542 00:31:04,897 --> 00:31:07,130 "YOU WOULD BUILD IT IN A VEHICLE, 543 00:31:07,132 --> 00:31:09,499 "BECAUSE YOU'D HAVE TO BE ABLE TO GET AROUND." 544 00:31:09,501 --> 00:31:11,902 WE CAME UP WITH THE IDEA OF THE DELOREAN 545 00:31:11,904 --> 00:31:15,606 SIMPLY BECAUSE IT HAD GULL-WING DOORS, AND WE HAD THIS JOKE... 546 00:31:15,608 --> 00:31:18,642 -THAT AIN'T NO AIRPLANE. LOOK. 547 00:31:18,644 --> 00:31:21,545 [ZEMECKIS] IN THE '50S, WHEN THE KID IS IN THE FARMHOUSE, 548 00:31:21,547 --> 00:31:25,148 AND THEY GO IN THE BARN, AND HE THINKS IT'S A MARTIAN THAT LANDED. 549 00:31:25,150 --> 00:31:27,184 SO WE THOUGHT WHAT KIND OF A CAR LOOKS LIKE A SPACESHIP? 550 00:31:27,186 --> 00:31:29,119 WELL, A DELOREAN 'CAUSE OF THE GULL-WING DOORS. 551 00:31:30,889 --> 00:31:34,224 [ANDREW PROBERT] RON COMES ABOARD, A REALLY AMAZING GUY. 552 00:31:34,226 --> 00:31:37,361 GETS TO WORK, AND DESIGNS AN INITIAL VERSION OF THE CAR, 553 00:31:37,363 --> 00:31:40,597 AND THEN LEAVES TO GO DO ANOTHER SHOW. 554 00:31:40,599 --> 00:31:42,466 THE PRODUCERS LOOKED AT IT AND SAID, 555 00:31:42,468 --> 00:31:44,668 "YOU KNOW, WE LIKE WHAT RON'S DONE, 556 00:31:44,670 --> 00:31:46,336 "BUT CAN YOU TAKE IT ANOTHER STEP FURTHER?" 557 00:31:47,438 --> 00:31:50,007 SO, I WAS ABLE TO GET IN THERE 558 00:31:50,009 --> 00:31:54,544 AND TAKE HIS BASIC CAR, AND ADD A BUNCH OF STUFF TO IT, REARRANGE SOME THINGS, 559 00:31:54,546 --> 00:31:57,047 AND COME UP WITH A FINAL VERSION. 560 00:31:57,049 --> 00:32:00,684 -I HAD WORKED ON A TV SHOW THAT HAD BEEN PRETTY SUCCESSFUL. 561 00:32:00,686 --> 00:32:05,289 I HAD MADE A CAR... KIND OF A TALKING CAR FOR A TV SHOW. 562 00:32:05,291 --> 00:32:07,925 -WELCOME ABOARD THE KNIGHT TWO THOUSAND. 563 00:32:07,927 --> 00:32:10,394 -THANK YOU. WHAT'S ALL THIS? 564 00:32:10,396 --> 00:32:14,431 [MICHAEL SCHEFFE] "KNIGHT RIDER" WAS ONE OF THE BIGGEST-BUDGET THINGS 565 00:32:14,433 --> 00:32:18,969 AND WHAT I WOULD SKETCH WAS SOMETHING I KNEW I COULD BUILD, 566 00:32:18,971 --> 00:32:21,038 OR I KNEW SOMEONE COULD BUILD. 567 00:32:21,040 --> 00:32:24,474 -IF YOU'RE GONNA BUILD A TIME MACHINE INTO A CAR, WHY NOT DO IT WITH SOME STYLE? 568 00:32:24,476 --> 00:32:27,144 -I MEAN, THE WHOLE STORY OF JOHN DELOREAN 569 00:32:27,146 --> 00:32:31,348 IS SORT OF A CLASSIC, AMERICAN FOLKLORE STORY UNTO ITSELF, 570 00:32:31,350 --> 00:32:36,086 SO I THINK THAT TIES IN TO THE WHOLE DOC BROWN BEING AN AMERICAN INVENTOR. 571 00:32:36,088 --> 00:32:41,325 IT'S ALSO UNIQUE IN THE FACT THAT IT'S THE ONLY CAR THAT THE COMPANY PRODUCED. 572 00:32:41,327 --> 00:32:45,128 IF THEY WOULD HAVE LASTED LONGER AND PRODUCED OTHER MODELS CARS, 573 00:32:45,130 --> 00:32:48,732 MAYBE EVEN THE BUS, MAYBE EVEN THE SNOWPLOW, 574 00:32:48,734 --> 00:32:52,002 YOU WOULD SEE A LOT MORE OF THEM OUT HERE TODAY, AND IT WOULDN'T BE SO SPECIAL. 575 00:32:52,004 --> 00:32:56,540 [BILL SHEA] IF THE DELOREAN WAS STILL AROUND TODAY, EVEN THOUGH IT WAS IN THE MOVIE, 576 00:32:56,542 --> 00:32:59,443 I TRULY FEEL THAT IT WOULD NOT BE AS ICONIC, 577 00:32:59,445 --> 00:33:02,980 BECAUSE PEOPLE WOULD SAY, "IT'S JUST ANOTHER CAR." 578 00:33:02,982 --> 00:33:07,117 SO THE FACT THAT IT FAILED MADE IT SUCCESSFUL. 579 00:33:08,052 --> 00:33:13,657 THE FACT THAT IT FAILED MADE IT A PIECE OF MOVIE HISTORY AND AMERICAN HISTORY. 580 00:33:13,659 --> 00:33:15,425 [RON FERGUSON] OUT OF 9,000 MADE, 581 00:33:15,427 --> 00:33:18,662 IT'S NOW, WHAT, 33 YEARS SINCE THE LAST CAR WAS PRODUCED, 582 00:33:18,664 --> 00:33:21,698 AND OVER 6,500 ARE PROBABLY STILL AROUND. 583 00:33:21,700 --> 00:33:25,135 I MEAN, THE DAY AFTER THE LAST PINTO CAME OFF THE LINE, 584 00:33:25,137 --> 00:33:27,037 YOU DIDN'T SEE ANY OF THOSE ANYMORE. 585 00:33:27,039 --> 00:33:30,073 -I THOUGHT THEY BUILT THAT CAR JUST FOR THE MOVIE. 586 00:33:30,075 --> 00:33:32,309 I DIDN'T KNOW. I WASN'T A CAR GUY. 587 00:33:32,311 --> 00:33:35,545 YEARS LATER, I FOUND OUT IT WAS A REAL CAR, AND I WAS LIKE... 588 00:33:35,547 --> 00:33:40,417 "ONE OF THESE DAYS, I'M GONNA GET ONE OF THOSE CARS, 589 00:33:40,419 --> 00:33:43,286 "AND I'M GONNA TURN IT INTO A TIME MACHINE." 590 00:33:43,288 --> 00:33:47,024 -I'VE BEEN THINKING VERY SERIOUSLY ABOUT GETTING ONE. 591 00:33:47,026 --> 00:33:49,126 I'VE RIDDEN IN QUITE A FEW OF THEM. 592 00:33:56,234 --> 00:33:57,634 [MAN] THERE WE GO. THERE WE GO. 593 00:33:57,636 --> 00:33:59,369 [FULLILOVE] OH, YEAH. [MAN] I GOT DELOREAN. 594 00:33:59,371 --> 00:34:02,305 AND IT'S AN EAGLE. THAT'S AN EAGLE. 595 00:34:02,307 --> 00:34:04,074 -AN EAGLE? -THAT'S AN EAGLE. 596 00:34:04,076 --> 00:34:06,443 -HIS EXCITEMENT IS NOT THAT EXCITING TO ME. 597 00:34:06,445 --> 00:34:08,745 [MAN] MY YARD IS ALL DIRT, LIKE SAND. NOTHING WOULD GROW THERE. 598 00:34:08,747 --> 00:34:11,081 I TRIED EVERY GRASS WHEN I FIRST BOUGHT THE PLACE 15 YEARS AGO, 599 00:34:11,083 --> 00:34:15,619 I'M FROM OHIO. WE JUST MAKE DECKS. IT'S JUST WHAT WE DO. 600 00:34:15,621 --> 00:34:18,155 AND THEN I THOUGHT, "HEY, I'VE ALWAYS WANTED A LITTLE PUTTING GREEN." 601 00:34:18,157 --> 00:34:21,525 SO I JUST LAID DOWN SOME CEMENT, GOT THE ASTROTURF, YOU KNOW. 602 00:34:21,527 --> 00:34:24,628 AND I WAS LIKE, "WELL, I'LL JUST MAKE ANOTHER TEE BOX." 603 00:34:24,630 --> 00:34:27,230 AND I WAS DONE AT, LIKE, THREE HOLES, AND I LET IT GO. 604 00:34:27,232 --> 00:34:31,435 AND THEN I HAD TO MAKE ANOTHER DECK, AND THEN I WENT, "WELL, WE'LL MAKE IT SIX." 605 00:34:31,437 --> 00:34:34,504 YOU KNOW WHAT HAPPENS. YOU JUST EVENTUALLY GO, "I GOTTA HAVE NINE HOLES." 606 00:34:34,506 --> 00:34:37,107 I GOT SOME CHARITIES INVOLVED IN SOME EVENTS, 607 00:34:37,109 --> 00:34:38,642 AND ONCE I GOT CHARITIES INVOLVED, 608 00:34:38,644 --> 00:34:41,344 I WENT AND LOOKED FOR SOME CELEBRITIES THAT WERE CLOSE BY. 609 00:34:41,346 --> 00:34:44,648 AND CLAUDIA WELLS HAS A STORE REALLY CLOSE TO HERE. 610 00:34:44,650 --> 00:34:50,654 AND I SAID, "WOULDN'T IT BE COOL IF WE MADE, LIKE, A JENNIFER PARKER HOLE?" 611 00:34:50,656 --> 00:34:53,623 AND SHE WENT, "HMM," AND I SAID, "A 'BACK TO THE FUTURE' HOLE." 612 00:34:53,625 --> 00:34:55,792 AND SHE SAID, "OKAY, THAT WILL WORK." 613 00:34:55,794 --> 00:34:58,095 AND SO I THOUGHT, "AWESOME. 614 00:34:58,097 --> 00:35:01,398 "DO YOU KNOW ANYBODY ELSE IN THE MOVIE WHO COULD BE IN IT?" 615 00:35:01,400 --> 00:35:03,467 MAYOR GOLDIE WILSON, DON FULLILOVE. 616 00:35:03,469 --> 00:35:05,669 SO THEY CAME OUT, 617 00:35:05,671 --> 00:35:11,508 BECAME THIS MASSIVE EVENT WITH THEM CHRISTENING THE "BACK TO THE FUTURE" HOLE. 618 00:35:11,510 --> 00:35:13,543 -LADIES SHOULD GO FIRST. AM I RIGHT ABOUT THIS? 619 00:35:13,545 --> 00:35:15,512 -YES! -ABSOLUTELY. CHIVALRY IS NOT DEAD. 620 00:35:15,514 --> 00:35:17,314 -SO, YOU'RE RIGHT THERE. -OKAY, WHAT DO I DO? 621 00:35:17,316 --> 00:35:19,116 -YOU PUT THE BALL ON THE TEE. 622 00:35:19,118 --> 00:35:21,551 -SEE THE LITTLE HOLE RIGHT HERE BEHIND YOU? 623 00:35:21,553 --> 00:35:23,520 -OH, THIS IS GONNA BE A LONG GAME, EVERYBODY. 624 00:35:24,423 --> 00:35:28,692 -AND I JUST DID IT ALL JUST FOR THAT MOMENT, 625 00:35:28,694 --> 00:35:31,261 TO HELP WITH HER CHARITY, KIDS IN THE SPOTLIGHT. 626 00:35:31,263 --> 00:35:33,530 AND I SAID, "HEY, DO YOU KNOW ANYBODY WHO HAS A TIME MACHINE?" 627 00:35:33,532 --> 00:35:35,332 AND SHE SAID, "SURE." 628 00:35:35,334 --> 00:35:37,434 AND SHE FOUND A GUY, AND HE WAS GONNA BRING THE CAR UP, 629 00:35:37,436 --> 00:35:39,736 AND IT ENDS UP 630 00:35:39,738 --> 00:35:42,772 THAT HE WAS GONNA SELL HIS CAR RIGHT WHEN HE SAID HE WOULD DO IT. 631 00:35:42,774 --> 00:35:45,308 AND I GOT FREAKED OUT, SO I LOOKED INTO GETTING MY OWN. 632 00:35:45,310 --> 00:35:48,612 AND I BOUGHT A DELOREAN IN MEMPHIS, 633 00:35:48,614 --> 00:35:51,915 AND I SHIPPED IT TO A BUILDER. 634 00:35:51,917 --> 00:35:53,583 AND HE HAD SOME PRE-FABRICATED PARTS, 635 00:35:53,585 --> 00:35:59,890 THAT WERE BOUGHT IN BURBANK AT APEX HARDWARE WHERE THEY GOT A LOT OF THE ORIGINAL PARTS. 636 00:35:59,892 --> 00:36:03,527 AND GOT IT ALL DONE IN TIME FOR MEMORIAL DAY, 2014. 637 00:36:03,529 --> 00:36:06,863 IT'S BEEN CRAZY. AND WE'RE RAISING MONEY WITH EVERY TOURNAMENT WE DO. 638 00:36:06,865 --> 00:36:09,266 SO IT'S AWESOME. IT'S A WIN-WIN. 639 00:36:09,268 --> 00:36:13,703 -WHEN I CAME ON BOARD, THEY HAD A LOT OF THE CAR BEGUN. 640 00:36:13,705 --> 00:36:17,908 THEY GOT AS FAR, EVEN, AS MAKING SOME OF THOSE TIME CIRCUITS ON THE OUTSIDE. 641 00:36:17,910 --> 00:36:21,645 BUT ALL THE SAME, IT WAS GONNA TAKE SOME DETAIL SKETCHES 642 00:36:21,647 --> 00:36:23,847 ABOUT WHERE ALL THE LITTLE HEAT SEEKS GO, 643 00:36:23,849 --> 00:36:26,349 AND WHERE ARE WE GONNA PUT THESE TUBES AND PIPES, 644 00:36:26,351 --> 00:36:28,552 AND HOW DO THESE THINGS GET ARRANGED ON THE BACK? 645 00:36:28,554 --> 00:36:30,921 THESE ARE MADE AS MUCH FOR THE GUYS IN THE SHOP 646 00:36:30,923 --> 00:36:32,489 AS FOR THE GUYS IN THE ART DEPARTMENT. 647 00:36:32,491 --> 00:36:33,924 JUST SO IT STAYS ORGANIZED. 648 00:36:33,926 --> 00:36:35,492 AND THE THINGS WE'RE TALKING ABOUT, 649 00:36:35,494 --> 00:36:37,827 THEY END UP KIND OF WHERE WE'RE HOPING THEY'D BE. 650 00:36:37,829 --> 00:36:42,632 ON THE BACK OF THE DELOREAN, THERE'S A LITTLE PLUTONIUM DOOR THAT DR. BROWN OPENS 651 00:36:42,634 --> 00:36:45,802 TO LOAD IN THE PLUTONIUM HE'S GOT FROM THE TERRORISTS. 652 00:36:45,804 --> 00:36:51,274 WELL, THERE'S THIS LITTLE DOOR RIGHT IN THE MIDDLE OF THE DODGE HUBCAP, RIGHT? 653 00:36:51,276 --> 00:36:54,344 AND IT HAS TO UNSCREW, SO IT'S GOT KIND OF A BAYONET MOUNT. 654 00:36:54,346 --> 00:36:57,447 SO YOU TURN IT, AND THE LITTLE PINS INDEX WITH THESE SLOTS, 655 00:36:57,449 --> 00:36:58,682 AND THEN YOU CAN PULL IT OUT. 656 00:36:58,684 --> 00:37:04,788 SO HE COULD PUT THE LITTLE CONTAINER WITH THE PLUTONIUM INTO THE HOLDER HERE, 657 00:37:04,790 --> 00:37:08,258 AND THEN THE LITTLE TUBE WITH THE PLUTONIUM WOULD DROP OUT THE BOTTOM. 658 00:37:08,260 --> 00:37:10,560 [GALE] UNIVERSAL PUT US IN TOUCH WITH A PRODUCT PLACEMENT COMPANY. 659 00:37:10,562 --> 00:37:16,266 THEIR JOB WAS TO FIND PARTNERS WHOSE PRODUCTS WOULD BE PUT IN THE MOVIE 660 00:37:16,268 --> 00:37:18,969 IN EXCHANGE FOR SOME CASH. 661 00:37:18,971 --> 00:37:22,005 AND ONE DAY, THE PRODUCT PLACEMENT GUY 662 00:37:22,007 --> 00:37:25,742 AND AN EXEC FROM UNIVERSAL ARE IN MY OFFICE, AND THEY SAY, "BOB..." 663 00:37:25,744 --> 00:37:28,878 THEY SAID TO ME, "IF YOU CHANGE THE DELOREAN TO A FORD MUSTANG, 664 00:37:28,880 --> 00:37:31,448 "YOU'LL GET $75,000." 665 00:37:31,450 --> 00:37:33,516 AND I LOOKED THIS GUY STRAIGHT IN THE EYE, AND I SAID... 666 00:37:33,518 --> 00:37:36,620 "RICHARD, DOC BROWN DOESN'T DRIVE A [BEEP] MUSTANG." 667 00:37:50,801 --> 00:37:54,537 FOR A WHILE, THE DELOREAN WAS DISPLAYED PROMINENTLY 668 00:37:54,539 --> 00:37:56,406 AT THE FRONT OF THE UNIVERSAL TOUR. 669 00:37:56,408 --> 00:38:00,777 AND THEN, FOR WHATEVER REASON, THEY STUCK IT IN THE BACK SOMEWHERE. 670 00:38:00,779 --> 00:38:03,913 AND YOU COULD ONLY SEE IT WHEN THE TRAM DROVE PAST IT 671 00:38:03,915 --> 00:38:06,383 WITH A BUNCH OF OTHER PICTURE CARS. 672 00:38:06,385 --> 00:38:10,387 -WE WOULD SEE THE A-CAR ON THE BACKLOT AT UNIVERSAL STUDIOS, 673 00:38:10,389 --> 00:38:11,988 AND IT WAS SAD, YOU KNOW. 674 00:38:11,990 --> 00:38:15,892 HERE'S THIS ICONIC PIECE OF SO MANY PEOPLE'S CHILDHOODS 675 00:38:15,894 --> 00:38:17,694 JUST SITTING THERE FALLING APART AND ROTTING. 676 00:38:17,696 --> 00:38:20,730 [GALE] THE CAR WAS ON DISPLAY OUTSIDE, 677 00:38:20,732 --> 00:38:23,433 AND YOU COULD JUST WALK RIGHT UP TO IT 678 00:38:23,435 --> 00:38:25,869 AND TAKE A PIECE OFF OF THE BACK. 679 00:38:25,871 --> 00:38:29,306 AND PEOPLE WERE WALKING OFF WITH PIECES. IT WAS CRAZY. 680 00:38:29,308 --> 00:38:31,875 [JOE WALSER] I WAS AT UNIVERSAL STUDIOS WITH A BUDDY OF MINE, 681 00:38:31,877 --> 00:38:34,411 LOOKED AT THE CAR, AND I WAS LIKE, 682 00:38:34,413 --> 00:38:37,447 "DUDE, I COULD TOTALLY BUILD THIS. I COULD DO THIS." 683 00:38:37,449 --> 00:38:39,816 AND MY BUDDY WAS LIKE, "LET'S DO IT!" 684 00:38:39,818 --> 00:38:42,519 AND I WAS LIKE, "ALL RIGHT, DON'T MESS WITH ME, 685 00:38:42,521 --> 00:38:45,622 "'CAUSE I'LL DO IT." 686 00:38:45,624 --> 00:38:51,728 AND STARTED TO RESEARCH WHAT IT MEANT TO BUILD A TIME MACHINE. 687 00:38:51,730 --> 00:38:53,930 IT TOOK FOUR YEARS TO BUILD MY CAR. 688 00:38:53,932 --> 00:38:57,033 AND I BECAME KNOWN PRETTY QUICK 689 00:38:57,035 --> 00:39:01,004 FOR BEING THE GUY THAT WAS TRULY OBSESSED WITH NAILING IT. 690 00:39:01,006 --> 00:39:06,976 -I HAD MET A LOT OF PEOPLE WHO WERE IN THE DELOREAN CULT, IF YOU WILL. 691 00:39:08,045 --> 00:39:10,413 THE DELOREAN FAN BASE. 692 00:39:10,415 --> 00:39:12,749 AND THERE WERE A COUPLE GUYS IN L.A., 693 00:39:12,751 --> 00:39:16,486 JOE WALSER AND TERRY MATALAS, IN PARTICULAR, 694 00:39:16,488 --> 00:39:19,055 WHO HAD THEIR OWN DELOREANS 695 00:39:19,057 --> 00:39:21,591 THAT THEY HAD TURNED INTO "BACK TO THE FUTURE" DELOREANS. 696 00:39:21,593 --> 00:39:24,794 [WALSER] I THINK BOB WAS RIGHTFULLY DISAPPOINTED 697 00:39:24,796 --> 00:39:27,497 IN THE CONDITION OF THE A-CAR 698 00:39:28,499 --> 00:39:31,101 AND SAID, "SOMETHING HAS GOTTA BE DONE ABOUT THIS." 699 00:39:31,103 --> 00:39:34,604 -THE GUY AT THE BACKLOT ON THE TOUR, FRED DIEDRICH, 700 00:39:35,806 --> 00:39:39,976 HE HAD US COME UP, AND WE BROUGHT TERRY'S CAR UP THERE, 701 00:39:39,978 --> 00:39:43,446 AND SHOWED HIM WHAT IT COULD REALLY LOOK LIKE. 702 00:39:43,448 --> 00:39:49,919 WE WENT TO THEM AND SAID, "LOOK, THE DELOREAN SHOULDN'T LOOK LIKE THIS. 703 00:39:49,921 --> 00:39:52,756 "THIS IS A PART OF UNIVERSAL'S FILM HISTORY. 704 00:39:52,758 --> 00:39:57,026 "AND IF YOU GUYS DON'T WANNA RESTORE IT, THAT'S OKAY. 705 00:39:57,028 --> 00:40:01,030 "WE'LL GET THE SMITHSONIAN TO DO IT, OR THE PETERSEN CAR MUSEUM. 706 00:40:01,032 --> 00:40:03,600 "THERE'S A LOT OF PLACES THAT WOULD STEP UP." 707 00:40:03,602 --> 00:40:05,902 AND SCOTT SAID, "NO, NO, NO, WE'LL DO IT. WE'LL DO IT." 708 00:40:08,839 --> 00:40:10,573 [WALSER] FOR ME, IT WAS ALL ABOUT ACCURACY. 709 00:40:10,575 --> 00:40:13,777 I WAS LIKE, "I'M NOT TRYING TO BUILD A TIME MACHINE." 710 00:40:13,779 --> 00:40:16,746 I WASN'T TRYING TO BUILD JOE'S TIME MACHINE. 711 00:40:16,748 --> 00:40:19,149 I WAS TRYING TO BUILD THE TIME MACHINE. 712 00:40:19,151 --> 00:40:25,955 THE DETAILS ARE AS IMPORTANT TO ME AS THE FACT THAT IT'S A DELOREAN. 713 00:40:25,957 --> 00:40:28,591 I'M LIKE, "YOU'RE GONNA SKIMP ON THE DETAILS, 714 00:40:28,593 --> 00:40:30,627 "WHY DON'T YOU USE A FIERO OR SOMETHING?" 715 00:40:30,629 --> 00:40:33,596 -IF I COULD TELL MYSELF WHEN I WAS A LITTLE KID WATCHING THAT MOVIE 716 00:40:33,598 --> 00:40:37,133 THAT SOMEDAY I'D BE WORKING ON THAT CAR, I'D BE LIKE, "YOU'RE CRAZY." 717 00:40:37,135 --> 00:40:40,570 SO YOU KNOW, IT'S JUST AWESOME. IT'S THE FULFILLMENT OF A DREAM. 718 00:40:40,572 --> 00:40:46,976 -HE LET ME DO SOME WORK ON THE 88-MILE-AN-HOUR SPEEDOMETER BOX. 719 00:40:46,978 --> 00:40:49,145 AND THEN AFTER WE DID THAT, 720 00:40:49,147 --> 00:40:51,181 HE'S LIKE, "YOU'RE GONNA HELP ME BUILD THE FLUX BANDS 721 00:40:51,183 --> 00:40:54,017 "AND PUT THE FLUX CAPACITOR BACK TOGETHER." 722 00:40:54,019 --> 00:40:55,885 SO I THINK THAT WAS WHEN I HAD KNOWN 723 00:40:55,887 --> 00:40:59,622 THAT I MUST HAVE PROVED MYSELF TO JOE AND SOME OF THE OTHER MEMBERS. 724 00:40:59,624 --> 00:41:02,058 IT WAS AN HONOR TO BE ABLE TO PUT BACK TOGETHER THE FLUX CAPACITOR. 725 00:41:02,060 --> 00:41:04,594 -THERE WERE SOME TIMES WHEN EVEN BOB GALE SAID, 726 00:41:04,596 --> 00:41:08,131 "THIS IS ACTUALLY BETTER THAN THE CAR WHEN WE FIRST GOT IT." 727 00:41:08,133 --> 00:41:10,667 AND THAT'S JUST... YOU'RE LIKE, "HOLY CRAP! OKAY." 728 00:41:10,669 --> 00:41:13,603 THE GUYS THAT HELPED US, TOO, THE UNIVERSAL STAFF, 729 00:41:13,605 --> 00:41:15,972 THEY WERE ALWAYS REALLY EAGER TO HELP, TOO. 730 00:41:15,974 --> 00:41:18,575 YOU COULD TELL THAT THEY WERE INTERESTED, TOO. 731 00:41:18,577 --> 00:41:22,645 AND THESE ARE GUYS THAT YOU WOULD THINK NOTHING REALLY FAZES THEM. 732 00:41:22,647 --> 00:41:25,048 YOU KNOW, THEY GOT E.T.'S HEAD SITTING IN THE CORNER, 733 00:41:25,050 --> 00:41:26,716 AND IT'S LIKE, "OH, NO BIG DEAL. E.T.'S HEAD." 734 00:41:26,718 --> 00:41:30,186 EVEN THESE GUYS THAT WORK ON PROPS DAY BY DAY, 735 00:41:30,188 --> 00:41:33,957 YOU KNOW, THIS WAS STILL LIKE A HOLY GRAIL FOR THEM, TOO. 736 00:41:33,959 --> 00:41:40,697 -ONE OF THE COOLEST THINGS I'VE DONE SINCE THE RESTORATION IS JUST GO HANG OUT BY THE CAR, 737 00:41:40,699 --> 00:41:42,932 JUST LISTEN TO PEOPLE'S REACTIONS. 738 00:41:42,934 --> 00:41:45,935 [ED HILLARY] IT'S SO GREAT SEEING SOMEBODY WITH THEIR KIDS, 739 00:41:45,937 --> 00:41:48,972 EXPLAINING WHAT THIS IS THAT THEY'RE LOOKING AT. 740 00:41:48,974 --> 00:41:53,576 THE KIDS ARE LIKE, "YEAH, OKAY," BUT YOU KNOW THAT THE DADS ARE JUST, LIKE, FLIPPING OUT. 741 00:41:53,578 --> 00:41:57,247 THE CAR IS ONE OF THE STARS OF THE MOVIE, 742 00:41:57,249 --> 00:42:00,583 AND HERE YOU ARE, LIKE, 12 INCHES FROM IT, YOU KNOW. 743 00:42:00,585 --> 00:42:04,254 I MEAN, IT WOULD BE LIKE BEING 12 INCHES AWAY FROM MICHAEL J. FOX. 744 00:42:04,256 --> 00:42:07,123 YOU KNOW, IT'S A CELEBRITY IN ITS OWN RIGHT. 745 00:42:07,125 --> 00:42:09,158 -WE DIDN'T HALF-ASS ANYTHING. 746 00:42:09,160 --> 00:42:13,663 I MEAN, WE WORKED REALLY HARD TO NAIL IT, 747 00:42:13,665 --> 00:42:16,232 TO NAIL EVERY SINGLE PIECE ON THE CAR, 748 00:42:16,234 --> 00:42:22,038 SO THAT EVERYBODY COULD GET TO SEE IT THE WAY THAT IT WAS MEANT TO LOOK. 749 00:42:29,947 --> 00:42:33,650 -MY NAME IS BILL SHEA, AND I LIVE IN CENTRAL MASSACHUSETTS, 750 00:42:33,652 --> 00:42:36,686 AND YOU MIGHT CALL ME A "BACK TO THE FUTURE" FANATIC. 751 00:42:36,688 --> 00:42:38,721 [PATRICK SHEA] MY FATHER, BILL, AND I 752 00:42:38,723 --> 00:42:43,059 ARE THE LUCKY OWNERS OF THE "BACK TO THE FUTURE III" DELOREAN 753 00:42:43,061 --> 00:42:46,596 AND THE "BACK TO THE FUTURE II AND III" TOYOTA PICKUP. 754 00:42:48,332 --> 00:42:52,869 THE PINNACLE MOMENT FOR ME WAS WHEN THE RAMPS CAME DOWN, 755 00:42:52,871 --> 00:42:55,171 AND THAT DELOREAN CAME OUT OF THAT TRUCK. 756 00:42:55,173 --> 00:42:56,973 AND YOU SAW HER FOR THE FIRST TIME 757 00:42:56,975 --> 00:42:59,042 WITH THE SMOKE, AND ALL THE NOISE, AND EVERYTHING LIKE THAT. 758 00:42:59,044 --> 00:43:02,812 AND HE ROLLED IT OFF, AND THEY HAD THE SOUND EFFECTS OF THE EXHAUST AND EVERYTHING. 759 00:43:06,083 --> 00:43:09,085 -ALL OF MY LIFE, I'VE BEEN INVOLVED IN COLLECTIBLES, 760 00:43:09,087 --> 00:43:13,823 WHETHER THEY BE COMIC BOOKS, OR COINS, OR MILITARY ANTIQUES. 761 00:43:13,825 --> 00:43:16,326 THAT'S BEEN ABSOLUTELY PART OF MY LIFE, 762 00:43:16,328 --> 00:43:18,127 AND A VERY ENJOYABLE PART OF MY LIFE, 763 00:43:18,129 --> 00:43:20,663 AND SOMETHING THAT I MAKE A LIVING AT, 764 00:43:20,665 --> 00:43:22,365 AND HAD THE OPPORTUNITY TO EMPLOY MY FAMILY. 765 00:43:22,367 --> 00:43:25,234 -YOU KNOW, MARTY, YOU LOOK SO FAMILIAR TO ME. 766 00:43:25,236 --> 00:43:26,703 DO I KNOW YOUR MOTHER? 767 00:43:28,173 --> 00:43:33,009 [PATRICK SHEA] MY MOTHER WORKS FULL-TIME FOR MY FATHER, AS DO I. 768 00:43:33,011 --> 00:43:36,079 AND MOST RECENTLY, MY DAUGHTER HAS COME ON BOARD, AND SHE NOW WORKS FULL-TIME. 769 00:43:36,081 --> 00:43:40,683 SO THE DAUGHTER, THE GRANDKIDS, THE SON-IN-LAW, THE MOTHER, THE FATHER, THE WHOLE FAMILY... 770 00:43:40,685 --> 00:43:43,386 IT'S A WONDERFUL EXPERIENCE. I'M VERY, VERY FORTUNATE. 771 00:43:43,388 --> 00:43:48,157 -MY SON, PATRICK, WHO IS VERY MUCH INVOLVED IN EVERYTHING I DO, 772 00:43:48,159 --> 00:43:50,026 INCLUDING THE CARS, 773 00:43:50,028 --> 00:43:53,896 AND WITHOUT WHOM, I WOULDN'T DO THIS, BECAUSE HE'S A REAL MECHANIC. 774 00:43:53,898 --> 00:43:55,932 I'M IRISH. HE HAS MORE PATIENCE THAN I. 775 00:43:55,934 --> 00:43:58,735 I THINK HE'S INHERITED HIS MOTHER'S PATIENCE AND THE LIKE. 776 00:43:58,737 --> 00:44:00,036 -READY. 777 00:44:03,874 --> 00:44:05,908 -THAT'S RUNNING PERFECT NOW, BILL. 778 00:44:05,910 --> 00:44:10,647 -THIS IS THE HOME OF THE REBIRTH OF THE BEAUTIFUL TRUCK YOU SEE BEHIND ME, 779 00:44:10,649 --> 00:44:16,352 MARTY'S 1985 TOYOTA XTRA CAB SR5 4X4. 780 00:44:17,855 --> 00:44:19,989 -CHECK OUT THAT 4X4. 781 00:44:19,991 --> 00:44:21,324 THAT IS HOT. 782 00:44:21,326 --> 00:44:23,426 -THE TRUCK THAT WAS USED IN PART ONE 783 00:44:23,428 --> 00:44:27,263 WAS A CONTEST. THEY GAVE IT WAY. 784 00:44:27,265 --> 00:44:29,365 THE STORY GOES IT WAS DESTROYED. 785 00:44:29,367 --> 00:44:31,334 I DON'T KNOW FOR SURE, SO I CAN'T REALLY SAY. 786 00:44:31,336 --> 00:44:34,804 BUT THEY NEEDED A TRUCK TO DO PART TWO AND PART THREE 787 00:44:34,806 --> 00:44:38,007 THAT WAS EXACTLY LIKE THE TRUCK FROM PART ONE. 788 00:44:38,009 --> 00:44:41,244 SO THEY CONTACTED THIS MOVIE RENTAL COMPANY. 789 00:44:49,153 --> 00:44:53,790 AFTER THAT, IT WENT BACK TO ITS NORMAL LIFE AS A MOVIE STUDIO RENTAL VEHICLE. 790 00:44:53,792 --> 00:44:56,693 [MAN] IT'S LIKE A CELEBRITY BEING IN THE GARAGE ALL THE TIME. 791 00:44:57,828 --> 00:45:00,830 EXTRA CARE IS TAKEN EVERY STEP OF THE WAY. 792 00:45:00,832 --> 00:45:05,868 IT'S REALLY SPECIAL TO BE PART OF SOMETHING THIS UNIQUE. 793 00:45:05,870 --> 00:45:07,470 YOU KNOW, IT'S ONCE-IN-A-LIFETIME. 794 00:45:13,243 --> 00:45:16,412 [BILL SHEA] THE PART THREE CAR HAPPENS TO BE 795 00:45:16,414 --> 00:45:20,450 THE ONE AND ONLY SCREEN-USED DELOREAN 796 00:45:20,452 --> 00:45:23,920 THAT WILL EVER BE IN PRIVATE HANDS. 797 00:45:23,922 --> 00:45:26,889 ACCORDING TO MOST IN THE CONSENSUS, 798 00:45:26,891 --> 00:45:30,793 THERE WERE SEVEN DELOREANS THAT WERE USED IN THE THREE MOVIES, 799 00:45:30,795 --> 00:45:33,262 AND THREE OF THEM STILL EXIST. 800 00:45:33,264 --> 00:45:36,199 ONE IS IN UNIVERSAL STUDIOS IN HOLLYWOOD. 801 00:45:36,201 --> 00:45:39,235 THE OTHER IS IN UNIVERSAL STUDIOS IN FLORIDA. 802 00:45:39,237 --> 00:45:42,939 AND OF COURSE, ONE IS SITTING RIGHT BEHIND US HERE. 803 00:45:42,941 --> 00:45:46,442 WHEN ALL WAS SAID AND DONE, AND THE HAMMER WAS KNOCKED DOWN, 804 00:45:46,444 --> 00:45:51,814 INCLUDING THE COMMISSION CHARGES, IT WAS AROUND $528,000. 805 00:45:51,816 --> 00:45:55,852 AND OF COURSE, WE HAD BOUGHT A FEW OTHER THINGS AT THAT AUCTION ALREADY. 806 00:45:55,854 --> 00:45:58,821 WE HAD PURCHASED SOME ACTUAL PROPS FROM THE MOVIE. 807 00:45:58,823 --> 00:46:01,457 SO I WAS WARMED UP, LET'S PUT IT THAT WAY. 808 00:46:01,459 --> 00:46:05,294 AND I WORK HARD, I STAY STRAIGHT, AND I FELT THAT... 809 00:46:05,296 --> 00:46:08,064 GUESS WHAT, I REALLY FEEL I MADE A GOOD INVESTMENT. 810 00:46:08,066 --> 00:46:09,198 -SHOOT. 811 00:46:13,237 --> 00:46:15,071 [PATRICK SHEA] MY FATHER MENTIONED THAT 812 00:46:15,073 --> 00:46:19,509 FOR HIM TO TAKE ALL OF HIS TOYS WITH HIM, THAT'S WHAT HE'D ENJOY. 813 00:46:19,511 --> 00:46:22,945 BUT I DON'T THINK HE WANTS THAT. I THINK HE WANTS EVERYBODY IN THE FAMILY TO ENJOY IT. 814 00:46:22,947 --> 00:46:27,250 BETWEEN ME, MY DAUGHTER, MY SON, MY GRANDKIDS, MY FAMILY, 815 00:46:27,252 --> 00:46:34,490 -I HAVE FOUND THAT "BACK TO THE FUTURE" IS UNQUESTIONABLY A FAMILY AFFAIR. 816 00:46:34,492 --> 00:46:37,994 WHEN YOU SEE PEOPLE COME UP TO THE CAR, 817 00:46:37,996 --> 00:46:43,566 THEY'RE WITH THEIR WIFE, THEY'RE WITH THEIR CHILDREN, AND EVERYBODY GETS INVOLVED, 818 00:46:43,568 --> 00:46:47,370 AND THEIR KIDS ARE JUST AS EXCITED ABOUT IT AS THE PARENTS ARE. 819 00:46:47,372 --> 00:46:52,542 SO ONCE AGAIN, IT TRANSCENDS THE GENERATIONS, AND THAT'LL NEVER CHANGE. 820 00:46:52,544 --> 00:46:55,111 [INSTRUMENTAL VERSION OF "POWER OF LOVE" PLAYING] 821 00:47:03,387 --> 00:47:04,387 -THANK YOU SO MUCH. 822 00:47:10,561 --> 00:47:13,596 [PROBERT] THERE ARE CAR SHOWS AROUND THE COUNTRY, 823 00:47:13,598 --> 00:47:15,598 AND THE DELOREAN CAR SHOW IS ONE OF THEM, 824 00:47:15,600 --> 00:47:18,901 AND IT HAS A LOT OF ENTHUSIASTIC MEMBERS. 825 00:47:18,903 --> 00:47:21,838 [WOMAN] I LOVE THE DELOREAN COMMUNITY. 826 00:47:21,840 --> 00:47:28,377 IT WAS INCREDIBLE HOW EVERYONE WAS SO FRIENDLY, AND SO INTO IT, AND ALL THE THINGS THEY DO. 827 00:47:28,379 --> 00:47:31,314 I JUST LOVE THAT WE COULD BE A PART OF SOMETHING LIKE THAT. 828 00:47:31,316 --> 00:47:34,984 WITH SOMETHING THAT'S SO CLOSE TO US THAT BROUGHT US TOGETHER. 829 00:47:34,986 --> 00:47:36,185 IT'S INCREDIBLE. 830 00:47:54,538 --> 00:47:56,372 -THE WONDERFUL THING ABOUT THIS SHOW 831 00:47:56,374 --> 00:47:59,609 IS THAT SO MANY THINGS AMAZING HAVE HAPPENED. 832 00:47:59,611 --> 00:48:04,947 BUT TODAY, YOU GET TO HAVE SOMETHING THAT'S GOING TO BE EVEN MORE AMAZING. 833 00:48:04,949 --> 00:48:07,950 THERE'S A YOUNG MAN HERE THAT I'M LOOKING FOR. 834 00:48:07,952 --> 00:48:10,553 HIS NAME IS NICK. NICK? OH, NICK! 835 00:48:11,555 --> 00:48:16,325 NICK WOULD LIKE TO TAKE A MOMENT WITH ALL OF YOU HERE. 836 00:48:16,327 --> 00:48:20,496 -EVERYBODY IS INCREDIBLY FRIENDLY, AND INCREDIBLY HELPFUL, 837 00:48:20,498 --> 00:48:22,565 AND VERY MOTIVATIONAL. 838 00:48:22,567 --> 00:48:25,568 THEY DON'T TRY TO BRING YOU DOWN, YOU KNOW. 839 00:48:25,570 --> 00:48:30,339 YOU'RE GONNA BRING A BEAT-DOWN CAR TO A CAR SHOW, YOU'RE GONNA GET RIPPED APART. 840 00:48:30,341 --> 00:48:33,242 QUITE THE OPPOSITE. WE GOT THERE, AND THEY PRAISED US. 841 00:48:33,244 --> 00:48:37,580 THEY WERE HAPPY TO SEE A CAR IN THE SHAPE IT WAS, 842 00:48:37,582 --> 00:48:40,049 'CAUSE, YOU KNOW, EVERYBODY HAS A COMPLETE CAR. 843 00:48:40,051 --> 00:48:44,287 HERE WE ARE WITH JUST A BODY TUB ON SOME WHEELS AND SOME WIRES HANGING OUT. 844 00:48:46,156 --> 00:48:48,157 IT'S NICE TO EXAMINE WHAT'S UNDERNEATH THE SKIN. 845 00:48:48,159 --> 00:48:50,593 THIS IS OUR FIRST DCS, ME AND MEGHAN. 846 00:48:50,595 --> 00:48:53,095 MEGHAN, PLEASE COME ON UP. 847 00:48:53,097 --> 00:48:54,563 COME ON. DON'T BE SHY. 848 00:48:54,565 --> 00:48:57,433 SHE'S VERY SHY. SO COME ON, MEGHAN. COME ON. 849 00:48:57,435 --> 00:48:59,235 [MEGHAN] I DIDN'T KNOW HE WAS PLANNING ANYTHING. 850 00:48:59,237 --> 00:49:02,071 I WAS JUST EXCITED TO GO SEE THE PLAY. 851 00:49:02,073 --> 00:49:04,240 SO IT WAS DEFINITELY A BIG SURPRISE TO ME. 852 00:49:04,242 --> 00:49:07,376 -MEGHAN, I LOVE YOU MORE THAN ANYTHING IN THE ENTIRE WORLD. 853 00:49:11,348 --> 00:49:13,282 IN FRONT OF EVERYBODY HERE... 854 00:49:13,284 --> 00:49:15,251 [CROWD LAUGHS] 855 00:49:16,420 --> 00:49:18,454 [FEMALE AUDIENCE MEMBER] GET ON YOUR KNEE. 856 00:49:29,199 --> 00:49:32,702 -WILL YOU JOIN ME IN THE FUTURE AND BE MY WIFE? 857 00:49:35,072 --> 00:49:36,505 WILL YOU MARRY ME? 858 00:49:37,708 --> 00:49:39,475 -OF COURSE. YES. 859 00:49:42,546 --> 00:49:45,314 [NICK] I DID NOT KNOW CHRISTOPHER LLOYD, BOB GALE, 860 00:49:45,316 --> 00:49:47,984 CLAUDIA WELLS, AND JEFFREY WEISSMAN 861 00:49:47,986 --> 00:49:49,518 WERE RIGHT THERE IN THE FRONT ROW. 862 00:49:49,520 --> 00:49:51,187 IT WAS JUST VERY OVERWHELMING. 863 00:49:52,123 --> 00:49:58,394 ¶ EARTH ANGEL, EARTH ANGEL PLEASE BE MINE ¶ 864 00:49:58,396 --> 00:50:05,001 ¶ MY DARLING DEAR LOVE YOU ALL THE TIME ¶ 865 00:50:05,003 --> 00:50:08,504 ¶ I'M JUST A FOOL ¶ 866 00:50:09,740 --> 00:50:16,278 ¶ A FOOL IN LOVE WITH YOU ¶ 867 00:50:24,588 --> 00:50:26,655 -THAT'S SO NICE. 868 00:50:28,358 --> 00:50:31,560 ["JOHNNY B. GOODE" PLAYING] [CAR TIRES SCREECHING] 869 00:50:37,134 --> 00:50:39,235 [SHAWN KERKHOFF] I GOT TO WORK ON A SHOW CALLED "AMERICAN DAD" 870 00:50:39,237 --> 00:50:42,204 WHERE AN EPISODE OF THE SHOW WAS CALLED "THE DELOREAN STORY-AN," 871 00:50:42,206 --> 00:50:45,441 WHICH WAS PARTIALLY INSPIRED BY ME GETTING MY OWN DELOREAN 872 00:50:45,443 --> 00:50:47,243 AND MY FANDOM OF "BACK TO THE FUTURE." 873 00:50:47,245 --> 00:50:50,179 -TAKE IT EASY OUT THERE, MR. SMITH, MR. KERKHOFF. 874 00:50:50,181 --> 00:50:52,782 I MEAN, WHAT KIND OF A RUSH COULD YOU TWO BE IN? 875 00:50:52,784 --> 00:50:54,617 YOU'RE IN TIME MACHINES. 876 00:50:54,619 --> 00:50:56,552 YOU GOT ALL THE TIME YOU NEED. 877 00:50:59,424 --> 00:51:02,191 -THEY LET ME HAVE THE HONOR OF BEING ANIMATED 878 00:51:02,193 --> 00:51:04,460 AND GET TO DO MY OWN VOICE IN THE SHOW. 879 00:51:04,462 --> 00:51:06,529 -HEY, THAT'S NOT YOUR DELOREAN. 880 00:51:06,531 --> 00:51:08,764 -OH, WHOOPS. MY MISTAKE. 881 00:51:10,401 --> 00:51:18,340 ARE CONNECTED TO THINGS I'VE DONE WITH THE CAR OR AS PART OF THE FANDOM. 882 00:51:18,342 --> 00:51:20,609 AND IT INSPIRED MY INTEREST IN SOUND. 883 00:51:20,611 --> 00:51:24,280 THE SOUNDS IN THE MOVIE WERE VERY IMPACTFUL AND VERY EFFECTIVE, 884 00:51:24,282 --> 00:51:27,683 AND MY INTEREST AND MY CAREER IN SOUND CAME FROM THAT. 885 00:51:27,685 --> 00:51:30,820 IT'S DEFINITELY INFLUENCED MY WORLD AS A WHOLE. 886 00:51:30,822 --> 00:51:32,588 AND IT'LL ALWAYS BE A POSITIVE THING. 887 00:51:32,590 --> 00:51:34,356 [MOANING] OH, YEAH. 888 00:51:34,358 --> 00:51:36,225 OH, YES. 889 00:51:36,227 --> 00:51:37,660 [KISSING] 890 00:51:44,134 --> 00:51:47,336 [MARCO PASQUA] I'D BE LYING IF I SAID IT WAS EASY GROWING UP WITH A DISABILITY. 891 00:51:47,338 --> 00:51:50,706 I ACTUALLY KIND OF CONNECTED A LITTLE BIT WITH GEORGE MCFLY. 892 00:51:50,708 --> 00:51:52,641 HE'S A GUY THAT WAS AN OUTCAST. 893 00:51:52,643 --> 00:51:55,444 HE HAD BIG DREAMS. HE HAD BIG GOALS 894 00:51:55,446 --> 00:51:59,849 OF BEING THIS PERSON THAT NO ONE ELSE THOUGHT THAT HE COULD BE. 895 00:52:01,751 --> 00:52:03,352 I HAVE CEREBRAL PALSY, 896 00:52:03,354 --> 00:52:06,522 AND IN MY CASE, IT'S CALLED SPASTIC TRIPLEGIA. 897 00:52:06,524 --> 00:52:08,724 THAT AFFECTS MY TWO LEGS AND MY RIGHT ARM. 898 00:52:08,726 --> 00:52:14,530 THE CONNECTION IN LIVING HERE IN THE AREA, ESSENTIALLY, WHERE MIKE GREW UP 899 00:52:14,532 --> 00:52:20,269 I MEAN, I KNOW SOME OF HIS FAMILY MEMBERS AND HIS NEPHEW JEFF. 900 00:52:20,271 --> 00:52:22,671 FOR ME TO BE ABLE TO GO OUT INTO THE WORLD 901 00:52:22,673 --> 00:52:24,640 AND KNOW THAT I'M ACTUALLY FROM THE SAME COMMUNITY, 902 00:52:24,642 --> 00:52:28,711 AND THAT HERE'S MIKE, A GUY FROM BURNABY, GROWING UP WITH HIS FAMILY, 903 00:52:28,713 --> 00:52:30,846 AND HE'S DONE SO MUCH FOR HIMSELF AND HIS FAMILY, 904 00:52:30,848 --> 00:52:33,716 AND WAS ABLE TO SORT OF GO OFF INTO HOLLYWOOD, 905 00:52:33,718 --> 00:52:36,218 AND FIND A NEW HOME IN NEW YORK. 906 00:52:36,220 --> 00:52:38,220 IF HE'S SHOWING THAT THAT WAS POSSIBLE FOR HIM, 907 00:52:38,222 --> 00:52:41,557 THEN I KNEW THAT FOR ME, AND WHAT I WANTED TO DO IN FOLLOWING MY PASSIONS, 908 00:52:41,559 --> 00:52:43,726 THEN IT WAS POSSIBLE FOR ME AS WELL. 909 00:52:44,728 --> 00:52:47,796 MY DAD WAS AN IMMIGRANT. HE CAME HERE FROM ITALY. 910 00:52:47,798 --> 00:52:49,832 AND I'VE SAID THIS IN MY PRESENTATIONS BEFORE, 911 00:52:49,834 --> 00:52:52,234 HE HAD HUGE DREAMS OF ME BEING A SOCCER STAR. 912 00:52:52,236 --> 00:52:54,303 WELL, OBVIOUSLY, BEING IN A CHAIR, 913 00:52:54,305 --> 00:52:56,205 I'M NOT GONNA NECESSARILY BE THE NEXT SOCCER STAR. 914 00:52:56,207 --> 00:52:59,475 BUT I WANTED TO SHOW HIM THAT THESE THINGS WERE POSSIBLE. 915 00:52:59,477 --> 00:53:01,410 SO INSTEAD OF GETTING INVOLVED IN ONE SPORT, 916 00:53:01,412 --> 00:53:03,879 I WENT AHEAD AND GOT INVOLVED IN FIVE SPORTS, 917 00:53:03,881 --> 00:53:07,249 WHEELCHAIR BASKETBALL, HORSEBACK RIDING, WEIGHT LIFTING, SWIMMING. 918 00:53:07,251 --> 00:53:12,655 AND I WAS ABLE TO GO ON TO COMPETE IN THE BC SUMMER AND WINTER GAMES 919 00:53:12,657 --> 00:53:14,223 FOR ATHLETES WITH DISABILITIES. 920 00:53:14,225 --> 00:53:17,860 AND I DID EARN 22 GOLD, 10 SILVER, 2 BRONZE MEDALS 921 00:53:17,862 --> 00:53:20,563 IN VARIOUS SPORTS THROUGHOUT THE TIME. 922 00:53:20,565 --> 00:53:22,865 AND I REMEMBER THINKING TO MYSELF, 923 00:53:22,867 --> 00:53:28,270 "WELL, I WASN'T ABLE TO DO IT IN THE TRADITIONAL FASHION, BUT I WAS ABLE TO DO IT." 924 00:53:28,272 --> 00:53:31,240 I WAS ALWAYS LOOKING FOR MOTIVATIONAL FIGURES, 925 00:53:31,242 --> 00:53:34,276 FIGURES THAT COULD PUSH ME THROUGH THE NEXT DAY, AND THE NEXT DAY, 926 00:53:34,278 --> 00:53:38,948 AND, OF COURSE, RIGHT AWAY, I CONNECTED WITH MICHAEL J. FOX 927 00:53:38,950 --> 00:53:41,550 AS FAR AS JUST A FIGURE THAT I COULD LOOK UP TO. 928 00:53:41,552 --> 00:53:44,920 I STARTED MY OWN SPEAKING BUSINESS TO HELP INSPIRE OTHER PEOPLE 929 00:53:44,922 --> 00:53:48,257 AND SHOW THEM THAT IF YOU CREATIVELY UTILIZE YOUR BEST ENERGY, 930 00:53:48,259 --> 00:53:51,527 IN YOUR OWN LIFE, WITH THE RIGHT PEOPLE AND THE RIGHT TEAM AROUND YOU, 931 00:53:51,529 --> 00:53:53,262 THEN ANYTHING IS REALLY POSSIBLE. 932 00:53:58,835 --> 00:54:02,972 [GALE] THE FANS ARE INSTRUMENTAL IN KEEPING "BACK TO THE FUTURE" ALIVE. 933 00:54:02,974 --> 00:54:05,407 [STEPHEN CLARK] PROBABLY IF MY WIFE HAD A TIME MACHINE, 934 00:54:05,409 --> 00:54:08,577 SHE PROBABLY WOULD HAVE STEERED ME AWAY FROM EVER SEEING IT. 935 00:54:08,579 --> 00:54:11,847 BUT IT WAS NOT UNTIL A YEAR LATER 936 00:54:11,849 --> 00:54:16,652 WHEN THE MOVIE CAME OUT ON VHS, ON HOME VIDEO FOR THE FIRST TIME, 937 00:54:16,654 --> 00:54:20,756 THAT I REALLY GOT INVOLVED, REALLY GOT MY GEEK SWITCH TURNED ON. 938 00:54:20,758 --> 00:54:23,859 -BTTF.COM, WHICH IS NOW BACKTOTHEFUTURE.COM, 939 00:54:23,861 --> 00:54:28,964 HAS BECOME THE GO-TO SITE FOR ALL INFORMATION ABOUT "BACK TO THE FUTURE." 940 00:54:28,966 --> 00:54:31,634 IT'S THE BEST PLACE TO FIND "BACK TO THE FUTURE" MERCHANDISE. 941 00:54:31,636 --> 00:54:35,304 STEPHEN HAS BECOME A GOOD FRIEND OVER THE YEARS. 942 00:54:35,306 --> 00:54:36,805 WE USE HIM NOW AS A CONSULTANT, 943 00:54:36,807 --> 00:54:39,808 BECAUSE HE'S GOT SUCH GREAT FAN INSIGHT. 944 00:54:39,810 --> 00:54:41,910 [CLARK] ONE OF THE OTHER THINGS THAT WE DO IS 945 00:54:41,912 --> 00:54:45,581 GET INVOLVED WITH THE LICENSEES OF OFFICIAL PRODUCT. 946 00:54:45,583 --> 00:54:50,819 WE'VE WORKED WITH MATTEL, AND LEGO, AND A LOT OF THE OTHER COMPANIES. 947 00:54:50,821 --> 00:54:52,655 I'VE WRITTEN A LOT OF THE MATERIAL 948 00:54:52,657 --> 00:54:55,324 THAT GOES ON THE BACK OF THE PACKAGING FOR PRODUCTS, 949 00:54:55,326 --> 00:54:57,626 THE BOOKLETS INSIDE THE PRODUCTS. 950 00:54:57,628 --> 00:55:00,596 AND KIND OF AUTHENTICATE THEIR EFFORTS. 951 00:55:00,598 --> 00:55:02,665 [GALE] AND HE DOES IT SO WELL 952 00:55:02,667 --> 00:55:06,602 THAT IT BECOMES THE PORTAL, THE SOURCE AUTHORITY, REALLY, 953 00:55:06,604 --> 00:55:08,937 FOR ALL NEWS ABOUT "BACK TO THE FUTURE." 954 00:55:08,939 --> 00:55:14,576 TO SUCH AN EXTENT THAT HE DOES THE JOB BETTER THAN THE STUDIO COULD DO, 955 00:55:14,578 --> 00:55:16,745 BECAUSE HE HAS THE PASSION FOR IT. 956 00:55:16,747 --> 00:55:19,014 -THERE'S A LOT OF BOOKS IN THE WORKS NOW 957 00:55:19,016 --> 00:55:22,685 THAT WE'RE ACTIVELY WORKING WITH THE BOOK AUTHORS ON. 958 00:55:22,687 --> 00:55:24,720 -CURRENTLY, I ACTUALLY HAVE A BOOK COMING OUT 959 00:55:24,722 --> 00:55:29,024 CALLED "THE BACK TO THE FUTURE ALMANAC 1985 - 2015," 960 00:55:29,026 --> 00:55:32,328 WHICH IS ABOUT ALL THE "BACK TO THE FUTURE" MEMORABILIA THAT'S BEEN MADE. 961 00:55:32,862 --> 00:55:35,331 [RICH HANDLEY] THE FIRST ONE IS THE LEXICON. 962 00:55:35,333 --> 00:55:38,667 INSIDE IS A BREAKDOWN OF EVERY PERSON, PLACE, OR THING. 963 00:55:38,669 --> 00:55:43,405 WHEN I SAY EVERY, I'M KIND OF ANALLY COMPULSIVE ABOUT THIS SORT OF THING. 964 00:55:43,407 --> 00:55:46,542 IF IT'S A LICENSE PLATE, AND I WAS ABLE TO READ IT. 965 00:55:46,544 --> 00:55:48,811 OR IF IT'S A LICENSE PLATE, AND I WASN'T ABLE TO READ IT 966 00:55:48,813 --> 00:55:50,679 UNTIL I SPENT A HALF AN HOUR STARING AT A SCREEN 967 00:55:50,681 --> 00:55:53,649 THAT HAD BEEN BLOWN UP SIX TIMES TOO MANY, IT'S IN THERE. 968 00:55:53,651 --> 00:55:56,552 EVERYTHING, BASICALLY, THAT APPEARS IN THE MOVIES, 969 00:55:56,554 --> 00:55:58,954 IN THE CARTOONS, IN THE COMIC BOOKS, 970 00:55:58,956 --> 00:56:01,490 THE VIDEO GAME FROM TELLTALE GAMES, 971 00:56:01,492 --> 00:56:06,528 THE COLLECTIBLE CARD GAME, THE OLD DRAFT SCRIPTS, WE MINED EVERYTHING WE COULD. 972 00:56:06,530 --> 00:56:10,666 -MY INTERACTION WITH FANS, I WORRY SOMETIMES FRUSTRATES THEM, 973 00:56:10,668 --> 00:56:12,868 BECAUSE THEY KNOW MORE ABOUT THE MOVIE THAN I DO. 974 00:56:12,870 --> 00:56:17,106 I MEAN, PEOPLE COME UP TO ME AND ASK ME QUESTIONS ABOUT FLUX CAPACITORS, 975 00:56:17,108 --> 00:56:21,677 AND I SAY, "I WAS JUST STANDING IN A PARKING LOT IN PUENTE HILLS 976 00:56:21,679 --> 00:56:22,911 "WITH FLAMES RUNNING BETWEEN MY LEGS. 977 00:56:22,913 --> 00:56:24,079 "I HAD NO IDEA WHAT WAS HAPPENING." 978 00:56:24,081 --> 00:56:26,415 -I STARTED OUT JUST AS A SUPERFAN. 979 00:56:26,417 --> 00:56:28,884 I WAS ONE OF THOSE GUYS THAT WAS LOOKING FOR INFORMATION. 980 00:56:28,886 --> 00:56:32,921 AND I KNOW THERE'S A LOT OF OTHER FOLKS OUT THERE LOOKING FOR THAT INFORMATION. 981 00:56:32,923 --> 00:56:35,657 AND WE'VE GOT A WORLD-WIDE AUDIENCE NOW. 982 00:56:36,559 --> 00:56:40,996 "BACK TO THE FUTURE" KNOWS NO BOUNDARIES WITHIN A CERTAIN COUNTRY. 983 00:56:40,998 --> 00:56:42,998 IT'S WORLD-WIDE. 984 00:56:56,045 --> 00:56:58,714 [FABIEN RIGGALL] SECRET CINEMA IS A FILM ORGANIZATION 985 00:56:58,716 --> 00:57:02,751 THAT ESSENTIALLY CREATES IMMERSIVE FILM EXPERIENCES 986 00:57:02,753 --> 00:57:06,655 WHERE THE AUDIENCE BECOME PART OF A STORY. 987 00:57:06,657 --> 00:57:09,758 FOR ME, "BACK TO THE FUTURE" IS ONE OF MY FAVORITE FILMS, 988 00:57:09,760 --> 00:57:14,530 AND IT REPRESENTS A SORT OF NOSTALGIA OF THIS INNOCENT TIME. 989 00:57:14,532 --> 00:57:19,134 AND THE 1955 PART OF "BACK TO THE FUTURE," I THINK REPRESENTS 990 00:57:19,136 --> 00:57:22,004 THIS KIND OF DREAM-LIKE TECHNICOLOR, 991 00:57:22,006 --> 00:57:26,508 WHICH I THINK HAS SUCH RESONANCE WITH WHAT WE'RE TRYING TO DO WITH SECRET CINEMA, 992 00:57:26,510 --> 00:57:28,577 WHICH IS THIS SENSE OF ROMANCE, 993 00:57:28,579 --> 00:57:32,181 THIS SENSE OF AMBITION, THIS SENSE THAT YOU CAN BE ANYONE YOU WANNA BE, 994 00:57:32,183 --> 00:57:37,719 [MAN] SECRET CINEMA IS ABOUT PEOPLE ENGAGING WITH A FILM IN A DIFFERENT WAY. 995 00:57:37,721 --> 00:57:39,621 EXPERIENCING IT, BEING PART OF THE CAST, 996 00:57:39,623 --> 00:57:43,225 FEELING A LITTLE BIT OF WHAT IT MUST HAVE FELT LIKE MAKING THAT MOVIE. 997 00:57:43,227 --> 00:57:46,028 AND THAT'S WHY EVERYBODY'S HERE. THAT'S WHY EVERYBODY LOVES IT. 998 00:57:46,030 --> 00:57:49,565 IT'S KIND OF THE SOCIAL MEDIA OF OLD MEDIA. 999 00:57:51,868 --> 00:57:55,604 [RIGGALL] WELL, WE WANTED TO BUILD THE TOWN OF HILL VALLEY. 1000 00:57:55,606 --> 00:57:58,140 FROM THE BEGINNING, IT WAS LIKE WE WANNA BUILD THE REAL TOWN OF HILL VALLEY, 1001 00:57:58,142 --> 00:58:00,809 ONE IN WHICH EVERY SINGLE SHOP IS REPLICATED. 1002 00:58:00,811 --> 00:58:03,912 AND YOU GO INTO THE SHOP, AND THERE IS A LITTLE WORLD INSIDE. 1003 00:58:03,914 --> 00:58:06,782 THERE IS ACTORS PLAYING THE ROLES OF THE SHOPKEEPERS. 1004 00:58:06,784 --> 00:58:08,951 THE AUDIENCE THEMSELVES WERE GIVEN CHARACTERS. 1005 00:58:08,953 --> 00:58:13,088 AND FOR US, THE IDEA OF IT 1006 00:58:13,090 --> 00:58:16,024 IS INSPIRED FROM THE "SANDMAN" MOMENT, 1007 00:58:16,026 --> 00:58:18,227 WHEN MARTY FIRST ARRIVES IN HILL VALLEY. 1008 00:58:18,229 --> 00:58:22,097 AND HE'S THROWN INTO THIS WORLD, AND HE HAS TO FIND HIS WAY. 1009 00:58:22,099 --> 00:58:25,267 [CLOCK TOWER BELL RINGING] 1010 00:58:30,707 --> 00:58:34,510 [RIGGALL] WE ACTUALLY BUILT A SMALL FARM WITH OVER 20 ANIMALS, 1011 00:58:34,512 --> 00:58:35,944 WHICH IS PEABODY'S FARM. 1012 00:58:35,946 --> 00:58:38,013 AND THE AUDIENCE ARRIVE THROUGH THE FARM 1013 00:58:38,015 --> 00:58:45,654 THEN THE SUBURBIA IS HAVING EACH DIFFERENT HOUSE FROM THE CHARACTERS IN THE FILM 1014 00:58:45,656 --> 00:58:48,690 FROM GEORGE MCFLY, TO BIFF TANNEN, ALL THE WAY THROUGH. 1015 00:58:48,692 --> 00:58:53,295 SO THAT THE AUDIENCE LITERALLY WERE TAKEN INTO THE WORLD. 1016 00:58:53,297 --> 00:58:56,532 -"BACK TO THE FUTURE" IS THE GREATEST '80S MOVIE EVER MADE. 1017 00:58:56,534 --> 00:58:58,700 -IT'S MY FAVORITE FILM EVER. -FAVORITE FILM EVER. 1018 00:58:58,702 --> 00:59:04,740 [RIGGALL] I THINK BECAUSE "BACK TO THE FUTURE" REPRESENTS SOMETHING IN PEOPLE'S HEARTS... 1019 00:59:06,309 --> 00:59:09,244 IT'S SOMETHING THAT REPRESENTS A SENSE OF AMBITION 1020 00:59:09,246 --> 00:59:11,680 AND A SENSE OF WANTING TO BE WHATEVER YOU WANT TO BE. 1021 00:59:11,682 --> 00:59:13,782 AND I THINK WHEN PEOPLE COME TO THIS SHOW, 1022 00:59:13,784 --> 00:59:16,151 WHY THEY WANNA COME IS THEY WANNA BE THAT CHARACTER. 1023 00:59:16,153 --> 00:59:17,653 THEY WANNA BE MARTY MCFLY. 1024 00:59:17,655 --> 00:59:19,154 THEY WANNA TRAVEL BACK TO THE FUTURE. 1025 00:59:19,156 --> 00:59:21,156 THEY WANNA FALL IN LOVE WITH THEIR MOTHER. I'M JOKING. 1026 00:59:21,158 --> 00:59:23,892 YOU KNOW, THEY WANNA HAVE AN ADVENTURE. 1027 00:59:28,998 --> 00:59:32,134 -WHAT'S THAT THING HE'S ON? -IT'S A BOARD WITH WHEELS. 1028 00:59:32,136 --> 00:59:37,739 [ADAM F. GOLDBERG] I REMEMBER MY MOM CAME BACK FROM THE MOVIE THEATER 1029 00:59:37,741 --> 00:59:41,310 AND SAID TO ME, "I JUST SAW THIS AMAZING MOVIE CALLED 'BACK TO THE FUTURE.' 1030 00:59:41,312 --> 00:59:45,013 "IT'S ABOUT A BOY WHO GOES BACK AND FALLS IN LOVE WITH HIS MOM." 1031 00:59:45,015 --> 00:59:46,648 AND IT WAS SO INTERESTING TO ME. 1032 00:59:46,650 --> 00:59:48,584 I WAS LIKE, "THAT SOUNDS TERRIBLE." 1033 00:59:49,919 --> 00:59:54,256 BECAUSE AS A KID WITH AN OVERBEARING, JEWISH MOTHER, 1034 00:59:54,258 --> 00:59:57,059 I'M LIKE, "WHO WOULD MAKE A MOVIE LIKE THAT?" 1035 00:59:57,061 --> 00:59:58,694 -I LOVE YOU SO MUCH. 1036 00:59:58,696 --> 01:00:00,062 I LOVE YOU, TOO. 1037 01:00:00,064 --> 01:00:01,663 I LOVE YOU. -MOM! 1038 01:00:01,665 --> 01:00:02,864 -I LOVE YOU, BOOPY. 1039 01:00:02,866 --> 01:00:04,633 I LOVE YOU SO MUCH. 1040 01:00:04,635 --> 01:00:07,636 HEY, YOU WITH THE WINDOW OPEN, TELL MY BABY I LOVE HIM! 1041 01:00:07,638 --> 01:00:11,873 ADAM, IF YOU NEED TO MAKE, CALL ME. I'LL PICK YOU UP. 1042 01:00:11,875 --> 01:00:13,742 -OF COURSE, THAT'S NOT WHAT THE MOVIE IS ABOUT AT ALL, 1043 01:00:13,744 --> 01:00:16,878 BUT I LOVED THAT MY MOM, TO HER, THAT'S WHAT THE MOVIE WAS ABOUT, 1044 01:00:16,880 --> 01:00:20,282 A BOY WHO GOES BACK IN TIME AND HANGS OUT WITH HIS MOM. 1045 01:00:20,284 --> 01:00:22,217 -I WAS SO EXCITED ABOUT IT. 1046 01:00:22,219 --> 01:00:27,255 I MADE MY PARENTS, WHO WERE SEPARATED AT THE TIME, GO SEE IT WITH ME, 1047 01:00:27,257 --> 01:00:31,126 'CAUSE IT HAD SUCH A GENERATIONAL THEME TO IT. 1048 01:00:31,128 --> 01:00:34,930 AND MAYBE SUBCONSCIOUSLY I WAS LIKE, 1049 01:00:34,932 --> 01:00:36,898 "MAYBE MY PARENTS WILL GET BACK TOGETHER... 1050 01:00:36,900 --> 01:00:39,301 [LAUGHS] "IF THEY WATCH THIS." 1051 01:00:39,303 --> 01:00:40,836 THEY DID GET BACK TOGETHER. 1052 01:00:40,838 --> 01:00:44,373 AND I GOT TO WORK UNDER ZEMECKIS YEARS LATER, 1053 01:00:44,375 --> 01:00:48,210 AND ONE OF HIS DEVELOPMENT PEOPLE, 1054 01:00:48,212 --> 01:00:51,079 AS HE WAS WALKING THROUGH THE LOBBY AT IMAGEMOVERS, 1055 01:00:51,081 --> 01:00:53,649 SAID, "YOU GOT HIS PARENTS BACK TOGETHER." 1056 01:00:53,651 --> 01:00:57,653 "HIS PARENTS GOT BACK TOGETHER 'CAUSE OF 'BACK TO THE FUTURE.'" 1057 01:00:57,655 --> 01:00:59,688 WHICH IS NOT STRICTLY TRUE. 1058 01:00:59,690 --> 01:01:02,057 BUT ASSUMING THAT IT WAS, 1059 01:01:02,059 --> 01:01:04,192 ZEMECKIS'S RESPONSE WAS, "EH, GOOD." 1060 01:01:05,395 --> 01:01:08,363 BECAUSE HE'S PROBABLY HEARD THAT 7,000 TIMES. 1061 01:01:12,235 --> 01:01:14,269 [INTERVIEWER] MICHAEL, HERE WE ARE AT THIS ROYAL PREMIERE. 1062 01:01:14,271 --> 01:01:16,338 HUGE, GREAT CROWD STANDING BEHIND US NOW AS WE'RE TALKING. 1063 01:01:16,340 --> 01:01:20,976 -WHAT DO YOU MAKE OF AN OCCASION LIKE THIS? 1064 01:01:20,978 --> 01:01:21,943 -IT'S... 1065 01:01:23,247 --> 01:01:28,717 I MEAN, IT'S, UH... IT'S A ONCE-IN-A-LIFETIME THING. 1066 01:01:28,719 --> 01:01:33,755 IF INDEED IT IS ONLY A ONCE-IN-A-LIFETIME THING FOR ME, I'LL DIE SATISFIED. 1067 01:01:33,757 --> 01:01:36,958 [FOX] THE GREETING LINE WHERE WE MET THE ROYALS, 1068 01:01:36,960 --> 01:01:39,127 PRINCESS DIANA AND PRINCE CHARLES, 1069 01:01:39,129 --> 01:01:43,065 AND WE HAD THIS LITTLE GUY, THIS LITTLE SUPER-SERIOUS PROTOCOL GUY TELL US, 1070 01:01:43,067 --> 01:01:44,966 "YOU CAN'T SPEAK UNLESS YOU'RE SPOKEN TO. 1071 01:01:44,968 --> 01:01:50,305 "YOU CAN'T TOUCH A ROYAL. YOU CAN'T..." ALL THESE THINGS YOU CAN'T DO. 1072 01:01:50,307 --> 01:01:54,176 AND I WAS CANADIAN, SO I HAD SOME SKIN IN THE GAME. 1073 01:01:54,178 --> 01:01:56,078 I WAS A LITTLE CAREFUL WHAT I DID. 1074 01:01:56,080 --> 01:01:57,446 I DIDN'T WANNA MAKE A FOOL OUT OF MYSELF. 1075 01:01:57,448 --> 01:01:59,147 SO WE DO THE THING, AND WE MEET THEM, 1076 01:01:59,149 --> 01:02:02,417 AND I MANAGED TO AVOID ANY KIND OF ROYAL GAFFE. 1077 01:02:03,720 --> 01:02:06,154 AND THEN WE WERE SITTING IN THE THEATER, 1078 01:02:06,156 --> 01:02:08,423 AND I REALIZED THAT THE SEAT NEXT TO ME WAS EMPTY. 1079 01:02:08,425 --> 01:02:10,325 AND WE WERE STANDING WAITING FOR THE ROYALS TO COME IN, 1080 01:02:10,327 --> 01:02:14,763 AND IT DAWNS ON ME THAT PRINCESS DIANA IS GONNA BE SITTING NEXT TO ME. 1081 01:02:14,765 --> 01:02:17,899 AND SO, SURE ENOUGH, SHE COMES IN. SHE SITS DOWN NEXT TO ME. 1082 01:02:17,901 --> 01:02:20,235 AND THE MOVIE STARTS, 1083 01:02:20,237 --> 01:02:22,003 AND IT OCCURS TO ME 1084 01:02:22,005 --> 01:02:25,073 THAT I'M, LIKE, A FAKE YAWN AND AN ARM STRETCH AWAY 1085 01:02:25,075 --> 01:02:27,242 FROM BEING ON A DATE WITH THE PRINCESS OF WALES. 1086 01:02:27,244 --> 01:02:29,177 -SHE WOULD CHUCKLE NOW AND THEN. 1087 01:02:29,179 --> 01:02:34,516 BUT WHEN THE TRUCKLOAD OF TURDS, MANURE, 1088 01:02:34,518 --> 01:02:38,854 WAS DUMPED ON BIFF AND HIS GANG IN THE CONVERTIBLE... 1089 01:02:39,956 --> 01:02:41,857 [ALL] SHIT! 1090 01:02:46,162 --> 01:02:48,363 -SHE OUTRIGHT LAUGHED. 1091 01:02:48,365 --> 01:02:52,768 YOU KNOW, SHE JUST... THAT CONSERVATIVE... YOU KNOW... 1092 01:02:54,036 --> 01:02:56,805 DROPPED, AND SHE TOTALLY WENT WITH IT. 1093 01:02:56,807 --> 01:03:02,410 -AND THEN THE OTHER THING I REALIZED VERY QUICKLY WAS THAT I HAD TO GO TO THE BATHROOM. 1094 01:03:02,412 --> 01:03:07,916 BECAUSE I CAN'T SAY TO HER, "EXCUSE ME, YOUR HIGHNESS. I HAVE TO GO TO THE LOO." 1095 01:03:07,918 --> 01:03:09,451 'CAUSE I CAN'T TALK TO HER UNLESS SHE TALKS TO ME. 1096 01:03:09,453 --> 01:03:12,554 I CAN'T TAP HER ON THE SHOULDER AND MOTION I'M GOING OUT. 1097 01:03:12,556 --> 01:03:15,257 AND I CAN'T GET UP AND TURN MY BACK ON HER. 1098 01:03:15,259 --> 01:03:18,393 SO I'D HAVE TO KIND OF, LIKE, MOONWALK BACKWARDS OUT OF THE THEATER 1099 01:03:18,395 --> 01:03:20,195 TO GET OUT OF THERE. 1100 01:03:20,197 --> 01:03:23,265 AND SO I SAT THERE, AND I WAS JUST IN AGONY THE WHOLE TIME. 1101 01:03:23,267 --> 01:03:25,467 SO THE WHOLE THING WAS 1102 01:03:25,469 --> 01:03:29,004 I SAT IN TOTAL PAIN WATCHING THE MOVIE WITH THE PRINCESS OF WALES, 1103 01:03:29,006 --> 01:03:31,573 AND IT WAS GREAT. IT WAS... 1104 01:03:31,575 --> 01:03:33,141 SHE WAS SMOKING HOT. 1105 01:03:45,221 --> 01:03:47,022 [OLIVER HOLLER] EVERYBODY HAS DREAMS, RIGHT? 1106 01:03:48,057 --> 01:03:51,393 AND OWNING A DELOREAN WAS OUR DREAM. 1107 01:03:51,395 --> 01:03:53,829 BUT LIFE GETS IN THE WAY. 1108 01:03:53,831 --> 01:03:56,531 YOU KNOW, REALITY, DAY-TO-DAY THINGS. 1109 01:03:58,100 --> 01:04:01,937 AND I THINK EVERYBODY HAS PROBABLY SAID AT ONE TIME OR ANOTHER, 1110 01:04:01,939 --> 01:04:04,206 "IF I EVER WIN THE LOTTERY, I'M GOING TO..." 1111 01:04:04,208 --> 01:04:07,175 I'M GONNA GET ME THIS. I'M GONNA BUY SOMETHING. 1112 01:04:07,177 --> 01:04:12,280 -YEAH, BUT AS YOU KNOW IF YOU'RE INTO STATISTICS, 1113 01:04:12,282 --> 01:04:15,317 WE ALL HAVE A BETTER CHANCE OF GETTING STRUCK BY A BOLT OF LIGHTNING 1114 01:04:15,319 --> 01:04:19,321 AND WE DID GET STRUCK BY A BOLT OF LIGHTNING IN A SENSE. 1115 01:04:19,323 --> 01:04:21,590 IT WAS AUGUST 4, 2000, 1116 01:04:21,592 --> 01:04:24,159 OLIVER WAS DIAGNOSED WITH CANCER. 1117 01:04:24,161 --> 01:04:26,127 -AND THE DOCTOR GAVE ME SIX MONTHS TO LIVE. 1118 01:04:29,065 --> 01:04:31,933 [TERRY HOLLER] YOU GET YOUR BUCKET LIST IN LINE WHEN SOMEBODY GIVES YOU SIX MONTHS. 1119 01:04:31,935 --> 01:04:33,368 -YEAH, IT'S PRETTY MOTIVATIONAL. 1120 01:04:33,370 --> 01:04:37,138 SO WE MADE A WILL, 1121 01:04:37,140 --> 01:04:42,344 AND WE TRAVELED A LITTLE BIT, AND VISITED FAMILY AND FRIENDS THAT WE HADN'T SEEN IN A WHILE, 1122 01:04:42,346 --> 01:04:44,312 BASICALLY TO SAY GOODBYE TO THEM. 1123 01:04:44,314 --> 01:04:46,615 AND WE GOT SOMETHING IN THE MAIL 1124 01:04:46,617 --> 01:04:49,618 THAT SAID THAT WE HAD BEEN APPROVED FOR A CREDIT CARD. 1125 01:04:49,620 --> 01:04:51,152 -YEAH, A NICE, BIG BALANCE. 1126 01:04:51,154 --> 01:04:55,056 -SO WE MAXED OUT THAT CARD ON A DELOREAN, 1127 01:04:55,058 --> 01:04:57,926 AND WE MADE IT INTO A TIME MACHINE. 1128 01:05:02,398 --> 01:05:05,033 ONE THING THAT I THINK WE SHOULD MENTION, 1129 01:05:05,035 --> 01:05:07,168 WE ACTUALLY BUILT THE TIME MACHINE OURSELVES. 1130 01:05:08,437 --> 01:05:11,373 THIS WAS ROUGHLY 15 YEARS AGO. 1131 01:05:11,375 --> 01:05:15,410 ALL WE HAD TO GO ON WAS A VHS COPY OF THE MOVIE. 1132 01:05:15,412 --> 01:05:20,348 BUT IT WAS KIND OF ALMOST A FOLK ART INTERPRETATION OF THE CAR, 1133 01:05:20,350 --> 01:05:23,652 'CAUSE WHEN YOU GOT CLOSE, THEY HAD JUST USED WHAT THEY'D FOUND 1134 01:05:23,654 --> 01:05:26,154 TO MAKE THIS CAR. IT WAS FANTASTIC. 1135 01:05:26,156 --> 01:05:29,257 -WE WOULD PAUSE THE VIDEOTAPE PLAYER, 1136 01:05:29,259 --> 01:05:31,293 AND THE PICTURE WOULD BE A LITTLE JERKY, 1137 01:05:31,295 --> 01:05:35,363 AND I WOULD MAKE LITTLE SKETCHES AND NOTES ABOUT WHAT WE WERE SEEING, 1138 01:05:35,365 --> 01:05:37,565 AND THEN WE WOULD FABRICATE IT OURSELVES 1139 01:05:37,567 --> 01:05:40,468 OUT OF METAL AND SCRAPS THAT WE FOUND AT THE SCRAPYARD. 1140 01:05:40,470 --> 01:05:42,470 [SCHEFFE] IT'S LIKE AN IMPRESSIONIST PAINTING OR SOMETHING. 1141 01:05:42,472 --> 01:05:44,406 YOU GET CLOSE, AND YOU SEE THOSE BRUSH STROKES, RIGHT? 1142 01:05:44,408 --> 01:05:47,142 YOU GOT CLOSE, AND YOU SAW WHAT THEY USED TO PUT IT TOGETHER. 1143 01:05:47,144 --> 01:05:49,311 YOU STEPPED BACK, THE EFFECT WAS PERFECT. 1144 01:05:49,313 --> 01:05:54,649 -I THINK THE CONVERSION OF HIS DELOREAN TO A "BACK TO THE FUTURE" CAR 1145 01:05:54,651 --> 01:05:57,953 -AND WHAT ARE THEY DOING WITH THAT CAR? 1146 01:05:57,955 --> 01:06:03,325 THEY DRIVE AROUND THE COUNTRY WORKING FOR MICHAEL J. FOX'S CHARITY. 1147 01:06:03,327 --> 01:06:04,559 THAT'S AMAZING. 1148 01:06:04,561 --> 01:06:06,494 -WE'RE VOLUNTEERS. 1149 01:06:06,496 --> 01:06:11,166 WE CHOSE TO DO THIS BECAUSE IT WAS, FOR US, THE RIGHT THING TO DO. 1150 01:06:11,168 --> 01:06:14,035 MEETING MICHAEL WASN'T REALLY ON THE RADAR. 1151 01:06:14,037 --> 01:06:16,237 "WOULDN'T THAT BE NICE?" WAS THE THOUGHT. 1152 01:06:16,239 --> 01:06:20,108 WHEN WE DID MEET HIM, HE KNEW WHO WE WERE. 1153 01:06:21,043 --> 01:06:25,080 HE KNEW WE WERE TERRY AND OLIVER FROM SOUTH CAROLINA, AND TEAM FOX MEMBERS, 1154 01:06:25,082 --> 01:06:26,481 AND THAT IS HUMBLING. 1155 01:06:26,483 --> 01:06:32,320 HAVE BEEN HITTING THE ROAD IN THEIR DELOREAN TIME MACHINE TO SPEED A FUTURE WITHOUT PD. 1156 01:06:32,322 --> 01:06:34,022 THEY'VE RAISED DOLLARS AND AWARENESS 1157 01:06:34,024 --> 01:06:36,324 IN MORE STATES AND COUNTRIES THAN ANY OTHER TEAM FOX MEMBER. 1158 01:06:36,326 --> 01:06:39,995 THEY'VE SPENT MORE TIME IN A DELOREAN THAN EVEN I HAVE, WHICH IS SAYING SOMETHING. 1159 01:06:39,997 --> 01:06:42,097 THE PEOPLE THAT ARE BIG "BACK TO THE FUTURE" FANS 1160 01:06:42,099 --> 01:06:46,134 HAVE BEEN HUGE SUPPORTERS OF OUR EFFORTS TO TRY TO FIND A CURE FOR PARKINSON'S. 1161 01:06:46,136 --> 01:06:49,137 AND MORE IMPORTANTLY, THEY'VE JUST SHOWN INTEREST 1162 01:06:49,139 --> 01:06:55,043 AND AN ONGOING SENSE OF CURIOSITY AND CONCERN 1163 01:06:55,045 --> 01:06:58,646 FOR ME AND FOR WHAT WE'RE DOING. 1164 01:07:02,018 --> 01:07:04,185 IT'S GREAT TO HAVE A BUNCH OF LUNATICS ON YOUR SIDE. 1165 01:07:04,187 --> 01:07:07,022 'CAUSE THEY'RE CRAZY, BUT THEY'RE CRAZY-GOOD. 1166 01:07:07,024 --> 01:07:09,024 [OLIVER HOLLER] WELL, WE SET A PERSONAL GOAL FOR OURSELVES 1167 01:07:09,026 --> 01:07:13,294 TO DRIVE THE DELOREAN TIME MACHINE TO ALL 50 STATES. 1168 01:07:13,296 --> 01:07:17,599 [OLIVER HOLLER] RAISING MONEY AND AWARENESS FOR THE MICHAEL J. FOX FOUNDATION. 1169 01:07:17,601 --> 01:07:20,468 [TERRY HOLLER] WE'VE RAISED OVER A QUARTER OF A MILLION DOLLARS. 1170 01:07:20,470 --> 01:07:23,638 [OLIVER HOLLER] WHEN WE BUILT THE CAR, IT WAS FOR SELFISH REASONS. 1171 01:07:23,640 --> 01:07:28,410 WE LOVED THE MOVIE, AND WE WANTED TO DRIVE A DELOREAN TIME MACHINE. 1172 01:07:28,412 --> 01:07:32,414 AND THAT WAS A WONDERFUL THRILL AND AN ACCOMPLISHMENT PERSONALLY, 1173 01:07:32,416 --> 01:07:34,549 BUT WE NEVER... 1174 01:07:34,551 --> 01:07:36,484 JUST LIKE THE CAR, THERE WERE NO BLUEPRINTS. 1175 01:07:36,486 --> 01:07:42,257 AND OUR LIFE HAS TAKEN US PLACES WE REALLY NEVER KNEW IT WOULD TAKE US. 1176 01:07:42,259 --> 01:07:44,059 -WE'RE ONE OF THEIR SPONSORS. 1177 01:07:44,061 --> 01:07:46,561 WE DO ALL THEIR WEB PROMOTION FOR THEM, 1178 01:07:46,563 --> 01:07:54,069 TO ALLOW THEM TO GET OUT AND TRAVEL ACROSS THE NATION AND INTO OTHER COUNTRIES 1179 01:07:54,071 --> 01:07:58,239 RAISING FUNDS FOR THE MICHAEL J. FOX FOUNDATION FOR PARKINSON'S RESEARCH. 1180 01:07:58,241 --> 01:08:02,310 -WE SAY THIS AT EVERY PANEL WE'RE ASKED TO PRESENT. 1181 01:08:02,312 --> 01:08:05,180 YOUR FUTURE HASN'T BEEN WRITTEN YET, RIGHT? 1182 01:08:05,182 --> 01:08:06,381 -NO ONE'S HAS. 1183 01:08:06,383 --> 01:08:08,483 -NO ONE'S HAS! 1184 01:08:08,485 --> 01:08:10,852 YOUR FUTURE IS WHATEVER YOU MAKE IT. 1185 01:08:10,854 --> 01:08:13,321 -SO, MAKE IT A GOOD ONE. -MAKE IT A GOOD ONE. 1186 01:08:13,323 --> 01:08:14,289 -TA-DA. 1187 01:08:14,291 --> 01:08:17,358 ["JAWS" THEME PLAYING] 1188 01:08:19,128 --> 01:08:21,196 [SCREAMING] 1189 01:08:21,198 --> 01:08:26,568 [GALE] PEOPLE ALWAYS SAY TO US, "WELL, YOU GUYS MUST HAVE KNOWN YOU WERE GONNA DO SEQUELS 1190 01:08:26,570 --> 01:08:28,436 "BECAUSE OF THE ENDING OF THE FIRST MOVIE." 1191 01:08:28,438 --> 01:08:33,308 AND THE ENDING OF THE FIRST MOVIE IS THE HEROES GET IN THE CAR 1192 01:08:33,310 --> 01:08:36,878 AND RIDE OFF INTO THE SUNSET FOR ANOTHER ADVENTURE. THAT'S JUST A CLASSIC ENDING. 1193 01:08:38,414 --> 01:08:41,382 -HEY, DOC, WE BETTER BACK UP. WE DON'T HAVE ENOUGH ROAD TO GET UP TO 88. 1194 01:08:41,384 --> 01:08:45,453 -"WHERE WE'RE GOING, WE DON'T NEED ROADS." 1195 01:08:45,455 --> 01:08:47,755 [GALE] AND AS BOB ZEMECKIS HAS SAID MANY TIMES, 1196 01:08:47,757 --> 01:08:49,290 IF WE KNEW WE WERE GONNA DO A SEQUEL, 1197 01:08:49,292 --> 01:08:51,493 WE WOULD HAVE NEVER PUT JENNIFER IN THE CAR. 1198 01:08:51,495 --> 01:08:53,628 BECAUSE WHEN IT WAS TIME TO WRITE THE SEQUEL, 1199 01:08:53,630 --> 01:08:56,264 WE DIDN'T KNOW WHAT TO DO WITH HER, AND WE END UP KNOCKING HER OUT. 1200 01:08:56,266 --> 01:08:59,467 SHE'S UNCONSCIOUS FOR PART TWO AND PART THREE. 1201 01:08:59,469 --> 01:09:01,402 -DOC, WHAT THE HELL ARE YOU DOING? 1202 01:09:01,404 --> 01:09:04,506 -RELAX, MARTY. IT'S JUST A SLEEP-INDUCING ALPHA RHYTHM GENERATOR. 1203 01:09:04,508 --> 01:09:09,410 [GALE] HOME VIDEO HAPPENS IN BETWEEN THE TWO MOVIES, BASICALLY, 1204 01:09:09,412 --> 01:09:13,882 WHERE WE PUT "TO BE CONTINUED" AT THE END OF PART ONE 1205 01:09:13,884 --> 01:09:16,818 WHEN WE RELEASED IT FOR HOME VIDEO. 1206 01:09:18,220 --> 01:09:22,924 IF PEOPLE SAW IT ON A VHS FOR THEIR FIRST TIME, THAT'S WHAT THEY THINK. 1207 01:09:22,926 --> 01:09:24,926 WE TOOK THAT OFF OF THE DVD. 1208 01:09:24,928 --> 01:09:28,796 -THE MOST FUN PERHAPS WAS "BACK TO THE FUTURE III" FOR ME. 1209 01:09:30,332 --> 01:09:32,667 THERE WAS HORSEBACK RIDING, WHICH I LOVE DOING. 1210 01:09:32,669 --> 01:09:34,936 -SOMEHOW, "BACK TO THE FUTURE III" IS JUST AS FUNNY 1211 01:09:34,938 --> 01:09:37,205 AS "BACK TO THE FUTURE" I AND II. 1212 01:09:37,207 --> 01:09:39,541 I THINK THAT MIGHT ACTUALLY BE A LARGE PART OF IT. 1213 01:09:39,543 --> 01:09:41,643 IT'S A TRILOGY THAT DOESN'T SUCK. 1214 01:09:41,645 --> 01:09:44,445 THERE'S NO POINT WHERE YOU WATCH IT AND GO, "THAT'S THE REALLY BAD ONE." 1215 01:09:44,447 --> 01:09:46,648 -TWO AND THREE, I THINK... COME ON. 1216 01:09:46,650 --> 01:09:51,319 I KNOW YOU'RE INTERVIEWING GALE AND I THINK ZEMECKIS. 1217 01:09:51,321 --> 01:09:53,922 I MEAN, THESE GUYS ARE MY HEROES 'CAUSE THEY WROTE "BACK TO THE FUTURE," 1218 01:09:53,924 --> 01:09:57,458 BUT THEY TOOK SEVEN YEARS TO WRITE "BACK TO THE FUTURE." 1219 01:09:57,460 --> 01:09:59,727 AND COME ON. 1220 01:09:59,729 --> 01:10:01,729 EVERYBODY KNOWS II AND III SUCK. 1221 01:10:02,898 --> 01:10:05,466 -"BACK TO THE FUTURE II" HAS ALWAYS BEEN MY FAVORITE. 1222 01:10:05,468 --> 01:10:07,368 BECAUSE I LIKE THAT IT'S DARK. 1223 01:10:07,370 --> 01:10:09,204 I LIKE THAT IT GET INTO THE HEADINESS 1224 01:10:09,206 --> 01:10:12,507 OF WHAT WOULD HAPPEN IF JUST ONE LITTLE THING TURNED. 1225 01:10:12,509 --> 01:10:13,908 AND I LOVE THE FUTURE IDEA. 1226 01:10:13,910 --> 01:10:15,810 THE WHOLE CONCEPT OF WHAT'S THE FUTURE GONNA BE? 1227 01:10:15,812 --> 01:10:18,379 -I GUESS YOU GUYS AREN'T READY FOR THAT YET. 1228 01:10:19,815 --> 01:10:21,549 BUT YOUR KIDS ARE GONNA LOVE IT. 1229 01:10:23,719 --> 01:10:27,922 [KONTRAS] THEY WENT BACK INTO THE FIRST MOVIE. I MEAN, IT'S NEVER BEEN DONE, 1230 01:10:27,924 --> 01:10:34,495 WHAT A BRILLIANT, BRILLIANT STROKE OF CREATIVITY AS A WRITER. 1231 01:10:34,497 --> 01:10:40,335 -IT SUGGESTED THIS DIGITAL REALITY THAT WE ALL LIVE IN NOW, 1232 01:10:40,337 --> 01:10:43,972 THIS KIND OF CYBER-WORLD THAT WE ALL OCCUPY. 1233 01:10:43,974 --> 01:10:50,912 -I HAD, AS YOU KNOW, BEEN STRUNG UP AND PUT IN AN "ORTHO-LEV" OF THE FUTURE. 1234 01:10:50,914 --> 01:10:55,383 IT WAS ROUGH, BECAUSE BEING HUNG UPSIDE DOWN ALMOST ALL DAY FOR TWO WEEKS 1235 01:10:55,385 --> 01:11:00,588 BUT THEN AGAIN, THEY DIDN'T WANNA GET ME DOWN IN BETWEEN TAKES ALL THE TIME. 1236 01:11:00,590 --> 01:11:03,658 SO THEY HAD BUILT A LADDER WITH A BOARD ON IT 1237 01:11:03,660 --> 01:11:07,729 THAT I COULD JUST DO MY SIT-UP AND LIE BACK DOWN ON. 1238 01:11:07,731 --> 01:11:11,566 THEY PUT IT UNDERNEATH ME, SO THEY WOULDN'T HAVE TO GET ME DOWN IN BETWEEN TAKES, 1239 01:11:11,568 --> 01:11:14,402 WHICH WOULD HAVE BEEN AN EXTRA COUPLE OF MINUTES. 1240 01:11:14,404 --> 01:11:16,304 AND TIME DEFINITELY WAS MONEY ON THIS SHOOT. 1241 01:11:16,306 --> 01:11:18,640 [FOX] WHAT'S REALLY COOL ABOUT IT IS 1242 01:11:18,642 --> 01:11:22,510 THE GENERATIONAL ASPECT OF IT STILL PLAYS. 1243 01:11:22,512 --> 01:11:25,647 I MEAN, THERE'S STILL THAT CONFUSED... 1244 01:11:25,649 --> 01:11:27,482 -I'M YOUNG! -I'M OLD! 1245 01:11:27,484 --> 01:11:32,820 -NOT ENMITY, BUT JUST KIND OF SUSPICION AND BEFUDDLEMENT 1246 01:11:32,822 --> 01:11:36,824 BETWEEN THE PREVIOUS GENERATION AND THE NEXT GENERATION. 1247 01:11:36,826 --> 01:11:42,463 I MEAN, I HAVE THREE TEENAGE DAUGHTERS AND A SON WHO'S IN HIS MID-20S, 1248 01:11:42,465 --> 01:11:44,299 AND I DON'T UNDERSTAND WHAT THE HELL THEY'RE SAYING. 1249 01:11:50,306 --> 01:11:52,607 [KEVIN PIKE] A LOT OF TIMES I GET ASKED ABOUT THE SPECIAL EFFECTS. 1250 01:11:52,609 --> 01:11:53,875 WHAT DID WE DO? 1251 01:11:53,877 --> 01:11:56,544 THE CLOCK TOWER, THE SPEAKER GAG, 1252 01:11:56,546 --> 01:11:59,080 DOC BROWN'S LAB, THE TRAILS OF FIRE. 1253 01:11:59,082 --> 01:12:03,651 A LOT OF WORK WENT INTO IT ON THE SPECIAL-EFFECTS LEVEL THAT WERE VERY COMMON. 1254 01:12:03,653 --> 01:12:07,555 WIND, RAIN, FIRE, SNOW, ALL OF THE NORMAL STUFF THAT WE DO. 1255 01:12:07,557 --> 01:12:09,557 A LOT OF PROP CREATION THAT WE DID. 1256 01:12:09,559 --> 01:12:11,592 AND ALL OF THAT IS OUR ROTE WORK. 1257 01:12:11,594 --> 01:12:13,494 AND THAT WAS OUR TRADE AND OUR CRAFT. 1258 01:12:13,496 --> 01:12:16,331 AND THE STORY DIDN'T DEMAND 1259 01:12:16,333 --> 01:12:20,101 SOME OF THE BIGGER VISUAL EFFECTS THAT ARE NOW SO COMMON. 1260 01:12:20,103 --> 01:12:22,937 SO IT DOESN'T DATE ITSELF. 1261 01:12:22,939 --> 01:12:28,376 PEOPLE ASK ME ABOUT HOW COME WE NEVER HAD ANY CGI WORK ON "JAWS." 1262 01:12:28,378 --> 01:12:31,012 WELL, WE DIDN'T HAVE THE C. WE NEVER HAD COMPUTERS. 1263 01:12:31,014 --> 01:12:32,914 WE DIDN'T EVEN HAVE CELL PHONES. 1264 01:12:32,916 --> 01:12:35,049 NOW, THEY MAKE WHOLE MOVIES ON CELL PHONES. 1265 01:12:35,051 --> 01:12:38,453 A LOT OF THE WORK THAT WE DID ON "BACK TO THE FUTURE" 1266 01:12:38,455 --> 01:12:42,890 WAS STRAIGHT, ACROSS THE BOARD, SPECIAL, MECHANICAL EFFECTS, 1267 01:12:42,892 --> 01:12:48,429 ALONG WITH A SMALL DOSE OF PYRO, AND A GREAT AMOUNT OF PROP CREATION. 1268 01:12:48,431 --> 01:12:50,098 THAT STANDS UP. 1269 01:12:50,100 --> 01:12:53,801 BECAUSE A LOT OF TIMES, WE'LL SEE MOVIES THAT ARE BRILLIANTLY DONE, 1270 01:12:53,803 --> 01:12:55,937 THE CG GETS BETTER AND BETTER ALL THE TIME, 1271 01:12:55,939 --> 01:12:59,040 BUT A LOT OF PEOPLE ENJOY A TASTE OF THE REAL WAY. 1272 01:12:59,042 --> 01:13:00,842 AND I THINK THAT'S ONE OF THE WAYS 1273 01:13:00,844 --> 01:13:03,444 THAT IT STILL ENDEARS ITSELF TO AN AUDIENCE. 1274 01:13:03,446 --> 01:13:06,614 [GALE] WHEN WE WERE MAKING PART TWO, WE ALWAYS USED TO SAY, 1275 01:13:06,616 --> 01:13:10,785 "WOW, IN 2015, WE'LL ALL GET TOGETHER AND SEE WHAT WE GOT RIGHT." 1276 01:13:10,787 --> 01:13:15,857 -YEAH, YOU KNOW, WE DID A PRETTY GOOD JOB. WE HIT ABOUT 50%. 1277 01:13:15,859 --> 01:13:20,461 [GALE] WE GOT THE FLAT-SCREEN TVS AND PHONE VIDEO CONFERENCING RIGHT. 1278 01:13:20,463 --> 01:13:22,630 [CLARK] THE DRONES WALKING DOGS. 1279 01:13:24,032 --> 01:13:26,167 [GALE] WE GOT THE GOOGLE GLASSES RIGHT. 1280 01:13:26,169 --> 01:13:29,737 [CLARK] TVS WITH TOUCHSCREEN AND HUNDREDS OF DIFFERENT CHANNELS. 1281 01:13:29,739 --> 01:13:34,175 [GALE] WE DECIDED THAT WHAT WE WERE GONNA DO WAS JUST HAVE FUN WITH THE FUTURE. 1282 01:13:34,177 --> 01:13:36,477 WE KNEW WE WEREN'T GONNA GET IT RIGHT. 1283 01:13:36,479 --> 01:13:39,814 WE KNEW THAT THERE WEREN'T GONNA BE FLYING CARS. THAT WE WERE SURE OF. 1284 01:13:39,816 --> 01:13:42,850 -NO ONE IS EVER GONNA BE IN A FLYING CAR. 1285 01:13:42,852 --> 01:13:46,020 NO ONE WANTS TO FLY IN A CAR. IT'S TOO SCARY. 1286 01:13:46,022 --> 01:13:47,922 PEOPLE ARE SCARED TO LEAVE THE GROUND. 1287 01:13:56,132 --> 01:14:01,569 THE LIMITS OF PHYSICS DON'T PREVENT US FROM HAVING FLYING CARS. 1288 01:14:01,571 --> 01:14:05,807 THE REASONS THAT WE DON'T HAVE FLYING CARS TODAY ARE REALLY SOCIETAL. 1289 01:14:07,576 --> 01:14:09,477 AVIATION EVOLVED IN A CERTAIN WAY, 1290 01:14:09,479 --> 01:14:11,112 AND DRIVING ON THE GROUND EVOLVED IN A CERTAIN WAY. 1291 01:14:11,114 --> 01:14:15,082 THESE ARE HUMAN CONSTRUCTS, SO THEY CAN BE CHANGED. 1292 01:14:15,084 --> 01:14:19,487 BUT WE HAVE TO SHOW PEOPLE, HEY, IT CAN ACTUALLY BE BETTER THAN THIS, 1293 01:14:19,489 --> 01:14:23,157 AND THERE IS NO PHYSICAL LAW THAT WE ARE BREAKING TO MAKE IT BETTER THAN THIS. 1294 01:14:23,159 --> 01:14:26,227 WE JUST HAVE TO SHOW PEOPLE, HEY, THIS IS WHAT IT COULD BE LIKE. 1295 01:14:26,229 --> 01:14:28,095 IT COULD BE A WHOLE LOT BETTER THAN IT IS TODAY. 1296 01:14:29,231 --> 01:14:32,066 TERRAFUGIA IS A FLYING CAR COMPANY. 1297 01:14:32,068 --> 01:14:35,770 WE'RE DEVELOPING A PRACTICAL VISION FOR THE FUTURE 1298 01:14:35,772 --> 01:14:39,073 AND CREATING THE PATH FOR HOW TO GET FROM WHERE WE ARE TODAY 1299 01:14:39,075 --> 01:14:42,109 TO A WORLD WITH FLYING CARS THAT ANYBODY CAN USE. 1300 01:14:42,111 --> 01:14:44,879 GROWING UP, I WAS DEFINITELY INSPIRED BY MOVIES LIKE "BACK TO THE FUTURE" 1301 01:14:44,881 --> 01:14:50,551 AND THAT VISION OF THE DELOREAN LIFTING OFF AND SHOOTING OVER EVERYBODY. 1302 01:14:50,553 --> 01:14:53,087 AND I WAS FASCINATED WITH AVIATION 1303 01:14:53,089 --> 01:14:56,557 AND TRYING TO MAKE PRACTICAL PERSONAL AVIATION. 1304 01:14:57,626 --> 01:15:01,929 WE HAVE THESE IMAGES OF PEOPLE FLYING IN LANES AND STUFF LIKE THAT. 1305 01:15:01,931 --> 01:15:05,700 WHY WOULD YOU FLY IN A LANE IF YOU'VE GOT ALL THIS THREE-DIMENSIONAL SPACE? 1306 01:15:05,702 --> 01:15:07,969 YOU KNOW, YOU NEED LANES ON THE GROUND, 1307 01:15:07,971 --> 01:15:11,539 BECAUSE YOU NEED TO KNOW WHERE THE OTHER CARS ARE GONNA BE RUNNING, 1308 01:15:11,541 --> 01:15:14,242 SO THAT YOU CAN HAVE PEOPLE PLAYING OVER HERE OR SOMETHING LIKE THAT. 1309 01:15:14,244 --> 01:15:17,912 UP IN THE AIR, YOU DON'T NEED LANES, RIGHT? 1310 01:15:17,914 --> 01:15:21,516 YOU NEED TO KNOW WHERE ALL THE OTHER AIRCRAFT ARE, AND YOU NEED TO AVOID THEM. 1311 01:15:21,518 --> 01:15:23,618 BUT YOU DON'T NEED A LANE OF TRAFFIC 1312 01:15:23,620 --> 01:15:25,653 IN ORDER TO KNOW WHERE THE OTHER AIRCRAFT ARE. 1313 01:15:25,655 --> 01:15:27,788 SO I THINK THE FUTURE IS GONNA BE A LITTLE DIFFERENT 1314 01:15:27,790 --> 01:15:30,892 THAN IT WAS LAID OUT IN "BACK TO THE FUTURE," 1315 01:15:30,894 --> 01:15:35,229 BUT THE IDEA BEHIND IT IS THE RIGHT IDEA, 1316 01:15:35,231 --> 01:15:36,764 AND THAT'S WHERE WE WANNA GO. 1317 01:15:36,766 --> 01:15:39,066 -I NEED TO BORROW YOUR... 1318 01:15:39,068 --> 01:15:45,172 -THAT WAS A TRUE, TOTAL INVENTION OF "BACK TO THE FUTURE II." 1319 01:15:45,174 --> 01:15:47,542 BUT WHAT'S COOL IS THAT PEOPLE ARE TRYING TO INVENT THEM NOW. 1320 01:15:54,683 --> 01:15:57,118 THERE'S THIS OLD SAYING THAT LIFE IMITATES ART. 1321 01:15:57,120 --> 01:16:00,588 AND THE ROCKET SCIENTIST ROBERT GODDARD, 1322 01:16:00,590 --> 01:16:04,559 HE ALWAYS SAID THAT WHAT INSPIRED HIM TO DO ROCKETRY 1323 01:16:04,561 --> 01:16:07,995 WAS READING JULES VERNE'S "FROM THE EARTH TO THE MOON" WHEN HE WAS A KID. 1324 01:16:07,997 --> 01:16:10,998 SO, BOB AND I COOK UP THIS IDEA OF HOVERBOARDS. 1325 01:16:11,000 --> 01:16:14,168 THAT'S JUST A RIFF ON OUR SKATEBOARD CHASE FROM THE FIRST MOVIE, 1326 01:16:14,170 --> 01:16:17,138 BUT, WOW, DOES THAT CAPTURE EVERYBODY'S IMAGINATION. 1327 01:16:17,140 --> 01:16:21,943 THE HENDO HOVERBOARD, I SAW THAT, AND I GOT SO EXCITED. WOW! 1328 01:16:21,945 --> 01:16:25,246 AND IT'S WORKING ON MAGNETISM, WHICH WAS THE IDEA THAT WE HAD. 1329 01:16:25,248 --> 01:16:27,014 SO HOW COOL IS THAT? 1330 01:16:27,016 --> 01:16:29,050 [GREG HENDERSON] WHEN YOU LOOK AT THE BUILDING INDUSTRY, 1331 01:16:29,052 --> 01:16:31,786 THE LARGEST INDUSTRY IN THE U.S., 1332 01:16:31,788 --> 01:16:34,855 IT'S A VERY DIFFICULT THING TO CHANGE. 1333 01:16:34,857 --> 01:16:37,024 BUT THERE'S A BETTER WAY TO BUILD. 1334 01:16:37,026 --> 01:16:41,929 AND SO, IN JULY OF THIS YEAR, JULY OF 2014, 1335 01:16:41,931 --> 01:16:45,900 WE HAD A PATENT ISSUED FOR SOMETHING WE'VE BEEN WORKING ON FOR A LONG TIME. 1336 01:16:45,902 --> 01:16:48,736 AND THAT IS, ESSENTIALLY, A THREE-PART FOUNDATION SYSTEM. 1337 01:16:50,372 --> 01:16:53,908 ONE OF THE KEY COMPONENTS OF THIS THREE-PART FOUNDATION SYSTEM 1338 01:16:53,910 --> 01:16:56,711 IS SOMETHING WE CALL THE BUFFER MEDIUM. 1339 01:16:56,713 --> 01:17:00,247 AND THAT BUFFER MEDIUM CAN BE A LIQUID, IT CAN BE A GAS, 1340 01:17:00,249 --> 01:17:04,785 AND AS WE DISCOVERED, WHY NOT AN ELECTROMAGNETIC FIELD? 1341 01:17:04,787 --> 01:17:09,023 IF YOU CAN HOVER A 50,000-KILOGRAM TRAIN, WHY NOT A HOUSE? 1342 01:17:09,025 --> 01:17:12,293 HOWEVER, THE NEW MAGLEV TRAINS IN JAPAN, FOR INSTANCE, 1343 01:17:12,295 --> 01:17:15,896 HAVE TO BE GOING 170 KILOMETERS PER HOUR TO LEVITATE. 1344 01:17:15,898 --> 01:17:18,833 THERE WAS NO GOOD WAY TO LEVITATE A STATIONARY OBJECT. 1345 01:17:18,835 --> 01:17:24,405 WHAT IF YOU HAD A TRAIN THAT LEVITATED, AND THAT TRAIN WENT IN A CIRCLE? 1346 01:17:24,407 --> 01:17:28,309 NOW, WHAT IF THAT TRAIN WAS THE SAME LENGTH AS THE TRACK? 1347 01:17:28,311 --> 01:17:33,014 YOU ESSENTIALLY HAVE A STATIONARY OBJECT RELATIVE TO THE EARTH, 1348 01:17:33,016 --> 01:17:38,853 WHEN YOU REALIZE YOU CAN HOVER A DYNAMIC LOAD IN A STATIONARY POSITION, 1349 01:17:38,855 --> 01:17:41,689 SOMETHING THAT HAS BEEN IMPOSSIBLE UP TILL NOW... 1350 01:17:41,691 --> 01:17:43,791 [JILL HENDERSON] THAT'S THE FIRST THING THAT COMES TO MIND. 1351 01:17:43,793 --> 01:17:45,893 [GREG HENDERSON] WHAT BETTER WAY TO DEMONSTRATE THIS... 1352 01:17:45,895 --> 01:17:47,728 [JILL HENDERSON] IS A HOVERBOARD? ABSOLUTELY. 1353 01:17:47,730 --> 01:17:51,399 -WE GOT LETTERS FROM KIDS ALL OVER THE WORLD WANTING TO KNOW, 1354 01:17:52,267 --> 01:17:54,335 "CAN I HAVE A HOVERBOARD? CAN I HAVE ONE, PLEASE?" 1355 01:17:54,337 --> 01:17:57,171 -YEAH, FOR A COUPLE YEARS WHEN I WAS YOUNG, I THOUGHT THAT THING WAS REAL. 1356 01:17:57,173 --> 01:18:03,811 -WELL, THAT LITTLE BEHIND THE SCENES THING THAT WAS PUT OUT EARLY ON. 1357 01:18:03,813 --> 01:18:05,312 ROBERT ZEMECKIS SAYING, "OH, THEY'RE REAL, 1358 01:18:05,314 --> 01:18:07,048 "AND THE ONLY REASON THAT WE DON'T RELEASE THEM 1359 01:18:07,050 --> 01:18:09,016 "IS PARENTS DON'T THINK THEY'RE GONNA BE VERY SAFE." 1360 01:18:09,018 --> 01:18:11,852 THAT DID AFFECT A LOT OF KIDS FROM THE '80S. 1361 01:18:11,854 --> 01:18:14,989 -I REMEMBER SEEING THE ZEMECKIS INTERVIEW, 1362 01:18:14,991 --> 01:18:17,158 AND HE SAID HOVERBOARDS WERE REAL. 1363 01:18:17,160 --> 01:18:22,797 JUST THE PARENTS' GROUPS HAVE NOT LET TOY MANUFACTURERS MAKE THEM, 1364 01:18:22,799 --> 01:18:24,465 BUT WE GOT OUR HANDS ON SOME. 1365 01:18:24,467 --> 01:18:26,934 -I REMEMBER BEING WITH A COUPLE OF MY FRIENDS 1366 01:18:26,936 --> 01:18:30,037 AND SAYING, "YEAH, YEAH, I ROAD A HOVERBOARD." 1367 01:18:30,039 --> 01:18:32,406 AND THEY WERE ALL LIKE, "NO, YOU DIDN'T." 1368 01:18:32,408 --> 01:18:35,276 AND I SAID, "NOPE, IT'S TRUE. I ROAD A HOVERBOARD." 1369 01:18:35,278 --> 01:18:40,781 -TRUE STORY. I WAS WALKING THROUGH THE MALL, AND A SCIENTIST WALKED UP TO ME, 1370 01:18:40,783 --> 01:18:46,454 AND HE ASKED IF I WANTED TO BE IN A SELECT GROUP OF KIDS TO TEST HOVERBOARD TECHNOLOGY. 1371 01:18:46,456 --> 01:18:48,255 -YEAH, I CALL BULLCRAP. 1372 01:18:48,257 --> 01:18:51,125 -IT WAS REALLY NOT FUN DOING THE HOVERBOARD. 1373 01:18:51,127 --> 01:18:53,127 -WHAT YOU GOTTA DO IS YOU GOTTA AIM IT. 1374 01:18:53,129 --> 01:18:54,729 YOU GOTTA KIND OF POP IT ON AN ARC. 1375 01:18:54,731 --> 01:18:56,030 -OKAY. -OKAY? 1376 01:18:57,099 --> 01:18:58,032 -READY? -READY. 1377 01:19:00,002 --> 01:19:05,306 [ZEMECKIS] WE DIDN'T HAVE COMPUTER-GENERATED IMAGES IN THOSE DAYS, 1378 01:19:05,308 --> 01:19:08,175 AND WE HAD TO HAVE ACTORS HANGING ON WIRES. 1379 01:19:08,177 --> 01:19:09,844 AND THE WIRES HAD TO BE REALLY THIN, 1380 01:19:09,846 --> 01:19:11,879 'CAUSE YOU COULDN'T GRAFT THEM OUT ON THE COMPUTER. 1381 01:19:11,881 --> 01:19:14,515 YOU HAD TO HID THEM FROM THE CAMERA. 1382 01:19:14,517 --> 01:19:16,283 AND IT WAS REALLY TIME-CONSUMING, 1383 01:19:16,285 --> 01:19:18,519 AND IT WAS REALLY, REALLY, DIFFICULT TO DO. 1384 01:19:18,521 --> 01:19:21,522 [FOX] I MEAN, PEOPLE THINK THAT IT LOOKED SO SMOOTH, 1385 01:19:21,524 --> 01:19:25,292 BUT I THIS THING STAPLED TO MY FOOT, AND I WAS DANGLING FROM WIRES. 1386 01:19:25,294 --> 01:19:28,162 -ANYONE WHO'S PROBABLY, LIKE, 15 AND UNDER... 1387 01:19:28,164 --> 01:19:31,132 I DON'T KNOW UNLESS THEIR PARENTS SHOW THEM "BACK TO THE FUTURE," 1388 01:19:31,134 --> 01:19:33,234 IF IT'S AN IMPORTANT MOVIE TO THEM, THEY'LL SEE IT. 1389 01:19:33,236 --> 01:19:36,170 I KNOW THAT SEAN'S PARENTS LOVE THE MOVIE AND SHOWED IT TO HIM, 1390 01:19:36,172 --> 01:19:40,174 I DON'T KNOW THAT HE HAS THAT PASSION FOR IT THAT I DID. 1391 01:19:40,176 --> 01:19:43,210 WHAT HE LOVED WAS WATCHING THE HOVERBOARDING VIDEOS 1392 01:19:43,212 --> 01:19:46,380 AND GETTING TO DO THAT SCENE WHERE HE'S UP IN THE TREE HOVERBOARDING. 1393 01:19:46,382 --> 01:19:48,516 -YIPPEE! HERE I AM, 1394 01:19:48,518 --> 01:19:51,819 TESTING OUT THE WORLD'S FIRST ACTUAL HOVER... 1395 01:19:51,821 --> 01:19:54,321 OW! OW! IT'S SQUISHING MY PARTS. 1396 01:19:54,323 --> 01:19:56,290 -HE WAS REALLY EXCITED TO DO THAT. 1397 01:19:56,292 --> 01:19:58,159 I MEAN, YOU KNOW, ANYONE WANTS TO RIDE A HOVERBOARD. 1398 01:19:58,161 --> 01:20:00,161 IT'S A FANTASY EVERYONE WANTS TO LIVE, AND HE GOT TO DO IT. 1399 01:20:00,163 --> 01:20:01,061 IT'S PRETTY AMAZING. 1400 01:20:01,063 --> 01:20:03,898 -MAY 31, 2013, 1401 01:20:03,900 --> 01:20:08,969 AND YOU'RE LOOKING AT THE WORLD'S FIRST RIDABLE HOVERBOARD. 1402 01:20:08,971 --> 01:20:13,941 BECAUSE WE WERE IN OUR KITCHEN, AND WE HAD TO LITERALLY CHAIN IT DOWN, 1403 01:20:13,943 --> 01:20:16,076 BECAUSE WE HAD NO IDEA 1404 01:20:16,078 --> 01:20:21,248 HOW POWERFUL THIS BEAST OF A HOVERBOARD WAS. 1405 01:20:27,522 --> 01:20:29,190 -ALL RIGHT, IT'S HOVERING, GUYS. 1406 01:20:37,132 --> 01:20:38,899 [CHEERING] 1407 01:20:40,936 --> 01:20:43,938 [JILL HENDERSON] IT WAS ONE OF THOSE MOMENTS WHERE I FELT LIKE I WAS 10. 1408 01:20:43,940 --> 01:20:49,043 I MEAN, IT WAS ONE OF THOSE REALLY POWERFUL MOMENTS OF WHAT WAS YET TO COME. 1409 01:20:49,045 --> 01:20:50,344 IT WAS JUST THE BEGINNING. 1410 01:20:50,346 --> 01:20:52,847 -SEE, THAT CHOKES ME UP. -IT DOES. 1411 01:20:57,252 --> 01:21:00,454 -OKAY, CHECK THE ESCS. I'M GONNA KEEP ROLLING HERE. 1412 01:21:00,456 --> 01:21:02,623 UNBELIEVABLE, JILL. HOW THE [BEEP] WAS THAT? 1413 01:21:02,625 --> 01:21:06,293 [GREG HENDERSON] IT WAS CLUNKY, VERY CLUNKY. IT WAS NOT SO ATTRACTIVE, 1414 01:21:06,295 --> 01:21:12,399 IF WE CAN KEEP TAKING CARE OF EACH OTHER, 1415 01:21:12,401 --> 01:21:16,937 AND ALLOWING THIS EXTRA TIME AND ENERGY TO DARE TO WONDER. 1416 01:21:18,273 --> 01:21:19,974 IT'S A GREAT TIME TO BE ALIVE. 1417 01:21:19,976 --> 01:21:22,343 WOULDN'T TRADE IT FOR ANY OTHER TIME IN HISTORY. 1418 01:21:30,552 --> 01:21:33,354 [ZEMECKIS] YEAH, WELL, I'M NOT GONNA DO "BACK TO THE FUTURE" ANYMORE. 1419 01:21:33,356 --> 01:21:35,890 THREE IS ENOUGH. YOU KNOW, THREE IS A GOOD NUMBER. 1420 01:21:35,892 --> 01:21:39,393 -AFTER BOB AND I MADE THE THIRD MOVIE, 1421 01:21:39,395 --> 01:21:41,896 WE ACTUALLY HAD T-SHIRTS MADE UP 1422 01:21:41,898 --> 01:21:44,565 THAT HAD "BACK TO THE FUTURE IV" 1423 01:21:44,567 --> 01:21:47,601 WITH A CIRCLE AND SLASH THROUGH THE ROMAN NUMERAL FOUR. 1424 01:21:47,603 --> 01:21:51,171 WE'D SAID WHAT WE WANTED TO SAY. WE'D DONE WHAT WE WANTED TO DO WITH THE CHARACTERS. 1425 01:21:51,173 --> 01:21:54,141 AND IF WE WENT BACK TO THE WELL ANOTHER TIME, 1426 01:21:55,210 --> 01:21:57,478 IT'D BE KIND OF AN ACT OF PROSTITUTION, REALLY. 1427 01:21:57,480 --> 01:21:59,380 -THREE IS A DRAMATIC NUMBER. 1428 01:21:59,382 --> 01:22:04,118 YOU KNOW, IT'S THE TRINITY. IT'S THE THREE-ACT STRUCTURE. 1429 01:22:04,120 --> 01:22:06,453 FOUR IS A BORING NUMBER. 1430 01:22:07,656 --> 01:22:09,924 YOU KNOW, IT'S BLAND. IT'S EVEN. 1431 01:22:09,926 --> 01:22:14,662 -SOMETIMES, I'M ASKED IF THEY EVER CAME UP WITH A IV, 1432 01:22:14,664 --> 01:22:16,563 "BACK TO THE FUTURE IV," WOULD I STILL DO IT? 1433 01:22:17,432 --> 01:22:18,632 YOU BET. 1434 01:22:19,968 --> 01:22:20,701 TOTALLY. 1435 01:22:22,237 --> 01:22:25,940 -OH, I'LL DO I, II, III, IV, V, WHATEVER IT... 1436 01:22:25,942 --> 01:22:27,641 WHAT COULD BE BAD, YOU KNOW? 1437 01:22:27,643 --> 01:22:32,179 -SOMEBODY MIGHT DO IT. I MEAN, MAYBE SOMEBODY AFTER I'M DEAD... 1438 01:22:32,181 --> 01:22:34,715 UNIVERSAL COULD MAYBE... OR IF MY KIDS... 1439 01:22:34,717 --> 01:22:37,251 IF MY KIDS NEED TO MAKE MONEY 1440 01:22:37,253 --> 01:22:44,258 AND WANNA HAVE UNIVERSAL, YOU KNOW, DO THE MOVIE 1441 01:22:44,260 --> 01:22:46,527 WITH SOME NEW CONCEPT OR SOMETHING, 1442 01:22:46,529 --> 01:22:48,195 I GUESS THEY'LL DO IT. 1443 01:22:48,197 --> 01:22:49,964 BUT IT'S NOTHING I'M INTERESTED IN. 1444 01:22:49,966 --> 01:22:52,366 -YES, PEOPLE KEEP ASKING FOR MORE. 1445 01:22:52,368 --> 01:22:55,970 SO, WE DID THE TELLTALE GAME, 1446 01:22:55,972 --> 01:23:02,276 IT PRETTY NICELY CAPTURES THE ENERGY OF THE MOVIES, I THINK. 1447 01:23:02,278 --> 01:23:07,715 AND BOB AND I HAD STARTED KICKING AROUND, OH, ALMOST 10 YEARS AGO, 1448 01:23:07,717 --> 01:23:13,053 THE IDEA OF PUTTING "BACK TO THE FUTURE" 1449 01:23:13,055 --> 01:23:18,058 ON BROADWAY, OR IN THE WEST END, OR SOMEPLACE TO DO A MUSICAL PRODUCTION OF IT. 1450 01:23:18,060 --> 01:23:21,028 -I THINK ALL OF US WANT, 1451 01:23:22,464 --> 01:23:26,333 FIRST AND FOREMOST, TO ADHERE TO THE HIPPOCRATIC OATH, 1452 01:23:26,335 --> 01:23:34,341 SO WE'RE VERY... YOU KNOW, WE'RE LOOKING VERY CAREFULLY AT HOW TO PROCEED WITH THIS, 1453 01:23:34,343 --> 01:23:40,014 BECAUSE "BACK TO THE FUTURE" DESERVES THE BEST WE KNOW... 1454 01:23:41,649 --> 01:23:43,417 YOU KNOW, THE BEST WE CAN DO. 1455 01:23:43,419 --> 01:23:46,153 AND WE WANNA REALLY MAKE SURE 1456 01:23:46,155 --> 01:23:49,456 THAT WHAT WE DO IN THAT CAPACITY 1457 01:23:49,458 --> 01:23:53,660 ADDS TO, AGAIN, THE LEGACY OF "BACK TO THE FUTURE." 1458 01:24:01,169 --> 01:24:02,803 -WHAT ABOUT ALL THAT TALK 1459 01:24:02,805 --> 01:24:07,074 ABOUT SCREWING UP FUTURE EVENTS, THE SPACE-TIME CONTINUUM? 1460 01:24:07,809 --> 01:24:10,577 -WELL, I FIGURED, WHAT THE HELL? 1461 01:24:10,579 --> 01:24:14,181 -THERE COMES A TIME IN EVERY CHILD'S LIFE 1462 01:24:14,183 --> 01:24:20,154 WHEN HE TRULY UNDERSTANDS THAT ADULTS WERE ONCE KIDS, 1463 01:24:20,156 --> 01:24:22,790 THAT HIS PARENTS WERE ONCE CHILDREN. 1464 01:24:22,792 --> 01:24:27,661 SEVEN, EIGHT, NINE, TEN YEARS OLD, IT CLICKS. 1465 01:24:27,663 --> 01:24:31,632 YOU REALIZE, "OH, MY GOD. I'M GONNA GROW UP TO BE AN ADULT, 1466 01:24:31,634 --> 01:24:35,436 "WHICH MEANS THAT MY ADULT PARENTS WERE ONCE CHILDREN TOO." 1467 01:24:35,438 --> 01:24:37,805 [THOMPSON] THE IDEA THAT YOUR PARENTS WERE ONCE YOUNG 1468 01:24:37,807 --> 01:24:41,642 AND HAD THE SAME DREAMS THAT YOU ARE GONNA HAVE OR HAVE RIGHT NOW, 1469 01:24:41,644 --> 01:24:44,711 AND THAT WE'RE ALL JUST PEOPLE, AND WE ALL STILL FEEL YOUNG AT HEART. 1470 01:24:44,713 --> 01:24:48,315 [GALE] AND THAT'S WHAT "BACK TO THE FUTURE" IS ABOUT, 1471 01:24:48,317 --> 01:24:50,217 THAT SUDDEN REALIZATION, 1472 01:24:50,219 --> 01:24:53,554 THAT IDEA THAT YOUR INFALLIBLE PARENTS, 1473 01:24:53,556 --> 01:24:55,856 WHO YOU THINK ARE INFALLIBLE WHEN YOU'RE A LITTLE KID, 1474 01:24:55,858 --> 01:24:58,559 THEY WERE GAWKY TEENAGERS, 1475 01:24:58,561 --> 01:25:01,528 AND FUMBLED AROUND IN A CAR, AND DIDN'T KNOW WHAT THE HELL THEY WERE DOING. 1476 01:25:01,530 --> 01:25:05,532 AND THAT RESONATES THROUGH ALL GENERATIONS 1477 01:25:05,534 --> 01:25:07,101 AND THROUGH EVERY CULTURE IN THE WORLD. 1478 01:25:09,771 --> 01:25:13,674 [DEAN CUNDEY] THE APPEAL TO "BACK TO THE FUTURE" FOR ME, OF COURSE, 1479 01:25:13,676 --> 01:25:20,214 BUT ALSO FOR AN AUDIENCE, IS THE FACT THAT IT WAS SUCH AN INTERESTING LOOK AT... 1480 01:25:20,216 --> 01:25:22,816 I GUESS YOU'D CALL IT WISH FULFILLMENT, 1481 01:25:22,818 --> 01:25:27,654 WHICH IS WHO WOULDN'T WANNA GO BACK IN TIME AND FIX SOMETHING? 1482 01:25:27,656 --> 01:25:32,359 [THOMPSON] I THINK WHEN GEORGE MCFLY HAS THE COURAGE TO PUNCH BIFF AT THAT MOMENT, 1483 01:25:32,361 --> 01:25:35,229 I THINK THAT MOMENT WAS SO PERFECTLY CONSTRUCTED. 1484 01:25:35,231 --> 01:25:37,631 I THINK WE ALL WONDER ABOUT THAT. 1485 01:25:37,633 --> 01:25:39,666 IF WE WOULD HAVE DONE SOMETHING DIFFERENT AT ONE MOMENT, 1486 01:25:39,668 --> 01:25:42,769 WOULD IT HAVE CHANGED OUR WHOLE LIVES FOR THE BETTER OR FOR THE WORSE? 1487 01:25:43,671 --> 01:25:46,573 -NOW, 30 YEARS LATER, YOU LOOK BACK AT A PROJECT LIKE THIS, 1488 01:25:46,575 --> 01:25:52,646 AND YOU TRY TO REMEMBER JUST WHAT YOUR PART IN ALL OF THIS WAS. 1489 01:25:52,648 --> 01:25:55,582 AND IT'S JUST A PRETTY SMALL PART. 1490 01:25:55,584 --> 01:25:58,418 I MEAN, YEAH, THE CAR IS FEATURED IN ALL OF THESE SCENES, 1491 01:25:58,420 --> 01:26:00,187 AND IT'S USED, AND IT'S CHERISHED, 1492 01:26:00,189 --> 01:26:01,722 AND PLASTIC MODELS ARE MADE OF IT. 1493 01:26:01,724 --> 01:26:04,691 IT'S NICE BEING A PART OF THAT. 1494 01:26:04,693 --> 01:26:06,894 -WELL, THE MOVIE IS JUST... 1495 01:26:06,896 --> 01:26:11,365 YOU KNOW, THE MOVIE DEFINES THE TASTE OF BUTTERED POPCORN. IT REALLY DOES. 1496 01:26:11,367 --> 01:26:14,368 -WE ACTUALLY USE THE SAME LOGIC 1497 01:26:14,370 --> 01:26:17,204 WHEN WE GO TO SEE MOVIES AS WE DO WALKING INTO A CASINO. 1498 01:26:17,206 --> 01:26:20,874 WE LARGELY KNOW WE'RE GONNA GET RIPPED OFF, 1499 01:26:20,876 --> 01:26:22,910 BUT THE CHANCE IS WORTH IT. 1500 01:26:22,912 --> 01:26:26,446 IF IT WERE ANY OTHER INDUSTRY, WE WOULD HAVE LONG AGO SHUT IT DOWN 1501 01:26:26,448 --> 01:26:28,415 AND SUED EVERYBODY. 1502 01:26:28,417 --> 01:26:30,417 BECAUSE IF IT WAS CANS OF TUNA, 1503 01:26:30,419 --> 01:26:34,721 THE EQUIVALENT WOULD BE LIKE EVERY THIRD CAN HAD A HUMAN FINGER IN IT. 1504 01:26:34,723 --> 01:26:36,490 MOVIES ARE SO BAD NOW. 1505 01:26:36,492 --> 01:26:38,792 AND THEY'RE ALLOWED TO BE, 1506 01:26:38,794 --> 01:26:41,628 BECAUSE THAT'S HOW GOOD "BACK TO THE FUTURE" WAS. 1507 01:26:42,664 --> 01:26:44,231 -IT'S JUST ONE OF THOSE THINGS, MAN. 1508 01:26:44,233 --> 01:26:46,300 YOU KNOW, IT'S ONE OF THOSE THINGS THAT WORKED. 1509 01:26:46,302 --> 01:26:47,467 IT JUST WORKED. 1510 01:26:47,469 --> 01:26:49,670 -SO HOW FAR AHEAD ARE YOU GOING? 1511 01:26:49,672 --> 01:26:52,906 -ABOUT 30 YEARS. IT'S A NICE, ROUND NUMBER. 1512 01:26:52,908 --> 01:26:55,409 -LOOK ME UP WHEN YOU GET THERE, ALL RIGHT? 1513 01:26:55,411 --> 01:26:57,411 I GUESS I'LL BE ABOUT 47. 1514 01:26:57,413 --> 01:26:58,545 -I WILL. 1515 01:26:59,514 --> 01:27:02,249 -TAKE CARE. -YOU, TOO. 1516 01:27:02,817 --> 01:27:05,319 -ALL RIGHT. BYE BYE, EINIE. 1517 01:27:05,321 --> 01:27:07,454 OH, AND WATCH THAT RE-ENTRY. 1518 01:27:07,456 --> 01:27:08,922 IT'S A LITTLE BUMPY. 1519 01:27:08,924 --> 01:27:09,856 -YOU BET. 1520 01:27:26,441 --> 01:27:28,609 -TO THE FUTURE! 1521 01:27:39,654 --> 01:27:41,655 [DR. BROWN] ALL RIGHT, MARTY, YOU ALL SET? -YEAH, YEAH, GO! 1522 01:27:41,657 --> 01:27:44,424 -THERE ARE SO MANY PLACES I WOULD LIKE TO SEE IF I HAD A TIME MACHINE. 1523 01:27:44,426 --> 01:27:46,326 EVERY ERA, I WOULD LOVE TO SEE. 1524 01:27:46,328 --> 01:27:48,328 AND I AM SO LUCKY. 1525 01:27:48,330 --> 01:27:50,597 I HAVE BEEN ABLE TO A LOT ON FILM. 1526 01:27:50,599 --> 01:27:52,432 -BOY, IF I CAN GO ANYWHERE IN TIME, 1527 01:27:52,434 --> 01:27:58,605 I WOULD GO BACK TO MAYBE THE MGM AUCTION OF 1970, 1528 01:27:58,607 --> 01:28:01,308 AND I WOULD HOPEFULLY BE ABLE TO GO BACK THERE 1529 01:28:01,310 --> 01:28:03,710 WITH 10 OR $20,000 IN MY BACK POCKET. 1530 01:28:03,712 --> 01:28:07,047 AND I'D BUY ALL THE STUFF THAT I KEEP HEARING OVER THE YEARS WENT FOR NOTHING. 1531 01:28:07,049 --> 01:28:11,485 -WELL, IT DEPENDS WHAT THE TIME TRAVEL RULES ARE. 1532 01:28:11,487 --> 01:28:12,786 YOU KNOW, I MEAN... 1533 01:28:14,355 --> 01:28:18,759 I GUESS IF I COULD ONLY GO ONE WAY, 1534 01:28:18,761 --> 01:28:23,030 -I THINK ABOUT 10,000 YEARS IN THE FUTURE MIGHT BE INTERESTING. 1535 01:28:23,032 --> 01:28:27,034 -I PROBABLY WANNA GO INTO THE FUTURE 1536 01:28:27,969 --> 01:28:29,770 ABOUT FOUR AND A HALF WEEKS RIGHT NOW. 1537 01:28:29,772 --> 01:28:34,041 BECAUSE I'M WRITING ON A FILM RIGHT NOW, 1538 01:28:34,043 --> 01:28:36,943 AND I'M WORKING REALLY HARD. 1539 01:28:36,945 --> 01:28:40,314 AND ABOUT FOUR AND A HALF WEEKS FROM NOW, I THINK I'LL BE FINISHED. 1540 01:28:40,316 --> 01:28:42,916 -I DON'T KNOW IF YOU'VE EVER SEEN "HENRY V," 1541 01:28:42,918 --> 01:28:44,885 OLIVIER'S "HENRY V." 1542 01:28:45,853 --> 01:28:48,655 ALL THE BACKSTAGE ACTIVITY, 1543 01:28:48,657 --> 01:28:52,426 PEOPLE THROWING THINGS FROM THE GROUNDLINGS WHO'D PAID... 1544 01:28:54,329 --> 01:28:56,496 THE RE-WRITES GOING ON. 1545 01:28:56,498 --> 01:29:01,868 IT WOULD HAVE BEEN KIND OF COOL TO GO BACK, BE AN OBSERVER OF THAT TODAY. 1546 01:29:01,870 --> 01:29:04,971 -I WAS DOING A TV MOVIE WITH WOODY ALLEN, 1547 01:29:04,973 --> 01:29:08,742 AND WE WERE TALKING, AS ALWAYS HAPPENS TO ME ON SETS AND STUFF, 1548 01:29:08,744 --> 01:29:15,115 SO WE WERE IN A FULL-FLEDGED DISCUSSION ABOUT WHERE WE WOULD GO IN TIME. 1549 01:29:15,117 --> 01:29:20,687 AND WOODY ALLEN WAS NORMALLY PREOCCUPIED WITH OTHER THINGS, 1550 01:29:20,689 --> 01:29:26,827 AND SO SOMEONE SUMMONED UP THE COURAGE TO ASK HIM WHERE HE WOULD GO, 1551 01:29:26,829 --> 01:29:30,430 AND HE SAID, "NO TIME BEFORE THE INVENTION OF PENICILLIN." 1552 01:29:30,432 --> 01:29:32,833 I ALWAYS THOUGHT THAT WAS A GOOD RULE OF THUMB. 1553 01:29:32,835 --> 01:29:36,436 BUT I WOULD THINK... [CAR ALARM BLARING] 1554 01:29:36,438 --> 01:29:38,372 -SOMETIME BEFORE CAR ALARMS. 1555 01:29:38,374 --> 01:29:41,508 -I THINK I WOULD RATHER GO BACK IN TIME THAN FORWARD IN TIME. 1556 01:29:41,510 --> 01:29:44,111 BECAUSE I THINK WHEN YOU GO FORWARD IN TIME, 1557 01:29:44,113 --> 01:29:45,846 IT'S GONNA BE DISASTROUS. 1558 01:29:45,848 --> 01:29:49,015 -THERE'S YOUR 10-YEAR-OLD, HORNY SELF 1559 01:29:49,017 --> 01:29:55,489 THAT REMEMBERS THAT IN THE '80S, WOMEN WERE THE MOST BEAUTIFUL. 1560 01:29:57,392 --> 01:30:02,562 WHEN I THINK ABOUT FEMININITY, AND SEXUALITY, AND MUSIC, 1561 01:30:02,564 --> 01:30:07,868 AND ALL THE THINGS THAT MAKE A LITTLE KID SQUIRM AND FEEL ALIVE, 1562 01:30:07,870 --> 01:30:09,503 I THINK OF THE '80S. 1563 01:30:09,505 --> 01:30:15,776 -I'M A BIG IN THE MOMENT GUY. I LIKE RIGHT NOW. I'VE ALWAYS LIKED RIGHT NOW. 1564 01:30:15,778 --> 01:30:18,011 I'VE NEVER YEARNED FOR TIMES IN THE PAST. 1565 01:30:18,013 --> 01:30:20,614 WE HAVE ALL THAT INFORMATION. WE CAN WATCH ALL THE MOVIES. 1566 01:30:20,616 --> 01:30:23,583 BUT THE FUTURE. YEAH, IT'S GOTTA BE THE FUTURE. 1567 01:30:23,585 --> 01:30:25,852 YOU GOTTA GO PAST WHEN YOU'RE GONNA DIE 1568 01:30:25,854 --> 01:30:31,992 -YOU KNOW, IF YOU'RE CURIOUS, YOU'VE GOTTA SAY, "HOW DOES THIS ALL WORK OUT? 1569 01:30:31,994 --> 01:30:34,528 "WHAT HAPPENS WITH HUMANITY? 1570 01:30:36,130 --> 01:30:38,465 "WHAT'S THE NEXT IPHONE LIKE?" 1571 01:30:38,467 --> 01:30:39,833 YOU KNOW, ALL THOSE IMPORTANT THINGS. 1572 01:30:39,835 --> 01:30:42,502 -I'D LIKE TO TRAVEL 100 YEARS INTO THE FUTURE. 1573 01:30:42,504 --> 01:30:45,572 BECAUSE JUST LOOKING BACK AT WHAT HAS EVOLVED 1574 01:30:45,574 --> 01:30:48,809 AND WHAT'S HAPPENED OVER THE PAST 100 YEARS IS MIND-BLOWING. 1575 01:30:48,811 --> 01:30:51,077 SO I ONLY NEED TO GO 100 YEARS INTO THE FUTURE 1576 01:30:51,079 --> 01:30:54,448 TO SEE SOME AMAZING THINGS. 1577 01:30:54,450 --> 01:30:57,184 I REALLY... I'M GONNA SOUND LIKE A CRACKPOT, 1578 01:30:57,186 --> 01:31:02,522 BUT I REALLY BELIEVE THAT, BECAUSE SO MANY THINGS HAVE BEEN TRANSMITTED DIGITALLY NOW, 1579 01:31:02,524 --> 01:31:09,062 I THINK THERE'S A REAL POSSIBILITY OF SOME SORT OF TELEPORTATION. 1580 01:31:09,064 --> 01:31:13,166 PHYSICAL MATTER BEING TRANSMITTED IN SOME KIND OF DIGITAL FORM. 1581 01:31:13,168 --> 01:31:14,868 AND I KNOW THAT SOUNDS CRAZY, 1582 01:31:14,870 --> 01:31:17,537 BUT EVERYTHING DOES BEFORE IT HAPPENS. 1583 01:31:17,539 --> 01:31:20,774 -THEN THERE'S THE OBJECTIVE KIND OF LIKE FASCINATION. 1584 01:31:20,776 --> 01:31:23,743 I THINK I'D LIKE TO GO BACK TO THE 1920S. 1585 01:31:23,745 --> 01:31:29,749 'CAUSE IT SEEMED LIKE SUCH A CRAZY, HISTORIC... 1586 01:31:30,751 --> 01:31:35,922 SIMULTANEOUSLY GRITTY AND PRETENTIOUS KIND OF CULTURE. I DON'T KNOW. 1587 01:31:35,924 --> 01:31:37,724 I'D GET TO WEAR A HAT. 1588 01:31:37,726 --> 01:31:39,259 I COULD PROBABLY WEAR A HAT NOW. 1589 01:31:40,261 --> 01:31:42,829 BUT IT MAKES ME NERVOUS. 1590 01:31:42,831 --> 01:31:45,098 -IF THERE'S AN OPPORTUNITY TO TWEAK THINGS 1591 01:31:45,100 --> 01:31:47,701 AND NOT UPSET THE SPACE-TIME CONTINUUM, 1592 01:31:47,703 --> 01:31:51,738 I COULD GO BACK AND BITCH-SLAP A COUPLE PEOPLE. I DON'T KNOW. 1593 01:31:51,740 --> 01:31:54,941 [CREW MEMBER LAUGHING] 1594 01:31:56,143 --> 01:31:59,846 [ACOUSTIC VERSION OF "BACK TO THE FUTURE" THEME PLAYING]