[ACOUSTIC VERSION OF "BACK TO THE FUTURE" THEME PLAYING]
[DAN HARMON] IT'S JUST SUCH AN ENDLESSLY-ENTERTAINING MYTH,
AND IT HAS A LITTLE BIT OF MODERNIZED AESTHETIC TO IT.
BUT IT REALLY IS JUST SATISFYING ON THE LEVEL OF "JACK AND THE BEANSTALK"
OR ULYSSES FIGHTING A CYCLOPS OR SOMETHING.
IT'S JUST SORT OF A BUNCH OF NEAT SHIT TO HAPPEN TO A KID.
[BOB GALE] RAY BRADBURY ONCE SAID THAT
COMING UP WITH AN IDEA IS LIKE TRYING TO BEHEAD THE MEDUSA.
IF YOU FACE THE PROBLEM STRAIGHT-ON, YOU GET TURNED TO STONE.
BUT IF YOU LET IT JUST KIND OF SNEAK IN BY THE CORNER OF YOUR EYE,
YOU MIGHT JUST SNAG IT.
THAT "BACK TO THE FUTURE" WOULD BE CONSIDERED A QUOTE-UNQUOTE CLASSIC.
-IT JUST WAS SORT OF ONE OF THOSE THAT MELTED INTO THE BEAUTY AND PERFECTION.
JUST-- IT WAS THAT MAGIC SOMETHING.
-THIS IS GONNA SOUND LIKE HYPERBOLE, AND I DON'T MEAN IT TO.
BUT IT'S ALMOST A PERFECT MOVIE.
-IT'S A FLAWLESS FILM. IT'S PERFECT.
YOU CAN'T CHANGE A THING... CAN'T IMPROVE A THING ON IT. IT'S PERFECT.
-IT'S A MASTERPIECE. THERE'S REALLY NOTHING LIKE IT.
THIS TONE THAT THEY DID,
THE COMEDY, THE SUSPENSE, THE DRAMA...
YOU JUST CARE ABOUT THE CHARACTERS.
IT REALLY IS KIND OF UNPARALLELED.
-IT WAS BEAUTIFULLY CAST.
IT WAS BEAUTIFULLY DIRECTED, BEAUTIFULLY WRITTEN.
-THE WRITING AND THE ACTING WAS SO GOOD,
AND THE EDITING WAS SO GOOD, AND THE TIMING WAS SO GOOD.
EVERY THREAD THAT BOB GALE LAID DOWN TO BE PICKED UP LATER GOT PICKED UP.
-THEY REALLY CARED FOR THAT FILM SO MUCH,
AND IT'S JUST SO VERY, VERY WELL-WRITTEN,
WELL-PRODUCED, WELL-ACTED,
AND, OF COURSE, THEY PICKED THE RIGHT SONG.
-YOU GOT A BOOMING SOUNDTRACK BY HUEY LEWIS AND THE NEWS, OKAY?
YOU GOT A DELOREAN FOR CRYING OUT LOUD,
AND YOU HAVE THESE VERY DEFINED, QUIRKY YET COMPELLING CHARACTERS.
STIR IT ALL TOGETHER IN THE SOUP. LOOK WHAT YOU GOT.
-IT REALLY IS, FOR ME,
INARGUABLY THE GREATEST TIME-TRAVEL MOVIE EVER PUT ON FILM.
[GALE] BOB ZEMECKIS AND I HAD ALWAYS WANTED TO DO A TIME-TRAVEL MOVIE
FOR YEARS AND YEARS, SINCE THE '70S,
AND WE'D NEVER REALLY BEEN ABLE TO FIGURE OUT WHAT THE HOOK FOR IT WAS.
WE HAD TENTATIVELY TITLED IT "PROFESSOR BROWN VISITS THE FUTURE."
AND THAT WAS PRETTY MUCH ALL WE HAD.
-WHO KNOWS IF THEY'VE GOT COTTON UNDERWEAR IN THE FUTURE?
-WE WERE NEVER ABLE TO REALLY COME UP WITH ANYTHING EVERY TIME WE KICKED IT AROUND
UNTIL, UH, I WAS VISITING MY PARENTS IN ST. LOUIS, MISSOURI
OVER THE SUMMER OF 1980,
CAME ACROSS MY FATHER'S HIGH SCHOOL YEARBOOK.
MY FATHER HAD GONE TO THE SAME HIGH SCHOOL THAT I'D WENT TO,
AND I DISCOVERED HE WAS THE PRESIDENT OF HIS GRADUATING CLASS.
AND I'M LOOKING AT THIS PICTURE OF MY DAD LOOKING VERY STRAIGHT AND SERIOUS.
"PRESIDENT MARK GALE."
AND I'M THINKING ABOUT THE PRESIDENT OF MY GRADUATING CLASS.
AND I THOUGHT TO MYSELF, "GEE, WAS MY DAD ONE OF THESE RA-RA, SCHOOL SPIRIT GUYS
"IF I HAD GONE TO HIGH SCHOOL WITH MY DAD, WOULD I HAVE BEEN FRIENDS WITH HIM?"
-WHICH ONE IS YOUR POP?
-THAT'S HIM.
-OKAY. OKAY, YOU GUYS.
[LAUGHING SARCASTICALLY] VERY FUNNY.
YOU GUYS ARE BEING REAL MATURE.
[GALE] SO WHEN I CAME BACK TO CALIFORNIA AFTER THAT,
I'M TELLING BOB ABOUT THIS,
AND HE'S LOVING IT, AND HE'S THINKING TO HIMSELF,
"YEAH." SAYS, "WHAT IF YOUR MOM WENT TO THE SAME HIGH SCHOOL?
"WHAT IF IT TURNED OUT SHE WAS, LIKE, THE SCHOOL SLUT?"
-DO YOU MIND IF I SIT HERE?
-NO, FINE. NO, GOOD.
[GALE] IT JUST STARTED GOING, AND GOING, AND GOING.
AND PRETTY SOON, WE HAD THE GERM OF THIS IDEA
ABOUT A KID WHO GOES BACK IN TIME
AND ENDS UP IN HIGH SCHOOL WITH HIS PARENTS.
-GEORGE, BUDDY,
REMEMBER THAT GIRL I INTRODUCED YOU TO, LORRAINE?
[GALE] WE EVENTUALLY WORKED THE THING UP INTO A PITCH.
WE WERE AT COLUMBIA PICTURES, BECAUSE WE'D JUST MADE A MOVIE CALLED "USED CARS."
["STARS AND STRIPES FOREVER" PLAYING]
[STEVEN SPIELBERG] I'D PRODUCED THEIR FILM "USED CARS"
OVER AT COLUMBIA WITH THEM.
I REALLY BELIEVED IN THEM SO MUCH.
BOB ZEMECKIS BROUGHT ME A USC SHORT FILM HE HAD MADE
JUST BEFORE I WENT OFF TO DIRECT "JAWS" IN 1974.
IT WAS CALLED "FIELD OF HONOR."
[TENSE MUSIC PLAYING]
-STOP, OR I'LL SHOOT!
[LAUGHS] AND I CAME BACK FROM "JAWS," CAME BACK FROM THAT EXPERIENCE,
AND WE BEGAN HANGING AROUND, AND WE WERE FRIENDS.
BOB GALE, BOB ZEMECKIS, WE USED TO GO SHOOTING SKEET AND TRAP WITH JOHN MILIUS.
AND WE WERE SORT OF... IT WAS MILIUS, AND ME, AND GALE, AND ZEMECKIS,
AND THAT WAS THE TEAM FOR A LONG TIME.
[GALE] FRANK PRICE, THE HEAD OF THE STUDIO, LOVED "USED CARS."
AND HE TOLD US WHEN WE HAD OUR NEXT IDEA, PLEASE... HE WANTED TO HEAR IT FIRST.
SO WE WENT IN, AND WE PITCHED FRANK, AND FRANK GOT IN IMMEDIATELY,
AND COLUMBIA HIRED US TO WRITE "BACK TO THE FUTURE."
-THEY PITCHED ME "BACK TO THE FUTURE,"
AND I LIKED... I'VE ALWAYS LIKED SCIENCE-FICTION.
SO THIS WAS OLD HOME WEEK.
I GREW UP ON SCIENCE-FICTION.
-AS A WRITER, YOU ASPIRE TO WRITE SOMETHING LIKE THIS.
YOU WANT EVERYTHING TO BE THE "BACK TO THE FUTURE" SCREENPLAY.
YOU WANT EVERYTHING SET UP PERFECTLY PAID OFF.
YOU WANT EVERY CHARACTER TO BE COMPLEX, THREE-DIMENSIONAL, COMPELLING.
-I THINK IT'S THE BEST THING THAT I'VE EVER WRITTEN. ALONG WITH BOB, OF COURSE.
BUT EVEN... IT'S...
YOU PROBABLY HAVE ONE OF THOSE IN YOU IN A LIFETIME.
[FRANK PRICE] COLUMBIA HAD BEEN EXTREMELY SUCCESSFUL
BETWEEN 1978, WHEN I WENT THERE,
AND THIS IS NOW 1982.
"BLUE LAGOON" TURNED OUT A HUGE HIT.
"KRAMER" WAS A HUGE HIT. WE HAD "TOOTSIE," "KARATE KID."
SO COCA-COLA BOUGHT COLUMBIA,
AND THAT WAS A HUGE REVOLUTION.
AND THERE WERE SOME PROBLEMS OF FIT, THOUGH, ONCE COKE WAS THERE,
BECAUSE COKE PRIDED ITSELF ON ITS MARKETING.
AND I THOUGHT WE DID VERY GOOD MARKETING.
THEY STARTED INTERFERING WITH OUR MARKETING.
WE COULDN'T GET AN AGREEMENT ON HOW TO RUN THE MOVIE OPERATION,
SO THAT'S WHEN I LEFT BEHIND A LOT OF PROJECTS.
-"BACK TO THE FUTURE" BREAKS AS MANY RULES AS IT FOLLOWS.
I MEAN, IT...
MARTY MCFLY IS A FLAWLESS PROTAGONIST.
HE DOESN'T LEARN A DAMN THING.
HE HAS NO UNCONSCIOUS WISH THAT HE NEEDS TO FULFILL
EXCEPT MAYBE IF YOU COUNT THE IDEA THAT HE WISHES HIS PARENTS WERE COOLER,
WHICH IS A SELFISH, DUMB THING TO WISH FOR.
AND IT'S NOT LIKE HE LEARNS A LESSON THROUGH ANY OF IT.
HE'S JUST THIS WILLING HERO THAT CHARGES ACROSS THIS THRESHOLD
AND MUCKS THINGS UP A LITTLE BIT.
HE'S REALLY NERVOUS THAT HIS MOM IS GONNA,
YOU KNOW, GIVE HIM A HJ IN THE PARKING LOT.
-OH, YOU MEAN LIKE HOW YOU'RE SUPPOSED TO ACT ON A FIRST DATE.
FOR A MOVIE WHERE THE GUY THAT YOU'RE IN THE SHOES OF DOESN'T...
HE DOESN'T HAVE AN ARC.
AND THAT'S ONE OF MANY THINGS ABOUT THAT MOVIE THAT'S LIKE,
OH, THIS, STRICTLY SPEAKING, ACCORDING TO ROBERT MCKEE OR A SCREENWRITING CLASS,
IT SHOULDN'T BE AS SATISFYING AS IT IS.
-I MEAN, IT'S DEFINITELY NOT A PERFECT MOVIE.
THERE MIGHT EVEN BE ONE OR TWO SHOTS IN IT
THAT ARE A LITTLE BIT, A HAIR OUT OF FOCUS.
YOU KNOW, SO IT'S NOT A PERFECT MOVIE.
BUT THE SCREENPLAY IS REALLY GOOD.
I MEAN, THAT'S REALLY SOMETHING THAT THEY SHOULD STUDY IN FILM SCHOOL.
[LEA THOMPSON] I KNOW PEOPLE WHO HAVE BEEN TO USC FILM SCHOOL,
AND CERTAIN TEACHERS USE THE SCRIPT OF "BACK TO THE FUTURE"
AS THE PERFECT SCRIPT.
-IT RIDES THIS
RAZOR'S EDGE BETWEEN AN ABSURD AMOUNT OF EXPOSITION...
-GOOD EVENING. I'M DR. EMMETT BROWN.
I'M STANDING IN A PARKING LOT AT TWIN PINES MALL.
IT'S SATURDAY MORNING, OCTOBER 26, 1985, 1:18 A.M.
AND THIS IS TEMPORAL EXPERIMENT NUMBER ONE.
-...AND TOTAL IMMERSIFICATION.
IT'S JUST BURSTING AT THE SEAMS WITH PIPE.
-THE MOLECULAR STRUCTURE OF BOTH EINSTEIN AND THE CAR ARE COMPLETELY INTACT.
-WHERE THE HELL ARE THEY?
-THE APPROPRIATE QUESTION IS WHEN THE HELL ARE THEY?
-YOU'RE BEING TOLD SO MANY FACTS FOR THE FIRST QUARTER OF THAT MOVIE
SIMPLY SO THAT THE SUDOKU CAN COMPLETE ITSELF.
-THIS READOUT TELLS YOU WHERE YOU'RE GOING.
THIS ONE TELLS YOU WHERE YOU ARE.
THIS ONE TELLS YOU WHERE YOU WERE.
-AND THAT'S A RULE BEING BROKEN.
IT'S NOT SUPPOSED TO, UH, BE FAIR TO DO THAT TO AN AUDIENCE.
-I'M GONNA MAKE YOU FLYING-SAUCER SHAPED PANCAKES.
-OH, THERE'S NO NEED TO DO THAT, BETH. REGULAR PANCAKES ARE FINE.
-OH, MY GOD! WHAT IS HAPPENING?
[HARMON] "RICK AND MORTY" WAS
JUSTIN ROILAND'S FRUSTRATED, PUNK ROCK TANTRUM
THAT HE WAS THROWING AFTER FINISHING WORKING ON SOMEONE ELSE'S SHOW.
HE WAS SPENDING A YEAR
HAVING NO CONTROL OVER THE CONTENT HE WAS EXPECTED TO INVEST IN.
AND HE CAME OFF OF THAT JOB, AND HE JUST MADE,
IN HIS OPINION, THE MOST KIND OF SACRILEGIOUS THING HE COULD DO.
FOR HIM, THE EQUIVALENT OF MICKEY MOUSE [BEEP] PLUTO.
BUT WHO CARES ABOUT MICKEY MOUSE AND PLUTO IN THIS GENERATION?
I DON'T KNOW IF THE WRITERS KNOW MORE THAN THEY'RE TELLING... THAN IS CLEAR IN THE MOVIE
ABOUT HOW THIS TEENAGE GUITARIST ENDED UP HANGING OUT WITH THIS BANKRUPT SCIENTIST.
PEOPLE WOULD START WONDERING, "GEE, IS DOC BROWN, LIKE, A CHILD MOLESTER OR SOMETHING?"
BUT BACK IN THE DAY, NOBODY EVER THOUGHT ABOUT THAT.
[SPIELBERG] THE INFECTIOUS CHARACTER OF MARTY MCFLY,
AND HIS POSITIVITY, AND HIS HIGH SPIRITS.
THE CRAZY DOC BROWN.
THAT TWO-HANDER BETWEEN MCFLY AND BROWN,
THAT'S LIKE LAUREL AND HARDY.
THAT'S LIKE ABBOTT AND COSTELLO.
I MEAN, THOSE GUYS WILL GO DOWN IN HISTORY
AS THE BEST TWO FOR ONE SINCE HOPE AND CROSBY.
SO ZEMECKIS AND GALE REALLY FOUND LIGHTNING IN A BOTTLE.
AND LIGHTNING IN A BOTTLE, YOU KNOW, TENDS TO STICK AROUND FOR A LONG TIME.
[GALE] WE TOOK IT AROUND TO EVERY STUDIO IN TOWN,
AND THEY WOULD ALL SAY, "IT'S VERY NICE. IT'S VERY SWEET.
"WHY DON'T YOU GUYS TAKE IT TO DISNEY?"
"IT'S A TIME-TRAVEL MOVIE, AND TIME-TRAVEL MOVIES DON'T MAKE ANY MONEY."
-EVERYBODY SAID, "OH, YOU CAN'T MAKE TIME-TRAVEL MOVIES.
WELL, YOU JUST DON'T MAKE BAD TIME-TRAVEL MOVIES. YOU MAKE A GOOD ONE.
-SO FINALLY, AFTER WE HEARD THAT ABOUT 15 OR 20 TIMES,
BOB AND I KIND OF SHRUGGED, SAID, "WELL, WHAT THE HELL? LET'S TAKE IT TO DISNEY."
SO WE SUBMITTED IT TO DISNEY.
WE TOOK A MEETING OVER THERE.
AND THE EXEC AT DISNEY, WE WALK INTO HIS OFFICE,
AND HE LOOKS AT US LIKE WE'RE COMPLETELY INSANE.
HE SAYS, "ARE YOU GUYS NUTS?
"WE CAN'T MAKE THIS MOVIE HERE. WE'RE DISNEY,
"AND YOU GUYS HAVE WRITTEN A MOVIE ABOUT INCEST."
SO, IT WAS NICE AND SWEET FOR EVERYBODY ELSE EXCEPT DISNEY,
AND FOR THEM, IT WAS TABOO.
-MARTY, I'M ALMOST 18 YEARS OLD.
IT'S NOT LIKE I'VE NEVER PARKED BEFORE.
[THOMPSON] LORRAINE MCFLY IS ESSENTIALLY IN LOVE WITH HER OWN SON,
WHICH I THOUGHT WAS HILARIOUS.
AND I ALWAYS HAVE HAD A KIND OF SUBVERSIVE SENSE OF HUMOR.
SO I DEFINITELY GOT IT WHEN I GOT THE PART.
BUT I REALLY LOVED THE CRAZY ASPECT OF THAT.
SHE WAS JUST LIKE... [PURRS] I MEAN, I PLAYED HER LIKE A KITTY CAT IN HEAT.
AND I STILL THINK IT'S FUNNY THAT PEOPLE THINK
I'M, LIKE, SO WHITE BREAD, AND SWEET, AND CUTE
WHEN I'M REALLY KNOWN FOR A PART WHERE I WANTED TO SLEEP WITH MY SON.
-YOU KNOW WHAT I DO IN THOSE SITUATIONS?
-WHAT?
[GALE] STEVEN SPIELBERG ALWAYS LIKED IT.
BUT WE'D MADE THREE PICTURES WITH STEVEN,
AND NONE HAD MADE ANY MONEY AT THE BOX OFFICE.
SO WE WERE AFRAID IF WE DID ANOTHER PICTURE WITH STEVEN, AND IT TANKED,
WE'D NEVER WORK AGAIN.
AND BOB SAID, "I GOTTA GET A MOVIE MADE THAT'S MINE,
"SO THAT PEOPLE UNDERSTAND THAT BOB ZEMECKIS CAN MAKE A MOVIE WITHOUT STEVEN SPIELBERG."
AND AFTER ALL THE FRUSTRATION OF NOT GETTING "BACK TO THE FUTURE" MADE,
BOB FINALLY SAID, "I'M GONNA TAKE THE NEXT DECENT SCRIPT THAT GETS SUBMITTED TO ME."
ZEMECKIS WENT OFF WITHOUT ME AND HAD A HUGE SUCCESS WITH "ROMANCING THE STONE."
-BACK OFF ME, CREEP. JUST BACK OFF.
-OH. OH, I'M THE CREEP, HUH?
WELL, AT LEAST I'M HONEST. I'M STEALING THIS STONE.
I'M NOT TRYING TO ROMANCE IT OUT FROM UNDER HER.
-OUT OF NOWHERE, THIS PHONE CALL COMES
FROM THE MUSIC EDITOR, TOM CARLIN, WHO I HAD WORKED WITH ON "C.H.I.P.S."
AND HE'S DOING THIS MOVIE CALLED "ROMANCING THE STONE"
WITH THIS GUY NAMED ROBERT ZEMECKIS.
INTRODUCED US ON THE PHONE.
A GUY AND A GIRL RUNNING THROUGH THE JUNGLE. RAINING, MACHETES, FEDERALI.
"CAN YOU DO, LIKE, THREE MINUTES OF THAT
"AND COME IN AROUND 9:30 TOMORROW MORNING?"
I PUT A LITTLE, QUICKIE, DEMO MOCK-UP TOGETHER,
WENT IN, GOT THE JOB.
[GALE] IT'S A BIG, BIG HIT. EVERYBODY WANTS HIS NEXT PICTURE.
THE MOVIE HE WANTS TO MAKE THE MOST IS "BACK TO THE FUTURE."
AND HE DECIDES RATHER THAN MAKE IT WITH ANY OF HIS NEW, FAIR-WEATHER FRIENDS,
WHO NOW WANNA BE IN BUSINESS WITH HIM BECAUSE HE MADE A HIT,
WE SHOULD GO BACK TO THE GUY WHO BELIEVED IN IT ORIGINALLY,
-THEY CAME BACK, AND THEY BROUGHT ME THE SCRIPT CALLED "BACK TO THE FUTURE."
AND THEY SAID, YOU KNOW,
"WE'D LIKE YOU TO BE INVOLVED IN THIS.
"WE THINK IT'S SOMETHING WE REALLY WANNA DO."
AND I READ IT AND LOVED IT.
I MEAN, I COULDN'T BELIEVE WHAT AN ACCOMPLISHED AND FUN PIECE OF WRITING IT WAS.
AND IT WAS DIFFERENT THAN ANYTHING I'D EVER SEEN IN A MOVIE THEATER.
THE STORY WAS OFF-THE-WALL,
AND OUT-OF-SIGHT, AND OUT-OF-THE-BOX, AND ALL THOSE OTHER TERMS.
AND SO, I BROUGHT IT TO SID SHEINBERG,
AND SID LOVED IT TOO AND GAVE US THE FINANCING TO GO OFF AND MAKE IT.
-SO WE GOT IT SET UP AT UNIVERSAL.
AND LO AND BEHOLD, THE GUY WHO WAS IN CHARGE OF THE STUDIO AT UNIVERSAL WAS FRANK PRICE,
WHO ORIGINALLY BROUGHT US ON TO WRITE IT.
-GUY MCELWAINE, WHO HAD WORKED FOR ME,
WHO WAS NOW RUNNING COLUMBIA,
I MENTIONED TO HIM THAT A PROJECT HE HAD WITH PETER FALK
SEEMED A LOT LIKE "DOUBLE INDEMNITY."
AND HE WAS COMMITTED TO MAKING IT.
GUY HAD HIS LAWYERS CHECK IT,
READ THE SCRIPT AND MAKE COMPARISONS.
AND I GOT AN URGENT CALL FROM HIM,
SAYING, "MY GOD, YOU'RE RIGHT. IT'S 'DOUBLE INDEMNITY,'
AS IT TURNED OUT, UNIVERSAL OWNED THE RIGHTS TO "DOUBLE INDEMNITY."
I CAME UP WITH TWO PROJECTS
THAT, AS I PUT IT, I'D HAD THEM IN DEVELOPMENT, COULDN'T GET THEM QUITE RIGHT,
BUT I KNOW I'D LIKE TO WORK ON THEM MORE.
AND ONE IS THE OTHER PROJECT, AND THE OTHER ONE IS "BACK TO THE FUTURE."
I KNEW GUY. HE WOULD HAVE BEEN SUSPICIOUS IF IT WAS JUST "BACK TO THE FUTURE."
HE AGREED TO THE DEAL.
AND I GAVE HIM THE LICENSE FOR "DOUBLE INDEMNITY,"
AND HE GAVE ME THE TWO PROPERTIES, ONE OF WHICH I DIDN'T WANT,
BUT I GOT THE ONE I WANTED.
-I ORIGINALLY WAS IN A FILM IN THE EARLY '80S
CALLED "SCARED STRAIGHT! ANOTHER STORY," WHICH WAS A CBS FILM.
[LAUGHING] -WHAT? THAT'S FUNNY?
SEEING JAMES WRECK UP HIS HAND?
-HEY, HE'S DEMENTED.
-AND THE CASTING DIRECTOR WAS SO IMPRESSED WITH MY WORK
THAT THEY WERE CASTING "BACK TO THE FUTURE,"
SO THEY SET UP A MEETING FOR ME TO MEET BOB ZEMECKIS.
[CHRISTOPHER LLOYD] I WAS MAKING A FILM IN MEXICO CITY,
AND MY AGENT, BOB DURST, SENT ME THE SCRIPT FOR "BACK TO THE FUTURE."
I HAD, AT THE SAME TIME, RECEIVED AN OFFER TO GO BACK AND DO A PLAY.
WHICH I WAS ENTHUSIASTIC ABOUT.
THINGS WEREN'T GOING THAT GREAT,
AND I THOUGHT I SHOULD GET BACK TO MY ROOTS.
-I ALWAYS THOUGHT I MIGHT WANNA GO TO HOLLYWOOD.
BUT I SAID I'M NEVER GOING TO HOLLYWOOD TILL THEY SEND FOR ME.
AND THEN, IN 1984, WHEN I WAS DOING "GLENGARRY GLEN ROSS," DAVID MAMET'S PLAY,
I GOT A SCRIPT FROM ROBERT ZEMECKIS,
AND IT WAS "BACK TO THE FUTURE."
AND I SAY, "OKAY, WELL, MAYBE THIS IS MY CHANCE
"TO GO OUT TO HOLLYWOOD AND SEE WHAT'S GOING ON."
-YOU'VE GOT A REAL ATTITUDE PROBLEM, MCFLY. YOU'RE A SLACKER.
-YOU'RE A SLACKER, MCFLY.
-I ALWAYS TOLD MYSELF I'D ALWAYS LEAVE NO STONE UNTURNED,
SO I TOOK ANOTHER LOOK AT THE SCRIPT,
WENT BACK, MET BOB ZEMECKIS, AND THAT WAS THAT.
[CLAUDIA WELLS] IT WAS VERY HARD FOR ME TO GET COMMERCIALS.
'CAUSE THEY ALWAYS USED TO TELL ME
THAT I WOULD DISTRACT FROM THE PRODUCT.
I HAD A CALLBACK LATER THAT DAY FOR A COMMERCIAL,
AND I WAS MORE EXCITED ABOUT THE CALLBACK FOR THE COMMERCIAL 'CAUSE IT WAS SO UNUSUAL.
-FOR SOME REASON, I JUST REALLY GOT THE CHARACTERS.
YOU JUST NEVER KNOW. SOMETIMES, CHARACTERS JUST COME TO YOU REALLY CLEARLY.
-IT'S TERRIBLE.
GIRLS THESE DAYS,
SMOKING POT, DRINKING BOOZE. [SCOFFS]
-LOOK MORE STRAIGHT ABOVE THE LENS HERE, SO YOU'RE NOT LOOKING DOWN.
-OH, I SEE. -'CAUSE THE HAIR MIGHT SHADOW YOUR FACE.
[FULLILOVE] I WENT AND MET WITH BOB,
YOU KNOW, I NEVER AUDITIONED OR READ ANYTHING.
HE WAS JUST ASKING ME QUESTIONS,
AND NEXT THING YOU KNOW, I'M GOLDIE WILSON.
-AND ONE DAY, I'M GONNA BE SOMEBODY.
-THAT'S RIGHT. HE'S GONNA BE MAYOR.
-YEAH, I'M GONNA...
MAYOR!
-OH. [LAUGHS]
IF I HAD A PENNY
FOR EVERY TIME I WAS ASKED TO SAY,
"MAYOR!"
HEY, YOU KNOW WHAT? IT MADE ME ALMOST FAMOUS.
YOU CAN WRITE A GREAT SCRIPT, AND CAST JUST A COUPLE PEOPLE WRONG,
OR ONE PERSON WRONG, AND THE WHOLE THING WILL FALL APART.
AND, YOU KNOW, THAT KIND OF WAS THE CASE.
I WAS LUCKY ENOUGH TO BE IN MOVIE CALLED "THE WILD LIFE,"
AND THEY WERE THINKING ABOUT ERIC STOLTZ, WHO WAS MY BOYFRIEND.
-YOU'RE THE ONE WHO NEEDED YOUR FREEDOM.
FOR YOU TO START GOING OUT WITH THE ENTIRE MALE RACE.
-I MADE A DECISION THAT WAS BASED ON, UM,
YOU KNOW, JUST THE DESIRE TO GET THE MOVIE MADE.
AND I WAS GIVEN AN ULTIMATUM BY THE HEAD OF THE STUDIO
THAT IF I DIDN'T START THE MOVIE ON A SPECIFIC DAY, THEY WEREN'T GONNA MAKE IT.
[ZEMECKIS] MY FIRST CHOICE FOR THE PART WAS UNAVAILABLE
BECAUSE HE WAS IN A TV SHOW.
SO ERIC IS A REALLY GOOD ACTOR,
AND I MADE THE DECISION TO PUT HIM IN THE MOVIE,
BUT IT TURNED OUT THAT HIS INSTINCTS
AND THE TYPE OF COMEDY THAT WE WERE DOING WASN'T REALLY GELLING.
-IT BECAME CLEAR AS THE PICTURE PROGRESSED
THAT THE HUMOR JUST WASN'T WORKING THE WAY IT SHOULD.
IT IS SOMETHING TO RECAST AT THAT POINT.
THIS WAS A TERRIFIC PICTURE, SHOULD BE,
AND IT WASN'T COMING ALIVE.
[CHRISTOPHER LLOYD] WHEN WE BROKE FOR DINNER AT, LIKE, 1:00 A.M.,
ALL THE SUITS WERE THERE AND EVERYTHING.
BOB ZEMECKIS MADE AN ANNOUNCEMENT.
GOD, IF I WAS AN ACTOR FOR SIX WEEKS ON SOMETHING, AND I GOT...
YOU DON'T RECOVER FROM THAT.
-I, UM...
DIDN'T WANNA BELIEVE THAT IT WASN'T WORKING,
SO THAT'S WHY I KEPT SHOOTING AND SHOOTING.
I WAS KIND OF IN DENIAL ABOUT IT.
AND I HAD TO ULTIMATELY ACCEPT THE TRUTH.
IT WAS VERY PAINFUL FOR EVERYBODY.
-THEY STARTED TO SHOOT THE MOVIE WITHOUT ME,
AND I DIDN'T KNOW ANYTHING WENT ON.
AND THEN GARY CALLED ME INTO HIS OFFICE ONE DAY AND SAID
THAT THEY HAD APPROACHED ME ORIGINALLY,
AND THEN THEY'D SHOT, AND THEY WEREN'T HAPPY WITH WHAT THEY HAD,
AND WOULD I CONSIDER DOING IT NOW?
HE THOUGHT I COULD DO IT.
AS LONG AS I DID THE SHOW IN THE DAYTIME, AND THE MOVIE AT NIGHT.
-THE MINUTE MICHAEL J. FOX WAS IN IT,
IT WAS CLEAR A VERY GOOD DECISION HAD BEEN MADE,
[GALE] LISTEN, I'LL TELL YOU EVERYBODY WOULD LOVE TO SEE THE ERIC STOLTZ FOOTAGE
THAT WE DID NOT DESTROY.
SOMEDAY, THAT FOOTAGE WILL BE RELEASED.
SO WE CAN LOOK FORWARD TO THAT.
-THEY WERE REALLY WELCOMING TO ME. THEY WERE REALLY GREAT.
I MEAN, THERE WAS SOME CONCERN...
THERE WERE PRACTICAL REALITIES...
THERE WERE SCENES WHERE MY COVERAGE WAS SHOT,
WHERE THE OTHER ACTORS ARE REACTING TO ERIC.
THEY'D SHOT THE STUFF ALREADY,
AND SO THEY WENT AND INSERTED MY COVERAGE INTO IT.
SO IT'S REALLY STRANGE. I MEAN, IT'S...
WE WOULD DO DAYS OF SHOOTING JUST ONE PIECE OF COVERAGE FROM PREVIOUSLY-FILMED SEQUENCES.
SO, THAT WAS KIND OF STRANGE.
BUT THEN VERY QUICKLY, IT BECAME JUST THE WAY IT WAS SUPPOSED TO BE.
AND I DON'T MEAN THAT IN ANY DEROGATORY SENSE TOWARDS ERIC.
JUST IN THE SENSE THAT WE HIT A RHYTHM THAT THEY WERE COMFORTABLE WITH,
I WOULD WAKE UP AT 10:00 IN THE MORNING, AND GO TO "FAMILY TIES,"
THEN THEY'D PICK ME UP AFTER WORK AND TAKE ME OUT TO UNIVERSAL,
AND I'D WORK THERE UNTIL LIKE 2:00, 3:00 IN THE MORNING,
AND THEN I'D GO BACK AND CRAWL INTO BED.
WHERE A TEAMSTER WAS COMING, TURNING ON THE SHOWER, WAKING ME UP,
AND HUSTLING ME TOWARD THE SHOWER,
AND GETTING ME IN THE CAR,
AND I'D CATCH A NAP ON THE WAY INTO WORK.
IT WAS PRETTY INCREDIBLE, BUT IT WAS, UM...
YOU REALLY FELT LIKE YOU WERE DOING SOMETHING COOL. IT WAS REALLY ENERGIZING.
["POWER OF LOVE" PLAYING]
-OKAY, THANK YOU.
THANK YOU. THANK YOU VERY MUCH.
HOLD IT, FELLAS.
I'M AFRAID YOU'RE JUST TOO DARN LOUD.
-I REMEMBER WE WERE CONTACTED BY STEVEN SPIELBERG, I THINK, FIRST.
AND WE TOOK A MEETING, MY MANAGER BOB BROWN AND I,
WITH THE TWO BOBS AND STEVEN.
AND THEY SAID THEY'D JUST WRITTEN THIS FILM,
AND THIS CHARACTER, MARTY MCFLY, HIS FAVORITE BAND WOULD BE HUEY LEWIS AND THE NEWS.
SO, "HOW WOULD YOU LIKE TO WRITE A SONG FOR THE FILM?"
I TOLD THEM I WAS FLATTERED, BUT I DIDN'T KNOW HOW TO WRITE FOR FILM NECESSARILY,
AND I WASN'T TOO CHUFFED WITH THE IDEA OF WRITING A SONG CALLED "BACK TO THE FUTURE."
"YOU DON'T HAVE TO CALL IT 'BACK TO THE FUTURE.' CALL IT WHATEVER YOU WANT."
I SAID, "I'LL TELL YOU WHAT. WE'LL JUST GO OFF AND TRY AND WRITE SOMETHING,
"AND WE'LL SEND YOU THE FIRST THING WE WRITE, SEND IT DOWN TO YOU?"
I KNOW IT'S BEEN A FEW YEARS.
BUT HOLLYWOOD FINALLY CALLED.
THAT'S IT. YOUR FAVORITE GROUP IS IN THE MOVIE BUSINESS.
-WHAT'S GOING ON IN THERE?
-MUSIC. -WHAT KIND OF MUSIC?
-DANCING. -ROCK AND ROLL.
-HUEY.
-THIS IS THE PLACE!
-AND ALMOST THE FIRST THING WE WROTE WAS "POWER OF..."
I REMEMBER IT AS BEING THE FIRST THING WE WROTE.
BOB, I THINK, REMEMBERS IT DIFFERENTLY.
BUT EITHER THE FIRST OR SECOND THING WE WROTE,
SENT IT DOWN WAS "POWER OF LOVE."
["POWER OF LOVE" PLAYING]
[HUEY LEWIS] I REALLY DIDN'T THINK IT WAS GONNA WORK IN THE FILM SO MUCH.
'CAUSE IT'S TANGENTIAL.
YOU KNOW, "POWER OF LOVE," WHAT DOES THAT HAVE TO DO WITH THE PLOT AT ALL?
¶ THE POWER OF LOVE IS A CURIOUS THING ¶
BUT IT TURNS OUT, THAT WORKS BETTER IN A WAY, YOU KNOW,
THAN A SONG WRITTEN SPECIFICALLY FOR THE FILM.
BOB ZEMECKIS CREDITS US WITH THE GREATEST ROLLOUT EVER,
THEY RELEASED THE SONG, BEFORE THIS MOVIE CAME OUT.
BECAUSE IT TOOK THAT LONG TO BUILD THE SONG.
SO I THINK THE WEEK THAT THE FILM WAS RELEASED,
"POWER OF LOVE" WAS ON TOP.
SO THAT WAS A REAL HELP FOR THE FILM IN THIS COUNTRY.
BUT THEN WHEN THE FILM BECAME SUCH A SMASH,
AND THEN IT WENT INTERNATIONAL,
THE FILM DROVE THE SONG INTERNATIONALLY.
AND SO, FROM THEN ON, IT REALLY OPENED UP ALL KINDS OF DOORS FOR US INTERNATIONALLY.
["POWER OF LOVE" PLAYING]
-¶ THE POWER OF LOVE IS A CURIOUS THING ¶
[MAN] WE WANTED TO TAKE PEOPLE BACK IN TIME,
AND MUSIC IS REALLY THE ULTIMATE WAY TO DO THAT IN OUR OPINION.
MUSIC IS A TIME MACHINE ITSELF,
SO WE GET TO REALLY, LIKE, EXPLOIT THE WHOLE TIME-TRAVEL FUNCTION
[MAN 2] I THINK THAT'S ONE OF THE MAIN INGREDIENTS OF WHY WE BLEW UP SO FAST,
IS BECAUSE WE REALLY HIT THAT EMOTIONAL CHORD WITH PEOPLE, YOU KNOW.
AND THAT'S ONE OF THE COMMON THEMES I SEE THROUGHOUT OUR SHOWS IS,
YOU KNOW, WE HIT THAT EMOTION.
AND HAVING THAT REFERENCE WITH "BACK TO THE FUTURE,"
"BACK TO THE FUTURE," THAT GETS THAT OUT OF EVERYBODY.
[MAN 3] AFTER A LITTLE TIME WENT BY,
WE STARTED GETTING INTO THE COSPLAY CIRCUIT
FOR COMIC CONS, AND COMIKAZE, AND ALL THE CONVENTIONS THAT ARE GOING AROUND.
WE DON'T CONSIDER OURSELVES COSPLAYERS BY ANY MEANS,
BUT IT'S COOL TO BE A PART OF THAT WORLD.
[MAN 1] WE DID IT FOR THE LOVE OF THE FILM.
WE DIDN'T DO IT BECAUSE WE KNOW THERE WAS A WORLD OUT THERE
WITH DELOREANS AND TIME MACHINES.
WE WEREN'T AWARE OF HOW BIG THE "BACK TO THE FUTURE" UNIVERSE WAS.
SO REALLY QUICKLY, WE STARTED BUMPING INTO TIME MACHINE OWNERS.
AND THEN DON FULLILOVE CAME TO ONE OF OUR SHOWS,
AND HE WAS DIGGING IT, MAYOR GOLDIE WILSON.
AND THEN WE STARTED DOING THINGS WITH CLAUDIA WELLS.
-LAST NIGHT, WE HAD A REHEARSAL,
AND MAYOR GOLDIE WILSON STOPPED BY WITH BEEF JERKY
AND JUST GAVE US BEEF JERKY THAT HE PICKED UP FROM A ROAD TRIP,
AND HUNG OUT, LISTENED TO A COUPLE SONGS.
AND IT'S JUST LIKE THAT'S SO COOL JUST TO HAVE THOSE OPPORTUNITIES.
[MAN 1] SINCE WHAT WE PLAY AND WHAT WE REPRESENT MEANS SO MUCH
TO JUST THE PUBLIC IN GENERAL,
WE CAN DO THIS FOR YEARS TO COME.
AND THAT'S ONE OF THE THINGS THAT WE LOOK FORWARD TO
IS SORT OF GOING AROUND THE WORLD
AND BRINGING PEOPLE BACK IN TIME.
-I DO REMEMBER THE FIRST PREVIEW OF "BACK TO THE FUTURE."
WE ALL GOT ON A PLANE AND WENT UP TO SAN JOSE.
AND THOSE ARE USUALLY TERRIFYING,
BECAUSE IT'S THE FIRST TIME YOU'RE GONNA SHOW THE FILM TO AN AUDIENCE,
AND YOU REALLY DON'T KNOW WHAT'S GONNA HAPPEN.
[MAN] MTV WAS JUST GETTING OFF THE GROUND,
AND THE VJS, AND ALL THAT GOOD STUFF, TOM PETTY.
AND THEY WERE TALKING ABOUT WIN THESE TICKETS TO A MOVIE, BLAH, BLAH, BLAH.
SO I SUBMITTED MY NAME. I NEVER WIN ANYTHING, YOU KNOW.
AND I WON THE TICKETS, NOT REALLY KNOWING...
THERE WAS MAYBE SMOKE SIGNALS TELLING YOU, "HEY, GREAT MOVIE!" NO TWITTER, NOTHING.
SO WE WERE SITTING THERE, AND THERE WERE THESE CROWDS OF PEOPLE.
AND THERE'S NO PICTURES, NOTHING TELLING YOU WHAT THIS MOVIE IS ABOUT.
-I'LL NEVER FORGET. THE LIGHTS CAME DOWN IN THIS THEATER.
WE WERE ALL SITTING WAY IN THE BACK.
AND ON THE SCREEN,
IT SAYS, "STEVEN SPIELBERG PRESENTS."
THE PLACE WENT CRAZY.
AND THEN IT SAID, "A ROBERT ZEMECKIS FILM."
THEY WENT CRAZY.
-I WAS JUST LIKE THIS...
THROUGHOUT THE WHOLE FILM. JUST LIKE TOTALLY JUST LOVING EVERY ASPECT.
-I SAW THAT, I THINK, WITH "STAR WARS."
I SAW THAT WITH "GHOSTBUSTERS."
THERE'S NO ACCOUNTING FOR IT.
-AFTER SEEING THE FILM, I WANTED TO BUY A DELOREAN.
I MEAN, I BET YOU EVERYBODY DID.
WELL, OBVIOUSLY, AT 18 YEARS OLD,
WITH A COUPLE OF WAITER JOBS, PARKING CARS,
I'M NOT GONNA BUY A DELOREAN.
IT WAS ONE OF THOSE BUCKET LIST THINGS IN LIFE.
IT'S ALMOST LIKE SOME PEOPLE WANT A ROLEX WATCH WHEN THEY TURNED A CERTAIN AGE
WELL, YOU KNOW WHAT? I WANTED A DELOREAN TIME MACHINE.
THAT'S NOT TOO MUCH TO ASK.
AND I DID IT.
[GALE] IN THE FIRST TWO DRAFTS, THE TIME MACHINE WAS NOT A DELOREAN AT ALL.
IT WAS NOT IN A CAR. IT WAS NOT MOBILE.
IT WAS A TIME RAY THAT SHOT INTO A TIME CHAMBER.
AND IN THE CLIMAX
THAT TOOK PLACE AT A NUCLEAR TEST SITE IN THOSE EARLY VERSIONS,
THE TIME CHAMBER, DOC CONVERTED A REFRIGERATOR AND PUT LEAD LINING IN IT.
AND MARTY WAS PROTECTED FROM THE NUCLEAR BLAST
BY BEING INSIDE OF A TIME CHAMBER MADE OF AN OLD REFRIGERATOR.
[WARNING SYSTEM] FOUR, THREE,
TWO, ONE, ZERO.
-THE ORIGINAL ENDING FOR THE FIRST MOVIE
TURNED OUT TO BE "INDIANA JONES AND THE KINGDOM OF THE CRYSTAL SKULL."
I DON'T KNOW IF YOU'RE FAMILIAR WITH THIS,
BUT THE IDEA, THE NUKE THE FRIDGE THING,
ACTUALLY CAME OUT OF AN EARLY DRAFT OF THE FIRST MOVIE.
I DIDN'T KNOW THAT.
THAT WAS A PRETTY BIG MOMENT FOR ME
WHEN I WAS READING THE SCRIPT AND SAID,
"HEY, WAIT A MINUTE. I'VE SEEN THIS BEFORE,
"AND I DIDN'T LIKE IT."
-WE STARTED THINKING ABOUT THIS AND THOUGHT,
"WELL, IF YOU REALLY WERE GONNA BUILD A TIME MACHINE,
"YOU WOULD BUILD IT IN A VEHICLE,
"BECAUSE YOU'D HAVE TO BE ABLE TO GET AROUND."
WE CAME UP WITH THE IDEA OF THE DELOREAN
SIMPLY BECAUSE IT HAD GULL-WING DOORS, AND WE HAD THIS JOKE...
-THAT AIN'T NO AIRPLANE. LOOK.
[ZEMECKIS] IN THE '50S, WHEN THE KID IS IN THE FARMHOUSE,
AND THEY GO IN THE BARN, AND HE THINKS IT'S A MARTIAN THAT LANDED.
SO WE THOUGHT WHAT KIND OF A CAR LOOKS LIKE A SPACESHIP?
WELL, A DELOREAN 'CAUSE OF THE GULL-WING DOORS.
[ANDREW PROBERT] RON COMES ABOARD, A REALLY AMAZING GUY.
GETS TO WORK, AND DESIGNS AN INITIAL VERSION OF THE CAR,
AND THEN LEAVES TO GO DO ANOTHER SHOW.
THE PRODUCERS LOOKED AT IT AND SAID,
"YOU KNOW, WE LIKE WHAT RON'S DONE,
"BUT CAN YOU TAKE IT ANOTHER STEP FURTHER?"
SO, I WAS ABLE TO GET IN THERE
AND TAKE HIS BASIC CAR, AND ADD A BUNCH OF STUFF TO IT, REARRANGE SOME THINGS,
AND COME UP WITH A FINAL VERSION.
-I HAD WORKED ON A TV SHOW THAT HAD BEEN PRETTY SUCCESSFUL.
I HAD MADE A CAR... KIND OF A TALKING CAR FOR A TV SHOW.
-WELCOME ABOARD THE KNIGHT TWO THOUSAND.
-THANK YOU. WHAT'S ALL THIS?
[MICHAEL SCHEFFE] "KNIGHT RIDER" WAS ONE OF THE BIGGEST-BUDGET THINGS
AND WHAT I WOULD SKETCH WAS SOMETHING I KNEW I COULD BUILD,
OR I KNEW SOMEONE COULD BUILD.
-IF YOU'RE GONNA BUILD A TIME MACHINE INTO A CAR, WHY NOT DO IT WITH SOME STYLE?
-I MEAN, THE WHOLE STORY OF JOHN DELOREAN
IS SORT OF A CLASSIC, AMERICAN FOLKLORE STORY UNTO ITSELF,
SO I THINK THAT TIES IN TO THE WHOLE DOC BROWN BEING AN AMERICAN INVENTOR.
IT'S ALSO UNIQUE IN THE FACT THAT IT'S THE ONLY CAR THAT THE COMPANY PRODUCED.
IF THEY WOULD HAVE LASTED LONGER AND PRODUCED OTHER MODELS CARS,
MAYBE EVEN THE BUS, MAYBE EVEN THE SNOWPLOW,
YOU WOULD SEE A LOT MORE OF THEM OUT HERE TODAY, AND IT WOULDN'T BE SO SPECIAL.
[BILL SHEA] IF THE DELOREAN WAS STILL AROUND TODAY, EVEN THOUGH IT WAS IN THE MOVIE,
I TRULY FEEL THAT IT WOULD NOT BE AS ICONIC,
BECAUSE PEOPLE WOULD SAY, "IT'S JUST ANOTHER CAR."
SO THE FACT THAT IT FAILED MADE IT SUCCESSFUL.
THE FACT THAT IT FAILED MADE IT A PIECE OF MOVIE HISTORY AND AMERICAN HISTORY.
[RON FERGUSON] OUT OF 9,000 MADE,
IT'S NOW, WHAT, 33 YEARS SINCE THE LAST CAR WAS PRODUCED,
AND OVER 6,500 ARE PROBABLY STILL AROUND.
I MEAN, THE DAY AFTER THE LAST PINTO CAME OFF THE LINE,
YOU DIDN'T SEE ANY OF THOSE ANYMORE.
-I THOUGHT THEY BUILT THAT CAR JUST FOR THE MOVIE.
I DIDN'T KNOW. I WASN'T A CAR GUY.
YEARS LATER, I FOUND OUT IT WAS A REAL CAR, AND I WAS LIKE...
"ONE OF THESE DAYS, I'M GONNA GET ONE OF THOSE CARS,
"AND I'M GONNA TURN IT INTO A TIME MACHINE."
-I'VE BEEN THINKING VERY SERIOUSLY ABOUT GETTING ONE.
I'VE RIDDEN IN QUITE A FEW OF THEM.
[MAN] THERE WE GO. THERE WE GO.
[FULLILOVE] OH, YEAH. [MAN] I GOT DELOREAN.
AND IT'S AN EAGLE. THAT'S AN EAGLE.
-AN EAGLE? -THAT'S AN EAGLE.
-HIS EXCITEMENT IS NOT THAT EXCITING TO ME.
[MAN] MY YARD IS ALL DIRT, LIKE SAND. NOTHING WOULD GROW THERE.
I TRIED EVERY GRASS WHEN I FIRST BOUGHT THE PLACE 15 YEARS AGO,
I'M FROM OHIO. WE JUST MAKE DECKS. IT'S JUST WHAT WE DO.
AND THEN I THOUGHT, "HEY, I'VE ALWAYS WANTED A LITTLE PUTTING GREEN."
SO I JUST LAID DOWN SOME CEMENT, GOT THE ASTROTURF, YOU KNOW.
AND I WAS LIKE, "WELL, I'LL JUST MAKE ANOTHER TEE BOX."
AND I WAS DONE AT, LIKE, THREE HOLES, AND I LET IT GO.
AND THEN I HAD TO MAKE ANOTHER DECK, AND THEN I WENT, "WELL, WE'LL MAKE IT SIX."
YOU KNOW WHAT HAPPENS. YOU JUST EVENTUALLY GO, "I GOTTA HAVE NINE HOLES."
I GOT SOME CHARITIES INVOLVED IN SOME EVENTS,
AND ONCE I GOT CHARITIES INVOLVED,
I WENT AND LOOKED FOR SOME CELEBRITIES THAT WERE CLOSE BY.
AND CLAUDIA WELLS HAS A STORE REALLY CLOSE TO HERE.
AND I SAID, "WOULDN'T IT BE COOL IF WE MADE, LIKE, A JENNIFER PARKER HOLE?"
AND SHE WENT, "HMM," AND I SAID, "A 'BACK TO THE FUTURE' HOLE."
AND SHE SAID, "OKAY, THAT WILL WORK."
AND SO I THOUGHT, "AWESOME.
"DO YOU KNOW ANYBODY ELSE IN THE MOVIE WHO COULD BE IN IT?"
MAYOR GOLDIE WILSON, DON FULLILOVE.
SO THEY CAME OUT,
BECAME THIS MASSIVE EVENT WITH THEM CHRISTENING THE "BACK TO THE FUTURE" HOLE.
-LADIES SHOULD GO FIRST. AM I RIGHT ABOUT THIS?
-YES! -ABSOLUTELY. CHIVALRY IS NOT DEAD.
-SO, YOU'RE RIGHT THERE. -OKAY, WHAT DO I DO?
-YOU PUT THE BALL ON THE TEE.
-SEE THE LITTLE HOLE RIGHT HERE BEHIND YOU?
-OH, THIS IS GONNA BE A LONG GAME, EVERYBODY.
-AND I JUST DID IT ALL JUST FOR THAT MOMENT,
TO HELP WITH HER CHARITY, KIDS IN THE SPOTLIGHT.
AND I SAID, "HEY, DO YOU KNOW ANYBODY WHO HAS A TIME MACHINE?"
AND SHE SAID, "SURE."
AND SHE FOUND A GUY, AND HE WAS GONNA BRING THE CAR UP,
AND IT ENDS UP
THAT HE WAS GONNA SELL HIS CAR RIGHT WHEN HE SAID HE WOULD DO IT.
AND I GOT FREAKED OUT, SO I LOOKED INTO GETTING MY OWN.
AND I BOUGHT A DELOREAN IN MEMPHIS,
AND I SHIPPED IT TO A BUILDER.
AND HE HAD SOME PRE-FABRICATED PARTS,
THAT WERE BOUGHT IN BURBANK AT APEX HARDWARE WHERE THEY GOT A LOT OF THE ORIGINAL PARTS.
AND GOT IT ALL DONE IN TIME FOR MEMORIAL DAY, 2014.
IT'S BEEN CRAZY. AND WE'RE RAISING MONEY WITH EVERY TOURNAMENT WE DO.
SO IT'S AWESOME. IT'S A WIN-WIN.
-WHEN I CAME ON BOARD, THEY HAD A LOT OF THE CAR BEGUN.
THEY GOT AS FAR, EVEN, AS MAKING SOME OF THOSE TIME CIRCUITS ON THE OUTSIDE.
BUT ALL THE SAME, IT WAS GONNA TAKE SOME DETAIL SKETCHES
ABOUT WHERE ALL THE LITTLE HEAT SEEKS GO,
AND WHERE ARE WE GONNA PUT THESE TUBES AND PIPES,
AND HOW DO THESE THINGS GET ARRANGED ON THE BACK?
THESE ARE MADE AS MUCH FOR THE GUYS IN THE SHOP
AS FOR THE GUYS IN THE ART DEPARTMENT.
JUST SO IT STAYS ORGANIZED.
AND THE THINGS WE'RE TALKING ABOUT,
THEY END UP KIND OF WHERE WE'RE HOPING THEY'D BE.
ON THE BACK OF THE DELOREAN, THERE'S A LITTLE PLUTONIUM DOOR THAT DR. BROWN OPENS
TO LOAD IN THE PLUTONIUM HE'S GOT FROM THE TERRORISTS.
WELL, THERE'S THIS LITTLE DOOR RIGHT IN THE MIDDLE OF THE DODGE HUBCAP, RIGHT?
AND IT HAS TO UNSCREW, SO IT'S GOT KIND OF A BAYONET MOUNT.
SO YOU TURN IT, AND THE LITTLE PINS INDEX WITH THESE SLOTS,
AND THEN YOU CAN PULL IT OUT.
SO HE COULD PUT THE LITTLE CONTAINER WITH THE PLUTONIUM INTO THE HOLDER HERE,
AND THEN THE LITTLE TUBE WITH THE PLUTONIUM WOULD DROP OUT THE BOTTOM.
[GALE] UNIVERSAL PUT US IN TOUCH WITH A PRODUCT PLACEMENT COMPANY.
THEIR JOB WAS TO FIND PARTNERS WHOSE PRODUCTS WOULD BE PUT IN THE MOVIE
IN EXCHANGE FOR SOME CASH.
AND ONE DAY, THE PRODUCT PLACEMENT GUY
AND AN EXEC FROM UNIVERSAL ARE IN MY OFFICE, AND THEY SAY, "BOB..."
THEY SAID TO ME, "IF YOU CHANGE THE DELOREAN TO A FORD MUSTANG,
"YOU'LL GET $75,000."
AND I LOOKED THIS GUY STRAIGHT IN THE EYE, AND I SAID...
"RICHARD, DOC BROWN DOESN'T DRIVE A [BEEP] MUSTANG."
FOR A WHILE, THE DELOREAN WAS DISPLAYED PROMINENTLY
AT THE FRONT OF THE UNIVERSAL TOUR.
AND THEN, FOR WHATEVER REASON, THEY STUCK IT IN THE BACK SOMEWHERE.
AND YOU COULD ONLY SEE IT WHEN THE TRAM DROVE PAST IT
WITH A BUNCH OF OTHER PICTURE CARS.
-WE WOULD SEE THE A-CAR ON THE BACKLOT AT UNIVERSAL STUDIOS,
AND IT WAS SAD, YOU KNOW.
HERE'S THIS ICONIC PIECE OF SO MANY PEOPLE'S CHILDHOODS
JUST SITTING THERE FALLING APART AND ROTTING.
[GALE] THE CAR WAS ON DISPLAY OUTSIDE,
AND YOU COULD JUST WALK RIGHT UP TO IT
AND TAKE A PIECE OFF OF THE BACK.
AND PEOPLE WERE WALKING OFF WITH PIECES. IT WAS CRAZY.
[JOE WALSER] I WAS AT UNIVERSAL STUDIOS WITH A BUDDY OF MINE,
LOOKED AT THE CAR, AND I WAS LIKE,
"DUDE, I COULD TOTALLY BUILD THIS. I COULD DO THIS."
AND MY BUDDY WAS LIKE, "LET'S DO IT!"
AND I WAS LIKE, "ALL RIGHT, DON'T MESS WITH ME,
"'CAUSE I'LL DO IT."
AND STARTED TO RESEARCH WHAT IT MEANT TO BUILD A TIME MACHINE.
IT TOOK FOUR YEARS TO BUILD MY CAR.
AND I BECAME KNOWN PRETTY QUICK
FOR BEING THE GUY THAT WAS TRULY OBSESSED WITH NAILING IT.
-I HAD MET A LOT OF PEOPLE WHO WERE IN THE DELOREAN CULT, IF YOU WILL.
THE DELOREAN FAN BASE.
AND THERE WERE A COUPLE GUYS IN L.A.,
JOE WALSER AND TERRY MATALAS, IN PARTICULAR,
WHO HAD THEIR OWN DELOREANS
THAT THEY HAD TURNED INTO "BACK TO THE FUTURE" DELOREANS.
[WALSER] I THINK BOB WAS RIGHTFULLY DISAPPOINTED
IN THE CONDITION OF THE A-CAR
AND SAID, "SOMETHING HAS GOTTA BE DONE ABOUT THIS."
-THE GUY AT THE BACKLOT ON THE TOUR, FRED DIEDRICH,
HE HAD US COME UP, AND WE BROUGHT TERRY'S CAR UP THERE,
AND SHOWED HIM WHAT IT COULD REALLY LOOK LIKE.
WE WENT TO THEM AND SAID, "LOOK, THE DELOREAN SHOULDN'T LOOK LIKE THIS.
"THIS IS A PART OF UNIVERSAL'S FILM HISTORY.
"AND IF YOU GUYS DON'T WANNA RESTORE IT, THAT'S OKAY.
"WE'LL GET THE SMITHSONIAN TO DO IT, OR THE PETERSEN CAR MUSEUM.
"THERE'S A LOT OF PLACES THAT WOULD STEP UP."
AND SCOTT SAID, "NO, NO, NO, WE'LL DO IT. WE'LL DO IT."
[WALSER] FOR ME, IT WAS ALL ABOUT ACCURACY.
I WAS LIKE, "I'M NOT TRYING TO BUILD A TIME MACHINE."
I WASN'T TRYING TO BUILD JOE'S TIME MACHINE.
I WAS TRYING TO BUILD THE TIME MACHINE.
THE DETAILS ARE AS IMPORTANT TO ME AS THE FACT THAT IT'S A DELOREAN.
I'M LIKE, "YOU'RE GONNA SKIMP ON THE DETAILS,
"WHY DON'T YOU USE A FIERO OR SOMETHING?"
-IF I COULD TELL MYSELF WHEN I WAS A LITTLE KID WATCHING THAT MOVIE
THAT SOMEDAY I'D BE WORKING ON THAT CAR, I'D BE LIKE, "YOU'RE CRAZY."
SO YOU KNOW, IT'S JUST AWESOME. IT'S THE FULFILLMENT OF A DREAM.
-HE LET ME DO SOME WORK ON THE 88-MILE-AN-HOUR SPEEDOMETER BOX.
AND THEN AFTER WE DID THAT,
HE'S LIKE, "YOU'RE GONNA HELP ME BUILD THE FLUX BANDS
"AND PUT THE FLUX CAPACITOR BACK TOGETHER."
SO I THINK THAT WAS WHEN I HAD KNOWN
THAT I MUST HAVE PROVED MYSELF TO JOE AND SOME OF THE OTHER MEMBERS.
IT WAS AN HONOR TO BE ABLE TO PUT BACK TOGETHER THE FLUX CAPACITOR.
-THERE WERE SOME TIMES WHEN EVEN BOB GALE SAID,
"THIS IS ACTUALLY BETTER THAN THE CAR WHEN WE FIRST GOT IT."
AND THAT'S JUST... YOU'RE LIKE, "HOLY CRAP! OKAY."
THE GUYS THAT HELPED US, TOO, THE UNIVERSAL STAFF,
THEY WERE ALWAYS REALLY EAGER TO HELP, TOO.
YOU COULD TELL THAT THEY WERE INTERESTED, TOO.
AND THESE ARE GUYS THAT YOU WOULD THINK NOTHING REALLY FAZES THEM.
YOU KNOW, THEY GOT E.T.'S HEAD SITTING IN THE CORNER,
AND IT'S LIKE, "OH, NO BIG DEAL. E.T.'S HEAD."
EVEN THESE GUYS THAT WORK ON PROPS DAY BY DAY,
YOU KNOW, THIS WAS STILL LIKE A HOLY GRAIL FOR THEM, TOO.
-ONE OF THE COOLEST THINGS I'VE DONE SINCE THE RESTORATION IS JUST GO HANG OUT BY THE CAR,
JUST LISTEN TO PEOPLE'S REACTIONS.
[ED HILLARY] IT'S SO GREAT SEEING SOMEBODY WITH THEIR KIDS,
EXPLAINING WHAT THIS IS THAT THEY'RE LOOKING AT.
THE KIDS ARE LIKE, "YEAH, OKAY," BUT YOU KNOW THAT THE DADS ARE JUST, LIKE, FLIPPING OUT.
THE CAR IS ONE OF THE STARS OF THE MOVIE,
AND HERE YOU ARE, LIKE, 12 INCHES FROM IT, YOU KNOW.
I MEAN, IT WOULD BE LIKE BEING 12 INCHES AWAY FROM MICHAEL J. FOX.
YOU KNOW, IT'S A CELEBRITY IN ITS OWN RIGHT.
-WE DIDN'T HALF-ASS ANYTHING.
I MEAN, WE WORKED REALLY HARD TO NAIL IT,
TO NAIL EVERY SINGLE PIECE ON THE CAR,
SO THAT EVERYBODY COULD GET TO SEE IT THE WAY THAT IT WAS MEANT TO LOOK.
-MY NAME IS BILL SHEA, AND I LIVE IN CENTRAL MASSACHUSETTS,
AND YOU MIGHT CALL ME A "BACK TO THE FUTURE" FANATIC.
[PATRICK SHEA] MY FATHER, BILL, AND I
ARE THE LUCKY OWNERS OF THE "BACK TO THE FUTURE III" DELOREAN
AND THE "BACK TO THE FUTURE II AND III" TOYOTA PICKUP.
THE PINNACLE MOMENT FOR ME WAS WHEN THE RAMPS CAME DOWN,
AND THAT DELOREAN CAME OUT OF THAT TRUCK.
AND YOU SAW HER FOR THE FIRST TIME
WITH THE SMOKE, AND ALL THE NOISE, AND EVERYTHING LIKE THAT.
AND HE ROLLED IT OFF, AND THEY HAD THE SOUND EFFECTS OF THE EXHAUST AND EVERYTHING.
-ALL OF MY LIFE, I'VE BEEN INVOLVED IN COLLECTIBLES,
WHETHER THEY BE COMIC BOOKS, OR COINS, OR MILITARY ANTIQUES.
THAT'S BEEN ABSOLUTELY PART OF MY LIFE,
AND A VERY ENJOYABLE PART OF MY LIFE,
AND SOMETHING THAT I MAKE A LIVING AT,
AND HAD THE OPPORTUNITY TO EMPLOY MY FAMILY.
-YOU KNOW, MARTY, YOU LOOK SO FAMILIAR TO ME.
DO I KNOW YOUR MOTHER?
[PATRICK SHEA] MY MOTHER WORKS FULL-TIME FOR MY FATHER, AS DO I.
AND MOST RECENTLY, MY DAUGHTER HAS COME ON BOARD, AND SHE NOW WORKS FULL-TIME.
SO THE DAUGHTER, THE GRANDKIDS, THE SON-IN-LAW, THE MOTHER, THE FATHER, THE WHOLE FAMILY...
IT'S A WONDERFUL EXPERIENCE. I'M VERY, VERY FORTUNATE.
-MY SON, PATRICK, WHO IS VERY MUCH INVOLVED IN EVERYTHING I DO,
INCLUDING THE CARS,
AND WITHOUT WHOM, I WOULDN'T DO THIS, BECAUSE HE'S A REAL MECHANIC.
I'M IRISH. HE HAS MORE PATIENCE THAN I.
I THINK HE'S INHERITED HIS MOTHER'S PATIENCE AND THE LIKE.
-READY.
-THAT'S RUNNING PERFECT NOW, BILL.
-THIS IS THE HOME OF THE REBIRTH OF THE BEAUTIFUL TRUCK YOU SEE BEHIND ME,
MARTY'S 1985 TOYOTA XTRA CAB SR5 4X4.
-CHECK OUT THAT 4X4.
THAT IS HOT.
-THE TRUCK THAT WAS USED IN PART ONE
WAS A CONTEST. THEY GAVE IT WAY.
THE STORY GOES IT WAS DESTROYED.
I DON'T KNOW FOR SURE, SO I CAN'T REALLY SAY.
BUT THEY NEEDED A TRUCK TO DO PART TWO AND PART THREE
THAT WAS EXACTLY LIKE THE TRUCK FROM PART ONE.
SO THEY CONTACTED THIS MOVIE RENTAL COMPANY.
AFTER THAT, IT WENT BACK TO ITS NORMAL LIFE AS A MOVIE STUDIO RENTAL VEHICLE.
[MAN] IT'S LIKE A CELEBRITY BEING IN THE GARAGE ALL THE TIME.
EXTRA CARE IS TAKEN EVERY STEP OF THE WAY.
IT'S REALLY SPECIAL TO BE PART OF SOMETHING THIS UNIQUE.
YOU KNOW, IT'S ONCE-IN-A-LIFETIME.
[BILL SHEA] THE PART THREE CAR HAPPENS TO BE
THE ONE AND ONLY SCREEN-USED DELOREAN
THAT WILL EVER BE IN PRIVATE HANDS.
ACCORDING TO MOST IN THE CONSENSUS,
THERE WERE SEVEN DELOREANS THAT WERE USED IN THE THREE MOVIES,
AND THREE OF THEM STILL EXIST.
ONE IS IN UNIVERSAL STUDIOS IN HOLLYWOOD.
THE OTHER IS IN UNIVERSAL STUDIOS IN FLORIDA.
AND OF COURSE, ONE IS SITTING RIGHT BEHIND US HERE.
WHEN ALL WAS SAID AND DONE, AND THE HAMMER WAS KNOCKED DOWN,
INCLUDING THE COMMISSION CHARGES, IT WAS AROUND $528,000.
AND OF COURSE, WE HAD BOUGHT A FEW OTHER THINGS AT THAT AUCTION ALREADY.
WE HAD PURCHASED SOME ACTUAL PROPS FROM THE MOVIE.
SO I WAS WARMED UP, LET'S PUT IT THAT WAY.
AND I WORK HARD, I STAY STRAIGHT, AND I FELT THAT...
GUESS WHAT, I REALLY FEEL I MADE A GOOD INVESTMENT.
-SHOOT.
[PATRICK SHEA] MY FATHER MENTIONED THAT
FOR HIM TO TAKE ALL OF HIS TOYS WITH HIM, THAT'S WHAT HE'D ENJOY.
BUT I DON'T THINK HE WANTS THAT. I THINK HE WANTS EVERYBODY IN THE FAMILY TO ENJOY IT.
BETWEEN ME, MY DAUGHTER, MY SON, MY GRANDKIDS, MY FAMILY,
-I HAVE FOUND THAT "BACK TO THE FUTURE" IS UNQUESTIONABLY A FAMILY AFFAIR.
WHEN YOU SEE PEOPLE COME UP TO THE CAR,
THEY'RE WITH THEIR WIFE, THEY'RE WITH THEIR CHILDREN, AND EVERYBODY GETS INVOLVED,
AND THEIR KIDS ARE JUST AS EXCITED ABOUT IT AS THE PARENTS ARE.
SO ONCE AGAIN, IT TRANSCENDS THE GENERATIONS, AND THAT'LL NEVER CHANGE.
[INSTRUMENTAL VERSION OF "POWER OF LOVE" PLAYING]
-THANK YOU SO MUCH.
[PROBERT] THERE ARE CAR SHOWS AROUND THE COUNTRY,
AND THE DELOREAN CAR SHOW IS ONE OF THEM,
AND IT HAS A LOT OF ENTHUSIASTIC MEMBERS.
[WOMAN] I LOVE THE DELOREAN COMMUNITY.
IT WAS INCREDIBLE HOW EVERYONE WAS SO FRIENDLY, AND SO INTO IT, AND ALL THE THINGS THEY DO.
I JUST LOVE THAT WE COULD BE A PART OF SOMETHING LIKE THAT.
WITH SOMETHING THAT'S SO CLOSE TO US THAT BROUGHT US TOGETHER.
IT'S INCREDIBLE.
-THE WONDERFUL THING ABOUT THIS SHOW
IS THAT SO MANY THINGS AMAZING HAVE HAPPENED.
BUT TODAY, YOU GET TO HAVE SOMETHING THAT'S GOING TO BE EVEN MORE AMAZING.
THERE'S A YOUNG MAN HERE THAT I'M LOOKING FOR.
HIS NAME IS NICK. NICK? OH, NICK!
NICK WOULD LIKE TO TAKE A MOMENT WITH ALL OF YOU HERE.
-EVERYBODY IS INCREDIBLY FRIENDLY, AND INCREDIBLY HELPFUL,
AND VERY MOTIVATIONAL.
THEY DON'T TRY TO BRING YOU DOWN, YOU KNOW.
YOU'RE GONNA BRING A BEAT-DOWN CAR TO A CAR SHOW, YOU'RE GONNA GET RIPPED APART.
QUITE THE OPPOSITE. WE GOT THERE, AND THEY PRAISED US.
THEY WERE HAPPY TO SEE A CAR IN THE SHAPE IT WAS,
'CAUSE, YOU KNOW, EVERYBODY HAS A COMPLETE CAR.
HERE WE ARE WITH JUST A BODY TUB ON SOME WHEELS AND SOME WIRES HANGING OUT.
IT'S NICE TO EXAMINE WHAT'S UNDERNEATH THE SKIN.
THIS IS OUR FIRST DCS, ME AND MEGHAN.
MEGHAN, PLEASE COME ON UP.
COME ON. DON'T BE SHY.
SHE'S VERY SHY. SO COME ON, MEGHAN. COME ON.
[MEGHAN] I DIDN'T KNOW HE WAS PLANNING ANYTHING.
I WAS JUST EXCITED TO GO SEE THE PLAY.
SO IT WAS DEFINITELY A BIG SURPRISE TO ME.
-MEGHAN, I LOVE YOU MORE THAN ANYTHING IN THE ENTIRE WORLD.
IN FRONT OF EVERYBODY HERE...
[CROWD LAUGHS]
[FEMALE AUDIENCE MEMBER] GET ON YOUR KNEE.
-WILL YOU JOIN ME IN THE FUTURE AND BE MY WIFE?
WILL YOU MARRY ME?
-OF COURSE. YES.
[NICK] I DID NOT KNOW CHRISTOPHER LLOYD, BOB GALE,
CLAUDIA WELLS, AND JEFFREY WEISSMAN
WERE RIGHT THERE IN THE FRONT ROW.
IT WAS JUST VERY OVERWHELMING.
¶ EARTH ANGEL, EARTH ANGEL PLEASE BE MINE ¶
¶ MY DARLING DEAR LOVE YOU ALL THE TIME ¶
¶ I'M JUST A FOOL ¶
¶ A FOOL IN LOVE WITH YOU ¶
-THAT'S SO NICE.
["JOHNNY B. GOODE" PLAYING] [CAR TIRES SCREECHING]
[SHAWN KERKHOFF] I GOT TO WORK ON A SHOW CALLED "AMERICAN DAD"
WHERE AN EPISODE OF THE SHOW WAS CALLED "THE DELOREAN STORY-AN,"
WHICH WAS PARTIALLY INSPIRED BY ME GETTING MY OWN DELOREAN
AND MY FANDOM OF "BACK TO THE FUTURE."
-TAKE IT EASY OUT THERE, MR. SMITH, MR. KERKHOFF.
I MEAN, WHAT KIND OF A RUSH COULD YOU TWO BE IN?
YOU'RE IN TIME MACHINES.
YOU GOT ALL THE TIME YOU NEED.
-THEY LET ME HAVE THE HONOR OF BEING ANIMATED
AND GET TO DO MY OWN VOICE IN THE SHOW.
-HEY, THAT'S NOT YOUR DELOREAN.
-OH, WHOOPS. MY MISTAKE.
ARE CONNECTED TO THINGS I'VE DONE WITH THE CAR OR AS PART OF THE FANDOM.
AND IT INSPIRED MY INTEREST IN SOUND.
THE SOUNDS IN THE MOVIE WERE VERY IMPACTFUL AND VERY EFFECTIVE,
AND MY INTEREST AND MY CAREER IN SOUND CAME FROM THAT.
IT'S DEFINITELY INFLUENCED MY WORLD AS A WHOLE.
AND IT'LL ALWAYS BE A POSITIVE THING.
[MOANING] OH, YEAH.
OH, YES.
[KISSING]
[MARCO PASQUA] I'D BE LYING IF I SAID IT WAS EASY GROWING UP WITH A DISABILITY.
I ACTUALLY KIND OF CONNECTED A LITTLE BIT WITH GEORGE MCFLY.
HE'S A GUY THAT WAS AN OUTCAST.
HE HAD BIG DREAMS. HE HAD BIG GOALS
OF BEING THIS PERSON THAT NO ONE ELSE THOUGHT THAT HE COULD BE.
I HAVE CEREBRAL PALSY,
AND IN MY CASE, IT'S CALLED SPASTIC TRIPLEGIA.
THAT AFFECTS MY TWO LEGS AND MY RIGHT ARM.
THE CONNECTION IN LIVING HERE IN THE AREA, ESSENTIALLY, WHERE MIKE GREW UP
I MEAN, I KNOW SOME OF HIS FAMILY MEMBERS AND HIS NEPHEW JEFF.
FOR ME TO BE ABLE TO GO OUT INTO THE WORLD
AND KNOW THAT I'M ACTUALLY FROM THE SAME COMMUNITY,
AND THAT HERE'S MIKE, A GUY FROM BURNABY, GROWING UP WITH HIS FAMILY,
AND HE'S DONE SO MUCH FOR HIMSELF AND HIS FAMILY,
AND WAS ABLE TO SORT OF GO OFF INTO HOLLYWOOD,
AND FIND A NEW HOME IN NEW YORK.
IF HE'S SHOWING THAT THAT WAS POSSIBLE FOR HIM,
THEN I KNEW THAT FOR ME, AND WHAT I WANTED TO DO IN FOLLOWING MY PASSIONS,
THEN IT WAS POSSIBLE FOR ME AS WELL.
MY DAD WAS AN IMMIGRANT. HE CAME HERE FROM ITALY.
AND I'VE SAID THIS IN MY PRESENTATIONS BEFORE,
HE HAD HUGE DREAMS OF ME BEING A SOCCER STAR.
WELL, OBVIOUSLY, BEING IN A CHAIR,
I'M NOT GONNA NECESSARILY BE THE NEXT SOCCER STAR.
BUT I WANTED TO SHOW HIM THAT THESE THINGS WERE POSSIBLE.
SO INSTEAD OF GETTING INVOLVED IN ONE SPORT,
I WENT AHEAD AND GOT INVOLVED IN FIVE SPORTS,
WHEELCHAIR BASKETBALL, HORSEBACK RIDING, WEIGHT LIFTING, SWIMMING.
AND I WAS ABLE TO GO ON TO COMPETE IN THE BC SUMMER AND WINTER GAMES
FOR ATHLETES WITH DISABILITIES.
AND I DID EARN 22 GOLD, 10 SILVER, 2 BRONZE MEDALS
IN VARIOUS SPORTS THROUGHOUT THE TIME.
AND I REMEMBER THINKING TO MYSELF,
"WELL, I WASN'T ABLE TO DO IT IN THE TRADITIONAL FASHION, BUT I WAS ABLE TO DO IT."
I WAS ALWAYS LOOKING FOR MOTIVATIONAL FIGURES,
FIGURES THAT COULD PUSH ME THROUGH THE NEXT DAY, AND THE NEXT DAY,
AND, OF COURSE, RIGHT AWAY, I CONNECTED WITH MICHAEL J. FOX
AS FAR AS JUST A FIGURE THAT I COULD LOOK UP TO.
I STARTED MY OWN SPEAKING BUSINESS TO HELP INSPIRE OTHER PEOPLE
AND SHOW THEM THAT IF YOU CREATIVELY UTILIZE YOUR BEST ENERGY,
IN YOUR OWN LIFE, WITH THE RIGHT PEOPLE AND THE RIGHT TEAM AROUND YOU,
THEN ANYTHING IS REALLY POSSIBLE.
[GALE] THE FANS ARE INSTRUMENTAL IN KEEPING "BACK TO THE FUTURE" ALIVE.
[STEPHEN CLARK] PROBABLY IF MY WIFE HAD A TIME MACHINE,
SHE PROBABLY WOULD HAVE STEERED ME AWAY FROM EVER SEEING IT.
BUT IT WAS NOT UNTIL A YEAR LATER
WHEN THE MOVIE CAME OUT ON VHS, ON HOME VIDEO FOR THE FIRST TIME,
THAT I REALLY GOT INVOLVED, REALLY GOT MY GEEK SWITCH TURNED ON.
-BTTF.COM, WHICH IS NOW BACKTOTHEFUTURE.COM,
HAS BECOME THE GO-TO SITE FOR ALL INFORMATION ABOUT "BACK TO THE FUTURE."
IT'S THE BEST PLACE TO FIND "BACK TO THE FUTURE" MERCHANDISE.
STEPHEN HAS BECOME A GOOD FRIEND OVER THE YEARS.
WE USE HIM NOW AS A CONSULTANT,
BECAUSE HE'S GOT SUCH GREAT FAN INSIGHT.
[CLARK] ONE OF THE OTHER THINGS THAT WE DO IS
GET INVOLVED WITH THE LICENSEES OF OFFICIAL PRODUCT.
WE'VE WORKED WITH MATTEL, AND LEGO, AND A LOT OF THE OTHER COMPANIES.
I'VE WRITTEN A LOT OF THE MATERIAL
THAT GOES ON THE BACK OF THE PACKAGING FOR PRODUCTS,
THE BOOKLETS INSIDE THE PRODUCTS.
AND KIND OF AUTHENTICATE THEIR EFFORTS.
[GALE] AND HE DOES IT SO WELL
THAT IT BECOMES THE PORTAL, THE SOURCE AUTHORITY, REALLY,
FOR ALL NEWS ABOUT "BACK TO THE FUTURE."
TO SUCH AN EXTENT THAT HE DOES THE JOB BETTER THAN THE STUDIO COULD DO,
BECAUSE HE HAS THE PASSION FOR IT.
-THERE'S A LOT OF BOOKS IN THE WORKS NOW
THAT WE'RE ACTIVELY WORKING WITH THE BOOK AUTHORS ON.
-CURRENTLY, I ACTUALLY HAVE A BOOK COMING OUT
CALLED "THE BACK TO THE FUTURE ALMANAC 1985 - 2015,"
WHICH IS ABOUT ALL THE "BACK TO THE FUTURE" MEMORABILIA THAT'S BEEN MADE.
[RICH HANDLEY] THE FIRST ONE IS THE LEXICON.
INSIDE IS A BREAKDOWN OF EVERY PERSON, PLACE, OR THING.
WHEN I SAY EVERY, I'M KIND OF ANALLY COMPULSIVE ABOUT THIS SORT OF THING.
IF IT'S A LICENSE PLATE, AND I WAS ABLE TO READ IT.
OR IF IT'S A LICENSE PLATE, AND I WASN'T ABLE TO READ IT
UNTIL I SPENT A HALF AN HOUR STARING AT A SCREEN
THAT HAD BEEN BLOWN UP SIX TIMES TOO MANY, IT'S IN THERE.
EVERYTHING, BASICALLY, THAT APPEARS IN THE MOVIES,
IN THE CARTOONS, IN THE COMIC BOOKS,
THE VIDEO GAME FROM TELLTALE GAMES,
THE COLLECTIBLE CARD GAME, THE OLD DRAFT SCRIPTS, WE MINED EVERYTHING WE COULD.
-MY INTERACTION WITH FANS, I WORRY SOMETIMES FRUSTRATES THEM,
BECAUSE THEY KNOW MORE ABOUT THE MOVIE THAN I DO.
I MEAN, PEOPLE COME UP TO ME AND ASK ME QUESTIONS ABOUT FLUX CAPACITORS,
AND I SAY, "I WAS JUST STANDING IN A PARKING LOT IN PUENTE HILLS
"WITH FLAMES RUNNING BETWEEN MY LEGS.
"I HAD NO IDEA WHAT WAS HAPPENING."
-I STARTED OUT JUST AS A SUPERFAN.
I WAS ONE OF THOSE GUYS THAT WAS LOOKING FOR INFORMATION.
AND I KNOW THERE'S A LOT OF OTHER FOLKS OUT THERE LOOKING FOR THAT INFORMATION.
AND WE'VE GOT A WORLD-WIDE AUDIENCE NOW.
"BACK TO THE FUTURE" KNOWS NO BOUNDARIES WITHIN A CERTAIN COUNTRY.
IT'S WORLD-WIDE.
[FABIEN RIGGALL] SECRET CINEMA IS A FILM ORGANIZATION
THAT ESSENTIALLY CREATES IMMERSIVE FILM EXPERIENCES
WHERE THE AUDIENCE BECOME PART OF A STORY.
FOR ME, "BACK TO THE FUTURE" IS ONE OF MY FAVORITE FILMS,
AND IT REPRESENTS A SORT OF NOSTALGIA OF THIS INNOCENT TIME.
AND THE 1955 PART OF "BACK TO THE FUTURE," I THINK REPRESENTS
THIS KIND OF DREAM-LIKE TECHNICOLOR,
WHICH I THINK HAS SUCH RESONANCE WITH WHAT WE'RE TRYING TO DO WITH SECRET CINEMA,
WHICH IS THIS SENSE OF ROMANCE,
THIS SENSE OF AMBITION, THIS SENSE THAT YOU CAN BE ANYONE YOU WANNA BE,
[MAN] SECRET CINEMA IS ABOUT PEOPLE ENGAGING WITH A FILM IN A DIFFERENT WAY.
EXPERIENCING IT, BEING PART OF THE CAST,
FEELING A LITTLE BIT OF WHAT IT MUST HAVE FELT LIKE MAKING THAT MOVIE.
AND THAT'S WHY EVERYBODY'S HERE. THAT'S WHY EVERYBODY LOVES IT.
IT'S KIND OF THE SOCIAL MEDIA OF OLD MEDIA.
[RIGGALL] WELL, WE WANTED TO BUILD THE TOWN OF HILL VALLEY.
FROM THE BEGINNING, IT WAS LIKE WE WANNA BUILD THE REAL TOWN OF HILL VALLEY,
ONE IN WHICH EVERY SINGLE SHOP IS REPLICATED.
AND YOU GO INTO THE SHOP, AND THERE IS A LITTLE WORLD INSIDE.
THERE IS ACTORS PLAYING THE ROLES OF THE SHOPKEEPERS.
THE AUDIENCE THEMSELVES WERE GIVEN CHARACTERS.
AND FOR US, THE IDEA OF IT
IS INSPIRED FROM THE "SANDMAN" MOMENT,
WHEN MARTY FIRST ARRIVES IN HILL VALLEY.
AND HE'S THROWN INTO THIS WORLD, AND HE HAS TO FIND HIS WAY.
[CLOCK TOWER BELL RINGING]
[RIGGALL] WE ACTUALLY BUILT A SMALL FARM WITH OVER 20 ANIMALS,
WHICH IS PEABODY'S FARM.
AND THE AUDIENCE ARRIVE THROUGH THE FARM
THEN THE SUBURBIA IS HAVING EACH DIFFERENT HOUSE FROM THE CHARACTERS IN THE FILM
FROM GEORGE MCFLY, TO BIFF TANNEN, ALL THE WAY THROUGH.
SO THAT THE AUDIENCE LITERALLY WERE TAKEN INTO THE WORLD.
-"BACK TO THE FUTURE" IS THE GREATEST '80S MOVIE EVER MADE.
-IT'S MY FAVORITE FILM EVER. -FAVORITE FILM EVER.
[RIGGALL] I THINK BECAUSE "BACK TO THE FUTURE" REPRESENTS SOMETHING IN PEOPLE'S HEARTS...
IT'S SOMETHING THAT REPRESENTS A SENSE OF AMBITION
AND A SENSE OF WANTING TO BE WHATEVER YOU WANT TO BE.
AND I THINK WHEN PEOPLE COME TO THIS SHOW,
WHY THEY WANNA COME IS THEY WANNA BE THAT CHARACTER.
THEY WANNA BE MARTY MCFLY.
THEY WANNA TRAVEL BACK TO THE FUTURE.
THEY WANNA FALL IN LOVE WITH THEIR MOTHER. I'M JOKING.
YOU KNOW, THEY WANNA HAVE AN ADVENTURE.
-WHAT'S THAT THING HE'S ON? -IT'S A BOARD WITH WHEELS.
[ADAM F. GOLDBERG] I REMEMBER MY MOM CAME BACK FROM THE MOVIE THEATER
AND SAID TO ME, "I JUST SAW THIS AMAZING MOVIE CALLED 'BACK TO THE FUTURE.'
"IT'S ABOUT A BOY WHO GOES BACK AND FALLS IN LOVE WITH HIS MOM."
AND IT WAS SO INTERESTING TO ME.
I WAS LIKE, "THAT SOUNDS TERRIBLE."
BECAUSE AS A KID WITH AN OVERBEARING, JEWISH MOTHER,
I'M LIKE, "WHO WOULD MAKE A MOVIE LIKE THAT?"
-I LOVE YOU SO MUCH.
I LOVE YOU, TOO.
I LOVE YOU. -MOM!
-I LOVE YOU, BOOPY.
I LOVE YOU SO MUCH.
HEY, YOU WITH THE WINDOW OPEN, TELL MY BABY I LOVE HIM!
ADAM, IF YOU NEED TO MAKE, CALL ME. I'LL PICK YOU UP.
-OF COURSE, THAT'S NOT WHAT THE MOVIE IS ABOUT AT ALL,
BUT I LOVED THAT MY MOM, TO HER, THAT'S WHAT THE MOVIE WAS ABOUT,
A BOY WHO GOES BACK IN TIME AND HANGS OUT WITH HIS MOM.
-I WAS SO EXCITED ABOUT IT.
I MADE MY PARENTS, WHO WERE SEPARATED AT THE TIME, GO SEE IT WITH ME,
'CAUSE IT HAD SUCH A GENERATIONAL THEME TO IT.
AND MAYBE SUBCONSCIOUSLY I WAS LIKE,
"MAYBE MY PARENTS WILL GET BACK TOGETHER...
[LAUGHS] "IF THEY WATCH THIS."
THEY DID GET BACK TOGETHER.
AND I GOT TO WORK UNDER ZEMECKIS YEARS LATER,
AND ONE OF HIS DEVELOPMENT PEOPLE,
AS HE WAS WALKING THROUGH THE LOBBY AT IMAGEMOVERS,
SAID, "YOU GOT HIS PARENTS BACK TOGETHER."
"HIS PARENTS GOT BACK TOGETHER 'CAUSE OF 'BACK TO THE FUTURE.'"
WHICH IS NOT STRICTLY TRUE.
BUT ASSUMING THAT IT WAS,
ZEMECKIS'S RESPONSE WAS, "EH, GOOD."
BECAUSE HE'S PROBABLY HEARD THAT 7,000 TIMES.
[INTERVIEWER] MICHAEL, HERE WE ARE AT THIS ROYAL PREMIERE.
HUGE, GREAT CROWD STANDING BEHIND US NOW AS WE'RE TALKING.
-WHAT DO YOU MAKE OF AN OCCASION LIKE THIS?
-IT'S...
I MEAN, IT'S, UH... IT'S A ONCE-IN-A-LIFETIME THING.
IF INDEED IT IS ONLY A ONCE-IN-A-LIFETIME THING FOR ME, I'LL DIE SATISFIED.
[FOX] THE GREETING LINE WHERE WE MET THE ROYALS,
PRINCESS DIANA AND PRINCE CHARLES,
AND WE HAD THIS LITTLE GUY, THIS LITTLE SUPER-SERIOUS PROTOCOL GUY TELL US,
"YOU CAN'T SPEAK UNLESS YOU'RE SPOKEN TO.
"YOU CAN'T TOUCH A ROYAL. YOU CAN'T..." ALL THESE THINGS YOU CAN'T DO.
AND I WAS CANADIAN, SO I HAD SOME SKIN IN THE GAME.
I WAS A LITTLE CAREFUL WHAT I DID.
I DIDN'T WANNA MAKE A FOOL OUT OF MYSELF.
SO WE DO THE THING, AND WE MEET THEM,
AND I MANAGED TO AVOID ANY KIND OF ROYAL GAFFE.
AND THEN WE WERE SITTING IN THE THEATER,
AND I REALIZED THAT THE SEAT NEXT TO ME WAS EMPTY.
AND WE WERE STANDING WAITING FOR THE ROYALS TO COME IN,
AND IT DAWNS ON ME THAT PRINCESS DIANA IS GONNA BE SITTING NEXT TO ME.
AND SO, SURE ENOUGH, SHE COMES IN. SHE SITS DOWN NEXT TO ME.
AND THE MOVIE STARTS,
AND IT OCCURS TO ME
THAT I'M, LIKE, A FAKE YAWN AND AN ARM STRETCH AWAY
FROM BEING ON A DATE WITH THE PRINCESS OF WALES.
-SHE WOULD CHUCKLE NOW AND THEN.
BUT WHEN THE TRUCKLOAD OF TURDS, MANURE,
WAS DUMPED ON BIFF AND HIS GANG IN THE CONVERTIBLE...
[ALL] SHIT!
-SHE OUTRIGHT LAUGHED.
YOU KNOW, SHE JUST... THAT CONSERVATIVE... YOU KNOW...
DROPPED, AND SHE TOTALLY WENT WITH IT.
-AND THEN THE OTHER THING I REALIZED VERY QUICKLY WAS THAT I HAD TO GO TO THE BATHROOM.
BECAUSE I CAN'T SAY TO HER, "EXCUSE ME, YOUR HIGHNESS. I HAVE TO GO TO THE LOO."
'CAUSE I CAN'T TALK TO HER UNLESS SHE TALKS TO ME.
I CAN'T TAP HER ON THE SHOULDER AND MOTION I'M GOING OUT.
AND I CAN'T GET UP AND TURN MY BACK ON HER.
SO I'D HAVE TO KIND OF, LIKE, MOONWALK BACKWARDS OUT OF THE THEATER
TO GET OUT OF THERE.
AND SO I SAT THERE, AND I WAS JUST IN AGONY THE WHOLE TIME.
SO THE WHOLE THING WAS
I SAT IN TOTAL PAIN WATCHING THE MOVIE WITH THE PRINCESS OF WALES,
AND IT WAS GREAT. IT WAS...
SHE WAS SMOKING HOT.
[OLIVER HOLLER] EVERYBODY HAS DREAMS, RIGHT?
AND OWNING A DELOREAN WAS OUR DREAM.
BUT LIFE GETS IN THE WAY.
YOU KNOW, REALITY, DAY-TO-DAY THINGS.
AND I THINK EVERYBODY HAS PROBABLY SAID AT ONE TIME OR ANOTHER,
"IF I EVER WIN THE LOTTERY, I'M GOING TO..."
I'M GONNA GET ME THIS. I'M GONNA BUY SOMETHING.
-YEAH, BUT AS YOU KNOW IF YOU'RE INTO STATISTICS,
WE ALL HAVE A BETTER CHANCE OF GETTING STRUCK BY A BOLT OF LIGHTNING
AND WE DID GET STRUCK BY A BOLT OF LIGHTNING IN A SENSE.
IT WAS AUGUST 4, 2000,
OLIVER WAS DIAGNOSED WITH CANCER.
-AND THE DOCTOR GAVE ME SIX MONTHS TO LIVE.
[TERRY HOLLER] YOU GET YOUR BUCKET LIST IN LINE WHEN SOMEBODY GIVES YOU SIX MONTHS.
-YEAH, IT'S PRETTY MOTIVATIONAL.
SO WE MADE A WILL,
AND WE TRAVELED A LITTLE BIT, AND VISITED FAMILY AND FRIENDS THAT WE HADN'T SEEN IN A WHILE,
BASICALLY TO SAY GOODBYE TO THEM.
AND WE GOT SOMETHING IN THE MAIL
THAT SAID THAT WE HAD BEEN APPROVED FOR A CREDIT CARD.
-YEAH, A NICE, BIG BALANCE.
-SO WE MAXED OUT THAT CARD ON A DELOREAN,
AND WE MADE IT INTO A TIME MACHINE.
ONE THING THAT I THINK WE SHOULD MENTION,
WE ACTUALLY BUILT THE TIME MACHINE OURSELVES.
THIS WAS ROUGHLY 15 YEARS AGO.
ALL WE HAD TO GO ON WAS A VHS COPY OF THE MOVIE.
BUT IT WAS KIND OF ALMOST A FOLK ART INTERPRETATION OF THE CAR,
'CAUSE WHEN YOU GOT CLOSE, THEY HAD JUST USED WHAT THEY'D FOUND
TO MAKE THIS CAR. IT WAS FANTASTIC.
-WE WOULD PAUSE THE VIDEOTAPE PLAYER,
AND THE PICTURE WOULD BE A LITTLE JERKY,
AND I WOULD MAKE LITTLE SKETCHES AND NOTES ABOUT WHAT WE WERE SEEING,
AND THEN WE WOULD FABRICATE IT OURSELVES
OUT OF METAL AND SCRAPS THAT WE FOUND AT THE SCRAPYARD.
[SCHEFFE] IT'S LIKE AN IMPRESSIONIST PAINTING OR SOMETHING.
YOU GET CLOSE, AND YOU SEE THOSE BRUSH STROKES, RIGHT?
YOU GOT CLOSE, AND YOU SAW WHAT THEY USED TO PUT IT TOGETHER.
YOU STEPPED BACK, THE EFFECT WAS PERFECT.
-I THINK THE CONVERSION OF HIS DELOREAN TO A "BACK TO THE FUTURE" CAR
-AND WHAT ARE THEY DOING WITH THAT CAR?
THEY DRIVE AROUND THE COUNTRY WORKING FOR MICHAEL J. FOX'S CHARITY.
THAT'S AMAZING.
-WE'RE VOLUNTEERS.
WE CHOSE TO DO THIS BECAUSE IT WAS, FOR US, THE RIGHT THING TO DO.
MEETING MICHAEL WASN'T REALLY ON THE RADAR.
"WOULDN'T THAT BE NICE?" WAS THE THOUGHT.
WHEN WE DID MEET HIM, HE KNEW WHO WE WERE.
HE KNEW WE WERE TERRY AND OLIVER FROM SOUTH CAROLINA, AND TEAM FOX MEMBERS,
AND THAT IS HUMBLING.
HAVE BEEN HITTING THE ROAD IN THEIR DELOREAN TIME MACHINE TO SPEED A FUTURE WITHOUT PD.
THEY'VE RAISED DOLLARS AND AWARENESS
IN MORE STATES AND COUNTRIES THAN ANY OTHER TEAM FOX MEMBER.
THEY'VE SPENT MORE TIME IN A DELOREAN THAN EVEN I HAVE, WHICH IS SAYING SOMETHING.
THE PEOPLE THAT ARE BIG "BACK TO THE FUTURE" FANS
HAVE BEEN HUGE SUPPORTERS OF OUR EFFORTS TO TRY TO FIND A CURE FOR PARKINSON'S.
AND MORE IMPORTANTLY, THEY'VE JUST SHOWN INTEREST
AND AN ONGOING SENSE OF CURIOSITY AND CONCERN
FOR ME AND FOR WHAT WE'RE DOING.
IT'S GREAT TO HAVE A BUNCH OF LUNATICS ON YOUR SIDE.
'CAUSE THEY'RE CRAZY, BUT THEY'RE CRAZY-GOOD.
[OLIVER HOLLER] WELL, WE SET A PERSONAL GOAL FOR OURSELVES
TO DRIVE THE DELOREAN TIME MACHINE TO ALL 50 STATES.
[OLIVER HOLLER] RAISING MONEY AND AWARENESS FOR THE MICHAEL J. FOX FOUNDATION.
[TERRY HOLLER] WE'VE RAISED OVER A QUARTER OF A MILLION DOLLARS.
[OLIVER HOLLER] WHEN WE BUILT THE CAR, IT WAS FOR SELFISH REASONS.
WE LOVED THE MOVIE, AND WE WANTED TO DRIVE A DELOREAN TIME MACHINE.
AND THAT WAS A WONDERFUL THRILL AND AN ACCOMPLISHMENT PERSONALLY,
BUT WE NEVER...
JUST LIKE THE CAR, THERE WERE NO BLUEPRINTS.
AND OUR LIFE HAS TAKEN US PLACES WE REALLY NEVER KNEW IT WOULD TAKE US.
-WE'RE ONE OF THEIR SPONSORS.
WE DO ALL THEIR WEB PROMOTION FOR THEM,
TO ALLOW THEM TO GET OUT AND TRAVEL ACROSS THE NATION AND INTO OTHER COUNTRIES
RAISING FUNDS FOR THE MICHAEL J. FOX FOUNDATION FOR PARKINSON'S RESEARCH.
-WE SAY THIS AT EVERY PANEL WE'RE ASKED TO PRESENT.
YOUR FUTURE HASN'T BEEN WRITTEN YET, RIGHT?
-NO ONE'S HAS.
-NO ONE'S HAS!
YOUR FUTURE IS WHATEVER YOU MAKE IT.
-SO, MAKE IT A GOOD ONE. -MAKE IT A GOOD ONE.
-TA-DA.
["JAWS" THEME PLAYING]
[SCREAMING]
[GALE] PEOPLE ALWAYS SAY TO US, "WELL, YOU GUYS MUST HAVE KNOWN YOU WERE GONNA DO SEQUELS
"BECAUSE OF THE ENDING OF THE FIRST MOVIE."
AND THE ENDING OF THE FIRST MOVIE IS THE HEROES GET IN THE CAR
AND RIDE OFF INTO THE SUNSET FOR ANOTHER ADVENTURE. THAT'S JUST A CLASSIC ENDING.
-HEY, DOC, WE BETTER BACK UP. WE DON'T HAVE ENOUGH ROAD TO GET UP TO 88.
-"WHERE WE'RE GOING, WE DON'T NEED ROADS."
[GALE] AND AS BOB ZEMECKIS HAS SAID MANY TIMES,
IF WE KNEW WE WERE GONNA DO A SEQUEL,
WE WOULD HAVE NEVER PUT JENNIFER IN THE CAR.
BECAUSE WHEN IT WAS TIME TO WRITE THE SEQUEL,
WE DIDN'T KNOW WHAT TO DO WITH HER, AND WE END UP KNOCKING HER OUT.
SHE'S UNCONSCIOUS FOR PART TWO AND PART THREE.
-DOC, WHAT THE HELL ARE YOU DOING?
-RELAX, MARTY. IT'S JUST A SLEEP-INDUCING ALPHA RHYTHM GENERATOR.
[GALE] HOME VIDEO HAPPENS IN BETWEEN THE TWO MOVIES, BASICALLY,
WHERE WE PUT "TO BE CONTINUED" AT THE END OF PART ONE
WHEN WE RELEASED IT FOR HOME VIDEO.
IF PEOPLE SAW IT ON A VHS FOR THEIR FIRST TIME, THAT'S WHAT THEY THINK.
WE TOOK THAT OFF OF THE DVD.
-THE MOST FUN PERHAPS WAS "BACK TO THE FUTURE III" FOR ME.
THERE WAS HORSEBACK RIDING, WHICH I LOVE DOING.
-SOMEHOW, "BACK TO THE FUTURE III" IS JUST AS FUNNY
AS "BACK TO THE FUTURE" I AND II.
I THINK THAT MIGHT ACTUALLY BE A LARGE PART OF IT.
IT'S A TRILOGY THAT DOESN'T SUCK.
THERE'S NO POINT WHERE YOU WATCH IT AND GO, "THAT'S THE REALLY BAD ONE."
-TWO AND THREE, I THINK... COME ON.
I KNOW YOU'RE INTERVIEWING GALE AND I THINK ZEMECKIS.
I MEAN, THESE GUYS ARE MY HEROES 'CAUSE THEY WROTE "BACK TO THE FUTURE,"
BUT THEY TOOK SEVEN YEARS TO WRITE "BACK TO THE FUTURE."
AND COME ON.
EVERYBODY KNOWS II AND III SUCK.
-"BACK TO THE FUTURE II" HAS ALWAYS BEEN MY FAVORITE.
BECAUSE I LIKE THAT IT'S DARK.
I LIKE THAT IT GET INTO THE HEADINESS
OF WHAT WOULD HAPPEN IF JUST ONE LITTLE THING TURNED.
AND I LOVE THE FUTURE IDEA.
THE WHOLE CONCEPT OF WHAT'S THE FUTURE GONNA BE?
-I GUESS YOU GUYS AREN'T READY FOR THAT YET.
BUT YOUR KIDS ARE GONNA LOVE IT.
[KONTRAS] THEY WENT BACK INTO THE FIRST MOVIE. I MEAN, IT'S NEVER BEEN DONE,
WHAT A BRILLIANT, BRILLIANT STROKE OF CREATIVITY AS A WRITER.
-IT SUGGESTED THIS DIGITAL REALITY THAT WE ALL LIVE IN NOW,
THIS KIND OF CYBER-WORLD THAT WE ALL OCCUPY.
-I HAD, AS YOU KNOW, BEEN STRUNG UP AND PUT IN AN "ORTHO-LEV" OF THE FUTURE.
IT WAS ROUGH, BECAUSE BEING HUNG UPSIDE DOWN ALMOST ALL DAY FOR TWO WEEKS
BUT THEN AGAIN, THEY DIDN'T WANNA GET ME DOWN IN BETWEEN TAKES ALL THE TIME.
SO THEY HAD BUILT A LADDER WITH A BOARD ON IT
THAT I COULD JUST DO MY SIT-UP AND LIE BACK DOWN ON.
THEY PUT IT UNDERNEATH ME, SO THEY WOULDN'T HAVE TO GET ME DOWN IN BETWEEN TAKES,
WHICH WOULD HAVE BEEN AN EXTRA COUPLE OF MINUTES.
AND TIME DEFINITELY WAS MONEY ON THIS SHOOT.
[FOX] WHAT'S REALLY COOL ABOUT IT IS
THE GENERATIONAL ASPECT OF IT STILL PLAYS.
I MEAN, THERE'S STILL THAT CONFUSED...
-I'M YOUNG! -I'M OLD!
-NOT ENMITY, BUT JUST KIND OF SUSPICION AND BEFUDDLEMENT
BETWEEN THE PREVIOUS GENERATION AND THE NEXT GENERATION.
I MEAN, I HAVE THREE TEENAGE DAUGHTERS AND A SON WHO'S IN HIS MID-20S,
AND I DON'T UNDERSTAND WHAT THE HELL THEY'RE SAYING.
[KEVIN PIKE] A LOT OF TIMES I GET ASKED ABOUT THE SPECIAL EFFECTS.
WHAT DID WE DO?
THE CLOCK TOWER, THE SPEAKER GAG,
DOC BROWN'S LAB, THE TRAILS OF FIRE.
A LOT OF WORK WENT INTO IT ON THE SPECIAL-EFFECTS LEVEL THAT WERE VERY COMMON.
WIND, RAIN, FIRE, SNOW, ALL OF THE NORMAL STUFF THAT WE DO.
A LOT OF PROP CREATION THAT WE DID.
AND ALL OF THAT IS OUR ROTE WORK.
AND THAT WAS OUR TRADE AND OUR CRAFT.
AND THE STORY DIDN'T DEMAND
SOME OF THE BIGGER VISUAL EFFECTS THAT ARE NOW SO COMMON.
SO IT DOESN'T DATE ITSELF.
PEOPLE ASK ME ABOUT HOW COME WE NEVER HAD ANY CGI WORK ON "JAWS."
WELL, WE DIDN'T HAVE THE C. WE NEVER HAD COMPUTERS.
WE DIDN'T EVEN HAVE CELL PHONES.
NOW, THEY MAKE WHOLE MOVIES ON CELL PHONES.
A LOT OF THE WORK THAT WE DID ON "BACK TO THE FUTURE"
WAS STRAIGHT, ACROSS THE BOARD, SPECIAL, MECHANICAL EFFECTS,
ALONG WITH A SMALL DOSE OF PYRO, AND A GREAT AMOUNT OF PROP CREATION.
THAT STANDS UP.
BECAUSE A LOT OF TIMES, WE'LL SEE MOVIES THAT ARE BRILLIANTLY DONE,
THE CG GETS BETTER AND BETTER ALL THE TIME,
BUT A LOT OF PEOPLE ENJOY A TASTE OF THE REAL WAY.
AND I THINK THAT'S ONE OF THE WAYS
THAT IT STILL ENDEARS ITSELF TO AN AUDIENCE.
[GALE] WHEN WE WERE MAKING PART TWO, WE ALWAYS USED TO SAY,
"WOW, IN 2015, WE'LL ALL GET TOGETHER AND SEE WHAT WE GOT RIGHT."
-YEAH, YOU KNOW, WE DID A PRETTY GOOD JOB. WE HIT ABOUT 50%.
[GALE] WE GOT THE FLAT-SCREEN TVS AND PHONE VIDEO CONFERENCING RIGHT.
[CLARK] THE DRONES WALKING DOGS.
[GALE] WE GOT THE GOOGLE GLASSES RIGHT.
[CLARK] TVS WITH TOUCHSCREEN AND HUNDREDS OF DIFFERENT CHANNELS.
[GALE] WE DECIDED THAT WHAT WE WERE GONNA DO WAS JUST HAVE FUN WITH THE FUTURE.
WE KNEW WE WEREN'T GONNA GET IT RIGHT.
WE KNEW THAT THERE WEREN'T GONNA BE FLYING CARS. THAT WE WERE SURE OF.
-NO ONE IS EVER GONNA BE IN A FLYING CAR.
NO ONE WANTS TO FLY IN A CAR. IT'S TOO SCARY.
PEOPLE ARE SCARED TO LEAVE THE GROUND.
THE LIMITS OF PHYSICS DON'T PREVENT US FROM HAVING FLYING CARS.
THE REASONS THAT WE DON'T HAVE FLYING CARS TODAY ARE REALLY SOCIETAL.
AVIATION EVOLVED IN A CERTAIN WAY,
AND DRIVING ON THE GROUND EVOLVED IN A CERTAIN WAY.
THESE ARE HUMAN CONSTRUCTS, SO THEY CAN BE CHANGED.
BUT WE HAVE TO SHOW PEOPLE, HEY, IT CAN ACTUALLY BE BETTER THAN THIS,
AND THERE IS NO PHYSICAL LAW THAT WE ARE BREAKING TO MAKE IT BETTER THAN THIS.
WE JUST HAVE TO SHOW PEOPLE, HEY, THIS IS WHAT IT COULD BE LIKE.
IT COULD BE A WHOLE LOT BETTER THAN IT IS TODAY.
TERRAFUGIA IS A FLYING CAR COMPANY.
WE'RE DEVELOPING A PRACTICAL VISION FOR THE FUTURE
AND CREATING THE PATH FOR HOW TO GET FROM WHERE WE ARE TODAY
TO A WORLD WITH FLYING CARS THAT ANYBODY CAN USE.
GROWING UP, I WAS DEFINITELY INSPIRED BY MOVIES LIKE "BACK TO THE FUTURE"
AND THAT VISION OF THE DELOREAN LIFTING OFF AND SHOOTING OVER EVERYBODY.
AND I WAS FASCINATED WITH AVIATION
AND TRYING TO MAKE PRACTICAL PERSONAL AVIATION.
WE HAVE THESE IMAGES OF PEOPLE FLYING IN LANES AND STUFF LIKE THAT.
WHY WOULD YOU FLY IN A LANE IF YOU'VE GOT ALL THIS THREE-DIMENSIONAL SPACE?
YOU KNOW, YOU NEED LANES ON THE GROUND,
BECAUSE YOU NEED TO KNOW WHERE THE OTHER CARS ARE GONNA BE RUNNING,
SO THAT YOU CAN HAVE PEOPLE PLAYING OVER HERE OR SOMETHING LIKE THAT.
UP IN THE AIR, YOU DON'T NEED LANES, RIGHT?
YOU NEED TO KNOW WHERE ALL THE OTHER AIRCRAFT ARE, AND YOU NEED TO AVOID THEM.
BUT YOU DON'T NEED A LANE OF TRAFFIC
IN ORDER TO KNOW WHERE THE OTHER AIRCRAFT ARE.
SO I THINK THE FUTURE IS GONNA BE A LITTLE DIFFERENT
THAN IT WAS LAID OUT IN "BACK TO THE FUTURE,"
BUT THE IDEA BEHIND IT IS THE RIGHT IDEA,
AND THAT'S WHERE WE WANNA GO.
-I NEED TO BORROW YOUR...
-THAT WAS A TRUE, TOTAL INVENTION OF "BACK TO THE FUTURE II."
BUT WHAT'S COOL IS THAT PEOPLE ARE TRYING TO INVENT THEM NOW.
THERE'S THIS OLD SAYING THAT LIFE IMITATES ART.
AND THE ROCKET SCIENTIST ROBERT GODDARD,
HE ALWAYS SAID THAT WHAT INSPIRED HIM TO DO ROCKETRY
WAS READING JULES VERNE'S "FROM THE EARTH TO THE MOON" WHEN HE WAS A KID.
SO, BOB AND I COOK UP THIS IDEA OF HOVERBOARDS.
THAT'S JUST A RIFF ON OUR SKATEBOARD CHASE FROM THE FIRST MOVIE,
BUT, WOW, DOES THAT CAPTURE EVERYBODY'S IMAGINATION.
THE HENDO HOVERBOARD, I SAW THAT, AND I GOT SO EXCITED. WOW!
AND IT'S WORKING ON MAGNETISM, WHICH WAS THE IDEA THAT WE HAD.
SO HOW COOL IS THAT?
[GREG HENDERSON] WHEN YOU LOOK AT THE BUILDING INDUSTRY,
THE LARGEST INDUSTRY IN THE U.S.,
IT'S A VERY DIFFICULT THING TO CHANGE.
BUT THERE'S A BETTER WAY TO BUILD.
AND SO, IN JULY OF THIS YEAR, JULY OF 2014,
WE HAD A PATENT ISSUED FOR SOMETHING WE'VE BEEN WORKING ON FOR A LONG TIME.
AND THAT IS, ESSENTIALLY, A THREE-PART FOUNDATION SYSTEM.
ONE OF THE KEY COMPONENTS OF THIS THREE-PART FOUNDATION SYSTEM
IS SOMETHING WE CALL THE BUFFER MEDIUM.
AND THAT BUFFER MEDIUM CAN BE A LIQUID, IT CAN BE A GAS,
AND AS WE DISCOVERED, WHY NOT AN ELECTROMAGNETIC FIELD?
IF YOU CAN HOVER A 50,000-KILOGRAM TRAIN, WHY NOT A HOUSE?
HOWEVER, THE NEW MAGLEV TRAINS IN JAPAN, FOR INSTANCE,
HAVE TO BE GOING 170 KILOMETERS PER HOUR TO LEVITATE.
THERE WAS NO GOOD WAY TO LEVITATE A STATIONARY OBJECT.
WHAT IF YOU HAD A TRAIN THAT LEVITATED, AND THAT TRAIN WENT IN A CIRCLE?
NOW, WHAT IF THAT TRAIN WAS THE SAME LENGTH AS THE TRACK?
YOU ESSENTIALLY HAVE A STATIONARY OBJECT RELATIVE TO THE EARTH,
WHEN YOU REALIZE YOU CAN HOVER A DYNAMIC LOAD IN A STATIONARY POSITION,
SOMETHING THAT HAS BEEN IMPOSSIBLE UP TILL NOW...
[JILL HENDERSON] THAT'S THE FIRST THING THAT COMES TO MIND.
[GREG HENDERSON] WHAT BETTER WAY TO DEMONSTRATE THIS...
[JILL HENDERSON] IS A HOVERBOARD? ABSOLUTELY.
-WE GOT LETTERS FROM KIDS ALL OVER THE WORLD WANTING TO KNOW,
"CAN I HAVE A HOVERBOARD? CAN I HAVE ONE, PLEASE?"
-YEAH, FOR A COUPLE YEARS WHEN I WAS YOUNG, I THOUGHT THAT THING WAS REAL.
-WELL, THAT LITTLE BEHIND THE SCENES THING THAT WAS PUT OUT EARLY ON.
ROBERT ZEMECKIS SAYING, "OH, THEY'RE REAL,
"AND THE ONLY REASON THAT WE DON'T RELEASE THEM
"IS PARENTS DON'T THINK THEY'RE GONNA BE VERY SAFE."
THAT DID AFFECT A LOT OF KIDS FROM THE '80S.
-I REMEMBER SEEING THE ZEMECKIS INTERVIEW,
AND HE SAID HOVERBOARDS WERE REAL.
JUST THE PARENTS' GROUPS HAVE NOT LET TOY MANUFACTURERS MAKE THEM,
BUT WE GOT OUR HANDS ON SOME.
-I REMEMBER BEING WITH A COUPLE OF MY FRIENDS
AND SAYING, "YEAH, YEAH, I ROAD A HOVERBOARD."
AND THEY WERE ALL LIKE, "NO, YOU DIDN'T."
AND I SAID, "NOPE, IT'S TRUE. I ROAD A HOVERBOARD."
-TRUE STORY. I WAS WALKING THROUGH THE MALL, AND A SCIENTIST WALKED UP TO ME,
AND HE ASKED IF I WANTED TO BE IN A SELECT GROUP OF KIDS TO TEST HOVERBOARD TECHNOLOGY.
-YEAH, I CALL BULLCRAP.
-IT WAS REALLY NOT FUN DOING THE HOVERBOARD.
-WHAT YOU GOTTA DO IS YOU GOTTA AIM IT.
YOU GOTTA KIND OF POP IT ON AN ARC.
-OKAY. -OKAY?
-READY? -READY.
[ZEMECKIS] WE DIDN'T HAVE COMPUTER-GENERATED IMAGES IN THOSE DAYS,
AND WE HAD TO HAVE ACTORS HANGING ON WIRES.
AND THE WIRES HAD TO BE REALLY THIN,
'CAUSE YOU COULDN'T GRAFT THEM OUT ON THE COMPUTER.
YOU HAD TO HID THEM FROM THE CAMERA.
AND IT WAS REALLY TIME-CONSUMING,
AND IT WAS REALLY, REALLY, DIFFICULT TO DO.
[FOX] I MEAN, PEOPLE THINK THAT IT LOOKED SO SMOOTH,
BUT I THIS THING STAPLED TO MY FOOT, AND I WAS DANGLING FROM WIRES.
-ANYONE WHO'S PROBABLY, LIKE, 15 AND UNDER...
I DON'T KNOW UNLESS THEIR PARENTS SHOW THEM "BACK TO THE FUTURE,"
IF IT'S AN IMPORTANT MOVIE TO THEM, THEY'LL SEE IT.
I KNOW THAT SEAN'S PARENTS LOVE THE MOVIE AND SHOWED IT TO HIM,
I DON'T KNOW THAT HE HAS THAT PASSION FOR IT THAT I DID.
WHAT HE LOVED WAS WATCHING THE HOVERBOARDING VIDEOS
AND GETTING TO DO THAT SCENE WHERE HE'S UP IN THE TREE HOVERBOARDING.
-YIPPEE! HERE I AM,
TESTING OUT THE WORLD'S FIRST ACTUAL HOVER...
OW! OW! IT'S SQUISHING MY PARTS.
-HE WAS REALLY EXCITED TO DO THAT.
I MEAN, YOU KNOW, ANYONE WANTS TO RIDE A HOVERBOARD.
IT'S A FANTASY EVERYONE WANTS TO LIVE, AND HE GOT TO DO IT.
IT'S PRETTY AMAZING.
-MAY 31, 2013,
AND YOU'RE LOOKING AT THE WORLD'S FIRST RIDABLE HOVERBOARD.
BECAUSE WE WERE IN OUR KITCHEN, AND WE HAD TO LITERALLY CHAIN IT DOWN,
BECAUSE WE HAD NO IDEA
HOW POWERFUL THIS BEAST OF A HOVERBOARD WAS.
-ALL RIGHT, IT'S HOVERING, GUYS.
[CHEERING]
[JILL HENDERSON] IT WAS ONE OF THOSE MOMENTS WHERE I FELT LIKE I WAS 10.
I MEAN, IT WAS ONE OF THOSE REALLY POWERFUL MOMENTS OF WHAT WAS YET TO COME.
IT WAS JUST THE BEGINNING.
-SEE, THAT CHOKES ME UP. -IT DOES.
-OKAY, CHECK THE ESCS. I'M GONNA KEEP ROLLING HERE.
UNBELIEVABLE, JILL. HOW THE [BEEP] WAS THAT?
[GREG HENDERSON] IT WAS CLUNKY, VERY CLUNKY. IT WAS NOT SO ATTRACTIVE,
IF WE CAN KEEP TAKING CARE OF EACH OTHER,
AND ALLOWING THIS EXTRA TIME AND ENERGY TO DARE TO WONDER.
IT'S A GREAT TIME TO BE ALIVE.
WOULDN'T TRADE IT FOR ANY OTHER TIME IN HISTORY.
[ZEMECKIS] YEAH, WELL, I'M NOT GONNA DO "BACK TO THE FUTURE" ANYMORE.
THREE IS ENOUGH. YOU KNOW, THREE IS A GOOD NUMBER.
-AFTER BOB AND I MADE THE THIRD MOVIE,
WE ACTUALLY HAD T-SHIRTS MADE UP
THAT HAD "BACK TO THE FUTURE IV"
WITH A CIRCLE AND SLASH THROUGH THE ROMAN NUMERAL FOUR.
WE'D SAID WHAT WE WANTED TO SAY. WE'D DONE WHAT WE WANTED TO DO WITH THE CHARACTERS.
AND IF WE WENT BACK TO THE WELL ANOTHER TIME,
IT'D BE KIND OF AN ACT OF PROSTITUTION, REALLY.
-THREE IS A DRAMATIC NUMBER.
YOU KNOW, IT'S THE TRINITY. IT'S THE THREE-ACT STRUCTURE.
FOUR IS A BORING NUMBER.
YOU KNOW, IT'S BLAND. IT'S EVEN.
-SOMETIMES, I'M ASKED IF THEY EVER CAME UP WITH A IV,
"BACK TO THE FUTURE IV," WOULD I STILL DO IT?
YOU BET.
TOTALLY.
-OH, I'LL DO I, II, III, IV, V, WHATEVER IT...
WHAT COULD BE BAD, YOU KNOW?
-SOMEBODY MIGHT DO IT. I MEAN, MAYBE SOMEBODY AFTER I'M DEAD...
UNIVERSAL COULD MAYBE... OR IF MY KIDS...
IF MY KIDS NEED TO MAKE MONEY
AND WANNA HAVE UNIVERSAL, YOU KNOW, DO THE MOVIE
WITH SOME NEW CONCEPT OR SOMETHING,
I GUESS THEY'LL DO IT.
BUT IT'S NOTHING I'M INTERESTED IN.
-YES, PEOPLE KEEP ASKING FOR MORE.
SO, WE DID THE TELLTALE GAME,
IT PRETTY NICELY CAPTURES THE ENERGY OF THE MOVIES, I THINK.
AND BOB AND I HAD STARTED KICKING AROUND, OH, ALMOST 10 YEARS AGO,
THE IDEA OF PUTTING "BACK TO THE FUTURE"
ON BROADWAY, OR IN THE WEST END, OR SOMEPLACE TO DO A MUSICAL PRODUCTION OF IT.
-I THINK ALL OF US WANT,
FIRST AND FOREMOST, TO ADHERE TO THE HIPPOCRATIC OATH,
SO WE'RE VERY... YOU KNOW, WE'RE LOOKING VERY CAREFULLY AT HOW TO PROCEED WITH THIS,
BECAUSE "BACK TO THE FUTURE" DESERVES THE BEST WE KNOW...
YOU KNOW, THE BEST WE CAN DO.
AND WE WANNA REALLY MAKE SURE
THAT WHAT WE DO IN THAT CAPACITY
ADDS TO, AGAIN, THE LEGACY OF "BACK TO THE FUTURE."
-WHAT ABOUT ALL THAT TALK
ABOUT SCREWING UP FUTURE EVENTS, THE SPACE-TIME CONTINUUM?
-WELL, I FIGURED, WHAT THE HELL?
-THERE COMES A TIME IN EVERY CHILD'S LIFE
WHEN HE TRULY UNDERSTANDS THAT ADULTS WERE ONCE KIDS,
THAT HIS PARENTS WERE ONCE CHILDREN.
SEVEN, EIGHT, NINE, TEN YEARS OLD, IT CLICKS.
YOU REALIZE, "OH, MY GOD. I'M GONNA GROW UP TO BE AN ADULT,
"WHICH MEANS THAT MY ADULT PARENTS WERE ONCE CHILDREN TOO."
[THOMPSON] THE IDEA THAT YOUR PARENTS WERE ONCE YOUNG
AND HAD THE SAME DREAMS THAT YOU ARE GONNA HAVE OR HAVE RIGHT NOW,
AND THAT WE'RE ALL JUST PEOPLE, AND WE ALL STILL FEEL YOUNG AT HEART.
[GALE] AND THAT'S WHAT "BACK TO THE FUTURE" IS ABOUT,
THAT SUDDEN REALIZATION,
THAT IDEA THAT YOUR INFALLIBLE PARENTS,
WHO YOU THINK ARE INFALLIBLE WHEN YOU'RE A LITTLE KID,
THEY WERE GAWKY TEENAGERS,
AND FUMBLED AROUND IN A CAR, AND DIDN'T KNOW WHAT THE HELL THEY WERE DOING.
AND THAT RESONATES THROUGH ALL GENERATIONS
AND THROUGH EVERY CULTURE IN THE WORLD.
[DEAN CUNDEY] THE APPEAL TO "BACK TO THE FUTURE" FOR ME, OF COURSE,
BUT ALSO FOR AN AUDIENCE, IS THE FACT THAT IT WAS SUCH AN INTERESTING LOOK AT...
I GUESS YOU'D CALL IT WISH FULFILLMENT,
WHICH IS WHO WOULDN'T WANNA GO BACK IN TIME AND FIX SOMETHING?
[THOMPSON] I THINK WHEN GEORGE MCFLY HAS THE COURAGE TO PUNCH BIFF AT THAT MOMENT,
I THINK THAT MOMENT WAS SO PERFECTLY CONSTRUCTED.
I THINK WE ALL WONDER ABOUT THAT.
IF WE WOULD HAVE DONE SOMETHING DIFFERENT AT ONE MOMENT,
WOULD IT HAVE CHANGED OUR WHOLE LIVES FOR THE BETTER OR FOR THE WORSE?
-NOW, 30 YEARS LATER, YOU LOOK BACK AT A PROJECT LIKE THIS,
AND YOU TRY TO REMEMBER JUST WHAT YOUR PART IN ALL OF THIS WAS.
AND IT'S JUST A PRETTY SMALL PART.
I MEAN, YEAH, THE CAR IS FEATURED IN ALL OF THESE SCENES,
AND IT'S USED, AND IT'S CHERISHED,
AND PLASTIC MODELS ARE MADE OF IT.
IT'S NICE BEING A PART OF THAT.
-WELL, THE MOVIE IS JUST...
YOU KNOW, THE MOVIE DEFINES THE TASTE OF BUTTERED POPCORN. IT REALLY DOES.
-WE ACTUALLY USE THE SAME LOGIC
WHEN WE GO TO SEE MOVIES AS WE DO WALKING INTO A CASINO.
WE LARGELY KNOW WE'RE GONNA GET RIPPED OFF,
BUT THE CHANCE IS WORTH IT.
IF IT WERE ANY OTHER INDUSTRY, WE WOULD HAVE LONG AGO SHUT IT DOWN
AND SUED EVERYBODY.
BECAUSE IF IT WAS CANS OF TUNA,
THE EQUIVALENT WOULD BE LIKE EVERY THIRD CAN HAD A HUMAN FINGER IN IT.
MOVIES ARE SO BAD NOW.
AND THEY'RE ALLOWED TO BE,
BECAUSE THAT'S HOW GOOD "BACK TO THE FUTURE" WAS.
-IT'S JUST ONE OF THOSE THINGS, MAN.
YOU KNOW, IT'S ONE OF THOSE THINGS THAT WORKED.
IT JUST WORKED.
-SO HOW FAR AHEAD ARE YOU GOING?
-ABOUT 30 YEARS. IT'S A NICE, ROUND NUMBER.
-LOOK ME UP WHEN YOU GET THERE, ALL RIGHT?
I GUESS I'LL BE ABOUT 47.
-I WILL.
-TAKE CARE. -YOU, TOO.
-ALL RIGHT. BYE BYE, EINIE.
OH, AND WATCH THAT RE-ENTRY.
IT'S A LITTLE BUMPY.
-YOU BET.
-TO THE FUTURE!
[DR. BROWN] ALL RIGHT, MARTY, YOU ALL SET? -YEAH, YEAH, GO!
-THERE ARE SO MANY PLACES I WOULD LIKE TO SEE IF I HAD A TIME MACHINE.
EVERY ERA, I WOULD LOVE TO SEE.
AND I AM SO LUCKY.
I HAVE BEEN ABLE TO A LOT ON FILM.
-BOY, IF I CAN GO ANYWHERE IN TIME,
I WOULD GO BACK TO MAYBE THE MGM AUCTION OF 1970,
AND I WOULD HOPEFULLY BE ABLE TO GO BACK THERE
WITH 10 OR $20,000 IN MY BACK POCKET.
AND I'D BUY ALL THE STUFF THAT I KEEP HEARING OVER THE YEARS WENT FOR NOTHING.
-WELL, IT DEPENDS WHAT THE TIME TRAVEL RULES ARE.
YOU KNOW, I MEAN...
I GUESS IF I COULD ONLY GO ONE WAY,
-I THINK ABOUT 10,000 YEARS IN THE FUTURE MIGHT BE INTERESTING.
-I PROBABLY WANNA GO INTO THE FUTURE
ABOUT FOUR AND A HALF WEEKS RIGHT NOW.
BECAUSE I'M WRITING ON A FILM RIGHT NOW,
AND I'M WORKING REALLY HARD.
AND ABOUT FOUR AND A HALF WEEKS FROM NOW, I THINK I'LL BE FINISHED.
-I DON'T KNOW IF YOU'VE EVER SEEN "HENRY V,"
OLIVIER'S "HENRY V."
ALL THE BACKSTAGE ACTIVITY,
PEOPLE THROWING THINGS FROM THE GROUNDLINGS WHO'D PAID...
THE RE-WRITES GOING ON.
IT WOULD HAVE BEEN KIND OF COOL TO GO BACK, BE AN OBSERVER OF THAT TODAY.
-I WAS DOING A TV MOVIE WITH WOODY ALLEN,
AND WE WERE TALKING, AS ALWAYS HAPPENS TO ME ON SETS AND STUFF,
SO WE WERE IN A FULL-FLEDGED DISCUSSION ABOUT WHERE WE WOULD GO IN TIME.
AND WOODY ALLEN WAS NORMALLY PREOCCUPIED WITH OTHER THINGS,
AND SO SOMEONE SUMMONED UP THE COURAGE TO ASK HIM WHERE HE WOULD GO,
AND HE SAID, "NO TIME BEFORE THE INVENTION OF PENICILLIN."
I ALWAYS THOUGHT THAT WAS A GOOD RULE OF THUMB.
BUT I WOULD THINK... [CAR ALARM BLARING]
-SOMETIME BEFORE CAR ALARMS.
-I THINK I WOULD RATHER GO BACK IN TIME THAN FORWARD IN TIME.
BECAUSE I THINK WHEN YOU GO FORWARD IN TIME,
IT'S GONNA BE DISASTROUS.
-THERE'S YOUR 10-YEAR-OLD, HORNY SELF
THAT REMEMBERS THAT IN THE '80S, WOMEN WERE THE MOST BEAUTIFUL.
WHEN I THINK ABOUT FEMININITY, AND SEXUALITY, AND MUSIC,
AND ALL THE THINGS THAT MAKE A LITTLE KID SQUIRM AND FEEL ALIVE,
I THINK OF THE '80S.
-I'M A BIG IN THE MOMENT GUY. I LIKE RIGHT NOW. I'VE ALWAYS LIKED RIGHT NOW.
I'VE NEVER YEARNED FOR TIMES IN THE PAST.
WE HAVE ALL THAT INFORMATION. WE CAN WATCH ALL THE MOVIES.
BUT THE FUTURE. YEAH, IT'S GOTTA BE THE FUTURE.
YOU GOTTA GO PAST WHEN YOU'RE GONNA DIE
-YOU KNOW, IF YOU'RE CURIOUS, YOU'VE GOTTA SAY, "HOW DOES THIS ALL WORK OUT?
"WHAT HAPPENS WITH HUMANITY?
"WHAT'S THE NEXT IPHONE LIKE?"
YOU KNOW, ALL THOSE IMPORTANT THINGS.
-I'D LIKE TO TRAVEL 100 YEARS INTO THE FUTURE.
BECAUSE JUST LOOKING BACK AT WHAT HAS EVOLVED
AND WHAT'S HAPPENED OVER THE PAST 100 YEARS IS MIND-BLOWING.
SO I ONLY NEED TO GO 100 YEARS INTO THE FUTURE
TO SEE SOME AMAZING THINGS.
I REALLY... I'M GONNA SOUND LIKE A CRACKPOT,
BUT I REALLY BELIEVE THAT, BECAUSE SO MANY THINGS HAVE BEEN TRANSMITTED DIGITALLY NOW,
I THINK THERE'S A REAL POSSIBILITY OF SOME SORT OF TELEPORTATION.
PHYSICAL MATTER BEING TRANSMITTED IN SOME KIND OF DIGITAL FORM.
AND I KNOW THAT SOUNDS CRAZY,
BUT EVERYTHING DOES BEFORE IT HAPPENS.
-THEN THERE'S THE OBJECTIVE KIND OF LIKE FASCINATION.
I THINK I'D LIKE TO GO BACK TO THE 1920S.
'CAUSE IT SEEMED LIKE SUCH A CRAZY, HISTORIC...
SIMULTANEOUSLY GRITTY AND PRETENTIOUS KIND OF CULTURE. I DON'T KNOW.
I'D GET TO WEAR A HAT.
I COULD PROBABLY WEAR A HAT NOW.
BUT IT MAKES ME NERVOUS.
-IF THERE'S AN OPPORTUNITY TO TWEAK THINGS
AND NOT UPSET THE SPACE-TIME CONTINUUM,
I COULD GO BACK AND BITCH-SLAP A COUPLE PEOPLE. I DON'T KNOW.
[CREW MEMBER LAUGHING]
[ACOUSTIC VERSION OF "BACK TO THE FUTURE" THEME PLAYING]