1 00:00:06,560 --> 00:00:09,960 Back to the Future Part 2 opened in 1989 as the middle chapter of 2 00:00:09,960 --> 00:00:13,480 the classic time travel trilogy, continuing Marty Mcfly's time 3 00:00:13,480 --> 00:00:15,880 hopping adventures in Hill Valley, the film made a ride 4 00:00:15,880 --> 00:00:20,200 through a utopian 2015, a dystopian 1985 and the originals 5 00:00:20,200 --> 00:00:23,080 19551 of Hollywood's most beloved sequels. 6 00:00:23,440 --> 00:00:26,160 My name is John, and the guys who'd sell their souls for a 7 00:00:26,160 --> 00:00:29,960 great sports Almanac are Matt. It's leave you idiot. 8 00:00:30,240 --> 00:00:33,160 Make like a tree and leave. And Westie. 9 00:00:33,360 --> 00:00:36,040 We must succeed. Where we're going, we don't need 10 00:00:36,040 --> 00:00:38,040 roads. ATRM are talking flying 11 00:00:38,040 --> 00:00:41,040 Deloreans, flying skateboards and proof that no matter what 12 00:00:41,040 --> 00:00:42,960 year it is, the shock still looks big. 13 00:01:02,090 --> 00:01:05,010 Hello and welcome to all the right movies. 14 00:01:05,400 --> 00:01:07,880 Nobody calls us chicken needles. Nobody. 15 00:01:09,080 --> 00:01:11,240 Oh, yeah, that's the next one, isn't it? 16 00:01:11,240 --> 00:01:12,560 That's the next. One, yeah, you've got ahead of 17 00:01:12,560 --> 00:01:15,760 yourself. Well, we are the podcast that 18 00:01:15,760 --> 00:01:18,560 tells the story of Hollywood One film at a time though, and this 19 00:01:18,560 --> 00:01:21,600 one is a proper event. It is big one. 20 00:01:22,480 --> 00:01:24,480 It's the Mechus. It's J Fox. 21 00:01:24,760 --> 00:01:27,560 It's Lloyd. We're sending you back Back to 22 00:01:27,560 --> 00:01:31,720 the Future Part 2, the sequel to one of the biggest films of the 23 00:01:31,720 --> 00:01:33,840 80s, and we're tackling it in full. 24 00:01:33,960 --> 00:01:36,280 We are. Before we fire up Mr. Fusion, 25 00:01:36,280 --> 00:01:39,080 though, we should talk about our wonderful community, shouldn't 26 00:01:39,080 --> 00:01:40,640 we? Let's do that first, yeah? 27 00:01:41,160 --> 00:01:43,440 Well, if you're a regular listener to this, our main show, 28 00:01:43,440 --> 00:01:46,400 we can help support what we do by becoming an ATRM patron. 29 00:01:46,720 --> 00:01:49,680 Patrons get access to our bonus podcast episode called Double 30 00:01:49,680 --> 00:01:52,440 Feature where we talk 2 films that may make it under our main 31 00:01:52,440 --> 00:01:56,360 show, and the Watch List where we review 6 new releases. 32 00:01:56,360 --> 00:01:58,360 Yep, and you will get our monthly newsletter. 33 00:01:58,480 --> 00:02:01,240 Get the chance to become Patron of the Month and become part of 34 00:02:01,240 --> 00:02:03,520 the ATRM community. Fantastic. 35 00:02:03,760 --> 00:02:06,280 Get in there, surely? Lots, lots of bang for your buck 36 00:02:06,280 --> 00:02:07,320 there. Loads of pleasure there. 37 00:02:07,800 --> 00:02:10,080 The kind of deal that might even make Bef Talon put his hand in 38 00:02:10,080 --> 00:02:15,720 his pocket, I would think. Oh don't you Patreon go and get 39 00:02:15,720 --> 00:02:19,200 it. Well, For more information and 40 00:02:19,200 --> 00:02:22,640 to sign up, head to patreon.com/all the Right Movies 41 00:02:22,760 --> 00:02:25,160 or if you're on Spotify, Apple Podcasts on YouTube. 42 00:02:25,160 --> 00:02:26,880 You can subscribe directly on there as well. 43 00:02:27,440 --> 00:02:30,080 Just look for the subscribe button and join the community. 44 00:02:30,480 --> 00:02:32,960 They're easy. And one other thing, we also 45 00:02:32,960 --> 00:02:34,800 have merchandise available now as well. 46 00:02:35,240 --> 00:02:37,760 No self tying sneakers unfortunately. 47 00:02:38,000 --> 00:02:39,360 Not yet. Not yet, no. 48 00:02:39,360 --> 00:02:42,760 No, but check the show notes for the link there as well. 49 00:02:43,080 --> 00:02:44,840 Yes, the T-shirts do drive themselves. 50 00:02:45,720 --> 00:02:50,000 Don't hold us there. Back to now, though, and we're 51 00:02:50,000 --> 00:02:51,760 talking Back to the Future Part 2. 52 00:02:51,920 --> 00:02:54,280 Yeah, So, Wesley, why are we getting into it? 53 00:02:54,280 --> 00:02:56,000 Well. I mean, we're getting into it 54 00:02:56,000 --> 00:02:57,720 because it's a classic in every sense of the word. 55 00:02:57,720 --> 00:02:59,560 Has been a classic. I can't remember if I went to 56 00:02:59,560 --> 00:03:01,920 the cinema, say this one. I definitely saw the third one 57 00:03:01,920 --> 00:03:03,320 in the cinema, right, Remember that? 58 00:03:03,760 --> 00:03:05,680 And I definitely saw Last Crusade in the cinema. 59 00:03:06,080 --> 00:03:07,720 So I must have seen this same year. 60 00:03:07,720 --> 00:03:11,440 Yeah, 89, wasn't it? So I've seen it so many times. 61 00:03:11,600 --> 00:03:13,840 It's just almost like, God bless you. 62 00:03:13,840 --> 00:03:16,800 It's just like, you know, that T-shirt you can't throw away 63 00:03:16,920 --> 00:03:19,400 that's just your favorite doesn't fit you anymore and it's 64 00:03:19,400 --> 00:03:21,520 all faded, but you just, you just can't get rid of it like. 65 00:03:21,520 --> 00:03:23,880 That Fight Club jacket used to have and wait every time we went 66 00:03:23,880 --> 00:03:26,120 out. Still got it, can't get rid of 67 00:03:26,120 --> 00:03:29,440 it, but this was like the ultimate rewatchable film as a 68 00:03:29,440 --> 00:03:31,680 kid. It was just constantly on and 69 00:03:31,680 --> 00:03:34,440 constantly entertaining, and I just love the characters and I 70 00:03:34,440 --> 00:03:38,160 love the set pieces and I love the fact that it just referred 71 00:03:38,160 --> 00:03:40,920 to the first one so much. I don't know if I love that as 72 00:03:40,920 --> 00:03:43,240 much now, but we'll get into that, I think. 73 00:03:43,240 --> 00:03:44,920 Can you have too much of a good thing? 74 00:03:45,280 --> 00:03:47,320 Yeah. So for me, like, watching it 75 00:03:47,320 --> 00:03:50,000 from a really critical point of view has changed it slightly, 76 00:03:50,400 --> 00:03:52,000 but it's still lots and lots of fun. 77 00:03:52,000 --> 00:03:54,320 It's still a really, really excellent, excellent film. 78 00:03:54,320 --> 00:03:56,880 It's still really accomplished and I still thoroughly enjoy it. 79 00:03:56,880 --> 00:04:00,120 So yeah, let's get into it. Yeah, I'm coming from a very 80 00:04:00,120 --> 00:04:02,240 similar place, I think, Westie. I mean, when you're talking 81 00:04:02,240 --> 00:04:06,200 nostalgia, this might be the one for me or one of the ones. 82 00:04:06,200 --> 00:04:07,520 So I thought it might be up there. 83 00:04:07,520 --> 00:04:09,600 Definitely, yeah. As a kid, this was far and away 84 00:04:09,600 --> 00:04:12,360 in my favorite Back to the Future film, and it was for one 85 00:04:12,360 --> 00:04:14,320 reason, basically. I'll talk about that as we go 86 00:04:14,320 --> 00:04:17,160 and how my opinions have also changed in the last few decades 87 00:04:17,160 --> 00:04:19,880 a bit, but I think this one had to be talked about at some 88 00:04:19,880 --> 00:04:21,800 point, surely. Yeah, yeah. 89 00:04:21,839 --> 00:04:23,280 I don't think the opinions have changed. 90 00:04:23,280 --> 00:04:25,880 I think they've just swayed towards being slightly more 91 00:04:25,880 --> 00:04:28,000 mature about cinemas. Yeah, yeah, yeah, yeah. 92 00:04:28,600 --> 00:04:31,760 But direct sequel to one of Hollywood's most popular films, 93 00:04:31,760 --> 00:04:34,360 A crazy reality jumping narrative which is interesting. 94 00:04:34,960 --> 00:04:37,680 A crazy behind the scenes production story doing things 95 00:04:37,680 --> 00:04:39,400 technically that no one had ever done before. 96 00:04:39,560 --> 00:04:42,280 There was massive cast, controversies and lawsuits. 97 00:04:42,520 --> 00:04:44,960 So even if you don't like this film, the story that we're about 98 00:04:44,960 --> 00:04:47,880 to tell is pretty fascinating. Yeah, there's a lot to get it. 99 00:04:48,120 --> 00:04:49,960 And we should have a right or laugh telling this one. 100 00:04:50,120 --> 00:04:51,480 I don't think so. Definitely. 101 00:04:51,840 --> 00:04:54,000 Yeah, and obviously hoverboards. Coolest thing ever. 102 00:04:54,360 --> 00:04:56,320 Yeah, you can't do without that. That's fantastic. 103 00:04:56,840 --> 00:05:01,040 And Matt BTT FP2. Yeah, I mean, this is an 104 00:05:01,040 --> 00:05:03,400 interesting one for me, this because when you put the Paul 105 00:05:03,400 --> 00:05:06,360 up, John in the Wall sequel themed, this is the one I was 106 00:05:06,360 --> 00:05:09,240 least familiar with. And I do remember seeing it at 107 00:05:09,240 --> 00:05:11,280 the cinema at the time and I remember as a kid just being 108 00:05:11,280 --> 00:05:14,400 very confused by it all. That's fair enough. 109 00:05:14,920 --> 00:05:17,120 Yeah. Can't just switch off and enjoy. 110 00:05:17,160 --> 00:05:18,320 It can, you know, I definitely can't. 111 00:05:18,520 --> 00:05:21,320 What's this about? Even when I was insufferable, I 112 00:05:21,320 --> 00:05:24,320 wasn't sure it made sense. It was quite dark compared to 113 00:05:24,320 --> 00:05:27,200 the first one and it didn't even have a proper ending at the end. 114 00:05:27,200 --> 00:05:29,160 I was like, well, I have to come back again just to get a 115 00:05:29,160 --> 00:05:30,640 resolution. So. 116 00:05:30,800 --> 00:05:33,800 And it's not one I've revisited a lot because I don't revisit 117 00:05:33,800 --> 00:05:36,400 the trilogy as a whole a lot. It's usually the first one for 118 00:05:36,400 --> 00:05:37,480 me and I'm kind of happy with that. 119 00:05:37,480 --> 00:05:41,280 Or like like indie, for example. But it's going to be interesting 120 00:05:41,280 --> 00:05:44,720 because this one, it is divisive and it splits opinion a lot on a 121 00:05:44,720 --> 00:05:46,120 lot of things. So it's going to be really 122 00:05:46,120 --> 00:05:47,840 interesting to see where we all come out with this one. 123 00:05:48,400 --> 00:05:51,040 Yeah, definitely. Well, Back to the Teacher Part 2 124 00:05:51,040 --> 00:05:53,600 was released on November the 22nd, 1989. 125 00:05:53,600 --> 00:05:56,600 Produced by Amblin Entertainment and distributed by Universal 126 00:05:56,600 --> 00:05:58,760 Pictures. Directed by Robert Zemeckis, it 127 00:05:58,760 --> 00:06:01,320 was written by Bob Gale, based on the story by GAIL and 128 00:06:01,320 --> 00:06:03,840 Zemeckis and was filmed in and around Los Angeles. 129 00:06:04,160 --> 00:06:08,160 It stars Michael J Fox as Marty, Marty Junior and Marlene McFly, 130 00:06:08,440 --> 00:06:11,280 Christopher Lloyd as Doc Brown, Thomas F Wilson as Biff and 131 00:06:11,280 --> 00:06:14,840 Griff Tannen, Leah Thompson as Lorraine Baine's McFly Tannen 132 00:06:15,040 --> 00:06:16,880 and Elizabeth Shue as Jennifer Parker. 133 00:06:17,720 --> 00:06:19,760 Why play 1 character when you can play it loads? 134 00:06:20,800 --> 00:06:22,600 Just the one for sure there, just the 1 character. 135 00:06:23,600 --> 00:06:24,600 But let's go. Should we? 136 00:06:25,040 --> 00:06:27,000 Yeah, absolutely. We weren't sure whether to start 137 00:06:27,000 --> 00:06:29,520 with the final scene about the future or the first scene of 138 00:06:29,520 --> 00:06:31,040 Part 2. Turns out. 139 00:06:31,240 --> 00:06:32,680 Same thing we're. Going to do both at the same 140 00:06:32,680 --> 00:06:33,720 time of. Course we can't. 141 00:06:38,640 --> 00:06:43,560 The beginning. Back to the Future Part 2 opens 142 00:06:43,600 --> 00:06:46,400 right where the first film left off before whisking us off to 143 00:06:46,400 --> 00:06:48,680 the future. We're going to be talking the 144 00:06:48,680 --> 00:06:52,440 2015 sequences in Hill Valley and Hilldale, But first, it's 145 00:06:52,440 --> 00:06:54,800 1985 Hill Valley to pick things back up. 146 00:06:56,000 --> 00:06:58,520 Yeah, so the film does begin as the first one ended. 147 00:06:58,760 --> 00:07:01,400 Doc Brown and the DeLorean come screeching into Marty's front 148 00:07:01,400 --> 00:07:04,480 yard while lied and rambling about the future before we 149 00:07:04,520 --> 00:07:07,360 unbef, watch our Jiro and Marty's girlfriend Jennifer 150 00:07:07,520 --> 00:07:08,920 heading off to their next adventure. 151 00:07:09,160 --> 00:07:11,920 Yeah, first thing of the sequel. Does it do the job, Wesley? 152 00:07:12,360 --> 00:07:14,840 I think it does because it was the last scene of the of the 153 00:07:14,840 --> 00:07:17,000 first film, which is probably one of one of my favourites of 154 00:07:17,000 --> 00:07:18,920 all time, to be fair. I mean what an end and that is. 155 00:07:19,120 --> 00:07:21,280 One of the best. They could have just left it and 156 00:07:21,280 --> 00:07:23,600 just you've been like, yeah, that's incredible as a film, 157 00:07:23,600 --> 00:07:25,920 just as a wanna. But they have to come back to 158 00:07:25,920 --> 00:07:28,000 this scene, you know, Elizabeth Shoes in there now. 159 00:07:28,440 --> 00:07:31,120 BIFF needs a little bit of an entrance and just to see what's 160 00:07:31,120 --> 00:07:34,240 going on. But this is purely entertainment 161 00:07:34,240 --> 00:07:37,400 over any kind of subtext or context or anything that they're 162 00:07:37,400 --> 00:07:39,600 trying to go for. The first film was the opposite 163 00:07:39,600 --> 00:07:41,680 of that. I think it had a real emotion 164 00:07:41,680 --> 00:07:43,760 and had a real depth and tried to explore the characters. 165 00:07:43,760 --> 00:07:46,640 This is just wants to have a lot of fun and I think that's what 166 00:07:46,640 --> 00:07:49,600 this first scene does because the performances are a little 167 00:07:49,600 --> 00:07:51,680 bit more loose. It's just a little bit more 168 00:07:51,680 --> 00:07:53,960 cartoony, just a little bit more lean back. 169 00:07:54,200 --> 00:07:56,520 Yeah, yeah, I. Mean, I love that look that 170 00:07:56,520 --> 00:07:58,920 Marty gives Jennifer when Doc gets out and he's just like, 171 00:07:59,520 --> 00:08:04,160 sorry about this guy. Yeah, he's really embarrassed. 172 00:08:04,160 --> 00:08:08,880 Yeah, yeah. He's like, we're just straight 173 00:08:08,880 --> 00:08:11,120 and set up that lovely bit Mr. Fusion, we're going back. 174 00:08:11,120 --> 00:08:12,600 We don't need roads, we know about that. 175 00:08:12,840 --> 00:08:15,680 But I think it was really well done because some of it I had to 176 00:08:15,680 --> 00:08:17,880 really watch again and go. Was that a shot from the first 177 00:08:17,920 --> 00:08:21,080 one I did to put that back in? Because the lighting is just 178 00:08:21,080 --> 00:08:22,960 perfect. Everything is just framed really 179 00:08:22,960 --> 00:08:25,000 well. But at the same time, you I 180 00:08:25,000 --> 00:08:26,640 didn't really question the second Jennifer. 181 00:08:26,640 --> 00:08:28,680 It was still well done. Yeah, yeah, I was. 182 00:08:28,680 --> 00:08:30,960 I should just stands the same way and walks into the frame 183 00:08:30,960 --> 00:08:32,720 exactly the same way. You've got to like re watch the 184 00:08:32,720 --> 00:08:35,400 first one again and go. That was just so well done and 185 00:08:35,400 --> 00:08:36,760 well put together. Right. 186 00:08:36,760 --> 00:08:38,880 We're ready to go now. I've been reminded here. 187 00:08:38,880 --> 00:08:40,200 We'll go. It's a great, great opening 188 00:08:40,200 --> 00:08:41,679 scene, man. I think it's a better final 189 00:08:41,679 --> 00:08:44,280 scene, but we're still excited. It is, yeah. 190 00:08:44,680 --> 00:08:47,160 I like the opening shot. We get the title card, seeing 191 00:08:47,160 --> 00:08:49,040 the date over like a black screen, and then the kind of 192 00:08:49,040 --> 00:08:51,880 transition into the film is Marty sliding the garage door 193 00:08:51,880 --> 00:08:52,880 open. That's really cool. 194 00:08:53,480 --> 00:08:54,040 Yeah. And what? 195 00:08:54,040 --> 00:08:56,080 He looks a bit different. He's got different here a bit. 196 00:08:56,560 --> 00:08:58,200 Yeah, yeah. Jennifer always looks very 197 00:08:58,200 --> 00:08:59,480 different. Different face. 198 00:08:59,680 --> 00:09:01,040 I'm the same though. I'm pretty sure. 199 00:09:01,040 --> 00:09:03,280 And I watched this over and over again as a kid. 200 00:09:03,280 --> 00:09:04,920 I never realized there was a different actress. 201 00:09:04,920 --> 00:09:07,160 I'm sure I didn't. Didn't for a while. 202 00:09:08,320 --> 00:09:10,080 Don't look exactly the same, obviously. 203 00:09:10,280 --> 00:09:12,360 In those silver shades. He's like Brett the Hitman. 204 00:09:12,360 --> 00:09:14,680 Hot. Fantastic, yeah. 205 00:09:15,400 --> 00:09:17,480 A nice little bit of setup with Beef when he sees the DeLorean 206 00:09:17,480 --> 00:09:19,800 takeoff and disappear. Like what the hell is going on 207 00:09:19,800 --> 00:09:21,960 here? Which sets up old Beef in 2015 208 00:09:21,960 --> 00:09:24,000 seeing flying to Lorean. I'm not seeing one of those 209 00:09:24,000 --> 00:09:27,960 since and I love beef screen. I just track suit and burgundy 210 00:09:27,960 --> 00:09:29,640 turtleneck. Always a treat. 211 00:09:30,160 --> 00:09:32,160 Oh yeah, it's fantastic. But I wanted as well to talk 212 00:09:32,160 --> 00:09:34,480 about the opening credits, which kick in straight after Biff 213 00:09:34,480 --> 00:09:36,560 delivers that line. It's like a helicopter shot sort 214 00:09:36,560 --> 00:09:38,840 of flying through the clouds. It's like that Superman 2 215 00:09:38,840 --> 00:09:40,080 trailer. It is, yeah. 216 00:09:40,440 --> 00:09:42,640 But just hearing the Allen Sylvestre main theme swell up 217 00:09:42,640 --> 00:09:44,760 over it, I could like burst into tears. 218 00:09:44,880 --> 00:09:47,840 It just does something to me. But quite clever. 219 00:09:47,840 --> 00:09:49,640 We I think was the makers to pull us back into the first 220 00:09:49,640 --> 00:09:51,200 film. Works a treat on me anyway. 221 00:09:51,680 --> 00:09:53,480 Yeah, yellow credits as well, I've got to mention that. 222 00:09:53,480 --> 00:09:55,560 Yeah, yeah, yellow logo. There you are. 223 00:09:56,480 --> 00:09:59,280 Yeah, I mean some, because he's just done an impeccable job 224 00:09:59,280 --> 00:10:02,200 really of recreating a scene from the first film to use in 225 00:10:02,200 --> 00:10:05,360 the second film with maybe slightly diminishing results in 226 00:10:05,360 --> 00:10:08,040 some ways. And that's probably not the last 227 00:10:08,040 --> 00:10:10,400 time we're going to be saying that if you have this episode. 228 00:10:11,840 --> 00:10:13,240 Yes, agree. Yeah. 229 00:10:14,160 --> 00:10:17,120 Bob Gale said that after the first film came out, Universal 230 00:10:17,120 --> 00:10:19,600 had received thousands of fun letters asking what happened to 231 00:10:19,600 --> 00:10:22,640 Marty and Doc in the future, and that dictated how to start the 232 00:10:22,640 --> 00:10:24,240 sequel. He said they knew they had no 233 00:10:24,240 --> 00:10:26,720 choice but to go to the future and show us Marty and Jennifer's 234 00:10:26,720 --> 00:10:29,600 kids, which led to problems as they couldn't figure out a way 235 00:10:29,600 --> 00:10:32,000 of writing Jennifer into the story without taking her away 236 00:10:32,000 --> 00:10:34,560 from Marty, which, yeah, that's the original problem, isn't. 237 00:10:35,120 --> 00:10:36,600 It exactly, yeah. They did kind of paint 238 00:10:36,600 --> 00:10:38,120 themselves into a corner, I think. 239 00:10:39,240 --> 00:10:41,360 But the end of the first film, not written to set up a sequel. 240 00:10:41,360 --> 00:10:44,320 But it is, You said it was such a great final scene, isn't it? 241 00:10:44,680 --> 00:10:46,240 Something's got to be done about your kids. 242 00:10:46,240 --> 00:10:48,280 If there's never been a sequel, The end of the first film will 243 00:10:48,280 --> 00:10:50,280 be one of the best endings ever to a film. 244 00:10:50,280 --> 00:10:53,520 I think, yeah, I agree, yeah. And Claudia Wells played 245 00:10:53,520 --> 00:10:56,160 Jennifer in the first film and had planned to come back for the 246 00:10:56,160 --> 00:10:59,280 sequel, but around the time filming was due to start, her 247 00:10:59,280 --> 00:11:02,920 mother was sadly diagnosed with cancer, so she chose to care for 248 00:11:02,920 --> 00:11:05,280 a mother instead, and a casting call went out for a new 249 00:11:05,280 --> 00:11:07,480 Jennifer. Yeah, a shame she couldn't come 250 00:11:07,480 --> 00:11:09,240 back. I think that someone who was 251 00:11:09,240 --> 00:11:12,360 seriously considered to replace Claudia Wells was Nicole Kidman. 252 00:11:12,720 --> 00:11:14,440 Wow, Right. Yeah, Apparently she was 253 00:11:14,440 --> 00:11:17,600 recommended as the mechas by Billy Zane, who's in the film as 254 00:11:17,600 --> 00:11:18,240 much. Obviously. 255 00:11:18,280 --> 00:11:19,720 Yeah. After he'd worked with her on 256 00:11:19,720 --> 00:11:21,440 Dead Calm, of course. Calm. 257 00:11:21,600 --> 00:11:22,880 Right. Yeah, She was ruled out, though, 258 00:11:22,880 --> 00:11:25,200 because apparently she'd be too tall for Michael J Fox. 259 00:11:25,640 --> 00:11:27,640 She wouldn't tower over. I think it wouldn't be. 260 00:11:28,040 --> 00:11:29,280 Quite a common problem I imagine. 261 00:11:29,560 --> 00:11:31,240 Yeah. Pulled off with Tom Cruise and 262 00:11:31,240 --> 00:11:35,800 Far and Away though. And Elizabeth Shue's career was 263 00:11:35,800 --> 00:11:38,440 on the up at the time because she'd been in The Karate Kid and 264 00:11:38,440 --> 00:11:41,920 cocktail, starred in Adventures and Babysitting, and was 265 00:11:41,920 --> 00:11:43,840 therefore cast. Claudia Well said. 266 00:11:43,840 --> 00:11:46,560 She was flattered and honored to be replaced by Elizabeth Shue. 267 00:11:48,040 --> 00:11:51,480 She was great, obviously, yes. I just wish she had more to do. 268 00:11:51,880 --> 00:11:53,880 Yeah, yeah. Feels like a massive waste to 269 00:11:53,880 --> 00:11:55,240 have her and just like knock her out. 270 00:11:55,520 --> 00:11:57,040 Twice. Exactly. 271 00:11:57,600 --> 00:12:00,120 And Marty and Doc for Jennifer like shit. 272 00:12:00,400 --> 00:12:02,680 Yeah, they do. Leave her on a box of crates and 273 00:12:02,680 --> 00:12:05,000 just lying on the porch while they're all flying around in the 274 00:12:05,000 --> 00:12:05,520 middle. Or you. 275 00:12:05,760 --> 00:12:07,600 I don't remember bars being on these windows. 276 00:12:07,800 --> 00:12:09,680 Well, that's a bit of a red flag, isn't? 277 00:12:10,080 --> 00:12:11,960 It listen. She'll be fine that. 278 00:12:12,480 --> 00:12:15,440 Should be fine. Fucking during the DeLorean it 279 00:12:15,440 --> 00:12:17,920 were flying car was one of the film's biggest effect 280 00:12:17,920 --> 00:12:21,160 challenges. ILM built a remote control 115 281 00:12:21,160 --> 00:12:23,240 scale miniature that had folding wheels. 282 00:12:23,560 --> 00:12:26,080 This was used for numerous flying signatures and for close 283 00:12:26,080 --> 00:12:28,800 up driving and cockpit shots. They used a practical rig. 284 00:12:29,160 --> 00:12:32,320 A DeLorean body shell was mounted on moving platform and a 285 00:12:32,320 --> 00:12:35,280 separate fibreglass DeLorean was also built for flying and 286 00:12:35,280 --> 00:12:37,320 landing shots. It was lifted and lower than 287 00:12:37,320 --> 00:12:40,080 hydraulic motion to create the appearance of the car. 288 00:12:40,080 --> 00:12:42,560 Amazing. Yeah, you can kind of tell that 289 00:12:42,560 --> 00:12:44,680 there's Titan and Deloreans coming in to land and we just 290 00:12:44,680 --> 00:12:46,600 see part of it. It looks like it's on a forklift 291 00:12:46,600 --> 00:12:48,520 truck or something. It kind of like wobbles into the 292 00:12:48,520 --> 00:12:50,120 frame sometimes. Yeah. 293 00:12:50,360 --> 00:12:53,120 Yeah, but that's the first scene. 294 00:12:53,360 --> 00:12:55,320 The gang's all here. Jennifer not following? 295 00:12:55,320 --> 00:12:57,680 Unfortunately, no. And 2015 awaits. 296 00:12:58,120 --> 00:12:59,600 OK, let's check it out. Should we? 297 00:12:59,840 --> 00:13:04,400 Let's do it. We arrive in 2015 in the middle 298 00:13:04,400 --> 00:13:07,240 of a flying freeway. How terrifying does that look? 299 00:13:07,760 --> 00:13:08,800 Yeah, fine. Yeah. 300 00:13:09,800 --> 00:13:12,000 Dog knocks out Jennifer with no warning whatsoever. 301 00:13:12,200 --> 00:13:13,640 And they sat down in Hill Valley. 302 00:13:14,600 --> 00:13:16,240 Doc explains the issue with Marty Junior. 303 00:13:16,240 --> 00:13:18,880 He's about to be arrested, leading Marty and us into Cafe 304 00:13:18,880 --> 00:13:22,120 80s, a hoverboard chase round the square, and Marty perched in 305 00:13:22,120 --> 00:13:25,640 the great Sports Almanac. There's something very familiar 306 00:13:25,640 --> 00:13:27,080 about all this, Matt. Isn't there just? 307 00:13:27,080 --> 00:13:29,720 How is the future? Well, yeah, I mean, that's where 308 00:13:29,720 --> 00:13:32,480 it's very familiar. I mean, this cafe bar, a member 309 00:13:32,480 --> 00:13:35,160 of the McFly family getting into trouble with the tannins again. 310 00:13:35,200 --> 00:13:37,800 I mean, the more things change, the more things stay the same. 311 00:13:37,800 --> 00:13:40,520 I guess that's what people say. But you know what, that's fine. 312 00:13:40,520 --> 00:13:42,360 It's it's the recurring theme in the film. 313 00:13:42,360 --> 00:13:44,520 You know, it's these patterns that occur over and over again. 314 00:13:44,840 --> 00:13:47,480 What's interesting about this in terms of predicting the future, 315 00:13:47,480 --> 00:13:51,520 though, is how it predicts that huge boom in 80s nostalgia. 316 00:13:51,520 --> 00:13:54,880 I mean, the music, the iconography, the arcade games I 317 00:13:54,880 --> 00:13:57,280 can play here. I mean, at the time, I guess the 318 00:13:57,280 --> 00:14:00,440 drug was or ha ha, imagine all the things we've grown up with 319 00:14:00,680 --> 00:14:03,720 are still popular in the future in the not relics of the past. 320 00:14:03,960 --> 00:14:06,560 But it's true. You've got this huge boom in 321 00:14:06,560 --> 00:14:09,520 industry behind 80s nostalgia. I mean, you know, lots that 322 00:14:09,520 --> 00:14:12,200 comes through, you know what people vote for, for us to 323 00:14:12,200 --> 00:14:14,960 cover. So how intentional or not it was 324 00:14:14,960 --> 00:14:17,360 in this, I don't know, but they've absolutely nailed that 325 00:14:17,360 --> 00:14:19,400 particular part of the future. Definitely. 326 00:14:19,760 --> 00:14:22,120 Yeah, definitely a good point. I said at the start, when I was 327 00:14:22,120 --> 00:14:24,360 a kid, there was one specific thing that made this my favorite 328 00:14:24,360 --> 00:14:27,120 Back to the Future film, and it was this 2015. 329 00:14:27,760 --> 00:14:31,720 Loved it, and I still do. The 2015 Hill Valley set is just 330 00:14:31,720 --> 00:14:33,760 brilliant. Seems set as the first film 331 00:14:33,760 --> 00:14:36,000 clearly, but with lots of futuristic touches and like a 332 00:14:36,000 --> 00:14:38,240 lake in there. Because usually when Hollywood 333 00:14:38,240 --> 00:14:40,280 does the future, it's often disturbing. 334 00:14:40,520 --> 00:14:42,600 But this isn't, not in terms of how it looks anyway. 335 00:14:42,680 --> 00:14:44,280 I think it's utopian if anything. 336 00:14:44,400 --> 00:14:45,680 Yeah, it's very colourful, isn't it? 337 00:14:45,680 --> 00:14:47,560 Yeah, yeah, it's a bit cartoonish. 338 00:14:47,560 --> 00:14:50,520 It's a bit like the Jetsons I think it is not so much that you 339 00:14:50,520 --> 00:14:52,440 don't accept it. There's some great little 340 00:14:52,440 --> 00:14:55,280 touches are like all kids in the future where the trousers inside 341 00:14:55,280 --> 00:14:59,280 out for some reason, but that do you remember Crisscross that hip 342 00:14:59,280 --> 00:15:02,880 hop duel from the 1990 the wall, their jeans back to front going 343 00:15:02,880 --> 00:15:05,720 to make you jump. Yeah, the future was right. 344 00:15:08,080 --> 00:15:09,760 Nice to see Biff in there when he's an old man. 345 00:15:09,760 --> 00:15:12,360 As soon as Marty walks in the cafe, Biff just starts giving 346 00:15:12,360 --> 00:15:16,280 him loads of shit about his dad. Well, himself, even though at 347 00:15:16,280 --> 00:15:18,720 the end of the first film, weren't they like best mates? 348 00:15:18,760 --> 00:15:22,160 He was all like, oh hi Marty and now loser. 349 00:15:23,640 --> 00:15:25,520 Still putting blacks on the cars wrong. 350 00:15:29,040 --> 00:15:31,400 An early sign this one might not be quite as detailed in the 351 00:15:31,400 --> 00:15:32,920 writing as the first film. Maybe. 352 00:15:33,280 --> 00:15:35,640 Yeah, not really. But I'm not that bothered 353 00:15:35,640 --> 00:15:38,400 because then Griffin is gang walk in and I love them. 354 00:15:38,520 --> 00:15:42,160 But I do have some questions. How unhinged is Griff? 355 00:15:42,480 --> 00:15:44,320 He should not be out walking the streets. 356 00:15:44,400 --> 00:15:47,680 He's totally psychotic. And why does Data, the gang 357 00:15:47,680 --> 00:15:50,360 member have a chicken recording on his chest plate just like 358 00:15:50,360 --> 00:15:53,000 ready to go got? Everything got everything on 359 00:15:53,000 --> 00:15:55,360 there, touch of a button. It all seemed like they're like 360 00:15:55,360 --> 00:15:58,920 massively just on this real cocaine Bender and just really 361 00:15:58,920 --> 00:16:05,320 awful. From the try to roll Martin 362 00:16:05,320 --> 00:16:08,560 Junior end of the heist he says I'll discuss it with my father 363 00:16:08,760 --> 00:16:11,040 and grips like wrong answer. McFly. 364 00:16:11,680 --> 00:16:14,880 And you throw them over the bar. It's insane. 365 00:16:15,600 --> 00:16:18,840 So I mean, there's not too much going on that makes total sense 366 00:16:18,840 --> 00:16:20,880 sometimes, but I just love it. Yeah. 367 00:16:20,880 --> 00:16:23,000 I think we're going to be doing quite a lot of script 368 00:16:23,000 --> 00:16:24,920 forgiveness with nostalgia in this one. 369 00:16:25,000 --> 00:16:27,080 Yeah, we're going to have to just the read the visual 370 00:16:27,080 --> 00:16:29,000 references really work over the context. 371 00:16:29,000 --> 00:16:30,800 I mean, that antique store for a start. 372 00:16:30,800 --> 00:16:32,880 There's so many bits in that window that are fantastic. 373 00:16:32,960 --> 00:16:34,840 He's got the JVC player though, if you've noticed that. 374 00:16:34,840 --> 00:16:36,640 The same video camera. Yeah, yeah, yeah. 375 00:16:36,640 --> 00:16:38,640 He's got his guest denim jacket that he wore in the 1st. 376 00:16:38,640 --> 00:16:40,400 One right. I think Roger Robertson there as 377 00:16:40,400 --> 00:16:42,120 well. Yeah, so some really lovely 378 00:16:42,120 --> 00:16:43,600 little touches. It's worth a pause and having a 379 00:16:43,600 --> 00:16:44,480 look. It is, yeah. 380 00:16:44,480 --> 00:16:47,360 It's really cool. In the 2015 Hill Valley that 381 00:16:47,360 --> 00:16:49,400 we're talking about, there are references to other films. 382 00:16:49,640 --> 00:16:52,400 Marty interacts with the holographic ad for Jaws 19, 383 00:16:52,400 --> 00:16:55,200 which is always great, and we can see the marquee. 384 00:16:55,200 --> 00:16:57,520 It says it's directed by Max Spielberg Stevens. 385 00:16:57,520 --> 00:17:01,240 Real life son who was four years old at the time, also say cars 386 00:17:01,240 --> 00:17:02,680 from other science fiction movies. 387 00:17:02,680 --> 00:17:05,280 There's a spinner, a type of flying car from Blade Runner, 388 00:17:05,520 --> 00:17:08,200 and we can say the star car from the Last Starfighter part on the 389 00:17:08,200 --> 00:17:10,200 street as well. Yeah, that's a great little. 390 00:17:10,200 --> 00:17:11,599 Not that, yeah. Yeah, yeah. 391 00:17:11,880 --> 00:17:14,520 There's a slightly bizarre film reference when Marty Junior 392 00:17:14,520 --> 00:17:16,200 almost gets run over crossing the street. 393 00:17:16,319 --> 00:17:18,079 I'm walking. Here, I'm walking here, I'm 394 00:17:18,079 --> 00:17:20,040 walking here. Obviously Dustin Hoffman at 395 00:17:20,040 --> 00:17:22,000 Midnight, Cowboy. I'm just not sure why it's in. 396 00:17:22,599 --> 00:17:24,599 There one of the most miserable films ever made. 397 00:17:24,640 --> 00:17:26,000 That's just make him straight in. 398 00:17:27,560 --> 00:17:31,480 There, Graphic 80s was designed by John Bell, the visual effects 399 00:17:31,480 --> 00:17:33,840 art director and concept designer on the film. 400 00:17:34,320 --> 00:17:37,960 He said he took inspiration from the visual brand of Swatch, the 401 00:17:37,960 --> 00:17:40,720 watch company. Bold clashing colours, random 402 00:17:40,720 --> 00:17:43,040 geometric shapes and playful typography. 403 00:17:43,280 --> 00:17:44,320 Yeah, you can see. That's nice. 404 00:17:44,800 --> 00:17:47,120 You definitely can see that Swatch thing in the colour 405 00:17:47,120 --> 00:17:49,520 palette and stuff gone yet, but I think the reason he did that 406 00:17:49,520 --> 00:17:52,880 was because the hoverboard made by Mattel, but in first versions 407 00:17:52,880 --> 00:17:54,880 of the script it was going to be made by Swatch. 408 00:17:55,560 --> 00:17:57,320 All right. I still love that hoverboard 409 00:17:57,320 --> 00:17:58,800 design. I know that pink. 10 It's 410 00:17:58,840 --> 00:18:02,120 beautiful, it's so good. And the Cafe 80s Weirdest 411 00:18:02,120 --> 00:18:04,720 digital avatars. On the screen we see Michael 412 00:18:04,720 --> 00:18:07,480 Jackson, Ronald Reagan and Ayatollah Khomeini. 413 00:18:07,880 --> 00:18:10,400 Jackson was apparently very cooperative with letting his 414 00:18:10,400 --> 00:18:14,400 lightness be recreated, and he was portrayed by E Casanova, who 415 00:18:14,400 --> 00:18:17,320 called himself the number one Michael Jackson tribute artist. 416 00:18:17,680 --> 00:18:20,760 He wrote a rubber mask with me, but Bob Gale said he looked more 417 00:18:20,760 --> 00:18:25,880 like Jackson without it. BBB for chicken. 418 00:18:27,120 --> 00:18:28,960 And beat, it's playing when Marty walks in, isn't it? 419 00:18:29,200 --> 00:18:30,280 Yeah, that's right. Yeah. 420 00:18:30,680 --> 00:18:33,200 But it was digital. Wait, as clearly inspired by Max 421 00:18:33,200 --> 00:18:36,280 Headroom on the the CD character from 80s TV. 422 00:18:36,280 --> 00:18:39,520 Yeah, it's pretty much some of the 2015 tech still like years 423 00:18:39,520 --> 00:18:42,480 beyond those like flying cars. And some of it looks totally 424 00:18:42,480 --> 00:18:46,240 terrible by today's standards. Yeah yeah yeah another thing in 425 00:18:46,240 --> 00:18:49,600 Cafe 80s see Marty play a video game called Wild Gunman. 426 00:18:49,840 --> 00:18:52,760 Wild Gunman was a real Nintendo like gun game, but the full 427 00:18:52,840 --> 00:18:55,880 outside arcade version was built just for the movie and one of 428 00:18:55,880 --> 00:18:58,800 the two boys who was unimpressed with the game was an 8 year old 429 00:18:58,800 --> 00:19:00,520 Elijah Wood in his first film role. 430 00:19:01,080 --> 00:19:04,520 Yeah, Video Game Boy too. He's credited as right. 431 00:19:05,120 --> 00:19:06,320 It's for babies. You have to. 432 00:19:06,320 --> 00:19:11,680 Use your hands. But that's the set of Part 3 in 433 00:19:11,680 --> 00:19:13,960 the fact that he's a bit of a Wild West sharpshooter, I think 434 00:19:13,960 --> 00:19:15,400 isn't. It Yeah. 435 00:19:15,520 --> 00:19:17,400 Definitely. So I'll go straight on from 436 00:19:17,400 --> 00:19:18,520 there. We're into the power board 437 00:19:18,520 --> 00:19:19,800 chase. He stands up for himself. 438 00:19:19,800 --> 00:19:22,800 This is a little bit of a nod that is very familiar lovely. 439 00:19:23,080 --> 00:19:25,920 I'm I still a gig to think this is still cool Well as well, and 440 00:19:26,360 --> 00:19:28,960 I'm absolutely fine with that. To be honest. 441 00:19:29,560 --> 00:19:32,480 It's just a great setup and a great callback. 442 00:19:32,680 --> 00:19:36,640 It's just not quite as impactful as the original that it's based 443 00:19:36,640 --> 00:19:38,040 on. But I just that's because 444 00:19:38,040 --> 00:19:39,840 everything that it's based on, it's so good. 445 00:19:40,280 --> 00:19:42,400 And I remember the first time singing this and all the 446 00:19:42,400 --> 00:19:44,600 different times I've seen it since I've just been waiting for 447 00:19:44,600 --> 00:19:46,960 this scene to happen and that this is where the film starts 448 00:19:46,960 --> 00:19:48,960 for me. When that hoverboard comes out 449 00:19:49,400 --> 00:19:50,560 is that little girl little girls? 450 00:19:50,560 --> 00:19:53,040 I use your hoverboard. Hoverboard. 451 00:19:53,040 --> 00:19:56,440 It's great. I love the science of it, the 452 00:19:56,440 --> 00:19:59,080 mechanics of it. You know, he gets on the back of 453 00:19:59,080 --> 00:20:01,720 the car, there's the music ramps up and that starts kicking in, 454 00:20:01,720 --> 00:20:03,440 but then they spin around and then they're straight after him 455 00:20:03,440 --> 00:20:04,600 again. So like, they're a little bit 456 00:20:04,600 --> 00:20:05,960 more experienced. Yeah. 457 00:20:05,960 --> 00:20:08,160 He's really lucky to find that rope in the back of the car. 458 00:20:10,080 --> 00:20:11,920 Great. Swings around straight over the 459 00:20:11,920 --> 00:20:13,040 lake. And I think that's the whole 460 00:20:13,040 --> 00:20:15,320 reason they just built this lake in there, because when they need 461 00:20:15,320 --> 00:20:16,640 a setup. Oh, definitely, yeah. 462 00:20:16,760 --> 00:20:17,960 How else are they going to break this down? 463 00:20:17,960 --> 00:20:20,200 And you just think that's a really nice aesthetic leg. 464 00:20:20,200 --> 00:20:22,880 I wonder what that's there for. You'll find out. 465 00:20:23,280 --> 00:20:25,560 Yeah, it's great. It's just he's there and it just 466 00:20:25,560 --> 00:20:28,040 stops. But there's just that line 467 00:20:28,040 --> 00:20:31,560 reading those supposed to work or more, unless you've got power 468 00:20:32,960 --> 00:20:36,880 and he's just not so. Intense in those guys. 469 00:20:37,640 --> 00:20:40,000 And he just did the look on his face and he doesn't change his 470 00:20:40,000 --> 00:20:43,920 expression. He's just crazy. 471 00:20:44,600 --> 00:20:46,880 These guys are straight out of Escape from New York. 472 00:20:47,120 --> 00:20:49,080 They are, yeah. Escape from Hill Valley, Yeah. 473 00:20:49,200 --> 00:20:51,840 Escape from Hill Valley and it's then, well, you need power. 474 00:20:51,840 --> 00:20:53,720 So who's got the most powerful hoverboard? 475 00:20:53,720 --> 00:20:55,040 Like what else is Griff going to use that for? 476 00:20:55,040 --> 00:20:56,960 He's going to the shops, he's not going to use a hoverboard. 477 00:20:56,960 --> 00:20:58,520 He's got a car. What does he need that for? 478 00:20:58,520 --> 00:21:00,720 But he's still got the biggest one everyone hooks on. 479 00:21:01,000 --> 00:21:02,840 She doesn't want it back, so he gets to keep it. 480 00:21:02,840 --> 00:21:05,000 I was always jealous of that. I was like, I want one of them 481 00:21:05,240 --> 00:21:07,120 but it doesn't really work on water so I can't really take to 482 00:21:07,120 --> 00:21:10,720 the marine part. Stranded in the middle of Marine 483 00:21:10,720 --> 00:21:12,200 Park. In the middle of the marine 484 00:21:12,240 --> 00:21:15,360 park, Swans attacking, going at your ankles because your 485 00:21:15,360 --> 00:21:18,120 hoverboard didn't work. Just like I don't need one 486 00:21:18,120 --> 00:21:20,880 because I've got a Pitbull now. If she goes on that, she's 487 00:21:20,880 --> 00:21:23,280 getting whiplash, her head's coming straight off. 488 00:21:23,520 --> 00:21:25,480 She's about six or seven years old. 489 00:21:25,480 --> 00:21:27,240 Flame powered as well. Flame. 490 00:21:27,240 --> 00:21:31,720 She's. Going to kill herself the first 491 00:21:31,720 --> 00:21:34,520 time you watch this. I mean, it was a joy to see 492 00:21:34,520 --> 00:21:37,200 these things again, really is. But I think I've seen it so many 493 00:21:37,200 --> 00:21:40,920 Times Now that I'm kind of like push the just just a little bit 494 00:21:40,920 --> 00:21:42,280 more. But still, I mean just the 495 00:21:42,280 --> 00:21:45,920 invention of the hoverboard and then powered laces has not been 496 00:21:45,920 --> 00:21:48,720 better I don't think. Yeah, I think you're right, 497 00:21:48,720 --> 00:21:50,240 Wesley. I think objectively the 498 00:21:50,240 --> 00:21:52,880 filmmaking of the same scene in the first film with a couple of 499 00:21:52,880 --> 00:21:54,520 notches above this one, probably, yeah. 500 00:21:54,520 --> 00:21:57,120 But what elevates this is just the hoverboard, isn't it? 501 00:21:57,120 --> 00:21:58,320 It's just so cool. Yeah. 502 00:21:58,400 --> 00:21:59,680 Absolutely. Yeah, there's lots of little 503 00:21:59,680 --> 00:22:01,760 callbacks where mirrors the first film named Marty hanging 504 00:22:01,760 --> 00:22:03,960 off the back of the car and let me borrow your hoverboard. 505 00:22:03,960 --> 00:22:06,280 That's all cool, but because a nice little narrative touches as 506 00:22:06,280 --> 00:22:08,840 well, all Biff clocks the two Marty's so he knows he has a 507 00:22:08,840 --> 00:22:10,920 time machine. Marty buys a sports Almanac and 508 00:22:10,920 --> 00:22:12,800 then Doc just bins it. So it's setting up all the 509 00:22:12,800 --> 00:22:15,640 dominoes around this little action scene, which is all 510 00:22:15,640 --> 00:22:17,880 likely doing, I think. Yeah, I mean, and then the first 511 00:22:17,880 --> 00:22:19,400 one he just invent skateboarding. 512 00:22:19,400 --> 00:22:20,880 So Marty replied. Just invent. 513 00:22:20,880 --> 00:22:24,160 A culture Invent everything Invented Rock'n'roll. 514 00:22:24,320 --> 00:22:26,800 But this is still great. And creating the effect of the 515 00:22:26,800 --> 00:22:29,280 hoverboard needed a lot of special effects and tricks. 516 00:22:29,720 --> 00:22:32,640 So for the waste of shots of Marty on the board, Michael J 517 00:22:32,640 --> 00:22:34,800 Fox was riding an ordinary skateboard. 518 00:22:35,280 --> 00:22:37,200 The short wear Marty is stranded on the lake. 519 00:22:37,200 --> 00:22:39,720 The hoverboard had a mirror on the bottom which was hidden by 520 00:22:39,720 --> 00:22:43,280 reflecting the water and full body flying Shots used crane and 521 00:22:43,280 --> 00:22:46,200 cable rigs that touched the back of a truck and Fox and Tom 522 00:22:46,200 --> 00:22:47,800 Wilson were suspended on a harness. 523 00:22:48,280 --> 00:22:50,600 They were filmed from the moving truck and a special post 524 00:22:50,600 --> 00:22:54,680 production tool called Wiram was created by ILM to allow the 525 00:22:54,680 --> 00:22:56,720 wires to be digitally removed from the shots. 526 00:22:57,080 --> 00:22:58,840 Yeah. Yeah, so once Fox was in the 527 00:22:58,840 --> 00:23:00,760 harness, his shoes were permanently attached to the 528 00:23:00,760 --> 00:23:02,280 hoverboard, so he couldn't take them off. 529 00:23:02,480 --> 00:23:04,440 And there's behind the scenes shots of crew members having to 530 00:23:04,440 --> 00:23:06,480 carry him around because he couldn't walk with a hoverboard 531 00:23:06,480 --> 00:23:07,680 on. Yeah, any. 532 00:23:07,680 --> 00:23:09,960 Experience toy soldiers from like, Toy Story. 533 00:23:09,960 --> 00:23:10,520 Exactly. Yeah. 534 00:23:10,760 --> 00:23:12,120 The footage of them working on that. 535 00:23:12,120 --> 00:23:14,520 Yeah, and there is some pretty obvious compositing shots in 536 00:23:14,520 --> 00:23:17,040 there I think as well. Not all of it looks great, but 537 00:23:17,080 --> 00:23:18,800 I'm fine with it. No, Yeah. 538 00:23:18,800 --> 00:23:20,480 That's the thing, isn't it? What we've got to really be 539 00:23:20,480 --> 00:23:22,720 careful of is going. This is based on the scene in 540 00:23:22,720 --> 00:23:24,360 the first one. How good is that scene in the 541 00:23:24,360 --> 00:23:25,280 first one? Yeah. 542 00:23:25,440 --> 00:23:27,520 Exactly. Thought about the let's just 543 00:23:27,520 --> 00:23:29,040 stick with that. But yeah, I mean, there's some 544 00:23:29,040 --> 00:23:31,720 great moments. And Griff's Pitbull hoverboard 545 00:23:31,720 --> 00:23:34,760 that was originally going to be called Mad Dog and that was to 546 00:23:34,760 --> 00:23:38,320 foreshadow Buford, Mad Dog, Tannen Biff's ancestor and the 547 00:23:38,320 --> 00:23:41,840 antagonist in Part 3. Why did they change that? 548 00:23:42,000 --> 00:23:43,400 That's much better. I don't know. 549 00:23:43,440 --> 00:23:46,400 It's much better, yeah. So Griff's gang, as we spoke 550 00:23:46,400 --> 00:23:50,160 about, insane, insane bastards, but they are theater. 551 00:23:50,320 --> 00:23:52,840 Whitney and Spike, of course they are. 552 00:23:54,120 --> 00:23:57,320 Data is played by Ricky Dean. Logan Whitey is played by Jason 553 00:23:57,320 --> 00:24:00,080 Scott Lee, who went on to play Bruce Lee in Dragon, the Bruce 554 00:24:00,080 --> 00:24:02,280 Lee story, and he's fantastic. And that really, really good, 555 00:24:02,360 --> 00:24:04,440 yeah. And Spike is played by Darlene 556 00:24:04,440 --> 00:24:07,160 Vogel, who had a condition that made our eyes two different 557 00:24:07,160 --> 00:24:08,840 colours. And Zemeckis wanted to 558 00:24:08,840 --> 00:24:11,720 exaggerate the effects of Vogel bought a red contact lens in one 559 00:24:11,720 --> 00:24:12,800 eye. Yeah. 560 00:24:12,800 --> 00:24:14,240 Don't just keep it natural, Rob. Just. 561 00:24:14,280 --> 00:24:15,280 That could have been anyone then. 562 00:24:15,800 --> 00:24:16,720 Yeah. Yeah. 563 00:24:16,960 --> 00:24:19,560 Funny, in Cafe 80s when Spike grabs Marty, you know, by the 564 00:24:19,560 --> 00:24:23,720 crotch and he's like, oh. You got no scope. 565 00:24:26,880 --> 00:24:29,800 Again, Griffs gang are good, but why weren't they played by the 566 00:24:29,800 --> 00:24:31,560 same guys who played Biffs gang members? 567 00:24:31,680 --> 00:24:33,160 Well, exactly. I know that. 568 00:24:33,160 --> 00:24:34,840 Seems a bit of a crazy choice as well, yeah. 569 00:24:34,920 --> 00:24:37,720 I think this gang members are a bit more bumbling idiots on 570 00:24:37,720 --> 00:24:39,960 there. Yeah, yeah. 571 00:24:39,960 --> 00:24:41,920 These, these were a bit more efficient, I guess in the 572 00:24:41,920 --> 00:24:44,320 future. And filming the scene where the 573 00:24:44,320 --> 00:24:47,280 gun crashed through the courthouse window, Darlene Vogel 574 00:24:47,280 --> 00:24:50,400 was replaced by a stunt double, and she was called Cheryl 575 00:24:50,400 --> 00:24:52,800 Wheeler Duncan. But when the film did, there was 576 00:24:52,800 --> 00:24:54,720 a technical error. And instead of going straight 577 00:24:54,720 --> 00:24:57,320 through the window, Wheeler Duncan smashed in one of the 578 00:24:57,320 --> 00:25:00,400 concrete pillars and dropped 30 feet to the floor, ending a 579 00:25:00,400 --> 00:25:01,840 blind in a pool of her own blood. 580 00:25:02,200 --> 00:25:04,400 They didn't reshoot the scene, and you can see a hitting the 581 00:25:04,400 --> 00:25:06,720 pillar in the film. Thankfully, though, she wasn't 582 00:25:06,720 --> 00:25:08,880 permanently injured. Yeah, you can, yeah. 583 00:25:09,120 --> 00:25:11,080 At first they apparently thought she was dead because there was 584 00:25:11,080 --> 00:25:13,560 that much blood. For years I thought that must 585 00:25:13,560 --> 00:25:15,520 have been a dummy, because you see, I like bounce off the 586 00:25:15,520 --> 00:25:17,000 pillar at some speed. It should. 587 00:25:17,000 --> 00:25:18,680 Clip the pillar and then it cuts, doesn't it? 588 00:25:18,800 --> 00:25:20,760 Yeah, that must have been terrifying to see that. 589 00:25:21,040 --> 00:25:22,320 She was OK though, thankfully, yeah. 590 00:25:22,560 --> 00:25:24,360 No one was injured in the tower inferno, but. 591 00:25:27,000 --> 00:25:30,440 Some nearly dies, yeah. Before we move from Hill Valley 592 00:25:30,440 --> 00:25:32,960 to Hilldale, we've had a question in from one of our ATRM 593 00:25:32,960 --> 00:25:35,720 patrons. OK, it fits perfectly in 2015 594 00:25:35,720 --> 00:25:38,240 Hill Valley and it comes from Matthew Williams. 595 00:25:38,720 --> 00:25:39,720 Hello, Matthew. Hello, Matthew. 596 00:25:40,000 --> 00:25:42,720 So Matthew says the hoverboard, self drying jacket and the 597 00:25:42,720 --> 00:25:45,840 expanding pizza are etched on my memory from this film but are 598 00:25:45,840 --> 00:25:47,720 unfortunately still not close to reality. 599 00:25:48,000 --> 00:25:50,400 Which past films do you think have come closer to predicting 600 00:25:50,400 --> 00:25:52,160 the future? And what would be in your top 601 00:25:52,160 --> 00:25:54,840 three lists of future gadgets designed in films? 602 00:25:55,600 --> 00:25:57,480 Right. So what do you think, Rusty? 603 00:25:57,560 --> 00:26:01,560 Good future tech from films. Well, I mean the three that I 604 00:26:01,560 --> 00:26:03,440 think have come close to predicting the future. 605 00:26:03,440 --> 00:26:06,400 Firstly, I think Terminator with the rise of AI, especially 606 00:26:06,400 --> 00:26:11,400 Terminator 2, dangerously close, the targeted advertising, the 607 00:26:11,400 --> 00:26:13,480 minority report, that's kind of getting there. 608 00:26:13,480 --> 00:26:15,600 I think that's going to happen very, very soon, if not already 609 00:26:15,600 --> 00:26:17,880 on Instagram. And unfortunately everything in 610 00:26:17,880 --> 00:26:22,000 children and men, which was spoke about recently is is 611 00:26:22,000 --> 00:26:24,520 predicting the future. The gadgets. 612 00:26:24,520 --> 00:26:27,000 I've always loved this kind of stuff, but the the neutralizer 613 00:26:27,000 --> 00:26:28,400 and men in black. Oh yeah. 614 00:26:28,560 --> 00:26:31,080 I wish that exists. Just white people's minds. 615 00:26:31,760 --> 00:26:33,640 Great. We were out last night. 616 00:26:33,640 --> 00:26:34,880 Weren't we're just look into this. 617 00:26:36,520 --> 00:26:42,120 Sorry about me. Any flying cars, particularly 618 00:26:42,120 --> 00:26:43,680 the spinner? Oh yeah, definitely. 619 00:26:43,680 --> 00:26:46,800 That's amazing. And the fire burst and guitar 620 00:26:46,800 --> 00:26:48,720 from the Doof Warrior in Mad Max Lovely. 621 00:26:48,720 --> 00:26:51,600 That amp on the top of a truck. I know you could possibly do 622 00:26:51,600 --> 00:26:53,680 that now but I would like to just buy one. 623 00:26:54,040 --> 00:26:56,480 And also in this the one that no one mentions is the sleep 624 00:26:56,480 --> 00:26:59,400 induced algorithm generator that puts Jennifer to sleep. 625 00:26:59,600 --> 00:27:01,680 Of course, yeah. Stick it through your face. 626 00:27:01,680 --> 00:27:02,840 How long do you want? A couple of hours? 627 00:27:02,840 --> 00:27:07,560 Bang, you're asleep. Yeah, Minority Report, that's a 628 00:27:07,560 --> 00:27:10,320 good one that holds up. They also predicted the kind of 629 00:27:10,320 --> 00:27:13,040 user interface with those kind of gesture controls, Tom Cruise 630 00:27:13,040 --> 00:27:14,680 flinging stuff around. Yeah, they did. 631 00:27:14,680 --> 00:27:16,560 Yeah, Yeah. But I mean I think 2001 the 632 00:27:16,560 --> 00:27:18,440 Space Odyssey might be the gold standard. 633 00:27:18,440 --> 00:27:22,600 Like tablet computers, video calling, voice activated AI that 634 00:27:22,600 --> 00:27:26,360 was all decades before it was created as well As for gadgets. 635 00:27:26,360 --> 00:27:29,640 My 3 would be that time turn I think from Harry Potter. 636 00:27:29,720 --> 00:27:31,320 Let's you go back in time. Easy peasy. 637 00:27:31,760 --> 00:27:33,760 OK, right. Watch the Grand National jump 638 00:27:33,760 --> 00:27:35,520 back 20 minutes. Bob's your uncle. 639 00:27:35,760 --> 00:27:38,880 Yeah, and my top 2 are both from Star Trek, obviously. 640 00:27:39,240 --> 00:27:43,320 Obviously. 2nd the replicator. Any food, any drink, anything, 641 00:27:43,600 --> 00:27:45,720 just materialize that with thin air so you never want for 642 00:27:45,720 --> 00:27:47,720 anything. Number one, I've got the 643 00:27:47,720 --> 00:27:50,960 holodeck, so that's a room that can create any environment or 644 00:27:50,960 --> 00:27:52,680 like scenario you can imagine, right? 645 00:27:52,800 --> 00:27:54,520 If I had one of those, I would just never leave. 646 00:27:54,520 --> 00:27:56,520 Fair enough, you'd find my skeleton in there. 647 00:27:59,400 --> 00:28:01,200 Never could replicate your skeleton for five years? 648 00:28:01,240 --> 00:28:04,440 Replicate. Yeah, I mean, in terms of like 649 00:28:04,440 --> 00:28:07,680 predicting the future, I think her did a really great job of 650 00:28:08,200 --> 00:28:11,120 predicting the future about kind of AI assistance with names and 651 00:28:11,120 --> 00:28:13,720 personalities and how people genuinely seem these days are 652 00:28:13,720 --> 00:28:16,560 getting attached to them. And wasn't it open AI who wanted 653 00:28:16,560 --> 00:28:19,080 to really use Scarlett Johansson's voice and she 654 00:28:19,080 --> 00:28:20,400 wouldn't let them? Yeah, yeah. 655 00:28:20,520 --> 00:28:23,680 Yeah, I mean life imitating out there and then top three 656 00:28:23,680 --> 00:28:25,240 gadgets. I mean one from this film, I 657 00:28:25,240 --> 00:28:27,600 don't know, everyone says the hoverbots, but the one for me is 658 00:28:28,000 --> 00:28:29,360 it's just in the background very quickly. 659 00:28:29,360 --> 00:28:31,880 But you know where you say that dog being taken for walk and 660 00:28:31,880 --> 00:28:34,520 it's just attached to like, yeah, yeah, yeah, drawn type 661 00:28:34,520 --> 00:28:37,680 device that would be so useful, like when it's pissing it down 662 00:28:37,680 --> 00:28:40,320 outside. You lazy bastard, you're not. 663 00:28:41,120 --> 00:28:43,480 Going to pretend it's anything other than all go on, because 664 00:28:43,680 --> 00:28:45,000 that can take. I'm not getting wet. 665 00:28:45,000 --> 00:28:47,720 No way. And then the last one I just 666 00:28:47,720 --> 00:28:50,080 loved, you know, the exosuit in District 9. 667 00:28:50,080 --> 00:28:53,240 Oh yeah, that he has at the end. That's amazing match from 668 00:28:53,240 --> 00:28:55,760 walking around in that. That is cool, I love that. 669 00:28:56,000 --> 00:28:59,560 And that is 2015 Hill Valley Flying Cars, Cafe 80s, 670 00:28:59,560 --> 00:29:01,040 Hoverboard and the Greatest Sports. 671 00:29:01,040 --> 00:29:03,640 Alman Actor take us to Act 2 first door. 672 00:29:03,640 --> 00:29:05,760 Should we check out the other side of 2015? 673 00:29:05,960 --> 00:29:07,080 Let's do that. We should. 674 00:29:09,440 --> 00:29:11,600 After Jennifer was found unconscious by two police 675 00:29:11,600 --> 00:29:13,680 officers, she's taken home to Hilldale. 676 00:29:14,120 --> 00:29:17,120 Here we see the full McFly clan, all Lorraine and George, 677 00:29:17,160 --> 00:29:20,200 middle-aged Marty and Jennifer, and their kids Marty, Junior and 678 00:29:20,200 --> 00:29:22,480 Marlene. Marty gets fired, Jennifer runs 679 00:29:22,480 --> 00:29:25,120 into herself, and Old Biff steals the Lorien. 680 00:29:26,040 --> 00:29:28,200 A lot going on. Hilldale Map The address of 681 00:29:28,200 --> 00:29:30,000 success or the address of success. 682 00:29:30,600 --> 00:29:34,120 I mean, this scene when Jennifer goes to the Mcfys, this is a 683 00:29:34,120 --> 00:29:37,240 tough scene to swallow for me. Like it's tricky when you get an 684 00:29:37,240 --> 00:29:39,560 act of playing multiple parts as to how believable it is. 685 00:29:39,560 --> 00:29:41,840 I mean, we covered Doctor Strangelove not too long call. 686 00:29:42,600 --> 00:29:45,320 Peter Sellers delivers a master class in how you do it. 687 00:29:45,960 --> 00:29:48,000 This is no master class I'm afraid here. 688 00:29:48,200 --> 00:29:50,520 With with some of these. Slammed. 689 00:29:51,760 --> 00:29:56,040 Well, Michael Chavox, he's great as the multiple Marty's, but 690 00:29:56,040 --> 00:29:59,320 when he comes downstairs as Marlene as well, it's so 691 00:29:59,320 --> 00:30:01,720 unconvincing with that voice over the top of it. 692 00:30:01,720 --> 00:30:02,520 It didn't. Just Oh yeah. 693 00:30:02,560 --> 00:30:04,320 Yeah. It always takes me out of the 694 00:30:04,320 --> 00:30:05,560 film. It's like I'm watching the 695 00:30:05,560 --> 00:30:09,200 clumps or something like that, they said. 696 00:30:09,840 --> 00:30:11,480 I know of it. I'm not sure why they didn't 697 00:30:11,480 --> 00:30:13,160 just have Leah Thompson playing Marlene. 698 00:30:13,440 --> 00:30:15,920 And then Lorraine and George turn up and obviously all get 699 00:30:15,920 --> 00:30:18,160 into all the crisp and glove and stuff later, but George was 700 00:30:18,160 --> 00:30:20,560 hanging upside down like one of those really fancy kebabs he can 701 00:30:20,600 --> 00:30:23,400 get. It's on the thing instead. 702 00:30:23,880 --> 00:30:26,560 It's just all too silly. I mean, I think the make up is 703 00:30:26,560 --> 00:30:29,680 not aged well at all in this film for trying to convince you 704 00:30:29,680 --> 00:30:32,120 like these people are old in this whole scene. 705 00:30:32,120 --> 00:30:33,560 Just players. I'd like too much of A pundit 706 00:30:33,560 --> 00:30:35,920 mind for me and I just think Get Me Out of the scene. 707 00:30:35,920 --> 00:30:38,240 I want out of this future for more reasons than one. 708 00:30:38,800 --> 00:30:40,280 Right. I'm not sure this scene is 709 00:30:40,280 --> 00:30:42,760 totally necessary to the plot, to be honest, no. 710 00:30:43,240 --> 00:30:47,200 Absolutely not. But I think it's just a joy. 711 00:30:47,600 --> 00:30:49,920 I love Marlene appearing at the top of the stairs that close up. 712 00:30:49,920 --> 00:30:51,480 You meant to notice Michael J Fox, I think. 713 00:30:51,480 --> 00:30:53,320 I don't think it's meant to be like Peter Sellers, but it's a 714 00:30:53,320 --> 00:30:55,680 pizza hydrator for me. Secondary to the hoverboard, 715 00:30:55,680 --> 00:30:57,760 that thing. Who wouldn't want one of those? 716 00:30:58,440 --> 00:31:01,960 Just ignoring all of the performances that fucking. 717 00:31:02,000 --> 00:31:04,160 Pizza hydrator or you're straight in there with the 718 00:31:04,160 --> 00:31:05,800 pizza. Obviously, that's no surprise. 719 00:31:06,920 --> 00:31:08,800 Well Lorraine uses to cook the pizza. 720 00:31:08,800 --> 00:31:11,480 How good does that pizza look? It looks does look good to be 721 00:31:11,880 --> 00:31:13,440 black and deck. I need to open the take away on. 722 00:31:14,400 --> 00:31:16,640 Definitely. Finally, Elizabeth Shoe gets 723 00:31:16,640 --> 00:31:18,840 something to do. And if anything just goes to 724 00:31:18,840 --> 00:31:20,640 prove that we should get even more of AI. 725 00:31:20,640 --> 00:31:22,840 Think it's funny when she sees the wedding photo and just like 726 00:31:22,840 --> 00:31:24,040 Chapel. Oh, love. 727 00:31:24,040 --> 00:31:26,840 And then when she runs into herself, 47 year old Jennifer 728 00:31:26,840 --> 00:31:30,040 shouts I'm young and 17 year old Jennifer shouts I'm old. 729 00:31:30,040 --> 00:31:31,800 And they're both just pass out. That's great. 730 00:31:32,200 --> 00:31:33,800 Yeah. But other sequence, I think it's 731 00:31:33,800 --> 00:31:35,440 fun. And yes, Jennifer's biggest 732 00:31:35,440 --> 00:31:37,440 moment in the whole trilogy, probably. 733 00:31:38,640 --> 00:31:41,560 Yeah, I mean, this scene is just there to set up the end of 734 00:31:41,560 --> 00:31:43,000 three, isn't it? With needles. 735 00:31:44,160 --> 00:31:49,400 I was hanging McFly. Chicken and then he decides to 736 00:31:49,400 --> 00:31:51,520 go the other that's why he can't play guitar he's done this 737 00:31:51,520 --> 00:31:56,400 before we're setting up 3 so right you've touched on this 738 00:31:56,400 --> 00:31:59,160 already John Neil go so the motivation for the pizza 739 00:31:59,160 --> 00:32:02,560 hydrator was financial universal and struck A sponsorship deal 740 00:32:02,560 --> 00:32:05,840 with Pizza Hut so told to Megas and GAIL to have to write them 741 00:32:05,840 --> 00:32:08,240 into the script. This is why we also see Pepsi, 742 00:32:08,360 --> 00:32:11,920 Nike, Mattel, Texaco and a lot of other recognizable brands. 743 00:32:12,520 --> 00:32:14,040 Yeah. I mean, product placement often 744 00:32:14,040 --> 00:32:16,480 gets criticized, but what works quite well here I think is it's 745 00:32:16,480 --> 00:32:18,800 a make us went to all these companies and said we're 746 00:32:18,800 --> 00:32:21,240 basically easier to redesign your logos and products to look 747 00:32:21,240 --> 00:32:23,320 like something futuristic. How do you think it might look 748 00:32:23,320 --> 00:32:25,120 in 30 years? You can't go out and buy it. 749 00:32:25,240 --> 00:32:26,240 Yeah, exactly. Yeah, this. 750 00:32:26,360 --> 00:32:27,880 Isn't going to make us go and buy a drill. 751 00:32:28,160 --> 00:32:31,880 Yeah, it also gets us furious. And everyone goes for the green 752 00:32:31,880 --> 00:32:33,320 pepper. Who's leaving the pepperoni? 753 00:32:33,400 --> 00:32:34,800 Everyone's leaving the pepperoni. 754 00:32:35,160 --> 00:32:37,520 It's the wrong site to go for. Yeah. 755 00:32:38,440 --> 00:32:40,640 And the concept designer responsible for lots of the 756 00:32:40,640 --> 00:32:44,360 future tech was Edward 8th. He created the pizza hydrator by 757 00:32:44,360 --> 00:32:47,520 taking a normal countertop oven and making it look more playful. 758 00:32:47,920 --> 00:32:51,000 He also designed a dozen variations of risk communicators 759 00:32:51,000 --> 00:32:54,000 and there they said in many ways I've predicted smartwatches of 760 00:32:54,000 --> 00:32:55,960 today. And he also designed the 761 00:32:55,960 --> 00:32:58,120 futuristic Texaco petrol stations. 762 00:32:58,480 --> 00:33:00,920 And he told Smecas the McFly home should have a giant 763 00:33:00,920 --> 00:33:02,960 aquarium where he could harvest real fish. 764 00:33:03,360 --> 00:33:06,040 But Smecas said no as he thought it was too lavish for a middle 765 00:33:06,040 --> 00:33:08,520 class family. Yeah, the hydrator cooks the 766 00:33:08,520 --> 00:33:11,760 pizza in about 3 seconds. Yeah, it's all one shot. 767 00:33:11,760 --> 00:33:14,080 As well as how they did that was Leah Thompson put the tiny pizza 768 00:33:14,080 --> 00:33:16,720 in the hydrator, closed the door and the huge pizza was a touch 769 00:33:16,720 --> 00:33:18,880 of the ceiling and that was then released and dropped down. 770 00:33:18,880 --> 00:33:21,120 So when she opened the door again, there it is, just really 771 00:33:21,120 --> 00:33:22,280 simple, but it works. Yeah. 772 00:33:22,560 --> 00:33:23,120 Yeah, it does. Yeah. 773 00:33:23,360 --> 00:33:26,320 So while film in the kitchen scene where the McFly family are 774 00:33:26,320 --> 00:33:29,720 eaten, fruit please. Incredible that you have the 775 00:33:29,880 --> 00:33:31,760 fruit, please absolutely practice. 776 00:33:32,160 --> 00:33:34,640 Just when that comes down. There's too much fruit, too much 777 00:33:34,720 --> 00:33:37,680 fruit for anyone. Absolute SAP body junior isn't. 778 00:33:38,280 --> 00:33:40,680 He he's awful. Yeah. 779 00:33:40,760 --> 00:33:41,760 Phone. It's needles. 780 00:33:42,400 --> 00:33:46,360 It's really an earthquake actually struck California at 781 00:33:46,360 --> 00:33:48,320 that time. The cast and crew all felt the 782 00:33:48,320 --> 00:33:50,720 rumble and carried on. And when Zemeckis watched the 783 00:33:50,720 --> 00:33:52,960 footage back, you realized you couldn't tell as none of the 784 00:33:52,960 --> 00:33:54,880 props moved. So that's the actual take in the 785 00:33:54,880 --> 00:33:55,720 film. Wow. 786 00:33:56,600 --> 00:33:58,400 Yeah, the sound stage, you're being locked off and everything 787 00:33:58,400 --> 00:34:01,040 was kind of glued in place for reasons to do with some effects 788 00:34:01,040 --> 00:34:03,920 magic, which we'll talk about. But the earthquake is really 789 00:34:03,920 --> 00:34:05,160 noticeable on the set, apparently. 790 00:34:05,160 --> 00:34:06,960 But you can't tell in the film because everything kind of moves 791 00:34:06,960 --> 00:34:08,320 together. Right, right. 792 00:34:08,679 --> 00:34:10,480 Imagine the whole table just like a split apart. 793 00:34:11,800 --> 00:34:14,000 Just leave that in, the bigger pizza comes out. 794 00:34:17,880 --> 00:34:20,320 One of the two police officers who bring Jennifer home after 795 00:34:20,320 --> 00:34:23,719 the Finder unconscious are Officer Foley and Officer Reese. 796 00:34:24,000 --> 00:34:26,800 Foley is played by Stephanie Williams, who became known for 797 00:34:26,800 --> 00:34:30,840 TV roles later on, and Reese is played by Mary Ellen Traynor, 798 00:34:31,000 --> 00:34:32,960 who was Roberts Max's wife at the time. 799 00:34:34,080 --> 00:34:36,600 Yeah, she's not just off Mary Ellen Traynor, The Goonies, 800 00:34:36,600 --> 00:34:39,080 Lethal Weapon, Die Hard. In 1989. 801 00:34:39,080 --> 00:34:41,440 She was like the sequel queen. She was in Back of the Future 802 00:34:41,440 --> 00:34:45,360 Part 2 and also Lethal Weapon 2 and Ghostbusters 20. 803 00:34:45,360 --> 00:34:47,960 Wow. So from that moment, we've got 804 00:34:48,000 --> 00:34:50,520 needles when they find out the phones ring and then the kids 805 00:34:50,520 --> 00:34:53,120 have just got the glasses on. It's just the equivalent of them 806 00:34:53,120 --> 00:34:54,440 sat on the phones at the table now. 807 00:34:54,440 --> 00:34:56,400 Yeah, Yeah, just you've got a message started. 808 00:34:56,400 --> 00:34:59,200 So right, I'll go through. So then he has to take the call 809 00:35:00,440 --> 00:35:03,400 and just how quickly he falls for being called a chicken just 810 00:35:03,400 --> 00:35:06,040 starts to piss me off every time. 811 00:35:06,040 --> 00:35:08,440 It's not that bad to be called. Are you chicken? 812 00:35:08,440 --> 00:35:11,600 Yeah, I'm actually fuck off. And the job's more important. 813 00:35:11,600 --> 00:35:13,880 I mean, financial security. And yes, I'm a little bit scared 814 00:35:13,880 --> 00:35:15,600 of things. It's absolutely fine to admit 815 00:35:15,600 --> 00:35:18,280 now, but I think back in the 80s it was masculinity. 816 00:35:18,280 --> 00:35:20,200 And if you're scared of something, I mean, that's just 817 00:35:20,200 --> 00:35:22,240 his stick, isn't it? But I think they just use that 818 00:35:22,240 --> 00:35:24,960 as this ace up the sleeve. And I just don't think it's as 819 00:35:24,960 --> 00:35:26,880 big of a card as they think it is when they're playing it. 820 00:35:27,360 --> 00:35:29,800 And then there's that booming. Not Fry. 821 00:35:30,120 --> 00:35:31,880 Hilarious. That outrageous? 822 00:35:32,080 --> 00:35:35,560 What a reaction. And it's just, but what I 823 00:35:35,600 --> 00:35:37,480 noticed about this, can you? I was talking about this scene 824 00:35:37,480 --> 00:35:39,160 when you watch Needles go to hang the phone up. 825 00:35:39,160 --> 00:35:41,480 He kind of looks to the corner and smiles as if they're in the 826 00:35:41,480 --> 00:35:42,040 same room. Oh. 827 00:35:42,440 --> 00:35:44,480 Yeah, right. Completely setting Marty up. 828 00:35:44,480 --> 00:35:47,000 So you guys, I'll see you there. And maybe there was more of this 829 00:35:47,000 --> 00:35:47,800 scene. Maybe, yeah. 830 00:35:47,800 --> 00:35:51,440 But that like, read my Facts is just absolutely brilliant. 831 00:35:51,920 --> 00:35:54,480 And it just comes out of every single fax machine that they've 832 00:35:54,480 --> 00:35:56,840 got, all of the different places. 833 00:35:57,120 --> 00:35:59,640 But the video call, it's all just teams, isn't it? 834 00:35:59,920 --> 00:36:01,240 And they've absolutely nailed that. 835 00:36:01,680 --> 00:36:03,720 And I love all the little details when it comes up with 836 00:36:03,720 --> 00:36:06,400 like what the favorite food is and what they don't like. 837 00:36:06,760 --> 00:36:09,440 And it's like doesn't like sushi and fish, loves beer, Scotch, 838 00:36:09,640 --> 00:36:11,480 just all these little moments that come in. 839 00:36:11,480 --> 00:36:12,720 I think that was so really well done. 840 00:36:12,720 --> 00:36:13,880 Look. This at yours on that West of 841 00:36:13,880 --> 00:36:16,880 the end. Mine so, but actually I don't 842 00:36:16,880 --> 00:36:19,320 know. It's a great scene, but slightly 843 00:36:19,320 --> 00:36:23,640 pointless, all of it. It is a bit, Yeah, this nice 844 00:36:23,640 --> 00:36:26,120 little satire there through those huge video screens, I 845 00:36:26,120 --> 00:36:29,040 think as Martin Junior watches like 6 TV channels at once. 846 00:36:29,040 --> 00:36:31,080 Yeah. So kids concentration levels are 847 00:36:31,080 --> 00:36:32,840 a rock bottom, it looks like. Yeah. 848 00:36:32,840 --> 00:36:35,320 And the TV's got like a screensaver that cycles through 849 00:36:35,320 --> 00:36:38,040 classic art like Van Gogh. And that's something the TV's do 850 00:36:38,040 --> 00:36:39,480 now. Yeah, it is. 851 00:36:39,480 --> 00:36:40,880 Yeah, like a fireplace and stuff. 852 00:36:40,880 --> 00:36:43,200 Yeah, yeah, yeah. I like Marty's boss, though. 853 00:36:43,200 --> 00:36:45,800 Ito T Fujitsu, played by James Ashida. 854 00:36:45,800 --> 00:36:48,600 He's crazy hilarious. And Martin, he's all desperate. 855 00:36:48,600 --> 00:36:51,600 Like, no, it was a sting. I was setting him up. 856 00:36:53,720 --> 00:36:55,880 I'm fired. I can't be fired. 857 00:36:57,800 --> 00:36:59,920 You're 2 ties from Audi as well. Yeah, exactly. 858 00:36:59,920 --> 00:37:02,680 I love that. I would not do anything to piss 859 00:37:02,680 --> 00:37:03,800 that guy off. I'm sorry. 860 00:37:03,960 --> 00:37:06,560 Oh, definitely. No, it's terrifying, Westy. 861 00:37:06,720 --> 00:37:10,320 What, not what what? So as we touched on there, Flea 862 00:37:10,320 --> 00:37:13,080 plays Needles and it's more well known as the bassist in the Red 863 00:37:13,080 --> 00:37:15,880 Hot Chili Peppers and the band was touring at the time and Flee 864 00:37:15,880 --> 00:37:18,480 had to fly in to shoot his scenes and had only slept for 865 00:37:18,480 --> 00:37:21,000 two hours the night before. He said he didn't watch the 866 00:37:21,000 --> 00:37:24,360 films for years after they were released and since called Part 867 00:37:24,360 --> 00:37:26,360 2A. Multi million dollar piece of 868 00:37:26,360 --> 00:37:30,000 trash. Wow, surely 2 hours sleep's good 869 00:37:30,000 --> 00:37:31,560 going when you're in the Chili Peppers though, wasn't? 870 00:37:32,440 --> 00:37:33,960 It at the time, yeah. Late 80s, yeah. 871 00:37:35,040 --> 00:37:38,560 Peak Chili Peppers. He also said that in the rush to 872 00:37:38,560 --> 00:37:41,440 get to the set, he lost a jumper, especially given to him 873 00:37:41,440 --> 00:37:43,000 by his grandma. Right. 874 00:37:43,200 --> 00:37:44,600 Well, no wonder he's upset. Yeah. 875 00:37:44,600 --> 00:37:45,920 Two hours sleep and you lose your jumper. 876 00:37:46,680 --> 00:37:48,040 Happens to the best of all here. Yeah. 877 00:37:48,520 --> 00:37:50,640 Yeah. And a TV special called The 878 00:37:50,640 --> 00:37:53,320 Secrets of the Back to the Future trilogy was released to 879 00:37:53,320 --> 00:37:57,000 promote the trilogy in 1990. And short some scenes cut from 880 00:37:57,000 --> 00:38:00,800 the Part 22015 sequence. One was Marty coming across a 881 00:38:00,800 --> 00:38:03,920 destroyed Hill Valley High School and another was after 882 00:38:03,920 --> 00:38:07,360 Biff returns to 2015 in the De Lorean, he starts to fade from 883 00:38:07,360 --> 00:38:10,360 existence and then vanishes. But that was caught when test 884 00:38:10,360 --> 00:38:13,680 audiences didn't understand it. But we do still see part of that 885 00:38:13,680 --> 00:38:16,280 scene with Biff Semen to be in pain when he gets out of the 886 00:38:16,280 --> 00:38:18,160 car. I always wondered why he was 887 00:38:18,160 --> 00:38:20,600 doing that. Yeah, yeah, but this whole 888 00:38:20,600 --> 00:38:23,400 Hildale sequence is therefore basically one major plot point, 889 00:38:23,400 --> 00:38:25,200 which is old Biff stealing the De Lorean. 890 00:38:25,520 --> 00:38:28,240 Yeah, I mean, that's a good idea, but I think most people 891 00:38:28,240 --> 00:38:30,760 know there's a huge plot hole there as well, isn't there? 892 00:38:30,880 --> 00:38:33,720 Yeah, because Biff goes back to 1955, driving changes the 893 00:38:33,720 --> 00:38:37,040 timeline, as we'll find out. But when he returns to 2015, he 894 00:38:37,040 --> 00:38:38,440 doesn't travel into the new timeline. 895 00:38:38,440 --> 00:38:40,200 He comes back to the one that we're already in. 896 00:38:40,640 --> 00:38:43,000 And the time travel rules of the whole series tell us that that's 897 00:38:43,000 --> 00:38:44,880 not how it works. Because in the first film and 898 00:38:44,880 --> 00:38:47,240 Marty goes back to 1985, his family have changed. 899 00:38:47,440 --> 00:38:51,000 Yeah, when they go back to 1985, like everything's changed, I 900 00:38:51,000 --> 00:38:52,920 guess that scene was there. Try and cover that. 901 00:38:53,080 --> 00:38:55,440 But even then it's not following the rules still. 902 00:38:55,560 --> 00:38:57,560 Not really. Should he have like transformed 903 00:38:57,560 --> 00:38:59,800 halfway then and just come back as Rich Biff? 904 00:39:00,240 --> 00:39:03,200 When he traveled back in 2015, she traveled into the 2015 where 905 00:39:03,200 --> 00:39:05,640 Biff has changed the world. What exactly? 906 00:39:05,640 --> 00:39:06,800 So he would come back as Rich Biff. 907 00:39:07,000 --> 00:39:08,200 I guess he would come back as himself. 908 00:39:08,240 --> 00:39:09,160 Yeah, right. OK. 909 00:39:09,320 --> 00:39:11,240 I think I may have been better than coming back, seeing what 910 00:39:11,240 --> 00:39:13,200 he's done and regretting it. But I don't think Biff's that 911 00:39:13,200 --> 00:39:15,480 kind of character. Is he NO0? 912 00:39:15,480 --> 00:39:17,800 Death to this guy? I mean, I know it's not primer, 913 00:39:17,800 --> 00:39:19,960 but that does bother me a bit. Like pothole. 914 00:39:20,360 --> 00:39:21,400 Yeah, I know what you mean. Yeah. 915 00:39:21,720 --> 00:39:24,880 And that's that on 2015, Marty saves his kids, Jennifer has the 916 00:39:24,880 --> 00:39:28,160 strangest afternoon of her life, and somewhere in 1955, the 917 00:39:28,160 --> 00:39:31,320 timeline's been messed with. It's all a bit mad, so we should 918 00:39:31,320 --> 00:39:33,520 probably get into the director to see what he was thinking. 919 00:39:33,840 --> 00:39:39,080 Yeah, yes, please. The director. 920 00:39:41,960 --> 00:39:44,360 The director of Back to the Future Part 2 back from the 921 00:39:44,360 --> 00:39:48,000 original was Robert Zemeckis. This was his sixth feature film 922 00:39:48,000 --> 00:39:51,200 after I Want to Hold Your Hand, Used Cars, Romancing the Stone, 923 00:39:51,200 --> 00:39:53,520 Back to the Future and Who Framed Roger Rabbit. 924 00:39:54,200 --> 00:39:56,360 He was hot stuff in Hollywood at this point, wasn't he, Matt? 925 00:39:56,560 --> 00:39:58,680 Yes, he really was. How would Roberts Omega do 926 00:39:58,680 --> 00:40:00,400 directing Back to the Future Part 2? 927 00:40:01,240 --> 00:40:03,720 I mean, the thing about him for me is I can't think of one of 928 00:40:03,720 --> 00:40:06,480 the big name director who's got such a great streak of early 929 00:40:06,480 --> 00:40:09,960 films, but like the latter half of his career I just find so 930 00:40:09,960 --> 00:40:12,440 forgettable. Like I can't remember the last 931 00:40:12,440 --> 00:40:15,560 time I saw at the cinema or the last of his recent films that 932 00:40:15,560 --> 00:40:17,440 I've watched more than once. And I think the reason for that 933 00:40:17,440 --> 00:40:21,880 is he became obsessed with story gimmicks in challenges, with 934 00:40:21,880 --> 00:40:24,520 special effects, rather than telling a great story with 935 00:40:24,520 --> 00:40:27,960 emotion in wit and characters, which is what he used to be 936 00:40:27,960 --> 00:40:30,200 great at. And I think that relates to he, 937 00:40:30,200 --> 00:40:32,760 because this feels like it's almost like the halfway point 938 00:40:32,760 --> 00:40:34,880 for him here. There's a lot of very clever 939 00:40:34,880 --> 00:40:37,320 technical work going on, particularly in the latter 3rd 940 00:40:37,520 --> 00:40:40,160 when you've got characters interacting with past selves and 941 00:40:40,160 --> 00:40:43,040 past timelines and you can see that's the stuff that's really 942 00:40:43,040 --> 00:40:45,880 got him excited. But I do think that comes at the 943 00:40:45,880 --> 00:40:48,760 expense of the story beats. I mean, it's an incredibly high 944 00:40:48,760 --> 00:40:51,880 bar to live up to, obviously, but you just think of the iconic 945 00:40:51,880 --> 00:40:55,120 moments from the first knocking Biff out, the kiss, Johnny B 946 00:40:55,120 --> 00:40:57,880 Goode. No scene here has that level of 947 00:40:57,880 --> 00:41:01,640 emotion or humour, No, but I also think he's got one eye on 948 00:41:01,640 --> 00:41:03,920 Part 3, which is more satisfying on those terms. 949 00:41:03,920 --> 00:41:07,360 There's more human, there's more heart in that is using this part 950 00:41:07,360 --> 00:41:10,800 to get us there while giving himself something to challenge 951 00:41:10,800 --> 00:41:12,520 himself, which is all the technical stuff. 952 00:41:12,520 --> 00:41:14,200 And I think that's the balance that he has here. 953 00:41:14,560 --> 00:41:18,120 As a trilogy, he's telling a great story across it, but in 954 00:41:18,120 --> 00:41:20,120 this particular one, that story isn't finished yet. 955 00:41:20,520 --> 00:41:23,240 So this one feels like he's a smart excited about the effects 956 00:41:23,240 --> 00:41:26,080 work and the challenges and the gimmicks than anything else. 957 00:41:26,880 --> 00:41:29,520 Yeah, I find Robert Zemeckis a slightly strange one as a 958 00:41:29,520 --> 00:41:32,280 director because it always kind of surprises me that he isn't 959 00:41:32,280 --> 00:41:34,760 more of a household name because he's got, like, Romancing the 960 00:41:34,760 --> 00:41:38,080 Stone, Back to the Future, Roger Rabbit, Forrest Gump coming up, 961 00:41:38,360 --> 00:41:41,440 massive hits like Oscar winners. And most people probably don't 962 00:41:41,440 --> 00:41:42,520 know who he is. Yeah. 963 00:41:42,520 --> 00:41:44,320 Never really comes up in conversations with great 964 00:41:44,320 --> 00:41:45,880 directors. I know he's maybe not as 965 00:41:45,880 --> 00:41:48,880 consistent as the biggest names, but he's got the big hitters, I 966 00:41:48,880 --> 00:41:49,840 think. Yeah. 967 00:41:49,840 --> 00:41:53,080 And here on Part 2, I think what I probably find most impressive 968 00:41:53,080 --> 00:41:56,160 is just the scale of what he had to pull off, because Part 2 and 969 00:41:56,160 --> 00:41:58,360 Part three were made at the same time, basically, which we'll 970 00:41:58,360 --> 00:42:00,400 talk about, but he'll be sleeping a few hours a night, 971 00:42:00,400 --> 00:42:02,280 flying back and forth between locations. 972 00:42:02,480 --> 00:42:05,080 And Part 2 does have a blip or two here or there like we've 973 00:42:05,080 --> 00:42:08,000 been talking about, but I think that's mostly in the writing. 974 00:42:08,520 --> 00:42:10,680 As director, I think it does feel like he's in control and 975 00:42:10,680 --> 00:42:13,400 got a hold for the most part on this huge production. 976 00:42:14,000 --> 00:42:16,280 And what I always think about Zemeckis is that like, it's Paul 977 00:42:16,280 --> 00:42:18,280 Spielberg. He's not necessarily a big 978 00:42:18,680 --> 00:42:21,200 artistic director. I think of him as a storytelling 979 00:42:21,200 --> 00:42:23,280 director. And of that, I think he is one 980 00:42:23,280 --> 00:42:25,000 of the best. He uses all the technical 981 00:42:25,000 --> 00:42:27,320 wizardry that's there. He does it here as well, but 982 00:42:27,320 --> 00:42:29,600 it's at this point not usually for the sake of it. 983 00:42:29,720 --> 00:42:32,240 It is usually in service of the story, like Jennifer coming face 984 00:42:32,240 --> 00:42:33,800 to face with herself. Like we talked about. 985 00:42:33,960 --> 00:42:36,560 There's some serious effects work in that shot, but I never 986 00:42:36,560 --> 00:42:38,200 think about it. I'm just kind of in the moment. 987 00:42:38,200 --> 00:42:41,760 And I think that understanding of just good old fashioned 988 00:42:41,760 --> 00:42:43,880 storytelling is one of the things that separates your 989 00:42:43,880 --> 00:42:46,840 Spielberg's from your Michael Bays and Zemeckis. 990 00:42:46,840 --> 00:42:49,360 For me, it's definitely on the Spielberg end of that spectrum. 991 00:42:49,640 --> 00:42:51,200 You'll see that I think mostly in Part 2. 992 00:42:51,400 --> 00:42:54,400 And that's no bad thing. Yeah, I mean, I've thought about 993 00:42:54,400 --> 00:42:57,360 this and it's like really hard to pinpoint a Zemeckis film. 994 00:42:57,840 --> 00:42:59,720 What is a Robert Zemeckis film, then? 995 00:42:59,920 --> 00:43:01,920 What is it at its core? I'm just imagine sitting. 996 00:43:01,920 --> 00:43:03,920 I would have played with someone just going, who's your favorite 997 00:43:03,920 --> 00:43:05,560 director? And they go Robert Zemeckis and 998 00:43:05,560 --> 00:43:07,360 I'll go. So what do you like exactly 999 00:43:07,360 --> 00:43:08,920 then? Because he's done everything 1000 00:43:09,280 --> 00:43:11,200 like across the board. I don't know. 1001 00:43:11,200 --> 00:43:13,000 I kind of put my finger on it. I know what I mean, yeah. 1002 00:43:13,120 --> 00:43:16,120 But I think what he does have is a lot of rules, and I think he's 1003 00:43:16,120 --> 00:43:18,840 a very consistent director and I think he has a lot of control 1004 00:43:18,840 --> 00:43:21,360 over set pieces. I think he can really direct set 1005 00:43:21,360 --> 00:43:24,280 pieces without you knowing that's necessarily over 1006 00:43:24,280 --> 00:43:25,520 directed. He definitely doesn't over 1007 00:43:25,520 --> 00:43:29,000 direct and these films are really enjoyable, but I don't 1008 00:43:29,000 --> 00:43:32,080 know what his motivation is. I don't know where he gets the 1009 00:43:32,080 --> 00:43:36,680 energy to do pull or express, but I think in this film he does 1010 00:43:36,680 --> 00:43:38,360 have a lot of rules. He does have a lot of control. 1011 00:43:38,360 --> 00:43:41,720 It shows how considerate he is as a director, but also how much 1012 00:43:41,720 --> 00:43:43,720 he pushes the boundaries. I think every film that he's 1013 00:43:43,720 --> 00:43:46,360 done has pushed stuff just a little bit further than it 1014 00:43:46,360 --> 00:43:47,600 should need to go, which is great. 1015 00:43:48,160 --> 00:43:51,200 Yeah, so the first Back to the Future film that had been the 1016 00:43:51,200 --> 00:43:55,240 highest grossing film of 1985 in Universal obviously wanted a 1017 00:43:55,240 --> 00:43:58,280 sequel as soon as possible. So Mechas and GAIL weren't keen 1018 00:43:58,280 --> 00:43:59,920 at first as they thought sequels. 1019 00:43:59,920 --> 00:44:01,920 We usually just retreads of the first film. 1020 00:44:02,280 --> 00:44:04,880 But things changed when the studio delivered an old maiden, 1021 00:44:05,120 --> 00:44:08,400 which was head of Universal, said Sheinberg, telling them a 1022 00:44:08,400 --> 00:44:10,520 sequel was going to be made with or without them. 1023 00:44:11,680 --> 00:44:14,480 So Megan said that didn't like sequels because they were 1024 00:44:14,480 --> 00:44:16,080 retread of the original. Amazing. 1025 00:44:16,280 --> 00:44:18,920 They still made it as close to that blueprint as possible. 1026 00:44:19,200 --> 00:44:22,560 Yeah, well, as Megan Gill's original contract with Universal 1027 00:44:22,560 --> 00:44:24,880 and Amblin gave the Lords of Creative Control, Yeah, but 1028 00:44:24,880 --> 00:44:27,000 Universal had distribution rights and obviously the 1029 00:44:27,000 --> 00:44:29,320 finances to go ahead and take it to court if they had to. 1030 00:44:29,320 --> 00:44:32,120 So as Megan Gill didn't have a massive choice really. 1031 00:44:32,120 --> 00:44:33,360 Yeah, yeah. That's why they said they'll 1032 00:44:33,360 --> 00:44:35,120 never do a remake and they're never going to do another 1033 00:44:35,120 --> 00:44:36,560 sequel. Like it's it's never, ever going 1034 00:44:36,560 --> 00:44:37,160 to happen. Yeah, yeah. 1035 00:44:37,160 --> 00:44:40,560 Which is fair enough. So they struck a deal instead, 1036 00:44:40,560 --> 00:44:43,040 they said we'll do a sequel on the following basis. 1037 00:44:43,040 --> 00:44:45,360 We need to have deals in place for Michael J Fox and 1038 00:44:45,360 --> 00:44:47,840 Christopher Lloyd. As long as those guys assigned, 1039 00:44:47,840 --> 00:44:49,680 we'll figure out a sequel. Nice it. 1040 00:44:49,880 --> 00:44:51,960 Would have been pretty terrible if J Fox hadn't came back, 1041 00:44:52,040 --> 00:44:55,560 wouldn't it? Yeah, list the garage door open. 1042 00:44:55,560 --> 00:45:00,840 It's Eric Stalls. Back the stalls, tail between 1043 00:45:00,840 --> 00:45:03,360 his legs, wasn't Mecca's. Yeah, I'll sort that out. 1044 00:45:03,760 --> 00:45:06,200 That's exactly what I would tell this fucking asshole right now. 1045 00:45:08,120 --> 00:45:10,880 So once the Meccas and Gale started coming up with ideas 1046 00:45:10,880 --> 00:45:12,960 they had told Universal that actually wanted to make a 1047 00:45:12,960 --> 00:45:15,560 trilogy. Universal greenlit a budget of 1048 00:45:15,560 --> 00:45:18,440 $40 million for Part 2, more than twice the budget of the 1049 00:45:18,440 --> 00:45:21,120 original and another 40 million for Part 3. 1050 00:45:22,040 --> 00:45:24,400 There's an overall production cost obviously, doesn't it? 1051 00:45:25,000 --> 00:45:27,200 But signing off 2 sequels back-to-back, that was pretty 1052 00:45:27,200 --> 00:45:28,920 much unprecedented in Hollywood at the time. 1053 00:45:28,920 --> 00:45:32,640 So new ground for the likes of Lord of the Rings later on and 1054 00:45:33,080 --> 00:45:35,480 apparently one of the inspirations for this shooting. 1055 00:45:35,480 --> 00:45:38,360 The second and third films back-to-back with 20th Country 1056 00:45:38,360 --> 00:45:40,200 Fox. They produced The Three 1057 00:45:40,200 --> 00:45:43,600 Musketeers in 1973 and when there were production problems 1058 00:45:43,600 --> 00:45:47,240 it ended up being split into two films and The Four Musketeers 1059 00:45:47,240 --> 00:45:50,520 came out in 1974. Universal were keen to avoid 1060 00:45:50,520 --> 00:45:53,400 similar issues which is why they agreeing that 2 sequels at the 1061 00:45:53,400 --> 00:45:55,040 same time. Right. 1062 00:45:55,360 --> 00:45:57,720 Yeah, so one of the issues on The Three Musketeers that the 1063 00:45:57,720 --> 00:45:59,480 cast had only been paid for one film. 1064 00:45:59,560 --> 00:46:02,000 So when I was split into two, they went to the Screen Actors, 1065 00:46:02,000 --> 00:46:04,160 GAIL, and demanded to be paid for two films, Right. 1066 00:46:04,240 --> 00:46:07,080 And I mean, the cast was like Oliver Reed and Raquel Welsh. 1067 00:46:07,120 --> 00:46:08,680 They've done away Charlton Heston. 1068 00:46:08,680 --> 00:46:11,800 So not cheap, no. Exactly, they put the trailer on 1069 00:46:11,800 --> 00:46:13,200 the end of the third one as well, didn't they? 1070 00:46:13,200 --> 00:46:14,840 Which influenced this? That's right, yeah. 1071 00:46:14,840 --> 00:46:15,720 Right. Yeah nice. 1072 00:46:15,880 --> 00:46:19,480 The production for Part 2 and Part 3 lasted 11 months and pre 1073 00:46:19,480 --> 00:46:21,960 production took two years to build the sets and write the 1074 00:46:21,960 --> 00:46:24,200 script. Part 2 was being edited while 1075 00:46:24,200 --> 00:46:27,240 Part 3 was being filmed and Zemeckis was overseeing both. 1076 00:46:27,720 --> 00:46:30,160 During the final three weeks he barely slept. 1077 00:46:30,280 --> 00:46:32,760 Every day he would finish filming Part 3 in Northern 1078 00:46:32,760 --> 00:46:35,960 California, then get on a plane to LA where post production on 1079 00:46:35,960 --> 00:46:39,040 Part 2 was taking place, and then he get another plane at 1080 00:46:39,040 --> 00:46:42,240 4:30 AM to be back on the set in time for Part 3 shooting. 1081 00:46:42,640 --> 00:46:44,240 Mean. I'm exhausted just hearing that. 1082 00:46:44,240 --> 00:46:47,040 That's crazy. And Fleas got a big moan. 1083 00:46:48,240 --> 00:46:51,480 Velocity jumper. If you want the dream job of 1084 00:46:51,480 --> 00:46:53,720 being a Hollywood director, they'll make you work for it 1085 00:46:53,720 --> 00:46:54,760 because you're. Absolutely, yeah. 1086 00:46:55,120 --> 00:46:57,960 The costume designer on the first film had been Deborah Lynn 1087 00:46:57,960 --> 00:47:00,960 Scott, but Smecker's replacing for the sequels with Joanna 1088 00:47:00,960 --> 00:47:03,600 Johnston after he worked with her on Who Framed Roger Rabbit. 1089 00:47:04,080 --> 00:47:07,480 She had to design for various time periods, but she said the 1090 00:47:07,480 --> 00:47:09,600 most difficult was the 2015 sequence. 1091 00:47:10,560 --> 00:47:12,760 Yeah, she said she was terrified of the prospect of designing the 1092 00:47:12,760 --> 00:47:15,040 clothing of the future, which makes sense. 1093 00:47:15,040 --> 00:47:17,440 I mean, during 1955 or like the Wild West. 1094 00:47:17,440 --> 00:47:20,120 You've got photographs of the reference or Clint Eastwood 1095 00:47:20,120 --> 00:47:23,520 films in this case, yeah. And Johnson then said her 1096 00:47:23,520 --> 00:47:27,240 creative philosophy for the 2015 wardrobe was that men and women 1097 00:47:27,240 --> 00:47:30,200 would be equal in society, which is where the idea for Mardi's 1098 00:47:30,520 --> 00:47:32,680 Nike Mag power lacing tubes came from. 1099 00:47:33,040 --> 00:47:35,440 They were designed by Tinker Hatfield, who were designed the 1100 00:47:35,440 --> 00:47:38,480 Nike Air Max. Yeah, when Molly puts them on, 1101 00:47:38,480 --> 00:47:40,600 they, like, lace themselves. How cool was that? 1102 00:47:40,600 --> 00:47:43,760 The first thing you saw isn't. Yeah, But the way they did that 1103 00:47:43,760 --> 00:47:45,600 was actually really simple because the triad was stuck to, 1104 00:47:45,600 --> 00:47:48,040 like, a fake floor. And when J Fox put them on and 1105 00:47:48,040 --> 00:47:50,080 there was a crew member below the fake floor, we just pulled 1106 00:47:50,080 --> 00:47:53,440 the laces tight and then turned on the, like, logo lights. 1107 00:47:53,520 --> 00:47:55,160 Same thing with when the jacket resizes. 1108 00:47:55,160 --> 00:47:58,520 Crew members just out a shot pulling on cables, and then 1109 00:47:58,520 --> 00:48:00,040 that's some sound effects imposed in it. 1110 00:48:00,040 --> 00:48:01,440 Yeah, it all works. Maybe magic? 1111 00:48:01,520 --> 00:48:03,760 And there was some other interesting details in the 1112 00:48:03,760 --> 00:48:05,760 costumes. The shirt that Doc wears for 1113 00:48:05,760 --> 00:48:08,720 most of the film has a design with horses and trains, and this 1114 00:48:08,720 --> 00:48:12,600 foreshadows the climax of Part 3, where Marty returned to 1985 1115 00:48:12,600 --> 00:48:14,560 by fitting a De Lorean to a locomotion. 1116 00:48:14,960 --> 00:48:17,880 Yeah, you had a family doing 2 films at the same time, I think. 1117 00:48:18,080 --> 00:48:19,720 Tell you what outfits outrageous though. 1118 00:48:20,040 --> 00:48:25,080 Marty's inconspicuous get up in 1955 shades and leather jackets. 1119 00:48:25,160 --> 00:48:26,640 Yeah. Sticks on like a sort though. 1120 00:48:26,880 --> 00:48:29,120 Could look more sis if he tried. Looks like Kinicky. 1121 00:48:29,600 --> 00:48:32,520 The production designer on the first film was Lawrence J Paul, 1122 00:48:32,760 --> 00:48:35,960 but Zemeckis replaced him for the sequels with Rick Carter. 1123 00:48:36,080 --> 00:48:38,640 He'd worked with Steven Spielberg on The Goonies and the 1124 00:48:38,640 --> 00:48:41,800 TV anthology series Amazing Stories, and Spielberg 1125 00:48:41,800 --> 00:48:44,440 recommended him to Zemeckis. He also said the biggest 1126 00:48:44,440 --> 00:48:48,080 challenge was creating the sets for the 2015 Hill Valley on the 1127 00:48:48,080 --> 00:48:50,000 first film. The Hill Valley set was created 1128 00:48:50,000 --> 00:48:52,720 on the Universal back lot and ended up being damaged. 1129 00:48:53,320 --> 00:48:56,280 So for Part 2 they had to clean the setup and restore it all. 1130 00:48:56,480 --> 00:48:59,200 They've done so much damage first time around, it cost more 1131 00:48:59,200 --> 00:49:01,120 to rebuild it than to build it in the first place. 1132 00:49:01,400 --> 00:49:04,320 I think a lot of the cost would dig out the 60 foot by 80 foot 1133 00:49:04,320 --> 00:49:06,960 square for the lake and then they filled it with 80,000 1134 00:49:06,960 --> 00:49:10,560 gallons of water. For one hoverboard not working. 1135 00:49:11,240 --> 00:49:13,040 Exactly, Yeah. To nearly kill someone. 1136 00:49:13,320 --> 00:49:15,480 A nice little touch as well with the ledge on the clock tower. 1137 00:49:15,480 --> 00:49:17,760 The dock broke in the first film where he nearly falls off it. 1138 00:49:17,760 --> 00:49:20,800 That's still broken in 2015. All right, I've noticed that. 1139 00:49:20,960 --> 00:49:23,240 No Oscar nominations was a Mecca for best director. 1140 00:49:23,320 --> 00:49:24,960 No best pitcher nominations either. 1141 00:49:25,240 --> 00:49:26,480 What a huge surprise. Maybe. 1142 00:49:27,080 --> 00:49:29,320 No. For us though, in the vision, 1143 00:49:29,320 --> 00:49:31,800 the logistical achievement and the managing various looks, 1144 00:49:31,800 --> 00:49:34,600 feels and tones. Some good blockbuster sequel 1145 00:49:34,600 --> 00:49:36,040 making from Robert Zemeckis here. 1146 00:49:36,200 --> 00:49:37,920 Very much. Yeah, he's ticking the boxes 1147 00:49:38,040 --> 00:49:39,680 he's made in the studio, happy and the audience. 1148 00:49:39,680 --> 00:49:41,360 I think that's all he can do with the sequel, yeah. 1149 00:49:44,400 --> 00:49:49,080 The cast. Robert Zemeckis was working with 1150 00:49:49,080 --> 00:49:51,080 a returning cast he knew Untrusted. 1151 00:49:51,120 --> 00:49:53,440 We've talked about Elizabeth Shoe stepping in with Jennifer 1152 00:49:53,440 --> 00:49:56,480 already, and it will be getting into Tom Wilson, Leah Thompson 1153 00:49:56,480 --> 00:49:58,800 and Christopher Lloyd shortly, as well as telling a very 1154 00:49:58,800 --> 00:50:00,960 contentious tale about a previous cast member. 1155 00:50:01,640 --> 00:50:03,960 But we start with the man carrying the whole thing. 1156 00:50:04,120 --> 00:50:07,920 We do so Michael J Fox is back as Marty McFly, the time 1157 00:50:07,920 --> 00:50:11,120 travelling Hill Valley teenager. We see Marty drag to the future, 1158 00:50:11,120 --> 00:50:14,160 then an alternate present, then the past chasing down that damn 1159 00:50:14,160 --> 00:50:16,800 sports Almanac. As if that wasn't enough, J Fox 1160 00:50:16,800 --> 00:50:19,600 also plays Marty's son and Marty's daughter, as well as an 1161 00:50:19,600 --> 00:50:23,160 older and slightly younger version of Marty. 5 rolls 1162 00:50:23,160 --> 00:50:25,240 Westie? Yep. 5 for the price of one, 1163 00:50:25,240 --> 00:50:27,400 yes. What do you make of MJF as Emma 1164 00:50:27,400 --> 00:50:30,080 Mccaff? I think he's fully dedicated in 1165 00:50:30,080 --> 00:50:32,800 this film and he's having a great time, which makes us have 1166 00:50:32,800 --> 00:50:35,720 a great time. I think he's totally underrated 1167 00:50:35,760 --> 00:50:38,240 for the star quality that he brought, especially at this 1168 00:50:38,240 --> 00:50:40,480 time. He was just such a presence on 1169 00:50:40,480 --> 00:50:43,440 the screen and he just sold everything because he just felt 1170 00:50:43,440 --> 00:50:46,000 so relatable. I felt like I was Marty McFly, 1171 00:50:46,000 --> 00:50:48,160 like he was my age. He's a slacker. 1172 00:50:48,160 --> 00:50:50,080 It's great. It was just that kind of early 1173 00:50:50,720 --> 00:50:53,400 Bart Simpson, I think, kind of impression that had on people. 1174 00:50:53,680 --> 00:50:55,920 And I think J Fox just plays that beautifully. 1175 00:50:56,120 --> 00:50:58,360 And like we said, he's great as Marty Junior. 1176 00:50:58,360 --> 00:50:59,960 I think he's absolutely fantastic. 1177 00:51:00,440 --> 00:51:02,520 When he goes into Cafe 80s, he's just transformed. 1178 00:51:02,520 --> 00:51:04,440 Just totally different. He's just his whole body 1179 00:51:04,440 --> 00:51:05,840 language is different. He's to me, and that's 1180 00:51:05,840 --> 00:51:07,720 different. His voice is different and he 1181 00:51:07,720 --> 00:51:10,000 has great physical comedy, especially in this film. 1182 00:51:10,200 --> 00:51:13,200 Some amazing moments when him and Strickland are on the porch 1183 00:51:13,720 --> 00:51:15,280 and he's just pointing the gun down. 1184 00:51:15,280 --> 00:51:18,760 He said no, no, no, no. I'm from school. 1185 00:51:18,760 --> 00:51:19,400 That's right. That's. 1186 00:51:21,360 --> 00:51:23,320 Really funny. He understands where the camera 1187 00:51:23,320 --> 00:51:25,840 is, he understands what an action film is, he understands 1188 00:51:25,840 --> 00:51:28,000 Back to the Future, he understands the world and he's 1189 00:51:28,000 --> 00:51:30,440 just playing it with just absolute relish and he's loving 1190 00:51:30,440 --> 00:51:32,120 it. And because he loves it, we love 1191 00:51:32,120 --> 00:51:35,080 it just as much. Yeah, I love Michael J Fox. 1192 00:51:35,240 --> 00:51:37,160 Yeah, he's amazing. For as long as I can remember. 1193 00:51:37,400 --> 00:51:39,800 I mean, my love from basically comes entirely from Back to the 1194 00:51:39,800 --> 00:51:42,000 Future with a dash of Teen Wolf as well to. 1195 00:51:42,000 --> 00:51:44,160 Be a Teen Wolf, I would say it has to be in there. 1196 00:51:44,880 --> 00:51:46,680 I think it's easy to overlook just how much he's doing 1197 00:51:46,680 --> 00:51:49,200 technically 5 roles like we said, but obviously it's the 1198 00:51:49,200 --> 00:51:52,360 present teenage Marty. He's playing for like 90% of the 1199 00:51:52,360 --> 00:51:54,720 film or something. But I think pretty impressive is 1200 00:51:54,720 --> 00:51:57,240 that even the size and the different roles in some ways 1201 00:51:57,240 --> 00:52:00,440 this is a harder film for J Fox in the first one because in Back 1202 00:52:00,440 --> 00:52:03,440 in the Future, Marty just kind of cool teenager out of his 1203 00:52:03,440 --> 00:52:05,960 depth like a fish out of water. But he's funny. 1204 00:52:06,280 --> 00:52:08,840 He's playing the guitar, he's skateboarding, he's likable. 1205 00:52:09,000 --> 00:52:10,360 And the plot's pretty straightforward. 1206 00:52:10,480 --> 00:52:12,880 Get your parents together, get back to 1985. 1207 00:52:13,480 --> 00:52:17,600 Here the plot is total chaos. He's in 2015, then he's in 1208 00:52:17,600 --> 00:52:20,720 Pottersville. I mean 1985 a dog causes. 1209 00:52:21,200 --> 00:52:24,400 Then back in 1955, try not to bump into himself at three 1210 00:52:24,400 --> 00:52:27,080 different like worlds really. And like we said, there was some 1211 00:52:27,080 --> 00:52:30,000 total shifts between them and J Fox has got to be the kind of 1212 00:52:30,000 --> 00:52:33,320 anchor through all of it. The 1985 5A stuff especially. 1213 00:52:33,320 --> 00:52:35,800 There's one or two scenes there which do have real dramatic 1214 00:52:35,800 --> 00:52:37,320 weight. Yeah, it's probably the dark, as 1215 00:52:37,320 --> 00:52:39,960 the whole trilogy goes. And JFR, great comedy guy. 1216 00:52:39,960 --> 00:52:42,560 We know he proves he does have those more dramatic chops when 1217 00:52:42,560 --> 00:52:45,200 he needs them as well. Yeah, but what he's best at is 1218 00:52:45,200 --> 00:52:46,760 the comedy. I think he's one of the best 1219 00:52:46,760 --> 00:52:49,280 comic actors I've seen. His line delivery is always 1220 00:52:49,280 --> 00:52:51,160 superb. But the bits I laugh at most are 1221 00:52:51,280 --> 00:52:53,120 almost always his reactions. Yeah. 1222 00:52:53,240 --> 00:52:56,240 Like in Cafe 80s, that bit when he punches Griff and Griff, 1223 00:52:56,240 --> 00:52:58,400 like, kind of grows in front of him like a robot. 1224 00:52:59,640 --> 00:53:02,080 We can just see Marty's eyes sticking over Griff's shoulder. 1225 00:53:02,280 --> 00:53:04,960 And J Fox does this thing with his eyebrows, which I always 1226 00:53:04,960 --> 00:53:07,840 laugh at. So yeah, multiple roles. 1227 00:53:07,840 --> 00:53:11,000 But if the main teenage Marty doesn't work, none of it works. 1228 00:53:11,040 --> 00:53:12,720 Yeah, exactly. And Michael J Fox makes it work 1229 00:53:12,720 --> 00:53:14,520 easily. He's just great to me. 1230 00:53:14,880 --> 00:53:16,920 Yeah. Yeah, I mean, always great as 1231 00:53:16,920 --> 00:53:18,600 Marty. I mean, he does make it seem 1232 00:53:18,600 --> 00:53:21,640 like this film follows straight on from the last one without any 1233 00:53:21,640 --> 00:53:23,360 gap, even with the slight difference in the hair. 1234 00:53:23,680 --> 00:53:26,560 I mean, he's certainly just seen four years older, so he bridges 1235 00:53:26,560 --> 00:53:29,520 the two films really nicely as he's seen, though it is a bit 1236 00:53:29,520 --> 00:53:31,120 more manic, this film from Marty. 1237 00:53:31,120 --> 00:53:33,800 He kind of gets flung from pillow to post a bit, so he 1238 00:53:33,800 --> 00:53:36,720 doesn't quite get the great character moments like he does 1239 00:53:36,720 --> 00:53:39,560 in the first one, like building the relationship with George, 1240 00:53:39,640 --> 00:53:40,760 etcetera. There's none of that. 1241 00:53:41,400 --> 00:53:43,800 This one, he's just much more reactive to stuff because that 1242 00:53:43,800 --> 00:53:46,520 narrative goes all over the place, but he keeps you engaged 1243 00:53:46,520 --> 00:53:48,160 constantly. You want to follow him 1244 00:53:48,160 --> 00:53:50,320 throughout this. And obviously, like a lot of the 1245 00:53:50,320 --> 00:53:51,680 actors see, you're playing multiple roles. 1246 00:53:51,680 --> 00:53:54,360 And I think Puff Marlene, which I mentioned, I think he does 1247 00:53:54,360 --> 00:53:56,560 them all really well. I do think though, and again, 1248 00:53:56,560 --> 00:53:58,680 we've mentioned this, this character note of getting really 1249 00:53:58,680 --> 00:54:00,160 angry if someone calls him chicken. 1250 00:54:00,400 --> 00:54:02,080 That's just bizarre. Just seems to come out of 1251 00:54:02,080 --> 00:54:04,080 nowhere. And it just seems like a 1252 00:54:04,080 --> 00:54:06,560 convenient way to get him into fights and arguments. 1253 00:54:07,160 --> 00:54:09,800 But Puff Matlow, he's Marty McFly, so he just can't go wrong 1254 00:54:09,800 --> 00:54:11,040 with him. Yeah, absolutely. 1255 00:54:11,040 --> 00:54:12,840 God. As we mentioned, one of the 1256 00:54:12,840 --> 00:54:15,880 Maxis conditions for making the sequel was that Michael J Fox 1257 00:54:15,880 --> 00:54:18,760 returned as Marty, so him coming back was never in doubt. 1258 00:54:19,200 --> 00:54:21,760 Fox wanted to do it, but the stumbling block was the salary. 1259 00:54:21,920 --> 00:54:25,320 So for about the future he was paid 250 grand, and for the 1260 00:54:25,320 --> 00:54:28,720 sequels he was reportedly paid 5 million for Part 2 and another 5 1261 00:54:28,720 --> 00:54:30,000 million for Part 3. Wow. 1262 00:54:30,600 --> 00:54:34,680 No wonder he's enjoyed himself. 5 for the price of 10, yeah. 1263 00:54:35,360 --> 00:54:37,360 A million a character. Exactly. 1264 00:54:37,520 --> 00:54:39,480 I mean, the difference was he wasn't just ATV actor from 1265 00:54:39,480 --> 00:54:41,720 Family Ties anymore. He was now a movie star, wasn't 1266 00:54:41,720 --> 00:54:43,520 he? And he had leverage to negotiate 1267 00:54:43,520 --> 00:54:45,360 because the makers had basically said he wouldn't do it without 1268 00:54:45,360 --> 00:54:46,560 him. Yeah. 1269 00:54:46,920 --> 00:54:48,800 Production or wasn't easy for Fox. 1270 00:54:49,160 --> 00:54:52,000 The final season of Family Ties was filming at the same time as 1271 00:54:52,000 --> 00:54:55,440 Part 2, so his shooting schedule for the first few months was 1272 00:54:55,440 --> 00:54:58,680 filming Family Ties during the day and Part 2 at night, meaning 1273 00:54:58,680 --> 00:55:00,680 he was living on a couple of hours sleep at night. 1274 00:55:01,560 --> 00:55:03,520 He went through the same thing on the first film, didn't he? 1275 00:55:03,880 --> 00:55:04,640 He did. Yeah, yeah, yeah. 1276 00:55:05,040 --> 00:55:06,880 And it's interesting because J Fox said that he wasn't 1277 00:55:06,880 --> 00:55:08,640 contacted by the studio about the sequel. 1278 00:55:08,920 --> 00:55:11,480 He only found out there was going to be 1 when the VHS tape 1279 00:55:11,480 --> 00:55:14,280 to the first film start coming out with To be continued at the 1280 00:55:14,280 --> 00:55:15,200 end. All right, right. 1281 00:55:15,360 --> 00:55:17,480 So he got straight into the aging to find out what was going 1282 00:55:17,480 --> 00:55:20,000 on, right? Tell him I won five for the 1283 00:55:20,000 --> 00:55:24,160 price of 10. And there were also some family 1284 00:55:24,160 --> 00:55:27,040 events he had to deal with. Sadly, during filming, Fox's 1285 00:55:27,040 --> 00:55:30,360 father passed away and Fox said he's actually taken some of his 1286 00:55:30,360 --> 00:55:32,560 dad's mannerisms while playing middle-aged Marty. 1287 00:55:33,120 --> 00:55:36,840 And also during filming, Fox's wife Tracy Pollan, she gave 1288 00:55:36,840 --> 00:55:40,360 birth to their first son, Sam. Yeah, she was also in Family 1289 00:55:40,360 --> 00:55:41,400 Ties. Crazy pollen. 1290 00:55:41,400 --> 00:55:42,720 Yes. And there's another little 1291 00:55:42,720 --> 00:55:44,440 personal touch. J Fox ads as well. 1292 00:55:44,520 --> 00:55:46,480 He's a vegetarian, pretty famously so. 1293 00:55:46,480 --> 00:55:48,760 The part where Marty Junior picks the pepperoni off the 1294 00:55:48,760 --> 00:55:51,120 pizza that came from Michael J. Fox. 1295 00:55:51,120 --> 00:55:51,640 Nice. Nice. 1296 00:55:51,800 --> 00:55:53,000 Good. Just had the green pepper one. 1297 00:55:53,000 --> 00:55:54,920 Yeah. Everyone couldn't reach, could 1298 00:55:54,920 --> 00:55:57,240 he? I don't know this is a fact, but 1299 00:55:57,240 --> 00:55:59,240 I'm pretty sure one of their moments from his dad would have 1300 00:55:59,240 --> 00:56:02,480 been when he comes in the house and he's like hello, hello. 1301 00:56:02,560 --> 00:56:04,280 Dad's home. Dad's home. 1302 00:56:04,280 --> 00:56:06,560 That's such a dad thing to do, to say hello twice. 1303 00:56:07,440 --> 00:56:08,360 Hello. Hello. 1304 00:56:08,520 --> 00:56:11,480 No major award for Michael J Fox for his work here or anywhere 1305 00:56:11,480 --> 00:56:14,280 else Is Marty McFly no. For us, though, we love Michael 1306 00:56:14,280 --> 00:56:17,360 J Fox and what he brings is possibly rarer than Oscar win. 1307 00:56:17,560 --> 00:56:18,520 Yes. Oh yeah. 1308 00:56:18,720 --> 00:56:20,480 There should be some kind of special award for this kind of 1309 00:56:20,480 --> 00:56:22,600 performance. The Michael J Fox Everyone Loves 1310 00:56:22,600 --> 00:56:24,400 Them Award. Yeah, exactly. 1311 00:56:24,520 --> 00:56:26,920 The role model without necessarily being a role model 1312 00:56:27,000 --> 00:56:31,320 award. Like Michael J Fox, Thomas F 1313 00:56:31,320 --> 00:56:34,480 Wilson is back for the sequel He plays psychotic future boy 1314 00:56:34,480 --> 00:56:37,600 grief, but his main role is Biff Tanner, the antagonist of the 1315 00:56:37,600 --> 00:56:39,760 piece. We see old biff steeler DeLorean 1316 00:56:39,920 --> 00:56:42,720 young biff receive and failed to keep the sport dominac and 1317 00:56:42,720 --> 00:56:45,040 middle-aged biff after he's turned hill valley into his 1318 00:56:45,040 --> 00:56:47,680 pleasure paradise. Yeah, Still, though he hates 1319 00:56:47,680 --> 00:56:51,360 Munir OST, he does house Tom Wilson as the various bad guys 1320 00:56:51,360 --> 00:56:53,560 I. Mean Tom Wilson is just the bad 1321 00:56:53,560 --> 00:56:58,640 guy of this world, isn't he? He's just unrelentingly bastard. 1322 00:56:59,960 --> 00:57:02,200 You don't realize it because you think he's just pulling up to 1323 00:57:02,200 --> 00:57:03,840 the three guys. He's with her, he's playing up 1324 00:57:03,840 --> 00:57:05,240 the Lorraine or he's just playing up. 1325 00:57:05,240 --> 00:57:07,400 But when my he's trailing him and he just picks that ball up 1326 00:57:07,400 --> 00:57:10,160 off the kids. Go get it. 1327 00:57:10,280 --> 00:57:11,920 Go get it. And there's nobody. 1328 00:57:12,000 --> 00:57:14,360 He's not trying to impress anybody, but he's just doing it 1329 00:57:14,360 --> 00:57:16,480 to be an asshole. And then he walks above the 1330 00:57:16,480 --> 00:57:19,240 street and knocks the kids cup off for no reason whatsoever. 1331 00:57:19,760 --> 00:57:22,360 This is an absolute piece of shit, but he plays it with so 1332 00:57:22,360 --> 00:57:24,200 much relish. And the thing I get from these 1333 00:57:24,200 --> 00:57:27,240 performances from Thomas F Wilson, he's like, I think he's 1334 00:57:27,240 --> 00:57:30,000 just sat before all the filming started, he looked at the 1335 00:57:30,000 --> 00:57:33,720 contract he's got and just went, this is going to be me because 1336 00:57:33,720 --> 00:57:35,880 I'm going to be so typecast doing this character. 1337 00:57:36,280 --> 00:57:39,480 I don't think I'm going to get any other options to be able to 1338 00:57:39,480 --> 00:57:41,960 do anything different. So I'm just going to absolutely 1339 00:57:41,960 --> 00:57:44,520 dive into this. He is really good and really 1340 00:57:44,520 --> 00:57:47,840 incredible, but I just can't see him having much more range and 1341 00:57:47,840 --> 00:57:50,440 being cast in anything else because he just owns this 1342 00:57:50,440 --> 00:57:54,480 character so passionately. But the thing I love about Biff 1343 00:57:54,680 --> 00:57:57,680 and Griff and all the characters that he plays is that there's no 1344 00:57:57,680 --> 00:57:59,600 explanation of why he is the way he is. 1345 00:58:00,360 --> 00:58:03,400 There's no back story. He's just straight down the line 1346 00:58:03,720 --> 00:58:05,600 bully. But The thing is, he doesn't 1347 00:58:05,600 --> 00:58:07,880 make it into a stereotype. I think Thomas Health doesn't 1348 00:58:07,880 --> 00:58:11,440 plays him with this real kind of originality. 1349 00:58:11,840 --> 00:58:14,360 I feel there's not a bad guy like Biff or Griff. 1350 00:58:14,360 --> 00:58:16,160 Like he's even. Griff's totally different. 1351 00:58:16,480 --> 00:58:19,840 He's just a step up from Biff, but he does it so well and like 1352 00:58:19,840 --> 00:58:22,360 I say it, he's just the bad guy and he knows his place. 1353 00:58:22,520 --> 00:58:23,960 He's not asking for anything else. 1354 00:58:23,960 --> 00:58:26,200 He's just going to play it to the absolute best he can. 1355 00:58:26,600 --> 00:58:28,240 I think he plays him really, really well. 1356 00:58:28,320 --> 00:58:30,920 It's just a real shame that he played him so good, he couldn't 1357 00:58:30,920 --> 00:58:34,360 really get anything else. Yeah, I think Biff is just 1358 00:58:34,360 --> 00:58:35,680 fantastic. He's so. 1359 00:58:35,680 --> 00:58:37,120 Funny. In the first film, he's like 1360 00:58:37,120 --> 00:58:39,920 you, classic school bully. He pushes George McFly around, 1361 00:58:39,920 --> 00:58:42,560 kicks him in the pants, tries on with Lorraine and gets what's 1362 00:58:42,560 --> 00:58:45,120 coming to him, as bullies do in films anyway. 1363 00:58:45,560 --> 00:58:47,960 And he's great. But here they do develop them 1364 00:58:48,080 --> 00:58:50,880 because old Biff in 2015, he's like smart enough to figure out 1365 00:58:50,880 --> 00:58:54,160 what's going on in rewrite history. 17 year old Biff, We'll 1366 00:58:54,160 --> 00:58:56,080 see that he might not have a happy home life with his 1367 00:58:56,080 --> 00:58:57,640 grandma. That's a nice little character 1368 00:58:57,640 --> 00:59:00,200 detail, I think. And his grandma, Gertrude 1369 00:59:00,200 --> 00:59:02,640 Hannon, we don't see her, but that's Tom Wilson doing her 1370 00:59:02,640 --> 00:59:04,320 voice voice as well. All right, Jason. 1371 00:59:05,600 --> 00:59:08,160 But as the antagonist, Biff goes from being a problem in the 1372 00:59:08,160 --> 00:59:10,040 first film to kind of the problem here. 1373 00:59:10,240 --> 00:59:11,920 He's the guy that Marty now has to beat. 1374 00:59:12,280 --> 00:59:14,640 I think all that elevates him massively as a villain. 1375 00:59:14,640 --> 00:59:16,560 Yeah, I think Biff's a much better bad guy than he gets 1376 00:59:16,560 --> 00:59:18,960 credit for. And I also think Tom Wilson 1377 00:59:18,960 --> 00:59:21,040 doesn't get the credit he deserves either, because I think 1378 00:59:21,040 --> 00:59:24,080 he's superb playing three versions of Biff. 1379 00:59:24,360 --> 00:59:26,760 He just played each version slightly differently, but I 1380 00:59:26,760 --> 00:59:29,280 totally buy each version as being the same character. 1381 00:59:29,360 --> 00:59:32,800 Yeah, I think middle-aged Biff, especially in 1985 A, he's 1382 00:59:32,800 --> 00:59:34,400 brilliant. Yeah, because Biff till now has 1383 00:59:34,400 --> 00:59:37,640 always been slightly cartoonish. I mean, Griff is very 1384 00:59:37,640 --> 00:59:41,320 cartoonish, but 1985 A, Biff is just horrible. 1385 00:59:41,560 --> 00:59:44,400 He's arrogant and aggressive. He's obnoxious. 1386 00:59:44,400 --> 00:59:46,840 He's violent with Lorraine. He's a murderer. 1387 00:59:47,080 --> 00:59:49,040 Yeah, he totally is. That bit when he's like, take a 1388 00:59:49,040 --> 00:59:51,920 seat, sit down. Yeah, yeah, yeah, yeah. 1389 00:59:52,000 --> 00:59:53,680 That's about as much patience as he's got. 1390 00:59:53,920 --> 00:59:58,280 Yeah, yeah, Oliver, when he says to McFly as with the same gun, 1391 00:59:58,720 --> 01:00:00,920 great. You did it better than that, 1392 01:00:00,920 --> 01:00:02,000 obviously. Obviously. 1393 01:00:02,600 --> 01:00:05,600 But it's not funny anymore. I think that's a big ask of Tom 1394 01:00:05,600 --> 01:00:08,040 Wilson, who's a comedy actor mainly, but he shows as well 1395 01:00:08,040 --> 01:00:09,440 that he's got the chops. Yeah, yeah, yeah. 1396 01:00:09,760 --> 01:00:12,920 And also what I like is that you can tell Tom Wilson is having 1397 01:00:12,920 --> 01:00:14,720 the time of his life in this film. 1398 01:00:14,800 --> 01:00:15,920 He's loving it. Yeah. 1399 01:00:15,920 --> 01:00:18,080 And rightly. Great bad guy, great 1400 01:00:18,080 --> 01:00:20,160 performance. To me, more credit to beef 1401 01:00:20,160 --> 01:00:22,240 talent than Tom Wilson, please. Yeah. 1402 01:00:22,640 --> 01:00:23,320 Two, right? Yeah. 1403 01:00:23,600 --> 01:00:25,120 Yeah. I mean, I'll look this now just 1404 01:00:25,120 --> 01:00:28,000 kind of runner rank these performances from top to bottom. 1405 01:00:28,000 --> 01:00:31,240 I mean, top is obviously still 50s Biff because he's just got 1406 01:00:31,240 --> 01:00:33,040 that real dramatic weight remove. 1407 01:00:33,040 --> 01:00:36,360 Like this guy's a genuinely nasty piece of work. 1408 01:00:36,360 --> 01:00:40,120 He's not like like a team novel bully this guy. 1409 01:00:40,320 --> 01:00:43,160 You believe he will run Marty off and kill him at the end. 1410 01:00:43,200 --> 01:00:44,800 Yeah, you're doing the best with this guy. 1411 01:00:45,200 --> 01:00:47,720 I think second, that's the old Biff because he doesn't have 1412 01:00:47,720 --> 01:00:49,400 that threatening physicality anymore. 1413 01:00:49,400 --> 01:00:53,040 But you can see he's got instead this can I even streak instead? 1414 01:00:53,040 --> 01:00:56,080 And he's sharper, definitely sharper, the young Biff. 1415 01:00:56,080 --> 01:00:58,520 And he's developed that instead, which makes him just as 1416 01:00:58,520 --> 01:01:01,000 dangerous. When he's hitting money and 1417 01:01:01,200 --> 01:01:04,520 creating, yeah, it's just like, hello. 1418 01:01:05,960 --> 01:01:07,720 Festival is king. Just hit people I'm mad with, 1419 01:01:07,720 --> 01:01:09,800 yeah. Yeah, I can't make a fist 1420 01:01:09,800 --> 01:01:13,640 himself to. To love that I think 8 is 1421 01:01:13,640 --> 01:01:17,200 ultimate 80s Biff, I mean a horrible piece of work and you 1422 01:01:17,200 --> 01:01:19,520 can see how out of control as Eagle has got now. 1423 01:01:19,520 --> 01:01:22,480 And I absolutely believe at that point Biff would have murdered 1424 01:01:22,480 --> 01:01:25,040 George because he knows he can get away with it and he will do 1425 01:01:25,040 --> 01:01:27,560 anything that he wants. I think Glass is definitely 1426 01:01:27,560 --> 01:01:30,720 great for me and it's very scenery tuning, it's very OTT, 1427 01:01:31,080 --> 01:01:32,960 it is quite annoying to be honest. 1428 01:01:32,960 --> 01:01:36,840 So performances not all quite on the same level, but overall he's 1429 01:01:36,840 --> 01:01:39,280 great and as you've been saying, a really underrated bad guy. 1430 01:01:39,960 --> 01:01:41,640 Yeah. Yeah, I think he must have been 1431 01:01:41,640 --> 01:01:44,520 underweight. Yeah, in. 1985 A Biff is like, 1432 01:01:44,520 --> 01:01:47,320 it's proof that he's intelligent when he's got sadism involved 1433 01:01:47,560 --> 01:01:49,000 and he's got a reason to be intelligent. 1434 01:01:49,400 --> 01:01:51,760 Yeah, it's a really good motivation for the character and 1435 01:01:51,760 --> 01:01:53,760 really well done. Yeah, yeah, yeah, he's really 1436 01:01:53,760 --> 01:01:55,600 good. Tom Wilson was always issuing to 1437 01:01:55,600 --> 01:01:58,400 play Biff, though he was lowest paid of the original cast 1438 01:01:58,400 --> 01:02:01,600 members, he was apparently paid 350,000. 1439 01:02:01,760 --> 01:02:05,920 Lee Thompson got 650,000. Wilson said that Bob Gale 1440 01:02:05,920 --> 01:02:10,320 briefed him for the role of 1985 a biff by giving him photos and 1441 01:02:10,320 --> 01:02:13,920 stories of the American tycoon Martin Davies and said look at 1442 01:02:13,920 --> 01:02:16,440 Davies eyes there were like a great white shark. 1443 01:02:16,440 --> 01:02:19,280 And GAIL had also said he took inspiration from Donald Trump, 1444 01:02:19,400 --> 01:02:23,800 which, yeah, it's obvious now. Yeah, he was AUS oil magnate 1445 01:02:23,800 --> 01:02:26,520 Barton Davis. You won 20th Century Fox at one 1446 01:02:26,520 --> 01:02:27,600 point as well. Oh, really? 1447 01:02:27,600 --> 01:02:29,200 Right. Yeah, and the Trump thing. 1448 01:02:29,200 --> 01:02:32,240 Yeah, you can see it. Yeah, it's the same painting 1449 01:02:32,320 --> 01:02:34,120 behind him, isn't it? Yeah, yeah, yeah. 1450 01:02:35,520 --> 01:02:38,800 And 1985 a Lorraine. Her look was apparently based on 1451 01:02:38,800 --> 01:02:41,360 Tammy Fame Messner, the TV American evangelist from the 1452 01:02:41,360 --> 01:02:43,240 80s. You can see that as well once 1453 01:02:43,240 --> 01:02:44,640 you know. OK, right. 1454 01:02:46,560 --> 01:02:49,480 But playing three versions of Biff and Griff was more 1455 01:02:49,480 --> 01:02:51,520 challenging for Tom Wilson than the first film. 1456 01:02:52,080 --> 01:02:54,840 He wears prosthetics to play middle-aged and old Biff, and 1457 01:02:54,840 --> 01:02:57,680 Wilson said it took six hours for the make up artist, Ken 1458 01:02:57,680 --> 01:02:59,480 Chase to turn them into both of them. 1459 01:02:59,840 --> 01:03:02,360 They would start at 3:00 AM to be ready in time for the days 1460 01:03:02,360 --> 01:03:03,840 filming. And on days when there were 1461 01:03:03,840 --> 01:03:06,400 shooting scenes that had multiple versions of Biff in the 1462 01:03:06,400 --> 01:03:09,000 same scene, Wilson would shoot the scenes as the older 1463 01:03:09,000 --> 01:03:12,080 character first, spend 90 minutes having make up removed, 1464 01:03:12,120 --> 01:03:14,720 then go back to the set to perform the scene again as the 1465 01:03:14,720 --> 01:03:17,840 younger character. Yes, like when Old Biff gives 1466 01:03:17,840 --> 01:03:21,160 Young Biff the Almanac, or when Old Biff talks to Griff and Cafe 1467 01:03:21,160 --> 01:03:23,960 80s them. Seems that's a crazy schedule 1468 01:03:23,960 --> 01:03:25,480 though, yeah? Oh yeah. 1469 01:03:25,560 --> 01:03:26,280 Insane. Yeah. 1470 01:03:26,720 --> 01:03:29,560 No major award for Tom Wilson, but according there was some 1471 01:03:29,560 --> 01:03:32,400 performance Oscar for me. Yeah, yeah, why not? 1472 01:03:33,160 --> 01:03:35,920 Amazing everything you need from the talent family tree and a 1473 01:03:35,920 --> 01:03:37,800 very good bad guy. Great. 1474 01:03:40,200 --> 01:03:43,000 We've talked about Michael J Fox and Thomas F Wilson, but they 1475 01:03:43,000 --> 01:03:45,360 are some of their face is worth discussing before we move on. 1476 01:03:45,520 --> 01:03:48,120 Yep, Christopher Lloyd returns as Doc Brown, the man who 1477 01:03:48,120 --> 01:03:50,760 started all the time travel shenanigans, and Leah Thompson 1478 01:03:50,760 --> 01:03:55,000 is back as Lorraine Baines slash McFly slash Tannen Marty's 1479 01:03:55,000 --> 01:03:56,960 mother, who appears in all timelines in different 1480 01:03:56,960 --> 01:04:00,000 incarnations. So I see how important are they 1481 01:04:00,040 --> 01:04:02,000 to the film. I'll go for Christopher Lloyd 1482 01:04:02,000 --> 01:04:03,840 first of all. I think he's just absolutely 1483 01:04:03,840 --> 01:04:05,760 fantastic. He just owns the character, like 1484 01:04:05,760 --> 01:04:07,800 we've said about the other actors in the film, but he 1485 01:04:07,800 --> 01:04:12,520 really does add this depth, this scientific depth, and then this 1486 01:04:12,520 --> 01:04:15,040 moral compass. And he's like battling them both 1487 01:04:15,040 --> 01:04:18,000 as like what's right morally to do or what's right and going to 1488 01:04:18,000 --> 01:04:20,720 be proven scientifically. And it's always his moral 1489 01:04:20,720 --> 01:04:23,680 compass that wins over science. It's always Marty's in trouble. 1490 01:04:23,880 --> 01:04:25,400 Let's be honest. He's soon getting arrested. 1491 01:04:25,400 --> 01:04:27,000 He probably deserved. He's a fucking idiot. 1492 01:04:27,480 --> 01:04:30,320 He is an idiot. Why bother going back and seeing 1493 01:04:30,320 --> 01:04:32,520 something's got to be good about your kids like everyone else is 1494 01:04:32,520 --> 01:04:33,960 all right, I. Don't like his multi coloured 1495 01:04:33,960 --> 01:04:34,920 cap either. No. 1496 01:04:35,000 --> 01:04:36,600 Well, there you go. Let's get it all out. 1497 01:04:36,760 --> 01:04:41,640 Let's get all on the table. But I think Lloyd just totally 1498 01:04:41,640 --> 01:04:43,240 sells that. He can tell he cares. 1499 01:04:43,880 --> 01:04:46,080 Him and Jay Fox were just very, very close. 1500 01:04:46,080 --> 01:04:47,760 Still on now. It's always so lovely to see 1501 01:04:47,760 --> 01:04:49,440 them together. But they'll have such a 1502 01:04:49,440 --> 01:04:51,720 chemistry, and I'll see it from the end of this film. 1503 01:04:51,720 --> 01:04:53,240 When he turns around, he looks and he goes. 1504 01:04:53,240 --> 01:04:54,840 There's only one man who can help me now. 1505 01:04:55,240 --> 01:04:57,480 You know that he means it. It gets me. 1506 01:04:57,480 --> 01:04:59,080 Like he's a good punch every single time. 1507 01:04:59,320 --> 01:05:01,520 He just brings just such a warmth to the screen, and he 1508 01:05:01,520 --> 01:05:03,000 always has. Absolutely love him as Doc. 1509 01:05:03,440 --> 01:05:05,880 Yeah, as a character, Doc's kind of a plot device as much as 1510 01:05:05,880 --> 01:05:08,520 anything, because he's the means by which Marty travels through 1511 01:05:08,520 --> 01:05:11,280 time in the 1st place, then at the end, his vanishing sets of 1512 01:05:11,280 --> 01:05:12,960 Molly's rescue mission in the third film. 1513 01:05:13,400 --> 01:05:16,000 But Lloyd's experienced enough and good enough to make the part 1514 01:05:16,000 --> 01:05:18,160 more than that, and often through humour. 1515 01:05:18,440 --> 01:05:21,280 I love it at the start in 2015, when Doc takes off his like, 1516 01:05:21,600 --> 01:05:24,480 aging master of his actual face. He looks no different. 1517 01:05:25,960 --> 01:05:27,640 How do I look? You look great doc. 1518 01:05:27,840 --> 01:05:29,760 Replaced his spleen as well his call on. 1519 01:05:32,400 --> 01:05:33,960 But yeah, Lloyd brings a warmth in the film. 1520 01:05:34,040 --> 01:05:36,120 There's a warmth in Doc and Marty's relationship. 1521 01:05:36,760 --> 01:05:39,240 Lloyd and Fox have far better chemistry than you could expect 1522 01:05:39,240 --> 01:05:41,600 them to throw them together. Yeah, that's fair in the whole 1523 01:05:41,600 --> 01:05:43,160 trilogy and it's a key part here as. 1524 01:05:43,160 --> 01:05:46,400 Well, oh, absolutely, yeah. I'll talk about Leah Thompson 1525 01:05:46,400 --> 01:05:48,840 because I feel a little bit sorry for her because I think 1526 01:05:48,840 --> 01:05:50,320 she's the one who gets underserved. 1527 01:05:50,320 --> 01:05:52,880 Yeah, with the script here, to be honest, in the writing and 1528 01:05:52,880 --> 01:05:56,320 the multiple roles as original, Lorraine, just an absolute 1529 01:05:56,320 --> 01:05:58,120 sweetheart. But you just don't get to see 1530 01:05:58,120 --> 01:06:00,360 enough of her and she has nothing to do, you know? 1531 01:06:00,440 --> 01:06:03,640 And then alternate 80s Lorraine, I mean, it's all a bit grim and 1532 01:06:03,640 --> 01:06:06,280 horrible, which is obviously the point and she can only play 1533 01:06:06,280 --> 01:06:08,280 that. But it is still quite depressing 1534 01:06:08,280 --> 01:06:11,320 to see that character being reduced to that by Biff. 1535 01:06:11,760 --> 01:06:14,240 But then when you see you're playing like old Lorraine, it's 1536 01:06:14,240 --> 01:06:16,840 like, has Leah Thompson ever seen an old person before in 1537 01:06:16,840 --> 01:06:19,560 real life? Because she just does this like 1538 01:06:19,560 --> 01:06:22,880 weird shuffling and squeaky voice, which again, I mean, that 1539 01:06:22,880 --> 01:06:25,000 old sequence, like I've said, I don't really like it takes me 1540 01:06:25,000 --> 01:06:27,400 out of it. So yeah, unfortunately it's just 1541 01:06:27,400 --> 01:06:29,880 a mix baggy for her in terms of what she delivers because the 1542 01:06:29,880 --> 01:06:32,360 script doesn't really give her anything meaningful to do. 1543 01:06:33,520 --> 01:06:35,560 Yeah, she doesn't play his pivotal, the part in the plot 1544 01:06:35,560 --> 01:06:36,320 here. She doesn't. 1545 01:06:36,320 --> 01:06:38,400 The first film, obviously. I still like the character 1546 01:06:38,400 --> 01:06:39,320 though. I like Leah Thompson. 1547 01:06:39,840 --> 01:06:42,360 I love it, yeah. I think 1985 year Lorraine's 1548 01:06:42,360 --> 01:06:44,680 maybe the most memorable because obviously she's not happy with 1549 01:06:44,720 --> 01:06:47,880 like, the monster that is Bitch. Yeah, she's an alcoholic, She's 1550 01:06:47,880 --> 01:06:49,720 being abused. It's pretty awful stuff. 1551 01:06:49,960 --> 01:06:51,840 I think Thompson's really good with it because she doesn't shy 1552 01:06:51,840 --> 01:06:53,440 away from it. She gives it some weight. 1553 01:06:53,760 --> 01:06:56,760 Yeah, but a bit like Tom Wilson, Leah Thompson's playing multiple 1554 01:06:56,760 --> 01:06:58,720 roles and they're all very different. 1555 01:06:58,760 --> 01:07:02,120 The difference with her is she must only have about maybe 15 1556 01:07:02,120 --> 01:07:04,880 minutes of screen time to do it in, so that's not easy, 1557 01:07:05,080 --> 01:07:06,840 especially when Lorraine's on driving the plot. 1558 01:07:07,120 --> 01:07:09,040 But I think every scene she's in, she elevates. 1559 01:07:09,240 --> 01:07:10,880 I like Leah Thompson and Lorraine a lot. 1560 01:07:11,360 --> 01:07:14,840 Absolutely. I think 1985 a Lorraine is very, 1561 01:07:14,840 --> 01:07:17,400 very similar and reminds me of the original Lorraine from the 1562 01:07:17,400 --> 01:07:20,400 start of the first part of the. Yeah, and just that really 1563 01:07:20,400 --> 01:07:22,480 downtrodden and like a little lost puppy. 1564 01:07:22,480 --> 01:07:26,720 What Lorraine, What amazing. And just, you know, Joey's still 1565 01:07:26,720 --> 01:07:28,840 going to prison. I don't help Joey for a change. 1566 01:07:29,200 --> 01:07:31,160 Yeah, he. Definitely needs help. 1567 01:07:31,160 --> 01:07:32,840 Yeah, you've. Been in jail about 30 years. 1568 01:07:34,760 --> 01:07:36,840 Must be a mass murderer. Actually don't help this guy. 1569 01:07:37,840 --> 01:07:40,840 Lee Thompson plays Lorraine across multiple timelines, as 1570 01:07:40,840 --> 01:07:44,160 we've discussed, and there was a problem with the 1955 version 1571 01:07:44,280 --> 01:07:46,520 because the sequence at the Enchantment Under the Sea dance 1572 01:07:46,520 --> 01:07:49,040 involved shooting scenes from the first film from a different 1573 01:07:49,040 --> 01:07:52,320 angle, they needed to use the same costumes for continuity, 1574 01:07:52,880 --> 01:07:55,400 but the dress Lorraine wore at the dance couldn't be found 1575 01:07:55,400 --> 01:07:57,680 anywhere. Lee Thompson late I admit to 1576 01:07:57,680 --> 01:08:00,640 Zemeckis that she'd taken one of them home first time around to 1577 01:08:00,640 --> 01:08:02,560 keep. So she went home and had to get 1578 01:08:02,560 --> 01:08:04,560 it and wore it for the film, tail between her legs. 1579 01:08:05,920 --> 01:08:07,160 Still that I keep it, thankfully. 1580 01:08:07,320 --> 01:08:08,040 Yeah. Brilliant. 1581 01:08:08,200 --> 01:08:10,400 And Leah Thompson said that she took us keepsake from this film 1582 01:08:10,400 --> 01:08:12,480 as well. Lorraine's fake breast implant 1583 01:08:12,480 --> 01:08:14,000 from 1985. Yeah. 1584 01:08:14,200 --> 01:08:16,080 But I think that was more because it was based on a mold 1585 01:08:16,080 --> 01:08:18,439 of her own chest, so she didn't want anyone else getting them, 1586 01:08:18,439 --> 01:08:20,479 which is fair enough. Yeah, that is fair enough. 1587 01:08:20,479 --> 01:08:22,960 Understandable. Now there is another story 1588 01:08:22,960 --> 01:08:25,640 relating to the cast of Back to the Future Part 2 that you can't 1589 01:08:25,680 --> 01:08:28,240 not talk about when telling the story of this film, isn't there? 1590 01:08:28,560 --> 01:08:29,319 Here we go. Yeah. 1591 01:08:29,439 --> 01:08:30,960 That revolves around Crispin Glover. 1592 01:08:31,200 --> 01:08:34,279 He played George McFly in the first film, a big role, but did 1593 01:08:34,279 --> 01:08:37,240 not return this time around, although the character does kind 1594 01:08:37,240 --> 01:08:37,960 of. Yeah. 1595 01:08:38,000 --> 01:08:39,840 Yeah. Matt, you're going to regale us 1596 01:08:39,840 --> 01:08:43,760 with what happened, I believe. I am so the first film because 1597 01:08:43,760 --> 01:08:45,800 it hadn't been written with a sequel in mind. 1598 01:08:45,800 --> 01:08:49,439 None of the cast members were tied to sequel contracts, so for 1599 01:08:49,439 --> 01:08:51,359 Part 2, it's Meccas and Universal. 1600 01:08:51,359 --> 01:08:54,600 They struck deals with all of the original cast members apart 1601 01:08:54,600 --> 01:08:57,439 from Crisp and Glover, and Glover has said the problem was 1602 01:08:57,439 --> 01:09:00,720 the offer. He was offered $125,000 to 1603 01:09:00,720 --> 01:09:04,080 return as George, which was less than half what every other cast 1604 01:09:04,080 --> 01:09:05,920 member was offered. Yes. 1605 01:09:05,920 --> 01:09:09,680 So depending on who you listen to, the story is very different. 1606 01:09:10,040 --> 01:09:11,520 Glover says the offer was insulting. 1607 01:09:11,920 --> 01:09:14,319 Bob Gale says that Glover's wage demands were pretty much the 1608 01:09:14,319 --> 01:09:17,560 same as Michael J Fox's, and he wanted final script approval as 1609 01:09:17,560 --> 01:09:19,479 well. So very different accounts. 1610 01:09:20,359 --> 01:09:22,279 Wow, final. Script approval. 1611 01:09:24,560 --> 01:09:27,760 And Glover also said the reason he was low balled was personal. 1612 01:09:28,000 --> 01:09:30,439 On the first film, Glover had questioned the ending to 1613 01:09:30,439 --> 01:09:32,800 Zemeckis. He said that Marty ended up 1614 01:09:32,800 --> 01:09:35,240 getting the truck he wanted and the Mcclice, being better off 1615 01:09:35,240 --> 01:09:38,680 financially, made money the reward when it should be about 1616 01:09:38,680 --> 01:09:40,640 love. Yeah, I think we were problems 1617 01:09:40,640 --> 01:09:42,479 throughout the first film. I've heard Zemecki see the 1618 01:09:42,479 --> 01:09:45,279 Glover was like a wild card and his performance had to be reined 1619 01:09:45,279 --> 01:09:47,800 in constantly. It sounds like maybe he wasn't 1620 01:09:47,800 --> 01:09:49,120 that keen on working with him again. 1621 01:09:49,120 --> 01:09:51,040 But though, well, if he comes back for less than everyone 1622 01:09:51,040 --> 01:09:53,120 else, maybe it's worth it. Yeah, fair enough. 1623 01:09:53,240 --> 01:09:54,400 Yeah. I wonder if he would have got 1624 01:09:54,400 --> 01:09:56,680 any more screen time, because that sounds about right for the 1625 01:09:56,680 --> 01:09:58,720 amount of screen time we'll see the character have in the 1626 01:09:58,720 --> 01:10:00,000 finished film. Exactly. 1627 01:10:00,000 --> 01:10:02,120 Yeah. So yeah, with no George for Part 1628 01:10:02,120 --> 01:10:05,000 2, Zemeckas and GAIL came up with a few workarounds. 1629 01:10:05,400 --> 01:10:08,160 They dug out unused footage of George from the first film and 1630 01:10:08,160 --> 01:10:11,720 used it for some cutaways. They wrote him out of 1985 A 1631 01:10:11,720 --> 01:10:14,320 entirely by having Biff murder him off screen. 1632 01:10:14,680 --> 01:10:18,720 And in the 2015 and 1955 sequences, George is kept in the 1633 01:10:18,720 --> 01:10:21,400 background and played by an actor called Jeffrey Weissman, 1634 01:10:21,680 --> 01:10:24,120 wearing prosthetics to make him look more like lover. 1635 01:10:24,720 --> 01:10:25,880 Yes, to keep him in the background. 1636 01:10:25,880 --> 01:10:29,280 Or in 2015, he's upside down in that hovering medical device to 1637 01:10:29,280 --> 01:10:30,400 help his back. That'll do it. 1638 01:10:30,840 --> 01:10:33,680 The Ortholev it's called. I could have one of those. 1639 01:10:34,560 --> 01:10:36,880 Too, right? Like Matt just said there. 1640 01:10:36,880 --> 01:10:39,720 Jeffrey Weissman replaced Glover as George, but later said he 1641 01:10:39,720 --> 01:10:43,360 didn't have a nice time on set. He said that when Michael J Fox 1642 01:10:43,360 --> 01:10:45,920 first saw him in the George McFly makeup, he said Chrisman 1643 01:10:45,920 --> 01:10:48,440 ain't going to like this. And when Leah Thompson's mother 1644 01:10:48,440 --> 01:10:51,680 visited the set, Thompson introduced Weissman to her 1645 01:10:51,680 --> 01:10:54,400 straight away, as this is the guy playing Crispin. 1646 01:10:55,480 --> 01:10:58,520 Yeah, Oh, what a kicker. I mean, it's not his fault 1647 01:10:58,520 --> 01:11:01,600 that's not really on, is it? Nah, but Jeffrey Weissman did 1648 01:11:01,600 --> 01:11:03,880 say that the other cast members later apologized to him and he 1649 01:11:03,880 --> 01:11:05,960 seems to attend cast reunions and stuff now. 1650 01:11:05,960 --> 01:11:08,120 So right. Water under the bridge, I think. 1651 01:11:08,120 --> 01:11:10,840 Fair 1. So Glover then took issues with 1652 01:11:10,840 --> 01:11:13,720 the universal's actions. Understandably, he wasn't happy 1653 01:11:13,720 --> 01:11:15,680 with him using footage of him without pain. 1654 01:11:15,680 --> 01:11:18,400 And when he found out Jeffrey Weissman prosthetics had been 1655 01:11:18,400 --> 01:11:21,400 made from molds of Glover's face, he filed A lawsuit against 1656 01:11:21,400 --> 01:11:23,800 the producers of the film on the grounds that they neither owned 1657 01:11:23,800 --> 01:11:26,160 his likeness nor had permission to use it. 1658 01:11:26,840 --> 01:11:28,960 Yeah, those prosthetics were based on the mold that had been 1659 01:11:28,960 --> 01:11:31,520 created to turn Glover into middle age George. 1660 01:11:31,560 --> 01:11:34,400 The start and the end of the first film smashing through that 1661 01:11:34,400 --> 01:11:39,920 ball of peanut brittle. Yeah, greasy hair. 1662 01:11:40,600 --> 01:11:43,080 You don't need those anxieties and headaches. 1663 01:11:44,040 --> 01:11:46,720 But Glover ended up dropping the lawsuit after the case was 1664 01:11:46,720 --> 01:11:51,080 settled out of court for $765,000 by Universal. 1665 01:11:51,520 --> 01:11:54,840 And because of this lawsuit, the Screen Actors Guild introduced 1666 01:11:54,840 --> 01:11:58,720 new rules saying studios cannot use likenesses of actors without 1667 01:11:58,720 --> 01:12:00,040 their consent. Fair 1. 1668 01:12:00,640 --> 01:12:03,480 Yeah, landmark case in the industry, and I mean with deep 1669 01:12:03,480 --> 01:12:06,680 fakes and AI in the years since, those are rules that definitely 1670 01:12:06,680 --> 01:12:08,920 had to happen at some .0. God, yeah, definitely. 1671 01:12:09,160 --> 01:12:11,240 Apparently, Glover's attorney said to the judge of the time, 1672 01:12:11,280 --> 01:12:13,960 things may happen in the future that will make this important. 1673 01:12:14,000 --> 01:12:15,200 Wow, he was right. Yeah. 1674 01:12:15,520 --> 01:12:16,600 He was. How much did he know? 1675 01:12:16,600 --> 01:12:18,680 And then what does Crispin Glover do? 1676 01:12:18,680 --> 01:12:20,520 Charlie's Angels. And then Charlie's Angels. 1677 01:12:20,520 --> 01:12:22,640 Full Throttle is weird in them films. 1678 01:12:23,840 --> 01:12:24,880 Yeah, very. Weird. 1679 01:12:24,880 --> 01:12:26,720 Really weird. Well, yeah, Saying that, it does 1680 01:12:26,720 --> 01:12:29,440 seem like it's a magazine Glover made-up because in 2007 the 1681 01:12:29,440 --> 01:12:32,440 magus didn't animate in motion capture version of Beowulf, if 1682 01:12:32,440 --> 01:12:33,920 you remember. Oh yeah, yeah. 1683 01:12:34,000 --> 01:12:36,760 In that, Crisp and Glover plays Grendel like a main character, 1684 01:12:37,000 --> 01:12:38,960 all right. Right, not fair enough then. 1685 01:12:39,240 --> 01:12:41,520 Before ending on the cast, it's time for more input from our, 1686 01:12:41,640 --> 01:12:44,200 ERM, patrons. Michael Smith's here and he has 1687 01:12:44,200 --> 01:12:46,160 a question on the cast. Hello, Michael. 1688 01:12:46,160 --> 01:12:48,200 Hello, Michael. So Michael asks, if you want to 1689 01:12:48,200 --> 01:12:50,600 remake the Back of the Future trilogy today, who were you 1690 01:12:50,600 --> 01:12:53,200 casting as Marty and Doc? And in the future version of 1691 01:12:53,200 --> 01:12:55,920 Hill Valley, what would replace the hoverboard and the George 19 1692 01:12:55,920 --> 01:12:58,760 hologram to make the world feel just as imaginative for today's 1693 01:12:58,760 --> 01:13:01,400 audience, right? Michael suggested walk a score 1694 01:13:01,400 --> 01:13:03,400 bell for Marty. Oh, nice, right. 1695 01:13:03,400 --> 01:13:04,840 Yeah. Yeah, but what do we think, 1696 01:13:04,840 --> 01:13:07,080 Wesley? I mean, it's been said before, 1697 01:13:07,080 --> 01:13:08,880 but I think the obvious choice is Tom Holland. 1698 01:13:08,960 --> 01:13:12,080 Yes, for Marty McFly, I think that would be in there for me. 1699 01:13:12,080 --> 01:13:14,320 Definitely on on the hoverboard. He's got the chops to do that. 1700 01:13:14,480 --> 01:13:17,000 Then Diaz, Jennifer, obviously. Obviously, yeah. 1701 01:13:17,800 --> 01:13:19,320 Basically just the cast of the Odyssey. 1702 01:13:21,800 --> 01:13:25,760 Remake it Back of the Future and I would go a little bit further 1703 01:13:25,760 --> 01:13:27,880 out there and go for someone with a little bit of comedy 1704 01:13:27,880 --> 01:13:30,240 chops, but with that a great amount of style. 1705 01:13:30,240 --> 01:13:31,920 So I'll go for Jeff Goldblumer's doc. 1706 01:13:32,360 --> 01:13:34,000 Nice. I think that would be really 1707 01:13:34,000 --> 01:13:35,720 good. That would be cool to replace 1708 01:13:35,720 --> 01:13:37,520 those things of Jaws 19 and hoverboards. 1709 01:13:37,520 --> 01:13:39,920 I would say it's probably going to be Avatar 19. 1710 01:13:40,120 --> 01:13:43,840 It comes out some kind of blue hologram that fills the street. 1711 01:13:44,160 --> 01:13:46,960 And replacing hoverboards would just have to be jet packs. 1712 01:13:47,120 --> 01:13:48,920 Lovely. Any style of jet pack. 1713 01:13:49,200 --> 01:13:51,080 Why not report whatever, whatever works. 1714 01:13:51,080 --> 01:13:52,320 A Mattel jet pack would be great. 1715 01:13:52,320 --> 01:13:55,080 Just a little baby version. It doesn't fly over water, yeah. 1716 01:13:56,120 --> 01:13:59,000 But yeah, I'd love a jetpack. Yeah, I mean, Tom Holland's a 1717 01:13:59,040 --> 01:14:01,680 great show because I'm sure I've seen a deep fake trailer with 1718 01:14:01,680 --> 01:14:04,000 someone's used technology to put them in there. 1719 01:14:04,120 --> 01:14:08,400 So I would go get Matarazzo who is Dustin from Stranger Things. 1720 01:14:08,520 --> 01:14:09,440 All right. Oh nice. 1721 01:14:09,440 --> 01:14:12,000 Because I think out of all the kids in that series, I think he 1722 01:14:12,000 --> 01:14:14,240 had the most natural kind of charm and likeability. 1723 01:14:14,360 --> 01:14:16,280 And I think you get quite a different Marty with him. 1724 01:14:16,400 --> 01:14:17,800 So I think he would work really well. 1725 01:14:18,080 --> 01:14:23,440 He was the only actor in that series apart from Steve Get 1726 01:14:23,440 --> 01:14:25,200 Stevens, Doc. Great head. 1727 01:14:25,800 --> 01:14:28,600 Yeah, great head. And then for Doc Brown, I'd go 1728 01:14:28,600 --> 01:14:30,680 for Sam Rock Brown. I think he could bring something 1729 01:14:30,680 --> 01:14:32,440 really different to that. I think he could nail. 1730 01:14:32,480 --> 01:14:35,440 Yeah, that would be great. He'd be so unhinged. 1731 01:14:35,840 --> 01:14:36,840 Really unhinged. Yeah. 1732 01:14:37,080 --> 01:14:39,720 And then I thought for replacing hoverbots, I think I would just 1733 01:14:39,720 --> 01:14:42,200 take the other fan favorite from this film and upgrade it so 1734 01:14:42,200 --> 01:14:43,720 you'd have hover trainers instead. 1735 01:14:43,720 --> 01:14:45,120 Nice. And I think replace straws. 1736 01:14:45,120 --> 01:14:48,520 I'd replace how with John Wick because I think even in 90 years 1737 01:14:48,520 --> 01:14:50,760 old Keanu Reeves will still be kicking ass and. 1738 01:14:51,440 --> 01:14:53,320 Yes, you definitely will, yeah. Yeah. 1739 01:14:54,160 --> 01:14:56,480 And that's the cast section for Back of the Future Part 2. 1740 01:14:56,560 --> 01:14:59,440 Michael J Fox carrying the film as effectively as ever, Tom 1741 01:14:59,440 --> 01:15:02,560 Wilson building a family dynasty of villains, and Christopher 1742 01:15:02,560 --> 01:15:04,880 Lloyd and Leah Thompson bringing in the kind of warmth good 1743 01:15:04,880 --> 01:15:06,720 supporting actors can. Yeah. 1744 01:15:07,120 --> 01:15:09,360 Pretty great ensemble cast. It's fantastic. 1745 01:15:09,360 --> 01:15:18,220 It's been great, yeah. All the Right movies will be 1746 01:15:18,220 --> 01:15:20,780 back shortly. Thank you for supporting us by 1747 01:15:20,780 --> 01:15:26,560 listening to this episode. Sponsors thanks for listening to 1748 01:15:26,560 --> 01:15:29,280 our sponsors. Now back to the show. 1749 01:15:32,640 --> 01:15:37,040 The middle. The second active Back to the 1750 01:15:37,040 --> 01:15:40,200 Future Part 2 sees things getting very, very dark in Hill 1751 01:15:40,200 --> 01:15:42,360 Valley. We're going to talk Marty and 1752 01:15:42,360 --> 01:15:45,280 dark heading back to 1955 and into the events of the first 1753 01:15:45,280 --> 01:15:47,960 film. But first, it's 1985 A. 1754 01:15:48,440 --> 01:15:50,920 It is. So thanks to Old Biv's trip down 1755 01:15:50,920 --> 01:15:53,880 memory lane, Marty and the dark return to an unrecognizable 1756 01:15:53,880 --> 01:15:56,440 1985. Yeah, we see beef, pleasure, 1757 01:15:56,440 --> 01:16:00,400 paradise, a big Lorraine, a murder, George and our heroes 1758 01:16:00,400 --> 01:16:01,880 pissing together. What's gone wrong? 1759 01:16:02,840 --> 01:16:04,920 So, Matt, what do you make in 1985, eh? 1760 01:16:05,840 --> 01:16:07,280 I mean, this is absolutely horrible. 1761 01:16:07,800 --> 01:16:09,840 Horrible for everyone, horrible for us. 1762 01:16:10,280 --> 01:16:13,240 Sick. I'll it's really sick evil. 1763 01:16:13,440 --> 01:16:15,600 No one's happy here. I mean, this bit with Lorraine, 1764 01:16:15,600 --> 01:16:18,360 I mean, obviously riffing on the scene from the first film again, 1765 01:16:18,360 --> 01:16:21,280 where unconscious Marty is being looked after by Lorraine. 1766 01:16:21,800 --> 01:16:24,960 And I know the whole first film did have that kind of incest 1767 01:16:24,960 --> 01:16:27,880 subtext to it, and that was handled very carefully. 1768 01:16:27,880 --> 01:16:30,720 But I'm watching the scene and I just want Marty to stop being 1769 01:16:30,720 --> 01:16:32,200 obsessed with his mother's breasts. 1770 01:16:32,200 --> 01:16:33,640 Like he can't stop staring at them. 1771 01:16:33,840 --> 01:16:35,760 Like, all right, I get the point. 1772 01:16:35,760 --> 01:16:37,040 Is that Marty or is that Michael J? 1773 01:16:37,040 --> 01:16:38,960 Fox, well, exactly. The news was surprised. 1774 01:16:39,760 --> 01:16:42,320 You know, there's other things going on here that he should be 1775 01:16:42,320 --> 01:16:44,360 alarmed by. I mean, when you consider how 1776 01:16:44,360 --> 01:16:46,880 wholesome Lorraine is in the first one and now she's just 1777 01:16:47,320 --> 01:16:50,320 gaudy and trashy and a drunk. It's just heartbreaking, really. 1778 01:16:50,320 --> 01:16:52,800 Like, say, it goes into the the dark places this film. 1779 01:16:53,400 --> 01:16:55,600 And then you take this scene with how Lorraine has turned out 1780 01:16:55,600 --> 01:16:58,840 without George, and you get that great exposition at the start 1781 01:16:58,840 --> 01:17:00,920 that explains how Biff got into this position. 1782 01:17:01,320 --> 01:17:04,240 And this is so influenced by Pottersville from It's a 1783 01:17:04,240 --> 01:17:05,480 Wonderful Life. Oh, yeah. 1784 01:17:05,480 --> 01:17:08,160 Just, you know, a lot more emphasis on cleavage than you 1785 01:17:08,160 --> 01:17:10,120 got in that film. Yeah, just a bit. 1786 01:17:10,440 --> 01:17:15,200 Depends where you look. And you've looked very 1787 01:17:15,200 --> 01:17:16,680 carefully. Yes, I hear. 1788 01:17:18,000 --> 01:17:21,400 Yeah, 1985 A It's the first time the trilogy really explores this 1789 01:17:21,400 --> 01:17:24,040 part of time travel, like what happens if things get changed, 1790 01:17:24,040 --> 01:17:26,360 like, for the worse. And I think it's classic part of 1791 01:17:26,360 --> 01:17:29,200 the future style storytelling because it starts funny live 1792 01:17:29,200 --> 01:17:31,520 when Marty finds his family don't live in his house anymore. 1793 01:17:31,680 --> 01:17:33,280 The guy bursting with a baseball bat. 1794 01:17:33,280 --> 01:17:35,240 And Marty's like, I got the wrong house. 1795 01:17:35,400 --> 01:17:36,960 Damn right you got the wrong house. 1796 01:17:38,640 --> 01:17:40,960 I could have been really close to the bone if it wasn't. 1797 01:17:41,120 --> 01:17:43,200 Michael J Fox has been so innocent and. 1798 01:17:43,200 --> 01:17:45,560 That yeah, yeah, yeah it. Could have been like really 1799 01:17:45,560 --> 01:17:47,880 sinister that, yeah. Greatly Strickland as well, 1800 01:17:47,880 --> 01:17:50,040 armed to the teeth like Arnold in commando. 1801 01:17:50,200 --> 01:17:52,960 Yeah, but then just the kind of gradual horror of what's 1802 01:17:52,960 --> 01:17:55,520 happened sets in. Jennifer again, just a bummed on 1803 01:17:55,520 --> 01:17:58,680 the porch like a sack of spuds, just like I should be fine, 1804 01:17:58,680 --> 01:18:00,680 whatever. But the scene with Biff and 1805 01:18:00,680 --> 01:18:02,280 Lorraine that you're just talking about there, Matt, 1806 01:18:02,480 --> 01:18:04,920 that's where the drama starts to kind of land because Biff's 1807 01:18:04,920 --> 01:18:07,920 arrival throws the doors open like you're supposed to be in 1808 01:18:07,920 --> 01:18:09,440 boarding school, you son of a bitch. 1809 01:18:09,640 --> 01:18:11,280 It's massive. Switzerland. 1810 01:18:12,360 --> 01:18:13,200 Switzerland. Yeah. 1811 01:18:13,280 --> 01:18:14,920 Packed off someone. She hates him. 1812 01:18:15,960 --> 01:18:17,360 I wouldn't have. Zemeckis might have had some 1813 01:18:17,360 --> 01:18:19,400 reservations about Wilson playing this version of the 1814 01:18:19,400 --> 01:18:21,480 character, but then when he saw this, he must have been like, 1815 01:18:21,480 --> 01:18:23,000 yeah, great. Oh, fantastic. 1816 01:18:23,000 --> 01:18:26,360 Yeah, yeah. In 1985, a BIFF mentions Marty's 1817 01:18:26,360 --> 01:18:28,400 brother and sister Dave and Linda. 1818 01:18:28,680 --> 01:18:30,880 Neither of them are seen, but a scene was shot with Mark 1819 01:18:30,880 --> 01:18:33,920 McClure, who plays Dave in the first film where he runs into 1820 01:18:33,920 --> 01:18:36,960 Marty outside Biff's Pleasure Paradise and he seems to be a 1821 01:18:36,960 --> 01:18:39,120 homeless drunk. And the scene was planned where 1822 01:18:39,120 --> 01:18:41,880 Linda would be seen working as a prostitute to settle death. 1823 01:18:42,200 --> 01:18:44,440 Jesus. The actors who played Linda, 1824 01:18:44,480 --> 01:18:47,800 Wendy Joe Sperber, was pregnant and couldn't do it, so the scene 1825 01:18:47,800 --> 01:18:50,080 with Dave was removed. Thank God they didn't make her a 1826 01:18:50,080 --> 01:18:51,640 pregnant prostitute as well. I'll be. 1827 01:18:51,640 --> 01:18:52,480 Really. Yeah. 1828 01:18:52,760 --> 01:18:54,960 That all sounds a bit much, yeah, doesn't it? 1829 01:18:55,000 --> 01:18:56,560 They're both back for part three though, aren't they? 1830 01:18:56,560 --> 01:18:57,840 They're all back to normal. Thank you. 1831 01:18:57,840 --> 01:18:58,680 Yeah, that's fine. Yeah. 1832 01:18:58,720 --> 01:19:00,840 Is that why they put red in there is the drunk and he's 1833 01:19:00,840 --> 01:19:02,360 like, you're crazy drunk pedestrian. 1834 01:19:02,480 --> 01:19:03,800 Well, he's in the first film, isn't? 1835 01:19:04,000 --> 01:19:06,480 He he is, but that's why he comes back as like the cameo 1836 01:19:06,480 --> 01:19:08,600 possible, yeah. And there's some interesting 1837 01:19:08,600 --> 01:19:11,680 details throughout 1985 year that a blink and you'll miss 1838 01:19:11,680 --> 01:19:13,800 them. One of them is Biff's Pleasure 1839 01:19:13,800 --> 01:19:16,400 Paradise is built on top of the Hill Valley Courthouse. 1840 01:19:17,440 --> 01:19:19,920 Yeah, you can see the old clock tower behind the neon sign of 1841 01:19:19,920 --> 01:19:21,080 Biff. He's like lighting his cigar 1842 01:19:21,080 --> 01:19:26,560 with $100 bill. And there's a video playing at 1843 01:19:26,560 --> 01:19:29,360 the Pleasure Paradise which tells the back story of how Biff 1844 01:19:29,360 --> 01:19:31,840 came in the money. And we see that Lorraine is 1845 01:19:31,840 --> 01:19:35,160 Biff's third wife, the first who've been Marilyn Monroe in 1846 01:19:35,160 --> 01:19:36,800 Jane Mansfield. Outrageous. 1847 01:19:37,320 --> 01:19:39,400 Money or not, I've no idea how Biff pulled that off. 1848 01:19:39,560 --> 01:19:41,920 No, it's. Charismatic when he wants to be. 1849 01:19:43,960 --> 01:19:47,400 And inside this penthouse, 2 porn film tapes can be seen in 1850 01:19:47,400 --> 01:19:50,000 the background. They're called Black Taboo and 1851 01:19:50,000 --> 01:19:53,040 The Plane with Fire and a Real porn films, but they both have 1852 01:19:53,040 --> 01:19:56,080 an incest theme which is possibly why they were chosen. 1853 01:19:56,600 --> 01:19:57,920 Well. Well, any good matter? 1854 01:19:58,200 --> 01:20:00,360 Yeah, first one's all right. Second one you can skip. 1855 01:20:00,600 --> 01:20:04,040 I've still got your second one, I'll bring it back. 1856 01:20:04,040 --> 01:20:07,000 Cheers. So from there, we'll have a big 1857 01:20:07,000 --> 01:20:09,320 exposition scene where we'll find out exactly what's going 1858 01:20:09,320 --> 01:20:11,160 on. And then Ma, he's got to come 1859 01:20:11,160 --> 01:20:15,360 back and find out exactly what's going on from Biff, which I love 1860 01:20:15,360 --> 01:20:17,280 this sequence. He's sitting there watching 1861 01:20:17,280 --> 01:20:20,480 Fistful of Dollars 1964. Love that. 1862 01:20:20,600 --> 01:20:23,920 He's a great flick. I love this flick in that 1863 01:20:23,920 --> 01:20:27,160 moment. But I do love this exposition 1864 01:20:27,160 --> 01:20:29,000 that you get from Biff. It's a really good moment where 1865 01:20:29,000 --> 01:20:31,400 he's really selling the character and really believes in 1866 01:20:31,400 --> 01:20:34,240 what's going on and really believes this story that he's 1867 01:20:34,240 --> 01:20:35,880 telling him. And there's just that lovely 1868 01:20:35,880 --> 01:20:39,960 little twist where he's just sitting, you know, if a wide out 1869 01:20:39,960 --> 01:20:43,080 scientist or a kid comes back and he picks the gun up and then 1870 01:20:43,080 --> 01:20:46,160 just points at him. But again, I mean, Marty could 1871 01:20:46,160 --> 01:20:48,120 have killed him with that. He throws. 1872 01:20:48,120 --> 01:20:49,560 I always find that shot really weird. 1873 01:20:49,560 --> 01:20:51,360 Like was it reversed or speed up or something? 1874 01:20:51,400 --> 01:20:53,400 Oh yeah, yeah, yeah. Because he ducks out the way and 1875 01:20:53,400 --> 01:20:55,600 it sticks in the chain blowing. Into the Yeah. 1876 01:20:56,320 --> 01:20:59,160 That's a really Tom and Jerry. But it's great that we'll find 1877 01:20:59,160 --> 01:21:01,320 out what's going on here and then we'll get the bumbling 1878 01:21:01,320 --> 01:21:03,760 idiots back. They're fumbling around all over 1879 01:21:03,760 --> 01:21:05,160 the place. They're absolutely fucking 1880 01:21:05,160 --> 01:21:08,360 useless going after him. I love them shots up the stairs. 1881 01:21:08,360 --> 01:21:10,840 It's all quite reminiscent of what we've seen before, but it's 1882 01:21:10,840 --> 01:21:12,640 it's staged slightly differently. 1883 01:21:12,960 --> 01:21:14,760 I've always loved it when he goes up with the roof then 1884 01:21:14,760 --> 01:21:16,880 changed his mind. Marty, he goes down, jumps over 1885 01:21:16,880 --> 01:21:18,640 the stairs. I've always loved that bit. 1886 01:21:18,640 --> 01:21:21,160 I don't know why. I don't know why either, but out 1887 01:21:21,160 --> 01:21:23,160 Fox's now we're going. That's really excellent. 1888 01:21:23,160 --> 01:21:26,440 If I'm ever in that situation, I'm going to definitely forget 1889 01:21:26,440 --> 01:21:29,840 to do that. It's run all the way down 1890 01:21:29,840 --> 01:21:32,400 screaming, and I just looked at those little details in the edit 1891 01:21:32,400 --> 01:21:33,920 where, you know, how is Biff going to figure it out? 1892 01:21:33,920 --> 01:21:37,480 Like this could have been really complicated as a set piece, but 1893 01:21:37,480 --> 01:21:39,440 again, it's just the rest of the film that's incredibly 1894 01:21:39,440 --> 01:21:40,960 complicated. This you can follow quite 1895 01:21:40,960 --> 01:21:42,440 easily. There's the door shutting like 1896 01:21:42,440 --> 01:21:44,600 we're leading you to it. He's on top of the building, 1897 01:21:44,600 --> 01:21:46,200 right? Suicide will be really easy. 1898 01:21:46,320 --> 01:21:48,800 That didn't find the bullet that killed you, old man, even though 1899 01:21:48,800 --> 01:21:51,120 we're kind of no at this point. Great. 1900 01:21:51,240 --> 01:21:53,800 Great sequence, great exposition, great explanation of 1901 01:21:53,800 --> 01:21:56,480 what's going on, and just really carries you into the next act. 1902 01:21:56,920 --> 01:21:59,440 Yeah, because just before this again, Marty going to George's 1903 01:21:59,440 --> 01:22:02,000 grave, don't we? That's massive, that proper gut 1904 01:22:02,000 --> 01:22:03,320 punch. Yeah, it's real. 1905 01:22:03,320 --> 01:22:04,680 It's a wonderful life moment that isn't. 1906 01:22:04,880 --> 01:22:06,400 It OH. Yeah, yeah, just where the 1907 01:22:06,400 --> 01:22:08,600 lights hit and the gravestone, it's like exactly the same. 1908 01:22:08,840 --> 01:22:11,240 It is, yeah. And Doctor Visual explanation of 1909 01:22:11,240 --> 01:22:12,920 the opener timeline on his chalkboard. 1910 01:22:13,120 --> 01:22:15,160 That's one of the clearest pieces of exposition I've ever 1911 01:22:15,160 --> 01:22:16,440 seen. I love it. 1912 01:22:16,680 --> 01:22:18,760 It was like when Chris Nolan was describing Memento. 1913 01:22:18,760 --> 01:22:20,000 Have you seen that video? Yeah, yeah. 1914 01:22:20,840 --> 01:22:25,480 Exactly the same. And then Marty V Beef is great. 1915 01:22:25,640 --> 01:22:27,520 I love how best watching A Fistful of Dollars in the 1916 01:22:27,520 --> 01:22:31,120 Jacuzzi with a couple of girls. Yeah, yeah, yeah. 1917 01:22:31,240 --> 01:22:33,600 Obviously said to Part 3 in the bulletproof vest trick. 1918 01:22:33,720 --> 01:22:36,000 When you win the Aries word, all that stuff. 1919 01:22:36,360 --> 01:22:38,360 Yeah. And Beef chasing Marty about the 1920 01:22:38,360 --> 01:22:41,240 place in his Robin slippers is ludicrous. 1921 01:22:41,560 --> 01:22:44,160 But I love the shot when Molly's on the edge of the building and 1922 01:22:44,160 --> 01:22:46,280 Beef's hand holding the gun just appears in the shot. 1923 01:22:46,280 --> 01:22:49,520 Yeah, I've really got that. Yeah, the mirror that later on 1924 01:22:49,520 --> 01:22:51,960 when he's looking at his mom and dad and beef just comes into the 1925 01:22:51,960 --> 01:22:54,480 frame of the side profile. Yeah, yeah, right at the end by 1926 01:22:54,480 --> 01:22:55,720 something through the window. Yeah, yeah. 1927 01:22:55,720 --> 01:22:57,920 I love that shot as. Well, their moments fantastic 1928 01:22:57,920 --> 01:22:59,840 from Zimax. Well, that's all time done in 1929 01:22:59,840 --> 01:23:02,640 1985. A Marty finds out when when Biff 1930 01:23:02,640 --> 01:23:05,040 picked up the Almanac, and you're not going to believe 1931 01:23:05,040 --> 01:23:07,040 where we have to go next. I don't believe it. 1932 01:23:09,080 --> 01:23:12,640 Old Beef took the Almanac back to November the 12th, 1955. 1933 01:23:12,840 --> 01:23:15,080 It did. Marty and Doc know very well, so 1934 01:23:15,080 --> 01:23:17,480 back they go. The aim is to retrieve the 1935 01:23:17,480 --> 01:23:19,120 Almanac. But before that we have a few 1936 01:23:19,120 --> 01:23:21,280 scenes with some more familiar faces, don't we? 1937 01:23:22,120 --> 01:23:26,200 So back in Hill Valley 1955, Doc hides the DeLorean and Marty has 1938 01:23:26,200 --> 01:23:28,160 1 mission. Find Beef talent. 1939 01:23:28,720 --> 01:23:29,880 How does it play out for you, Westie? 1940 01:23:30,440 --> 01:23:32,520 Is that wonderful? Something inconspicuous. 1941 01:23:33,080 --> 01:23:35,480 I love that little moon where he's got money from every, like, 1942 01:23:35,480 --> 01:23:37,520 era that's all lined up. It's not about money for him at 1943 01:23:37,520 --> 01:23:39,440 all. So that's why he's like totally 1944 01:23:39,440 --> 01:23:40,960 against the Almanac, because you can just get it. 1945 01:23:40,960 --> 01:23:43,240 It's not a problem. Yeah, but that's slide into 1946 01:23:43,240 --> 01:23:46,240 frame from J Fox pulling that aerial from. 1947 01:23:46,240 --> 01:23:49,640 I'll tell you what then, walkie talkies are pretty fucking good. 1948 01:23:49,640 --> 01:23:50,920 I. Know really good. 1949 01:23:51,000 --> 01:23:53,600 Cover anything, any ground but document, Doc. 1950 01:23:53,600 --> 01:23:54,120 Yeah. Well, what? 1951 01:23:54,120 --> 01:23:55,640 I Yeah, but I can hear you over anything. 1952 01:23:55,640 --> 01:23:59,640 And they're literally just as small as I was so, so upset. 1953 01:23:59,640 --> 01:24:01,240 You remember Centurions? Oh, yeah. 1954 01:24:01,360 --> 01:24:04,000 I had Centurions walkie talkies that were in the shape of them, 1955 01:24:04,040 --> 01:24:05,800 and they didn't work from room to room. 1956 01:24:05,800 --> 01:24:08,960 No, I couldn't talk to my brother upstairs or downstairs. 1957 01:24:08,960 --> 01:24:10,280 And I was like, I've seen back in the future too. 1958 01:24:10,280 --> 01:24:13,040 This shouldn't be this depressing, but I'll get on to 1959 01:24:13,040 --> 01:24:15,560 them later on as well. Like we've said, F Wilson's 1960 01:24:15,560 --> 01:24:17,760 performance here as Biff, just, he's walking through the town, 1961 01:24:17,760 --> 01:24:20,240 going to get his car back. He's got no friends. 1962 01:24:20,240 --> 01:24:22,400 Biff's just got a problem with everybody. 1963 01:24:22,440 --> 01:24:24,520 This guy's fixed his car. It looks brand new. 1964 01:24:24,520 --> 01:24:26,200 And then he's moaning about the price of the oil. 1965 01:24:26,320 --> 01:24:28,840 He said I should have free oil if it's $300, then throws it in 1966 01:24:28,840 --> 01:24:30,520 the back. Great bit of physical comedy 1967 01:24:30,520 --> 01:24:33,680 from Jay Fox when it hits him and you know it's right in the 1968 01:24:33,680 --> 01:24:37,680 groin areas, right? And then he sees Lorraine and 1969 01:24:37,680 --> 01:24:41,200 you think there's nobody here, he hasn't got his lackeys around 1970 01:24:41,200 --> 01:24:42,560 him. Maybe he's going to try and be 1971 01:24:42,560 --> 01:24:43,760 nice. Horrible. 1972 01:24:44,000 --> 01:24:45,280 Straight up. You'd look better wearing 1973 01:24:45,280 --> 01:24:46,000 nothing. What? 1974 01:24:46,800 --> 01:24:48,800 That's his first line straight in there. 1975 01:24:49,000 --> 01:24:50,960 I'd like to think this was the one that Lynn Thompson not to go 1976 01:24:50,960 --> 01:24:53,440 home and get and bring back and pull out the box and do it in 1977 01:24:53,440 --> 01:24:55,920 the school, which is great. And that really works. 1978 01:24:56,000 --> 01:24:58,560 And then there's one of me finest bits of dialogue that 1979 01:24:58,560 --> 01:25:01,320 I've not mentioned yet when he talks about a screen door in a 1980 01:25:01,320 --> 01:25:03,320 battleship. Oh yeah, hilarious. 1981 01:25:03,320 --> 01:25:05,760 Because then it just cuts to Marty's like screen door in a 1982 01:25:05,760 --> 01:25:06,280 submarine. You. 1983 01:25:06,280 --> 01:25:08,760 Dog, dog you. Love that. 1984 01:25:08,760 --> 01:25:11,000 Just that delivery is absolutely fantastic. 1985 01:25:11,400 --> 01:25:13,680 Great scene. And like we say, it really shows 1986 01:25:13,680 --> 01:25:16,240 how nasty Biff is because he's not trying to impress anyone, 1987 01:25:16,240 --> 01:25:17,560 and that's the worst kind of bully. 1988 01:25:17,880 --> 01:25:20,200 He's just really trying to impress himself, which is even 1989 01:25:20,200 --> 01:25:22,800 more terrifying, yeah. Yeah, well, just before they 1990 01:25:22,800 --> 01:25:25,800 head back in 1955, we get the set up of Part 3, don't we? 1991 01:25:25,800 --> 01:25:29,040 Because the DeLorean dashboards on the Blink and she was 1885 on 1992 01:25:29,040 --> 01:25:30,040 the I've. Got to fix that. 1993 01:25:30,040 --> 01:25:31,360 Yeah. When he's bashing it, yeah. 1994 01:25:31,880 --> 01:25:34,240 I like it when Marty's like Doc. What if we don't succeed? 1995 01:25:34,360 --> 01:25:39,520 We must succeed and the glory and vanishes end of acts great, 1996 01:25:40,280 --> 01:25:42,440 but being back in 1955 is a treat. 1997 01:25:42,480 --> 01:25:45,560 Like immediately just a feel of the place, like dripping with 1998 01:25:45,560 --> 01:25:48,360 nostalgia and getting to see all these off screen moments from 1999 01:25:48,360 --> 01:25:49,640 the first film. So good. 2000 01:25:49,680 --> 01:25:52,560 A bit picking his car after the manure truck being an absolute 2001 01:25:52,560 --> 01:25:54,640 sleeve with Lorraine. Obviously it's better the more 2002 01:25:54,640 --> 01:25:56,680 you know the first film, but I think it still works if you 2003 01:25:56,680 --> 01:25:58,200 don't. Oh yeah, yeah. 2004 01:25:58,480 --> 01:26:00,680 There's a great bit of visual setup as well when we're CBF 2005 01:26:00,680 --> 01:26:03,000 driving through the tunnel. That becomes really important 2006 01:26:03,000 --> 01:26:05,440 later on, obviously, and that's something that the magazine deal 2007 01:26:05,440 --> 01:26:07,720 do brilliantly through the whole trilogy, laying tracks for 2008 01:26:07,720 --> 01:26:09,720 things that pay off later on. Yeah, yeah. 2009 01:26:09,760 --> 01:26:13,000 But yeah, at this point it just feels great to be back in 1955, 2010 01:26:13,080 --> 01:26:14,160 I think. Yeah, yeah. 2011 01:26:14,160 --> 01:26:16,440 It's got no spatial awareness whatsoever. 2012 01:26:16,440 --> 01:26:18,480 Has he? Like anything could be in that 2013 01:26:18,480 --> 01:26:20,200 card. He's got no clue what's going 2014 01:26:20,200 --> 01:26:21,120 on. How would you know more? 2015 01:26:21,120 --> 01:26:22,080 He's in the backseat. You don't. 2016 01:26:22,960 --> 01:26:25,360 Know that there's a DeLorean behind him on the last. 2017 01:26:25,360 --> 01:26:28,760 Scene. Anyway. 2018 01:26:29,440 --> 01:26:33,200 And then after this, you get maybe the most pivotal scene in 2019 01:26:33,200 --> 01:26:36,160 the whole film of Old Biff. Given Young Biff that Almanac, 2020 01:26:36,160 --> 01:26:38,120 can you see obviously what spirals on for me? 2021 01:26:38,560 --> 01:26:41,760 What about this scene though, is that even Old Biff is annoyed by 2022 01:26:41,760 --> 01:26:43,920 Young Biff? Just getting the cockpit head. 2023 01:26:44,160 --> 01:26:46,160 Just has no time as younger self whatsoever. 2024 01:26:46,880 --> 01:26:49,440 And I do think this is one of the best scenes that utilises 2025 01:26:49,440 --> 01:26:52,200 the idea of characters overlapping their own timelines. 2026 01:26:52,480 --> 01:26:55,080 Old Biff knowing how to turn on the engine in the car, that's 2027 01:26:55,080 --> 01:26:59,000 such a great touch to convince younger Biff to go with them and 2028 01:26:59,000 --> 01:27:01,560 listen to what he has to say. Yeah. 2029 01:27:01,680 --> 01:27:03,160 And Wilson is so good in this film. 2030 01:27:03,160 --> 01:27:06,200 He somehow generates great chemistry even with himself. 2031 01:27:06,520 --> 01:27:09,240 When the bickering, those two, you just think, well, that's got 2032 01:27:09,240 --> 01:27:11,600 to be two different actors. Surely you can't be that good 2033 01:27:11,600 --> 01:27:14,600 with yourself. My quarter at the top, it's make 2034 01:27:14,600 --> 01:27:16,720 like a tree and leave. You sound like a damn fool when 2035 01:27:16,720 --> 01:27:18,680 you say it wrong. And he gives them the slap 2036 01:27:18,680 --> 01:27:20,880 across the head as well. All right, then leave. 2037 01:27:21,520 --> 01:27:23,280 But it's great storytelling as well. 2038 01:27:24,000 --> 01:27:27,480 I think it's such a good idea to have something so innocuous. 2039 01:27:27,480 --> 01:27:30,920 It's just like a sports Almanac being key to this horrific 2040 01:27:30,920 --> 01:27:32,560 future. That's all it takes to change 2041 01:27:32,560 --> 01:27:35,080 the future completely. This one little book simply 2042 01:27:35,080 --> 01:27:36,360 because it ends up in the wrong hands. 2043 01:27:36,640 --> 01:27:40,120 And when young Biff realizes all Biff is telling the truth and he 2044 01:27:40,120 --> 01:27:41,640 doesn't know these scores. And this is true. 2045 01:27:41,880 --> 01:27:44,360 I love how dark mark an ominous music gets at that point. 2046 01:27:45,640 --> 01:27:48,320 Yeah, yeah, I like how the meat of how young Biff turned around 2047 01:27:48,320 --> 01:27:49,480 was. Speaking of Terry, the mechanic. 2048 01:27:49,480 --> 01:27:51,680 Yeah, and all best just, like sitting in the driver's seat. 2049 01:27:51,680 --> 01:27:54,080 Yeah, you're like, get the hell out of my cargo, man. 2050 01:27:58,480 --> 01:28:00,280 I love all the little touches between young and old. 2051 01:28:00,280 --> 01:28:01,920 Biff. Like you said, Matt or Biff 2052 01:28:01,920 --> 01:28:04,120 knows how to start the car. Also, he knows where he lives. 2053 01:28:04,120 --> 01:28:05,360 He knows that he doesn't have a safe. 2054 01:28:05,400 --> 01:28:06,880 All that stuff. And we're really good. 2055 01:28:07,720 --> 01:28:10,160 If gets into an argument with Terry, the mechanic who fixed 2056 01:28:10,160 --> 01:28:12,480 his car after the manure incident in the first film. 2057 01:28:12,640 --> 01:28:14,960 This isn't the first time we see Terry in this film, though. 2058 01:28:15,040 --> 01:28:18,320 He's in the 2015 sequence as an old man. 2059 01:28:18,440 --> 01:28:21,280 He's the guy who asks Marty for a donation for the clock tower 2060 01:28:21,360 --> 01:28:23,840 and then talks to him about the World Series and gives him the 2061 01:28:23,840 --> 01:28:25,440 idea about buying the sports Almanac. 2062 01:28:25,720 --> 01:28:28,600 Yeah, put a little money on the cubbies, that guy. 2063 01:28:29,000 --> 01:28:30,880 Yeah, yeah. I've always thought his makeup 2064 01:28:30,880 --> 01:28:32,720 was terrified. Yeah, it really is. 2065 01:28:33,440 --> 01:28:35,200 Oh yeah. Also, Terry, do you know what 2066 01:28:35,200 --> 01:28:37,880 we've played by? I want to know. 2067 01:28:38,080 --> 01:28:40,560 It is Charles Fleischer, the voice of Roger Rabbit. 2068 01:28:41,000 --> 01:28:42,960 Ah, yes, it is. Yeah. 2069 01:28:43,120 --> 01:28:45,200 Yeah, the guy in the basement of Zodiac. 2070 01:28:45,320 --> 01:28:46,240 Yeah. Scary guy. 2071 01:28:46,280 --> 01:28:47,280 Yeah. Yeah, nice. 2072 01:28:47,440 --> 01:28:49,000 That's why I thought he's made. It was terrifying. 2073 01:28:49,000 --> 01:28:50,360 He's just terrified in. General, Yeah. 2074 01:28:50,920 --> 01:28:54,000 So as we've seen to convince young Biff to use the Almanac, 2075 01:28:54,120 --> 01:28:57,840 Old Biff players and predicts the result of a UCLA in 2076 01:28:57,840 --> 01:28:59,560 Washington football game on the radio. 2077 01:28:59,880 --> 01:29:04,360 And that game really took place on November 12th, 1955 and ended 2078 01:29:04,360 --> 01:29:08,080 with UCLA kicker Jim Decker hitting the last second field 2079 01:29:08,080 --> 01:29:10,440 goal to win. Biff listens to some other 2080 01:29:10,440 --> 01:29:13,080 results later on while driving, and those scores are real as 2081 01:29:13,080 --> 01:29:15,520 well. Love that it is slightly 2082 01:29:15,520 --> 01:29:18,040 convenient that that last minute match winning goals happening 2083 01:29:18,040 --> 01:29:20,880 just as they turn the radio on. Yeah, but fine, really. 2084 01:29:20,880 --> 01:29:22,760 Convenient. It's not convenient in this 2085 01:29:22,760 --> 01:29:24,880 film. You're like, what are you deaf? 2086 01:29:24,960 --> 01:29:28,120 Oh man, you lose. Oh yeah. 2087 01:29:29,040 --> 01:29:32,120 And that is the middle of Back to the Future Part 2, The biff 2088 01:29:32,120 --> 01:29:35,160 horrific 1985. A laid Bay on Marty back in 2089 01:29:35,160 --> 01:29:37,800 1955, threading his way through the first film. 2090 01:29:38,360 --> 01:29:41,000 The omelets within reach, The enchantment of the sea dances 2091 01:29:41,000 --> 01:29:42,720 Insight. Yeah, we're set up for some 2092 01:29:42,720 --> 01:29:44,360 ending, aren't we? We are indeed. 2093 01:29:44,360 --> 01:29:49,000 Indeed, yeah. The crew. 2094 01:29:52,120 --> 01:29:53,920 Time to talk about the people behind the camera. 2095 01:29:53,920 --> 01:29:57,160 On Back to the Future Part 2. We've covered Robert Zemeckis, 2096 01:29:57,160 --> 01:30:00,280 director, so now it's under the composer Alan Silvestri and the 2097 01:30:00,280 --> 01:30:01,920 director of photography Dean Kundy. 2098 01:30:02,160 --> 01:30:06,080 But we're starting off with the writing, so the credited screen. 2099 01:30:06,080 --> 01:30:07,880 Right on. Back to the Feature Part 2 is 2100 01:30:07,880 --> 01:30:10,600 Bob Gale, with story credits going to GAIL and Robert 2101 01:30:10,600 --> 01:30:12,280 Zemeckis. They'd been a writing 2102 01:30:12,280 --> 01:30:15,800 partnership since the beginning. I Want to Hold Your Hand, 1941 2103 01:30:15,800 --> 01:30:19,600 Used Cars, Back to the Future, all products of the Z&G collab. 2104 01:30:20,040 --> 01:30:22,600 And here GAIL penned the script while Zemeckis was away 2105 01:30:22,600 --> 01:30:24,280 directing Who Framed Roger Rabbit. 2106 01:30:24,720 --> 01:30:28,320 Yeah, sounds like a lonely gig, Matt, but how was the writing on 2107 01:30:28,320 --> 01:30:31,320 Back to the Future Part 2? I think it's got some of the 2108 01:30:31,320 --> 01:30:34,600 strongest elements of the film, but also some of the weakest 2109 01:30:34,600 --> 01:30:36,840 parts, to be honest. I think where it's strong is 2110 01:30:37,400 --> 01:30:40,360 when it really leans into the time travel element and the 2111 01:30:40,360 --> 01:30:42,840 effects of it. So those rules were established 2112 01:30:42,840 --> 01:30:44,520 in the first, but this one really plays with them. 2113 01:30:44,800 --> 01:30:47,320 What if we go forwards, then backwards and then backwards 2114 01:30:47,320 --> 01:30:49,040 again? How does one affect the other? 2115 01:30:49,520 --> 01:30:52,360 And watching all these, like, ripples and repercussions of 2116 01:30:52,360 --> 01:30:55,800 Mardi and Biff's actions across the timelines, that works really 2117 01:30:55,800 --> 01:30:57,480 effectively. That kind of shakes out for the 2118 01:30:57,480 --> 01:30:59,120 nub about this universe that we know. 2119 01:30:59,480 --> 01:31:01,920 Like, as we've been talking about that alternate 1980s 2120 01:31:01,920 --> 01:31:04,320 timeline, which is definitely Pottersville for me. 2121 01:31:04,320 --> 01:31:05,440 It's a Wonderful Life. Yeah. 2122 01:31:05,440 --> 01:31:07,240 That's a really great way to take this. 2123 01:31:07,240 --> 01:31:09,080 Yeah. And then to overlap that back 2124 01:31:09,080 --> 01:31:12,560 into the 50s, where Marty not only has to save the future by 2125 01:31:12,560 --> 01:31:15,880 getting the Almanac back, but also ensure he doesn't mess with 2126 01:31:15,880 --> 01:31:18,360 what he achieved first time around, gives it a double 2127 01:31:18,360 --> 01:31:20,640 element of jeopardy. And that works great as well. 2128 01:31:21,120 --> 01:31:23,560 I think where it doesn't work so well, it's basically what we've 2129 01:31:23,560 --> 01:31:25,360 been seeing. Some characters owned to serve 2130 01:31:25,360 --> 01:31:27,880 by the material, some don't get enough to do. 2131 01:31:27,880 --> 01:31:29,640 There's some kind of conflict and stuff here. 2132 01:31:29,640 --> 01:31:33,280 Like, Doc in the first film was just so adamant that nothing at 2133 01:31:33,280 --> 01:31:36,760 all could be changed about the future because that's the first 2134 01:31:36,760 --> 01:31:39,520 wheel of time travel here is to say, oh, Marty, he gets in 2135 01:31:39,520 --> 01:31:40,800 trouble. Should we go sort that out and 2136 01:31:40,800 --> 01:31:42,520 change everything so he has a better life? 2137 01:31:42,880 --> 01:31:44,840 Right. OK, where's that change come 2138 01:31:44,840 --> 01:31:47,480 from? So I think Gail's done some 2139 01:31:47,480 --> 01:31:50,000 great work here because he's really cracked the note of where 2140 01:31:50,000 --> 01:31:53,280 the group go next with this and really explore the ramifications 2141 01:31:53,280 --> 01:31:55,160 of time travel. It's just the character stuff 2142 01:31:55,160 --> 01:31:58,240 has left a little bit wanting. Yeah, I agree. 2143 01:31:58,280 --> 01:32:00,800 I mean, it's a time travel film, obviously, but even then, the 2144 01:32:00,800 --> 01:32:02,280 narrative structure is still pretty mad. 2145 01:32:02,280 --> 01:32:04,880 And what I like is what I said earlier. 2146 01:32:04,880 --> 01:32:07,720 It just throws us straight in. There's no runway, no roads. 2147 01:32:07,880 --> 01:32:10,960 Within minutes we're in 2015 in the plot, like flying along. 2148 01:32:11,600 --> 01:32:14,120 In terms of that overall structure, it seems to me a bit 2149 01:32:14,120 --> 01:32:16,640 like they came up with maybe two or three ideas that they really 2150 01:32:16,640 --> 01:32:20,440 like, like the 2015 feature of the alternative 1985, then going 2151 01:32:20,440 --> 01:32:24,000 back into 1955 and just kind of thought, what the hell, let's do 2152 01:32:24,000 --> 01:32:25,840 them all and we'll fit them all in there. 2153 01:32:26,120 --> 01:32:28,560 I like those ideas as well, especially going back into the 2154 01:32:28,560 --> 01:32:30,360 events of the first film and we're playing some of those 2155 01:32:30,360 --> 01:32:32,200 scenes. I think that's a great idea and 2156 01:32:32,200 --> 01:32:34,360 so engaging to watch when you know the first film. 2157 01:32:34,600 --> 01:32:37,520 So I like the ambition. I'm a big fan of how it ended 2158 01:32:37,520 --> 01:32:40,240 up, but there are some issues as well for me. 2159 01:32:40,880 --> 01:32:43,640 The script for Part Part 2 feels a bit rushed in a way the 2160 01:32:43,640 --> 01:32:46,560 original film doesn't. We mentioned the plot all around 2161 01:32:46,560 --> 01:32:49,080 best time travel shenanigans, not following the film's own 2162 01:32:49,080 --> 01:32:51,320 rules. But there's a more basic plot 2163 01:32:51,320 --> 01:32:54,520 all to me because the key incident of the whole plot is 2164 01:32:54,520 --> 01:32:56,920 Doc turning up at the start telling Marty he has to save his 2165 01:32:56,920 --> 01:32:58,920 kids. I mean, OK, fine. 2166 01:32:58,960 --> 01:33:01,360 Yeah, but why do you have to travel into the future to do it? 2167 01:33:01,680 --> 01:33:04,200 Surely just tell them and then carry on and prevent it from 2168 01:33:04,200 --> 01:33:06,800 happening when it happens. Yeah, time travel's not needed. 2169 01:33:07,200 --> 01:33:11,720 So awesome missteps in the writing, but a lot of it gets 2170 01:33:11,720 --> 01:33:14,440 right as well, like the 1985 years section that does have 2171 01:33:14,440 --> 01:33:16,240 dramatic weight. It's not just a plot beat. 2172 01:33:16,440 --> 01:33:19,240 It's like what the world looks like when one terrible person 2173 01:33:19,240 --> 01:33:21,640 has like unchecked power. So it's kind of a cautionary 2174 01:33:21,640 --> 01:33:23,640 tale. So I like the writing on the 2175 01:33:23,640 --> 01:33:25,160 whole. Great ideas. 2176 01:33:25,600 --> 01:33:28,320 The execution of the screenplay does fall somewhere short of the 2177 01:33:28,320 --> 01:33:30,800 first film though I think. Although to be fair that is a 2178 01:33:30,800 --> 01:33:32,280 very high bar. To be fair, it. 2179 01:33:32,320 --> 01:33:35,520 Is yeah, yeah, I think Bob Gale had a little bit of free reign 2180 01:33:35,560 --> 01:33:38,720 and maybe thought he could try and rewrite the story a little 2181 01:33:38,720 --> 01:33:40,040 bit. And I think Zemeckis might have 2182 01:33:40,040 --> 01:33:42,000 come back and said. Yeah, Yeah, I think so. 2183 01:33:42,200 --> 01:33:44,760 I think we need some rules and we need to establish exactly 2184 01:33:44,760 --> 01:33:46,480 what we've done. And I think, like you said 2185 01:33:46,480 --> 01:33:48,400 earlier on, John, I think they did paint themselves into a 2186 01:33:48,400 --> 01:33:49,880 corner. And I think this would have been 2187 01:33:49,880 --> 01:33:52,280 more of a frustrating session than an enjoyable 1. 2188 01:33:52,760 --> 01:33:54,880 I think it would have just been how do we solve these problems 2189 01:33:54,880 --> 01:33:56,800 that were set up for ourselves to create something that's 2190 01:33:56,800 --> 01:33:59,880 entertaining, but also for fans of the first film. 2191 01:34:00,240 --> 01:34:03,160 And they do that in both of the films by repeating set pieces 2192 01:34:03,480 --> 01:34:04,880 and just adding new bits to them. 2193 01:34:04,960 --> 01:34:07,720 Lee Thompson blessed, she just basically has the same script in 2194 01:34:07,720 --> 01:34:09,680 this film as she does in the first one, with a few added 2195 01:34:09,680 --> 01:34:11,360 bits. Let's take a revisit. 2196 01:34:11,360 --> 01:34:13,480 And it's good. And it works because it is very 2197 01:34:13,480 --> 01:34:15,520 nostalgic and people like it. And I think there was long 2198 01:34:15,520 --> 01:34:17,680 enough between the first film and this one for people to 2199 01:34:17,680 --> 01:34:19,440 forget about it. But for me, yeah. 2200 01:34:19,440 --> 01:34:21,640 I mean, there's plot holes, there's issues. 2201 01:34:21,640 --> 01:34:25,040 There's all of this kind of continuity that goes out the 2202 01:34:25,040 --> 01:34:27,360 window. But I think they've sat down and 2203 01:34:27,360 --> 01:34:29,240 they've shook hands on it. And Zemeckis and GAIL went, 2204 01:34:29,240 --> 01:34:30,920 we're just going to make this entertaining. 2205 01:34:31,040 --> 01:34:33,360 Do you agree? And he's just went, yeah, it's 2206 01:34:33,600 --> 01:34:35,400 going to be some character development, but that's not 2207 01:34:35,400 --> 01:34:36,680 going to be the forefront of this. 2208 01:34:36,680 --> 01:34:39,520 This is going to be an entertain roller coaster. 2209 01:34:39,520 --> 01:34:41,960 And I'm pretty sure, you know, Spielberg's produced this. 2210 01:34:41,960 --> 01:34:43,200 He's going to have something to say. 2211 01:34:43,200 --> 01:34:44,920 There's going to be a lot of people coming back to this. 2212 01:34:44,920 --> 01:34:46,360 There's, you know, there's money riding on it. 2213 01:34:46,360 --> 01:34:47,800 The first one was a real success. 2214 01:34:47,800 --> 01:34:50,160 This one needed to shine. And I think it does. 2215 01:34:50,720 --> 01:34:54,240 But I just cannot believe that this film is under 2 hours long. 2216 01:34:54,800 --> 01:34:57,480 I always go put this on. I think this must be 3 hours 2217 01:34:57,480 --> 01:34:59,800 long. It's so much packed into this to 2218 01:34:59,800 --> 01:35:03,600 go so many places and so many setups and so many set pieces 2219 01:35:04,000 --> 01:35:08,440 and so many ideas. So the writing is fantastic, but 2220 01:35:08,440 --> 01:35:10,760 it's it's definitely not the best thing about the future too. 2221 01:35:11,920 --> 01:35:15,680 Yeah, I would agree. So Bob Gale wrote the screenplay 2222 01:35:15,680 --> 01:35:18,560 for Part 2 while Smecas was making Who Framed Roger Rabbit, 2223 01:35:18,560 --> 01:35:20,920 like we said. So when Smecas got involved, 2224 01:35:20,960 --> 01:35:22,960 there were pretty big changes made to the script. 2225 01:35:23,360 --> 01:35:25,160 Thought they might have been. Of course they were. 2226 01:35:25,160 --> 01:35:27,160 Yeah, yeah. I mean, knowing Zemeckis, Gale 2227 01:35:27,160 --> 01:35:29,040 would have been writing and thinking he's going to come back 2228 01:35:29,040 --> 01:35:30,600 and change all of this. Yeah. 2229 01:35:30,720 --> 01:35:32,120 So I might as well write something. 2230 01:35:32,400 --> 01:35:34,240 Yeah, just put it down just in case. 2231 01:35:34,240 --> 01:35:36,480 But I think you knew that that was always going to be the case. 2232 01:35:36,720 --> 01:35:39,880 So one idea that got scrapped was for an action scene in the 2233 01:35:39,880 --> 01:35:43,560 2015 sequence based round a futuristic spot called SLAM. 2234 01:35:44,480 --> 01:35:48,280 It would be played in an anti gravity chamber and combined JLE 2235 01:35:48,440 --> 01:35:51,280 handball and roller Derby, but it was removed for budgetary 2236 01:35:51,280 --> 01:35:52,760 reasons. Right. 2237 01:35:53,360 --> 01:35:56,400 Yes, Slam ball still listed as one of the sports on the back of 2238 01:35:56,400 --> 01:35:58,680 the Greatest Sports Almanac. Oh wow. 2239 01:35:58,960 --> 01:36:00,640 OK. Yeah, going to Needles hobbies 2240 01:36:00,640 --> 01:36:01,920 as well. I think he's in the slam ball if 2241 01:36:01,920 --> 01:36:03,440 you watch out. Yeah, yeah, that's right. 2242 01:36:03,440 --> 01:36:04,720 He is. He is good sport. 2243 01:36:05,360 --> 01:36:07,280 Yeah, sounds interesting. But if that was taken out for 2244 01:36:07,280 --> 01:36:09,120 the hoverboard sequence, I'm glad they did. 2245 01:36:09,120 --> 01:36:11,000 Yeah, too, right. Yeah, we've already got roll up 2246 01:36:11,000 --> 01:36:12,040 ball. I think it's pretty much the 2247 01:36:12,040 --> 01:36:13,080 same thing. Yeah. 2248 01:36:13,240 --> 01:36:15,680 And Zemeckis also said he wanted to add a fourth act. 2249 01:36:15,680 --> 01:36:17,880 It's set in the Old West, a fourth act. 2250 01:36:18,200 --> 01:36:20,240 This massively ballooned the script, and it was. 2251 01:36:21,280 --> 01:36:24,040 It's at the point which Zemeckis and Gale realized they needed 2252 01:36:24,040 --> 01:36:26,120 two films. Because it's a great idea to go 2253 01:36:26,120 --> 01:36:28,480 back there. Yeah, all paid for at once. 2254 01:36:28,480 --> 01:36:31,320 That we thought about the first but not last film series to kind 2255 01:36:31,320 --> 01:36:33,360 of do that. I'm watching that the 4th act. 2256 01:36:33,760 --> 01:36:35,880 Yeah, just changing screen writing. 2257 01:36:36,120 --> 01:36:39,520 Yeah, just just insane, yeah. And the biggest change to Gale's 2258 01:36:39,520 --> 01:36:42,560 original script, though, was around the time period we see in 2259 01:36:42,560 --> 01:36:44,880 the first draft. Marty and Doc don't travel back 2260 01:36:44,880 --> 01:36:47,640 to 1955 to retrieve the Almanac from Biff. 2261 01:36:47,680 --> 01:36:49,400 They travelled back to the 1960s. 2262 01:36:50,240 --> 01:36:54,560 Yeah, 1967 to be precise. It was Flower Power and Sergeant 2263 01:36:54,560 --> 01:36:56,080 Pepper. Or like Summer of Love stuff. 2264 01:36:56,360 --> 01:36:59,280 Right, OK. Yes, the plot was Marty again 2265 01:36:59,280 --> 01:37:01,160 runs into a younger version of his parents. 2266 01:37:01,640 --> 01:37:05,360 Lorraine is now an anti Vietnam protester and flower child and 2267 01:37:05,360 --> 01:37:07,280 George is a college professor at Berkeley. 2268 01:37:07,600 --> 01:37:10,040 In meeting them, Marty accidentally stops Lorraine and 2269 01:37:10,040 --> 01:37:12,680 George going on their second honeymoon, the result of which 2270 01:37:12,680 --> 01:37:15,240 is that Marty is never conceived and he has to fix things. 2271 01:37:16,160 --> 01:37:18,680 Just moving the goal posts about two inches to the left. 2272 01:37:18,680 --> 01:37:20,160 Just the same as the first film, yeah. 2273 01:37:21,680 --> 01:37:22,960 Let's stick Vietnam in the background. 2274 01:37:24,160 --> 01:37:26,840 You please roll over Beethoven at the end to get Lorraine and 2275 01:37:26,840 --> 01:37:31,840 George to do it. Also in this version, Doc had a 2276 01:37:31,840 --> 01:37:34,320 enlisted help from his younger self to help fix the Miss 2277 01:37:34,320 --> 01:37:36,800 Diffusion device which powers the DeLorean. 2278 01:37:37,040 --> 01:37:40,160 And at one point, with Vietnam as the backdrop, Marty was 2279 01:37:40,160 --> 01:37:41,840 arrested for not having a draft card. 2280 01:37:41,880 --> 01:37:44,200 Right. Lorraine posts his $500 bond, 2281 01:37:44,200 --> 01:37:45,920 and that's what stops the second honeymoon. 2282 01:37:47,040 --> 01:37:49,400 Could you say he was in the Navy with his life preserver jacket? 2283 01:37:49,480 --> 01:37:51,520 Absolutely, yeah. Yeah, there's another plot all 2284 01:37:51,520 --> 01:37:53,960 Yeah, and apparently the younger version of Doc was like a 2285 01:37:53,960 --> 01:37:55,600 massive pothead. Right. 2286 01:37:55,960 --> 01:37:58,080 On the doobes constantly I. Could say that. 2287 01:37:58,080 --> 01:38:03,360 Listening to Donovan in the 60s. But when some Mecca's read this 2288 01:38:03,360 --> 01:38:06,440 draft, he said the plot was too close to the original film and 2289 01:38:06,440 --> 01:38:09,880 that by 1967 Lorraine would just be too old to be a peace and 2290 01:38:09,880 --> 01:38:12,000 love hippie. He had the idea you've gone back 2291 01:38:12,000 --> 01:38:15,840 into the events of the first film, so told Kale to scrap 1967 2292 01:38:15,840 --> 01:38:20,000 and replace it with the 1955. Right, Bob, into Bob Dylan not 2293 01:38:20,000 --> 01:38:24,840 to go electric, Yeah. Yeah, I mean, it would have been 2294 01:38:24,840 --> 01:38:27,200 cool to say Hill Valley in the 60s, to be honest. 2295 01:38:27,200 --> 01:38:29,080 Yeah, it would have been, but you can see that already, can't 2296 01:38:29,080 --> 01:38:30,200 you? It's not like it's a massive 2297 01:38:30,200 --> 01:38:31,600 surprise. Yeah, yeah, yeah. 2298 01:38:32,080 --> 01:38:33,920 So maybe just save all the bangers on the soundtrack for 2299 01:38:33,920 --> 01:38:34,960 Forrest Gump. Yeah. 2300 01:38:35,120 --> 01:38:37,840 Absolutely, yeah. Know what sort of recognition 2301 01:38:37,840 --> 01:38:40,200 for Bob Gale on the writing winner that year was Thomas 2302 01:38:40,200 --> 01:38:42,400 Shulman for Deadpool Society. Right. 2303 01:38:42,920 --> 01:38:44,720 And not Oscar worthy for us either. 2304 01:38:44,720 --> 01:38:47,560 Maybe, but in coming up with some great time travel based 2305 01:38:47,560 --> 01:38:50,160 ideas and executing most of them. 2306 01:38:50,480 --> 01:38:52,560 A good piece of blockbuster sequel writing, yeah. 2307 01:38:52,640 --> 01:38:54,480 Good bit of entertainment writing, definitely. 2308 01:38:56,680 --> 01:38:59,240 The composer run Back to the Future Part 2 was Alan 2309 01:38:59,240 --> 01:39:01,880 Silvestri, his 26th feature film credit. 2310 01:39:01,880 --> 01:39:04,520 He'd already worked on classics like Flight of the Navigator, 2311 01:39:04,520 --> 01:39:07,480 Predator and The Abyss, as well as the mechas hits like 2312 01:39:07,480 --> 01:39:10,480 Romancing the Stone, Who Framed Roger Rabbit, and the first Back 2313 01:39:10,480 --> 01:39:13,400 to the Future film. Yeah, back for the sequel, Matt. 2314 01:39:13,560 --> 01:39:16,040 How does Alan Silvestri's work land this time around? 2315 01:39:16,720 --> 01:39:19,000 I mean, if you've got the hits, just play the hits, right? 2316 01:39:19,000 --> 01:39:20,560 Yeah, yeah. Two, right? 2317 01:39:20,560 --> 01:39:22,000 Yeah. Is the music great? 2318 01:39:22,000 --> 01:39:24,440 Yes, because it's the music from Back to the Future and you'd be 2319 01:39:24,440 --> 01:39:26,760 feel not use it again. It's like, you know, talking 2320 01:39:26,760 --> 01:39:29,200 about a Bond film, you've got that theme tune to drop in. 2321 01:39:29,480 --> 01:39:31,040 It does so much heavy lifting for you. 2322 01:39:31,040 --> 01:39:33,640 And it's the same the music here because it takes you back to 2323 01:39:33,640 --> 01:39:36,080 what you heard in the first film and it's always going to have 2324 01:39:36,080 --> 01:39:39,160 that resonance and that power. And yes, there were definitely 2325 01:39:39,160 --> 01:39:42,240 nuances and fresh pieces. And here I mentioned the music 2326 01:39:42,240 --> 01:39:44,720 when old Biff is talking to young Biff about the sports 2327 01:39:44,720 --> 01:39:47,200 result, and that ominous music works really well. 2328 01:39:47,360 --> 01:39:49,920 But everything has just grown off that original skull, which 2329 01:39:49,920 --> 01:39:52,800 was incredible first time round. So can't really say it's an 2330 01:39:52,800 --> 01:39:55,560 amazingly original soundtrack because it's just keeping 2331 01:39:55,560 --> 01:39:57,720 coherent with what's already been written. 2332 01:39:58,000 --> 01:40:00,800 But it's obviously still great and it's just a case of, well, 2333 01:40:00,800 --> 01:40:02,280 the hard work has been done already. 2334 01:40:02,720 --> 01:40:04,400 Yeah. Exactly. 2335 01:40:04,400 --> 01:40:06,120 Yeah, like we're saying the main themes back. 2336 01:40:06,200 --> 01:40:08,040 That's one of my favorite themes in any film. 2337 01:40:08,240 --> 01:40:10,240 Well, yeah, exactly. More than does it's bit in the 2338 01:40:10,240 --> 01:40:11,520 first film, and it's the same here. 2339 01:40:11,920 --> 01:40:14,520 What's different here I think though, is that there are tonal 2340 01:40:14,520 --> 01:40:16,200 shifts that Sylvestre has to deal with. 2341 01:40:16,720 --> 01:40:19,240 Like the bright energy of 2015 goes straight into that 2342 01:40:19,240 --> 01:40:22,120 desperate 1985 A. That's probably the first time 2343 01:40:22,120 --> 01:40:24,360 in the whole series where Sylvestre has to go dark with 2344 01:40:24,360 --> 01:40:28,800 his music and the score. 1985 A becomes like staccato and it 2345 01:40:28,800 --> 01:40:32,280 does go darker that like 4 Nord brass piece that runs whenever 2346 01:40:32,280 --> 01:40:34,000 were with Biff in the pleasure paradise. 2347 01:40:34,320 --> 01:40:36,080 That's the most noticeable new piece of music. 2348 01:40:36,240 --> 01:40:37,720 It's like a proper villain theme that. 2349 01:40:37,880 --> 01:40:39,640 It's for Borden, isn't. It Yeah, yeah. 2350 01:40:39,840 --> 01:40:42,400 And then back in 1955, Sylvestre has to take us back into the 2351 01:40:42,400 --> 01:40:44,440 first film without just duplicating what he did. 2352 01:40:44,720 --> 01:40:47,920 So it's like 1 composer, but he's also had to create three 2353 01:40:47,920 --> 01:40:49,560 different worlds in terms of the music. 2354 01:40:49,920 --> 01:40:51,800 I think he does that. I don't think you can see 2355 01:40:51,800 --> 01:40:54,160 Sylvestre's works up there with the first film because that's 2356 01:40:54,160 --> 01:40:56,440 the way he created that main theme and that way classic 2357 01:40:56,640 --> 01:40:58,800 twinkle sting. But sequels are always 2358 01:40:58,800 --> 01:41:01,040 different, and I think what he brings, yeah, is still very 2359 01:41:01,040 --> 01:41:03,720 good. Yeah, I mean, so he doesn't 2360 01:41:03,720 --> 01:41:06,320 really have a lot to do here. I mean the third one, he makes a 2361 01:41:06,320 --> 01:41:08,840 real impact because he changes that score and it's not a real 2362 01:41:08,840 --> 01:41:12,520 Western theme and a Western vibe and really has to step before 2363 01:41:12,520 --> 01:41:13,960 that one. But this, I think he just looked 2364 01:41:13,960 --> 01:41:16,280 at these two projects and thought, oh, Part 2, I've got to 2365 01:41:16,280 --> 01:41:21,600 do about 30% more and that's it. And then 100% on three, but 70% 2366 01:41:21,600 --> 01:41:25,000 already done for the first film. It's not what he uses and or 2367 01:41:25,000 --> 01:41:28,800 necessarily what's in Mex uses, it's where he uses them and for 2368 01:41:28,800 --> 01:41:31,640 them emotional beats and for the set pieces, it really elevates 2369 01:41:31,640 --> 01:41:34,160 those, really brings it into that battle of the future 2370 01:41:34,160 --> 01:41:35,960 universe. And I think it's good that they 2371 01:41:35,960 --> 01:41:37,840 didn't rewrite it because they could have, they've got 2372 01:41:37,840 --> 01:41:39,920 Sylvestri could have just said take that theme and make it a 2373 01:41:39,920 --> 01:41:42,280 little bit different. I'll just change it completely 2374 01:41:42,280 --> 01:41:44,760 and not use the same one. But again, Matt's right. 2375 01:41:44,760 --> 01:41:45,960 You know, if you've got the hits, you play them. 2376 01:41:45,960 --> 01:41:49,000 They know what they had, they could repeat it and they did and 2377 01:41:49,000 --> 01:41:51,000 they did it really well. When that opening theme comes up 2378 01:41:51,000 --> 01:41:52,680 with the front of the film, that's all you want to hear. 2379 01:41:52,680 --> 01:41:54,800 That's all you want to see. It's got to go a little bit 2380 01:41:54,800 --> 01:41:57,040 darker and a bit more, but you can't lose the blueprint. 2381 01:41:57,600 --> 01:41:59,640 And I think that's the thing with everyone behind the camera 2382 01:41:59,640 --> 01:42:01,440 that had a blueprint, that had a set of rules. 2383 01:42:01,840 --> 01:42:04,840 It's a great soundtrack, but if I'm looking at them on vinyl and 2384 01:42:04,840 --> 01:42:07,560 I can have Battle of the Future One or Battle of the Future 2 2385 01:42:07,560 --> 01:42:09,240 and buy Battle of the Future One every day of the week. 2386 01:42:09,560 --> 01:42:11,880 Yes, definitely. And then right at the end here, 2387 01:42:11,880 --> 01:42:14,240 it'd be just before the credit. He slips in that little Western 2388 01:42:14,240 --> 01:42:16,360 morty for Part 3, doesn't he? Yeah, yeah. 2389 01:42:16,440 --> 01:42:19,080 That's a nice little touch. The music makes references back 2390 01:42:19,080 --> 01:42:23,120 to the first film in other ways. After 2015, Marty has been 2391 01:42:23,120 --> 01:42:24,680 fired. He's playing his guitar in the 2392 01:42:24,680 --> 01:42:27,280 living room. He's not playing it very well at 2393 01:42:27,280 --> 01:42:30,440 all, but you can tell he's playing the main riff from The 2394 01:42:30,440 --> 01:42:33,200 Power of Love by Hugh Lewis in the News, the theme song from 2395 01:42:33,200 --> 01:42:35,560 the first film. He's playing it that badly, I 2396 01:42:35,560 --> 01:42:37,600 think that wouldn't have even have to pay rights for it. 2397 01:42:39,640 --> 01:42:43,760 It's almost unrecognizable. Yeah, the callbacks in the first 2398 01:42:43,760 --> 01:42:45,440 film as well. The score for the hoverboard 2399 01:42:45,440 --> 01:42:47,920 chase is very similar to the piece for the skateboard chase 2400 01:42:47,920 --> 01:42:49,520 in the first film, but it's been developed. 2401 01:42:49,520 --> 01:42:51,160 It's a bit more intricate this time around. 2402 01:42:51,360 --> 01:42:52,600 Yeah. Yeah, it is. 2403 01:42:53,280 --> 01:42:56,600 And as well as Sylvestre score, Zemeckis had Universal license a 2404 01:42:56,600 --> 01:42:59,200 number of classic pop songs that we hear in the film. 2405 01:42:59,480 --> 01:43:02,760 When Marty goes in Cafe 80s, we can hear Beat It by Michael 2406 01:43:02,760 --> 01:43:04,000 Jackson playing in the background. 2407 01:43:04,240 --> 01:43:06,000 Yeah. Yeah, I love that song. 2408 01:43:06,480 --> 01:43:08,360 Yeah, who doesn't? Another Eddie Van Halen 2409 01:43:08,360 --> 01:43:09,840 reference? Because in the first film, Marty 2410 01:43:09,840 --> 01:43:12,560 plays a team of Eddie Van Halen when Georgie's asleep to freak 2411 01:43:12,560 --> 01:43:14,760 him out, doesn't he? Yeah, yeah, And Eddie Van Halen 2412 01:43:14,760 --> 01:43:16,680 plays the crazy guitar solo on Beat It. 2413 01:43:16,960 --> 01:43:18,800 Yeah, first take as well, then just left. 2414 01:43:18,960 --> 01:43:22,000 Couldn't remember how to do it. Sword in played and just left. 2415 01:43:22,000 --> 01:43:25,440 Amazing, amazing. And when Marty is walking around 2416 01:43:25,440 --> 01:43:29,520 1985 A, the scene is scored by icon Drive 55. 2417 01:43:29,760 --> 01:43:31,920 And that's a Hard Rock song by Sammy Agar. 2418 01:43:33,240 --> 01:43:35,360 Sammy Hagar, former lead singer in Van Halen. 2419 01:43:35,360 --> 01:43:36,960 Yeah, there you go. Would have loved to come here 2420 01:43:36,960 --> 01:43:39,720 from those guys like a futuristic band in 2015 or 2421 01:43:39,720 --> 01:43:40,160 something. Yeah, it. 2422 01:43:40,360 --> 01:43:42,360 Would have been great. The wild stallions. 2423 01:43:43,880 --> 01:43:46,160 Flame coming out over on hoverboards. 2424 01:43:46,280 --> 01:43:46,760 Amazing. Oh, that. 2425 01:43:46,920 --> 01:43:50,360 'D be great, yeah. And then when we go back to 2426 01:43:50,360 --> 01:43:54,560 1955, we hear Mr. Sandman like we do in the first film, and it 2427 01:43:54,560 --> 01:43:56,640 often gets credited as the Cordets version. 2428 01:43:56,640 --> 01:43:58,680 But it's not. It's actually the version by the 2429 01:43:58,680 --> 01:44:01,560 four Asus release in 1954. Very nice. 2430 01:44:01,800 --> 01:44:03,960 Great to hear it. Most were in the first film, 2431 01:44:03,960 --> 01:44:06,280 probably, but as a piece of music that in a film that's 2432 01:44:06,280 --> 01:44:09,080 purpose, it's to like set a scene or replace, that's one of 2433 01:44:09,080 --> 01:44:10,720 the best I've ever heard. Yeah, yeah, yeah. 2434 01:44:10,720 --> 01:44:12,920 Whenever we gather the opening of that song anyway, I picture a 2435 01:44:12,920 --> 01:44:14,840 1955 Hill Valley. Yeah, yeah. 2436 01:44:14,920 --> 01:44:18,400 Like Pavlov's dog or something. Yeah, speaking around the corner 2437 01:44:18,520 --> 01:44:21,920 of the end of it. And we hear another time period 2438 01:44:21,920 --> 01:44:25,560 song in 1955 when Biff is driving to the Enchantment Under 2439 01:44:25,560 --> 01:44:29,440 the Sea dance Papa Loves Mambo by Perry Cuomo as playing on the 2440 01:44:29,440 --> 01:44:31,000 car radio. Great song. 2441 01:44:31,360 --> 01:44:33,840 Yeah, so apparently Papa Loves Mambo was the Mecca's first 2442 01:44:33,840 --> 01:44:36,560 choice to use in the first film instead of Mr. Sandmann, but he 2443 01:44:36,560 --> 01:44:38,320 changed his mind. All right, So that's why it's 2444 01:44:38,320 --> 01:44:39,600 used here. Right. 2445 01:44:39,600 --> 01:44:40,960 Yeah, yeah. Glad to change it though. 2446 01:44:40,960 --> 01:44:42,800 Mr. Sandmann's like perfection, yeah. 2447 01:44:42,800 --> 01:44:45,600 Yeah, it's great. Yeah, new Oscar nomination 2448 01:44:45,600 --> 01:44:48,120 violin Sylvestre score. The winner that year was Alan 2449 01:44:48,120 --> 01:44:50,720 Menken for The Little Mermaid. All right, I guess Sylvestre 2450 01:44:50,720 --> 01:44:52,200 wouldn't be eligible anyway because he. 2451 01:44:52,200 --> 01:44:54,320 He uses a lot of pieces. Obviously, he's probably. 2452 01:44:54,320 --> 01:44:56,080 Not like Hans Zimmer with June, too. 2453 01:44:56,200 --> 01:44:58,600 Yeah, yeah, yeah. But as a sequel score that 2454 01:44:58,600 --> 01:45:00,080 evolves in music from the original. 2455 01:45:00,160 --> 01:45:01,960 Some good work from Roland Silvestri here. 2456 01:45:02,240 --> 01:45:04,480 Yeah, great work. Knew exactly what he had to do 2457 01:45:04,480 --> 01:45:06,080 when he did it. I'll be at 30%. 2458 01:45:09,920 --> 01:45:12,560 It's time for the visuals on Back to the Future Part 2 and 2459 01:45:12,560 --> 01:45:15,760 the directory of photography was Dean Cundy with his 36th feature 2460 01:45:15,760 --> 01:45:19,800 film credit, Halloween, Escape from New York, The Thing, 2461 01:45:19,800 --> 01:45:21,880 Romancing the Store, Who Framed Roger Rabbit. 2462 01:45:21,960 --> 01:45:23,880 Oscar nominated three previous films. 2463 01:45:23,880 --> 01:45:25,960 Was The Megis and he shot the first film. 2464 01:45:26,600 --> 01:45:27,120 Yeah. Pretty good. 2465 01:45:27,120 --> 01:45:28,640 Fit for Back to the Future Part 2 then. 2466 01:45:28,640 --> 01:45:31,240 Wasn't he Westie? Well, obviously a perfect fit. 2467 01:45:31,320 --> 01:45:33,840 He knew where everything was going to go and how everything 2468 01:45:33,840 --> 01:45:35,320 had to look and how everything was going to be. 2469 01:45:35,320 --> 01:45:37,840 And it's very Dean Cundy and a lot of people don't talk about 2470 01:45:37,840 --> 01:45:40,440 how talented this guy is. I mean, he pioneered a lot of 2471 01:45:40,440 --> 01:45:43,400 what to make us needed to see. I mean, just coming from Roger 2472 01:45:43,400 --> 01:45:46,000 Rabbit and then doing this, some of the effects at the time, I 2473 01:45:46,000 --> 01:45:48,080 feel like some of them are a little bit rushed because the 2474 01:45:48,080 --> 01:45:51,920 story feels a little bit rushed. But there's elements of all of 2475 01:45:51,920 --> 01:45:53,280 his early work, the stuff he did but can't. 2476 01:45:53,280 --> 01:45:55,640 I mean, there's elements of like Escape New York, like I've said, 2477 01:45:55,640 --> 01:46:00,040 you know, when the when we first went 1985 A and I think Dean 2478 01:46:00,040 --> 01:46:02,640 Connie was just perfect at being a cinematographer. 2479 01:46:02,640 --> 01:46:05,240 Like I said earlier, where you don't notice the cinematography. 2480 01:46:05,520 --> 01:46:07,800 You don't look at a film and go, that's a Dean Conde film. 2481 01:46:08,400 --> 01:46:11,280 Yeah, because he's just invisible, much like Zemeckis is 2482 01:46:11,280 --> 01:46:12,880 invisible. I can't really tie down what a 2483 01:46:12,880 --> 01:46:14,760 Dean Conde film is because he can do anything. 2484 01:46:15,240 --> 01:46:18,200 And what he does is he really, he sets more of a tonality than 2485 01:46:18,200 --> 01:46:20,440 he does set a look. He sets more of a feeling. 2486 01:46:20,640 --> 01:46:23,480 He sets more of an atmosphere. At the end of the day, his Max 2487 01:46:23,480 --> 01:46:26,960 is a director and his head is up there thinking of ideas, same as 2488 01:46:26,960 --> 01:46:28,560 Bob Gale. And he needs people to pull it 2489 01:46:28,560 --> 01:46:30,920 off. And he can still come back and 2490 01:46:30,920 --> 01:46:34,200 say, can you shoot this scene, the opening scene or the the end 2491 01:46:34,200 --> 01:46:36,160 scene of the last film? Now it's the opening scene. 2492 01:46:36,160 --> 01:46:39,280 But come have that shot by shot, frame by frame, light by light, 2493 01:46:39,680 --> 01:46:41,720 and make it again, do again four years later. 2494 01:46:41,840 --> 01:46:45,200 And he's like, yeah, no problem. That's incredibly hard to do. 2495 01:46:46,200 --> 01:46:48,280 It's just wonderful stuff and it's wonderful to see. 2496 01:46:48,280 --> 01:46:50,320 Yes, some of it has an edge. Well, I don't think that's his 2497 01:46:50,320 --> 01:46:51,720 fault. I think it was just a little bit 2498 01:46:52,240 --> 01:46:54,080 too fast. But yeah, it's beautiful. 2499 01:46:55,240 --> 01:46:57,080 Yeah, one of the biggest challenges here I think is it 2500 01:46:57,080 --> 01:46:59,400 couldn't. He has to make the same studio 2501 01:46:59,400 --> 01:47:01,920 back lot feel like 4 different worlds really. 2502 01:47:02,320 --> 01:47:07,040 And he does 2015 to 1980 fives 1955, the all field distinct. 2503 01:47:07,240 --> 01:47:09,280 Obviously production design plays a big part in that as 2504 01:47:09,280 --> 01:47:11,560 well, like we've talked about. Yeah of course, but Kundi's all 2505 01:47:11,560 --> 01:47:13,720 over it. The 2015 sequences are shot to 2506 01:47:13,720 --> 01:47:17,760 be very warm and bright and then 1985 A is like the opposite, 2507 01:47:18,000 --> 01:47:20,280 basically the framings tighter to make everything more 2508 01:47:20,280 --> 01:47:22,280 claustrophobic. Pitch black as well isn't. 2509 01:47:22,280 --> 01:47:23,680 It yeah, yeah, like impressive looking. 2510 01:47:23,960 --> 01:47:25,120 Seems to be a lot of long lenses. 2511 01:47:25,120 --> 01:47:27,880 So it looks almost like hill valleys, like closing in on 2512 01:47:27,880 --> 01:47:30,120 Marty in certain shots. It's got a real surveillance 2513 01:47:30,120 --> 01:47:32,240 kind of vibe as well as if you're watching it through 2514 01:47:32,240 --> 01:47:34,560 through a security camera, there's a lot of high angles, a 2515 01:47:34,560 --> 01:47:36,160 lot of really uncomfortable high angles. 2516 01:47:36,160 --> 01:47:37,840 There is, yeah. I mean, that's not production 2517 01:47:37,840 --> 01:47:39,160 design. Is it that cinematography? 2518 01:47:39,160 --> 01:47:41,040 Yeah, that's putting the camera somewhere where you feel 2519 01:47:41,040 --> 01:47:42,400 uncomfortable. You don't quite know. 2520 01:47:42,680 --> 01:47:43,800 Why? And this was specific shot 2521 01:47:43,800 --> 01:47:45,400 choices that always stand out to me. 2522 01:47:45,560 --> 01:47:48,280 The single shot, the cemetery where we see Marty at George's 2523 01:47:48,280 --> 01:47:50,680 grave, that's one of the best pieces of blocking in movement 2524 01:47:50,680 --> 01:47:52,480 in the film. The way it reveals Doc in the 2525 01:47:52,480 --> 01:47:53,920 background is great. Yeah. 2526 01:47:53,920 --> 01:47:56,200 And that bit when they first arrived in 1955 to get the 2527 01:47:56,200 --> 01:47:58,720 Almanac, Doc's kind of explaining the plan for the 2528 01:47:58,840 --> 01:48:00,800 audience, basically. But Marty and Doc are both, 2529 01:48:00,800 --> 01:48:02,960 like, running towards and away from the camera. 2530 01:48:03,200 --> 01:48:06,280 Really weird to make an exposition seem more interesting 2531 01:48:06,280 --> 01:48:08,320 to look at, presumably. But I always laugh at it. 2532 01:48:08,320 --> 01:48:09,680 It's just so odd. Yeah. 2533 01:48:09,920 --> 01:48:12,200 But yeah, some big challenges for Kundi here as DP. 2534 01:48:12,200 --> 01:48:14,720 And he pulls them off to my mind, as he tends to do. 2535 01:48:14,840 --> 01:48:16,760 Absolutely. It's like the music for me. 2536 01:48:16,760 --> 01:48:18,400 It's about keeping it consistent, you know? 2537 01:48:18,400 --> 01:48:21,600 Why would you hire someone else when Kundi knows this world? 2538 01:48:21,600 --> 01:48:25,200 He knows the Mechus, knows his methods, what he wants, and you 2539 01:48:25,200 --> 01:48:27,920 don't want it to look any different from the first really. 2540 01:48:27,920 --> 01:48:29,360 So why would he go somewhere else? 2541 01:48:29,720 --> 01:48:33,160 And I think the other benefit of that is because Cundi comes into 2542 01:48:33,160 --> 01:48:34,720 this with that kind of advantage. 2543 01:48:35,280 --> 01:48:38,400 Zemeckis can then give him those challenges, such as the same 2544 01:48:38,400 --> 01:48:41,040 actor appearing in different roles at the same time, but to 2545 01:48:41,040 --> 01:48:42,400 the level that hadn't been done before. 2546 01:48:42,760 --> 01:48:45,000 And the thing that for me has to be the main take away from what 2547 01:48:45,000 --> 01:48:47,160 Cundi does here. It was an immense challenge. 2548 01:48:47,360 --> 01:48:50,160 It's step up from the 1st and he just roasted it because all 2549 01:48:50,160 --> 01:48:52,440 those elements, it just looks completely seamless. 2550 01:48:53,040 --> 01:48:54,320 Yeah, seamless. That's the word for it, I think. 2551 01:48:54,320 --> 01:48:56,640 Yeah. And recreating some scenes from 2552 01:48:56,640 --> 01:48:58,960 the first film caused the logistical challenge, as the 2553 01:48:58,960 --> 01:49:01,600 full details around setups in the first film hadn't been 2554 01:49:01,600 --> 01:49:04,160 documented anywhere, so the camera crew were often doing 2555 01:49:04,160 --> 01:49:07,320 setups from memory and couldn't, he said on the first night of 2556 01:49:07,320 --> 01:49:08,560 film. And they were recreating the 2557 01:49:08,560 --> 01:49:11,640 climax scene where lightning hits the clock tower and Marty 2558 01:49:11,640 --> 01:49:14,720 goes back to 1985, he said. They were struggling to get the 2559 01:49:14,720 --> 01:49:18,240 same lighting until somebody said somebody wished it would 2560 01:49:18,240 --> 01:49:20,680 have been me. Like I said that. 2561 01:49:21,400 --> 01:49:24,080 I remember that we had a light over in that doorway and another 2562 01:49:24,080 --> 01:49:26,640 crew member remembered the exact filter that went over the light 2563 01:49:26,640 --> 01:49:29,480 to give it that look amazing. Just one light in the doorway 2564 01:49:29,480 --> 01:49:30,640 and that changes the whole thing. 2565 01:49:30,640 --> 01:49:33,120 It's how important it is. Team F out then. 2566 01:49:33,520 --> 01:49:35,440 Nowadays you'd probably expect all that to be documented 2567 01:49:35,440 --> 01:49:37,600 somewhere I'd imagine. So you just refer back to it 2568 01:49:37,760 --> 01:49:39,320 then. Maybe sequels weren't so 2569 01:49:39,320 --> 01:49:41,800 commonplace or they just thought just set it up and then tear it 2570 01:49:41,800 --> 01:49:43,840 down fine. Yeah, I mean, the damage that 2571 01:49:43,840 --> 01:49:45,960 did so much damage, the hill valley itself didn't there. 2572 01:49:45,960 --> 01:49:47,720 So yes, they had to rebuild it anyway. 2573 01:49:48,080 --> 01:49:50,760 True, and the biggest technological innovation in the 2574 01:49:50,760 --> 01:49:53,320 film was the combination of cinematography and special 2575 01:49:53,320 --> 01:49:56,360 effects, with some actors playing multiple roles. 2576 01:49:56,360 --> 01:49:59,040 There were times an actor needed to appear in the same scene 2577 01:49:59,040 --> 01:50:01,040 twice, sometimes in the same frame. 2578 01:50:01,560 --> 01:50:04,360 Previously, this would have been done with dual photography, 2579 01:50:04,360 --> 01:50:07,080 where the camera would be locked down so they could just split 2580 01:50:07,080 --> 01:50:09,640 the frame down the middle. But some mechas wanted to move 2581 01:50:09,640 --> 01:50:13,040 the camera, so effects studio ILM came back from the first 2582 01:50:13,040 --> 01:50:15,840 film to develop a camera system called the Vista Glide. 2583 01:50:16,880 --> 01:50:19,440 Yes, there was 4 main sequences like you're talking about, Matt, 2584 01:50:19,440 --> 01:50:21,800 where actors needed to act with themselves at like length 2585 01:50:21,880 --> 01:50:23,680 basically. Yeah, that's Tom Wilson. 2586 01:50:23,680 --> 01:50:25,960 There's Griff and Old Biff and Cafe 80s. 2587 01:50:25,960 --> 01:50:28,920 Yeah, the 2015 McFly in our scene where Jay Fox is playing 2588 01:50:28,920 --> 01:50:33,000 Marty Senior, Marty Junior and Marlene Old Beef giving young 2589 01:50:33,000 --> 01:50:36,320 beef the Almanac in 1955 and Christopher Lloyd appears in 2590 01:50:36,320 --> 01:50:40,720 1955 Dock on 1985 dock in the scene of the clock tower as 2591 01:50:40,720 --> 01:50:41,360 well. Yeah. 2592 01:50:41,640 --> 01:50:43,960 So lots of thinking through was needed, it sounds like. 2593 01:50:44,520 --> 01:50:47,120 The bits that didn't use the Vista glare love though, when 2594 01:50:47,120 --> 01:50:49,480 they're just just blocking it in its old school. 2595 01:50:49,800 --> 01:50:52,000 And you've got when the old Biff gives young Biff the Almanac and 2596 01:50:52,000 --> 01:50:54,480 he shuts the garage door and then he just his arm comes out 2597 01:50:54,480 --> 01:50:56,320 and it's someone else's arm and he can tell. 2598 01:50:56,760 --> 01:50:59,440 I love bits like that, but it's like, let's not even try and be 2599 01:50:59,440 --> 01:51:00,480 clever. I've had enough. 2600 01:51:00,480 --> 01:51:04,400 Let's just get the scene done. And working on Roger Rabbit, 2601 01:51:04,400 --> 01:51:07,120 some Echos had come across a system where computer controlled 2602 01:51:07,120 --> 01:51:09,760 camera combined live actors with animation. 2603 01:51:10,040 --> 01:51:14,080 So based on that, ILM mounted a 35 mil Vista vision camera on a 2604 01:51:14,080 --> 01:51:17,040 computer controlled Dolly O. Basically the scene would be 2605 01:51:17,040 --> 01:51:20,520 shot once by a human camera operator and the computer would 2606 01:51:20,520 --> 01:51:24,120 record every tilt, pan, focus change, etcetera basically every 2607 01:51:24,120 --> 01:51:26,840 move and they would then shoot the same again with the Vista 2608 01:51:26,840 --> 01:51:29,360 gliding control and it would mimic the moves from the first 2609 01:51:29,360 --> 01:51:31,080 shot exactly. Yes. 2610 01:51:31,080 --> 01:51:33,840 So the scene where Biff gives Biff the Almanac, the film with 2611 01:51:33,840 --> 01:51:36,440 Tom Wilson playing old Biff and then has the makeup removed, 2612 01:51:36,440 --> 01:51:38,720 changes costume to young Biff and they shoot it again with the 2613 01:51:38,720 --> 01:51:41,640 Vista gliding control and Tom Wilson's wearing earphones and 2614 01:51:41,640 --> 01:51:43,400 the played in the dialogue from the first take. 2615 01:51:43,680 --> 01:51:46,120 So he's timing spot on when he's talking to himself, basically. 2616 01:51:46,520 --> 01:51:49,200 All right, nice. And then ILM would then take the 2617 01:51:49,200 --> 01:51:51,720 two shots and composite them together in post production, 2618 01:51:52,040 --> 01:51:54,280 placing old and young Biff in the same shot. 2619 01:51:54,880 --> 01:51:57,400 There is an error in that scene, if you've noticed, you've got to 2620 01:51:57,400 --> 01:51:59,480 really look for it. But when Old Biff gives Young 2621 01:51:59,480 --> 01:52:02,120 Biff the Almanac, there was some sort of compositing problem in 2622 01:52:02,120 --> 01:52:04,320 Old Biffs hand disappears for a second or something. 2623 01:52:04,600 --> 01:52:06,880 Right? Skywalker, right? 2624 01:52:09,080 --> 01:52:12,360 Which makes that scene even more amazing that Wilson pulled that 2625 01:52:12,360 --> 01:52:14,160 off because you can't act next to a double if you're going to 2626 01:52:14,160 --> 01:52:16,600 just replace them, so you can't have someone there to react 2627 01:52:16,600 --> 01:52:18,000 against. And also when he throws the 2628 01:52:18,000 --> 01:52:19,440 almond out, that's definitely CGI. 2629 01:52:19,440 --> 01:52:23,160 Oh yeah, you can tell that. 100% yeah another piece of stand out 2630 01:52:23,160 --> 01:52:24,680 CGI. Although I've just mentioned the 2631 01:52:24,680 --> 01:52:26,880 almond out being CGI is stand out for a totally different 2632 01:52:26,880 --> 01:52:29,800 reason. ILM worked on the holographic 2633 01:52:29,800 --> 01:52:32,960 shark in 2015 that promotes Jaws 19. 2634 01:52:33,520 --> 01:52:37,080 The visual effects supervisor was Ken Ralston and he said they 2635 01:52:37,080 --> 01:52:39,800 did several versions of it that got better each time, but they 2636 01:52:39,800 --> 01:52:42,160 ended up using the first one because they like the fact that 2637 01:52:42,160 --> 01:52:44,200 it was more messed up and glitchy than the other ones, 2638 01:52:44,200 --> 01:52:46,520 which I love that. Yeah, it does look really good. 2639 01:52:46,640 --> 01:52:48,280 Yeah. At one point the hologram was 2640 01:52:48,280 --> 01:52:52,200 going to advertise Godzilla 2015 instead of Jaws 19, right? 2641 01:52:52,240 --> 01:52:55,560 And there was a Godzilla film in 2014. 2014, yeah. 2642 01:52:55,880 --> 01:52:56,560 Oh, that's right. Yeah. 2643 01:52:56,560 --> 01:52:57,560 It's Galve Edwards one. Yeah. 2644 01:52:57,640 --> 01:52:59,400 Yeah, yeah. So they would have been close, 2645 01:52:59,680 --> 01:53:01,400 but yeah, changed to Jaws this time. 2646 01:53:01,400 --> 01:53:03,520 It's really, really personal at the time line. 2647 01:53:05,040 --> 01:53:07,160 Yeah. You know, Oscars for Dean Cundy 2648 01:53:07,160 --> 01:53:09,440 for his work here. ILM were nominated for best 2649 01:53:09,440 --> 01:53:12,960 visual effects, though they lost out to the Abyss, which was also 2650 01:53:12,960 --> 01:53:13,920 ILM. So. 2651 01:53:13,920 --> 01:53:16,120 All right. Show offs, Yeah. 2652 01:53:16,440 --> 01:53:19,000 We're not going to care. Yeah, fine Abyss was amazing. 2653 01:53:19,200 --> 01:53:21,520 And that is the crew. Huge production, huge team on 2654 01:53:21,520 --> 01:53:24,560 Back to the Future Part 2 and in Bob gear, the screenwriter Alan 2655 01:53:24,560 --> 01:53:28,360 Silvestri's composer Dean Cundy's DP and ILM creating 2656 01:53:28,360 --> 01:53:31,600 innovative effects to make us had some team helping him out 2657 01:53:31,880 --> 01:53:33,280 certainly did. And you can see it. 2658 01:53:33,280 --> 01:53:38,440 You can see every minute of it. The end. 2659 01:53:40,920 --> 01:53:43,800 Into the final act of Back to the Future Part 2, and Marty is 2660 01:53:43,800 --> 01:53:46,880 back in 1955. The climax is coming where Marty 2661 01:53:46,880 --> 01:53:49,280 finally reclaims the Sports Almanac before Docker's 2662 01:53:49,280 --> 01:53:50,800 lightning struck back to the past. 2663 01:53:51,080 --> 01:53:53,600 But first, we're revisiting some familiar moments. 2664 01:53:54,720 --> 01:53:57,160 Yeah, so the enchantment of the sea dance. 2665 01:53:57,320 --> 01:53:59,680 Marty heads back to Hill Valley High to find Biff and the 2666 01:53:59,680 --> 01:54:02,160 Almanac. Same night, same dance, same 2667 01:54:02,160 --> 01:54:04,120 punch. But it's all a little bit 2668 01:54:04,120 --> 01:54:06,600 different, isn't it, Mark? A little. 2669 01:54:06,600 --> 01:54:08,040 Bit different. What do you make of it? 2670 01:54:08,840 --> 01:54:12,000 I mean, I'm not quite convinced of the wisdom of framing these 2671 01:54:12,000 --> 01:54:14,480 scenes against all the amaze and scenes from the first film, 2672 01:54:14,480 --> 01:54:17,000 because I think I just like to watch the first one again. 2673 01:54:17,280 --> 01:54:19,880 Yeah, too, right. But it's so good to see 2674 01:54:19,880 --> 01:54:22,200 Strickland again back in the 50s, still kicking ass. 2675 01:54:22,200 --> 01:54:23,680 He's really funny. Yeah, great. 2676 01:54:23,680 --> 01:54:26,320 He's making his coffee Irish because, you know, none, none of 2677 01:54:26,320 --> 01:54:28,040 the kids can see him do that. That's brilliant. 2678 01:54:28,440 --> 01:54:30,960 And it's just like such a reminder for the great comic 2679 01:54:30,960 --> 01:54:33,280 actor Michael J Fox. He's like when he gets his 2680 01:54:33,280 --> 01:54:34,960 fingers jammed between the desk and the. 2681 01:54:34,960 --> 01:54:37,760 Chair, you know, Oh, he's great. Comedy one O 1. 2682 01:54:37,760 --> 01:54:41,080 But he does it so well, and I'll always love the scene like this 2683 01:54:41,080 --> 01:54:44,000 where they've managed to combine the highest of stakes, which is 2684 01:54:44,280 --> 01:54:47,480 the future of Marty in the future of Hill Valley with the 2685 01:54:47,480 --> 01:54:50,240 smallest action. Imagine he's just stealing a 2686 01:54:50,240 --> 01:54:52,480 magazine off a desk. That's all he's got to do to 2687 01:54:52,480 --> 01:54:54,160 save the day. It's not like he's having to 2688 01:54:54,160 --> 01:54:56,680 diffuse a ticking bomb or anything like that. 2689 01:54:57,080 --> 01:54:58,840 And I think that's just really smart writing. 2690 01:54:59,200 --> 01:55:01,360 And I think the other bit of smart writing is when Strickland 2691 01:55:01,360 --> 01:55:04,080 drops it in the bin because you think, well, is that it? 2692 01:55:04,080 --> 01:55:05,560 That can't be it. That's too easy. 2693 01:55:05,720 --> 01:55:07,520 There's got to be something here, some twist. 2694 01:55:07,800 --> 01:55:10,880 So that revelation that Biff has ripped the cover off and it's 2695 01:55:11,040 --> 01:55:13,680 been oh, La La la the both reading instead. 2696 01:55:13,920 --> 01:55:16,800 That's really well done. And again, Fox's is so funny. 2697 01:55:16,920 --> 01:55:20,680 Oh La La, oh La La. Brilliant. 2698 01:55:22,040 --> 01:55:24,120 Great thing. I love the way when he's 2699 01:55:24,120 --> 01:55:26,320 flicking through the book it starts with like loads of 2700 01:55:26,320 --> 01:55:28,360 writing and. Then it gets in the pictures. 2701 01:55:28,360 --> 01:55:30,920 Afterwards he's like, oh, I thought I had it definitely 2702 01:55:30,920 --> 01:55:34,000 doing. More than the actual recreations 2703 01:55:34,000 --> 01:55:36,320 of the scenes from the first film, I like all the off screen 2704 01:55:36,320 --> 01:55:39,000 scenes from the first film like Strickland watching Beth Paul 2705 01:55:39,000 --> 01:55:41,120 liquor into the punch. Yeah, they're the best ones, 2706 01:55:41,120 --> 01:55:42,560 yeah. And then taking the almanacrome 2707 01:55:42,560 --> 01:55:44,920 outside, all that kind of stuff for me, like, you're a slacker. 2708 01:55:45,200 --> 01:55:46,360 I love all that. Yeah. 2709 01:55:46,640 --> 01:55:48,360 And the scene in Strickland's office, that's one of the best 2710 01:55:48,360 --> 01:55:50,000 of those moments, I think. Yeah. 2711 01:55:50,000 --> 01:55:52,360 Marty think he's got that Almanac finally with oh La La, 2712 01:55:52,480 --> 01:55:55,240 but a few seconds before that Strickland, he has a noise. 2713 01:55:55,240 --> 01:55:57,800 He walks the door and we get this awesome camera move where 2714 01:55:57,800 --> 01:56:00,280 Marty's hiding under the desk and the camera like spins round 2715 01:56:00,280 --> 01:56:03,360 the set to reveal exactly where Marty is compared to Strickland. 2716 01:56:03,560 --> 01:56:06,800 Small thing, but I love that he probably couldn't the expertise 2717 01:56:06,800 --> 01:56:09,000 would like how to use space in storytelling. 2718 01:56:09,280 --> 01:56:11,640 There's been a great shot when Marty's on the phone and Doc 2719 01:56:11,640 --> 01:56:14,240 saying he's got no idea where Biff is and there's a focus 2720 01:56:14,240 --> 01:56:16,320 pulled from Marty to what's happening behind him outside in 2721 01:56:16,320 --> 01:56:18,320 the window. George is about a deck Biff 2722 01:56:18,680 --> 01:56:20,240 great. It's a split that up to that I 2723 01:56:20,240 --> 01:56:21,720 think. Yeah, I think it is. 2724 01:56:21,720 --> 01:56:23,800 Yeah, must be. Even better, I just loved 2725 01:56:23,800 --> 01:56:25,960 actually both things. I just don't know where he is. 2726 01:56:26,280 --> 01:56:27,840 Yeah, and then we'll see the punch again. 2727 01:56:28,040 --> 01:56:29,400 And it's great because Marty takes you. 2728 01:56:29,400 --> 01:56:31,400 I went off base when he's basically unconscious. 2729 01:56:31,720 --> 01:56:34,800 If chases him when he gets up. And that guy is like, I think 2730 01:56:34,800 --> 01:56:37,360 you took your wallet. I think you took his wallet. 2731 01:56:38,280 --> 01:56:39,600 Who was that guy? Twice. 2732 01:56:40,680 --> 01:56:43,000 Whoever he is, he's far too old to be in high school. 2733 01:56:43,240 --> 01:56:46,280 Absolutely them for the rules when the ladies. 2734 01:56:47,640 --> 01:56:49,120 Like Greece? Exactly. 2735 01:56:50,120 --> 01:56:53,160 And the Oh La La magazine, that's a French Glamour magazine 2736 01:56:53,160 --> 01:56:56,320 that was made-up for the film. The cover is a flipped image of 2737 01:56:56,320 --> 01:56:59,640 an English actress called Venetia Stevenson, taken from 2738 01:56:59,640 --> 01:57:04,000 the cover of the July 1955 issue with Swank, the men's lifestyle 2739 01:57:04,000 --> 01:57:06,600 magazine. Daughter of Robert Stevenson, 2740 01:57:06,600 --> 01:57:08,840 the director of Mary Poppins. Venetia Stevenson. 2741 01:57:08,840 --> 01:57:10,080 Oh wow, right. Oh, La La. 2742 01:57:12,520 --> 01:57:14,800 I'm not sure if the Governor Stevens permission or they just 2743 01:57:14,800 --> 01:57:16,360 steamed in like with Crispin Glover. 2744 01:57:16,400 --> 01:57:17,480 Yeah. Fair enough. 2745 01:57:17,480 --> 01:57:19,120 Yeah, Yeah. Another nice little detail in 2746 01:57:19,120 --> 01:57:21,080 that scene, actually, is that Strickland's got an American 2747 01:57:21,080 --> 01:57:24,000 flag on his desk and it's got 48 stars, which is correct for 2748 01:57:24,000 --> 01:57:26,000 1955. Of course, Yeah, yeah. 2749 01:57:26,240 --> 01:57:28,680 Yeah, I mean, after this moment we'll go back and it's Johnny Be 2750 01:57:28,680 --> 01:57:30,880 good again and we'll see it again, but from a different 2751 01:57:30,880 --> 01:57:32,920 angle, which is fine. And then you realize the three 2752 01:57:32,920 --> 01:57:35,760 idiots are going to then beat up old Marty. 2753 01:57:35,760 --> 01:57:37,080 Well, not old Marty, young Marty. 2754 01:57:37,080 --> 01:57:38,960 And he can't get back the dog. And the whole thing is going to 2755 01:57:38,960 --> 01:57:40,720 be a paradox. And it's just, is this a step 2756 01:57:40,720 --> 01:57:42,240 too far? Maybe. 2757 01:57:42,240 --> 01:57:44,240 Is there a bit fat on this? Maybe. 2758 01:57:44,240 --> 01:57:45,880 And doesn't make us a little bit bored. 2759 01:57:46,360 --> 01:57:48,200 Yeah, because I just want to see Johnny be good. 2760 01:57:48,200 --> 01:57:52,240 I don't want to see Johnny be not so good CGI when he's 2761 01:57:52,680 --> 01:57:55,320 crawling over the background. He's just on the ladder. 2762 01:57:55,320 --> 01:57:57,920 And I just don't like them original shots being put in to 2763 01:57:57,920 --> 01:57:59,600 be like, wasn't this scene great? 2764 01:57:59,640 --> 01:58:01,960 Sounds great on the page. Imagine just saying this, right? 2765 01:58:01,960 --> 01:58:04,240 He's Johnny be good again. But they're going to nab him at 2766 01:58:04,240 --> 01:58:06,880 the end of the song. So other Marty climbs over and 2767 01:58:06,880 --> 01:58:09,720 drops sandbags on them just as he does the big bend at the end 2768 01:58:09,720 --> 01:58:11,200 of the song. Perfect timing and. 2769 01:58:11,320 --> 01:58:12,480 That's great that. Yeah, yeah. 2770 01:58:12,480 --> 01:58:15,000 Brilliant and it just sounds so good on the page. 2771 01:58:15,600 --> 01:58:18,760 I love the way the stagger time here and he's looking at his mum 2772 01:58:18,760 --> 01:58:21,360 and dad through the window and and when Biff comes into the 2773 01:58:21,360 --> 01:58:22,920 frame. That's a great show, yeah. 2774 01:58:22,920 --> 01:58:26,360 Absolutely fantastic. But what is fantastic is when 2775 01:58:26,360 --> 01:58:30,280 that door hits Michael J Fox in the face, because that really 2776 01:58:30,280 --> 01:58:32,640 hits him in the face. He goes for it. 2777 01:58:32,640 --> 01:58:34,640 And the fact that he knocks himself out, I think is 2778 01:58:34,640 --> 01:58:36,800 excellent. I do love it, I think it's 2779 01:58:36,800 --> 01:58:38,920 great, but every time I watch it, it just feels like it 2780 01:58:38,920 --> 01:58:42,600 belittles the original because I'd rather watch that instead, 2781 01:58:42,600 --> 01:58:44,600 like Matter. Yeah, when I watch you, I do 2782 01:58:44,600 --> 01:58:46,760 feel like it's just another excuse to get Johnny B Goode 2783 01:58:46,760 --> 01:58:48,560 back in there. Well, definitely, yeah. 2784 01:58:48,800 --> 01:58:51,680 It's a great track, but another great shot I like with the Vista 2785 01:58:51,680 --> 01:58:53,480 gliders. When Part 2, Marty comes off the 2786 01:58:53,480 --> 01:58:55,720 stage, he goes down the stairs and out the door, but then it 2787 01:58:55,720 --> 01:58:58,040 pans back to shore. Part 1, Marty coming off the 2788 01:58:58,040 --> 01:59:00,240 stage. Yeah, the Vista light obviously 2789 01:59:00,240 --> 01:59:02,280 gets one shot. Yeah, it's totally seamless. 2790 01:59:02,280 --> 01:59:03,600 So I do like that. Yeah. 2791 01:59:04,000 --> 01:59:05,920 So that's the enchantment of the sea dance. 2792 01:59:06,040 --> 01:59:08,200 Marty gets the Almanac, and then Biff takes it back. 2793 01:59:08,640 --> 01:59:10,560 Time for a final showdown, it looks like. 2794 01:59:11,520 --> 01:59:12,760 Right, another one. Let's do it. 2795 01:59:16,440 --> 01:59:19,120 It all comes down to this. Biff leaves the dance in his 2796 01:59:19,120 --> 01:59:21,080 car. He has the Almanac and Marty and 2797 01:59:21,080 --> 01:59:24,480 Docker after him in the flying DeLorean, the final face off 2798 01:59:24,480 --> 01:59:27,400 seizure tunnel, the hoverboard, and a classic Back to the Future 2799 01:59:27,400 --> 01:59:29,600 trope, the menu truck. Yeah yes. 2800 01:59:30,600 --> 01:59:33,320 Big action scene to end the narrative Mat, how is it? 2801 01:59:33,680 --> 01:59:36,560 I love the same of the scene because it's the most original 2802 01:59:36,560 --> 01:59:39,000 scene in the film. I think in terms of a big set 2803 01:59:39,000 --> 01:59:41,120 piece. It's one that doesn't rely on 2804 01:59:41,120 --> 01:59:43,400 the previous film to kind of refund or anything. 2805 01:59:43,920 --> 01:59:46,680 And it's great to see the De Lorean used for something else. 2806 01:59:46,680 --> 01:59:49,280 And it's not just getting people, you know, to the future 2807 01:59:49,280 --> 01:59:52,280 back into the past, but it's also not the magical solution. 2808 01:59:52,360 --> 01:59:55,080 I mean, sure, that can sneak up on Biff, but that's all. 2809 01:59:55,080 --> 01:59:57,800 I just love that line you get from talk about how if they did 2810 01:59:57,800 --> 01:59:59,920 try to like land on a bit, you'll RIP through. 2811 01:59:59,920 --> 02:00:01,960 It's like tinfoil. That's the difference in the 2812 02:00:01,960 --> 02:00:03,560 cast. That's a great line. 2813 02:00:04,040 --> 02:00:06,760 I mean, we've kind of mentioned already, like Biff just has no 2814 02:00:07,040 --> 02:00:08,480 perception of what's going on around him. 2815 02:00:08,480 --> 02:00:11,120 He has no idea what's behind him, somehow completely misses a 2816 02:00:11,240 --> 02:00:14,360 Hovrand de Lorean Marty jumping off, clinging on the back of his 2817 02:00:14,360 --> 02:00:16,120 car. That doesn't cause the the car 2818 02:00:16,120 --> 02:00:19,200 to move or change in any way, shape or form, but that's fine. 2819 02:00:19,440 --> 02:00:21,360 He could have been really cocky. When he's picking it up from the 2820 02:00:21,360 --> 02:00:23,720 mechanic, He's like, I need to put the rearview mirrors in. 2821 02:00:23,720 --> 02:00:25,000 He's like, I don't need rearview mirrors. 2822 02:00:25,000 --> 02:00:26,640 Yeah, he's got that kind of carrot in a way. 2823 02:00:26,640 --> 02:00:27,960 He'd say I don't need mirrors in my car. 2824 02:00:28,200 --> 02:00:29,320 You know, you're going to hit yourself. 2825 02:00:29,360 --> 02:00:31,480 I've got a kill switch and I don't need it, which would have 2826 02:00:31,480 --> 02:00:34,200 explained that totally, but he's just a fucking idiot, isn't? 2827 02:00:35,080 --> 02:00:36,640 He, he's an absolute. Yeah. 2828 02:00:36,960 --> 02:00:39,560 Because you think he knows this car apparently, like inch by 2829 02:00:39,560 --> 02:00:41,760 inch, so you'd think he feels someone hanging on to it. 2830 02:00:41,760 --> 02:00:45,360 But what I really love, though, is just how well this scene is 2831 02:00:45,360 --> 02:00:46,760 pierced. It's not mile a minute. 2832 02:00:47,040 --> 02:00:48,560 It's like the scene in Strickland's office. 2833 02:00:48,560 --> 02:00:52,000 It's about creeping up, being cautious, just trying to sneak 2834 02:00:52,000 --> 02:00:53,680 the Almanac out of the back of the car. 2835 02:00:53,960 --> 02:00:56,880 He doesn't need narratively, to have a confrontation with Biff 2836 02:00:57,000 --> 02:00:58,480 whatsoever because it's not about that. 2837 02:00:58,800 --> 02:01:00,480 But of course, when he does, it's great. 2838 02:01:00,480 --> 02:01:03,640 I mean, as I've been saying, Biff is genuinely a cycle, like 2839 02:01:03,640 --> 02:01:06,240 he is trying to kill Marty here, trying to crush him against the 2840 02:01:06,240 --> 02:01:08,560 tunnel wall. And then the Almanac ends up on 2841 02:01:08,560 --> 02:01:10,080 the windshield. And then of course, something 2842 02:01:10,080 --> 02:01:12,480 else is coming the other way. So Marty's got to flip out the 2843 02:01:12,480 --> 02:01:14,360 way of that. And I love that just when he 2844 02:01:14,360 --> 02:01:17,120 flips over the car to grab the Almanac and the music kicks in. 2845 02:01:17,280 --> 02:01:20,560 That's absolutely brilliant. But then Bips gaining on him and 2846 02:01:20,560 --> 02:01:23,400 then just the classic last minute rescue from Doc with the 2847 02:01:23,400 --> 02:01:26,000 kind of penance hanging down that he grabs onto. 2848 02:01:26,240 --> 02:01:27,760 Superb stuff. It's it is. 2849 02:01:27,760 --> 02:01:29,320 It's the absolute high pound the film for me. 2850 02:01:29,880 --> 02:01:32,120 Yeah, having the reaction sequence, yeah, that's section 2851 02:01:32,120 --> 02:01:34,120 where Marty's like creeping around the outside of BF's car. 2852 02:01:34,120 --> 02:01:36,360 It's pretty tense because the almanacs right there. 2853 02:01:36,400 --> 02:01:38,040 Yeah. So tense, and Marty's like, 2854 02:01:38,040 --> 02:01:40,200 inches away from it. It's such a simple setup, but it 2855 02:01:40,200 --> 02:01:42,040 works well. And the tunnels are sent. 2856 02:01:42,040 --> 02:01:44,240 That piece, though, because it's all been kind of set up earlier. 2857 02:01:44,240 --> 02:01:46,680 Like we said, yeah, it's a great setting for the scene. 2858 02:01:46,880 --> 02:01:48,320 Yeah. And Marty doing a flip over the 2859 02:01:48,320 --> 02:01:50,160 bonnet on the hoverboard is ludicrous. 2860 02:01:50,160 --> 02:01:54,840 All got cobot but then he's kind of like stranded in the tunnel 2861 02:01:54,840 --> 02:01:57,320 like miles from the end that shot and Biff coming up from the 2862 02:01:57,320 --> 02:01:59,520 mom down. That's great yeah. 2863 02:01:59,960 --> 02:02:02,360 And great set up where Marty just misses the truck when he's 2864 02:02:02,360 --> 02:02:04,920 hanging on the off the car on the hoverboard and that ends up 2865 02:02:04,920 --> 02:02:07,320 being the manure truck that Biff then crashes into yeah. 2866 02:02:07,600 --> 02:02:10,600 And this I think is the last time in the whole series that 2867 02:02:10,600 --> 02:02:11,280 was see Biff. Oh. 2868 02:02:11,640 --> 02:02:13,680 Yeah, probably is, yeah. Very sorry to see him go 2869 02:02:13,680 --> 02:02:16,560 obviously but a perfect way to went from you hate manure. 2870 02:02:16,680 --> 02:02:20,560 Yeah, yeah, wouldn't shit, yeah. Yeah, I mean, I kind of fault 2871 02:02:20,560 --> 02:02:22,800 it. I just it does seem to just go a 2872 02:02:22,800 --> 02:02:26,000 little bit too long for me. Can't fault anybody has a fault. 2873 02:02:26,240 --> 02:02:29,400 No, but like I can't fault it from the from the point of it 2874 02:02:29,440 --> 02:02:34,120 being in the film. But for me personally, it feels 2875 02:02:34,120 --> 02:02:38,280 too much like like a diluted diet version scene of like the 2876 02:02:38,400 --> 02:02:40,560 truck scene from Raiders, Right, Right. 2877 02:02:40,720 --> 02:02:43,640 It's a bit fatty. I would have liked this to have 2878 02:02:43,640 --> 02:02:46,240 been Doc who had to get it and Marty was flying the DeLorean. 2879 02:02:46,400 --> 02:02:48,960 What dog on the hoverboard? Yeah, and it mirrors against 2880 02:02:48,960 --> 02:02:50,120 what he's doing at the clock Teller. 2881 02:02:50,560 --> 02:02:52,800 All right, OK. And I think that would have 2882 02:02:52,800 --> 02:02:54,640 been, let's just make it short, and it would have been a bit 2883 02:02:54,640 --> 02:02:55,720 more interesting. Yeah. 2884 02:02:55,720 --> 02:02:58,040 And then Marty has to take over. He flies the DeLorean, and then 2885 02:02:58,040 --> 02:03:00,200 Marty has to get out the tunnel or something else where it was 2886 02:03:00,200 --> 02:03:01,520 both of them. So I feel like Doctors 2887 02:03:01,520 --> 02:03:02,640 disappears. He does. 2888 02:03:02,640 --> 02:03:04,120 Yeah. And then there's a great lack of 2889 02:03:04,120 --> 02:03:06,960 peril because it's Marty McFly. It's the end of About the Future 2890 02:03:06,960 --> 02:03:08,360 Part 2. And he isn't going to die, is 2891 02:03:08,360 --> 02:03:10,400 he? You know, I mean, I don't want 2892 02:03:10,400 --> 02:03:11,800 to fault it, is what I should have said. 2893 02:03:12,040 --> 02:03:14,280 But it does feel like it's just a little bit too much fat for 2894 02:03:14,280 --> 02:03:16,840 the end and I want it to just be a little bit quicker. 2895 02:03:17,720 --> 02:03:21,720 Slammed. Not slammed me. 2896 02:03:21,720 --> 02:03:23,560 You want me to slam something, I'll slam something. 2897 02:03:25,560 --> 02:03:28,200 The bottom line is I've seen it too many times that it's just, 2898 02:03:28,200 --> 02:03:30,800 it's lost that any sense of excitement because I know, I 2899 02:03:30,800 --> 02:03:33,760 know what happens next. Yeah, And this sequence was shot 2900 02:03:33,760 --> 02:03:36,400 using the Griffith Park Observatory tunnel in Los 2901 02:03:36,400 --> 02:03:38,480 Angeles. It's actually a lot shorter than 2902 02:03:38,480 --> 02:03:41,440 the tunnel in the film, so some effects tricks we used to make 2903 02:03:41,440 --> 02:03:43,880 it appear longer. They shot it on a wide angle 2904 02:03:43,880 --> 02:03:47,640 lens, changed the roof lights to be unevenly spaced, and added a 2905 02:03:47,640 --> 02:03:50,840 painted backdrop at the far end. And this all combined to make 2906 02:03:50,840 --> 02:03:53,200 the tunnel look about five times longer than it actually is. 2907 02:03:53,720 --> 02:03:55,200 Oh nice. Sounds like Wiley Coyote 2908 02:03:55,240 --> 02:03:57,920 painting a tunnel on the side of a Cliff for over, Yeah. 2909 02:03:58,200 --> 02:03:59,480 Like Roger Rabbit? Yeah. 2910 02:03:59,720 --> 02:04:01,640 Well, yeah, that tunnel to make us new, because that's the same 2911 02:04:01,640 --> 02:04:03,760 tunnel that Eddie Valley and drives through and hoofing Roger 2912 02:04:03,760 --> 02:04:06,160 Rabbit to reach Toontown. Is it right? 2913 02:04:06,360 --> 02:04:07,920 Ah, right. Imagine it came out there. 2914 02:04:08,040 --> 02:04:11,200 Yeah, really weird that. Would have made more sense. 2915 02:04:12,880 --> 02:04:15,960 And we're done with Part 2. Not quite though, as we still 2916 02:04:15,960 --> 02:04:19,080 need to set up part three. Yeah, dog struck by lightning in 2917 02:04:19,080 --> 02:04:22,640 the DeLorean and is up back to the 1885 Old West leaving our 2918 02:04:22,640 --> 02:04:25,760 Danumon. First a Western Union van man 2919 02:04:25,760 --> 02:04:27,880 arrived with a letter telling Marty what's going on. 2920 02:04:28,160 --> 02:04:30,800 Then Marty goes to get help from the only man who can help him. 2921 02:04:31,120 --> 02:04:33,000 Yeah. So how do things get wrapped up 2922 02:04:33,000 --> 02:04:34,680 West here? I absolutely love it when he's 2923 02:04:34,680 --> 02:04:37,480 like the lightning hits the tree 1st and sets that up and you 2924 02:04:37,480 --> 02:04:41,440 think, oh right, great, OK, you don't want to get struck by bang 2925 02:04:41,520 --> 02:04:44,880 and he's just that cut to nothing and he's gone and 2926 02:04:44,880 --> 02:04:46,880 there's just the spiral of the flags coming down. 2927 02:04:47,520 --> 02:04:49,440 I'm half expecting that what you're talking to work because 2928 02:04:49,440 --> 02:04:51,040 I've been so good throughout the whole. 2929 02:04:51,480 --> 02:04:52,880 Yeah, you can travel across time. 2930 02:04:53,240 --> 02:04:56,080 Yes, through space and time. I'm all right, Marty. 2931 02:04:56,120 --> 02:04:58,240 Like, where are you? Battery runs out. 2932 02:05:00,080 --> 02:05:02,600 But I do absolutely love this sequence because it just slows 2933 02:05:02,600 --> 02:05:04,720 right down here and it's great shot. 2934 02:05:04,720 --> 02:05:06,760 When that car turns up, there's just the headlights in the 2935 02:05:06,760 --> 02:05:08,200 floor. He gets out. 2936 02:05:08,200 --> 02:05:10,600 It's really film noir. Are you Marty McFly? 2937 02:05:10,600 --> 02:05:12,400 I've got something for you. And he could have pulled 2938 02:05:12,400 --> 02:05:14,880 anything out of his pocket. And then it just has a really 2939 02:05:14,880 --> 02:05:17,560 playful vibe. It's just really, really great. 2940 02:05:17,840 --> 02:05:20,680 But the thing that really grates on me is like, just get in the 2941 02:05:20,680 --> 02:05:23,200 car and read it, because that's going to get soaking and the ink 2942 02:05:23,200 --> 02:05:24,960 is going to ruin my. Anxiety is through the roof. 2943 02:05:25,600 --> 02:05:27,760 I'm like, don't just hold it next to the light, he said. 2944 02:05:27,760 --> 02:05:29,960 It's from the Doppler. We'll need more information than 2945 02:05:29,960 --> 02:05:32,320 that, but it's great. It's just wonderful. 2946 02:05:32,320 --> 02:05:35,200 I was like, he's alive. The music swells up, the guy's 2947 02:05:35,200 --> 02:05:37,280 asking if he's needing the help and he's like, there's only one 2948 02:05:37,280 --> 02:05:39,920 man who can help me. And that cook with the lightning 2949 02:05:39,960 --> 02:05:42,680 to dock with the clock tower to absolutely fantastic. 2950 02:05:42,680 --> 02:05:47,840 Because you can tell this is the bit that both GAIL and Zemeckis 2951 02:05:47,840 --> 02:05:49,880 have locked down. They know that this is where 2952 02:05:49,880 --> 02:05:51,000 they're getting do. Yeah, yeah. 2953 02:05:51,000 --> 02:05:53,360 They know that this is the really good meaty bit. 2954 02:05:53,360 --> 02:05:55,600 And we've just been through the bits of the fat to get here. 2955 02:05:55,600 --> 02:05:57,800 And they've been playful with when dragged it out in a little 2956 02:05:57,800 --> 02:05:59,880 bit too long. But I love this because this is 2957 02:05:59,880 --> 02:06:01,480 exactly what you want from the end of the film. 2958 02:06:02,480 --> 02:06:04,280 Yeah, I like the way they show us everything is snapping back 2959 02:06:04,280 --> 02:06:06,040 to normal. Like visually, like Biff's 2960 02:06:06,040 --> 02:06:08,640 matchbook changes in front of our eyes from pleasure paradise 2961 02:06:08,640 --> 02:06:11,760 to auto detailing the newspaper showing George's alive again. 2962 02:06:12,080 --> 02:06:12,880 That's all great. It would. 2963 02:06:12,880 --> 02:06:15,320 Have taken me more than one match to burn out though in that 2964 02:06:15,320 --> 02:06:17,960 wind. Yeah, I always freak out about 2965 02:06:17,960 --> 02:06:18,520 that as well. And. 2966 02:06:20,040 --> 02:06:21,960 I like how when the Loreen vanishes or leaves that, like, 2967 02:06:21,960 --> 02:06:24,200 flaming 99 in the sky. Yeah, yeah, I guess that's 2968 02:06:24,200 --> 02:06:26,120 because we had flying. Those are the tracks made by the 2969 02:06:26,120 --> 02:06:28,520 spinning wheels. But then when Dog vanishes and 2970 02:06:28,520 --> 02:06:31,760 this mysterious guy turns up, how filling was this and the way 2971 02:06:31,760 --> 02:06:33,160 it looks? Oh, it looks fantastic. 2972 02:06:33,160 --> 02:06:34,880 Do you don't think that vapor trails would have been better as 2973 02:06:34,880 --> 02:06:37,160 288? But probably, yeah, definitely 2974 02:06:37,440 --> 02:06:40,080 much better I. Would love that, yeah. 2975 02:06:41,520 --> 02:06:43,880 I remember the first time I saw this, when the guy turns up in 2976 02:06:43,880 --> 02:06:45,640 the car, I'm like, what's going on? 2977 02:06:45,640 --> 02:06:47,200 Yeah, yeah. It's just so engaging. 2978 02:06:47,360 --> 02:06:49,480 Yeah. And the Western Union LED scene. 2979 02:06:49,480 --> 02:06:51,400 This was the last thing filmed for Part 2. 2980 02:06:51,680 --> 02:06:55,000 The Western Union man was played by comedian Joe Flatty, a 2981 02:06:55,000 --> 02:06:59,400 veteran of the legendary Canadian comedy show SCTV, and 2982 02:06:59,400 --> 02:07:01,960 Flatty's casting was deliberate. He previously worked with 2983 02:07:01,960 --> 02:07:04,760 Zemeckis and Gale on used cars in 1980. 2984 02:07:05,040 --> 02:07:08,080 Right, nice doc putting loads of faith in Western Union there. 2985 02:07:08,360 --> 02:07:10,000 Just keep this for 70 years, will you? 2986 02:07:10,880 --> 02:07:12,520 Yeah. Imagine doing that over here. 2987 02:07:12,560 --> 02:07:14,120 You have no chance. Absolutely screwed. 2988 02:07:14,280 --> 02:07:16,280 You'll probably get it if you said can you send this tomorrow 2989 02:07:16,280 --> 02:07:21,440 and they'll get it. 70 years low and the De Lorean is sent to 2990 02:07:21,440 --> 02:07:25,240 1885 because of the dashboard malfunctioning, which we spoke 2991 02:07:25,240 --> 02:07:28,360 about earlier. But it wasn't always this way in 2992 02:07:28,360 --> 02:07:30,880 the original script. This is great old man Peabody 2993 02:07:30,880 --> 02:07:33,560 from the first film. He was in a mental institution 2994 02:07:33,560 --> 02:07:35,680 for claiming that he'd seen a spaceship when he saw the De 2995 02:07:35,680 --> 02:07:39,080 Lorean in the first film, and as soon as he is released he sees a 2996 02:07:39,080 --> 02:07:42,240 fly in DeLorean and fires his shotgun at damage in the time 2997 02:07:42,240 --> 02:07:43,720 circuits. This is the reason the 2998 02:07:43,720 --> 02:07:46,960 destination time display flickers to read 1885. 2999 02:07:47,320 --> 02:07:50,240 Bob Gale said the scene was dropped though when the actor 3000 02:07:50,240 --> 02:07:53,080 Will here wasn't available. That's the only reason that 3001 02:07:53,080 --> 02:07:54,800 wasn't short because he wasn't available. 3002 02:07:55,880 --> 02:07:58,040 Imagine to him coming out, You killed my pine. 3003 02:07:58,960 --> 02:08:01,200 Yeah, take that, you mutate him. Son of a bitch. 3004 02:08:03,720 --> 02:08:08,320 No Pines wall. And then we end where we started 3005 02:08:08,320 --> 02:08:10,920 with the replay of an amazing scene from the first film. 3006 02:08:10,920 --> 02:08:14,360 Again, funnily enough, Chris Floyd thought, I mean, he plays 3007 02:08:14,360 --> 02:08:17,680 it so well, his reaction going from that pure joy that he's got 3008 02:08:17,840 --> 02:08:20,920 Marty back. Just like the timing's 3009 02:08:20,920 --> 02:08:22,680 wonderful. His shock and confusion when he 3010 02:08:22,680 --> 02:08:25,160 just turns up again. That's really, really funny. 3011 02:08:25,680 --> 02:08:27,560 And I can't remember when I first saw this. 3012 02:08:27,640 --> 02:08:29,480 If I knew there was going to be a part three. 3013 02:08:29,720 --> 02:08:32,400 I really can't remember. I presume that knowledge was out 3014 02:08:32,400 --> 02:08:36,000 there to some extent, but obviously it's easier to end on 3015 02:08:36,000 --> 02:08:37,720 a cliffhanger back then as it would be now. 3016 02:08:37,720 --> 02:08:39,520 But it's one hell of a cliffhanger. 3017 02:08:39,840 --> 02:08:42,000 I mean, when that to be concluded comes up. 3018 02:08:42,000 --> 02:08:44,640 I mean, I've got issues with this film, obviously, but all 3019 02:08:44,640 --> 02:08:47,280 the same, come on, let's go. I'm ready for that next one. 3020 02:08:47,360 --> 02:08:48,720 Yeah, yeah. Yeah, yeah. 3021 02:08:48,960 --> 02:08:51,360 That final shot is one of my favorite endings in just about 3022 02:08:51,360 --> 02:08:53,360 any film. I think Marty, like, vanishes in 3023 02:08:53,360 --> 02:08:56,200 the DeLorean Dr. the victory jig in the street, and then in the 3024 02:08:56,200 --> 02:08:58,240 background, Marty comes sprinting around the corner. 3025 02:08:58,280 --> 02:09:01,760 Yeah, it's just brilliant. But that musical stab, Yeah. 3026 02:09:02,000 --> 02:09:03,880 Really good, just such a great payoff. 3027 02:09:03,880 --> 02:09:06,760 When is that Korean shot and it just comes across the whole 3028 02:09:06,760 --> 02:09:09,040 street? It's probably just like screams 3029 02:09:09,040 --> 02:09:18,720 in his face. And after the final title cards 3030 02:09:18,720 --> 02:09:21,440 is to be concluded, as we've talked about, the film ends with 3031 02:09:21,440 --> 02:09:23,360 the trailer for Back to the Future Part 3. 3032 02:09:23,800 --> 02:09:26,480 And GAIL later said this came from The Empire Strikes Back, 3033 02:09:26,480 --> 02:09:28,880 which got some criticism when it ended on a cliffhanger. 3034 02:09:29,360 --> 02:09:32,000 And again, this was inspired by The Three Musketeers, which 3035 02:09:32,000 --> 02:09:34,320 advertised the Four Musketeers at the end of it. 3036 02:09:34,800 --> 02:09:35,720 Yeah. Yeah. 3037 02:09:35,720 --> 02:09:38,200 First thing you see is that huge RIP off of that shot from Once 3038 02:09:38,200 --> 02:09:40,680 Upon a Time in the West when the camera pans over the top of the 3039 02:09:40,680 --> 02:09:44,000 train station to reveal yeah, yeah, yeah. 3040 02:09:44,160 --> 02:09:46,160 I mean, it's an unbelievable shot to be there. 3041 02:09:46,160 --> 02:09:48,600 So yeah. And that is the end of Back to 3042 02:09:48,600 --> 02:09:51,880 the Future Part 2 because defeated, the Almanac is burned, 3043 02:09:51,880 --> 02:09:55,480 the timeline is restored, and the dock is stranded in 1885. 3044 02:09:56,080 --> 02:09:58,520 But there's a plan that's the end of that time in Part 3. 3045 02:09:58,560 --> 02:10:00,800 But shall we talk about how this film was received? 3046 02:10:01,440 --> 02:10:06,320 Yeah. Reception and awards. 3047 02:10:08,840 --> 02:10:11,880 Back to the Future Part 2 hit cinemas on November the 22nd, 3048 02:10:11,880 --> 02:10:15,080 1989. In terms of how it did, well, 3049 02:10:15,080 --> 02:10:17,640 who needs a greatest sports Almanac when you've got Matt's 3050 02:10:17,640 --> 02:10:19,160 box office Almanac? Oh yeah. 3051 02:10:19,160 --> 02:10:22,760 So fill us in, please, Matt. It's just the cover though. 3052 02:10:22,760 --> 02:10:23,960 He's got oh La La in the middle of it. 3053 02:10:24,720 --> 02:10:26,160 You don't want to read actual content. 3054 02:10:27,400 --> 02:10:29,760 I can't read them out loud. It's got Swank in the middle. 3055 02:10:34,520 --> 02:10:38,120 So Back to Future Part 2, made on a production budget of $40 3056 02:10:38,120 --> 02:10:42,200 million and grossed 118.9 million worldwide. 3057 02:10:42,760 --> 02:10:45,600 At the Academy Award, it received one nomination, as 3058 02:10:45,600 --> 02:10:49,040 we've said, Best Visual Effects for Ken Ralston, Michael 3059 02:10:49,040 --> 02:10:52,880 Lantieri, John Bell and Steve Galway, but lost out to the BIS. 3060 02:10:53,680 --> 02:10:56,280 Not as big as the first film, but still healthy profits, with 3061 02:10:56,280 --> 02:11:00,320 one more film to come as well. And a few years later, in 1998, 3062 02:11:00,320 --> 02:11:03,080 the Vista Glide System itself received a special Technical 3063 02:11:03,080 --> 02:11:04,720 award at the Oscars. Right. 3064 02:11:05,200 --> 02:11:08,640 Recognition, the last wonderful. And to build anticipation for 3065 02:11:08,640 --> 02:11:11,560 the film, a behind the scenes TV special Aid in the US on 3066 02:11:11,560 --> 02:11:15,400 November 17th, 1989. It was hosted by Leslie Nielsen 3067 02:11:15,400 --> 02:11:17,600 and had behind the scenes footage, cast interviews and 3068 02:11:17,600 --> 02:11:20,560 clips from the finished film. During this make us have made a 3069 02:11:20,560 --> 02:11:24,800 joke that hoverboards were real and being suppressed by parent 3070 02:11:24,800 --> 02:11:27,920 groups concerned about safety. This led to Mattel being 3071 02:11:27,920 --> 02:11:30,520 inundated with calls from people trying to buy a hoverboard. 3072 02:11:30,520 --> 02:11:33,480 I Remember Me dad shown as a clip in in the paper of that. 3073 02:11:33,560 --> 02:11:35,320 Really wow. I didn't see the actual thing. 3074 02:11:35,320 --> 02:11:36,840 He's like oh look, hoverboards are going to be real. 3075 02:11:36,840 --> 02:11:38,560 I was like, no. Wow. 3076 02:11:38,800 --> 02:11:41,800 I've waited ever since then. Yeah, well, apparently rumors 3077 02:11:41,800 --> 02:11:44,400 also spread their child had been killed testing one. 3078 02:11:44,440 --> 02:11:48,160 Yeah, tell her in the middle of being sued, so the Mega said 3079 02:11:48,160 --> 02:11:49,440 they come out and they take it all back. 3080 02:11:49,440 --> 02:11:51,240 Apparently it's. Probably that young lass on the 3081 02:11:51,240 --> 02:11:54,640 Pitbull slammed into the courthouse wall. 3082 02:11:57,000 --> 02:11:59,720 Well, back to the critics and we have got Roger Ebert first as 3083 02:11:59,720 --> 02:12:02,200 usual. What do you think Arman Rog gave 3084 02:12:02,200 --> 02:12:05,680 the film out of four? He's going to go like 3 1/2. 3085 02:12:05,680 --> 02:12:07,240 I don't think he's going to give it full work. 3086 02:12:07,600 --> 02:12:10,360 I'll go 3. It was three stars out of four. 3087 02:12:11,080 --> 02:12:14,040 And Roger said Part 2, for all of its craziness, lacks the 3088 02:12:14,040 --> 02:12:17,120 power of the original. The story of the 85 film has 3089 02:12:17,120 --> 02:12:19,320 heart to it. The time travel in that film 3090 02:12:19,320 --> 02:12:21,760 involved Marty's emotional confrontation with his parents 3091 02:12:21,760 --> 02:12:22,880 as teenagers. Yeah. 3092 02:12:22,880 --> 02:12:25,640 Part 2, on the other hand, is mostly zaniness and screwball 3093 02:12:25,640 --> 02:12:27,800 jokes. But on that level, it's fun. 3094 02:12:28,440 --> 02:12:29,520 Yeah. You agree with that? 3095 02:12:29,920 --> 02:12:32,800 Yeah, I think so, yeah. 100%. Yeah, I don't think any of us 3096 02:12:32,800 --> 02:12:34,160 are claiming it's better than the original. 3097 02:12:34,400 --> 02:12:38,480 No, no, it's impossible. Jonathan Rosenbaum in the 3098 02:12:38,480 --> 02:12:40,360 Chicago Reader gave a negative review. 3099 02:12:40,640 --> 02:12:43,760 He said the problem with all the time travel hijinks is I in 3100 02:12:43,760 --> 02:12:46,640 order to make the plot even semi intelligible, the writers have 3101 02:12:46,640 --> 02:12:48,880 to make the frenetic action strictly formulaic. 3102 02:12:49,280 --> 02:12:51,640 Elizabeth Shue was not too unconscious early on so she 3103 02:12:51,640 --> 02:12:53,480 won't interfere with the little boy games. 3104 02:12:53,760 --> 02:12:57,120 And Fox briefly playing his own sister in drag only adds to the 3105 02:12:57,120 --> 02:12:59,280 rampant misogyny. Wow wow. 3106 02:12:59,720 --> 02:13:02,160 I mean she was getting knocked out and left is not great. 3107 02:13:02,360 --> 02:13:04,760 Rabbit misogyny is a strong take I think. 3108 02:13:05,040 --> 02:13:07,280 Yeah, it is a bit. It's a bit far I think. 3109 02:13:07,520 --> 02:13:10,200 And finally, Tom Tony in a retrospective Empire magazine 3110 02:13:10,200 --> 02:13:13,120 review, gave Back in the Future Part 2 three stars out of five, 3111 02:13:13,600 --> 02:13:15,960 He said. Glossy, high energy escapism. 3112 02:13:16,120 --> 02:13:19,360 BTTF 2 easily gets the job done. In other words, doesn't make 3113 02:13:19,360 --> 02:13:21,160 much sense unless you're familiar with the plot of the 3114 02:13:21,160 --> 02:13:24,440 original film. Not as good as one or three, but 3115 02:13:24,440 --> 02:13:26,960 solidly entertaining. Yeah, fair enough. 3116 02:13:27,080 --> 02:13:28,960 Yeah. I think I prefer this one to 3117 02:13:28,960 --> 02:13:31,080 three. Yeah, I think everyone prefers 3118 02:13:31,080 --> 02:13:33,320 this one to three, to be honest. No one's going to say 3 is 3119 02:13:33,320 --> 02:13:36,040 better than the original or better than the second, to be 3120 02:13:36,040 --> 02:13:39,040 honest. And today on Rotten Tomatoes, 3121 02:13:39,040 --> 02:13:43,400 Back to the Future Part 2 has a 63% approval rating from critics 3122 02:13:43,400 --> 02:13:48,600 and 86% from audiences. And on IMDBA score of 7.8 out of 3123 02:13:48,600 --> 02:13:51,280 10. That gap between critics and 3124 02:13:51,280 --> 02:13:53,640 audiences is massive and it's not a university. 3125 02:13:53,640 --> 02:13:56,360 Love this one I don't think. No, like I said, it's divisive. 3126 02:13:56,840 --> 02:13:59,000 Yeah. So Back to the Future Part 2 3127 02:13:59,000 --> 02:14:01,760 London is a big commercial hit and a film that divided critics 3128 02:14:01,760 --> 02:14:03,480 while mostly winning over audiences. 3129 02:14:03,920 --> 02:14:06,840 Not the height of the original, maybe, but not a bad return for 3130 02:14:06,840 --> 02:14:09,320 a film that film makers didn't want to make at one point. 3131 02:14:09,440 --> 02:14:12,080 Well, yeah, exactly. Yeah, the excitement paid. 3132 02:14:15,320 --> 02:14:20,240 Sequels and influence. Back to the Future Part 2 ends 3133 02:14:20,240 --> 02:14:22,520 on a cliffhanger, so there was always going to be a sequel. 3134 02:14:22,640 --> 02:14:25,360 Released in May 1996, months after Part 2. 3135 02:14:25,360 --> 02:14:28,960 It takes Marty and Doctor 1885 and the Old West for a grand 3136 02:14:28,960 --> 02:14:32,000 finale to the trilogy. Yeah, there's a chance we'll be 3137 02:14:32,000 --> 02:14:33,240 covering that at some point, I think. 3138 02:14:33,240 --> 02:14:34,680 Yeah. Can't do the 1st 2, not the last 3139 02:14:34,680 --> 02:14:36,520 one I wouldn't imagine. We'll, we'll get around to it, 3140 02:14:36,520 --> 02:14:38,560 yeah. We'll leave that for then, but 3141 02:14:38,600 --> 02:14:41,720 what about the wider impact of Part 2, specifically Westie, the 3142 02:14:41,720 --> 02:14:43,280 influence and Legacy? What do you reckon? 3143 02:14:44,040 --> 02:14:47,320 I think kind of anybody time travel film that's come since 3144 02:14:47,320 --> 02:14:49,680 then has been influenced in some way by the tone about the 3145 02:14:49,680 --> 02:14:50,960 future. It's impossible for it not to 3146 02:14:50,960 --> 02:14:52,840 have been. I think the bottom line of this 3147 02:14:52,840 --> 02:14:55,520 is I think it's just too specific of a universe to RIP 3148 02:14:55,520 --> 02:14:57,760 off. I think it's got very much got 3149 02:14:57,760 --> 02:15:00,400 its own identity and if you try and copy anything from any of 3150 02:15:00,400 --> 02:15:03,240 these films, you can just see it a mile away and it just looks 3151 02:15:03,240 --> 02:15:05,160 like plagiarism as opposed to a homage. 3152 02:15:05,440 --> 02:15:06,840 And I think that's definitely the point. 3153 02:15:07,040 --> 02:15:09,160 And the films that have come closer to it for me have been 3154 02:15:09,160 --> 02:15:14,040 like Phil and Ted one and two, maybe Hot Tub Time Machine films 3155 02:15:14,080 --> 02:15:17,480 got a similar kind of tone. Then Spielberg took lots from 3156 02:15:17,480 --> 02:15:19,960 this and paid homage. And Ready Player 1, I think 3157 02:15:19,960 --> 02:15:21,320 there was a lot of that tone in there. 3158 02:15:21,720 --> 02:15:24,000 And the Rick and Morty series, I've not seen it, but I've heard 3159 02:15:24,000 --> 02:15:27,520 that's very much kind of influenced by the look of Doc 3160 02:15:27,520 --> 02:15:29,520 and whatever else. So I can imagine it's it is 3161 02:15:29,520 --> 02:15:31,520 there in popular culture, but you've got to take it and you've 3162 02:15:31,520 --> 02:15:34,400 got to pay homage to little bits of it, like the De Lorean. 3163 02:15:34,640 --> 02:15:37,200 You can't just do a scene where someone skateboards outside of a 3164 02:15:37,200 --> 02:15:38,360 Diana. You're just not allowed to do 3165 02:15:38,360 --> 02:15:39,800 it. You can't have a kid going on 3166 02:15:39,800 --> 02:15:41,400 stage in the 50s and playing Johnny Be Good. 3167 02:15:41,400 --> 02:15:42,560 You're just not allowed to do it. 3168 02:15:42,960 --> 02:15:45,880 So you can't do a specific kind of homage to it, but you can 3169 02:15:46,680 --> 02:15:48,880 kind of riff on the on the feel and the tone of it, which I 3170 02:15:48,880 --> 02:15:51,240 think those films do. Yeah. 3171 02:15:51,440 --> 02:15:53,680 I think for a film that doesn't have the critical or the 3172 02:15:53,680 --> 02:15:56,840 audience love that the first one does, I still think the cultural 3173 02:15:56,840 --> 02:15:58,280 footprint, yeah, does still have one. 3174 02:15:58,760 --> 02:16:01,560 Like the hoverboard, the self releasing Nikes, the Jaws 19 3175 02:16:01,560 --> 02:16:03,520 hologram. These are images that any film 3176 02:16:03,520 --> 02:16:06,240 fan knows and they've been parodied loads of time since. 3177 02:16:06,320 --> 02:16:06,840 Yeah. And all that. 3178 02:16:06,840 --> 02:16:09,600 In 2011, the Parkinson's Research Foundation announced 3179 02:16:09,600 --> 02:16:13,280 that 1500 pairs of the Nike Mag shoes the Marty wears. 3180 02:16:13,280 --> 02:16:14,960 We're going to be auctioning it on eBay. 3181 02:16:15,280 --> 02:16:18,920 And Tinie Tempah bought the 1st pay for $37,500. 3182 02:16:19,040 --> 02:16:21,160 Wow. With every penny, yeah. 3183 02:16:21,320 --> 02:16:23,800 Yeah, 2, right? But filmmaking wise, if it's 3184 02:16:23,800 --> 02:16:25,840 like live system we talked about, that was innovative and 3185 02:16:25,840 --> 02:16:28,240 became the go to for films that have an actor playing multiple 3186 02:16:28,240 --> 02:16:30,080 roles. From then on, the back-to-back 3187 02:16:30,080 --> 02:16:32,879 production model became the template for Lord of the Rings, 3188 02:16:32,879 --> 02:16:34,520 The Matrix, Pirates of the Caribbean. 3189 02:16:34,559 --> 02:16:36,799 Yeah, yeah. Maybe most important, though, is 3190 02:16:36,799 --> 02:16:39,559 the Crispin Glover case. Yeah, that lawsuit about using 3191 02:16:39,559 --> 02:16:41,280 an actor's image without permission was something that 3192 02:16:41,280 --> 02:16:43,680 definitely needed to happen. I reckon even Zemeckis would 3193 02:16:43,680 --> 02:16:46,600 look back now and go what were we thinking with all that? 3194 02:16:46,799 --> 02:16:49,360 Yeah, and I think what Zemecha is pioneering the likes of Polar 3195 02:16:49,360 --> 02:16:52,680 Express and using and you know, that type of image capture and 3196 02:16:52,680 --> 02:16:55,080 especially with the gold in the AI now and we've got, you know, 3197 02:16:55,080 --> 02:16:57,760 we've got films coming out with deceased actors in them and 3198 02:16:57,760 --> 02:16:59,799 they're using their likeness because they'd signed contracts 3199 02:16:59,799 --> 02:17:01,080 because of it. I think it's very, very 3200 02:17:01,080 --> 02:17:03,719 important to have that as it's to keep it personal. 3201 02:17:03,719 --> 02:17:06,240 Yes, they are actors and yes, it is a likeness and yes, it can be 3202 02:17:06,240 --> 02:17:08,240 sold, but we're still, we've got to draw a line somewhere. 3203 02:17:08,320 --> 02:17:10,280 And it got on Christmas glove for standing up for himself. 3204 02:17:10,280 --> 02:17:12,280 I think he's he needs applause for that. 3205 02:17:12,840 --> 02:17:14,879 For sure. So yeah, there is a definite 3206 02:17:14,959 --> 02:17:16,280 kind of legacy that this film has. 3207 02:17:16,760 --> 02:17:19,000 Yeah, I mean, I agree with all that only once. 3208 02:17:19,000 --> 02:17:22,840 I would add more specific really I think Avengers end game. 3209 02:17:22,840 --> 02:17:25,639 A lot of that plot is about The Avengers going back into their 3210 02:17:25,639 --> 02:17:27,559 own timeline. Oh yeah, yeah. 3211 02:17:27,680 --> 02:17:30,760 Two very specific events changing them to ensure their 3212 02:17:30,760 --> 02:17:32,879 survival in the future. Don't the reference Back to the 3213 02:17:32,879 --> 02:17:35,320 Future in that film as well when they're saying what are the 3214 02:17:35,320 --> 02:17:36,639 rules? Yeah, one of them says obviously 3215 02:17:36,639 --> 02:17:37,840 Back in the Future or something like that. 3216 02:17:37,840 --> 02:17:39,440 Yeah, they do. Experts reference it. 3217 02:17:39,440 --> 02:17:41,520 Yeah. And on TV as well. 3218 02:17:41,520 --> 02:17:43,879 I think Doctor Who now, obviously that was around long 3219 02:17:43,879 --> 02:17:46,360 before Back the Future, but I mean, like when they brought it 3220 02:17:46,360 --> 02:17:50,080 back, there was one specific era when it starred Matt Smith. 3221 02:17:50,520 --> 02:17:52,920 And a lot of his stories were very heavily about the time 3222 02:17:52,920 --> 02:17:56,200 travel element of the show. And you got some very kind of 3223 02:17:56,200 --> 02:17:58,840 convoluted stories, again, about the Doctor and his companions 3224 02:17:58,840 --> 02:18:01,879 going back into their own timelines, trying to avoid their 3225 02:18:01,879 --> 02:18:05,160 past cells, stuff like that. So yeah, I think the story is 3226 02:18:05,280 --> 02:18:07,719 influenced a lot as well. Comes in Harry Potter, the third 3227 02:18:07,719 --> 02:18:09,480 Harry Potter film as well, doesn't it when they go back 3228 02:18:09,480 --> 02:18:11,320 into the same film? Yes, yes. 3229 02:18:11,320 --> 02:18:13,000 Third one isn't. It so shooting films 3230 02:18:13,000 --> 02:18:15,879 back-to-back, the Vista Glide and historic legal case and the 3231 02:18:15,879 --> 02:18:18,520 hoverboard Back to the Future Part 2, which influences 3232 02:18:18,559 --> 02:18:20,719 arguably bigger than its reputation suggests. 3233 02:18:20,920 --> 02:18:22,440 Yeah. Yep, definitely. 3234 02:18:25,760 --> 02:18:30,280 All the right movies ranking. We've time travelled all the way 3235 02:18:30,280 --> 02:18:31,879 through Back to the Future Part 2. 3236 02:18:31,920 --> 02:18:34,520 Now it's time for the big one where we each give it our score 3237 02:18:34,520 --> 02:18:37,559 out of 10. So, Wesley, to start us off your 3238 02:18:37,559 --> 02:18:40,000 summary and score for Back to the Future Part 2 please. 3239 02:18:40,320 --> 02:18:43,160 Well, I mean, we have gone through a lot of the issues and 3240 02:18:43,160 --> 02:18:45,120 we have gone through a lot of the celebrations, and I think 3241 02:18:45,120 --> 02:18:47,200 the celebrations far outweigh the issues that we've got with 3242 02:18:47,200 --> 02:18:48,680 this film. I will still come back to it at 3243 02:18:48,680 --> 02:18:51,400 any point and put it on and thoroughly, thoroughly enjoy 3244 02:18:51,400 --> 02:18:53,440 myself. It is very dependent on the 3245 02:18:53,440 --> 02:18:55,680 existing ideas, but maybe that's the point. 3246 02:18:56,080 --> 02:18:58,400 I think you can't see this film too many times, almost have seen 3247 02:18:58,400 --> 02:19:00,240 over 50 times probably in my life. 3248 02:19:00,240 --> 02:19:02,480 Just ridiculous. Every weekend, just put it on, 3249 02:19:02,480 --> 02:19:04,000 put it on, watch it again, watch it again. 3250 02:19:04,200 --> 02:19:06,520 Same with the first one and the third one and just they were 3251 02:19:06,520 --> 02:19:09,320 just on rotation and they're really good to watch and they're 3252 02:19:09,320 --> 02:19:12,240 really good to watch with my kids and their barometer of it. 3253 02:19:12,240 --> 02:19:14,680 And I mean, Evan loves this and he loves the excitement of it 3254 02:19:14,680 --> 02:19:16,440 and he loves the futuristic elements of it. 3255 02:19:16,879 --> 02:19:19,400 And maybe it's a bit too much to go back to the 50s now. 3256 02:19:19,400 --> 02:19:21,760 Maybe this is a more of a popular film now for the kids 3257 02:19:21,760 --> 02:19:24,520 watching the Back of the Future trilogy and going that's more up 3258 02:19:24,520 --> 02:19:26,160 my street. That's 22015. 3259 02:19:26,160 --> 02:19:27,799 I understand what they're trying to say with that. 3260 02:19:28,080 --> 02:19:31,080 It's more exciting. And this has always been for me, 3261 02:19:31,600 --> 02:19:34,080 the trilogy that goes progressively down, but only by 3262 02:19:34,080 --> 02:19:36,360 a point every time. I do love 3 as well because I 3263 02:19:36,360 --> 02:19:37,680 love westerns when I was growing up. 3264 02:19:38,240 --> 02:19:40,320 And we've got Back to the Future, which is a good 10. 3265 02:19:40,680 --> 02:19:43,400 This is a good nine. And when we get to the three, 3266 02:19:43,400 --> 02:19:47,080 I'll give you that whatever, if you can't guess it, but that's 3267 02:19:47,080 --> 02:19:48,920 the whole point of this. And I think I'm going to give 3268 02:19:48,920 --> 02:19:52,560 this a name because if we lost Back to the Future forever, we 3269 02:19:52,560 --> 02:19:54,840 still have Back to the Future too, and there's enough in that 3270 02:19:54,840 --> 02:19:58,160 just to claw it back. Yeah, I've always been a fan of 3271 02:19:58,160 --> 02:19:59,680 this film. I'm away some of that's 3272 02:19:59,680 --> 02:20:01,400 nostalgia, but I'm fine with that. 3273 02:20:01,400 --> 02:20:02,520 Yeah. Because it's the middle chapter 3274 02:20:02,520 --> 02:20:04,320 of one of the great blockbuster trilogies. 3275 02:20:04,320 --> 02:20:07,120 It's ambitious in terms of its storytelling, in terms of the 3276 02:20:07,120 --> 02:20:10,040 technical filmmaking. And I still love 2015 Hill 3277 02:20:10,040 --> 02:20:11,400 Valley. I'd still live there. 3278 02:20:12,000 --> 02:20:14,480 I think what strikes me most now, having gone through it in 3279 02:20:14,480 --> 02:20:16,280 this kind of detail, is how much of A. 3280 02:20:16,760 --> 02:20:19,360 Sort of logistical achievement it was because it makes us like 3281 02:20:19,360 --> 02:20:22,440 barely sleeping Alan Silvestri scoring 2 films at the same 3282 02:20:22,440 --> 02:20:24,080 time. Production designers had loads 3283 02:20:24,080 --> 02:20:27,040 to do and it's all excellent. The cast spending hours in the 3284 02:20:27,040 --> 02:20:30,240 makeup chair shooting a scene, going back to the makeup chair 3285 02:20:30,240 --> 02:20:32,440 shooting the same scene again all in the same day. 3286 02:20:32,720 --> 02:20:34,960 It's just bonkers. I think the fact that the film 3287 02:20:34,960 --> 02:20:38,400 holds together at all is some kind of an achievement, but it 3288 02:20:38,400 --> 02:20:41,200 isn't perfect. They are plot holes aplenty. 3289 02:20:41,400 --> 02:20:44,640 Jennifer spends most of the film unconscious in various places, 3290 02:20:45,120 --> 02:20:47,400 and there's a standalone film. It doesn't fully satisfy because 3291 02:20:47,400 --> 02:20:50,600 it doesn't have an ending, but as part of a trilogy that's a 3292 02:20:50,600 --> 02:20:53,320 piece of blockbuster history, it definitely has its place. 3293 02:20:53,760 --> 02:20:56,520 If I was being completely objective, I'm making this an 8 3294 02:20:56,520 --> 02:20:59,880 out of 10, but I do love it, so I'm giving Back to the Future 3295 02:20:59,880 --> 02:21:02,600 Part 2 nine out of 10. Nice. 3296 02:21:03,240 --> 02:21:05,000 And Matt, you're some Marine. Score for Back to the Future 3297 02:21:05,000 --> 02:21:08,400 Part 2, please. OK, much more of a mixed bag for 3298 02:21:08,400 --> 02:21:10,520 me. I don't have the nostalgia for 3299 02:21:10,520 --> 02:21:13,400 this one I used to have and coming back to it I couldn't 3300 02:21:13,400 --> 02:21:15,200 understand why I was confused as a kid. 3301 02:21:15,200 --> 02:21:18,200 And it's not the plot actually which hangs together well, it 3302 02:21:18,200 --> 02:21:20,120 just felt confused tonally I think. 3303 02:21:20,120 --> 02:21:23,800 And the 1st 3rd of this was a bit of a slog to get through to 3304 02:21:23,800 --> 02:21:25,320 be honest. The effects and the make of 3305 02:21:25,320 --> 02:21:28,040 they've not aged well. The performances are very 3306 02:21:28,040 --> 02:21:29,880 cartoonish. Doc Brown is totally out of 3307 02:21:29,880 --> 02:21:33,040 character, and even the hoverboard chase, like I get my 3308 02:21:33,040 --> 02:21:35,960 people love it, but for me it's just rehashing the beat from the 3309 02:21:35,960 --> 02:21:37,960 first film but without the narrative. 3310 02:21:38,000 --> 02:21:41,120 Like we're behind it. Second, third, once we get to 3311 02:21:41,120 --> 02:21:43,440 what is essentially Pottersville, that's much 3312 02:21:43,440 --> 02:21:44,520 better. That all works. 3313 02:21:44,560 --> 02:21:47,800 And the final third is a lot of fun and it's very clever, but 3314 02:21:47,800 --> 02:21:49,960 all the same it's basically pointing out all the amazing 3315 02:21:49,960 --> 02:21:53,040 moments from the first film and unintentionally kind of 3316 02:21:53,040 --> 02:21:56,120 reminding you that this one doesn't have any of that on that 3317 02:21:56,120 --> 02:21:58,480 same level. So I think the best way to watch 3318 02:21:58,480 --> 02:22:01,440 this is an effective bitch from the 1st to the 3rd. 3319 02:22:01,720 --> 02:22:03,920 A great cliffhanger you're excited to see more. 3320 02:22:04,360 --> 02:22:06,600 Always great to hang out with Marty and Doc again. 3321 02:22:06,920 --> 02:22:09,800 But it does lack a lot of the first film's heart and charm for 3322 02:22:09,800 --> 02:22:12,480 me and gets a little bit dire and confused. 3323 02:22:12,480 --> 02:22:15,080 And I think the cleverness of what Smechas has done 3324 02:22:15,080 --> 02:22:17,240 technically doesn't quite overcome that. 3325 02:22:17,480 --> 02:22:20,320 So if I have to watch it as a stand alone film and rated as I 3326 02:22:20,320 --> 02:22:22,320 do here, it's going to be a 7 for me. 3327 02:22:23,000 --> 02:22:24,720 OK. Well, we also put this out there 3328 02:22:24,720 --> 02:22:27,600 to the ATRM community, where no one's left unconscious on the 3329 02:22:27,600 --> 02:22:31,320 porch, No? So, ATRM patrons, let's see what 3330 02:22:31,320 --> 02:22:33,920 they had to say, Should we? Yep, this will be a lesson. 3331 02:22:34,120 --> 02:22:37,280 First up, Dave Sedrick said it can't be as good as the original 3332 02:22:37,280 --> 02:22:39,680 obviously, but also it kind of hurts itself a bit. 3333 02:22:40,040 --> 02:22:42,960 MGF playing all his offspring felt like an inside joke that 3334 02:22:42,960 --> 02:22:45,520 just doesn't land for me and felt a bit self indulgent. 3335 02:22:45,600 --> 02:22:47,280 Yeah. However it's still a great ride 3336 02:22:47,280 --> 02:22:50,080 and good family popcorn fun. Solid 8 for me. 3337 02:22:50,720 --> 02:22:52,560 OK. I think for me, I'd have rather 3338 02:22:52,560 --> 02:22:56,200 seen Leah Thompson playing Marlene McFly A. 100% I don't 3339 02:22:56,200 --> 02:22:58,120 know why she isn't. Or Elizabeth Shue. 3340 02:22:58,600 --> 02:23:00,640 Yeah. Next up with Shaza who said a 3341 02:23:00,680 --> 02:23:02,800 fine sequel. I really enjoyed it when it 3342 02:23:02,800 --> 02:23:04,600 first came out and it's never got tired. 3343 02:23:04,760 --> 02:23:07,680 Still waiting for Hoverboards to be a real thing 9. 3344 02:23:08,480 --> 02:23:10,280 OK, on wheel to point off for that. 3345 02:23:10,640 --> 02:23:12,320 Don't allow Mattel. Yeah, come on. 3346 02:23:13,760 --> 02:23:16,680 And finally, Ryan Douglas wrote Love this film, but the fact 3347 02:23:16,680 --> 02:23:19,360 that old Biff goes back in time with the Almanac and changes the 3348 02:23:19,360 --> 02:23:21,840 future and then is still able to travel back to the future 3349 02:23:21,840 --> 02:23:24,960 version that Doc and Marty were in bothers me still today. 3350 02:23:25,360 --> 02:23:27,480 And eight out of 10, purely on nostalgia. 3351 02:23:27,720 --> 02:23:29,760 Yeah, fair enough. There it is again. 3352 02:23:29,760 --> 02:23:31,520 That plot hole bothers me as well. 3353 02:23:31,800 --> 02:23:34,200 You just need a line from doc to explain how it happens or 3354 02:23:34,200 --> 02:23:35,920 something. It does, yeah. 3355 02:23:36,120 --> 02:23:38,360 Yeah. So our ATR and patrons, we head 3356 02:23:38,360 --> 02:23:41,320 Back to the future Part 2. An average of What do you think 3357 02:23:41,360 --> 02:23:43,200 out of 10? I have no idea. 3358 02:23:43,240 --> 02:23:44,680 Well, this is a tough one to call, isn't it? 3359 02:23:44,680 --> 02:23:46,480 I'm going to say 8. I'm going to go optimistic. 3360 02:23:46,920 --> 02:23:51,240 I'll go 8.5. It was 7.5 out of 10. 3361 02:23:51,320 --> 02:23:52,640 Wow, wow. OK. 3362 02:23:53,000 --> 02:23:56,560 So the four scores together, that gives us a total of 32.5 3363 02:23:56,560 --> 02:23:58,840 out of 40 from Back to the Future Part 2. 3364 02:23:59,000 --> 02:24:02,000 OK, well, next time in all the right movies, Luke, Westy and 3365 02:24:02,000 --> 02:24:05,880 Matt are putting on the Ritz. You're heading back to 1974 and 3366 02:24:05,880 --> 02:24:08,440 Into the Crypt with Mel Brooks. Monster movie Young 3367 02:24:08,440 --> 02:24:10,760 Frankenstein. Yeah, a beloved classic. 3368 02:24:10,840 --> 02:24:12,440 Yeah. What could possibly go wrong? 3369 02:24:13,040 --> 02:24:15,720 It's pronounced Frankenstein of. Course it is. 3370 02:24:17,000 --> 02:24:19,160 And in the meantime, you would like to support what we do, 3371 02:24:19,160 --> 02:24:22,320 please consider becoming one of our brilliant ATRM patrons. 3372 02:24:22,680 --> 02:24:25,800 You get access to our full archive, bonus episodes and the 3373 02:24:25,800 --> 02:24:27,880 community of people who love to talk about films. 3374 02:24:28,200 --> 02:24:29,880 Yeah. You can subscribe over on 3375 02:24:29,880 --> 02:24:33,600 patreon.com/all the Way Movies and also on Spotify, Apple 3376 02:24:33,600 --> 02:24:36,760 Podcasts on YouTube. You can also now grab yourself 3377 02:24:36,760 --> 02:24:40,400 some official ATR merch, T-shirts, caps, mugs and more. 3378 02:24:40,960 --> 02:24:42,400 So check the episode notes for that. 3379 02:24:42,760 --> 02:24:45,640 Yeah, socially you can keep with all the right movies on X, where 3380 02:24:45,640 --> 02:24:48,200 we are at 80 right movies. We post threads on there that 3381 02:24:48,200 --> 02:24:50,080 tell the stories behind classic films. 3382 02:24:50,480 --> 02:24:52,760 Everything report has been said by somebody involved in the 3383 02:24:52,760 --> 02:24:55,360 production or come from three separate sources, which is the 3384 02:24:55,360 --> 02:24:56,760 same rule we follow on our podcast. 3385 02:24:56,760 --> 02:25:00,560 So go check that out. You can also find us on YouTube, 3386 02:25:00,640 --> 02:25:03,960 on Instagram threads, blue sky, TikTok and we have a Facebook 3387 02:25:03,960 --> 02:25:05,360 group too. The more the merrier. 3388 02:25:05,360 --> 02:25:08,240 So join that please do. And our website where new 3389 02:25:08,240 --> 02:25:10,760 features are added regularly. All the right movies.com. 3390 02:25:11,640 --> 02:25:13,520 Yep. We're all off now for a 3391 02:25:13,520 --> 02:25:16,800 dehydrated pizza, a Pepsi perfect, and to watch six TV 3392 02:25:16,800 --> 02:25:19,640 channels at the same time. Yep, come back next time for 3393 02:25:19,640 --> 02:25:22,320 Young Frankenstein, Matt. Absolutely. 3394 02:25:22,680 --> 02:25:25,320 Until then, as always, thanks for listening everyone. 3395 02:25:25,360 --> 02:25:26,560 Yes. Thank you so much guys. 3396 02:25:26,680 --> 02:25:27,240 Thanks guys.