Ep. 1 - Movie Rewind! Back to the Future!

This transcript was automatically generated and might contain errors.

[0:00] J.J.: Check this out! We are in our own movie theater! I'm so excited!

[0:09] Olaf: Welcome everybody to our brand new podcast, Back to the Movie Theater. My name is J.J.

[0:15] J.J.: And I'm Olaf. And we are two guys who have always loved talking about movies. And we thought, hey, why not do what every two dudes who love talking about movies have been doing for years and that's start our own movie theater podcast.

[0:29] J.J.: That's right. We may be late to the party, but we are definitely going to be the life of the party. We're going to be talking about all different types of movies, giving you different insights, hitting on different franchises.

[0:43] Olaf: We've got all kinds of great plans. We're going to rank movies. We're going to just talk about our favorite movies. We're going to talk about movies that are so bad, they're good.

[0:51] J.J.: That's right. Guilty pleasures, forgotten gems. It's just going to be a great opportunity to not only talk about recent movies, but also movies from the past, past couple of decades, and how amazing would it have been to have been around when some of these movies hit the big screen? Am I right?

[1:08] Olaf: Well, guess what? We've got a time machine today. That's right, folks. Let's get back to the movie theater where we can talk today about Back to the Future.

[1:44] J.J.: Hey, everybody. Welcome back to the theater. Today, you heard it. We are talking about Back to the Future.

[1:50] J.J.: Yeah. This is, for me, my favorite movie of all time.

[1:55] Olaf: It's definitely in my top five.

[1:58] J.J.: Yeah.

[1:59] Olaf: Well, today, we're going to do on this podcast what thousands of other two guys that like movies and talk about movies on a podcast do. Let's talk about why we love this movie, what makes it great, break it down a little bit, give some fun facts that we know and probably everybody else knows at this point. It's just a fun drive down memory lane in our shoddy DeLorean.

[2:25] J.J.: Let me ask you, because I know the impact and significance of this movie at that age for me, can you remember seeing this movie? Maybe not the first time, but at what point did this movie lock in for you?

[2:40] Olaf: Yeah. Growing up as a kid, I saw a lot of stuff on TV that was edited for television. We had a huge library of VHS tapes that my dad would record everything. He would record movies. He would record music videos from MTV or VH1. I would end up discovering a lot of these movies on my own, which was great.

[3:07] J.J.: Yeah.

[3:07] Olaf: I'm sure my parents probably like, yeah, he might like this or whatever, but just finding it on my own made it so much more special because I'm like, what is this? No one was telling me I had to watch it or that I had to like it or whatever. It was just me finding this amazing discovery. That was with Back to the Future. That was with Predator. That was with Aliens and Terminator and all these movies back then that really ignited my imagination and my love for movies and special effects and just the idea of story and being swept away by it all.

[3:41] J.J.: I ask because for me, this movie came out in '85, so I was seven. It was a time right there where a lot of things, for me anyway, seven, I was becoming more aware of things around me. I watched a lot of television. I'd already been watching Family Ties and Growing Pains and a lot of these '80s sitcoms. So for me, watching Back to the Future and why it stuck so much initially or imprinted so much initially is because I saw myself in Michael J. Fox or Marty McFly or Alex P. Keaton or these teenage characters, even though I was seven, eight, but the personality of this character, of Marty, was something that I immediately gravitated towards and then got swept away into the whole story of it and then everything else. Then you realize through the course of time, oh, this movie is as good as I think it is. Everybody thinks this too. Great. We can all share this thing together because it really is a fantastic film that almost didn't happen.

[4:52] Olaf: Oh, yeah.

[4:53] J.J.: It was a long road to get to where it ended up becoming all the way to the one thing that I gravitated towards the most almost didn't happen, which is Michael J. Fox not even being in the movie.

[5:03] Olaf: Which is crazy to think. He is that character. It's defined his career.

[5:07] J.J.: Yeah. Well, and he was the only, they'll always say, you're making a movie and you have your dream list of actors like, oh man, it would be great if we could get this or we're thinking about three or four, tossing around three or four different names. For Marty McFly, Michael J. Fox was the clear and only choice for the Bobs, for Bob Gale and Robert Zemeckis. He was their guy and shooting Family Ties at the time was, I read somewhere, Gary David Goldberg, the creator of Family Ties, didn't even tell Michael J. Fox that they wanted him because he was in the middle of Family Ties and he didn't. He found out about the movie while he was shooting Teen Wolf.

[5:50] Olaf: Yeah.

[5:50] J.J.: And Back to the Future was location scouting right near where they were filming.

[5:56] Olaf: Right. And he knew Crispin Glover because.

[5:57] J.J.: What's going on with this?

[5:59] Olaf: Yeah. Cause Crispin Glover had done an episode of Family Ties or something and he knew Crispin Glover was in it who was playing George McFly. I guess for me, like if I was on a film and I was on a successful TV show at the same time, I guess I would be upset, but I'm over here. I'm thinking it'd be just great to be on a successful TV show and shooting this other film. Granted, you don't know what Teen Wolf's going to be. He's sitting there in like this latex werewolf makeup.

[6:22] J.J.: Yeah. Which I don't think he thought was going to be anything great.

[6:26] Olaf: Right. Sitting over there going, that is what I'd like to be doing and to not even know. And I guess maybe that's good. Maybe it's good that he didn't know cause he would have just been torturing himself.

[6:35] J.J.: Well, to skip ahead just a little bit, when they finally do approach him, he's handed the script and per Michael J. Fox, he says he just held the script in his hands and said, I'll do it. It's the best thing I've ever read without reading a word. And he seemed to have been okay with the fact that it was withheld from him. He's like, yeah, I totally understood. I understand why they did that. And it was pretty amazing too, because Back to the Future had to agree to work around the Family Ties schedule. It was, that comes first. And as long as Michael is happy to do it. And for those who don't know, and I mean, the story is out there, Meredith Baxter, who plays his mom, was about to give birth to twins. So they needed Michael J. Fox's character more available for Family Ties. And so eventually-

[7:23] Olaf: Also like exploded on the show too.

[7:24] J.J.: And he also exploded, right. They were-

[7:26] Olaf: The show is really starting to just evolve around his character.

[7:30] J.J.: Right. And so he agreed, the studio agreed that he would get done with Family Ties, it's 5 p.m. And he would go shoot Back to the Future from 6 p.m. to 6 a.m. And basically just working.

[7:41] Olaf: A teamster would pick him up in a station wagon that had a bed in the back.

[7:46] J.J.: He would sleep on the way.

[7:48] Olaf: And a lot of times the teamster would, after shooting Back to the Future, would carry him up to his apartment because he'd be asleep.

[7:55] J.J.: Asleep, yeah. So exhausted.

[7:56] Olaf: And just drop him off and then see himself out.

[7:59] J.J.: To know that piece of information, to know that he's basically playing Iron Man football here, he's playing both sides, he's shooting two shows, two projects in any given day, to then see the final product and to know he's basically had been working all day on another project and then everything you're seeing in the film at night is stuff that he was shooting with little to no sleep.

[8:22] Olaf: But you know what? That's the beauty of youth. He was-

[8:26] J.J.: 23.

[8:26] Olaf: Still very young.

[8:27] J.J.: Yeah.

[8:28] Olaf: He had- it was a perfect time to have that kind of energy.

[8:32] J.J.: And he'd been chomping at the bit for some opportunity like this.

[8:36] Olaf: Yeah. He had said, I knew Marty from the beginning. He was about skateboarding, girls, and rock and roll. And like, these are things that I am. So he was able to just fall right into it.

[8:46] J.J.: It's crazy to think that Michael J. Fox almost didn't do this movie. But to also realize this movie almost never happened in the first place.

[8:54] Olaf: Right. 44 times it was rejected. And then what we ended up getting is not how it started.

[9:00] J.J.: Oh, yeah.

[9:00] Olaf: Or how it could have been.

[9:02] J.J.: The DeLorean was, I think, a refrigerator. It wasn't even a car yet.

[9:06] Olaf: And they were like video pirates, pirating films. It was sort of the business they were doing. But then finally, the script came together and they got what they wanted. The only thing missing was Michael J. Fox.

[9:22] Olaf: Yeah, because-

[9:22] J.J.: So they ended up going with another actor who is very accomplished. And they've had nothing but good things to say about him.

[9:30] Olaf: Yeah, absolutely.

[9:31] J.J.: And, you know, the other casting choices seem to kind of fall into place. Christopher Lloyd, though, felt like he read the script the first time and threw it in the trash can.

[9:40] Olaf: He's like, he didn't get it.

[9:42] J.J.: He didn't understand the script and he threw it in the trash can. And his wife was like, remember when we said you should, you know, take advantage of every opportunity that's given to you just to see.

[9:51] Olaf: Yeah.

[9:52] J.J.: And so he takes a meeting with Zemeckis and ends up doing it. And again, it's hard to imagine anybody else. I mean, they were tossing around like John Lithgow and Jeff Goldblum and, you know, some names like that.

[10:05] Olaf: I could see it.

[10:06] J.J.: Sure.

[10:06] Olaf: But it made no sense for anyone else to do it.

[10:10] J.J.: Especially since he was-

[10:11] Olaf: It was just pitch perfect.

[10:12] J.J.: He was the original person. What's crazy to me, and it's a testament to everybody involved, all the way down to like craft services, I can imagine, that they had shot six weeks of material with the other actor, with, it's Eric Stoltz, everybody, who's had an amazing career before and beyond. And he was doing a fine job in the role. It just, when they'd look at the dailies and they just weren't getting the humor that they were-

[10:40] Olaf: Yeah, it was a different movie.

[10:41] J.J.: They weren't getting the laughs. They just knew it. The more they watched it, the more they knew it. And wow, how brave to go to Spielberg, show him, and then say, we need to reshoot six weeks of work.

[10:54] Olaf: Right.

[10:54] J.J.: And the fact that the studio got behind them and let that happen, that was amazing. Spielberg said, keep shooting with the other actor until you can get who you want, which was Michael J. Fox. And that way, once you have him, we can go to Sid at Universal and say, we already got our guy. And they are shooting. And then one night, they all show up ready to shoot. And they have a quick meeting saying, Michael J. Fox is Marty McFly.

[11:21] Olaf: Yeah, he'll be here in two days.

[11:24] J.J.: I remember Christopher Lloyd was kind of unsure, not of Michael J. Fox, but just, can I reshoot these scenes that I've done? Can I redo what I did? And obviously, he did. And he was amazing. But then that casting change affects other casting changes. Not many, but the girl who plays Jennifer in the film, Claudia Wells, who was the original choice for Jennifer also, but she had just booked a TV show and the pilot got picked up. She was committed to that.

[11:56] Olaf: And so she had to drop out.

[11:58] J.J.: They hadn't even shot any of the character of Jennifer's scenes. And then Michael J. Fox casts eight weeks later. And sure enough, the show that she was in didn't get picked up. And so she was available. And so she ends up becoming Jennifer anyway.

[12:10] Olaf: Yeah, it's just crazy to think of all of that happening before we got to the finish line and just get such an amazing movie. Would you say it's a perfect movie?

[12:20] J.J.: I had that thought in my head when I was rewatching it. And I'm really trying to remove my bias. I was really trying to be objective with that question in terms of the style of the type of movie. It was trying to be everything being executed in such a tight way. The pacing of the film is fantastic.

[12:40] Olaf: Oh, yeah.

[12:41] J.J.: The story. You could really, I mean, it's hard to find. And I'm sure people have tried. I'm sure people have done it. Find holes in the plot or holes in the story. This doesn't make sense or whatever. And as somebody who likes to find things, especially when it comes to like ages of characters, and they're not supposed to be there.

[13:00] Olaf: Yes.

[13:01] J.J.: I don't see any of that in this film. So it's a long answer. But I would say I would lean towards. Yes, I think it is pretty.

[13:09] Olaf: Yeah, I would agree. I mean, you can pretty much pick apart any movie, even movies that are considered perfect. But if a movie is so well made that you can easily just forget and overlook any minor issue or plot hole or whatever, those are perfect for me. And this is one of those movies.

[13:27] J.J.: Well, that's what makes the backstory of just getting this film made that much cooler for me. When you really like dive into the rabbit hole of like the things that they had to go through the obstacles. They finished filming this movie, and then they released it nine weeks later, which is unprecedented, really, for a big budget movie. It finished shooting in like April, and they released it at the beginning of July, July 3rd. I mean, that's insane. You know, they really didn't have that many special effects. It was really all practical effects for almost the entire movie.

[14:00] Olaf: Yeah, you're right.

[14:00] J.J.: It didn't need a lot of post-production work, which helped as well. And then you've got the third ingredient that makes this movie so amazing, and that's the music. The scene when Doc is in the '50s, it's right before he discovers the letter in the pocket. Doc is explaining, you know, once you hit 88 miles an hour, everything will be fine. And it's like everything he's doing there and the score behind it. I don't know. It's like I get chills. I get like emotional.

[14:30] J.J.: Because of the music behind it and Doc's face, and then of course it immediately turns because he finds the letter and the music changes and it becomes this whole other thing. Yeah, the music is so bombastic and epic and sweeping. It's so forceful. It pushes you, it pushes the movie, but in such a fun, exciting way. You can't not get pumped up. You can't not get swept away by it. What I also love too is the contrast in certain scenes. The skateboarding scene in the middle of the movie, you get all of the outside music that Alan Silvestri is doing with the car chase and the skateboard scene. And then whenever you see Lorraine and George seeing it through the diner, it's a roll with me Henry. It's like that.

So you're getting this sort of like contrast of feel and vibe that drives the scene. And it's crazy that they had to shoot that scene twice because they had already shot it with Eric Stoltz. And during the 80s, synthesizers were huge. A lot of movies were going electric and Zemeckis and Silvestri, they really just sat down and they talked about what they don't want in a score. And that's really how what we do here came about, was just them making a list of what they don't want.

[15:50] Olaf: Oh yeah, absolutely. It reminds me of Spielberg and John Williams collaborating and wanting to keep orchestral scores in film, which had happened a decade prior with their collaboration. And so when you get to Silvestri and Zemeckis who collaborate on just about everything also, they're kind of like they've got their own thing. We'll have to do an episode just about composers at some point.

[16:12] J.J.: Definitely got a top five for sure. Let's get into the movie. We've talked a lot about the behind the scenes and some of the making of, but let's dive in. And rewatching it for the first time in a little bit, I was kind of shocked. Not shocked, but I was like, oh, I never really noticed that before, was how quiet the movie starts. You get some opening credit and then you get the title of the movie and it's huge, colorful, stylized text, but there's nothing. There's just silence. And then you start hearing clocks ticking, you go into Doc's garage, you're hearing the radio, you're hearing the TV and just clocks everywhere. And you're getting a little story and exposition too, without having to give somebody the chore of doing that later.

I mean, obviously Doc does it later. Christopher Lloyd is tasked with it. Everybody does. There's so many people having to give exposition in this movie. But yeah, it's a good observation you make about that opening sequence because they had to, due to budget, because of everything we've already talked about, they had to scrap what they wanted to do originally. And so they just went, okay, we're just going to do this almost one shot of setting up Doc's lab, so to speak. It's just funny because you look at what the next two movies do and they're just big and musical and bam, but this one was just like silence. And I was like, oh wow, I forgot that that's how that starts. I also noticed in the opening credits, you're watching the TVs and you're watching the machine and the dog food falling and all that stuff.

And I noticed, and you don't really get this in movies, they're listing the cast and everything. And then they give a whole credit to Huey Lewis. Power of love. Power of love performed by Huey Lewis and the News. And then you get a couple more credits and then Alan Silvestri gets his credit. And I'm just like, what? Well, I mean, Huey Lewis and the News had already, they had been big and Marty's character is a huge fan of theirs. And I think even Zemeckis when he approached Huey Lewis is like, hey, we want you to write a song for the movie. But he wasn't going to call it back to them. He's like, well, I've got this song. And Robert Zemeckis is like, this is perfect. Power of love. This is perfect. He's like, okay.

[18:54] J.J.: Unrelated fact, Huey Lewis and the News is one of my favorite.

[18:56] Olaf: Oh, I love Huey Lewis and the News. Love them.

[18:59] J.J.: And it's great to see Huey Lewis in the movie.

[19:00] Olaf: Which I think is one of the last things they shot. They open all this up. You get all this exposition without anybody talking. And then in walks some sneakers and a skateboard. Iconic. Iconic because those are his. Those are like Michael J. Fox's shoes. They had originally wardrobed Marty McFly in a pair of Chuck Taylors, which is what Eric Stoltz was wearing. He was wearing these black Converse and they didn't have Michael's size or whatever. And he goes, just wear those. But they stopped making that shoe, like the Nike Bruin or whatever. So somebody knew somebody at Nike, whatever, they made like 25 pairs of those shoes for the film for free because those shoes are awesome. You have a pair, don't you?

[19:43] J.J.: I have a close pair. The white Nike with the red swoosh. They're not quite the Bruin, but it's close enough. And then we get the iconic scene where he's just cranking up this giant speaker. This comically, this speaker doesn't exist anymore. Even now in present day, that speaker doesn't exist. With the smallest electric guitar too. It's so tiny.

[20:04] Olaf: It's almost like an electric ukulele. Yeah. It almost seems like it's a joke. I don't understand why you, if you're calling yourself a musician, what's that you're playing? And then he strums it, the speaker explodes. What a mess. And then Doc calls him. And this is our first introduction to Christopher Lloyd as Doc, and we're just hearing his voice, which, by the way, listening to it again, it doesn't sound like he's quite locked into his character yet.

[20:39] J.J.: See, I don't know, because I feel like this opening scene is one of the last things they shot. So did he record that earlier? The phone call conversation?

[20:47] Olaf: Well, that's the other thing. They used a lot of shots that they had filmed when Eric Stoltz was still Marty McFly. There's even a shot, Eric Stoltz is in the movie. Yes, he is. Like briefly, it's like a blink and you miss it. But they reuse a lot of those shots so that they could save time and money. Anytime that you've got a shot of Doc or another character talking to Marty and it's just like a close up of them. Oh yeah, it's the Eric Stoltz footage. Yeah. They did reshoot scenes, but there are a lot that they didn't. And for those of you who want to know, Olaf took you there and didn't actually tell you the scene where Biff gets punched in the diner. That's the shot Eric Stoltz punching Biff. That's the scene. I just felt like you let us know. You got us there and then you didn't tell us which part of the movie he was in. So I thought I'd let everybody know.

[21:39] J.J.: Well, there you go. Yeah. So then after that, we get the classic Marty on a skateboard.

[21:46] Olaf: To power of love.

[21:47] J.J.: Power of love. Yes. And it's just the best. I mean, this song is amazing by itself, but you put it in that movie, you put it in any movie and it's amazing. I never did this because at the time I was seven or eight. But if this movie had come out when I was 15 or 16 and I was skateboarding, I probably would have attempted to ride the back of somebody's truck or the back of somebody's car to get someplace on a skateboard. I was too young to even attempt that. But I thought he's just catching a ride on the back of this dude's truck and on the back of the police car. It's yeah. Why not? It was almost like he didn't know how to ride a skateboard. Well, yes, he was being pulled, but he had to get to school. He was already late.

[22:32] J.J.: Now, I have a question. He's driving through town. So we're getting a really good establishing shot of present day-

[22:40] Olaf: Hill Valley.

[22:40] J.J.: Hill Valley and the clock tower and the stores around the clock tower. And when he is holding onto the Jeep and they go by the workout studio and he waves and all the girls are waving back, what's happening there?

[22:56] Olaf: This is something he does every day.

[22:59] J.J.: Every day? He has to. Does he go in there and flirt with them all?

[23:03] Olaf: Either that or he's, remember, this is like he's been late to school before. This isn't his first time being late. So you have to think there's an eight o'clock jazzercise class that's going on and he's always late. So he's getting that, he's taking that route and he's waving to the ladies. And if I'm not mistaken, it's still called Lou's because that's the diner that goes from the diner in the 50s to the jazz. I think it's called Lou's Aerobics or Lou's something or other.

[23:30] J.J.: Maybe. I'm always paying attention to them waving at him. So I always missed what the name of the studio was. I always thought. And that was another thing to go back to like, man, this kid is so cool. He's confident enough in himself, but he's not arrogant. And you like him that he's just like, what's up girls? And I'm like, I love this guy for little things like that. And then you get the driver who they give you a quick shot of his face looking back and not happy about.

[24:05] Olaf: I love Marty. And he just kind of gives us wave like, thanks. I think the guy who's driving the truck, I think is the stunt coordinator and for the film, like they just pulled him in the truck. It's just funny because the way they shoot it, it almost makes you think, am I supposed to know who this is? And then, so he gets to school, we get to meet Strickland.

[24:23] J.J.: I wanted more of Strickland. Like he gave you.

[24:25] Olaf: He's great.

[24:26] J.J.: He's so great. And he was clearly the only choice for Strickland too. I almost wish they had given us just maybe one other scene with him because he does so much with very little in that first scene that when you see him later, he doesn't say a sick, like he says like one line of George later, but you're like, man, I want more of Strickland.

[24:44] Olaf: And like so many other people in this movie, his main job is exposition.

[24:49] J.J.: Yeah, it is. It really is. But we're going to give you three lines. All right. I need to break down that this is your fourth time being late. I need to tell you you're a slacker. I got to talk about your dad when he went to this school and he was a slacker and how your family will amount to nothing.

[25:08] Olaf: Right. And hanging out with Doc Brown is a bad idea just because everybody knows who Doc Brown is in this small town.

[25:14] J.J.: Yeah, he's just that crazy guy. But that's the thing, having just rewatched it, you're absolutely right. He's got like four lines of dialogue and they're all exposition lines, but they don't feel like it because it just sounds like this dude is just laying into him for being late. But he gives you all of this important information that you end up seeing later in the movie.

[25:35] Olaf: Yeah, because then we go into the Battle of the Bands audition deal.

[25:41] J.J.: Right.

[25:42] Olaf: And we get to see Huey Lewis all tweed, plaid.

[25:46] J.J.: Glasses.

[25:47] Olaf: Fork coat.

[25:48] J.J.: Hair combed over. And he's got the bullhorn and his band, the Pinheads.

[25:55] Olaf: The Pinheads.

[25:56] J.J.: Which they start playing and they're playing a riff on Power of Love.

[26:03] Olaf: Right.

[26:04] J.J.: And they sound amazing.

[26:06] Olaf: They do.

[26:06] J.J.: They sound so good. They sound too good, honestly. If this is like a high school band, they sound so polished and so good. It doesn't even make sense that Huey Lewis, even though he's not Huey Lewis, he's playing a character. But then, yeah, you get the classic, sorry, you're just too damn loud. But what that does in its own exposition sort of way is it sets up his doesn't want to fail, doesn't want to put himself out there sort of thing. And they do it in such a quick, tight way. They lay this sort of groundwork down in a way where it doesn't feel like they're laying groundwork.

[26:41] Olaf: So he's all upset and he talks about sounding like his dad where he doesn't want to fail, put himself out there. And then if you're looking, you notice the woman in the back save the clock tower and she is acting her ass off in the background.

[26:57] J.J.: She's preaching it to the back row, man.

[27:00] Olaf: And then they're about to kiss and she shoves that donation can in their face and she goes right into exposition.

[27:08] J.J.: Exposition. We got to tell you all about the clock tower and what happened to it, why it's not working. It makes every character in this movie important.

[27:17] Olaf: Oh, yeah.

[27:18] J.J.: You're not just the clock tower lady screaming for a donation. No. What you're going to be saying to Marty, who's the audience here, is why this is important. But we need you to say it in a way where it doesn't feel like you're just dishing out exposition.

[27:33] Olaf: Save the clock tower.

[27:35] J.J.: It's so great. And then he just gives her recorder and she immediately like, thank you, and walks off. And she's like, be sure to take a flyer because that right there, that is a key plot point.

[27:47] Olaf: Yeah. One of the things I loved about the Jennifer-Marty interaction, because it's very limited as well, is that they never really get a chance to just like have a moment where they share a kiss. It's always interrupted.

[27:59] J.J.: They get one.

[28:00] Olaf: Very briefly.

[28:01] J.J.: It feels like more of like an afterthought.

[28:03] Olaf: Oh, I don't know. They get interrupted by the clock tower. They get interrupted by her dad. But she writes her number and I love you on the thing and then they give a kiss.

[28:14] J.J.: She does that in record time, by the way.

[28:16] Olaf: She writes I love you and her phone number in like less than three seconds. It's super impressive.

[28:23] J.J.: They get a full kiss where.

[28:25] Olaf: But it's very rushed.

[28:26] J.J.: The look on Michael J. Fox's face afterwards. I'm like, they just had sex.

[28:32] Olaf: Stop, stop.

[28:33] J.J.: They, but clearly it feels rushed because the dad's there. Like it wasn't, it's not like a moment for just the two of them. But then, yeah, he obviously, he's not going to throw that piece of paper away because if she hadn't written on it, I guarantee you he's throwing that piece of paper in the trash and we don't have it for later. So to me, it's that type of attention to detail in a script where you're going, well, we got to make sure he doesn't throw this piece of paper away because anybody would. Well, she's going to write her phone.

[29:01] J.J.: Remember and I love you, he's keeping that forever. Or he's going to keep it in his jacket for a while. So now he rides along on who knows how many cars for how long, how far. Well, the sun's down by the time he gets home. I mean, it's already dark and he clearly did not get pulled over by the police officer because that was the first car he took home.

[29:24] Olaf: Yeah, that was the first one, but he made sure he got down nice and low. He's down low, he's practically underneath the car. Yeah, so now we get to his home where, again, exposition like crazy. It's done in such an amazing way. Because everything is intentional. They're not only setting up exposition, but you know every single character. Like, oh, these are the two kids that are clearly older than Marty, but for whatever reason they're still home, not had lives of their own. You get to see George and Lorraine and that dynamic. And of course, you get Biff.

[30:01] J.J.: Yeah, and you get all these interactions that on first viewing you're just like, okay, we're in the middle of something. This is just who they are, whatever. It's not until you go back in time where you see how life is cyclical. Right, the interactions are the same. They never change. And you get to see, I don't want to call it consequences of choices, but Lorraine isn't happy. Clearly, she's got a drinking problem. She's got three kids. She's got a brother who cannot get out of jail to save his life. And she's looking at George, even when she's telling that story about how they met, she's like, I knew I was going to spend the rest of my life with this guy. It's almost like it starts out romantic and then it dives into disappointment. And that's a credit to Leah Thompson to deliver that under this makeup, because they had to age her like 25 years to make her look 47.

[30:59] Olaf: It's also such a great scene to establish so much, because you hear about how George and Lorraine first meet and kiss, and it ends up being like the whole plot of the movie. They have to go back. They have to recreate this. And then you get Marty's sister going, that was so stupid. Your dad hit him with the car. Again, you do, you get the honeymooners episode that they're watching because that's important later. You get Joey, the brother who can't get out of prison. You get that because that's important. It's just these mirroring dinner scenes. We get the dinner scene in '85 that we're then going to see in '55 with Lorraine as a kid with her family. And now both of these scenes converge on each other.

[31:44] J.J.: So now we're going to Twin Pines Mall. We show up, there's a truck, there's Doc's dog just hanging out. And that's when it happens. We get the shot. We get the reveal. The back of the truck opens up and the DeLorean, which as a kid, didn't even know the DeLorean was a thing. Nope. I had no idea. This thing comes out, it's silver. It's got doors that open like gull wings. And I'm just like, what? It's the coolest thing I've ever seen in my life. What's funny is that they were almost going to have a Mustang. They had gone with the DeLorean and then somebody had gone to Bob Gale and said, hey, we can get some money influx back into the budget if Doc ends up driving a Mustang instead. And Bob Gale goes, Doc Brown doesn't drive a Mustang. Really adamant like we're going with the DeLorean.

[32:59] Olaf: I love that scene so much because prior to this, you are seeing Michael J. Fox interact with everybody else. But the key interaction to this whole movie is the relationship between Marty and Doc. Yes. And to know later on that Christopher Lloyd wasn't sure about how it was going to happen, having shot some of this stuff already. And then to see the immediate chemistry that Michael J. Fox and Christopher Lloyd have in that scene in the parking lot where he's got the camera and he's scared and Doc just keeps looking at him like, where are you going? Get over here as the cars. It's like all of this stuff stepping away, all of the reaction that Michael J. Fox is doing. And it could be delirium because it's a night shoot and he's been working already. But it's just they fall right into this rapport that this is why the movie works and this is why it wasn't working. Their relationship just sells a media. It's just so good. Just like that scene.

[33:56] J.J.: Oh, yeah. It sets up everything. Because if that scene doesn't work, then nothing will. Because you have to believe that Marty is going to go back in time to save his friend. Well, sorry. Let's just point out for a second. Him going back in time was an accident. It's an accident. He was like, Doc, he just got shot. I'm going to go in the time machine and save you. But he's willing to see if these guys can do 90. And it's not like a lot of time has passed. He's clearly aware of what he's doing when he's driving towards the Fox photo.

[34:29] Olaf: Yeah. Oh, you see his face. He's not just going to run into the Fox photo. He was not paying attention to the fact that he was running for his life. You rewatch it. Once he decides to push it to 90, he's looking at the speedometer and realizes what is going to happen.

[34:38] J.J.: No, I think he was just like you're in this little like van thing from the show Lost and I'm in a DeLorean. Let's see if you can keep up when I go 90 miles an hour. I think once he's committed and he realizes, well, you know, I think at a certain point. So you and I this is really interesting because you and I have a very different take on this, because when I watch this and I just rewatch this and I know you did, too. He jumps in the car to get away. Correct. The Libyans. Correct. He's running for his life. Yes. He's just trying not to get shot. Agree. And they're chasing him and he's trying to get away and he's having to drive in different directions in the parking lot. Keep him under 88. He accidentally activates the time circuits.

He does when he's shifting gears. Now, in my mind, he's got a straightaway. He's trying to just get away and he's in a car. So he's like, I'm being cool. Let's see you do 90. But when he looks up and he sees the photo booth, he's like, oh, crap, I'm going to crash into this thing.

[35:39] Olaf: It wasn't like, oh, let's see if you guys can do 90 because I'm going to go back in time. I think that was all an accident. I'm with you all the way up until because there is a moment when he sees the speedometer. You're right. Time circuits are on. He's got the straightaway. He says, let's see if you guys can do 90. There's a moment there where I think he realizes if I do 90, I'm going back. Why would you just choose to drive directly into the Fox photo booth?

[36:06] J.J.: He even squints again. I don't think he's preparing to write. No, but I don't think he chose to drive into it. I think in the panic of it all, he sees it coming and he's like, oh, crap, I don't have time to swerve and he's just going to run into it. I do not think that he went back in time intentionally. This is one of those completely by accident. I think people need to come in here. What are your thoughts? It was literally I'm trying to get away from the Libyans, but he did see the DeLorean disappear in a streak of flames. So he clearly knew he was going to go somewhere, maybe not into the past or into nineteen fifty five, because I don't think he was ever able to process all of that because everything happened so fast.

[37:00] Olaf: Yeah. So he goes into fight or flight mode and he's trying to just get away. He's not thinking about the science experiment. He was just a part of all he's thinking of. Doc's dead. This guy's got a rocket launcher and he is trying to blow me up. I am trying to get away. And we keep coming back to this. But Doc establishes a whole bunch, too, of exposition, like when he's talking about the DeLorean, he's talking about the mall and why Twin Pines Mall about old man Peabody, like all of these things used to be farmland. As far as I can see, old man Peabody had a strange idea of breeding pine trees. And then I work off. Yeah. And I say that because, yeah, Marty ends up in fifty five on the Peabody farm crashes right into their barn.

Yeah. And he's in the barn and old man Peabody and the whole family. Oh, yeah. The whole family gather outside the barn and they're peeking in. And his son happens to have a comic book with him that just happens to resemble what they're looking at. Yeah. And he's like, he's not it's a space like an airplane without wings. He's already mutated into human form. Shoot him.

[38:03] J.J.: But, yeah, Marty drives off and knocks down one of the pine trees. Keep that in your memory, everybody. Right. That might come back. It's just a fun Easter. It's a totally it is. If you are paying attention to it, which is so funny because you read on the Internet, you're like things people miss when they watch Back to the Future. And I'm like, no, because when he does eventually get back to the present and he shows back up at the Twin Pines Mall, it is now the Lone Pine. Lone Pine Mall. Yes. But I love stuff like that. That stuff is the attention to detail and things like that is also is very fun. So Marty, I guess, tries to go home and then he screeches to a stop in the middle of the road in the DeLorean because the turnoff to where his neighborhood is. Yes. Only just started being constructed. Yeah, there's just nothing there again because he didn't know he went back in time.

[39:51] Olaf: And then, and then, of course, as a DeLorean is known to do, it breaks down, breaks down. But then, you know, Marty walks into town and this is when we see the transform town square and again clock tower. The camera establishes exposition at the beginning because you do get that establishing shot of Hill Valley when he's going to school with the jazzercise in the courthouse and then you get to see it all again. When you really stop to think about how much exposition is in this movie, it blows your mind because you don't notice it. You don't notice it at all. And it doesn't feel like we're going to stop this movie that so we can explain what's about to happen because the stakes are so high when everybody's giving their exposition, especially when Doc is giving his exposition in the parking lot of the mall.

[40:37] J.J.: But yeah, he gets he walks into to lose diner. And what I love about the outfit change, because in the original concept of it, you know, Marty is not wearing the red vest and the jeans and the Nikes. He's wearing something that I guess would fit into that time period. That's how they dressed their stalls. But they got this great running joke with his outfit when he did go into the 50s with that red vest. Yeah. The first one is lose like did you jump ship? Yeah. Jump ship. Yeah. He's like, yeah. So then we find out he's sitting next to his dad because Biff walks in and now he's ripped. Yes. Future Biff is all like fat. Thomas Wilson is so underrated. Oh, he's so good. But he's so great in this movie.

And he's great in all of them. But in this movie, he sets that sort of archetype up so well where you don't like him. I mean, you know, he's you know, he's like this type of person. But you like the actor like you like Thomas Wilson. Yeah, he's so such a buffoon. But he's not a cartoon about it. Right. He could easily have fit into that world. And I guess I had read somewhere that he was bullied a lot when he was a kid. So he was sort of channeling a lot of that, which is crazy, because when you see him when he's young, Biff, he's just him, right? He really is that tall. He really is that buff. Honestly, I think he's a good looking guy. To think that he was bullied just blows my mind because he's such a big guy.

[41:07] Olaf: And then we're kind of off to the races again. We are. George McFly runs away and Marty's chasing after him and finds him hanging in a tree as a peeping Tom. Right. Which Lorraine thought, what were you doing up in the in the tree up there, George? Birdwatching? What? What Lorraine? No idea. No idea. And we find out that this is how Lorraine's dad hit him with the car initially, because he falls out of the tree into the street and his dad hits him with the car. Right. But it's so funny. He pushes George out of the way. He gets hit by the car. Lorraine's dad runs out. George runs away and he's like he yells to his wife, another one of these kids jumped in front of my car. It's like, how many kids is he hit? Yeah, this happens quite a bit. It's just all different peeping Tom.

[41:57] J.J.: Clearly it is. It's a popular tree. I love the family dinner sequence in the 50s because you get the Joey set up with the kid in the crib. We get the Jackie Gleason Honeymooners episode, which is the same episode that George is watching later on. But we also get to see the other kids like Lorraine's siblings. Yeah. A young Jason Harvey from Wonder Years sitting there at the table. And then the little girl is the sister in Adventures in Babysitting a couple of years later. That's like one of her first movies. Oh, yeah. But I love the dad, man. He's not really paying attention to the conversation that's going on because he's eating and watching, but he has something to say about everything that's going on.

Like it's a block past Mabel. Oh, that's John F. Kennedy drive. Who's John F. Kennedy? Who the hell's John F. Kennedy? And he's an idiot. His parents are probably idiots too. Lorraine, if you ever have a kid that acts like that, I'll disown you. It's so good. And so we immediately see a problem where Marty's mom, not knowing obviously that this is her future son, is having the Nightingale effect on Marty. Yes. And we're also quickly learning that she's not quite who she said she was as her older self. Clearly you see this in reverse, this sort of like polar opposite of we got to see who she is and then who she was. She doesn't have her whole life ahead of her because we see it at the beginning and she's like, this is who she is. And then we get to see her and go, oh, but this is who she was.

[43:32] J.J.: One of my favorite set pieces, one of my favorite scenes is Doc's house.

[43:35] Olaf: I was just going to say, so we move on, he goes and finds Doc's house which, in the present, is just a garage.

[43:42] J.J.: A newspaper article at the beginning of the house had burned down.

[43:47] Olaf: Yeah, right. And now we see his house and it is sprawling. I love it.

[43:51] J.J.: That's awesome. I want to live there.

[43:53] Olaf: And when they went to shoot Michael J. Fox's stuff, the house had been sold and was in escrow.

[44:03] J.J.: Yeah, yeah. And they had like a week to film the house stuff with Michael J. Fox.

[44:05] Olaf: Yeah.

[44:10] J.J.: And they found out that the owner still had it. And she's like, yeah, no problem. You can come back and shoot, you know, for however many days you need to shoot it.

[44:16] Olaf: So they could get the Michael J. Fox stuff at the house, which is the thing that Doc is wearing when he walks.

[44:21] J.J.: What a great, we had already seen him earlier. So we kind of knew he was eccentric already.

[44:25] Olaf: But then for them to take it to this other level with this helmet thing that he's wearing, he doesn't know who Marty is.

[44:33] J.J.: He doesn't. He just drags him into his house. It's just somebody that he can finally talk to because maybe people do think he's crazy.

[44:40] Olaf: He puts a suction cup on his forehead.

[44:42] J.J.: Not a word.

[44:43] Olaf: I'm going to read your mind.

[44:44] J.J.: Not a word, not a word.

[44:46] Olaf: And then.

[44:47] J.J.: Because he had something on the dog. He had like some sort of contraption on the dog.

[44:51] Olaf: Because I think he was trying to read the dog's mind.

[44:53] J.J.: And it kind of comes off as like, is he a huckster?

[44:58] Olaf: I think he really does believe in science. But at some point you can tell because of how he's guessing that he thinks he's reading Marty's mind.

[45:05] J.J.: He's like, he just sees the life preserver. And he's like, you want me to donate money to the Youth Lifeguard?

[45:13] Olaf: Coast Guard Authority.

[45:14] J.J.: Yeah, yeah.

[45:15] Olaf: And it's like, are you a sham?

[45:18] J.J.: Well, and that's an interesting point because we know he's an inventor because clearly we see certain things in his house that work and don't work.

[45:22] Olaf: The can opener works.

[45:27] J.J.: It's like you get the idea that nothing he makes work.

[45:30] Olaf: Right, right. And it wasn't until he sees the flux capacitor working.

[45:34] J.J.: Because he hit his head and he drew the flux capacitor and he clearly got to a place in his life where it worked because Marty wouldn't be there if it hadn't.

[45:43] Olaf: Sure, sure. But for Doc to see it work that early because he just drew it like an hour ago.

[45:48] J.J.: And for him to then be shown that it actually worked.

[45:52] Olaf: No doubt.

[45:53] J.J.: Yeah. And he's like, do you know this? I made something that works.

[45:58] Olaf: Yeah.

[45:59] J.J.: I just love it, though, where he's like, OK, future boy, who's the president?

[46:04] Olaf: And he's like Ronald Reagan, the actor.

[46:09] J.J.: Who's the vice president, Jerry Lewis?

[46:11] Olaf: I love that line.

[46:12] J.J.: I love that line because everything else he says running down. But he's just so digging when he says Jerry Lewis.

[46:19] Olaf: And he just says it's so eccentric and so out of control.

[46:23] J.J.: And this is really like we established the relationship from the mall. But this is really when everything clicks because he quickly gives him the information about the flux capacitor and how he came up with the idea, which immediately now Doc is in.

[46:39] Olaf: I believe you now.

[46:41] J.J.: Yeah. And then they go and they find the DeLorean.

[46:43] Olaf: He's just blown away and they get it back.

[46:45] J.J.: And now it's all like, OK, I'm in.

[46:48] Olaf: Yeah. How are we going to get you there?

[46:49] J.J.: Yeah. What I love, too, as an actor, because he shot a lot of this stuff with Eric Stoltz, but there's a different energy.

[46:55] Olaf: You know, Christopher Lloyd was clearly dialed into what he needed to do by the time Michael J. Fox got there.

[47:00] J.J.: But I'd like to think that Michael J. Fox brought Christopher Lloyd another nuanced level of energy of a dynamic because that scene in the 50s when they first meet and he's like he pulls the thing off.

[47:11] Olaf: He goes, I came here in a time machine, you know, and all of this stuff that you invented.

[47:17] J.J.: And then when they go to the in the living room and Marty's like, I got to get back, Doc. I got a girl. I got all these things.

[47:25] Olaf: And he's like, look.

[47:26] J.J.: And Doc's just like he rips the paper out of his hand.

[47:29] Olaf: He's like he's like it's just this whole relationship that they have.

[47:32] J.J.: And I sound like a broken record. But to me, it just makes this movie that much more special.

[47:38] Olaf: Yeah. Well, if they hadn't had the chemistry or the relationship that they had, we as the viewer wouldn't have bought it.

[47:45] J.J.: Yeah. This movie wouldn't have worked.

[47:47] Olaf: Yeah. And they knew that in time.

[47:48] J.J.: Yeah. So it just wasn't going to work.

[47:50] Olaf: It had to work with these two for us to be to go along on this ride with them.

[47:54] J.J.: Yeah. I'm going to the school. I wanted that leather jacket, that leather jacket that Marty McFly wears when they go back to high school.

[48:00] Olaf: Yeah, the tan with the maroon.

[48:03] J.J.: Oh, man, I love that jacket.

[48:05] Olaf: Yeah, it's a good looking jacket.

[48:06] J.J.: It's a great jacket.

[48:08] Olaf: What I also found interesting is when Christopher Lloyd is like, all right, you stick to your dad like glue. We got to get these two to the dance.

[48:15] J.J.: You got to go just like Marty invests in like a textbook and a folder like he really is making.

[48:20] Olaf: He's going to class or going to. I don't know what he's doing, but he's clearly.

[48:24] J.J.: I don't know if he's ever going to class.

[48:27] Olaf: We never see class.

[48:28] J.J.: We don't.

[48:29] Olaf: We see the bell ring and they're running off and stuff.

[48:31] J.J.: Yeah.

[48:31] Olaf: And then he shows up at the lunchroom to talk to George and stuff.

[48:35] J.J.: And that's when he finds out that George is a writer of science fiction.

[48:39] Olaf: Yeah. We get to see Marty and him connect with George saying, you know, I don't know if I could take rejection by letting other people read my stuff, which is what Marty had just said.

[48:49] J.J.: Because I guess you don't know anything about that.

[48:51] Olaf: And then we're talking about Lorraine and Biff shows up.

[48:55] J.J.: And this is when we really get to hear the iconic line.

[49:00] Olaf: Why don't you make like a tree and get out of here?

[49:04] J.J.: What a great line that Thomas Wilson ad libbed himself.

[49:08] Olaf: That is not in the script.

[49:09] J.J.: So for him to.

[49:10] Olaf: Is it really?

[49:11] J.J.: I don't know that.

[49:12] Olaf: Yeah.

[49:12] J.J.: He came up with that one and butthead.

[49:14] Olaf: You're looking at butthead like these are two things that he brought to the table when they were shooting, which the make like a tree and get out of here is so great.

[49:23] J.J.: Yeah. It's such a thing that Biff would say.

[49:26] Olaf: Oh yeah.

[49:27] J.J.: And we get another taste of that later in the second movie where he says the phrase that's like a screen door on a battleship and it's supposed to be screen door on a submarine.

[49:36] Olaf: You dork.

[49:38] J.J.: Oh man. Then we get to my favorite scene of the movie.

[49:55] Olaf: One of my favorite scenes in the movie, which is the diner skateboarding scene.

[49:59] J.J.: Oh, what a scene.

[50:00] Olaf: Yeah. Which again, they had to reshoot because they had already shot this scene with Eric Stoltz and they had to get a new stunt person because the stunt person was too tall.

[50:09] J.J.: The original one.

[50:09] Olaf: So yeah. And the fortuitous story about the stunt guy is that the stunt man who does like to jump into Biff's car when on the skateboarding scene and then avoids the manure truck.

[50:20] J.J.: That guy was had gone to L.A. and was sneaking on the lot, seeing what movies were being shot to see if he could be stunt.

[50:27] Olaf: And he got onto the universal lot and they were only shooting back to the future.

[50:30] J.J.: And he's talking with somebody on the set.

[50:33] Olaf: And Michael J. Fox comes up, he goes, hey, are you my new stunt guy?

[50:36] J.J.: And the guy's like, yep.

[50:37] Olaf: He's like, OK, great. Nice to meet you.

[50:38] J.J.: And Michael J. Fox walks away.

[50:40] Olaf: And then the guy goes, you know how to do stunts, right?

[50:42] J.J.: And sure enough, he does the car jump and the rest is history.

[50:46] Olaf: He was able to clearly stay on the set.

[50:47] J.J.: But I love this scene.

[50:49] Olaf: I love everything about it. From the time George runs up to Marty and Marty can't get the Pepsi bottle open because it's not a twist off.

[50:56] J.J.: And George is like immediately does the bottle opener.

[50:59] Olaf: But, you know, he's writing stuff down.

[51:01] J.J.: And this movie is so quotable, including a lot of this scene where, you know, George is messing up the speech that he's written down when he walks into the diner and he asks Lou for a milk chocolate.

[51:15] Olaf: I love that.

[51:16] J.J.: And they slide the chocolate milk across the bar.

[51:20] Olaf: It's like I'm like, this is it's such an awesome scene.

[51:23] J.J.: We get George trying to charm Lorraine, which I feel like there's a moment where she kind of does.

[51:30] Olaf: I think so.

[51:31] J.J.: At the very end.

[51:31] Olaf: But then she's just immediately distracted by Marty, not trying to make a scene, but makes a scene.

[51:37] J.J.: I know. It's like he's trying to do good, but he can't stop being cooler than George.

[51:42] Olaf: And then the scene where he faces off with Biff and you just see Biff stand up straight and his eyes are just over.

[51:50] J.J.: That's my life.

[51:53] Olaf: That's my life.

[51:54] J.J.: And that was another reason why I love this. I'm like this. I get it.

[51:57] Olaf: But the acting work with Michael J. Fox's eyes, you can see it was so great.

[52:05] J.J.: And then we're off to the races.

[52:06] Olaf: He runs out. He sees a kid on a kind of a scooter.

[52:10] J.J.: I know it's a box.

[52:12] Olaf: It's all wood. It's whatever.

[52:14] J.J.: He runs over. He rips the box part of it.

[52:16] Olaf: I still love when he picks up the kid and moves them.

[52:20] J.J.: You just hear this clearly ADR.

[52:23] Olaf: Hey, it's like I'm not sure that was the actual kid.

[52:29] J.J.: And then, yeah, he turns it into a skateboarding, which he does.

[52:34] Olaf: A lot of that skateboarding is Michael J. Fox.

[52:36] J.J.: I mean, clearly there's some scenes that it's not him, but he was proficient enough where they were able to get some wide shots of him actually on the board, which makes that scene a lot cooler to me.

[52:44] Olaf: Yeah.

[52:45] J.J.: And it's just fun. You know, they're driving all over outside the clock tower and going in a circle.

[52:50] Olaf: And we get the classic ending where they drive into the manure truck.

[52:54] J.J.: At this point, we are sort of at this fine clip where then Lorraine's like, I'm going to find out where this guy lives.

[53:00] Olaf: And so you get to see another side of Lorraine.

[53:03] J.J.: She's going to follow this kid home, which she never would have done, I guess, in her previous life.

[53:07] Olaf: She asks him to the dance.

[53:09] J.J.: Yeah.

[53:10] Olaf: And you get the only interaction between Lorraine and Doc in this movie.

[53:14] J.J.: I love Doc in this scene.

[53:16] Olaf: Doc's facials in this scene are classic.

[53:19] J.J.: His eyes when he's just like, what are we doing here?

[53:22] Olaf: How are you going to get out of this?

[53:23] J.J.: You are screwed.

[53:25] Olaf: He's just like leaning up. And Doc's not helping him.

[53:28] J.J.: He's just like, I'm going to see what you're going to do here because this is going to be interesting.

[53:33] Olaf: You are not making this easy for either of us.

[53:37] J.J.: As we move into what I consider to be the final act of the film, which is basically the evening he goes home, this movie, we've talked about it a little bit, the pacing of this movie and everything keeps moving ahead.

[53:48] Olaf: It's not like the scenes are super short either.

[53:51] J.J.: Every scene has a pretty good length to it, but every scene has got something there that's keeping your attention and getting you to the next scene, which is like everything that has happened has now brought us to the finale where we're or the final act, I should say, where it's the night of and Marty's got to take Lorraine to the dance now and George is going to be there already waiting to confront them.

[54:18] Olaf: Obviously, they've set up this plan where George is going to save the day because Marty's going to, quote, unquote, try and take it.

[54:24] J.J.: I love that he's going to, quote, unquote, try and take advantage of his mom so George can then save her.

[54:30] Olaf: And then it gets totally flipped.

[54:33] J.J.: Yeah, yeah. Because Lorraine is the aggressive one in the car.

[54:37] Olaf: Yes.

[54:38] J.J.: And Marty is so uncomfortable.

[54:40] Olaf: And then they finally kiss and she's like, this is wrong.

[54:45] J.J.: When I kiss you, it's like kissing my brother.

[54:49] Olaf: Well, and prior to that, it's you drink.

[54:53] J.J.: She's like, yeah, I swiped it from the old lady's liquor cabinet and she's drinking.

[54:57] Olaf: You smoke too?

[54:58] J.J.: And then she's like, you're starting to sound like my mother.

[55:01] Olaf: And what I love is after she says, it's like kissing my brother, I think she says something like, does that make any sense or something like that?

[55:08] J.J.: And he's like, no, I get it.

[55:11] Olaf: They don't sit on that. They don't let it get awkward because she's immediately like, oh, someone's coming.

[55:16] J.J.: And then we think it's George because we've just seen him see what time it is and he's going to get there.

[55:21] Olaf: And it's but it turns out it's Biff.

[55:24] J.J.: But this is what I found interesting.

[55:26] Olaf: Even watching it, I've kind of always felt like this, but the subject matter in this very brief scene where George confronts the car with Biff and Lorraine, that's pretty and I mean, even for a kid watching because of the heaviness of it, of what it is and what's the objective there for Biff?

[55:37] J.J.: Well, that that scene is not played lightly.

[55:51] Olaf: It's not. It's like the whole movie is kind of like fun and it's got humor to it and levity to it until this scene.

[56:02] J.J.: This scene just hits you out of nowhere where it's just like, oh, this is very serious.

[56:06] Olaf: Yeah.

[56:07] J.J.: And then you're going like no one, no one's playing a character and everybody's being very serious.

[56:12] Olaf: And at this point, you're like, yeah, you could laugh off Biff as a character because of the things he was doing, because maybe he was all talk and no action.

[56:23] J.J.: But in this moment, you're going, oh, this dude is bad.

[56:27] Olaf: Oh, yeah.

[56:28] J.J.: Lorraine, she's playing this very serious.

[56:31] Olaf: You see her very desperate, very scared.

[56:34] J.J.: You see Biff very serious, very menacing.

[56:37] Olaf: Yeah.

[56:38] J.J.: And then you see George terrified.

[56:41] Olaf: But knowing that he can't leave.

[56:44] J.J.: But there's just this moment before he makes that decision where he's coming in to give his scripted lines that they'd planned out only to see that it's Biff.

[56:55] Olaf: And it almost seems like he's going to break down because he's about to lose.

[57:01] J.J.: He's about to be destroyed by this bully.

[57:04] Olaf: But then, you know, it's such a shame that Crispin didn't work out for the other movies.

[57:09] J.J.: But what he does in this movie is so good.

[57:12] Olaf: His characterization of stuff, you can see the thought processes that he goes through in his head when he's making the decisions that he makes as the character.

[57:21] J.J.: And you really see all of this turmoil and fortitude and resolve happen in a moment of no Biff, you get away.

[57:32] Olaf: And it's it's almost underappreciated, not not only his performance, but this one moment, because this one little microcosm of a moment is in this what is a very fun journey and fun movie.

[57:46] J.J.: But in this sort of like two minutes, you're thrown into this very real, very serious situation.

[57:54] Olaf: And what everyone is doing, all three of them are doing in this scene, make it very real.

[57:59] J.J.: You're right. Like her desperation, her fear.

[58:02] J.J. Gonzalez: Welcome back to the show! Today, we're diving into one of our all-time favorites, "Back to the Future."

[58:32] Olof Atzet: That's right! This movie is such a classic, and it really set the tone for so many time travel films that followed.

[59:02] J.J. Gonzalez: Absolutely! I mean, who doesn't love the DeLorean? It's iconic!

[59:32] Olof Atzet: And let's not forget about Doc Brown. Christopher Lloyd's performance is just legendary.

[59:35] J.J. Gonzalez: Right? His eccentricity really brings the character to life.

[59:38] Olof Atzet: Plus, the chemistry between him and Marty McFly, played by Michael J. Fox, is just perfect.

[59:41] J.J. Gonzalez: They really complement each other well. It’s hard to imagine anyone else in those roles.

[59:44] Olof Atzet: For sure! And the plot is so clever. Time travel, alternate timelines, and all the consequences that come with it.

[59:47] J.J. Gonzalez: Exactly! It makes you think about how even the smallest actions can have huge impacts.

[59:50] Olof Atzet: And the humor! There are so many memorable lines and scenes that still make me laugh.

[59:52] J.J. Gonzalez: Like the scene where Marty plays "Johnny B. Goode" at the dance. Classic!

[59:55] Olof Atzet: Oh, definitely! And the way they incorporated the music into the story was brilliant.

[59:59] J.J. Gonzalez: Speaking of music, the soundtrack is fantastic. It really captures the essence of the '80s.

[1:00:02] Olof Atzet: It does! And the theme by Alan Silvestri is just so recognizable.

[1:00:06] J.J. Gonzalez: You hear it, and you instantly think of time travel and adventure.

[1:00:10] Olof Atzet: And let's talk about the visuals! The special effects were groundbreaking for its time.

[1:00:13] J.J. Gonzalez: They really pushed the envelope, especially with the time travel sequences.

[1:00:16] Olof Atzet: It’s amazing how well they hold up even today.

[1:00:19] J.J. Gonzalez: Agreed! And the way they portrayed the future in the film was so imaginative.

[1:00:22] Olof Atzet: Right? Flying cars, hoverboards... it was all so cool to see.

[1:00:25] J.J. Gonzalez: And while some of it was a bit far-fetched, it was fun to dream about.

[1:00:28] Olof Atzet: Exactly! It sparks the imagination and makes you wonder what the future will really be like.

[1:00:31] J.J. Gonzalez: And the moral lessons woven into the story are timeless.

[1:00:34] Olof Atzet: Yes! Family, friendship, and the importance of making the right choices.

[1:00:37] J.J. Gonzalez: It’s a film that resonates with audiences of all ages.

[1:00:39] Olof Atzet: And it’s one of those movies you can watch over and over again.

[1:00:42] J.J. Gonzalez: Definitely! Each time you catch something new.

[1:00:45] Olof Atzet: So, what are some of your favorite moments from the film?

[1:00:48] J.J. Gonzalez: Oh man, there are so many! I love the scene where Marty first travels back to 1955.

[1:00:51] Olof Atzet: That’s a classic! The look on his face when he realizes where he is is priceless.

[1:00:54] J.J. Gonzalez: And the way he interacts with his parents before they even know each other is just hilarious.

[1:00:57] Olof Atzet: For sure! It’s such a clever twist on the time travel concept.

[1:01:00] J.J. Gonzalez: And the whole idea of trying to get his parents to fall in love is just so unique.

[1:01:03] Olof Atzet: It adds a layer of complexity to the story that makes it even more engaging.

[1:01:05] J.J. Gonzalez: Plus, the stakes are high! If he fails, he might not even exist.

[1:01:08] Olof Atzet: Exactly! It really keeps you on the edge of your seat.

[1:01:11] J.J. Gonzalez: And the ending is just perfect, with the cliffhanger leading into the sequel.

[1:01:15] Olof Atzet: Yes! It leaves you wanting more, which is what a good movie should do.

[1:01:18] J.J. Gonzalez: So, what do you think makes "Back to the Future" stand out from other films?

[1:01:21] Olof Atzet: I think it’s the combination of humor, heart, and a compelling story.

[1:01:24] J.J. Gonzalez: Absolutely! It’s a perfect blend that appeals to a wide audience.

[1:01:27] Olof Atzet: And the characters are so well-developed. You really care about what happens to them.

[1:01:29] J.J. Gonzalez: Yes! You feel invested in their journey, which makes the film even more impactful.

[1:01:31] Olof Atzet: Plus, the nostalgia factor is huge for those who grew up in the '80s.

[1:01:34] J.J. Gonzalez: Definitely! It’s a trip down memory lane for many viewers.

[1:01:37] Olof Atzet: And for younger audiences, it’s a glimpse into a different era.

[1:01:40] J.J. Gonzalez: Exactly! It’s timeless in that way.

[1:01:43] Olof Atzet: So, what do you think about the sequels? Did they live up to the original?

[1:01:46] J.J. Gonzalez: I think they had their moments, but the original is hard to beat.

[1:01:49] Olof Atzet: I agree. They were fun, but the first one had that magic that’s hard to replicate.

[1:01:51] J.J. Gonzalez: Exactly! It set such a high bar.

[1:01:54] Olof Atzet: But it’s great that they continued the story and expanded the universe.

[1:01:57] J.J. Gonzalez: For sure! It’s nice to see where the characters ended up.

[1:02:00] Olof Atzet: And the way they explored different timelines was interesting.

[1:02:04] J.J. Gonzalez: Definitely! It kept things fresh and exciting.

[1:02:07] Olof Atzet: So, any final thoughts on "Back to the Future"?

[1:02:10] J.J. Gonzalez: Just that it’s a must-watch for anyone who loves movies.

[1:02:13] Olof Atzet: Absolutely! It’s a classic that will stand the test of time.

[1:02:16] J.J. Gonzalez: And we hope our listeners enjoyed this discussion as much as we did!

[1:02:19] Olof Atzet: Be sure to let us know what parts you loved or if we left anything out.

[1:02:22] J.J. Gonzalez: And we hope that you enjoyed this.

[1:02:25] Olof Atzet: Be sure to like, subscribe, click a bell or whatever you need to do.

[1:02:28] J.J. Gonzalez: We've got so much more ahead, so we hope you enjoy this journey with us.

[1:02:31] Olof Atzet: And yeah! Just like the movie said, to be continued.

[1:02:34] J.J. Gonzalez: To be continued.

[1:02:37] Olof Atzet: Back to the Movie Theater is hosted by J.J. Gonzalez and Olof Atzet.

[1:02:40] J.J. Gonzalez: Produced by me, Johnny Clay, J.J. Gonzalez, and Olof Atzet.

[1:02:43] Olof Atzet: Theme song and incidental music by The Dimes.

[1:02:46] J.J. Gonzalez: Follow us on Instagram and TikTok at Back to the Movie Theater.

[1:02:48] Olof Atzet: And find us on YouTube at Back to the Movie Theater with J.J. and Olof.