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Back to the Future
1985 film by Robert Zemeckis

Back to the Future is a 1985 American science fiction film directed by Robert Zemeckis and starring Michael J. Fox as Marty McFly, who travels back to 1955 in a time-traveling DeLorean built by Doc Brown. Despite initial studio rejections, it was produced by Universal Pictures and became the highest-grossing film of 1985, winning an Academy Award and several Saturn Awards. The film's legacy includes two sequels, a multimedia franchise, and recognition by the Library of Congress in the National Film Registry. Its cultural impact endures through video games, theme park rides, and an animated series.

Plot

In 1985, teenager Marty McFly lives in Hill Valley, California, with his depressed alcoholic mother, Lorraine; his older siblings, who are professional and social failures; and his meek father, George, who is bullied by his supervisor, Biff Tannen. After Marty's band fails a music audition, he confides in his girlfriend, Jennifer Parker, that he fears becoming like his parents despite his ambitions.

That night, Marty meets his eccentric scientist friend, Emmett "Doc" Brown, in the Twin Pines mall parking lot. Doc unveils a time machine built from a modified DeLorean, powered by plutonium he swindled from Libyan terrorists. After Doc inputs a destination time of November 5, 1955 (the day he first conceived his time travel invention), the terrorists arrive unexpectedly and gun him down. Marty flees in the DeLorean, inadvertently activating time travel when he reaches 88 miles per hour (142 kilometers per hour).

Arriving in 1955, Marty discovers he has no plutonium, so he cannot return to 1985. While exploring a burgeoning Hill Valley, Marty encounters his teenage father and discovers Biff was bullying George even then. George falls into the path of an oncoming car while spying on the teenage Lorraine changing clothes, and Marty is knocked unconscious while saving him. He wakes to find himself tended to by Lorraine, who becomes infatuated with him. Marty tracks down and convinces a younger Doc that he is from the future, but Doc explains the only source available in 1955 capable of generating the 1.21 gigawatts of power required for time travel is a lightning bolt. Marty shows Doc a flyer from the future that documents an upcoming lightning strike at the town's courthouse. As Marty's siblings begin to fade from a photo he carries with him, Doc realizes Marty's actions are altering the future and jeopardizing his existence: Lorraine was supposed to tend to George instead of Marty after the car accident. Early attempts to get his parents acquainted fail, and Lorraine's infatuation with Marty deepens.

Lorraine asks Marty to the school dance, and he plots to feign inappropriate advances on her, allowing George to intervene and rescue her, but the plan goes awry when Biff's gang locks Marty in the trunk of the performing band's car, while Biff forces himself onto Lorraine. George arrives expecting to find Marty but is assaulted by Biff. After Biff hurts Lorraine, an enraged George knocks him unconscious and escorts the grateful Lorraine to the dance. The band frees Marty from their car, but the lead guitarist injures his hand in the process, so Marty takes his place, performing while George and Lorraine share their first kiss. With his future no longer in jeopardy, Marty hurries to the courthouse to meet Doc.

Doc discovers a letter from Marty warning him about his future and rips it, worried about the consequences. To save Doc, Marty recalibrates the DeLorean to return ten minutes before he had left the future. The lightning strikes, sending Marty back to 1985, but the DeLorean breaks down, forcing Marty to run back to the mall. He arrives as Doc is being shot. While Marty grieves at his side, Doc sits up, revealing he had pieced Marty's note back together and is wearing a bulletproof vest. He takes Marty home and departs to 2015 in the DeLorean. Marty wakes the next morning to discover his father is now a confident and successful science fiction author, his mother is fit and happy, his siblings are successful, and Biff is a servile valet in George's employ. As Marty reunites with Jennifer, Doc suddenly reappears in the DeLorean, insisting they return with him to the future to save their children from terrible fates.1

Cast

See also: List of Back to the Future characters

  • Michael J. Fox as Marty McFly, a high school student and aspiring musician2
  • Christopher Lloyd as Emmett "Doc" Brown, an eccentric scientist experimenting with time travel3
  • Lea Thompson as Lorraine Baines McFly, a 1955 teenager who grows into Marty's unhappy, alcoholic mother4
  • Crispin Glover as George McFly, a nerdy 1955 high schooler who grows into Marty's cowardly, submissive father5
  • Thomas F. Wilson as Biff Tannen, a 1955 high school bully turned George's 1985 boss6

The 1985 portion of the film features a cast including Claudia Wells as Marty's girlfriend Jennifer Parker, and Marc McClure and Wendie Jo Sperber as Marty's siblings Dave McFly and Linda McFly.7 Elsa Raven plays the Clocktower Lady. Singer Huey Lewis has a cameo role as a judge for the Battle of the Bands contest.89 Richard L. Duran and Jeff O'Haco portray the Libyan terrorists.10

Cast appearing in the 1955 portion includes George DiCenzo and Frances Lee McCain as Lorraine's parents, Sam and Stella Baines,11 and Jason Hervey as Lorraine's younger brother Milton. Biff's gang includes Jeffrey Jay Cohen as Skinhead, Casey Siemaszko as 3-D, and Billy Zane as Match. Norman Alden plays cafe owner Lou, and Donald Fullilove appears as his employee (and future mayor) Goldie Wilson. Harry Waters Jr. portrays Chuck Berry's cousin Marvin Berry; Will Hare appears as Pa Peabody; and Courtney Gains portrays Dixon, the youth who interrupts George's and Lorraine's dance.12 James Tolkan portrays Hill Valley high school principal Strickland in both 1955 and 1985.13

Production

Conception and writing

Long-time collaborators Bob Gale and Robert Zemeckis conceived Back to the Future in 1980.141516 They wanted to develop a film about time travel but struggled to create a satisfying narrative, and were desperate for a successful project after the critical or commercial failures of their recent efforts in collaboration with Zemeckis's mentor, Steven Spielberg.171819

Following the release of their comedy Used Cars (1980), Gale visited his parents and came across his father's high school yearbook.2021 He wondered if he and his father would have been friends had they attended school together. He did not think so, but realized he could test his theory if he could travel back to a time when he and his parents were a similar age.22 He shared the idea with Zemeckis, who recalled his mother's childhood stories were often contradictory.23

Gale and Zemeckis began a draft in late 1980. They sketched and acted out each scene to help develop the dialogue and actions.24 They believed many time-travel films focused on the past being immutable and wanted to show the past being altered and the effect those changes would have on the future.25 In the draft, video pirate Professor Brown builds a time machine that sends his young friend Marty back to the 1950s where he interrupts his parents' first meeting.26 In September 1980, Gale and Zemeckis pitched their idea to Columbia Pictures president Frank Price, who had liked Used Cars and was keen to work with the pair. Gale recalled having to rein in Zemeckis's enthusiastic pitch before Price had time to change his mind.27 Gale and Zemeckis completed the first draft for Price on February 21, 1981, but Price believed it needed significant refinement.28

Some early concepts were abandoned. Originally, Marty's actions in 1955 had a more significant impact on the future, making 1985 more futuristic and advanced, but every person who read the script took issue with the idea.2930 Marty's father also became a boxer, a result of his knockout punch on Biff.31 The time machine was a stationary object moved around on the back of a truck.323334 Inspired by the documentary The Atomic Cafe, the drained time machine was written to be powered by Marty driving it into a nuclear explosion, combined with an additional ingredient: Coca-Cola.35 Gale and Zemeckis took inspiration from tales of legendary scientists, opting to make the time machine's creator an individual instead of a faceless corporation or government.36 The pair wanted the inciting time-travel incident to be an accident so that it would not appear that the hero was seeking personal gain.37

Gale and Zemeckis drew humor from the cultural contrasts between 1955 and 1985, such as Marty entering a 1955 soda shop in 1985 clothing; the shop owner asks Marty if he is a sailor because his down vest resembles a life preserver. They also identified conveniences of 1985 that Marty had taken for granted, but would be denied in 1955. Gale and Zemeckis struggled with the writing, as they were in their 30s and did not particularly identify with either era.38 They were inspired by the All-American aesthetic of films by Frank Capra featuring white picket fences and exaggerated characters similar to Biff,39 The Twilight Zone, science fiction films, and books by Robert Silverberg and Robert Heinlein.40 The romantic relationship between 1955 Lorraine and her future son was one of the more difficult writing challenges.41 Gale and Zemeckis attempted to take the concept as far as possible to keep the audience on edge. They believed it had to be Lorraine who stopped the relationship; she remarks that kissing Marty feels like kissing her brother. Gale jokingly said no one asked how she could make that comparison, but that audiences would accept it because they did not want the relationship to happen.42 The second draft was completed by April 7, 1981.43

Development

Price opted not to green-light the second draft; although he liked it, he did not believe it would appeal to anyone else.44 The most successful comedies at the time, such as Animal House (1978), Porky's (1981), and Fast Times at Ridgemont High (1982), featured sexual and bawdy elements; Back to the Future was considered too tame in comparison.4546 The project went into turnaround (a process allowing other studios to purchase the idea).4748 The script was rejected some forty times, sometimes multiple times by the same studios.49 Reasons given included the concept being unappealing to contemporary rebellious youth50 and the failures of other time travel films, such as The Final Countdown (1980) and Time Bandits (1981).5152 Walt Disney Productions turned it down because they considered Marty's fighting off his future mother's advances too risqué for their brand.53 The only supporter of the project was Spielberg, but with their previous collaborations considered relative failures, Gale and Zemeckis feared another misstep would suggest they could get work only through being friends with Spielberg.5455

Zemeckis accepted the next project offered to him, Romancing the Stone (1984).565758 Against expectations, the film was a significant success and gave Zemeckis enough credibility to return to Back to the Future.59 Zemeckis held a grudge against the studios that had rejected the project and turned to Spielberg, who had set up his own production company, Amblin Entertainment, at Universal Studios, where Price now worked.6061 Spielberg disliked Price because he had rejected E.T. the Extra-Terrestrial (1982) and demanded his involvement in Back to the Future be minimal. Sidney Sheinberg installed himself as chief executive to oversee the studio's investment in the project.62 Amblin executives Kathleen Kennedy and Frank Marshall joined Spielberg as the film's executive producers.6364

However, rights to Back to the Future remained with Columbia Pictures. Price's successor at Columbia Pictures, Guy McElwaine, was developing a satire of the Universal-owned noir film Double Indemnity (1944) called Big Trouble (1986). Its similarities to Double Indemnity meant the studio would violate Universal Pictures' copyright. With production imminent, McElwaine asked for the rights from Price; in exchange, Price obtained the rights to Back to the Future.65

Sheinberg suggested modifications to the film, including changing the title to Space Man from Pluto, believing Back to the Future would not resonate with audiences.6667 Gale and Zemeckis did not know how to reject Sheinberg's suggestions without risking his ire. Spielberg intervened, sending Sheinberg a memo reading: "Hi Sid, thanks for your most humorous memo, we all got a big laugh out of it, keep 'em coming." Spielberg knew Sheinberg would be too embarrassed to admit his memo was to be taken seriously.6869 Sheinberg later claimed the story was "bullshit".70 Sheinberg also wanted to change the name of Marty's mother from Meg to Lorraine (a tribute to his wife Lorraine Gary), and rename Professor Brown to Doc Brown because he considered it more accessible.7172 The third draft was completed by July 1984.73 The lengthy development allowed Gale and Zemeckis to refine the script's jokes, especially ones that had become dated since 1980.74 The joke about former actor Ronald Reagan becoming President of the United States remained following his re-election in 1984.75

Casting

Michael J. Fox was the first choice to portray Marty McFly. Gale and Zemeckis believed his acting timing in the NBC sitcom Family Ties (1982–1989) as the sophisticated Alex P. Keaton could be translated to Marty's clumsiness.7677 Spielberg asked the show's producer Gary David Goldberg to have Fox read the script. Concerned Fox's absence would damage Family Ties' success, especially with fellow star Meredith Baxter on maternity leave, Goldberg did not give Fox the script.78 Other young stars were considered, including: John Cusack, C. Thomas Howell, Johnny Depp, Ralph Macchio, Charlie Sheen, Jon Cryer, Ben Stiller, Peter DeLuise, Billy Zane, George Newbern, Robert Downey Jr., Christopher Collet, Matthew Modine, and Corey Hart (who declined to audition).79 Howell was the frontrunner,80 but Sheinberg preferred Eric Stoltz, who had impressed with his portrayal of Rocky Dennis in an early screening of the drama film Mask (1985).8182 With the filming date approaching, Zemeckis opted for Stoltz.83 Sheinberg promised that if Stoltz did not work out, they could reshoot the film.84 The character's name was derived from Used Cars production assistant Marty Casella. Zemeckis suggested McFly because it sounded "All-American".85

Among others, Jeff Goldblum, John Lithgow, Dudley Moore, Ron Silver, Robin Williams, John Cleese, Mandy Patinkin, Gene Hackman, James Woods, and Mark Mothersbaugh were considered for the role of Doc Brown.86 Producer Neil Canton suggested Lithgow, having worked with him and Christopher Lloyd on Buckaroo Banzai (1984). Lithgow was unavailable, and the role was offered to Lloyd. He was reluctant to join the production until a friend encouraged him to take the part.87 Albert Einstein and conductor Leopold Stokowski inspired Lloyd's wild, white hair.88 Lloyd affected a hunched posture to lower his 6 feet 1 inch (1.85 meters) height closer to the 5 feet 5 inches (1.65 m) tall Fox.89

The filmmakers became aware of Lea Thompson while researching Stoltz in the comedy-drama The Wild Life (1984).90 Crispin Glover used many of his own mannerisms in portraying George McFly. Gale described his performance as "nuts", and Zemeckis was reportedly unhappy with Glover's performance choices, instructing him to be more restrained as the older George.9192 Glover lost his voice during filming and later dubbed in some lines.93 DeLuise, Zane, Tim Robbins, and J. J. Cohen were considered to play Biff Tannen.949596 Cohen was not considered intimidating enough against Stoltz, and the role went to Thomas F. Wilson, his first feature starring role.9798 Zane and Cohen were cast as Biff's minions Match and Skinhead instead.99100 Tannen's name was taken from Universal Studios executive Ned Tanen, who had been unpleasant with Gale and Zemeckis.101

Melora Hardin was cast as Jennifer Parker on a two-film contract. After Stoltz's replacement, the crew were polled about Hardin being taller than Fox; the female crew overwhelmingly voted Marty should not be shorter than his girlfriend.102103104 Hardin was replaced by Claudia Wells, who had previously declined the role because of her commitment to the short-lived television series Off the Rack (1984).105106107 Actresses Kyra Sedgwick and Jill Schoelen were also considered; Schoelen was told she looked too "exotic" and not sufficiently All-American.108109 Doc Brown's pet, a dog named Einstein, was originally scripted as a chimpanzee named Shemp. Sheinberg insisted films featuring chimps never did well.110111 James Tolkan was the first choice for Principal Strickland after Zemeckis saw him in the crime drama Prince of the City (1981).112 Singer and soundtrack contributor Huey Lewis cameos as a Battle of the Bands judge. Lewis agreed to appear as long as he was uncredited and could wear a disguise.113 Gale cameos as the hand in the radiation suit tapping the DeLorean time display.114

Filming with Stoltz

Principal photography began on November 26, 1984, on a 14-week schedule set to conclude on February 28, 1985, with an estimated $14 million budget.115116 Filming took place mainly at the Universal Studios lot and on location in California.117 Dean Cundey served as the cinematographer; he and Zemeckis had collaborated on Romancing the Stone.118 Editor Arthur Schmidt was hired after Zemeckis saw his work on Firstborn (1984); Schmidt recommended hiring Harry Keramidas as co-editor.119 Frank Marshall also served as a second unit director.120

Owing to the tight schedule, editing occurred concurrently with filming.121 On December 30, 1984, Zemeckis reviewed the existing scenes with Schmidt and Keramidas.122 Zemeckis was reluctant to review the footage because he would be self-critical,123 but he believed Stoltz's acting was not working and had already listed several scenes he wanted to reshoot.124125126 Zemeckis called in Gale and the producers to show them the footage; they agreed Stoltz was not right for the part.127 Stoltz was performing the role with an intense and serious tone, not the "screwball" energy they desired.128129 Gale characterized Stoltz as a good actor in the wrong role.130

Stoltz utilized method acting and stayed in character as Marty when not filming, refusing to answer to his own name. This resulted in feuding with some of the cast and crew, including Wilson. Stoltz put his full strength into pushing Wilson rather than imitating doing so, despite Wilson's protests.131 Spielberg said Zemeckis needed a replacement in place before firing Stoltz, or he risked the production being canceled.132 Zemeckis and the producers asked Sheinberg for permission to do whatever was necessary to accommodate Fox's participation;133 Spielberg made another call to Goldberg. On January 3, 1985, Goldberg told Fox about withholding the Back to the Future script from him, and the filmmakers wanted to know if he was interested. Baxter had returned to the show, and they could be more flexible with Fox as long as Family Ties took priority. Fox agreed to join without reading the script.134 The transition could not take place immediately and filming continued with Stoltz in the lead role, unaware he was to be replaced.135

On January 10, 1985, Zemeckis informed Stoltz that he was being fired.136137138 Zemeckis described it as "the hardest meeting I've ever had in my life and it was all my fault. I broke [Stoltz's] heart."139 Stoltz was reported to have told his makeup artist he was not a comedian and did not understand why he was cast.140 The producers informed the principal cast and the rest of the crew much of the film would be re-shot.141142 Cundey said most of the crew saw Stoltz's removal as "good news".143 Crew members later said there were obvious signs Stoltz would be replaced; the set designers were told to not change the 1955 set, and a scene involving a discussion between Marty and Doc was filmed showing only Doc.144 Stoltz had shot numerous key scenes including Marty traveling to 1955 in the DeLorean, its breaking down as he prepares to return to 1985, and his final scene was Marty's return to 1985.145146 Filming fell behind schedule, with 34 days of filming lost and an additional cost of $3.5–$4.0 million, including Stoltz receiving his salary in full.147148149 Universal Pictures' marketing team was tasked with mitigating the negative publicity from a project replacing its main star.150

Filming with Fox

Fox's first day on set was January 15, 1985.151 He filmed Family Ties during the day before traveling to the Back to the Future filming location. Often, he would not return home until early the following morning, and on weekends, the schedule was pushed back further as Family Ties was filmed in front of a live audience.152153154 The teamster drivers entrusted with dropping off Fox at home often had to carry the actor to bed.155 This continued until April, when Family Ties finished filming.156 Gale said Fox's youth meant he could cope with less sleep than usual;157 Fox described it as exhausting, but worth the effort.158 Further into the filming schedule, Fox was energetic during his scenes but struggled to stay awake off set. He ad-libbed some lines when he forgot the intended dialogue,159160 and recalled looking for a camcorder on the Family Ties set, before realizing it was a prop on Back to the Future.161 He also had to learn to mimic playing the guitar and choreographed skateboarding routines taught by Per Welinder and Bob Schmelzer.162

To compensate for his conflicting schedules and reduce production costs, some scenes involving Marty were shot without Fox, who filmed his part separately.163164 Re-shooting scenes allowed the filmmakers to identify problems and implement new ideas. To avoid building an additional classroom set, the opening pan across the array of clocks in Doc Brown's laboratory replaced an opening scene where Marty sets off a fire alarm to get out of detention.165166 The height differences between Stoltz and Fox necessitated other changes, such as a scene of Fox teaching George how to punch because Fox could not reach the necessary prop.167 According to Gale, once Fox replaced Stoltz, the atmosphere on set improved.168 Thompson anecdotally said while Stoltz ate lunch alone in his trailer, Fox ate lunch with the cast and crew.169

The production used many locations in and around Los Angeles. The clock tower is a structure on the Universal Studios Lot in Universal City, California.170171 When filmed from below, Lloyd was positioned on a recreation of the clock tower, but when filmed from above, Lloyd stood atop the tower itself.172 Production designer Lawrence G. Paull insisted on using the Universal backlot sets because of the difficulties and costs involved in making an on-location area look 1955-appropriate.173 Whittier High School in the city of Whittier is the Hill Valley high school. Marty's home and the surrounding Lyon estates are in Arleta, Los Angeles. Several of the residential locations were filmed in Pasadena: Lorraine's and George's 1955 homes, and Doc Brown's 1955 home. (Its exterior is the Gamble House; interiors were shot at the historic Blacker House.)174 Puente Hills Mall in City of Industry, California serves as the Twin Pines mall, which later becomes the Lone Pine mall after Marty knocks over one of the trees at Twin Pines ranch in 1955, which was filmed at the Walt Disney Studios-owned Golden Oak Ranch in Newhall, Santa Clarita, California.175176 Other locations include the basement of the Hollywood United Methodist Church where the school dance was filmed, and Griffith Park, where Marty begins his drive to the courthouse to return to 1985, passing by a lamp post outside the Greek Theatre.177

Filming concluded after 107 days on April 26, 1985. The final day of filming included pick-up shots of Marty and Einstein the dog in the DeLorean.178

Post-production

Arthur F. Repola served as the post-production supervisor, but he became responsible for many aspects outside his role, including budgets, storyboarding, and general problem-solving. Those roles belonged to Kennedy and Marshall, but both were occupied on other films.179 Schmidt found editing the film difficult because he had to imagine where the special effects would later be added; there was no time or budget to re-edit afterward.180

A rough version of the movie was cut together for a test screening at the Century 22 theater in San Jose, California, in mid-May 1985, just three weeks after filming concluded. The audience was seemingly uninterested at the exposition-heavy opening but became engaged after the DeLorean appeared.181 At a test screening in Long Beach, California, 94% of the audience responded they would recommend the film; 99% rated it very good or excellent.182 Gale said there was some concern when Doc's dog Einstein was sent through time, as the audience believed he had been killed.183 But Gale said when they came to the cafe scene where Marty sees his father, the audience "got it". The film was re-cut and screened again at the Alfred Hitchcock theater at Universal Studios for executives, including Sheinberg.184 He was so impressed he moved the scheduled release date forward to July 3, 1985, to give it more time in theaters during the peak summer season.185 The new date reduced the post-production schedule to just nine weeks for special effects and editing.186187 Zemeckis spent much of June rushing to finish the film.188

Deleted scenes include: Doc looking at an issue of Playboy, remarking the future looks better; a scene of 1985 George being coerced into buying a large amount of peanut brittle from a young girl;189190 a scene of young George trapped in a phone booth by the man who interrupts his dance with Lorraine;191 and the scene of Marty pretending to be "Darth Vader", which was shortened.192 Zemeckis considered cutting the "Johnny B. Goode" performance because it did not advance the story, but test audiences reacted well to it.193 There is a dispute if a shot of Stoltz's hand is in the finished film in the scene where Marty punches Biff. Gale noted it is impossible to tell without checking the original film negative, which would risk damaging it.194195 The final 116‑minute cut was completed on June 23, 1985.196197 Universal Studios took out a full-page advertisement in Variety magazine, thanking the post-production crew for completing their work on time.198 The final budget was $19 million.199200

Music

Main article: Back to the Future (soundtrack)

Alan Silvestri composed the score for Back to the Future; he had worked with Zemeckis on Romancing the Stone. The only direction Zemeckis gave him was "it's got to be big". Silvestri used an orchestral score to create a sound that contrasted with the small-town setting and the significant time-changing events occurring within it. He wanted a heroic theme that would be instantly recognizable.201

Huey Lewis was approached to write a theme song for the film; he was coming off the success of his recent album Sports. He met with Gale, Spielberg, and Zemeckis, who intended that Huey Lewis and the News be Marty's favorite band. Though flattered, Lewis did not want to participate because he did not know how to write film songs and did not want to write one called "Back to the Future". Zemeckis assured Lewis he could write any song he wanted. Lewis agreed to submit the next song he wrote, which was "The Power of Love".202 Lewis maintains "Power of Love" was his first submission, but Zemeckis recalled a different first song that was rejected.203204 Lewis later acquiesced to Zemeckis's request for a second song, "Back in Time".205

Musician Eddie Van Halen performed the guitar riff Marty (dressed as "Darth Vader") uses to wake George. The filmmakers wanted to use Van Halen's music, but the band refused to take part, so Eddie took part on his own. Mark Campbell provided Marty's singing voice, but did not receive credit, as the filmmakers wanted to pretend Fox was singing. When music supervisor Bones Howe learned of this, he secured Campbell a small percentage of the soundtrack revenue as compensation.206207 Paul Hanson taught Fox how to use a guitar to play "Johnny B. Goode", and choreographer Brad Jeffries spent four weeks teaching Fox to replicate various rock star moves popularized by artists like Pete Townshend, Jimi Hendrix, and Chuck Berry.208209 Berry withheld permission to use "Johnny B. Goode" until the day before filming, receiving $50,000 for the rights.210 Harry Waters Jr. provided the vocals on "Earth Angel".211

Design

Special effects

Industrial Light & Magic (ILM) developed the film's special effects under the supervision of Ken Ralston and Kevin Pike.212213 It contains approximately 27–32 special effects shots, compared to the 300 such shots typical in contemporaneous higher-budget films.214215216 Despite working simultaneously on The Goonies and Cocoon, Ralston took on the additional project because it required relatively few effects, and he wanted to realize the planned ending of Marty driving the time machine into a nuclear explosion.217218 The team had a nine-and-a-half-week schedule, reduced to less than nine once Universal Pictures moved up the release date. ILM was working on Back to the Future up to the moment it had to be handed over to print the theatrical film reels.219220

The tight schedule affected the special effects' quality. Ralston was disappointed by the scene where Marty's hand fades away as his future is altered. Fox was filmed separately from his hand and the two were composited together; the hand was filmed with a wide-angle lens, making it appear too large, and it had to be scaled down. Zemeckis wanted a subtle fade, but it resulted in a small circle of the hand fading away and there was no time to fix it.221222 In the same scene, Marty and his siblings fade away from a photo. ILM found it difficult to fade the photo's individual aspects, especially as it was moving on the neck of a guitar. A replica of the guitar neck was constructed at four times the normal size; the guitar strings were made of cable up to a quarter-inch thick. An 11-by-14 aluminum plate was attached to hold the enlarged photograph. ILM used a version of the photo without Marty or his siblings and individually pasted each character into the photo. When this failed, four different photos were used: one containing the background, and one for each McFly sibling. A mechanical camera cycled through each photo and printed it to the film.223 The enlarged guitar was moved around to add to the realism.224

The original nuclear explosion ending was considered too complicated and expensive, with an estimated cost of $1 million.225226227 Art director Andrew Probert storyboarded the scene, which would have been created using sets and miniatures.228229 With the ending moved to the clock tower, ILM researched storms to achieve the right aesthetic.230 Clouds were constructed from polyester fiberfill, suspended in a net, and filmed from above while Ralston shone a powerful light from below.231 He used a rheostat to rapidly change the lights' intensity to imitate lightning.232

Developed by Wes Takahashi's animation department, the lightning bolt that strikes the clock tower was described as "the largest bolt of lightning in cinematic history". It was intended to originate in the distance and move closer, but the footage was filmed too close to the tower and there was insufficient space between it and the top of the frame.233 There was also an issue with showing the bolt onscreen for too long as it made it more obviously animated.234235 The frame count was reduced, but the bolt did not look chaotic enough.236 Zemeckis picked out a single frame of the bolt in an "S" formation and asked that the effect focus on that shape and be reduced to twenty frames.237238 The bolt was drawn in black ink on white paper; diffusion effects and a glow were added by the optical department.239

The DeLorean time machine

Main article: DeLorean time machine

The DeLorean was developed under the supervision of Lawrence Paull,240 who designed it with artist Ron Cobb and illustrator Andrew Probert.241242 They intended for the vehicle to look fixed together from common parts.243 The time machine was originally conceived as a stationary device; at one point it was a refrigerator. Spielberg vetoed the idea, concerned child viewers might attempt to climb into one.244 Zemeckis suggested the DeLorean because it offered mobility and a unique design; the gull-wing doors would appear like an alien UFO to a 1950s family.245246247 The Ford Motor Company offered $75,000 to use a Ford Mustang instead; Gale responded, "Doc Brown doesn't drive a fucking Mustang".248 Michael Fink was hired as the art department liaison and tasked with realizing Cobb's sketches and overseeing the car's construction. He was recruited by Paull and Canton, who had worked with him on Blade Runner (1982) and Buckaroo Banzai, respectively. Fink had a project lined up but agreed to help in the free weeks he had remaining.249 Three DeLoreans used were purchased from a collector: one for stunts, one for special effects, and a more detailed hero version for close-up shots.250251 They were unreliable and often broke down.252 88 miles per hour (142 kilometers per hour) was chosen as the time travel speed because it was easy to remember and looked "cool" on the speedometer.253

The flying DeLorean in the final scene used a combination of live-action footage, animation, and a 1:5 scale (approximately 33 inches (840 millimeters) long) model built by Steve Gawley and the model shop crew.254255256 The act of the DeLorean traveling through time was called the 'time slice' effect. Zemeckis knew only that he wanted the transition to be violent. He described it as a "Neanderthal sitting on the hood of the DeLorean and chipping away the fabric of time in front of him".257 The effect is so quick as to be imperceptible. Zemeckis preferred this, as he did not want the audience to think too much about how everything worked.258

Art direction and makeup

Actual brand names, such as Texaco, were used to make the sets more realistic, and the producers mandated the inclusion of certain brands that had paid to appear in the film. An unidentified gas company offered a large sum to be included, but Paull used Texaco because it reminded him of a joke from The Milton Berle Show.259260 This choice led to some disputes, such as Pepsi parent company, PepsiCo, wanting to omit a joke about the Tab drink made by its rival Coca-Cola.261 Twenty clock wranglers were needed to synch up the many clocks in the opening scene, and pulleys were used to start them simultaneously.262 Drew Struzan produced the film's poster.263 The producers hoped his in-demand poster artwork would generate further interest in the film.264

The film uses a stylized adaptation of the 1950s aesthetics, closer to television show interpretations than an exact recreation. Modern technologies such as contemporary fabrics were used because the designers believed the fashions of the time were not interesting.265 To represent characters across three decades, the filmmakers did not want to have older actors stand in for the younger ones, believing the change would be obvious and distracting. Special effects artist Ken Chase performed makeup tests on the young actors to age them; initial results were discouraging. He created a prosthetic neck and a bald cap with a receding hairline for Glover but considered them excessive. Chase found it difficult to balance aging the actors and retaining enough of their natural appearance to remain recognizable.266

Casts were made of the actors' faces, from which plaster molds were made. Chase sculpted more subtle effects over the plaster molds using latex. For Lorraine, he crafted jowls and eye bags, plus body padding to reflect her increased weight and alcohol abuse.267 Instead of a receding hairline, Chase changed the style of George's hair; he used prosthetics only to give him a less-defined jawline.268 Biff's character changed more significantly because Chase wanted him to look "obnoxious"; he was fattened, given sideburns, and a comb over hairstyle to hide a growing bald spot.269 The prosthetics were combined with makeup and lighting to further age the characters.270

Chase found the work frustrating compared to his experiences with more fantastical prostheses that made it easier to hide defects.271 The rubber latex did not reflect light the same way as natural skin, so Chase used a stippling process (creating a pattern with small dots) to variegate the actors' faces to better conceal where the skin and prosthetics met;272 close-up shots were avoided.273 Doc's appearance was not altered significantly. Chase painted latex on Lloyd which, when removed, caused crinkles in the skin, onto which other elements, such as liver spots and shadows, were painted.274

Release

Context

See also: 1985 in film

By June 1985, the theatrical industry had experienced a 14% decline in ticket sales over the previous year's $4 billion record sales. The summer period (beginning the final week of May) had 45 films scheduled for release, including Rambo: First Blood Part II, The Goonies, Brewster's Millions, Fletch, and the latest James Bond film A View to a Kill.275 This 25% increase over the previous year's releases led to concerns among industry professionals the competition would divide audiences and limit financial returns, at a time when the average cost of making and marketing a film had increased to $14.5 million and $7 million, respectively.276 A higher budget to secure a popular, and thus profitable, cast was considered a suitable risk.277 Most films scheduled for release were aimed at younger audiences, focusing on fantasy and the supernatural. Reflecting the times, these fantasy elements often employed a technological source instead of a magical one.278 Only a few films, like Cocoon and Prizzi's Honor, targeted adults.279

Initially, Back to the Future was scheduled to be released in May 1985,280 but was pushed back to June 21, the earliest Zemeckis could have the film ready. The delay caused by Stoltz's replacement pushed the release back to July 19, and later to August.281 Sheinberg moved the release date forward to July 3, giving it an extra sixteen days of theatrical screen time during the industry's most profitable period of the year. The move offered about 100,000 extra screenings, together worth an estimated $40 million. He said he also wanted to avoid the negative perception of films released later in the summer period; other blockbuster films were usually released early.282 The change required renegotiations with theater owners to secure screens in an already-crowded marketplace. In some cities, it was legally required that exhibitors be shown a film before purchase; an unfinished cut of the film was shown to theater owners and young test audiences. They described it as lesser than E.T. the Extra-Terrestrial or Ghostbusters, but still a guaranteed box office hit.283 Fox was unavailable for promotional work because he was filming Family Ties Vacation (1985) in London.284

Box office

In the United States (U.S.) and Canada, Back to the Future received a wide release on July 3, 1985, ahead of the Independence Day holiday weekend.285286 The film earned $3.6 million during the opening Wednesday and Thursday,287 and a further $11.3 million during its inaugural weekend from 1,420 theaters – an average of $7,853 per theater.288 Back to the Future finished as the number one film of the weekend ahead of Western Pale Rider ($7 million), in its second weekend, and Rambo: First Blood Part II ($6.4 million) in its seventh.289 It retained the number one position in its second weekend with a further gross of $10.6 million, ahead of the debuting action film Mad Max Beyond Thunderdome ($7.8 million) and Cocoon ($5 million),290 and in its third weekend, ahead of the re-release of E.T. the Extra-Terrestrial ($8.8 million) and Mad Max Beyond Thunderdome ($5.4 million).291 Although it fell to number two in its fourth weekend, behind the debuting National Lampoon's European Vacation ($12.3 million), Back to the Future regained the number one position in its fifth weekend and remained there for the following eight weeks.292293 Recalling the opening weeks, Gale said, "our second weekend was higher than our first weekend, which is indicative of great word of mouth."294

The film remained a steady success, earning $155 million by October, surpassing Rambo: First Blood Part II's $149 million box office earnings to become the year's highest-grossing film.295296 In total, Back to the Future was the number one film for eleven of its twelve first weeks and remained in the top ten highest-grossing films for a total of twenty-four.297 By the end of its theatrical run, Back to the Future earned an approximate box office gross of $210.6 million,298299 making it the highest-grossing film of 1985, ahead of Rambo: First Blood Part II ($150.4 million), the sports drama Rocky IV ($127.9 million), and the drama The Color Purple ($94.2 million).300301 Box Office Mojo estimated more than 59 million tickets were sold.302 Industry experts suggest that as of 1997 the box office returns to the studio (minus the theaters' share) was $105.5 million.303304

The year was considered an unsuccessful one for film. Despite a record number of film releases, ticket sales were down 17% compared with 1984.305306 Industry executives blamed the problem, in part, on a lack of originality,307 and a glut of youth-oriented films targeted at those under 18.308309 Only Back to the Future and Rambo: First Blood Part II were considered blockbusters, earning more than double the box office of Cocoon.310 Films offering escapism and pro-America themes also fared well.311 After years of poor performances, Back to the Future, alongside Fletch, Brewster's Millions, and Mask, reversed Universal Pictures' fortunes.312313

Outside the United States and Canada, the film earned a further estimated $170.5 million,314315 making it the third-highest-grossing film of the year, behind the romantic drama Out of Africa ($179.1 million) and Rocky IV ($172.6 million).316 Cumulatively, Back to the Future earned a worldwide gross of $381.1 million, making it the highest-grossing film of 1985, ahead of Rocky IV ($300.5 million) and Rambo: First Blood Part II ($300.4 million).317318319320 Back to the Future has received several theatrical re-releases to celebrate anniversaries, including a remastered version screened in 2010. These releases have raised the film's worldwide total to $388.8 million.321322

Reception

Critical response

Back to the Future received generally positive reviews from critics.323324325 Most reviewers agreed Back to the Future was among the year's most entertaining films, partly because of its focus on storytelling instead of pure spectacle.326327 Paul Attanasio and Gene Siskel argued that while Back to the Future appeared to be "everything wrong" with youth-targeted films, it successfully subverted expectations by focusing on a relatable narrative with an emotional core, and employed irreverent, good-natured humor. They, alongside Richard Corliss, agreed that it would endure because it offered something for children and adults.328329330 Some reviewers, such as Corliss and Leonard Maltin agreed that the exposition-heavy opening was Back to the Future's weakest part, but led into a stronger half filled with "wit", "wonder", "comic epiphany", and original ideas.331332333

Dave Kehr remarked that Gale and Zemeckis were among the first generation of filmmakers openly influenced by growing up on televised entertainment, and their inspirations are evident throughout. The Hollywood Reporter said that despite Spielberg's producer role, it was Zemeckis's vision, being more subtle, gentler, and "less noisy".334335 Some reviewers compared it favorably to the 1946 fantasy drama It's a Wonderful Life, which offered a similar premise of a central character changing his future. Roger Ebert said the film offered humanity, charm, humor, and many surprises that were among its "greatest pleasures".336337338 Sheila Benson was more critical; she found Back to the Future to be overproduced and underdeveloped, featuring a hollow ending focused on materialistic rewards and lacking tension because Marty's success never seemed in doubt. Siskel countered that the tension came from defying the expectations of a typical time travel film by making the past mutable and the future uncertain.339340 Paul Attanasio criticized some aspects that seemed to be "mechanically" designed to create the broadest audience appeal.341342

The cast performances were generally well received, particularly those of Fox, Lloyd, Thompson, and Glover.343344345 Reviewers consistently praised Fox's "appealing" performance, although some believed Lloyd's performance outshone the rest.346 Kehr and Attanasio considered his uncontrolled performance and unique "intensity" a tribute to mad scientist characters, portrayed by the likes of Sid Caesar and John Belushi, while creating the definitive scientist archetype for modern audiences.347348349 In contrast, Vincent Canby and Variety's review said that Thompson's "deceptively passionate" performance and Glover's bumbling-to-confident character provided Back to the Future's standout performances.350351 Some reviewers considered the use of Libyan terrorists, an actual fear at the time, to be in poor taste.352353

Audiences polled by CinemaScore gave the film an average grade of "A" on an A+ to F scale.354

Accolades

Back to the Future received four nominations at the 43rd Golden Globe Awards, for Best Motion Picture (Musical or Comedy), Best Actor in a Motion Picture (Musical or Comedy) (Fox), Best Original Song ("The Power of Love"), and Best Screenplay (Gale and Zemeckis).355356 The film was also named Favorite Motion Picture at the 12th People's Choice Awards.357 At the 1986 Academy Awards, Back to the Future received one award for Best Sound Effects Editing (Charles L. Campbell and Robert Rutledge). It received a further three nominations: Best Original Screenplay (Gale and Zemeckis); Best Sound (Bill Varney, B. Tennyson Sebastian II, Robert Thirlwell, and William B. Kaplan); and Best Original Song ("The Power of Love").358

At the 39th British Academy Film Awards, Back to the Future received five nominations, including Best Film, Best Original Screenplay (Gale and Zemeckis), Best Visual Effects (Pike and Ralston), Best Production Design (Paull), and Best Editing (Schmidt and Keramidas).359 At the 13th Saturn Awards, the film won three awards: Best Science Fiction Film, Best Actor (Fox), and Best Special Effects (Pike).360 It also won the Hugo Award for Best Dramatic Presentation.361 Back to the Future performed well internationally: it won Best Foreign Producer (Spielberg) and Best Foreign Screenplay at the David di Donatello awards (Italy), Outstanding Foreign Film from the Japan Academy, and the Goldene Leinwand (Germany) for selling more than three million tickets in its first eighteen months.362

Post-release

Home media

Back to the Future was released on VHS on May 22, 1986, priced at $79.95,363364 becoming the first film to sell 450,000 units at that price point, and was also the most-rented cassette of the year.365366 A sequel was not planned until after Back to the Future's theatrical release, and a "To Be Continued ..." graphic was appended to the end of the home release to promote awareness of future films.367 When Back to the Future was released on DVD in 2002, the graphic was removed because Gale and Zemeckis wanted it to be faithful to an in-theater experience.368369370 It debuted on Blu-ray in 2010 for the film's 25th anniversary. The release featured a six-part documentary including interviews with the cast and crew, behind-the-scenes footage, deleted scenes, and associated music videos from all three films. The release also included the public debut of footage of Stoltz portraying Marty McFly.371 For its 35th anniversary in 2020, a remastered 4K Ultra HD version was released on Blu-ray and Ultra HD Blu-ray. Along with extras included in previous releases, this edition included audition footage and an exploration of the film's props hosted by Gale. Limited edition steel bookcases and a display replicate of the levitating hoverboard from Back to the Future Part II were also available.372

The Back to the Future soundtrack was released in July 1985 on cassette tape, LP record, and compact disc (CD).373 The soundtrack's lead single, "The Power of Love", peaked at number one on the U.S. Billboard Hot 100. Sales were initially slow, but it eventually peaked at number twelve on the Billboard 200, in part because of the success of "The Power of Love".374 Silvestri's score received a limited release in 2009 on CD, containing the film score and unreleased variations.375 The scores for all three Back to the Future films were first released on LP record in 2016, individually and as a collection. Silvestri supervised the remaster of the original master recordings, including previously unreleased tracks, and Gale contributed liner notes.376

Other media

See also: Back to the Future in other media

In 1985, film merchandising was a relatively new concept, popularized by the original Star Wars film trilogy (1977–1983).377 As Back to the Future was not specifically aimed at children, there was no significant merchandising accompanying its release.378 Although a novelization by George Gipe was released in 1985,379 one of the earliest items for children, a rideable DeLorean, was not released until 1986.380 The film and its sequels have since been represented across a wide variety of merchandise including: Playmobil, playing cards, clothing, pottery, posters,381 board games,382383 sculpted figures, plush toys,384 Funko POP! figures, action figures,385 Hot Wheels and die-cast vehicles,386387 books, music albums,388 and Christmas ornaments.389

Back to the Future received several video game adaptations. Back to the Future was released alongside the film for the Amstrad CPC, Commodore 64, and ZX Spectrum.390391392 An arcade-adventure game, Back to the Future, was released in 1989 for the Nintendo Entertainment System. Gale called it one of the worst games ever made and advised people against purchasing it.393394 Back to the Future: The Pinball was released in 1990, although Fox refused permission for the game to use his likeness.395 An episodic graphic adventure game, Back to the Future: The Game, was released in 2010. Gale contributed to the game's narrative, which takes place after the events of the third film.396397 An area in Lego Dimensions is based on Back to the Future and features voice work by Lloyd.398399

Back to the Future: The Ride, a simulator ride, ran from 1991 to 2007 at Universal Studios Hollywood and Universal Studios Florida. The ride's development was supervised by Spielberg and featured Doc Brown (Lloyd) chasing down Biff (Wilson) who has stolen the DeLorean. A version of the ride at Universal Studios Japan ran from 2001 to 2016.400401 A Back to the Future-themed Monopoly board game was released in 2015.402403 A Funko board game was released in 2020. It casts players as one of the main characters from the films to battle different Tannens across history.404405

There have been several books about the making of the film series. We Don't Need Roads: The Making of the Back to the Future Trilogy is an oral history by those involved in the production.406 Back to the Future: The Ultimate Visual History, a book chronicling the development of the entire Back to the Future franchise, was released in 2015.407 The British Film Institute released BFI Film Classics: Back to the Future about the film's background.408 The series also includes comic books detailing Doc's and Marty's adventures before and after the events depicted in the films.409 A crossover between the Back to the Future and Transformers franchises included a transforming DeLorean toy and associated comic books.410

Thematic analysis

Parental relationships and fate

The main theme of Back to the Future concerns taking control and personal responsibility over one's destiny: a situation can be changed even if it seems otherwise impossible to overcome.411 Thompson said the film represents how one moment can have a significant and lasting impact on a person's life.412413 Gale believed Doc provided the perfect summary of the series' running theme, when in Back to the Future Part III he said: "Your future is whatever you make it, so make it a good one."414

At the start of the film, Marty is rejected at Battle of the Bands and admits he fears his ambitions will remain unrealized. He worries he will end up like his parents and sees direct evidence in 1955 of George, also afraid of rejection, and being unable to approach Lorraine; his fears risk Marty's future.415416 Marty sets about manipulating the past to ensure his survival without concern for what impact his presence in 1955 is having on others. On his return to 1985, he is rewarded with wealthier parents and a nicer car, but he has simultaneously damaged Biff's future, reducing him to a valet for the McFlys.417418 Glover criticized the morality of the film's ending, believing Marty's reward should be happy parents in love with each other, and considered it a result of the film serving corporate interests, promoting the accumulation of wealth and purchasing material objects.419 In 2015, Zemeckis said the ending was perfect for its time but would be different if he made it now, although Gale disagreed and said he did not apologize for the scene. American audiences generally had no issue with this ending, but it was criticized by some international audiences.420

Despite rejection by film studios for not being raunchy enough,421 Back to the Future alludes to sexual assault, racism, and the Oedipus complex – a psychiatric theory suggesting a child holds an unconscious sexual desire for their opposite-sexed parent, as in the relationship between Marty and his future mother Lorraine in 1955.422423 The relationships between parents and children are the basis of many elements of the film. Thompson believed the film had remained relevant to new generations because of its core idea that Marty's and the viewer's parents were once children and had the same dreams and ambitions they do.424425426

Reaganism and American anxieties

Critics Justin Chang and Mark Olsen suggest the film can be seen as promoting Reaganism – the political positions of president Ronald Reagan – which endorses older values of the American dream, initiative, and technological advancement. The Hill Valley of 1985 is depicted as run down and in decay, while in 1955 it is presented as a more simplistic and seemingly safer time, seen through a nostalgic lens.427 Marty's future is bettered because he goes back to 1955 and teaches George to be more assertive and self-reliant; his initiative leads to a more prosperous future for Marty with materialistic rewards.428429 The film uses many brand names of the time, ostensibly to make the setting more realistic, e.g. Mountain Dew, Pepsi, and Texaco, but the filmmakers received financial compensation from the brand owners, making their inclusion promotional and commercialistic instead of artistic.430431

Film studies lecturer Sorcha Ní Fhlainn argues that many 1980s films resulted from the American public's desire for escapism from cultural anxieties and fears, including nuclear proliferation, unemployment, crime, growing inequality, and the AIDS crisis. In her view, films like those of the Star Wars series and Back to the Future offered a childlike reassurance of safety and comfort, emphasizing idealized American values and the positive effects of instilling power in a patriarchal figure like George McFly or Darth Vader.432 English professor Susan Jeffords considered Doc Brown to be an analog for Reagan, a man who embraces technological advancement, who conflicts with Libyan terrorists and provides the means for a failing family to better themselves.433

The song "Johnny B. Goode" by Chuck Berry is used during the film's final act. Berry initially resisted allowing the song to be used in the film. NPR argued that while Berry's resistance may have been a matter of money, there are underlying racial issues involved in Marty, a white male, seemingly rewriting history to invent the rock and roll music genre, which was heavily influenced by African-American music.434435 The 1955 segment also presents a distorted view of America, showing an African-American band playing at the high school dance, which would have been disallowed.436 Similarly, the African-American character Goldie Wilson is seemingly inspired to work towards becoming mayor by Marty's intervention, inspiring a Reagan-style initiative and self-reliance.437

Influences

As film fans, Gale and Zemeckis's influences are seen throughout Back to the Future. There are references to The Wizard of Oz (1939), The Shaggy Dog (1959), Dr. Strangelove (1964), Close Encounters of the Third Kind (1977), the Star Wars film series, and television shows including Mister Peabody, Star Trek: The Original Series, The Outer Limits, and The Twilight Zone.438439 There are also allusions to 1960's The Time Machine (based on H. G. Wells's 1895 novella of the same name) and A Connecticut Yankee in King Arthur's Court by Mark Twain, in which the central character seemingly moves through time.440 The DeLorean dashboard chronometer uses the same color scheme as the time device of The Time Machine.441 Critic Ray Loynd opined that Doc can be seen as a King Arthur-type, with Marty serving as his knight.442

Legacy

Cultural influence

Since its release, Back to the Future has remained an enduring popular culture touchstone,443 and in 2007, the United States Library of Congress selected the film for preservation in the National Film Registry for being culturally, historically, or aesthetically significant.444 The film elevated Fox from a financially struggling actor to one of the most in-demand and globally recognized stars in Hollywood,445446 and Gale received fan mail for decades after its release. He said he understood the continuing appreciation for the original film as it was the "purest" and "most complete" in the series.447 Fox compared it to The Wizard of Oz (1939), saying it still appeals to children because they do not think of it as an old film.448 In 2012, Thompson called it the greatest role of her career.449 Dean Cundey believed it resonated with fans because it offers the fantasy of going back in time to change things and make the present better.450451 Lloyd described being approached by fans from around the world, who have said the film inspired them to become a scientist.452

Many of the principal cast have reunited since the film's release. Often these reunions are for charity, including The Michael J. Fox Foundation for Parkinson's disease (Fox was diagnosed with the disease at age 29), and Project HOPE.453 A 2019 reunion for the TCM Classic Film Festival featured the 4K restoration premiere of Back to the Future.454 During the 2020 COVID-19 pandemic, Josh Gad hosted a Back to the Future retrospective featuring many cast and crew.455 The cast has also appeared in advertisements only loosely related to Back to the Future, trading on their associated popularity.456

The film has global popular appeal, particularly in the United States, the United Kingdom, France, Argentina, the Netherlands, and Japan.457 On October 21, 2015 (the day Doc and Marty travel to at the end of Back to the Future, as depicted in Back to the Future II) an estimated 27 million social media users discussed the films; the most active users were in the United States, Mexico, the United Kingdom, Canada, and Brazil.458459 Ronald Reagan was also a fan, referring to the film during his 1986 State of the Union Address to appeal to America's young voters, saying, "Never has there been a more exciting time to be alive, a time of rousing wonder and heroic achievement. As they said in the film Back to the Future, 'Where we're going, we don't need roads.'"460461462 Although Gale has said that Reagan, after enjoying the joke about Doc Brown's incredulous response to him becoming president, ordered the theater's projectionist to stop the film, roll it back, and run it again, this is disputed by Reagan's advisor, Mark Weinberg.463464465 Back to the Future is also seen as responsible for a resurgence of skateboarding in the 1980s.466467 It made skateboarding a mainstream pastime acceptable for all, not just rebellious teenagers.468

Back to the Future has been referred to in a variety of media, including television,469470 films,471472 and video games.473474 Doc and Marty, respectively, inspired the eponymous characters of the 2013 animated television show Rick and Morty.475 The British pop rock band McFly are named for Marty McFly.476 The 2011 novel Ready Player One by Ernest Cline and the 2018 film adaptation (directed by Spielberg) both heavily refer to the film, including the central character using a DeLorean for transport.477478 Filmmaker J. J. Abrams has also cited it as an inspiration.479

The 2015 crowdfunded documentary Back in Time follows various fans of the series and details the impact it has had on their lives, interspersed with interviews from the crew including Fox and Lloyd.480 The DeLorean is considered one of the most iconic vehicles in film history.481 DeLorean's creator John DeLorean was a fan of the film and sent personal letters to Gale and Zemeckis, thanking them for using his vehicle.482 The DeLorean was not a popular vehicle before the film's release. However, in the years since it has become a popular collector's item, the DeLorean Motor Company issued kits enabling fans to make their vehicle look like the DeLorean time machine.483484 Gale led a restoration of one of the original screen-used DeLoreans in 2011, documented in Out of Time: Saving the DeLorean Time Machine.485486487

Modern reception

Back to the Future is considered a landmark of American cinema, and one of the greatest films ever made.488 In 2004, The New York Times listed it as one of the 1,000 Best Movies Ever,489 and the following year its screenplay was listed as the 56th greatest screenplay of the preceding 75 years by the Writers Guild of America.490491 Throughout the rest of the 2000s, it appeared on Film4's 50 Films to See Before You Die (number 10),492 Empire's 500 Greatest Movies of All Time (number 23), behind the 1977 space opera Star Wars,493 and the American Film Institute listed it as the number 10 best science fiction film, based on a poll of fifteen hundred people from the creative community.494 In 2010, Total Film named it one of the 100 greatest movies ever made, and the following year it was voted by BBC Radio 1 and BBC Radio 1Xtra listeners as their fourth favorite film of all time.495496 It is also listed in the film reference book 1001 Movies You Must See Before You Die.497 A 2014 poll of 2,120 entertainment-industry members by The Hollywood Reporter ranked it as the 12th best film of all time, again behind Star Wars.498 In 2015, the screenplay was listed as the 67th funniest on the WGA's 101 Funniest Screenplays list,499500 and Rotten Tomatoes also listed the film at number 84 on its list of 200 essential movies to watch.501

Several publications have named it as one of the best science fiction films ever made,502 and one of the best films of the 1980s.503 Popular Mechanics and Rolling Stone listed it as the number one and number four best time-travel film ever made respectively.504505 Entertainment Weekly named it the 40th most essential film to be watched by pre-teens and the 28th best high-school movie.506507 Marty McFly appeared at number 39 on Empire's 2006 list of its "100 Greatest Movie Characters"; Doc Brown followed at number 76.508509

Rotten Tomatoes assesses a 93% approval rating from the aggregated reviews of 112 critics, with an average rating of 8.8/10. The site's consensus reads: "Inventive, funny, and breathlessly constructed, Back to the Future is a rousing time-travel adventure with an unforgettable spirit."510 Based on this score, Rotten Tomatoes also listed it as the 87th best Action and Adventure film.511 The film has a score of 87 out of 100 on Metacritic based on 15 critics, indicating "universal acclaim".512 In the United Kingdom, readers of Empire voted the film as 11th on their 2017 list of "The 100 Greatest Movies".513

Sequels and adaptations

Main articles: Back to the Future (franchise), Back to the Future Part II, and Back to the Future Part III

A sequel was not initially planned, and the teaser ending of Doc, Marty, and Jennifer flying off in the DeLorean suggested their adventures would continue off-screen.514 Universal Pictures was eager to pursue a sequel based on the significant financial and critical success of Back to the Future. However, Zemeckis and Gale were reluctant to participate, believing sequels often retrod the best elements of the original film. They were also concerned that a poor follow-up could alienate Back to the Future's passionate fan base, and undermine the pair after their first major joint success. Zemeckis and Gale acquiesced by 1987, once Universal Pictures clarified they would, if necessary, make a sequel without them.515 The pair's sequel script was so long it was split into two films, Back to the Future Part II (1989) and Back to the Future Part III (1990); the films were shot back to back.516517

Part II depicts Marty and Doc traveling to 2015, inadvertently enabling the now-elderly Biff Tannen to steal the DeLorean and return to 1955, rewriting history in his favor.518 Wells and Glover did not return for the sequels.519 Part II was a financial success but was criticized for its complex, convoluted narrative.520 Zemeckis has said it is his least favorite film in the series.521 The final film, Part III follows Marty as he travels to 1885 to rescue a time-stranded Doc.522 While the film fared less well financially than the two earlier films, it was more critically well-received than Part II.523 A 2018 poll by The Hollywood Reporter of 2,200 people found 71% wanted a Back to the Future sequel, ahead of another Toy Story or Indiana Jones film.524 Gale has said there will never be a fourth film, likening it to "selling your kids into prostitution". He added a Back to the Future film could never happen without Fox, who could not participate because of the effects of his Parkinson's disease.525526

An animated television series, Back to the Future, aired on CBS between 1991 and 1992. It follows Doc's and Marty's adventures through various historical periods, intercut with live-action segments featuring Doc (Lloyd), performing science experiments alongside Bill Nye.527 A short film, Doc Brown Saves the World (2015), celebrated the film's 30th anniversary. Lloyd reprised his role as Doc, who must travel to the future to prevent a nuclear holocaust in 2045.528 A musical theater production, Back to the Future, debuted in February 2020 at the Manchester Opera House, England, to positive reviews. The musical was written by Gale and Zemeckis, with music written by Silvestri and Glen Ballard.529530531 Gale described it as the best way to give fans more Back to the Future without adding to the film series.532 In 2024, Zemeckis said he was interested in adapting the musical into a movie.533 Overall, the Back to the Future franchise is considered one of the most successful film franchises in history.534535

Notes

Citations

Works cited

References

  1. As depicted in Back to the Future Part II (1989) /wiki/Back_to_the_Future_Part_II

  2. Levy, Emanuel (October 2, 2015). "Back To The Future: Revisiting 1985's Most Popular Film, Directed By Robert Zemeckis And Starring Michael J. Fox". Emanuellevy.com. Archived from the original on May 10, 2021. Retrieved June 23, 2022. /wiki/Emanuel_Levy

  3. Turner, George E. (March 20, 2020). "Back To The Future: Wheels On Fire". American Cinematographer. Archived from the original on March 28, 2020. Retrieved September 18, 2020. https://ascmag.com/articles/back-to-the-future-wheels-on-fire

  4. Loynd, Ray (June 25, 1985). "Film Review: Back To The Future". Variety. Archived from the original on October 25, 2015. Retrieved September 10, 2020. https://variety.com/1985/film/news/film-review-back-to-the-future-1201344694/

  5. Loynd, Ray (June 25, 1985). "Film Review: Back To The Future". Variety. Archived from the original on October 25, 2015. Retrieved September 10, 2020. https://variety.com/1985/film/news/film-review-back-to-the-future-1201344694/

  6. Cipriani, Casey (July 23, 2020). "Marty McFly's Entire Backstory Explained". Looper.com. Archived from the original on October 9, 2020. Retrieved October 9, 2020. https://www.looper.com/229580/marty-mcflys-entire-backstory-explained/

  7. Maslin, Janet (July 3, 1985). "The Screen: In Future, Boy Returns To The Past". The New York Times. Vol. 134, no. 46459. Archived from the original on November 21, 2017. Retrieved August 27, 2020. /wiki/Janet_Maslin

  8. della Cava, Marco (October 20, 2015). "Huey Lewis Almost Passed On Going Back To The Future". USA Today. Archived from the original on July 26, 2020. Retrieved September 7, 2020. https://www.usatoday.com/story/life/movies/2015/10/20/huey-lewis-almost-passed-on-going-back-to-the-future/74017944/

  9. Chacksfield, Marc (May 10, 2020). "Back To The Future facts: 20 Things You (Probably) Didn't Know". ShortList. Archived from the original on June 22, 2020. Retrieved September 7, 2020. https://www.shortlist.com/news/20-things-you-probably-didnt-know-about-back-to-the-future

  10. "Back To The Future". American Film Institute. Archived from the original on June 24, 2017. Retrieved October 9, 2020. https://web.archive.org/web/20170624111537/http://www.afi.com/members/catalog/DetailView.aspx?s=&Movie=55763

  11. Maslin, Janet (July 3, 1985). "The Screen: In Future, Boy Returns To The Past". The New York Times. Vol. 134, no. 46459. Archived from the original on November 21, 2017. Retrieved August 27, 2020. /wiki/Janet_Maslin

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  13. Maslin, Janet (July 3, 1985). "The Screen: In Future, Boy Returns To The Past". The New York Times. Vol. 134, no. 46459. Archived from the original on November 21, 2017. Retrieved August 27, 2020. /wiki/Janet_Maslin

  14. Holleran, Scott (November 18, 2003). "Brain Storm: An Interview With Bob Gale". Box Office Mojo. Archived from the original on December 6, 2008. Retrieved September 8, 2020. https://web.archive.org/web/20081206113659/http://www.boxofficemojo.com/features/?id=1258&pagenum=all&p=.htm

  15. Koknow, David (June 9, 2015). "How Back To The Future Almost Didn't Get Made". Esquire. Archived from the original on July 26, 2016. Retrieved July 14, 2016. http://www.esquire.com/entertainment/movies/a35559/back-to-the-future-production/

  16. Bahiana, Ana Maria (October 21, 2015). "An Oral History Of Back To The Future, By Robert Zemeckis". Hollywood Foreign Press Association. Archived from the original on June 24, 2019. Retrieved September 1, 2020. https://www.goldenglobes.com/exclusives/oral-history-back-future-robert-zemeckis-31870

  17. Holleran, Scott (November 18, 2003). "Brain Storm: An Interview With Bob Gale". Box Office Mojo. Archived from the original on December 6, 2008. Retrieved September 8, 2020. https://web.archive.org/web/20081206113659/http://www.boxofficemojo.com/features/?id=1258&pagenum=all&p=.htm

  18. Koknow, David (June 9, 2015). "How Back To The Future Almost Didn't Get Made". Esquire. Archived from the original on July 26, 2016. Retrieved July 14, 2016. http://www.esquire.com/entertainment/movies/a35559/back-to-the-future-production/

  19. Bahiana, Ana Maria (October 21, 2015). "An Oral History Of Back To The Future, By Robert Zemeckis". Hollywood Foreign Press Association. Archived from the original on June 24, 2019. Retrieved September 1, 2020. https://www.goldenglobes.com/exclusives/oral-history-back-future-robert-zemeckis-31870

  20. Bahiana, Ana Maria (October 21, 2015). "An Oral History Of Back To The Future, By Robert Zemeckis". Hollywood Foreign Press Association. Archived from the original on June 24, 2019. Retrieved September 1, 2020. https://www.goldenglobes.com/exclusives/oral-history-back-future-robert-zemeckis-31870

  21. Fein, Esther B. (July 21, 1985). "Three New Films: From Vision To Reality". The New York Times. Vol. 134, no. 46477. Archived from the original on November 25, 2017. Retrieved August 27, 2020. https://www.nytimes.com/1985/07/21/movies/three-new-films-from-vision-to-reality.html

  22. Fein, Esther B. (July 21, 1985). "Three New Films: From Vision To Reality". The New York Times. Vol. 134, no. 46477. Archived from the original on November 25, 2017. Retrieved August 27, 2020. https://www.nytimes.com/1985/07/21/movies/three-new-films-from-vision-to-reality.html

  23. Bahiana, Ana Maria (October 21, 2015). "An Oral History Of Back To The Future, By Robert Zemeckis". Hollywood Foreign Press Association. Archived from the original on June 24, 2019. Retrieved September 1, 2020. https://www.goldenglobes.com/exclusives/oral-history-back-future-robert-zemeckis-31870

  24. Fein, Esther B. (July 21, 1985). "Three New Films: From Vision To Reality". The New York Times. Vol. 134, no. 46477. Archived from the original on November 25, 2017. Retrieved August 27, 2020. https://www.nytimes.com/1985/07/21/movies/three-new-films-from-vision-to-reality.html

  25. Bahiana, Ana Maria (October 21, 2015). "An Oral History Of Back To The Future, By Robert Zemeckis". Hollywood Foreign Press Association. Archived from the original on June 24, 2019. Retrieved September 1, 2020. https://www.goldenglobes.com/exclusives/oral-history-back-future-robert-zemeckis-31870

  26. Gaines 2015, p. 12. - Gaines, Caseen (2015). We Don't Need Roads: The Making of the Back to the Future Trilogy. New York City: Plume. ISBN 978-0-14-218153-9. https://books.google.com/books?id=WgQbBQAAQBAJ

  27. Koknow, David (June 9, 2015). "How Back To The Future Almost Didn't Get Made". Esquire. Archived from the original on July 26, 2016. Retrieved July 14, 2016. http://www.esquire.com/entertainment/movies/a35559/back-to-the-future-production/

  28. Gaines 2015, p. 12. - Gaines, Caseen (2015). We Don't Need Roads: The Making of the Back to the Future Trilogy. New York City: Plume. ISBN 978-0-14-218153-9. https://books.google.com/books?id=WgQbBQAAQBAJ

  29. Holleran, Scott (November 18, 2003). "Brain Storm: An Interview With Bob Gale". Box Office Mojo. Archived from the original on December 6, 2008. Retrieved September 8, 2020. https://web.archive.org/web/20081206113659/http://www.boxofficemojo.com/features/?id=1258&pagenum=all&p=.htm

  30. Gilbey, Ryan (August 25, 2014). "How We Made Back To The Future". The Guardian. Archived from the original on May 15, 2016. Retrieved July 14, 2016. https://www.theguardian.com/film/2014/aug/25/back-to-the-future-michael-j-fox-christopher-lloyd-how-we-made

  31. Gilbey, Ryan (August 25, 2014). "How We Made Back To The Future". The Guardian. Archived from the original on May 15, 2016. Retrieved July 14, 2016. https://www.theguardian.com/film/2014/aug/25/back-to-the-future-michael-j-fox-christopher-lloyd-how-we-made

  32. Chacksfield, Marc (May 10, 2020). "Back To The Future facts: 20 Things You (Probably) Didn't Know". ShortList. Archived from the original on June 22, 2020. Retrieved September 7, 2020. https://www.shortlist.com/news/20-things-you-probably-didnt-know-about-back-to-the-future

  33. Gilbey, Ryan (August 25, 2014). "How We Made Back To The Future". The Guardian. Archived from the original on May 15, 2016. Retrieved July 14, 2016. https://www.theguardian.com/film/2014/aug/25/back-to-the-future-michael-j-fox-christopher-lloyd-how-we-made

  34. Sciretta, Peter (July 15, 2009). "How Back To The Future Almost Nuked The Fridge". Slashfilm. Archived from the original on August 4, 2012. Retrieved September 10, 2020. https://www.slashfilm.com/how-back-to-the-future-almost-nuked-the-fridge/

  35. Attributed to multiple references:[14][15][16][17]

  36. Holleran, Scott (November 18, 2003). "Brain Storm: An Interview With Bob Gale". Box Office Mojo. Archived from the original on December 6, 2008. Retrieved September 8, 2020. https://web.archive.org/web/20081206113659/http://www.boxofficemojo.com/features/?id=1258&pagenum=all&p=.htm

  37. Gilbey, Ryan (August 25, 2014). "How We Made Back To The Future". The Guardian. Archived from the original on May 15, 2016. Retrieved July 14, 2016. https://www.theguardian.com/film/2014/aug/25/back-to-the-future-michael-j-fox-christopher-lloyd-how-we-made

  38. Fein, Esther B. (July 21, 1985). "Three New Films: From Vision To Reality". The New York Times. Vol. 134, no. 46477. Archived from the original on November 25, 2017. Retrieved August 27, 2020. https://www.nytimes.com/1985/07/21/movies/three-new-films-from-vision-to-reality.html

  39. Chacksfield, Marc (October 20, 2014). ""Back To The Future Wouldn't Have Been The Same Without Spielberg"". ShortList. Archived from the original on May 14, 2020. Retrieved September 7, 2020. https://www.shortlist.com/news/back-to-the-future-wouldnt-have-been-the-same-without-spielberg

  40. Hanks, Henry (October 26, 2010). "Going Back To The Future, 25 Years Later". CNN. Archived from the original on February 22, 2014. Retrieved September 30, 2020. http://edition.cnn.com/2010/SHOWBIZ/Movies/10/20/bttf.anniversary.go/index.html

  41. Maslin, Janet (June 28, 1985). "At The Movies". The New York Times. Vol. 134, no. 46454. Archived from the original on November 22, 2017. Retrieved August 27, 2020. /wiki/Janet_Maslin

  42. Koknow, David (June 9, 2015). "How Back To The Future Almost Didn't Get Made". Esquire. Archived from the original on July 26, 2016. Retrieved July 14, 2016. http://www.esquire.com/entertainment/movies/a35559/back-to-the-future-production/

  43. Gaines 2015, p. 12. - Gaines, Caseen (2015). We Don't Need Roads: The Making of the Back to the Future Trilogy. New York City: Plume. ISBN 978-0-14-218153-9. https://books.google.com/books?id=WgQbBQAAQBAJ

  44. Gaines 2015, pp. 12, 13. - Gaines, Caseen (2015). We Don't Need Roads: The Making of the Back to the Future Trilogy. New York City: Plume. ISBN 978-0-14-218153-9. https://books.google.com/books?id=WgQbBQAAQBAJ

  45. Friendly, David T. (June 27, 1985). "Zemeckis' Future In High Gear". Los Angeles Times. Archived from the original on September 6, 2020. Retrieved September 6, 2020. https://www.latimes.com/archives/la-xpm-1985-06-27-ca-10977-story.html

  46. Koknow, David (June 9, 2015). "How Back To The Future Almost Didn't Get Made". Esquire. Archived from the original on July 26, 2016. Retrieved July 14, 2016. http://www.esquire.com/entertainment/movies/a35559/back-to-the-future-production/

  47. Koknow, David (June 9, 2015). "How Back To The Future Almost Didn't Get Made". Esquire. Archived from the original on July 26, 2016. Retrieved July 14, 2016. http://www.esquire.com/entertainment/movies/a35559/back-to-the-future-production/

  48. Gaines 2015, p. 13. - Gaines, Caseen (2015). We Don't Need Roads: The Making of the Back to the Future Trilogy. New York City: Plume. ISBN 978-0-14-218153-9. https://books.google.com/books?id=WgQbBQAAQBAJ

  49. Holleran, Scott (November 18, 2003). "Brain Storm: An Interview With Bob Gale". Box Office Mojo. Archived from the original on December 6, 2008. Retrieved September 8, 2020. https://web.archive.org/web/20081206113659/http://www.boxofficemojo.com/features/?id=1258&pagenum=all&p=.htm

  50. Gaines 2015, p. 13. - Gaines, Caseen (2015). We Don't Need Roads: The Making of the Back to the Future Trilogy. New York City: Plume. ISBN 978-0-14-218153-9. https://books.google.com/books?id=WgQbBQAAQBAJ

  51. Koknow, David (June 9, 2015). "How Back To The Future Almost Didn't Get Made". Esquire. Archived from the original on July 26, 2016. Retrieved July 14, 2016. http://www.esquire.com/entertainment/movies/a35559/back-to-the-future-production/

  52. Anders, Charlie Jane (June 17, 2015). "11 Incredible Secrets About The Making Of Back To The Future". io9. Archived from the original on February 29, 2020. Retrieved September 15, 2020. https://io9.gizmodo.com/10-incredible-secrets-about-the-making-of-back-to-the-f-1711997750

  53. Friendly, David T. (June 27, 1985). "Zemeckis' Future In High Gear". Los Angeles Times. Archived from the original on September 6, 2020. Retrieved September 6, 2020. https://www.latimes.com/archives/la-xpm-1985-06-27-ca-10977-story.html

  54. Holleran, Scott (November 18, 2003). "Brain Storm: An Interview With Bob Gale". Box Office Mojo. Archived from the original on December 6, 2008. Retrieved September 8, 2020. https://web.archive.org/web/20081206113659/http://www.boxofficemojo.com/features/?id=1258&pagenum=all&p=.htm

  55. Friendly, David T. (June 27, 1985). "Zemeckis' Future In High Gear". Los Angeles Times. Archived from the original on September 6, 2020. Retrieved September 6, 2020. https://www.latimes.com/archives/la-xpm-1985-06-27-ca-10977-story.html

  56. Bahiana, Ana Maria (October 21, 2015). "An Oral History Of Back To The Future, By Robert Zemeckis". Hollywood Foreign Press Association. Archived from the original on June 24, 2019. Retrieved September 1, 2020. https://www.goldenglobes.com/exclusives/oral-history-back-future-robert-zemeckis-31870

  57. Friendly, David T. (June 27, 1985). "Zemeckis' Future In High Gear". Los Angeles Times. Archived from the original on September 6, 2020. Retrieved September 6, 2020. https://www.latimes.com/archives/la-xpm-1985-06-27-ca-10977-story.html

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  59. Attributed to multiple references:[9][14][22][26]

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  62. Gaines 2015, p. 17. - Gaines, Caseen (2015). We Don't Need Roads: The Making of the Back to the Future Trilogy. New York City: Plume. ISBN 978-0-14-218153-9. https://books.google.com/books?id=WgQbBQAAQBAJ

  63. Koknow, David (June 9, 2015). "How Back To The Future Almost Didn't Get Made". Esquire. Archived from the original on July 26, 2016. Retrieved July 14, 2016. http://www.esquire.com/entertainment/movies/a35559/back-to-the-future-production/

  64. Ellison, Sarah (February 8, 2016). "Meet The Most Powerful Woman In Hollywood". Vanity Fair. Archived from the original on May 16, 2018. Retrieved September 10, 2020. https://www.vanityfair.com/hollywood/2016/02/kathleen-kennedy-hollywood-producer

  65. Fleming, Mike (October 21, 2015). "Blast From The Past On Back To The Future: How Frank Price Rescued Robert Zemeckis' Classic From Obscurity". Deadline Hollywood. Archived from the original on October 22, 2015. Retrieved October 22, 2015. https://deadline.com/2015/10/back-to-the-future-frank-price-rescued-robert-zemeckis-classic-1201590119/

  66. Hanks, Henry (October 26, 2010). "Going Back To The Future, 25 Years Later". CNN. Archived from the original on February 22, 2014. Retrieved September 30, 2020. http://edition.cnn.com/2010/SHOWBIZ/Movies/10/20/bttf.anniversary.go/index.html

  67. Harrison, Ellie (August 30, 2016). "Back To The Future Almost Had A Really Bad Title: Here's A Memo To Prove It ..." Radio Times. Archived from the original on September 2, 2016. Retrieved September 1, 2016. http://www.radiotimes.com/news/2016-08-30/back-to-the-future-almost-had-a-really-bad-title

  68. Chacksfield, Marc (October 20, 2014). ""Back To The Future Wouldn't Have Been The Same Without Spielberg"". ShortList. Archived from the original on May 14, 2020. Retrieved September 7, 2020. https://www.shortlist.com/news/back-to-the-future-wouldnt-have-been-the-same-without-spielberg

  69. Harrison, Ellie (August 30, 2016). "Back To The Future Almost Had A Really Bad Title: Here's A Memo To Prove It ..." Radio Times. Archived from the original on September 2, 2016. Retrieved September 1, 2016. http://www.radiotimes.com/news/2016-08-30/back-to-the-future-almost-had-a-really-bad-title

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  71. Hanks, Henry (October 26, 2010). "Going Back To The Future, 25 Years Later". CNN. Archived from the original on February 22, 2014. Retrieved September 30, 2020. http://edition.cnn.com/2010/SHOWBIZ/Movies/10/20/bttf.anniversary.go/index.html

  72. Gaines 2015, p. 18. - Gaines, Caseen (2015). We Don't Need Roads: The Making of the Back to the Future Trilogy. New York City: Plume. ISBN 978-0-14-218153-9. https://books.google.com/books?id=WgQbBQAAQBAJ

  73. Gaines 2015, p. 18. - Gaines, Caseen (2015). We Don't Need Roads: The Making of the Back to the Future Trilogy. New York City: Plume. ISBN 978-0-14-218153-9. https://books.google.com/books?id=WgQbBQAAQBAJ

  74. Fein, Esther B. (July 21, 1985). "Three New Films: From Vision To Reality". The New York Times. Vol. 134, no. 46477. Archived from the original on November 25, 2017. Retrieved August 27, 2020. https://www.nytimes.com/1985/07/21/movies/three-new-films-from-vision-to-reality.html

  75. Fein, Esther B. (July 21, 1985). "Three New Films: From Vision To Reality". The New York Times. Vol. 134, no. 46477. Archived from the original on November 25, 2017. Retrieved August 27, 2020. https://www.nytimes.com/1985/07/21/movies/three-new-films-from-vision-to-reality.html

  76. Bahiana, Ana Maria (October 21, 2015). "An Oral History Of Back To The Future, By Robert Zemeckis". Hollywood Foreign Press Association. Archived from the original on June 24, 2019. Retrieved September 1, 2020. https://www.goldenglobes.com/exclusives/oral-history-back-future-robert-zemeckis-31870

  77. Fein, Esther B. (July 26, 1985). "New Face: Michael J. Fox; Conversation With A Time Traveler". The New York Times. Vol. 134, no. 46482. Archived from the original on November 22, 2017. Retrieved August 28, 2020. https://www.nytimes.com/1985/07/26/movies/new-face-michael-j-fox-conversation-with-a-time-traveler.html

  78. Gaines 2015, pp. 4–5. - Gaines, Caseen (2015). We Don't Need Roads: The Making of the Back to the Future Trilogy. New York City: Plume. ISBN 978-0-14-218153-9. https://books.google.com/books?id=WgQbBQAAQBAJ

  79. Attributed to multiple references:[7][16][24][33][36][37][38][39]

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  81. Gaines 2015, p. 20. - Gaines, Caseen (2015). We Don't Need Roads: The Making of the Back to the Future Trilogy. New York City: Plume. ISBN 978-0-14-218153-9. https://books.google.com/books?id=WgQbBQAAQBAJ

  82. "The Lost Roles Of Back To The Future". Vulture. Archived from the original on December 28, 2019. Retrieved December 28, 2019. https://www.vulture.com/2012/09/the-lost-roles-of-back-to-the-future.html

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  84. Koknow, David (June 9, 2015). "How Back To The Future Almost Didn't Get Made". Esquire. Archived from the original on July 26, 2016. Retrieved July 14, 2016. http://www.esquire.com/entertainment/movies/a35559/back-to-the-future-production/

  85. Holleran, Scott (November 18, 2003). "Brain Storm: An Interview With Bob Gale". Box Office Mojo. Archived from the original on December 6, 2008. Retrieved September 8, 2020. https://web.archive.org/web/20081206113659/http://www.boxofficemojo.com/features/?id=1258&pagenum=all&p=.htm

  86. Attributed to multiple references:[7][38][41][42]

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  88. Gouras, Matt (June 12, 2009). "Lloyd: Back To The Future Still Gratifying". The Seattle Times. Archived from the original on September 27, 2013. Retrieved August 8, 2013. https://web.archive.org/web/20130927190527/http://seattletimes.com/html/entertainment/2009324069_apuspeoplechristopherlloyd.html

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  90. Harris, Will (February 21, 2012). "Random Roles: Lea Thompson". The A.V. Club. Archived from the original on December 7, 2013. Retrieved September 10, 2020. https://www.avclub.com/lea-thompson-1798230109

  91. Gilbey, Ryan (August 25, 2014). "How We Made Back To The Future". The Guardian. Archived from the original on May 15, 2016. Retrieved July 14, 2016. https://www.theguardian.com/film/2014/aug/25/back-to-the-future-michael-j-fox-christopher-lloyd-how-we-made

  92. Robinson, Tasha (January 13, 2012). "Crispin Glover". The A.V. Club. Archived from the original on June 25, 2020. Retrieved September 13, 2020. https://www.avclub.com/crispin-glover-1798229277

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  94. Chacksfield, Marc (May 10, 2020). "Back To The Future facts: 20 Things You (Probably) Didn't Know". ShortList. Archived from the original on June 22, 2020. Retrieved September 7, 2020. https://www.shortlist.com/news/20-things-you-probably-didnt-know-about-back-to-the-future

  95. Burns-Fusaro, Nancy (July 15, 2020). "Back To The Future's J.J. Cohen To Make Appearance At Misquamicut Drive-in". The Westerly Sun. Archived from the original on July 17, 2020. Retrieved October 7, 2020. https://www.thewesterlysun.com/lifestyle/entertainment/back-to-the-futures-j-j-cohen-to-make-appearance-at-misquamicut-drive-in/article_80b5e286-c504-11ea-a67e-e7d4f7017951.html

  96. Polowy, Kevin (October 19, 2020). "Watch Billy Zane Audition For Marty McFly-Tormenting Biff Tannen In Never-released Back To The Future Footage (Exclusive)". Yahoo!. Archived from the original on November 17, 2020. Retrieved December 13, 2020. https://www.yahoo.com/entertainment/back-to-the-future-billy-zane-audition-biff-tannen-150027145.html

  97. Gaines, Caseen (October 1, 2015). "How The Back To The Future Cast And Crew Knew Eric Stoltz Would Be Fired". Vulture. Archived from the original on August 23, 2020. Retrieved September 1, 2020. https://www.vulture.com/2015/06/how-back-to-the-future-replaced-eric-stoltz.html

  98. Sharp, Nathan (June 17, 2015). "10 Things You Didn't Know About The Making Of Back To The Future". Screen Rant. Archived from the original on September 29, 2020. Retrieved October 7, 2020. https://screenrant.com/10-thilittle-known-facts-behind-scenes-making-of-back-to-the-future-movie/

  99. Burns-Fusaro, Nancy (July 15, 2020). "Back To The Future's J.J. Cohen To Make Appearance At Misquamicut Drive-in". The Westerly Sun. Archived from the original on July 17, 2020. Retrieved October 7, 2020. https://www.thewesterlysun.com/lifestyle/entertainment/back-to-the-futures-j-j-cohen-to-make-appearance-at-misquamicut-drive-in/article_80b5e286-c504-11ea-a67e-e7d4f7017951.html

  100. Bui, Hoai-Tran (October 21, 2015). "15 Things You Probably Didn't Know About Back To The Future". USA Today. Archived from the original on November 7, 2020. Retrieved September 16, 2020. https://eu.usatoday.com/story/life/entertainthis/2015/10/21/15-things-you-probably-didnt-know-back-future/74312182/

  101. Chacksfield, Marc (May 10, 2020). "Back To The Future facts: 20 Things You (Probably) Didn't Know". ShortList. Archived from the original on June 22, 2020. Retrieved September 7, 2020. https://www.shortlist.com/news/20-things-you-probably-didnt-know-about-back-to-the-future

  102. "The Lost Roles Of Back To The Future". Vulture. Archived from the original on December 28, 2019. Retrieved December 28, 2019. https://www.vulture.com/2012/09/the-lost-roles-of-back-to-the-future.html

  103. Mattise, Nathan (December 8, 2011). "Marty McFly's Original Girlfriend Goes Back To The Future". Wired. Archived from the original on July 20, 2012. Retrieved September 13, 2020. https://www.wired.com/underwire/2011/12/melora-hardin-back-to-future/

  104. Gaines 2015, pp. 42–43. - Gaines, Caseen (2015). We Don't Need Roads: The Making of the Back to the Future Trilogy. New York City: Plume. ISBN 978-0-14-218153-9. https://books.google.com/books?id=WgQbBQAAQBAJ

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