All language subtitles for Back to the Future Part II (1989).Commentary 2.eng

Hi, this is Bob Gale,
back again for Part II.

Neil Canton, back
again with Bob for Part II.

And you're probably sick and tired
of listening to us talk,

but that's why they put an off button
on your DVD player.

I should tell you a story
about Back to the Future II and III.

When it came time for us
to make both movies,

Bob and I and Neil all had deals to make Part
II, but we didn't have a deal for Part III,

even though Michael J. Fox and Christopher
Lloyd got raises for doing Part III.

And so, we decided, "Well, if
the actors are gonna get a raise,"

"we should get a raise, too. We're doing
a third movie instead of just a second."

And traditionally, when you do another
sequel, you get a little bit more money.

So, our agent went to Universal and said,
"We want a raise for these guys."

And Universal said,
"No, we're not giving these guys a raise."

"Their deal for Part III is gonna be
the same deal that they got for Part II."

Well, our agent told
us, told Bob, actually,

first time in his career,
Jack Rapke, our agent, said,

"I'm gonna advise you not to show up
at work on the first day of shooting"

"until we work this out."

And we were out on a location scout
when Bob got this phone call, and he said,

"Just stop working."

So, Bob called off the location scout
and went back.

And Jack notified Universal

that Zemeckis was not gonna report for work
until there was a deal for Part III.

Well, Bob got a phone call
from Lew Wasserman,

the chairman of the board of MCA,
who one never hears from,

that scared the bejesus out of Bob
'cause Wasserman had gotten his start

working for the Chicago rackets,
and there were many legends in Hollywood

of Lew's connection with some
less-than-savory characters, shall we say.

And our attorney called Bob and said,
"You'd better show up at work."

Of course, Bob showed up at work, we all
did, and we all took the deal for Part III.

It was the same deal for Part III
that we had for Part II

and that was the end of it.

Lew was all sweetness and nice after that,
but "Don't mess with Lew Wasserman"

is the moral of that story.

We didn't even know
we were messing with him.

What the hell is going on here?

This footage that you're looking at here,
this aerial footage,

was actually some stuff that ILM created
for the Clint Eastwood movie, Firefox,

and it's just perfect.

As has been previously explained,
we ended up having to recast

the part of Jennifer with Elisabeth Shue.

So, the opening scene that you just saw
was a redo of the version from Part I

with a couple of shots,
the same close-ups of Christopher Lloyd

and the takeoff of the DeLorean
were from Part I.

This is some absolutely outstanding work
from ILM here.

And they would reuse the cars.

There was a police car and a taxicab
that you just saw in there,

the Saab-based taxicab and the future
police car that you see later in the movie.

All cabs and all police cars
look the same, anyway,

so they reused those cars and
we got extra production value out of them.

You mean we're in the future.

This, of course, shot on the process stage
with background plates going on there.

Is this blue screen, do you remember, Neil,
or were these real plates?

These must have been...

May have been Portman's, actually.

Yeah, I think so. It was Portman's.

We had them on a gimbal.
We were just rocking them back and forth.

We had some lights going by,

some electricians out there with
some lights and they'd spin them around

and give the illusion of motion there,
and water.

Wow.

God, I wonder where we live.
I bet it's a big house with lots of kids.

How many kids...

-Doc! What the hell are you doing?
-Relax, Marty.

We've already explained why Jennifer was
dead weight in the sequels, here.

We just had to hit the nail right on the head
because there was nothing that we could do

with Jennifer in this sequel except have
her be unconscious through the whole thing.

So, there it is.

Well, you're the doc, Doc.

Here's our exit.

And those are pretty much the same
Kiwanis Clubs and Lions Clubs signs

on the "Welcome to Hill Valley" scene
that you saw in the '50s in Part I.

There's a combination of miniatures
and of a real fiberglass DeLorean

that we built and we hung on wires,
suspended from a crane and lowered down.

So, the first shot that you saw there
was a miniature,

and then this shot
was the fiberglass DeLorean.

Right on the tick.

Amazing. Absolutely amazing.

Too bad the post office
isn't as efficient as the weather service.

Since we've already established Mr. Fusion,
we have Fusion Industries.

And there's all the discarded laser disks

that all the video fans love,
seeing that stuff there.

We were a little off
on our future prediction there.

Now, this gag here, with Christopher Lloyd
taking off the makeup,

two reasons for this. Three, actually.
First, it's funny.

But Chris was wearing wrinkle makeup
to make him look older,

'cause he was 30 years of difference
from his age in Part I

and we didn't want to have
to put him in makeup every day.

"So, we figured," All right, let's
have him rip this makeup off his face,

"and then he doesn't have to be
in makeup anymore."

The other reason is that
he's gonna end up having this relationship

with Mary Steenburgen in Part II
and have kids,

and if he's 65 or 70 years old,
we're thinking,

"Gee, what kind of a future
is he gonna have?

"What kind of a family life is he gonna
have? He's not gonna live past 75 or 80."

"Let's write this dialog
about a rejuvenation clinic"

"and adding 40 years to his life,
so that we know"

"that he's gonna be around for a long time
and be a good dad to his future kids."

Power laces. All right.

Those shots of the self-lacing shoes
were done on a fake piece of asphalt,

had wires underneath it.

The special effects guys
just gave the wires a good, firm yank,

and voilà, self-lacing shoes.

This thing doesn't fit.

Size-adjusting fit.

Pull out your pants pockets.

Again, more wires behind the jacket.

Special effects guys hiding on the ground
to do that stuff.

-What?
-Help me move Jennifer over here.

-So what's the deal?
-Grab her feet.

Among the other trash
that is discarded here in the alley

are silicone implants there.

Those are actually
silicone breast implants.

Don't ask,
and we won't have to answer that one.

Griff's going to ask you about tonight.
Are you in or out?

Tell him you are out.

Whatever he says, whatever happens,
say no, you're not interested.

-Okay.
-Then leave, come back here and wait for me.

Don't talk to anyone, don't touch anything,
don't do anything,

don't interact with anyone
and try not to look at anything.

I don't get it.

The idea of playing the scene in the alley

was to make a big deal
out of the reveal of the future.

It'd be worth you freeze-framing this,
or hopefully in the still gallery

we will have these USA Today newspapers.

We have some fun,
future news stories in there.

One of them that
we completely messed up on is,

"Queen Diana set to
visit the United States."

Who would've predicted that?

USA Today was very cooperative in
giving us permission to use the newspaper.

-It almost didn't arrive in time.
-That's right.

They had a regional press
that they printed right in LA

and I guess it was the day off...

The day off. When we came to work,
it still hadn't shown up yet.

That's right. Completely forgot about that.

You're taking his place.
Around the corner at the Cafe '80s.

Guy named Griff. Just say no!

Hey, what about Jennifer?
We're not just gonna leave her here.

Don't worry, she'll be safe.
It'll just be for a few minutes.

And, Marty, be careful around
that Griff character.

He's got a few short circuits
in his bionic implants.

The future.

Now theoretically, in the supplements

we'll show the evolution of this shot,
from how it was originally filmed

and what little there was in the sky,
and so forth, to what it finally became.

We found future cars from
every movie that we could

laying around on various back lots.

There's a car from Blade Runner.

I don't even remember
what some of the other cars were.

This is a clever gag
with the flying red car coming down there.

As the camera passes
behind Michael's body,

we've substituted the Mustang
that is actually drivable.

You can trust your car
to the system with the star.

Checking oil. Checking landing gear.

There was a bit that we cut out showing
that car landing on the Texaco station,

but we ended up cutting it out

because we had already seen flying cars,
we didn't need to see it again.

And notice there, on the street, it says,
"No landing."

Figured in the future
that they would have new road signs,

new street signs,
and this would be a no-landing zone.

Still have Hare Krishnas
in the future, though,

if you noticed them
previously going by there.

...into a skyway flyer
for only $39, 999.95.

So come on down and see me,
Goldie Wilson III.

Roger Rabbit joke, there.

See the antique Roger Rabbit there,
right next to Michael.

Michael Jackson was a big fan
of the first Back to the Future,

so he was very cooperative
and generous in letting us

recreate his likeness
and use his music in this.

And this is a riff on Max Headroom,
which was a popular show in the 1980s.

We actually filmed that
with an actor in makeup,

and the woman that supervised that,
Larina Adamson,

had been one of the producers
or video directors on Max Headroom.

So, we definitely got it right.

You must have the hostage special!

The guy that played Michael Jackson,
can't remember his name...

-You remember him?
-Yeah.

-I don't remember his name, but he was...
-He was a little strange.

He was so obsessed with Michael Jackson

that he actually had plastic surgery
to make himself look like Michael Jackson.

So, I guess by now,
he's probably had seven nose jobs.

Biff?

There was a little bit that we cut out here
with Marty trying to pay for the Pepsi

with the $50 bill that
Doc gave him earlier.

The reason that we cut things out
of all these movies

is really, for the most
part, just for time.

But our vision of the future
was that people would pay for things

using their thumbprint,

and this is actually test technology
that is being used in Ohio right now,

in Kroger supermarkets.

And we figured that if this was how people
were gonna pay for things,

using their thumbprint as an ID,

there would be a new crime where
people will cut off other people's thumbs.

And there's a headline in the paper about,
"Thumb bandits strike again."

That was the idea of that.

So, we really spent a lot of time
trying to figure out

what the future would be like
and have it be consistent.

-Yeah? With your eyes closed?
-Are you two related?

Hello? Hello? Anybody home?

What do you think, Griff just
calls me "Grandpa" for his health?

-He's Griff?
-Gramps!

What the hell am I paying you for?

The amount of time that Tom Wilson
had to spend in old-age makeup

was four or five hours.

It was tremendous.

And we always ended up having to
shoot the old side first.

I can't quite remember
what the reason for that was.

Because it was easier to take it off
than to put it on.

That's right. There it is.

The kid in the green hat there
is Elijah Wood.

Yeah.

In, I think, his motion picture debut.

So, you Lord of the Rings fans,

-there he is.
-There he is.

Wild Gunman was the Nintendo video game
for the Nintendo home unit,

but was not really an arcade game.

We turned it into an arcade game
for this movie

to set up Marty's prowess with the gun

that is paid of fin Back
to the Future Part III.

Hey, McFly!

I thought I told you to stay in here!

The video monitors there
are playing television shows

from the 1980s.
All of them Universal shows, of course.

Your shoe's unvelked.

So, McFly, have you made a decision
about tonight's opportunity?

Yeah, Griff. You know,
I was thinking about it. I'm not sure,

because I just think, you know,
it might be a little bit dangerous, so...

What's wrong, McFly?

You got no scrote?

-He's a complete wimp.
-What's it gonna be, McFly?

These wonderful, moving-camera shots
with the two Michael J. Foxes,

this is this great motion-controlled
VistaGlide system

that ILM developed for this movie
that allowed us to do things like that.

Now, this is one of the most
effective shots coming up here,

where he takes the hat off.

Marty takes the hat off of Marty Jr.

That's a third actor's
arm there that did that.

Leaves the frame for just one frame or two

and comes right back in,
and it is just seamless.

Let's hear the right answer.

Well!

Since when did you become
the physical type?

The answer's no, Griff.

-No?
-Yeah. What are you, deaf and stupid?

I said no!

What's wrong, McFly? Chicken?

Very over the top music cue there,

-but we needed to make a big deal out of...
-The "chicken" moment.

Out of the "chicken" moment.

If we had known we were gonna do a
sequel like this when we did the first one,

we probably would have used
this chicken gag somewhere in Part I.

But we didn't, so we had to create it, as
explained on the other track, for this movie.

-All right, punk!
-Hey, look!

Now, we've said it before,
but I'm gonna say it again,

"Kids, Hoverboards are not real."

Even though you'll find that interview
with Bob Zemeckis in the supplements here,

-where he says that they are...
-It was just a joke.

It was just a joke.

And Mattel was so pissed off at us
for the amount of calls and letters

that they got from kids wanting to know

when these Hoverboards
were gonna come on the market.

And we got our own tons of letters
from kids asking about these Hoverboards.

These Hoverboard sequences were made

from various different kinds
of special effects.

Some of them, the boards
were attached to the actors' legs

and the actors were suspended.

Some of them,
the boards were on wires and suspended,

and we had ILM take the wires out.

Some of them were completely animations.

And the idea was that Bob would try
to mix up how he did these different shots,

so that just when you think
you figured out how we were doing this,

you'd see a shot
that couldn't have been done that way.

We even had a couple of these shots
where the Hoverboard was on a pole

over the water, and we put a mirror on
the pole to reflect the water against it,

so it would be as if you were looking
through it, an old magician's trick.

This was shot with a device called a PRISM

that allowed you to put the camera lens
practically on the ground.

Animated Hoverboard, there.

The bat is a Kirk Gibson Jr. bat.

Kirk Gibson had
recently won the World Series

with a home run off of Dennis Eckersley
for the Dodgers,

so he was on everybody's mind at the time.

I don't know that, other than
fanatic baseball fans and Dodgers fans,

anybody remembers Kirk Gibson
at all today.

That shot there where
the girl hit the pillar,

she was actually injured fairly seriously,
was Cheryl Wheeler-Dixon, the stuntwoman.

And something went wrong
with the timing on that shot.

They had rehearsed it.
The effects guys and the stunt people

had rehearsed that over and over again,
but something went wrong

and she was in the hospital for
a couple of weeks because of her injuries.

Drying mode on.

Jacket drying.

Our vision of the future
is a very user-friendly future,

as I think we explained
in the other commentary.

We wanted the future to be a nice future,

for people to look forward
to going to the future,

instead of it being messed up,
like you see in so many movies.

So, we figured
we'll have the future look great

and the people in it
will just have some serious problems.

Wait a minute. Cubs win World Series.

I think we can safely believe that
the Cubs will never win the World Series.

Right.

-Even in the future.
-Even in the future.

And of course, Miami's baseball team
is not the Gators. It's the Marlins.

Who knows if by 2015
that baseball team will even exist anymore.

Terry, by the way, is wearing two ties,
again, our jokes about ties.

Now this has an interesting feature.
It has a dust jacket.

Books used to have these
to protect the covers.

Of course, that was before
they had dust-repellent paper.

And if you're interested in dust, we
have a quaint little piece from the 1980s.

This is just to set up the fact that,
that book has a dust jacket.

One of the things
that nobody really pays attention to

is the fact that
a book of 50 years of sports statistics

with that many sports in it
would be about 50 times thicker

than that book really is,

but let's say
it's movie-logic versus real-logic.

And it's small print.

We needed to be able
to have him fit that in his pocket,

so there it is.

We never got any letters
asking how that was possible.

Two of them?

I left him in a suspended animation kennel.

Einstein never knew I was gone!

Einstein. We got so many letters
after the first movie came out

"where kids were writing in, wanting
to know, "What happened to Einstein?

"Is Einstein okay?"

So, it was absolutely crucial
that we bring Einstein back for the sequel.

Different dog playing the part.

We couldn't make a deal with the other one.

It's changing.

There, you can see some of
the interesting headlines for the future.

-I was framed!
-Yes!

Some of those displays that are going on
in the binoculars there,

we don't know
what they were supposed to mean.

That was one of our dictums for the future.

Put some graphics and things in the future
that nobody will understand what they are.

One of the other things that was
interesting about designing the future,

Rick Carter, our production designer,
he was a terrible speller.

I'd go on the back lot and look
at the preliminary versions of the signs

that he was putting up,

and invariably there was
at least one or two signs

that had words that were misspelled,
and Rick never noticed them,

to the extent that I bought
Rick a dictionary for his birthday.

We had some signs in Japanese.

Again, with the idea that the Japanese
influence on the future would be profound.

And so, I said to Rick one day,
when I was looking at these signs,

"Are those signs... Is the Japanese
characters in there spelled properly?"

Rick assured me that they were.
He had somebody in the art department

that knew Japanese,
or went to somebody that knew Japanese,

and those signs actually made sense.

Well, about three weeks later,
there was a group of people

from the Japanese tour visiting Universal

and I was introduced to these people,
and one of them came over

and pointed out one of the signs
that was in Japanese and he said,

"That sign doesn't make any sense."

So, I gave Rick a real
hard time about that.

Home? To Hilldale?
It'll be dark by the time we get out there.

That's it. They're taking her home
to your future home!

We'll arrive shortly thereafter,
get her out of there and go back to 1985.

"Surf Vietnam," by the way,
that's that billboard behind them there,

if you didn't get a chance
to pay attention to that.

Jennifer could conceivably encounter
her future self!

The consequences of that
could be disastrous!

A homage to Apocalypse Now, I guess.

One, coming face to face
with herself 30 years older

would put her into shock,
and she'd simply pass out,

or two, the encounter could create
a time paradox,

the results of which could cause
a chain reaction that would unravel

the very fabric of the
space-time continuum.

Writing this kind of dialog,

and knowing that it was Christopher Lloyd
that was going to be saying it,

gave me the complete confidence to write

the most ridiculous
and long-winded speeches possible

'cause I knew that
Chris would just nail this stuff.

He'd study this and,
as a theater-trained actor,

always was prepared, always knew his lines.

And this stays here.

I didn't invent the time machine
to win at gambling.

I invented a time machine
to travel through time!

I know. I know. I know, Doc.

So, Doc Brown invented a time machine.

This police car was designed
specifically for this movie.

This was shot... Where was this?

-El Monte? I think it was El Monte.
-El Monte, I think it was.

El Monte, West Covina,
someplace way out there.

Baldwin Park, that's where it was.

Hilldale.

Nothing but a breeding ground
for tranks, lobos...

Halfway through the filming,
the guy who was in charge of this location

tried to screw us and
upped the location fee.

I don't remember whether we
ended up having to pay it or not.

I don't remember.

Ma'am, you should reprogram.
It's dangerous to enter without lights on.

-Lights on?
-Yes. Now, look.

And of course, the interior is a set that
we built at Universal on one of the stages.

The future?

Have a nice day, Mrs. McFly.

We figured that in the
future, just like today,

people would have technology
and it wouldn't work properly.

Just like most people's televisions aren't

tuned to their color properly,
this future window would be messed up

and the McFlys would never have
gotten around to repairing it.

That was not an optical, by the way,
it was actually shot that way

with the video projection on the set.

I get married in the Chapel O Love?

Mom? Mom, is that you?

I gotta get out of here!

Mom!

Mom? Mom, is that you?

Remember how shy Michael was when
he had to film in drag for the first day?

Absolutely.

He didn't want anybody on the set
that didn't have to be there,

but he got over it.

How did you do that? How did he do that?

Out on the golf course.

Are your folks home yet?
I brought pizza for everyone.

-Who's going to eat all that?
-I will.

Damn this traffic!

Jennifer, that is Old Jennifer...

Jeffrey Weissman is the actor
who plays George McFly in the sequels.

As you've already heard

on the other commentaries
and the documentaries,

Crispin didn't want to come back,
so we wrote him out.

Well, when the scenescreen repairman
called Daddy a chicken,

Daddy threw him out of the house.
Now, we can't get anybody to fix it.

Look how worn out this is.

Your father's biggest problem, Marlene,

is that he loses all self-control
when someone calls him chicken.

Now again, here's exposition hell,
as I talked about in the last movie,

where we just had to have somebody
show up and spit out all this exposition.

This, of course, was a pretty crazy thing
we were doing at the time,

'cause we're setting exposition in
this movie that isn't going to be paid off

until Part III, which isn't going to
come out for six months.

We were hoping that people would
remember six months of exposition.

You, of course, can just put the third
disk in and see the payoff right away.

Marty, stay here. Just change clothes.
If I need you, I'll holler.

Come on, Doc, I wanna check out my house.

We can't risk you running into your
older self. Come on, Einie, let's go.

Where's Jennifer? Where's Jennifer?

Hilldale.

This is bitching.

One, seven, four point five zero.

It's always the same electronic voice,
for the jacket and everything.

We just figured that there'd be one guy
that made a living doing that,

where all computers would talk the same.

And again, in that shot there,
we used Biff's body

to disguise the matte line to
change from the real car

to the miniature car that flies away.

And no, we can't explain why Bob put that
cockatoo on the cab driver's shoulder.

It was just something he decided to do.
I think he saw it in some other movie.

Marty wouldn't have broken his hand,

and he wouldn't have
given up on his music,

and he wouldn't have spent all those years
feeling sorry for himself.

Hey, Mom, nice pants.

I think the real reason
your mother married him was because

-she felt sorry for him.
- "Mom"?

Such a sweet girl.

-Art off.
-I think maybe she deserves...

Okay, I want channels 18, 24, 63, 109, 87
and the Weather Channel.

The Weather Channel, bringing you
the world's weather 24 hours a day.

Notice the breast implant commercial
in the upper right-hand corner there.

We had a good time with those.

That's right. He's home. Dad's home.

-Lord of the manor.
-Hello. Hello.

-King of the castle.
-Hello.

There's that same electronic voice again.

Lithium mode on.

Yeah. That's better.

Now, there's one of those things
he is adjusting. "The lithium mode is on."

What does that mean?

-We don't know.
-We don't know.

Son of a...

That's a great gag,
the automatic dog-walker there.

And that was just a very well-trained dog

with a very hard-wired unit that...

The thing with the lights on it
weighed virtually nothing.

The dog just walked and that thing bounced.

Excellent work by ILM there.

We had Michael Lantieri,
our special effects man,

mechanical effects man, moving
all those garbage cans around on wires

and ILM matched the movement of the car
to hit it.

Is it ready?

Here you go.

Oh, boy. Oh, boy.
Mom, you sure can hydrate a pizza.

This is a pretty intricate shot
that took us two or three days to do,

and in the deleted scenes
you'll see the long version of this scene.

We ended up shortening it

because it just didn't work
as playing all in a master.

It was a great show-off shot to show that

we could put all three Michael J. Foxes
in the scene,

and Ken Ralston,
our visual effects supervisor from ILM,

nearly had a heart attack
when he found out that

we cut up this elaborate shot
that took him and his team months to do.

But that's showbiz.

Hello. I'm in here, please.

Hey, the big M. How's it hanging, McFly?

Hey, Needles.

That's Flea
from Red Hot Chili Peppers there.

If this thing works,
it'll solve all your financial problems.

He was not as well-known
as he is now when we shot this,

but he just had a great
maniacal look to him.

And again, this is a character
that we're setting up here in Part II

who you're not going to see again
until the end of Part III.

So, we came up with
this hopefully memorable name, Needles,

and strange-looking guy,

in hopes that you would remember him
six months later.

-Nobody!
-All right.

Prove it.

I think it's that Alfred E. Neuman,
front tooth thing

that gives him this memorable look.

Here's my card. Scan it. I'm in.

Thanks, McFly.
I'll see you at the plant tomorrow.

Again, we didn't try to explain exactly
what scam these guys were pulling here.

You knew that they were doing
something illegal, and just go with it.

You are terminated!

Terminated. No! No! It wasn't
my fault, sir. It was Needles.

Again, our future Japanese influence here.

No! Please, no. I
cannot be fired. I'm fired.

I made a big mistake
calling this guy Mr. Fujitsu.

We thought that the Fujitsu company
was named after a guy. I did.

And, it's not. It's some amalgamation.

Be like calling somebody
Mr. General Motors.

So, it became kind of
the laughingstock of Japan.

But I never took Japanese.
What can I tell you?

But it doesn't open. There's no doorknob.

Press your thumb to the plate.

What plate?

And he's playing Power of Love here.

Marty, what does this fax mean?

That marlin on the wall there
may be the same marlin that was

in Doc's lab in Back to the Future I.

I wasn't yelling.
Needles and I were just kind of joking.

-Welcome home, Jennifer.
-Marty, have you lost your job?

Lost my job, Mom? Get out of town.
Look, you know...

-I'm young!
-I'm old!

Now there are those that say that

by going into the future
at the beginning of the movie,

Marty and Jennifer would have erased
their own future from ever happening,

because if they leave 1985
to go into the future,

how did they grow up to become old?

But we decided that

the future would be
extrapolated from the past,

and that they would, in fact, come back
and go on to be in the future.

That's a good excuse, at any rate.

If we didn't use that excuse,
we wouldn't have a movie here.

The risks are just too great,
as this incident proves.

And I was behaving responsibly.

Biff's heart attack is, of course, explained
in the other supplemental materials,

so I won't tell the same story again.

Do notice the bumper sticker
when he fades out of existence,

in the deleted scenes.
It says, "I brake for birds."

Better that I devote myself to studying
the other great mystery of the universe,

women.

Marty, Einie, brace yourselves
for temporal displacement.

Did we make it?

A great gag here
with the airplane coming in.

Showing the difference in Hill Valley
in the future,

that jets are now coming in,
because of Biff's casino, no doubt.

Beautiful work by ILM here.

And in the supplements, hopefully
you'll see the making of this shot.

The miniature comes down,
passes the lamp post,

it becomes a real car and the dog gets out,
all in one shot.

Then I'll take you home, and you can
come back in your truck and wake her.

When she awakens here in her own house
and it's dark,

you should be able to convince her...

Poor Jennifer,
every time she becomes conscious,

she becomes unconscious.

We actually shot this scene in Part II,

and then the scene in Part III
where Marty comes back

to wake her up at the end of the movie,

all in the same day, so we didn't have to
go back to this location for Part III.

It was the only part of Part III that
we did while we were shooting Part II.

Right.

I don't remember bars
being on these windows.

That was actually the location we scouted
when we got the phone call to come back.

To come back. That's exactly right.

The reason that we picked Arleta
and that particular house

is for that high-tension tower
in the background.

We thought that,
that just was a very memorable image

and spoke miles about
the socio-economic condition of the McFlys.

What the hell?

And more of Chuck Campbell's off-camera
dogs barking in the background there.

Hey. Hey, wait. Wait a minute.
What are you doing in my room?

-Help! Rape! Mom!
-Okay. Okay.

-Dad, help!
-Freeze, sucker!

-He jumped me!
-Hey, it's okay. I don't want any trouble.

Michael Jackson poster
in the background there.

What are you doing in here
with my daughter?

-Hey, listen, I'm just in the wrong house.
-You got that right, you little son of a...

-Hey, look, I made a mistake.
-Damn right you made a mistake!

-Kill him!
-I'm gonna tear your ass up!

That's right. You keep running, sucker!

And you tell that realty company
that I ain't selling! You hear?

We ain't gonna be terrorized!

If you notice in that wide shot of
the street, every house on that street

had a "For Sale" sign on it.

And there's many more
"For Sale" signs right there.

That's such a great gag.
Just put those chalk outlines there.

Not seeing a dead body is more effective
than it would be if you actually saw one.

And this is back in Whittier.
That's the side of Whittier High School.

In the supplements, in the deleted scenes,

you'll see a bigger shot of the school
burned out.

But we decided we didn't need it,
and ILM never actually finished that shot.

And this is a playback to the first movie.

Always look at a newspaper
to find out what year you're in.

Drop it.

So you're the son of a bitch
who's been stealing my newspapers.

Mr. Strickland.

Everybody that we asked to
come back for the sequel

was just delighted to be back again.

You look to me like a slacker.

Yeah, that's right. That's right.
I am a slacker.

Don't you remember?
You gave me detention last week.

Last week?
The school burned down six years ago.

Now, you got exactly three seconds
to get off my porch with your nuts intact.

-One.
-Please, Mr. Strickland,

I just want to know
what the hell's going on here.

Two.

-Hey, Strickland!
-Yeah!

All of our stunt guys
doing the drive-by shooting there.

One of them was Walter Scott's brother,
Ben Scott,

who goes on to double Tom Wilson
in Back to the Future III.

That is the same bum that was on the bench,

the Raisin bench
in Back to the Future I, Red.

Michael J. Fox gave him that name.
It was an ad-lib.

Fine work from ILM.

We had one or two motorcycle gangs here,
real motorcycle gangs.

This was a nightmare to shoot
just because it was so noisy

and it was so ugly.

Even though it was the back lot,

we really did feel filthy after shooting.

We felt like we really had gone into hell.

Our assistant director never thought
he'd get a chance

to be telling a motorcycle gang what to do,
but they were very cooperative.

Dedicated to Hill Valley's
number one citizen

and America's greatest living folk hero,
the one and only Biff Tannen.

And Larina Adamson
and Steve Starkey, our associate producer,

worked together to put
this "Life of Biff" documentary together.

It's pretty damn funny, really.

Now, you'll notice here
that Buford looks very different

in this image than he does in Part III,

and that's 'cause we hadn't really figured
out what he was going to look like yet.

So that was our best guess,
and we guessed wrong.

So, if we were doing this again
or gonna somehow

make a redo of the scene,
we would have changed that,

but we'll leave it the way it was
'cause we don't like to do that.

Bob doesn't believe in that, neither do I.

...and turned
Hill Valley's dilapidated courthouse

into a beautiful casino hotel.

I just want to say one thing.
God bless America!

Meet the women who shared in his passion
as he searched for true love.

Notice, by the way,

that on the steps of the casino there,
it says, "Smoking required."

I don't know if you'll see that following this
or if it just happened a little bit ago, but...

Good gag.

-Hey, you're coming with us upstairs.
-Let me go.

Those are the same three guys
that were Biff's gang in the '50s.

Now that blackout there was actually
at the end of a reel, on a reel change,

and in many theaters, the projectionist
thought that the end of the reel

was where it was black.

So, that dialog over the black,
"The easy way,"

a lot of you never heard that
if you saw it in the theater

because the projectionist cut that off.

So, that's the lesson that we learned.
"Never end a reel with black."

Mom?

Tammy Faye Bakker,
the disgraced televangelist,

was the model
for this incarnation of Lorraine.

And Lea Thompson said
that her agent had once told her

that there are only three good parts
that a woman ever has.

A virgin, a mother, or a whore.

And she got to play a virgin
and a mother in Part I.

In Part II, she got to play a whore.

So, between these movies,
she covered the gamut completely.

My father!

Did you get kicked out
of another boarding school?

Damn it, Lorraine. Do you know
how much perfectly good dough

I've blown on this no-good kid of yours,
huh? On all three of them?

What the hell do you
care? We can afford it.

Tom Wilson is so good in this movie.
He's so good in all of them,

but this version,
this incarnation of Biff that he created,

is like a force in nature.
He is so evil and so intense.

And again, it's a testament

to the creativity of Ken Chase
for being able to figure out

how to take certain elements of makeup
and change Biff

from George's supervisor that
we see at the beginning of Part I,

to the more fey version that we see at the
end of Part I and in the beginning of Part II,

into the Vegas Biff that we see here.

You wanna take a poke at me?

And the art department had a field day

making this a testament to total bad taste.

Animal print rug there
and the velvet blacklight paintings.

Who's gonna pay
for your cosmetic surgery, Lorraine?

You were the one
who wanted me to get these things.

If you want them back, you can have them.

Look, Lorraine. You walk out that door,

and I won't only cut off you.
I'll cut off your kids.

-You wouldn't.
-Wouldn't I?

First your daughter, Linda.

This was a huge set,
the most expensive one, I guess...

-In the movie.
-Yeah, in the movie.

And as for Marty.

Really quite big.

Two stories and big enough that
we could get that stage crane in here,

and Bob and Dean could work out
these elaborate camera moves.

As for you, I'll be back up here
in an hour, so you better not be.

He was right, and I was wrong.

Mom!

And Lea's makeup, too,
just a really, completely different look

than she had in either of her versions
in Back to the Future I.

-And he deserves our respect.
-Respect?

Your husband!

Added to, of course,
by her amazing ability as an actress

to make you absolutely believe
that she is an alcoholic.

I don't understand one damn thing
that's going on around here,

and why nobody can give me a simple,
straight answer.

They must have
hit you over the head hard this time.

Mom, I just want to know one thing.

Where's my father? Where's George McFly?

Marty, George, your father is in the same
place he's been for the past 12 years.

Oak Park Cemetery.

Now, this was filmed in Wilmington.

I think that's a Chevron refinery,
if I remember correctly.

There's all kinds of refineries there,
and they were very cooperative,

very happy to let us shoot there.

They actually has a little park area with
a duck pond right next to this refinery,

kind of a way to show
how environmentally conscious they were.

All the while, the air just smelled vile.

All these oil fumes.

I think we had to take two or three showers
after we got finished shooting here,

'cause the tar in the air
just stuck to your skin and your clothes.

It was just awful, but the perfect location
for us to shoot this.

Doc!

When I learned about your father,
I figured you'd come here.

Then you know what happened to him?

Do you know what happened?

Wind machines going.

It's very difficult to shoot.
We did the whole scene in one night.

'Cause we didn't want to come back.

The place was boarded up, shut down,

so I broke in
and borrowed some newspapers.

I don't get it, Doc.

I mean, how can all this be happening?

Doc's lab, of course,
recreated for Part II.

All the plans for the original sets were
on file in the art department at Universal,

so Rick Carter just pulled them out.

Marjorie Stone McShirley,
who was an art director in Part II,

was a set designer in Part I,

so she certainly remembered
where all the bodies were buried

and helped find a lot of the stuff.

Imagine that this line represents time.

Here's the present, 1985,
the future and the past.

Prior to this point in time,
somewhere in the past,

the timeline skewed into this tangent
creating an alternate 1985.

Alternate to you, me and Einstein.

Now, this is one of many, many theories
of time travel that Doc is expounding here.

And the blackboard was essential

to making this understandable
to a general audience.

I found them in the time machine
along with this.

Making it even understandable to us
and the actors.

It's the top of Biff's cane.
I mean, Old Biff from the future.

Correct. It was in the time machine

because Biff was in the time machine
with the sports almanac.

Holy shit.

You see, while we were in the future,
Biff got the sports book,

stole the time machine, went back in time,

and gave the book to himself
at some point in the past.

Look. It says right here

that Biff made his first million
betting on a horse race in 1958.

He wasn't just lucky.

He knew because he had all the race results
in the sports almanac.

Now, this headline, of course,
has to be in 1958

'cause Biff couldn't legally gamble
until he was 21 years old.

The almanac.

Son of a bitch stole my idea.

He must have been listening when I...

It's my fault. The whole thing is my fault.

If I hadn't bought that damn book,
none of this would have ever happened.

Notice Doc Brown's shirt here, by the way,
which we saw him wearing earlier.

In Back to the Future Part III, the material
from that shirt becomes Doc's bandana.

And this was material designed at...
Joanna Johnston,

our wardrobe designer on the sequels,

created it herself or...

No, she didn't create it herself,
she found it in some magazine.

I think we ended up paying
way more than we should have

to get permission to make a shirt
out of that fabric.

This has happened to me.

No. Our only chance to repair the present
is in the past

at the point where the timeline
skewed into this tangent.

There's another newspaper article
in that Doc Brown one

that says, "Nixon to seek fifth term."

Figuring what kind of a nightmare
we could have,

"Let's have Nixon still be president."

I'll ask him.

That's a scene from A Fistful of Dollars.

Pays off in Part III.

Pays off in Part III
with the bulletproof vest gag.

And not only pays off in Part III
with the bulletproof vest gag,

but it shows that Marty is
very familiar with Clint Eastwood.

Which is a good thing.

The wardrobe that Clint is wearing

becomes the wardrobe that
Marty takes for himself in the third movie.

Sorry, ladies.

How did you get past
my security downstairs?

There's a little matter
we need to talk about.

Yeah. Money, right? Well, forget it.

Classic Western shot there,
through the legs of the hero.

Sports Almanac.

I remember we had a makeup problem
shooting Biff in the hot tub.

The heat from the hot tub was such that

it caused weird things
to happen to the makeup.

How, where and when.

All right. Take a seat.

The painting of Biff back there was modeled
on one that we saw of Donald Trump.

Again, Biff's exquisite taste in furnishings
there continues in his private office.

That was the date I went back...

That was the date
of the famous Hill Valley lightning storm.

You know your history. Very good.

I'll never forget that Saturday.

I'd just picked my car up from the shop,

'cause I'd rolled it in a drag race
a few days earlier.

I thought you crashed into a manure truck.

How do you know about that?

-My father told me about it.
-Your father?

Before he died.

Yeah. Right.

So there I was, minding my own business.

This crazy old codger with a cane shows up.

He says he's my distant relative.
I don't see any resemblance.

So he says,
"How would you like to be rich?"

So I said, "Sure."

So he lays this book on me.

He says this book will tell me the outcome

of every sporting event
till the end of the century.

All I have to do is bet on the winner,
and I'll never lose.

So I said, "What's the catch?"
He says, "No catch. Just keep it a secret."

After that, he disappeared.
I never saw him again.

Jumping ahead in what happened
during the release of this movie,

I was not happy with
the decision Universal made

about how the picture was to be marketed.

I felt very strongly

that the movie should be marketed as Part II
of the three-part Back to the Future Trilogy.

But the powers that be at Universal

wanted to say that Back to the Future II
was a complete movie on its own,

which it's not.

And I think audiences were upset
because the movie doesn't end

and it has so many dangling threads that
are waiting for Part III to be resolved.

The movie opened huge
on Thanksgiving weekend, 1989,

but it fell off very, very rapidly,

and I think part of that was
the word of mouth

was not as good on Part II
as it was on Part I,

because people thought the ending
was a gyp. The movie doesn't end.

I felt very strongly that we should
let people know that going in

so they wouldn't be upset,

but the head of the studio said no.

He felt very strongly that the movie should
be advertised as complete on its own,

and I think we paid the price.

This location was a parking structure
over at the movie theaters.

-Right, Neil?
-Yeah.

Interesting sets...
Two different sets of staircases.

It was great that we had that
to make that work.

And this, of course, is another set
that we built on Stage 12.

That's a site back there
with some real lights in the background.

When Michael looks down,

it is, of course, an ILM piece of miniature
combined with artwork.

I suppose it's poetic justice.

Two McFlys with the same gun.

Two shots there.
He jumped on some airbags.

Idiot.

And this will give you a sense of
how big our stage was,

'cause we actually had a crane there

and had the DeLorean on wires
to do this indoors.

That's Stage 12 at Universal,
the biggest stage they have.

And, of course, ILM takes over here.

And here.

That's right, Doc. November 12, 1955.

Unbelievable that Old Biff
could've chosen that particular date.

It could mean that that point in time
inherently contains...

Now we are back on our gimbal set on stage.

Where we had the DeLorean
mounted on this very elaborate gimbal.

Half a DeLorean, I should say.

And we were able to make it move
in any direction necessary

to give the sense of flying.

We didn't have to do that on the first one
because the car always stayed on the road.

That shot that you just saw,
the insert of the time displays

where they're not working properly,

January 1st, 1885, was on the time displays

and that shows you what date Doc Brown
is gonna accidentally end up going to

towards the end of the picture.

We must succeed.

Now, this is an indoor set,
again on Stage 12,

that we built after we tore down the roof.

This is heavy, Doc. I mean,
it's like I was just here yesterday.

You were here yesterday, Marty.
You were. Amazing, isn't it?

All right.

We made sure that everything took place
on the set at night

for the very obvious reasons that
since we were shooting in a set indoors,

there was no way that we could make it look
like anything if it was during the daytime.

So, the idea that Biff showed up in 1955,
early in the morning on that day,

and that Doc and Marty come at dawn,

is all just to make production easier.

...and a walkie-talkie
so we can keep in contact.

I'll stay here and try to repair the short
in the time circuit.

That way, we don't risk anyone else
stealing the time machine.

Of course, those great RadioShack
walkie-talkies that Doc just gave Marty

have incredible range in this movie.

Kids, don't try this at home.

They don't have
that kind of range in real life.

This will give you an idea
of how large Stage 12 is,

just by looking at the road.

What Rick Carter did
was he made the set forced perspective.

So, the road back there
is forced narrower than it really is

to make it look like
it goes back much further.

Something inconspicuous.

Doc. Come in, Doc. This is Marty. Over.

Roger, Marty. This is Doc. Are you there?

This is the back lot of Universal.

I think this is on Leave
It to Beaver's street.

That's right. They were actually filming,
I think, an episode of Leave It to Beaver,

or The New Leave It to Beaver.

The feature was Leave It to Beaver... Or they
had a new Leave It to Beaver. That's right.

They were actually filming that
the day we were up here.

Shut up, you old bag.

Give us our ball back.

-What ball?
-That ball!

The idea that...

We never really explore Biff's family
in a great amount of detail here,

but the idea that he lives with
this horrible grandmother

was just some crazy idea
Bob and I came up with.

We found some actress
with this horrible voice

that sounded like
fingernails on a chalkboard.

And here, coming back to the 1955 street,

as Bob Zemeckis mentions
in the other commentary,

we only dressed
this one side of the street for 1955.

So, everything here is shot
favoring this side of the street.

This was actually the
first shot of the movie.

We filmed the 1955 stuff first.
This was the first day of shooting.

And we used that VistaGlide camera with
this thing with Old Biff and Young Biff.

Terry there is played by Charlie Fleischer,

who did the voice of Roger Rabbit.

I think Bob had a good relationship
with Charlie on Roger Rabbit,

and Charlie really wanted to be in a movie

and be himself
instead of be a cartoon character.

-Four cans for a $300 job?
-I couldn't even have lunch in the shop.

-Makes me nauseous.
-I should get a case of oil

-out of you for a 300 buck job.
-You've been inside.

It smells worse than the bathroom
at a gas station.

-You robbed me again, Terry. Yeah, yeah.
-The smell's never gonna go away, Biff.

Never gonna go away.

-Last time I do you a favor. Last time.
-Thanks a lot.

Let me see.

We were only able to get one of
Lorraine's two friends to come back here.

Lisa Freeman, I think is her name.

But it's great to get the
peripheral players to come back.

It gives you a complete sense
of being right back in the first movie.

Hey, listen, Lorraine. There's
that dance at school tonight, right.

Now that my car's all fixed,
I figure I'd cut you a break

and give you the honor of going
with the best-looking guy in school.

Yeah, well, I'm busy.

-Yeah, doing what?
-Washing my hair.

That's about as funny
as a screen door on a battleship.

Screen door on a submarine, you dork.

Look, Biff, somebody already asked me
to the dance.

Who? That bug George McFly?

Yes, we had a tie-in with Zales there.

Zales appears on a bus bench
in Back to the Future I.

You're my girl.

Biff Tannen, I wouldn't be your girl
even if...

The realty office has an ad
for fallout shelters there,

kind of fudging the period a little bit

because fallout shelters
really weren't popular

until the Cuban missile crisis in 1962,

but it was such a wonderful piece of
period something that we had to do it.

Get the hell out of my car, old man.

One of the ideas that Larry Pauli had
in the first movie

about creating the '50s,
that he's absolutely right about,

he said we should absolutely make sure

that only about 10% of the cars
are from 1955.

All the cars in any given time period,

you wouldn't have more than 10%
of the cars be of the year that it is.

So, we had a lot of older cars.

It gives you a sense
of past even in the past.

And here we're back on the stage again.

It was a challenge to shoot this.

It turned out very fortuitous for us that

this car that we'd already established
as Biff's car had this split windshield.

It made it obvious
where we were gonna put the matte line.

Football, baseball, horse races, boxing.

The information in here is worth millions,
and I'm giving it to you.

Well, that's very nice.
Thank you very much.

Now, why don't you make like a tree...

Bob was very clever about how he shot this,
in terms of the book pass.

He saves the great book pass
for the very end.

That's a bit of animation there.
Looks a little bit shoddy today.

But back then, it was pretty great.

UCLA trails 17-16.

It's 4th and 11 with only 18 seconds...

Now, this account of the football game
is actually accurate.

This is a football game
that took place on this date in 1955

and was won in the fourth quarter.

I don't know that it was won
in the last minute of the fourth quarter,

but I actually went to the library
and researched football scores

'cause if there's one thing you don't
want to cheat on, it's sports statistics.

There's somebody that knows
every sports statistic somewhere.

And UCLA won that game.

Somebody asked me why did I use UCLA
when I'm a USC student,

but that's why it's accurate.

There it is, that beautiful shot,

where we had the almanac
on a motorized armature

that moved perfectly from one side
of the frame to the other,

that was tied to the movement of the camera

so that that book always moved
across the frame exactly the same way.

And it was all about
just getting Tom Wilson

to have his hand on the book
at the right moment.

And there's one more thing. One
day, a kid or a crazy, wild-eyed old man

who claims to be a scientist is going
to come around asking about this...

If that ever happens...

I'm trapped. Doc.

Doc, come in, Doc.

-Marty, what's the report?
-Biff's gone.

He's got the book. The old man's gone, too.

What did we do there,
is that a plate that we have back there?

Or did we actually...

I can't take the DeLorean
out in the daylight.

Yeah, I think it was a plate.

Doc, wait a minute. Doc. Hey, Doc. Doc.

Or, no, actually, I
think it was second unit.

Second unit, that's right.
We sent them all the way back there

just for that one shot.

I told you, Grandma.
I'm going to the dance.

-When you coming home?
-The dance.

I'll get home when I get home.

Don't forget to turn off the garage light.

Bob, of course,
a great fan of Alfred Hitchcock,

so the sports almanac, being a Hitchcock
MacGuffin, is always just out of reach.

Chris Lloyd, as wobbly as he looks
on this bicycle,

is just doing that for this part.

He's actually a very
accomplished bike rider.

-He's ridden his bike across country.
-Many times.

There were times we'd try to locate him
for post-production looping

and his agent would say,
"Well, he's bicycling across the country"

"and I don't know where he is."

Come in, Doc.

Marty! Marty, come in.

Doc.

This tunnel is in Griffith Park,

and Rick Carter created
a forced perspective backing

to make that tunnel look two or
three times longer than it really is.

It really shines
in the Hoverboard chase sequence

coming up later in the picture.

Oh, my God.

Doc, Doc, come in.

Marty, what happened to you? I went
to Biff's house, and you weren't there.

The song playing on the radio is
Papa Loves Mambo, Perry Como.

And at one time, we thought we would
use that song in place of Mr. Sandman

in the first movie, when Marty appears
in 1955 for the first time.

But we decided Mr. Sandman
was more effective.

...at that exact same dance with you. Yeah.

-Right. This could get heavy, Doc.
-Heavy, heavy.

Marty, whatever happens,
you must not let your other self see you!

The consequences could be disastrous.

And this scene, we shot the Friday night
of the first week of shooting.

We had to get all this 1955 stuff finished

so that the art department
could tear down the '50s

and turn the back lot
into Biff's hellacious 1985.

Or 1985 A, as it's
referred to in the movie.

I presume you're conducting
some sort of weather experiment.

That's right. How did you know that?

I happen to have had a little experience
in this area.

Yes.

Chris was very nervous about
doing this scene, as I remember,

because he was worried
that he wouldn't be able to...

This was the first scene he shot
in Back to the Future II.

He was very worried that
he wasn't gonna be able to match

his energy and his performance from Part I.

But he was worrying for no reason at all
'cause he absolutely did it.

Here we are, back at Whittier High School.

They were kind enough to let us return.

Back to the Future II was actually shot
under the working title "Paradox."

And we did that to try to lessen
the amount of interest and publicity

that people would have knowing that,
"Oh, Back to the Future II."

This is a shot from Part I.

I don't remember if it's an actual shot
that was in the movie

or something from a
take that we didn't use.

I don't remember.

We're back in the church now,
on Highland and Hollywood.

This was, I think,
for all the crew that had done Part I,

which was quite a lot of us,

it was about as close to time travel
as any of us were ever going to experience.

Because I remember being back in this gym

and having everything exactly
the way it was for the first movie,

and feeling like I'd walk out the door
and it would be 1985 again.

I think everybody felt that way.

Yeah, I think we even had all the
equipment parked in the same places.

The catering truck and everything.

What was good about
having the same electrical crew

is they actually remembered
where they put lights.

It is really quite seamless.
It looks exactly the same from Part I.

And this is back at Whittier High.

Well, go find him.
He caused 300 bucks damage to my car,

and I owe him a knuckle sandwich.
Get going!

-Drink up, Biff.
-Yeah, thanks.

-Ain't you coming?
-I'm reading.

Now, of course, Bob and I spent
a lot of time studying the first movie

in order to work out the logistics of this,

so that the sequence
of where the characters were

would fit perfectly in with Part I.

There's actually a guy that wrote an article
in the science fiction magazine Starlog

after Part II came out.

And he went back studying Part I,

and he claimed that
he could see in the shadows

the Marty from Part II
observing the Marty from Part I in Part I.

That's not true, of course,

but you can find what you're looking for
if you look hard enough.

Well, well, well, Mr. Tannen.

How nice to see you here.

-Why, Mr. Strickland, it's nice to see you, sir.
-Is that liquor I smell, Tannen?

I wouldn't know.

I don't know what liquor smells like,
'cause I'm too young to drink it.

Mr. Strickland's hairpiece there
is not the best.

Sports statistics, interesting subject.
Homework, Tannen?

No, it ain't homework,
'cause I ain't at home.

You've got a real attitude problem.
You know that, Tannen? Just watch it.

Because one day, I'll have you
right where I want you in detention.

Slacker!

And obviously, these scenes were all written
and designed around the existing location.

As a writer, you can't really
make something like this up.

You look around
and you explore the location

and figure out how things can take place,

and use what you have
to the best possible advantage.

Marty, why are you so nervous?

Now this is a set at Universal,

but we did take part of the set
and move it out to Whittier.

Later, at the end of the scene,
when Marty goes to the window

and sees the Packard outside
and George facing Biff,

that was actually shot at Whittier
with a couple of walls from the set

that we brought out there.

Right. I think we built
a platform to put it on.

-So that he could look down. Right.
-He could look down.

I remember we shot this on a Friday night.

We didn't get Michael
till about 9:00, 10:00 at night.

Of course, there was some grumbling
on the set amongst the crew

about 2:00 or 3:00 in the morning about

-why we were on a sound stage on a Friday...
-On a Friday night.

-Friday night.
-Right.

That's just right,
'cause after making the first movie

and dealing with Michael doing
Family Ties at the same time,

we all swore
that we would never do that again.

But four years later, we were
doing exactly the same thing again.

There's some lesson in that,
not sure what it is, but there is.

Michael did not have to spend
as many hours working on Family Ties

while we were doing the sequel
as he did on the first one.

I seem to remember that
his rehearsals earlier in the week

were maybe an hour or two, if that.

I think maybe on Mondays
they didn't even rehearse.

All the actors in that show
knew their parts so well

that either they didn't need to rehearse
or they just said,

"Hey, you want me to show up for
the taping, I ain't coming in on Monday."

Yes!

No!

"Oh Là Là?"

And here's that elaborate payoff
of that dust jacket.

"Oh Là Là?"

And here we are, this
is the set at Whittier.

-Doc! Doc!
-Hey, you.

-Doc, come in!
-Marty, what's up?

And, of course, with having a different
actor playing George McFly here,

it was very important
to keep him out of focus

only show him from the back,
so that in these scenes

you would absolutely believe
it was George McFly from the first movie.

You'll break his arm. Stop it!

Of course!

I gotta go. I got one chance!
My old man is about to deck Biff!

Yes!

I think all these shots were recreated
for Part ll,

-including Biff getting decked.
-Yes, they were.

Talk about déjà vu.

Are you okay?

Actually, that shot there may be...
Yeah, that's from the first movie.

That's Crispin Glover there.

Okay, everybody, let's back up now.
Let's back up. Let's everybody just back up

and give him a little bit of room, okay.
A little bit of air.

-It's okay. I know CPR. I know CPR.
-Hey.

-What's CPR?
-You!

No, kids, that's not what CPR is.

-He's fine.
-Hey, did you just take his wallet?

He just took that guy's wallet.

Doc, success. I got it.

Thank goodness.

Now, the bucket there is
very prominent in the frame

because we're gonna need that later on.

On the roof. 10-4.

-Hey, it's him!
-Hey, he's in disguise.

Guys, what's that?

Come on! Let's get him!

Damn!

There's that 1885 again,
setting up where Doc is gonna end up.

In the original version of the script,
we had Farmer Peabody return,

who we had established that he had been
put in a mental ward for observation

for muttering about seeing flying saucers.

And he was released,
and of course, as soon as he was released

what did he see
but the DeLorean flying away.

And he had a shotgun with him
and fired at the DeLorean

and that's how the DeLorean got messed up.

And I can't exactly remember
why we ended up not doing that.

It may have been that
the actor was unavailable

or it may have been one of those things
where we decided that

the least amount of work we had to do on
that set, the better off we were gonna be.

I don't know, but when he gets down,
we're gonna nail him.

How the hell did
he change his clothes so fast?

All right, it's an oldie where I come from.

All right, guys, listen,
this is a blues riff in B.

Watch me for the changes,
and try and keep up, okay?

-Doc. Doc, come in!
-Marty, come in.

Listen, Biff's guys chased me into the gym.

Now this sequence,
the Johnny B. Goode sequence,

is a combination of material that we shot
at the gymnasium in Hollywood,

and then we had to build the gym set
on the stage

to do the business with Marty
crawling across the catwalk above

because there was no catwalk
in the real gymnasium.

What the hell?

-Where is he?
-Who?

-Calvin Klein.
-Who?

-The guy with the hat, where is he?
-He went that way.

I think he took your wallet.
I think he took his wallet.

Go, Johnny, go, go, go

Johnny B. Goode

All the guys from Marvin Berry
and the Starlighters came back,

were happy to be back.

This is our set built on stage.

Go, Johnny, go, go, go

Go, Johnny, go, go

Go, Johnny, go, go, go

And some of this was done
with the VistaGlide camera

and some of it was done blue screen.
This I believe was blue screen.

I think we shot this, actually some of this
stuff, while the Academy Awards were on.

And a couple of the guys from ILM
I remember coming by the stage

'cause they had won Oscars.

-Right, for Roger Rabbit.
-Yeah, for Roger Rabbit.

To let everyone on the crew
get to hold the Oscar.

That's right.
Actually, Dean was nominated, right?

So, he wasn't there.

So, I think Ray Stella,
our camera operator, took over.

I think Dean came by to visit after,

but I don't think
we could talk him into working that night.

Dean didn't win,

so the work might not have been good
if he was upset about that.

The guys from ILM did.

I guess you guys aren't ready for that yet.

And you got the matte line, of course,
hidden with the blue screen that's there.

Hey, Doc, success. Everything's cool.

Great. I'll be landing at the school roof
in about one minute.

I'll be there.

Lorraine.

Marty, that was very interesting music.

Where did we do this?
This was a set, right?

To be able to pull this off?
Or did we do this at the church?

I think we built this little section.

I have a feeling, too.

Hey, butthead!

Again here, the focus is thrown out
in the background

just as Jeffrey Weissman shows up,

so that you can't see
that it's not Crispin Glover.

Now you can.

What's the matter?

Where are you going?

Are you chicken?

That's it, isn't it?
Nothing but a little chicken.

Nobody calls me chicken.

Masterpiece of timing there.

What the hell?

You steal my stuff?

Somebody's selling reproductions of that
Grays Sports Almanac on eBay all the time.

How much is it?
Do you have any idea what the bids are?

The reproductions aren't that much,
but who knows?

By the time this comes out on DVD
maybe the price will go up.

There's nothing in it.

Doc!

Doc! I blew it.

Biff nailed me. He took the book.
He drove away with it in his car.

I don't remember where we shot this.

I think it was Whittier.
Sure looks like it.

All these roads here were in Griffith Park.

Yes!

There he is, Doc!

-Let's land on him. We'll cripple his car.
-Marty, he's in a '46 Ford. We're a DeLorean.

He'd rip through us like we were tin foil.

-So what do we do?
-I have a plan.

Repeating tonight's
earlier weather bulletin,

a severe thunderstorm is heading
for Hill Valley.

Here, the DeLorean is being pushed
on the side of a car.

In the other shot,
it was hanging down from a crane.

Just like in the Hoverboard chase,

we mixed up how we did
some of these shots to keep you guessing,

keep everybody off-center.

Turning to community calendar,

the Hill Valley Women's Club bake sale
will be held tomorrow afternoon

from 2:00 to 5:00
at the community center on Forest Road.

For you sports fans out there,
there was a lot of action...

Once again,
all these football scores coming up

are the football scores
from this Saturday in 1955.

Michigan State crushed Minnesota 42-14.

And again, the ridiculousness
that every college football score

from November 5th, 1955,
would be in this book.

-It's pretty silly.
-But it works.

Texas A&M over Rice 20-10.

Maryland defeated Clemson 25-12.

Some of this stuff was shot
on a process stage,

like that.

You again? Give me that book.

This whole sequence here,
with this chase in the tunnel and all that,

was added later from when
the script was originally written.

Marty had actually gotten the book
away from Biff at the high school,

and then Doc took off
from the roof of the school

and got hit by lightning there.

But we decided that we needed
a bigger finale, a bigger action sequence,

a bigger confrontation
between Marty and Biff.

And, of course, the classic,
Biff gets his comeuppance in manure.

So, we concocted this.

I don't know why, if it was while we were
already shooting Back to the Future II

or during prep.

That'll teach him.

And, of course,
this tunnel lasts forever in this movie.

What Rick did
with the forced perspective there,

to help it out, he put the lights
closer and closer together.

In these long shots there,
there's a piece there

that's just a piece of wood
that has this thing painted on there.

It's wonderful, with all the hi-tech stuff
we have going on in this movie,

to get away with something like that,
that's so low-tech.

And what we would do in a couple of shots,

Marty's bluejeans change colors there,
and that's a blue screen shot,

and there was nothing we could do
to get the bluejeans the right color

against the blue screen
except really wash them out.

So, that's why his jeans
suddenly have that acid-wash look.

Go, Doc!

Hold on, Marty!

Shit!

There's a forced perspective shot there
with the car headlights.

There was actually a golf cart
that we had way down there

to give the same size ratio
as what we had with the forced perspective.

And it's a gag that
we're gonna do again coming up

in the scene where the Western Union guy
shows up on the road.

The Hoverboard there
is just attached to Michael's foot,

and just by holding his foot steady
gives the illusion that it's hovering.

Much too turbulent to make a landing
from this direction.

I'll have to circle around
and make a long approach from the south.

Have you got the book?

We're back on the Stage 12 set.

Luckily, because it was a set and indoors,

we didn't have to use the McBride in this.

We just used big Ritter fans.

-Which are much better for sound.
-'Cause they're electric.

We do make it rain on the stage,
and it got pretty wet.

We were, I remember,
visited by a few executives

because we were on the lot.

They didn't have the right attire on.

I remember

Lorraine Gary, Sid Sheinberg's wife,

came down to the set
with some of Sid's relatives from Russia.

From Russia. Yeah, I remember that.

And it was interesting. Russia
was, of course, then still Communist,

still the Soviet Union.

But everybody in Russia had seen
Back to the Future on bootleg video.

So, one time when we were happy to know
that bootleg videos were in there,

in the cause of freedom, allowing
the Soviet citizens to see our movies.

It's the ripple effect.

The future is back, so let's go home.

Right. Let's get our asses back to the...

Doc, Doc, are you okay?

That was a close one, Marty.
I almost bought the farm.

Well, be careful.
You don't want to get struck by lightning.

Now, people have tried
to read in some significance

to the 99s there,
the backwards 99s in the sky.

Let me explain what that is.

The DeLorean, in order to go through time,
has to be going 88 miles an hour,

so we decided that the DeLorean
got spun on its axis around so fast

that it hit 88 miles per hour.

And so, the fire trails were left in
a spiral instead of in a straight line.

And that's why you
see those 99s in the sky.

That's not a commercial for Western Auto
or have any other significance than that.

Oh, no.

Finally, it rains, after all the lightning
that we had in this movie

and the first movie, with no rain.

The doc's gone.

Brought it in.

And that previous shot there,
with the headlights, that was a golf cart.

Yeah. Here's the real car.

This is Joe Flaherty
playing the part of this Western Union guy.

Another veteran of the Zemeckis-Gale
repertory company, if you will.

We worked with Joe in Used Cars

and we met Joe
during the production of 1941.

Terrific, terrific guy. Very talented.

I've got something for you.

A letter.

For those of you that remember
the old SCTV show,

he played Count Floyd all the time,
one of my favorite characters.

Actually, a bunch of us
at the office were kind of hoping

maybe you could shed some light
on the subject.

See, we've had that envelope
in our possession for the past 70 years.

It was given to us
with the explicit instructions...

We never called Western Union
to find out whether

they would actually do something like this.

-We just assumed they would like it.
-That they would.

November 12, 1955.

We have a little bet going as to whether
this Marty would actually be here.

Looks like I lost.

I love his laugh there.

Yeah, 70 years, 2 months, 12 days
to be exact. Here sign on line 6, please.

Here you are.

It's from the doc!

"Dear Marty, if my
calculations are correct,

"you will receive this letter immediately
after you saw the DeLorean struck by lightning.

"First, let me assure you
that I'm alive and well.

"I've been living happily
these past eight months in the year 1885.

"The lightning bolt..." 1885!

"September, 1885."

Wait, wait, kid! Wait a minute.
What's this all about?

He's alive! The doc's alive!

-He's in the Old West, but he's alive.
-Yeah, but, kid, you all right?

Do you need any help?

There's only one man who can help me.

Great reintroduction
to the Doc to have that.

And this is all footage from Part I.

We weren't gonna reshoot any of this stuff.
And, of course, there's no reason to.

For the purposes of this DVD,

we actually went back into the master
for the first movie

so that these images
would have the best possible quality,

looking better on this DVD
than they did in the theater

because they were an extra generation
away from the negative

when we re-reprinted them
for the theatrical release.

Doc! Doc! Doc!

-Doc! Doc!
-What?

Okay, relax, Doc. It's
me. It's me! It's Marty.

No, it can't be.
I just sent you back to the future.

Yeah. No, I know. You did send me
back to the future, but I'm back.

No, we never actually considered
calling this movie Back From the Future.

Somebody once asked me that.

Great Scott!

Doc! Doc. Doc.

The trailer for Part III that follows here
was part of the theatrical release.

Bob and I both felt that this was
important, to include these images

to let everybody know
that not only was Part III coming,

but it was coming very, very soon.
It was already in the can.

We saw this device used at the end
of Richard Lester's The Three Musketeers

from the '70s, where they had a trailer for
The Four Musketeers at the end of it.

And we felt that
this would be more satisfying

than the end of The Empire Strikes Back,
when Han Solo is left in carbon freeze,

which certainly upset me as a moviegoer.

This music that Al Silvestri wrote

is inspired by Elmer Bernstein's score
to The Comancheros.

Absolutely fabulous score.

-All right, so ends Part II.
-That's it.

See you in...
We'll be talking to you in Part III.

We'll talk to you in Part III.