All language subtitles for Back to the Future Part III (1990).Commentary 2.eng

-Hi, this is Bob Gale...
-And Neil Canton.

...for the third time and the last time.

You're probably sick of hearing us
talk about these movies.

Why? You mean there's not going to be
a Back to the Future IV?

No, that's just not gonna happen.

This was the first movie where Universal
used this fancy 75th anniversary logo.

And this James Horner theme, I believe.

Yup, it was James Horner.

I remember we actually had a conversation

about whether we should use this new logo
or use the old one

to make all three movies consistent.

But it was a big deal for the studio that
we introduce the new logo with this movie.

Yeah, it's just a logo.

It's not that important.

-Unless you're the chairman of MCA.
-Yeah.

So, obviously we're
using again, the footage

from Back to the Future I,

reused from Back to the Future II,

to put you right back in the frame of mind,
where you were

at the end of the last picture,

which, for audiences, was about six months.

Back III opened
on Memorial Day weekend, 1990.

My birthday, actually, May 25th.

Happy birthday, Bob.

And mine's May 30th.

And in about 12 or 15 cities, we had
screenings right before this weekend,

of all three movies, back to back to back.

That's what they called it, the back to
back to Back to the Future screenings,

promotional in a lot of places
with various radio stations.

We had folks camped out,
and those screenings were a lot of fun.

We had the true, die-hard fanatics there,

and they appreciated every single reference
that they saw in Part III

that refers back to the first two movies.

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.

I'm back from the future.

The Studebaker dealership back there
is "Statler Brothers."

Great Scott!

You'll see the Statlers in the Old West.

They were the Toyota dealership
in the first movie.

This title shot here, coming up,
at the Gamble House,

this is really a very amazing shot,

done with the VistaGlide camera,

four or five passes
on it at different times,

to get the effect of going
from night to morning.

The camera is actually moving in
closer to the house

through this entire minute-and-a-half
or two-minute take.

Was one of the most boring things to shoot,

because for most of it,
not much is going on.

And of course, that's
neither Michael J. Fox

nor Christopher Lloyd
going into the house there.

So...

The shot is dissolving
through several takes

on this dolly track
of different times in the morning.

People at Gamble House
loved the first movie,

and they loved the way
Dean Cundey lit the house.

And when we went back there to ask
permission to shoot the exterior again,

they actually invited us to say,
"We'll let you shoot inside."

No film company's ever shot inside
the Gamble House,

and we were very excited
about the possibility

of us being the first film crew in history
to go in there and shoot.

I remember scouting it with everybody,

and Bob and Neil and I
all kind of looked at each other

after walking through this absolutely
glorious example of period architecture,

knowing that the film crew would
tear holy hell out of this house.

'Cause film crews are
very, very destructive.

And we decided to turn down
this wonderful offer,

because we figured we would do
such terrible damage to the house.

We didn't want to be responsible
for being the film crew

that wrecked the Gamble House.

-So we built a set.
-So we built a set.

7:01 a.m.
Last night's time travel experiment...

Blacker House, where we'd filmed
this material in the first movie,

had been gutted by the new owners.

All the great craftsman fixtures
had been torn out and sold off.

...leaving a pair of fire trails behind.

I, therefore, assume
that Marty and the time vehicle

were transported forward through time
into the year 1985.

After that...
After that, I can't recall what happened.

In fact, I don't even remember
how I got home.

And this was actually... This was about the
last thing we shot in Back to the Future III.

It's one of the last things we did.

It was certainly Christopher Lloyd's
last work on the show.

Indeed, I now recall that moments
after the time vehicle disappeared

into the future,

I saw a vision of Marty saying
he had come back from the future.

You'll notice, by the way,
that you just saw Doc watching television,

Doc's television in there.

And we showed that he had a television
in his laboratories,

so, "Doc must be rich
'cause he has two television sets,"

from the line from Back I.

This organ was a great idea

of Bob Zemeckis',
kind of the Captain Nemo reverence here.

And here's Doc's bathroom, where he was
standing on his toilet hanging the clock.

...to 1955 again with you,

the you from 1985,
'cause we had to get a book from Biff!

So once I got the book back,
you, that is the you from 1985,

were in the DeLorean,
and it got struck by lightning...

He finally did get the clock hung,
as you'll see when the door opens.

-There it is.
-There it is.

It's a very interesting story, future boy,

but there's just one little thing
that doesn't make sense.

If the me of the future is now in the past,
how could you possibly know about it?

You sent me a letter.

"Dear Marty, if my
calculations are correct,"

"you will receive this letter
immediately after you saw..."

Now, again, talking about exposition.

This is it in its most pure form.

And of course, it works. There's
that second television that Doc has.

And Rick Carter recreated everything
from the first movie here,

the tabletop model.

"...And destroyed the flying circuits."

"Unfortunately, the car will..."

All these props, brainwave machine there.

We had a hover conversion done
in the early 21st century.

Incredible!

"I set myself up as a
blacksmith as a front"

"while I attempted to repair the damage
to the time..."

There's the dog, Copernicus,
there in the background.

"...Replacement parts
will not be invented until..."

Again, the original Copernicus from Part I
was unavailable to do the sequel.

1885! Amazing!

I actually end up as a blacksmith
in the Old West.

Pretty heavy, huh?

They actually...
The dog was the wrong color.

Weatherwax was the dog trainers,
I remember.

That's right.

"Hopefully, it should
remain undisturbed..."

We had to have the dog's coat dyed lighter,
some kind of a terrier,

to match just the few brief moments you see
of Copernicus from the first movie.

"...Should have no problem repairing it so
that you can drive it back to the future."

"Once you have returned to 1985,
destroy the time machine."

-Destroy it?
-Yeah. Well, it's a long story, Doc.

"Do not, I repeat, do not attempt
to come back..."

This was one hell of a storm
that Hill Valley had.

It was still raining here the next day.

I love that chess set back there.

Doc figured out how to play chess
with his dog.

"... Einstein for me."

Einstein?

He's your dog, Doc.
Einstein is what you call your dog in 1985.

Now, the fanatics among you will remember

that Doc did watch the videotape in Part I
of the time travel experiment

at Twin Pines Mall,
in which Einstein was involved in that,

although we never actually show Doc
watching the dog experiment.

So you might wonder
why does Doc react that way

when he finds out
that his dog's name is Einstein?

"Warm feelings,
and a special place in my heart."

"Your friend in time..."

Well, it's either a mistake that we made

or just accept the fact that Doc
didn't watch that part of the tape.

I never knew I could write
anything so touching.

I know. I know, Doc. It's beautiful.

It's all right, Copernicus.
Everything is gonna be fine.

I'm sorry, Doc.
It's all my fault you're stuck back there.

I never should've let Biff get to me.

There are plenty worse places to be
than the Old West.

I could have ended up in the Dark Ages.

They probably would have burned me
at the stake as a heretic or something.

Let's look at the map.

All right, according to this, the time
vehicle is sealed off in a side tunnel.

We may have to blast.

This was shot out in Agoura Hills,

which is in the very west end
of the San Fernando Valley.

I can't remember the ranch property
that was...

It was probably some property
that Bob Hope owned since...

Probably.

Seemed like he owned everything back there.

And now this is a set, of course.

...I attempted to reach
the center of the Earth.

I'd been reading my favorite author,
Jules Verne.

I spent weeks preparing that expedition.

Stage 12 was our home away from home.

We shot, we used Stage 12
in all three Back to the Future movies,

and it was exclusively ours.

It's the biggest set that Universal has,

and the biggest stage.

And we built many sets co-existing
next to one another there.

My initials!

Just like in
Journey to the Center of the Earth!

They used to refer to it as
the "Back to the Future stage."

Who did?

People on the lot.
I don't know if they still do.

There was one time...

When was it?
Was it during Back II or Back III,

when we had to clear the stage

for Lew Wasserman's
"50th anniversary in show business" party?

-Do you remember that, Neil?
-Yeah, I do.

That was the one time when they told us,
"Get off of that stage..."

-I think it was III.
- "Wasserman needs this."

"...The lightning bolt shorted out
the time circuit control microchip."

- "The attached..."
-Schematic.

"Schematic diagram will allow you
to build..."

There was a gag
and I'm not sure if we filmed it or not,

I think we did, never put it in the movie,

showing the tires disintegrating
when Doc uncovered the DeLorean there.

And therefore when you see
the DeLorean in its new version,

it has these big, giant whitewall tires.

All the best stuff is made in Japan.

And for those of you
who are too young to remember,

"Made in Japan" in the 1950s
was synonymous with being junk.

When I was a kid,
I always wanted to be a cowboy.

Here we are,
back on the exterior location again.

It just occurred to me, Marty,
since I end up in 1885,

perhaps I'm now in the history books.

Chris Lloyd was sick when we shot this.

-He barely had any voice at all.
-That's right.

But being the consummate
stage-trained professional that he is,

knowing that the show must go on,

the fact that he was sick
didn't prevent him from showing up to work

and knowing his lines,

even though we ended up
having to loop most of this, as I remember.

Copernicus, come on. Let's go home, boy.

What's wrong?

What's wrong, Copernicus? Come on.

Come on, let's go home. Come on. Come on.

Doc!

I think we had names of people on the crew
on a lot of these tombstones.

Yeah, we did.

It was a good joke.

People walked around
looking for their names.

Great Scott!

Check this out.

"Died September 7th, 1885."
That's one week after you wrote the letter!

Who the hell is Clara?

Marty, please don't stand there!

Right. Sorry.

I gotta get another picture.

What kind of a future do you call that?

Now, there we have Buford
in his correct Western look.

"...Earned him the nickname Mad Dog."

If we were redoing Back to the Future II,

the shot of Buford
in the life of Biff documentary,

we would've used that shot
that you just saw right there.

"...Cannot be substantiated,"

"since precise records were not kept
after Tannen shot..."

This is a great piece
of work from ILM here.

-That's why we can't find anything.
-Look.

William McFly and family. Your relatives?

Art department had a great time creating

these authentic, old photographs
of the McFly family.

Two Michael J. Foxes
and two Lea Thompsons in that shot.

-No.
-I don't know.

Did you have any relatives here back then?

The Browns didn't come
to Hill Valley until 1908.

And then they were the von Brauns.

My father changed our name
during the First World War.

Doc, look.

At one time, when Bob and I
were trying to figure out

what Back II was going to be about,

speaking of Doc Brown's history,

we toyed with the idea of going back
to the Roaring '20s

and having an adventure
involving Doc and Doc's mother

and the Biff Tannen bootleg,
liquor bootlegging gang.

This is Monument Valley,

and it was about 17 degrees Fahrenheit
when we shot these scenes.

Right off the edge of the frame,

the wardrobe people were standing with
these huge parkas for Chris and Michael.

-It was really cold.
-It was incredibly cold.

Clint Eastwood
never wore anything like this.

Our location manager, Paul Pav,
worked a miracle

getting the Navajo Indians to
agree to let us build this drive-in set

on their Indian land.

This, Monument Valley, is actually not
a part of the United States.

It's the Navajo Nation.

It's on the border of Utah and Arizona.

Made famous by
all those John Ford Westerns.

Right, so we just had to go here
and shoot this stuff.

It's still the safest plan.

After all, we can't risk sending you back
into a populated area

or to a spot that's geographically unknown.

You'll notice that the movies
that are playing at the drive-in,

the three movies, are all sequels.
And Pav and I came up with that idea

because everybody at the time was saying,

"There's too many sequels,
there's too many sequels."

"What is going on with the movie business"

"that we always have to make sequels?"

So we put those movies
on the marquee there

to remind everybody that even in the '50s,
sequels were very, very popular.

It's Francis in the Navy,
an Abbott and Costello movie,

and a Ma and Pa Kettle movie.

According to my letter, I'm a blacksmith,
so I probably have a shop somewhere.

And when we scouted this,

the nearest airport to Monument Valley
is in Page, Arizona,

so we flew a private plane with
a large number of our crew on it

to scout it and figure out
how we were gonna to do it.

And on our trip back, this was in summer,
this was in July or August.

It was very hot
and there were these really extreme winds.

It was so windy that the plane was buffeted
by these winds, it was terrible.

And the pilot announced
that we didn't have enough fuel

to get back to Los Angeles,

so they had to fly the plane into Las Vegas
to refuel it.

It made for a pretty
terrifying plane flight.

Ready!

-Set!
-Hi-ho, Silver.

Now, this section here
with the Indians and the cavalry,

a large part of that was shot second unit,
directed by Max Kleven,

while we were shooting
the Hill Valley stuff in Part III.

This was shot, I think,
in September or October.

We shot all this stuff first,

and then the art department came in
and built that drive-in.

And we flew in with Michael,

just a handful of us flew in
to hook up with the second unit

in order to get these shots.

Yeah, you went with the second unit there,
didn't you, Neil?

Yeah, I went here, and Michael and Bob,
a couple of other people. We flew in,

did these shots and then flew back out.
It was on a weekend.

The cave!

The art department actually built
that cave there.

It was actually a lot of fun to do,
being out there with all of them.

We stayed at Goulding's Ranch, which is
where John Ford and his crews would stay.

Of course, John Ford's crew,
they'd stay in tents.

Some of this was a set on Stage 12,
and some of it was at the real location.

Obviously, this was at the real location.

Shit! The cavalry!

The riders...

A lot of these people were called
historical re-enactors.

They actually travel around
and re-enact cavalry charges, and so forth.

-And the Indians were largely Navajos.
-Right. That's right.

I remember talking with
some of the Navajos,

and we were asking them,
"Well, you guys can ride horses?"

And they're going,
"We're Navajos, we're born on horses."

"We don't even need saddles."

And the re-enactors
actually live out in tents,

and, you know, cook their
food over campfires and all that.

We tried to put them up in hotels,
but they wouldn't let us.

They refused.

They really wanted to re-enact
what it was like.

Method acting.

Leg there is actually a guy in a bear suit.

That might be a guy in a bear suit
behind him.

Behind him. That one shot was, yeah.

We go over the hill
and we're back in California here.

This location was right near
where the graveyard location was.

Maggie! Fetch some water!
We got a hurt man here.

-Mom! Mom, is that you?
-There, there now.

You've been asleep
for nearly six hours now.

Now, of course,
we couldn't do a Back to the Future movie

without having Lea Thompson in it.

Even though we can't tell you

that the McFlys were intermarrying
with the Baines family.

-We don't want to go there...
-We just wanted to get Lea in the movie.

We just had to get Lea in the movie.

And we had to redo this motif
that's in all three pictures.

Well, you're my... You're my, my...

So we simply say that the McFly men

are genetically predisposed to be attracted
to women that look like Lea Thompson.

...and don't you be forgetting the Mrs.

-And what might your name be, sir?
-Well, it's...

We hired a dialect coach for the movie.
His name was Tim Monich,

and he was great,

just a fanatic at understanding all the
kinds of little subtleties about accents.

Actually figured out what county in Ireland

the McFlys would have come from

and made sure that the accent
was accurate to that county.

-I can't tell you what that county...
-I don't remember.

...would have been.

-That's William?
-Aye.

William Sean McFly, the first of
our family to be born in America.

It's okay, Will.

This here is Mr. Clint
Eastwood here visiting.

He surely likes you, Mr. Eastwood.

We did get permission from Clint Eastwood
to use his name, by the way.

We figured we should do that.

-I think he liked that.
-He did. He did.

-He was a fan of the movies.
-He liked the movies.

...without a horse, or boots, or a hat?

This is a set we built.

And that food pass was made with
an armature, the plate on an armature,

very similar to Old Biff handing the
almanac to his younger self in Part II.

By the time we were doing this movie,

we were much better at figuring out
how to set up these shots.

I'll tell you what I'll do, Mr. Eastwood.

We wanted to add little touches
to show that the West

wasn't quite as romantic as it appears
in some other movies.

So we have dirty water

-and buckshot in the meat.
-Buckshot.

I'll even give you a hat.

That's great. Thanks.

That's my William.

Now, here, the baby
hand-off is very clever.

Lea Thompson is going to wipe the frame

so that Seamus can hand
baby William to Marty here.

-A word with you.
-Aye.

Will you hold him for a minute?

Perfect timing.

If it wasn't perfect timing,
we would have kept shooting it.

We might still be doing it.

...taking him in like that?
He's such a strange young man.

And this, again, is a VistaGlide shot,
this is not bluescreen.

Hey, buddy.

By the time we did the third movie,

we realized that the best way to use
this VistaGlide tool

was to try to figure out how
you would shoot the scene

if you actually had
different actors playing the parts,

and then let the audience
just believe the idea

that these are two different characters

instead of always trying to show off the fact
that you're using this piece of equipment.

We actually used the train tracks here
as dolly track.

-We put the camera on a little flatcar.
-We were up in Jamestown.

-Right, this is...
-Northern California.

This is gold country, Tuolumne County,

which is just north
of Yosemite National Park.

And we knew we needed the train
in the movie,

so we had to go and find
where the train tracks were

and help decide where we were
going to build the town.

Jamestown, the tourist attraction
is called Railtown 1897,

and it is the only functioning
full-scale steam locomotive

that exists certainly in the West,

and maybe in the entire United States,
I'm not sure about that.

We researched Western towns in California,

and we knew that the Chinese, of course,

would have been brought in
to build the railroad.

They usually lived on the outskirts of town
in sort of a tent city.

So, there's that.

-A. Jones, early relative of D. Jones.
-Yeah, great-grandfather of D. Jones.

The train in Jamestown has been used
in dozens of movies and television shows,

including Petticoat Junction.
Walter Hill used it in The Long Riders.

I believe it was used in High Noon,
and Clint Eastwood used it in Pale Rider.

And in fact, the train station there,
that you saw and you'll see again,

was the same train station that was built
for Pale Rider.

Everything else here, we built.

This was the biggest construction job
that ever took place,

adjacent to this railroad.

And this is a spectacular set
that Rick Carter designed.

The only indoor-outdoor set,

although some of the other buildings
we used as storage for equipment.

Dub Taylor, Harry Carey
Jr., and Pat Buttram,

three veteran character actors
from Westerns.

Legendary, actually. We were quite thrilled
to get all three of them.

The woman in the middle there is
our script supervisor Marion Tumen.

She begged us to be a Western prostitute,
and there it is.

And this is Matt Clark,
another veteran of Westerns,

particularly Westerns from the '70s.

Ice water?

Terrific guy.

You want water, you better go dunk
your head in the horse trough out there.

He and Warren Beatty
were roommates at one time.

They were old friends. They were both
from the same town in Virginia.

We had a great cast in this.
All these character actors were great.

I'm trying to find the blacksmith.

Hey, McFly!

Thought I done told you never to come in...

You ain't Seamus McFly.

This gang here, Chris Wynne,
who's the one on the left, the blond,

is an actor, and the other two guys
were primarily stuntmen.

And the ability to ride a horse, of course,

was the number one qualification for being
a member of Biff's gang.

It was Walter Scott, our stunt coordinator,
who was really adamant

about getting guys that were proficient
on horses to be in Biff's gang.

What's that writing mean?

It turns out Chris Wynne had grown up
around horses,

so he was a pretty good rider,

and the other two guys
were excellent riders.

Tom Wilson, being from Philadelphia,

he'd only ridden broken-down trail horses
as a tourist.

But he spent weeks learning how to ride
and rope and shoot.

Our chief wrangler was Corky Randall,

a veteran of years and years of Westerns.

And we had something like 90 horses
brought in for this.

Dance!

Come on!

On the weekends, I remember the horses
needed to be walked and given exercise,

so those of us who had kids
would bring our kids around on the set

-on Saturday or Sunday...
-And exercise the horses.

And the wranglers would let the kids go
for horse rides.

I remember your daughter, Neil,
she just couldn't get enough of that.

She couldn't get enough.
I have some great photographs.

My daughter was only 18 or 19 months old,

so she got on the horse, but she didn't
know much about what she was doing.

We had a lot of fun on this
because we were on location, away from LA.

People had their families up there,
it was a beautiful area.

You better run, squirrel.

Yeah, Don Burgess, who was
the second unit director of photography,

he moved his whole family up there

and actually enrolled his kids
in the local school up there.

We started shooting this
in late August, 1989,

and we finished shooting
in Tuolumne County, in this area,

in the middle of November, I think.

I remember it was extremely hot
in August and September up here.

It would be upwards of 100 degrees
in the daytime.

The wide shots are Charlie Croughwell,
Michael's stunt double,

and the close-ups, we actually dragged
Michael around on the ground.

Some of it was done on a horse.

Some of it was done on this
Benny the Car thing

that Bob Zemeckis told you about
on the other commentary.

But the horse worked better.

We had Michael rigged with some ropes
so that we didn't really hang him,

but nevertheless this was
a very dangerous thing to do.

Yeah, haven't had a hanging in a long time!

The property master made a gift
to Bob Zemeckis of Doc's rifle here.

...and it's pointed straight at your head!

Tom Wilson says that he based his

characterization of Buford
on Lee Marvin's Liberty Valance, right?

Right. Yeah.

So, there's a lot of that in here.

Those of you that have never seen
The Man Who Shot Liberty Valance,

go out and rent it. It's a terrific,
terrific movie with some great acting.

Directed by John Ford,
who we talked about earlier.

So the way I figure it, blacksmith,
you owe me $5 for the whiskey

and $75 for the horse!

So, all throughout the history
of the Tannen family,

the Tannens were drinking while they were
on various modes of transportation.

If you remember in Part I,

Biff was drinking beer when he wrecked
George's car at the beginning of the picture.

One day you're gonna get
a bullet in your back.

Doc!

Marty, I gave you explicit instructions
not to come here

but to go directly back to 1985.

Chris Lloyd has never looked better
than he looks in this movie, I think.

The hat is great, that long duster coat.

Joanna Johnston just did a fantastic job
with the wardrobe on this show.

Or hanged.

What idiot dressed you in that outfit?

You did.

"September 7"?

That's this Monday!

The nice thing about being able
to build your own town

was that we were able to orient
all the buildings

exactly the way they needed to be
for some of the shots

that Bob dreamed up in his head.

So he was able to have this barn,

blacksmith's shop constructed
so that it was orientated

so that that back window would look out
towards the train tracks,

and we can do the shot that comes up later
with the train back there.

Hugh Gillin, who plays the mayor here,

actually, was in Bob's student film

that he shot in 1972 at USC
called A Field of Honor.

It was a wonderful, wonderful reunion
that Bob and Hugh had.

Hugh did the movie
just on an open casting call,

the student film, never knowing
whether anything would ever come of it.

Imagine his surprise that that kid
that he did a movie for back in the '70s

was now making a $45-million movie.

And he was in it.

Marty, it's impossible.

The idea that I could fall in love
at first sight is romantic nonsense.

There's no scientific rationale
for that concept.

Come on, Doc. It's not science.

You meet the right girl,
it just hits you. It's like lightning.

Marty, please don't say that.

That's the way it was for me and Jennifer.

I mean,
we couldn't keep our eyes off each other.

God, Jennifer, damn.
I hope she's all right, Doc.

All this equipment here

is a wonderful marriage
between the art department

and the special effects department.

And a nightmare for the sound department.

Marty, turn that valve over there
all the way to the right.

Bill Kaplan did like this for the
same reasons that everybody else did.

We were very far away from anything
and it was very quiet here.

We moved the trucks with the generators

a quarter, half a mile down the road.
We had long, long runs of cable

to bring electricity here
so that we wouldn't hear those generators.

The downside to being
in a very secluded, quiet area

is that sound travels very, very far.

We'll get the DeLorean
and get ourselves back to the future.

We built baffles around the generator
to help Bill out.

Yeah, it's no big deal.
We've got Mr. Fusion, right?

Mr. Fusion powers the time circuits
and the Flux Capacitor,

but the internal combustion engine
runs on ordinary gasoline.

Now, some people wonder why doesn't Doc

go dig up the DeLorean
that he's already hidden in the mine shaft

for Marty to find in 1955,
and use the gasoline out of there?

Well, there's two reasons
that I can give you for that.

You would drain the gasoline out of a car

that you were going to put in storage
for that many years,

and Doc would also have been hesitant
about wanting to disturb the DeLorean

because he might break something
on the DeLorean

and it would ruin the space-time continuum.

In that scene there,
with the DeLorean being driven by horses,

of course Doc would know that
there's no way that they would have gotten

the car up to that speed,
but it was such a great image.

It's sort of the signature image
of this movie. We had to do that.

Bartender said
that's the strongest stuff they got.

Try it, Marty.

Give it more gas!

Damn!

It blew the fuel injection manifold.
Strong stuff, all right.

It will take me a month to rebuild it.

A month?

Doc, you're gonna get shot on Monday!

I know! I know! I know! I wish...

So, here's the shot that brings us
all the way to this window

and the camera keeps on moving,
all in one shot here,

and then the train comes in
in the background.

And this is what you can do
when you've got the time and the money,

and you're building your own sets.

We know it won't run under its own power.
We know we can't pull it.

I don't remember how many times
it took us to time this

so that the train pulled in right on cue.

It took us quite a while, I think.

You can't just start the train
from standing still and have it appear.

That's it.

How fast can she go?
Why, I've had her up to 55...

This is Bill McKinney,
another veteran character actor.

For those of you that are familiar
with the movie Deliverance,

he uttered the immortal line,
"Squeal like a pig."

It's just a little bet he
and I have, that's all.

Theoretically speaking, could it be done?

Well, I suppose, if you had a straight
stretch of track with a level grade,

and you weren't hauling no cars behind you,
and if you could get the fire...

Bob did a lot of very wonderful shots
all in one take here.

Tell me, when does the next train
come through here?

Monday morning at 8:00.

Here. This spur that
runs off the main line...

Now, watch carefully in this scene.
You'll see in the background,

Mary Steenburgen is standing
at the train station

waiting for somebody to pick her up
at the train station.

Funny. This map calls Clayton Ravine
Shonash Ravine.

That must be the old Indian name for it.
It's perfect.

A nice long run that goes
clear across the bridge over the ravine,

you know, over near that
Hilldale housing development.

Here we are. This is all, again, one...

-There's Mary.
-There she is.

And the clock back there, as well.

This trestle, we built.

This was about five or six miles away
from our primary location,

and Rick Carter and the art department
built this trestle.

Don't you see? The
bridge will exist in 1985.

It's safe and still in use.

Therefore, as long as we get the DeLorean
up to 88 miles an hour

before we hit the edge of the ravine,

we'll instantaneously arrive at a point
in time where the bridge is completed.

We'll have track under us
and coast safely across the ravine.

-What about the locomotive?
-It will be...

Now, it was important for us
to come up with a back story

and an alternate history for Clara Clayton,
the Mary Steenburgen character.

Since we knew that Doc was going to end up
with her at the end of the picture,

we had to establish the idea that
had Doc not been in the Old West,

she would have gotten killed.

So that her surviving and living with Doc

doesn't upset anything
in the space-time continuum.

So for those of you that are unclear

on the various different histories
that would have happened

when Doc read about this
in the history books growing up

and having not been back in the 1880s,

Clara arrived at the train station.
Nobody was there to pick her up.

She rented this buckboard
and nobody was there to save her.

She went over the cliff and died.

And so they named Shonash Ravine
"Clayton Ravine" in her memory.

In the alternate history,
before Marty comes back,

Doc Brown picked her
up at the train station,

and that's how they met and fell in love.

And now in this version,

it's an amalgamation of the two.
Doc wasn't there

to pick her up at the train station,
but he rescues her here,

and Cupid fires his magic arrow.

Clara!

What a beautiful name.

Mary Steenburgen was our first
and only choice for this role.

We never considered anybody else

and had she turned us down,
I don't know what we would've done.

-We didn't have a second choice.
-We didn't have a backup idea.

I remember she came over to Amblin
and had lunch with us

to meet us, and we were so nervous
that she was gonna not like us

and decide not to do the movie.

And she told us a story
that her children were so excited

that she had been offered this part

that there was no way
she could have ever turned it down.

So, Mary's kids, wherever you are...

-Thank you.
-Thank you, yes.

We're indebted to you for making your mom
do this movie.

You know, I'm almost glad
that snake spooked those horses.

Otherwise, we might never have...

This cabin and the adjacent schoolhouse,

we built both of these for this movie.

You're quite welcome.

Bob got very spoiled,

being able to have
all these great buildings built

to do exactly every camera move
and everything that he wanted.

So by the time he did Forrest Gump,

he'd send Rick Carter and Don Burgess
with a GPS unit

to figure out exactly
where the sun was going to be.

We did a little bit of that on this

to know that the sun would work for us
and not against us.

Toodle-oo.

When we made Used Cars, we were
always fighting the sun and hard shadows.

So Rick Carter paid careful attention
to where the sun was going to be.

And we didn't have to worry about hard,
long shadows ruining...

Or too much sunlight ruining our shots.

After all, Miss Clayton almost ended up
at the bottom of Clayton Ravine.

Clayton Ravine.

Holy shit. Hey, Doc, Clayton Ravine...

Chris Lloyd had done
enough movies where he,

although not an accomplished rider,
was very comfortable on horses,

and in fact, at the time,
had a ranch in Montana.

Great Scott!

And Michael J. Fox, of course,
had not had any experience on horseback.

So between Corky Randall and Walter Scott,

all of the actors did a lot of practice
on their riding.

...get the DeLorean ready
and get the hell out of here.

I wish I'd never invented
that infernal time machine.

It's caused nothing but disaster.

Doc, Doc, this is Marty.

Do you read me? Over.

Check, Marty.

Great, Doc. These things still work.

The rail wheels that Doc is putting
on the DeLorean there...

It turns out that the carriage of a car
is not too far off

from the width of train tracks.

We'll load the DeLorean
onto the tracks here, on the spur...

And when we were
originally scouting this area,

the folks at Railtown had a car

that actually ran on the tracks

with rail wheels on it.

So we'd drive down
these tracks in this car.

When we took the whole crew out
for a scout,

we actually went on the train.

I remember riding on that flatcar.
It was great.

-We had a party on the train.
-That's right.

We started...

Right before we started this movie,
we had a kickoff barbecue.

Everybody got to ride on the train
for a couple of miles along the tracks

to an area where we had
a big barbecue set up and Western music.

A lot of fun.

Train pulling out of the station!

Coming up to the switch track!

Stop at the switch track!

Throw the switch!

Pull up to the DeLorean!

If you didn't notice, the vents on the back
of the toy DeLorean, they're bullets.

It couldn't be simpler.

Hello?

Now, this, of course, is a reference
to the scene in Back to the Future I,

when Lea Thompson shows up at Doc's lab.

"Quick, cover the DeLorean!"

-Hello.
-Why, hello.

This is quite a surprise.

Mary Steenburgen's father

was a conductor on freight trains,

and I remember she was telling us how
being around these trains

brought back a lot of
good memories for her.

Since you mentioned
an interest in science,

I thought you might be able
to repair it for me.

I would pay you, of course.

No, no, no.
I wouldn't think of charging you for this.

Well, let's have a look at it.

I think a lens may be out of alignment,

because if you move it this way,
the image turns...

And of course, story wise,
what we're doing here

is having Marty and Doc change places,

Doc becoming the irresponsible one

and Marty becoming
the voice of reason here.

I could repair it right away
and have it for you tonight.

Tonight is the town festival.

I wouldn't dream of having
you work on my telescope

during such an important occasion.

You are planning on attending, aren't you?

Michael's just kind of doing little things
with his face and expressions,

kind of like what Chris Lloyd did
in the first movie.

They developed a great rapport,
Michael and Chris,

really enjoyed working with each other.

Thank you for taking care of my telescope.

You're quite welcome.

Veterans of very different styles
and schools of acting,

Chris being a theater-trained actor,
and Michael being a TV-trained actor.

Now, originally, Bob had the idea
of getting Ronald Reagan

to play the mayor of Hill Valley.

He would have just been in this scene.

And Bob called up Lew Wasserman,
Wasserman had been Reagan's agent,

and asked Lew to call Reagan,
who's, of course, no longer president

by 1989, and offer him this part.

And from what we understand,
Reagan actually considered it

but decided against it.

-It would have been really cool.
-It would have been great.

Reagan, as you may have heard
from the supplements on the first movie,

was a big fan of the
first Back to the Future.

-That's Dean Cundey.
-Yeah, Dean Cundey.

-Still photographer.
-Still photographer.

Smile, Doc.

This is, of course, ZZ Top
fronting for a group of local musicians.

My best memories of shooting this movie
was this scene.

The town festival.

We were shooting at night
in the summertime,

so the weather was great and it
really felt like we were back in time.

In between shots, ZZ Top would be playing
with the local musicians

and it was a nice atmosphere,
to have music on the set.

Yeah, ZZ Top had absolutely no ego
about hanging out with everybody.

They were having as good a time
as anybody else was.

It turned out that they were fans
of the first two movies

and were thrilled
when we asked them to do this.

And their manager just couldn't understand

why we didn't want to put
the ZZ Top car in the movie.

-Good evening.
-Evening.

You look very nice.

Thank you.

We got a choreographer
who spent a lot of time

working with Chris and Mary
on their dance routine.

Mary actually sprained her ankle
while she was practicing,

and her ankle was all taped up
with an ACE bandage.

Nothing we could do about that.

We had to film these scenes
when they were scheduled,

so she came through
like the trouper that she is

and danced with her bandaged ankle.

One of the inspirations for this style
of dancing was another John Ford movie,

-My Darling Clementine.
-That's right.

Where Henry Fonda dances
in a rather strange fashion.

This is Burton Gilliam.
He had a wonderful part in Blazing Saddles.

-He had a small part in Paper Moon.
-That's right.

Now, then what you do
is you just ease that hammer back there

and squeeze off a round.

No, no, no!

Right on out there and be real smooth.

That's the way you do it.

Now, this joke here about 7-Eleven
was another one of our jokes

that didn't translate directly
into foreign languages

because 7-Eleven wasn't very well known
in other countries

and certainly not as a place
to go play video games.

So in the foreign versions,
instead of saying 7-Eleven,

he says Disneyland.

Buford, you sure that blacksmith
is gonna be at this here shindig?

Sure he's here. Everybody's here tonight.

You gentlemen will have
to check your firearms...

This is Donovan Scott playing the deputy,

an actor that Bob and I got to know
during the production of 1941.

Marshal Strickland.
I didn't know you was back in town.

If you can't read the sign, Tannen,
I presume you can read...

We thought it would be wonderful
to have at least one member

of the Strickland family tree
have an incredible head of hair.

So we went
the General George Custer route here.

-We all were. Weren't we, boys?
-Yeah, right.

Tannen.

Your knife, too.

Smile, Marshal. After all, this is a party.

Only party I'll be smiling at is the
one that sees you at the end of a rope.

One of the best things
about doing a Western

is being able to write
lines of dialogue like that.

See, that's how you handle them, Son.

Never give them an inch
and maintain discipline at all times.

Remember that word, discipline.

And we know that he does.

-Goes on for generations and generations.
-A family tradition, that's right.

Thank you very much.

Why, Mr. Eastwood, nice to see you.

I see you got yourself some
respectable clothes, lad, and a fine hat.

Yeah, well, a couple people didn't like
the way the other one looked on me.

Sure, and that one suits you, Mr. Eastwood.

-It's very becoming.
-Thanks.

Hey, "Frisbie." Far out.

Now, I'm trying to remember,
I think that was shot...

-This was bluescreen, wasn't it, Neil?
-Yes.

-It was right in front of him.
-Aye.

By not having the characters
cross in front of each other,

there was no reason
not to shoot that bluescreen,

and it was just much easier.

There were too many things
that could change shooting at night

on a real location.

And I suppose it was Ken Ralston
that must have asked us to do it that way

to make his life a little bit easier.

What are you gonna do, boss?

I figure if I bury this muzzle deep enough
in his back, nobody will hear the shot.

Careful, Buford.
You ain't got but one bullet with that.

I only need one.

There's our homage
to My Darling Clementine.

I told you to watch your back, smithy.

Tannen, you're early.

It's a Derringer, smithy.
Small but effective.

The last time I used it,
fellow took two whole days to die.

Bled to death inside.
It was real, real painful.

That means you'll be dead
by about supper time Monday.

Excuse me. I don't know who you think
you are, but we're dancing.

So, in the version of history
when Doc actually died,

Buford did shoot him here
and it took him two whole days to die.

Shot in the back,
but just because he was shot in the back

didn't mean that he died on that exact day.

Easy mistake to make,

if you weren't familiar with
small caliber firearms.

You know, smithy, maybe I'll just take
my $80 worth out of her!

Tannen, leave her alone!

Yeah, I bet there's something you can do
that's worth $80.

I believe you've underestimated me, mister.

Have I?

Stop it! Damn you, Tannen!

No, I damn you!

I damn you to hell!

You.

The legend of the Frisbee is that
it actually got its name

from the Frisbie pie company
which, I think, was in Pennsylvania.

Strong words, runt!

You man enough to back them up
with more than just a pie plate?

Guys that worked at the company
would toss the plates around at lunch time.

That's how the Frisbee came to be known
as the Frisbee.

What's wrong, dude? You yellow?

That's what I thought. A yellow belly.

Nobody calls me yellow.

The actors, of course, had a great time
playing around with this stuff.

Not now, Buford. Marshal's got our guns.

Like I said, we'll finish this tomorrow!

Tomorrow we're robbing the Pine City stage.

What about Monday?
We doing anything Monday?

No, Monday would be fine.
You can kill him on Monday.

I'll be back this way on Monday.
We'll settle this then.

Right there out in the street...

This was all just a way for us
to make the times work out properly.

So, when in doubt, turn it into a joke.

I do my killing before breakfast. 7:00!

8:00. I do my killing after breakfast.

Marty!

I don't know how we got that baby
to cry on cue like that.

Nobody had any lines,
so I guess we just ran the camera

until the baby did something
and Michael turned his head.

Any brawling, it's 15
days in the county jail.

All right, folks. Come on, this is a party.
Come on! Let's have some fun!

This is, of course, the Western version
of the song Doubleback

that ZZ Top wrote for this picture.

At the time we shot this scene,
they hadn't written the song,

so the band was playing something else
with the same tempo.

Marty, what are you doing,
saying you're gonna meet Tannen?

Hey, Doc, Doc, don't worry about it.

Monday morning 8:00 a.m.
We're gonna be gone, right?

Theoretically, yes,
but what if the train's late?

-Late?
-We'll discuss this later.

No, we'll discuss it now. Late?
What do you mean?

-Thank you for your gallantry, Mr. Eastwood.
-Hey, ma'am.

Had you not interceded,
Emmett might have been shot.

Marty... Clint, I'm gonna take Clara home.

-Right. Good night, Doc. Good night, Clara.
-You sure set him straight, Mr. Eastwood.

I'm glad somebody finally got the gumption
to stand up to that son of a bitch.

You're all right in my book, Mr. Eastwood.
I'd like to buy you...

Once again, Bob working out
a wonderful camera move

to keep the frame active,
keep everybody moving,

and playing a lot of information,
all in one continuous take.

Hey, no problem. Thanks a lot.

Of course you understand that if you lose,
I'm taking it back.

Thanks again.

You had him, Mr. Eastwood.
You could have just walked away,

and nobody would have thought
the less of you for it.

This is bluescreen here.

Instead, you let him rile you.

We shot Seamus and Lea Thompson
on location,

and the Marty side of this
was done much later,

-I think, at ILM.
-Yeah, it was done at ILM.

Had a brother.

Martin used to let men provoke him
into fighting.

He was concerned that people
would think him a coward if he refused.

That's how he got a Bowie knife
shoved through his belly...

One of the bits of technology
that we developed for this

was to playback the performance
in an earpiece that the actor would wear

so that an actor playing a scene
with himself

could hear the lines
that he was playing against.

And that crater in the middle north west,

the one that's out there
all by itself like a starburst,

that one's called Copernicus.

Listen to me. I feel
like I'm teaching school.

Please, continue the lesson.

I never found lunar geography
so fascinating.

You're quite knowledgeable.

When I was 11, I had diphtheria.
I was quarantined for three months.

So my father brought this telescope,
and he put it next to my bed

so I could see everything out the window.

Emmett, do you think we'll ever be able
to travel to the moon

the way we travel across the country
on trains?

Definitely. Although not for 84 years
and not on trains.

We'll have space vehicles,
capsules sent aloft with rockets.

This scene here is Christopher Lloyd's
first onscreen kiss.

For as many movies that he's been in,

for a long, varied
career up until this point,

he never got a chance to kiss the girl.

You're quoting Jules Verne
From the Earth to the Moon.

You've read Jules Verne?

So this was a historic, historic moment.

When Back to the Future III came out,
we had a very hard time

trying to find anybody that wanted to do
any publicity stories about the movie,

because they all felt,
"Well, six months ago, we already did"

"the Back to the Future sequel story,
when Back II came out."

So we were desperate to try and figure out
how we could get some kind of

a major press story
about Back III, somehow.

It turns out Chris Lloyd has never granted
an interview. He's terrible in interviews.

And so our publicist did a major coup
and got The New York Times

to agree to do a Sunday New York Times
interview with Christopher Lloyd.

This was after, of course,
we'd finished shooting the picture,

and I remember having talked
to the reporter,

to give her some background,
and I was very anxiously...

It was a Sunday, they were having lunch,

Chris was having lunch with this reporter,

I was very anxiously waiting
to hear how it went.

'Cause I asked the reporter to call me
after the interview was finished.

She called me and told me
that Chris basically said nothing.

He's very shy in real life
and doesn't like to talk about himself,

so she created the interview
by interviewing Bob Zemeckis

and Michael J. Fox and Mary Steenburgen,
everybody around Chris,

and kind of put words into his mouth.

But it did run in the
Sunday New York Times.

I remember all these little girls
squealing in the theater

when they saw Michael's butt
in that previous shot here.

Well, I'm the only one here.

Go ahead, make my day.

Now, the townspeople that talk to him here
are all members of the crew.

That's Michael Klastorin, the publicist.

That's Michael Mills,
one of our makeup artists,

and Kenny Myers with the Bible,
another makeup artist.

Everybody wanted to get in,
get into the Old West, get in a costume.

The building, back there,
under construction,

I think we originally intended to
finish that, but we ran out of money,

so there was no reason why
we couldn't just have

a building under construction.

-Doc, what are you doing?
-Nothing.

I was just out enjoying the morning air.

It's really lovely here in the morning.
Don't you think?

Yeah, it's lovely, Doc.

So listen, we've got to load the DeLorean
up and get ready to roll, all right?

Hey, look at that, the tombstone.

Marty, let me see that photograph again.

My name, it's vanished.

Hey, that's great, Doc. Don't you get it?

We're going back to the future tomorrow,
so everything's...

Once again,
here's that movie logic happening.

We figured that as long as Doc Brown
explains what the rules are here,

you, the audience,
will just go along with it.

And since nobody has ever
traveled through time

to disprove what Doc is saying,
it may be absolutely accurate.

Might as well be prepared.

So it may not be my name that's
supposed to end up on this tombstone.

It may be yours.

-Great Scott.
-I know. This is heavy.

-Yes, Doc and Marty...
-Role reversal.

...truly change places at this point.

But if Buford Tannen comes looking
for trouble, I'm gonna be ready for him.

You heard what
that son of a bitch called me last night.

Marty, you can't go losing your judgment
every time someone calls you a name.

That's exactly what causes you
to get into that accident in the future.

What? What about my future?

We had to bring reference
to Marty's automobile accident here,

because, again, six months have gone by
since Back to the Future II is in release,

and we were very concerned that people
wouldn't remember that.

Maybe even with Doc saying it,
they don't remember it. I don't know.

Now, these train tracks here,
this was working train tracks.

Twice a day, I think it
was just twice a day,

-the real train...
-Twice a day.

Twice a day,
the real train would come through,

so the assistant directors
had a train schedule,

and we always had a forklift standing by
whenever we were

working with the DeLorean
on the train tracks

so that five or 10 minutes before the train
was scheduled to come through,

we could have the forklift driver
get the DeLorean

off the tracks and move it away
so that the train would pass through

without destroying the DeLorean

or killing any members of our crew.

...this one little photograph
determine my entire destiny.

I have to live my life according
to what I believe is right in my heart.

This, again, is a scene
done all in one shot.

So you tell me.
What's the right thing to do?

Beautifully acted and orchestrated here.

You're right, Marty.

Al Silvestri's score is just perfect
in this movie.

This, as I recall, is one of the very last
things that we shot on this location.

We only had two actors by this time
that we had to worry about.

That building behind, I think, was
something that was built for Pale Rider.

Yeah, it was. That was
a Pale Rider building.

Maybe we...

I don't know,
maybe we can just take Clara with us.

To the future?

As you reminded me, Marty, I'm a scientist,
so I must be scientific about this.

Again, as I mentioned in the last movie,

Doc's bandana there is made of the shirt he
was wearing in Back to the Future Part II.

...destroy this infernal machine.

Traveling through time
has become much too painful.

Wonderful to do a scene like that
with just no dialogue.

You know exactly
what Doc is thinking about.

It's Emmett, Clara.

Emmett, won't you come in?

No, I better not. I...

What's wrong?

I've come to say goodbye.

Goodbye? Well, where are you going?

I'm going away. And well, I'm
afraid I'll never see you again.

Emmett!

I read a lot of material
from the period to try

to come up with the vocabulary
that the characters would use,

especially an educated woman like Clara...

And where might that be?

...as well as the Bible, because the Bible was
a primary source of education in those days.

So some of the dialogue
that she says in this scene

about "whoppers" and "mendacity"
and so forth,

is great stuff I found from period writing.

I don't understand
what you're trying to say.

Clara, I don't think there's any way
that you can understand it.

Please, Emmett. Please, I have to know.

If you sincerely do love me,
then tell me the truth.

Mary just had a great way of delivering
this, and it just sounds terrific.

I came here in a time machine
that I invented,

and tomorrow I have to go back
to the year 1985.

Of course, the master of period dialogue
from these days was Mark Twain,

my favorite author.

I understand that because you know
I'm partial to the writings of Jules Verne,

you concocted those mendacities
in order to take advantage of me.

I've heard some whoppers in my day,

but the fact that you'd expect me
to entertain a notion like that

is so insulting and degrading!

All you had to say is, "I don't love you,
and I don't want to see you anymore."

That, at least, would have been respectful!

But that's not the truth.

Again, the advantage of being able to build
a set to do exactly what you want

to have happen in the story.

This camera move here,
to go to the windowsill, include the bed,

and have Mary in a frame.

Good to see you, too.

Emmett. What can I get you?

The barbed wire salesman there
is Richard Dysart,

mostly known to audiences from
his starring role in the show L.A. Law.

You know what happened to you
on the Fourth of July.

-Quite an accomplished actor.
-Accomplished actor.

He was also in Pale Rider.
He was the villain in Pale Rider.

And I think that might have been
one of the reasons that he was on our mind,

having seen how great he was
as a period character.

I really think we were nervous
'cause we thought the part maybe

wasn't big enough for him to do,

but once again, it helps when people are
fans of the movie.

One in a billion. One in a googolplex.

He'd been doing L.A. Law for so long,
I don't think anybody'd

put him in a movie in a couple of years.

So he was also delighted to do something

completely different
than he was doing every week on TV.

...is that you never know
what the future might bring.

The future. I can tell
you about the future.

Oh, man, did I sleep.

What time is it, Doc?

Doc?

Wake up!

Get up! Let's go!

I got me a runt to kill.

It's still early, boss. What's your hurry?

I'm hungry.

And in the future, we don't need horses.

We have motorized carriages
called automobiles.

The three old timers there, we just kind of
thought of them as a Greek chorus

in a traditional old play.

They were a lot of fun to have around.
They had stories.

Harry Carey Jr., who's a veteran of all
the John Ford movies that we loved,

he had a photographic memory.

And you get him started telling stories,
and he just kept us mesmerized

with some of the things that he recalled.

Everybody on the crew kept telling him
he had to write his memoirs,

he had to write a book, and finally he did.

The book was called
In the Company of Heroes,

and it's quite an enjoyable read.

Doc! Doc! What are you doing?

I've lost her, Marty.
There's nothing left for me here.

All right, that's why you gotta come back
with me.

-Where?
-Back to the future!

-Right! Let's get going!
-Great.

Gentlemen, excuse me,
but my friend and I have to catch a train.

Here's to you, blacksmith.

Pat Buttram, on the right, was a character
in Petticoat Junction.

Dub Taylor, somebody that Bob and I
got to know from 1941 and Used Cars.

Talked so fast that sometimes you couldn't
even understand what he was saying.

Come on, Doc. Wake up. Wake up, Doc!

-How many did he have?
-Just the one.

Just the one? Come on, Doc.

I'm trying to remember.

Did we come up with that joke
at the time we were shooting it?

That he would have
only just been holding it.

-Yes.
-Matt Clark might have thought of that one.

Yeah, we did.

Much better solution
than having Doc actually get drunk.

Right, 'cause we thought that Doc
ultimately couldn't be drunk.

People wouldn't want to see Doc drunk.

You want to sober him up in a hurry, son,

you're gonna have to use something
a lot stronger than coffee.

Yeah, what do you suggest?

Joey, let's make some wake-up juice.

Now this, of course, is a result of

our having watched
too many Three Stooges shorts

-growing up.
-Right.

This actually won't work if you're drunk.

-So don't try it.
-Well, we don't know, actually.

They might have had something back then
that we don't have anymore,

or that's an illegal controlled substance
that would have done this.

But, no, doctors'll tell you that
the only antidote for being drunk is time.

Let it get out of your system.

-He's still out!
-That? That was just a reflex action.

It's gonna take a few more minutes
for the stuff to really clear up his head.

Perfect.

That purple dress that Mary is wearing

caused tremendous headaches for ILM.

There was just a little bit
too much blue in that purple.

It made them crazy on the bluescreen stuff
that we do with her later on.

But it's a great dress.

Joanna Johnston worked very hard
to find that exact shade of purple,

and she was adamant that
that was the right color.

Something inside me told me
I should be here

as if my future had
something to do with it.

He'll come around in a minute. Come on.

Come on, Doc. Let's go, Doc!
Let's wake up now, buddy. Come on.

A very elaborate shot
done with a VistaGlide.

Not bluescreen, that's...

It was done with two passes.

It's 8:00, and I'm calling you out.

We figured, of course, in the Old West,

nobody would ever be sure
exactly what time it was

since the only way they had
of figuring it out was...

Well, it would have been
originally from the sun.

Of course, once the railroads came in,
they created time zones

so that the trains could run on time.

Listen.

I'm not really feeling up to this today.

So I'm gonna have to forfeit.

Tom Wilson's so great here.

-Yeah, it's a funny sequence.
-Just so funny.

What's that mean?

-It means that you win without a fight.
-Without shooting? He can't do that.

Hey, you can't do that!

You know what I think?

I think you ain't nothing
but a gutless, yellow turd!

And I'm giving you to the count of 10
to come out here and prove I'm wrong!

One!

Doc, come on, sober up, buddy.
Let's go...

Now, in researching this,
figuring out how we were going to film it,

we, of course, watched
lots and lots of Westerns,

everything from John Ford to Sergio Leone.

-What?
-Five!

-What if I don't go out there?
-You're a coward.

Six!

And you'll be branded a coward
for the rest of your days!

There was no Western
that we ever found where

somebody refused to take their place
in a gunfight like that.

So this was a lot of fun.

Seven!

Now, one of the things
that we noticed is that

in most Westerns,
you always have these long bars

that have an L in them or a U,

so that you could have characters
facing each other

and not be in profile.

Nine!

Ten!

Do you hear me, runt?

I said that's 10...

You can do such great stuff
with these cowboy hats,

using them in your frame,
as you saw in the shot

where Michael J. Fox looks up.

And I don't care
what anybody else says either.

-Doc! Doc, you okay?
-I think so.

What a headache!

-Listen, you got a back door to this place?
-Yeah, it's in the back.

Let's go, Doc.

Are you coming out here,
or do I have to come in after you?

The thing I really miss here is Tylenol.

Hey!

I remember we took the movie to preview.

The only point of contention
that anybody had was,

how many times
do we show that stove door?

-Remember?
-Right.

The stove door that he uses
for the bulletproof vest.

Whether seeing it
in that one shot was enough,

or whether we had to have him
look at it a second time.

And my recollection is
we previewed it the way it is here,

and everybody got it, so...

Bob was worried about that. He thought...

So we just left it with the one time.

He thought we might need to see it again,
but you don't.

Listen up, Eastwood!

I aim to shoot somebody today,
and I prefer it'd be you.

Right, 'cause we also didn't
want to give it away.

Yeah, we didn't want to telegraph it.

It was one of those things where
you have to be careful

in terms of how you set stuff up.

You can't make it too obvious.

You want to have that moment
of the reveal work

so that when the audience sees it, they go,

"Of course, I remember that stove door."

I've never seen a man so broken up
over a woman.

What did he say her name was? Cara? Sara?

-Clara.
-Clara.

-Excuse me.
-Ma'am?

This line of Mary's here is

my wife's idea, actually.

You know him.

I had originally written it,
"Did he have wild eyes"

"and unkempt hair?"

"She said, " No, she's in love with him.

"She would have all these
wonderful descriptions of him."

And she's right.

Time's up, runt!

Prepare to meet your maker, blacksmith.

Right here, Tannen!

So, we used every single shot

that's ever been in a Western gunfight
in this sequence here.

We thought this might be the only
opportunity we'd ever get to make a Western,

so we used them all.

And that was Tom Wilson actually
twirling the gun like that.

There was a guy named Arvo Ojala,

whose job was to instruct actors
on how to handle firearms.

He was a quick draw artist,

and he taught Tom how to do that.

Draw!

That's one of the great things about
America, there's a job for everybody.

And this guy was able to make a living
being a quick draw artist.

I thought we could settle this like men.

You thought wrong, dude.

All we can say is thank God
Buford didn't shoot him in the head.

Tom's so great here, this walk.

That little whip that he's got in his hand,

that is a direct reference
to The Man Who Shot Liberty Valance,

as is the knife.

We actually had flies all over the place
during the shooting of this.

You'll find on the outtakes, a shot where

Michael J. Fox is laying there,
and a fly actually lands on his face.

The other thing that we had plenty of,
shooting here, was dust.

There was so much dust.

Some of the crew actually took
to wearing those paint masks

to keep the dust out of their lungs.

A lot of us had coughs
for several months after this

from inhaling all this stuff.

-Can't have a Back to the Future without...
-Without a manure gag.

That was good.

You'll see in the deleted scenes,
a scene where

Buford actually kills Marshal Strickland.

And that's why it's not Marshal Strickland
who rides up here to arrest Tannen.

Buford Tannen, you're under arrest
for robbing the Pine City stage.

What he actually said is,
"You're under arrest for the murder"

"of Marshal James Strickland."

We cut away to excise
that line of dialogue.

We decided that it was too grim to actually
have this murder committed in the movie.

It put a pallor on everything.

And it also made the audience want
Marty to kill Buford

'cause he shot Strickland in the back.

Seamus!

It's worth $12. Never been used.

This was just done with doubles here.

Not even doubles, two close-ups.

No reason to have them both
in the same frame, we've seen it enough.

Emmett!

Emmett!

Emmett!

Wonderful example here
of using the same thing

to do two different things dramatically.

This is some great, great riding here.

It's very hard to do,
to ride in between the rails like that.

Yeah, the horses definitely
don't want to do that.

As Bob explained on the other track,

there was always a horse ahead of the horse

for the horse to follow,
for the actor's horse to follow.

Whenever you see an actor on it,
there was another horse there.

When there was a stuntman,
there may not have been.

Jennifer Watson was Mary's stunt double.

R.L. Tolbert was Christopher Lloyd's.

And Charlie Croughwell is
Michael J. Fox's stunt double.

Come on, Marty.

We would have flatcars

either in front of or behind the train,

with all the crew,
moving along with the shooting.

And on some... Sometimes we actually had
the camera rig built on the flatcar.

-Reach!
-Is this a holdup?

It's a science experiment.

-That's one of my favorite lines.
-Me, too. I've always liked that one.

We had some problems
when we were filming this part here,

because we had...

-Doc!
-Uncouple the cars from the tender!

Down the line, we got into
some kind of airplane flight path,

and we'd see the trails in the sky...

-The contrails.
-Contrails in the sky, and so...

We kept having to wait
for those to disappear.

And whether or not you see contrails
is completely weather-dependent.

Depending on how warm or cold it is
and how much humidity there is,

creates the conditions for

very visible contrails or none at all.

The real engineer was on the opposite side
of the locomotive

from where Chris Lloyd is.

We learned that you can operate the train
from either side.

What are these things, anyway?

My own version of Pres-to-Logs.

Compressed wood with anthracite dust
chemically treated to burn hotter and longer.

I use them in my forge
so I don't have to stoke it.

These three in the furnace
will ignite sequentially,

make the fire burn hotter,
kick up the boiler pressure,

and make the train go faster.

Ready to roll!

The actual number of the train
was Number 3,

so we put 1s on either side of it.

Emmett!

When we were filming a lot of this sequence
was the same time that we were

finishing the final dub on Back II, and...

All right, so Neil was on the
set all the time, and I wasn't.

And Bob was down in Los Angeles
on the dub stage,

and Bob Z. and I would...
We'd work until 4:30,

because it was all daytime exterior,
and we were losing the light

up in Jamestown,
and then they'd drive us to Columbia,

which was a neighboring town
that had a tiny airstrip,

and we had a charter plane
and we'd fly down to Burbank,

and drive over to Universal

and see what had happened on the stage,
on the dub,

and then go check some ILM shots
that were coming in.

Right.

Then go to sleep and get up the next...

You know, they'd pick us up, like,
at 4:30 in the morning,

and we'd fly back up to Jamestown
and start working again at 7:00.

And we did that... At
first, it was a lot of fun,

and we had a lot of laughs
when we got on the plane.

And by day four, we were so tired,
we wouldn't even talk to each other.

We would just get on the plane
and go to sleep.

We did that for about
a week and a half, I think.

It was two or three weeks, actually.

Emmett!

There was a section of road that paralleled
the track for about a half a mile,

so that we were able to put a camera car
on the road and shoot alongside the train.

So some of the shots coming up here,

where the camera's tracking
alongside the train,

had to be done on that
half-mile run of track.

Golly.

And getting the colored smoke, I remember,
that was a big pain in the ass.

It was.

This was a very hard sequence to do.

Emmett!

Emmett!

Michael Lantieri,
our mechanical effects supervisor,

actually figured out a way
to rig something on the DeLorean

so that it would
completely fall off the tracks

in case it started to derail.

Because we were very worried
that something could happen

and the locomotive would...

The DeLorean would fall off the tracks
and the locomotive would destroy it.

-Emmett!
-Clara!

I don't remember that
that ever happened, though.

No, it didn't happen,
but we were worried about it,

especially when we had Michael in it
or a stuntman in it.

So, these shots here,
where Michael's in the DeLorean,

where you don't see the train,

he was just being... It was just...

The car was just being pushed
by another car behind it.

In the couple of shots where there are...

Where he's in it and you see the train,
those were shot backwards,

because the insurance company
didn't like the idea

of having the lead actor
with 80 tons of locomotive behind him,

with a cheap...

A cheap, little stainless-steel DeLorean.

So we knew that if the train
was going backwards,

pulling the DeLorean,
instead of pushing it,

if they got uncoupled or anything,
the train would keep going

and nothing would happen
to the DeLorean or Michael J. Fox.

Come on!

Just a little further!

This sequence was all story-boarded,

and we would look forward
to X-ing out the shots as we got them.

Keep coming, Clara!

We did have Chris and Mary
actually climbing out on board this train.

Don't look down! That's it!
You're doing fine!

Doc! The red log is about to blow!

Clara!

So the shots of Mary hanging down there
with her head near the wheels,

those were done at ILM
against a bluescreen.

I'm trying to reach you!

-Clara, hold on!
-I can't!

And then the other
stuff, the big wide shots,

Jennifer Watson was hanging
upside down there.

Doc, I'm gonna slip you the Hoverboard!

Marty, watch out!

Emmett, help!

Hold on, Clara!

Doc, ready, Doc?

Catch it!

Yes! Yes!

Emmett!

Hold on!

Yes!

A bluescreen shot coming up here,
with them hovering away.

And now that's all miniature now.

One of the greatest miniatures
that ILM built. Just spectacular.

And Bob decided...
This was shot with six or eight cameras,

but Bob decided it would be more effective

to just watch the whole train come down
all in one shot.

I think he's right.
I think it makes it more immediate.

And this, of course, is another miniature.

-Now we're in Oxnard.
-Near Port Hueneme.

These train tracks are about six blocks
away from the ocean,

and the art department built
that red bridge superstructure

back there in the background.

Of course,
there's no bridge back there, really.

Bob Zemeckis was unable
to scout this location,

because he was busy shooting the movie.

So Paul Pav found it and took me there,
and I videotaped it

and brought the videotape
up to Bob on location.

And I tried to shoot every possible angle
that I thought he might want to shoot there,

and so he signed off on the location
by looking at it on a videotape.

The DeLorean explosion there was enhanced

by Michael Lantieri and his guys.

They put a little bit of primer cord in the car
and detonated it just at the point of impact.

Well, Doc,

it's destroyed.

Just like you wanted.

We went back to Arleta three times, I guess,
during the course of making this movie.

Making these movies, I should say.

The people that live in that house
made a lot of money off of us.

They were almost like family.

Marty, I didn't mean to scare you.
I didn't recognize you in those clothes.

-What the hell are you doing?
-Just putting on the second coat now.

You going cowboy?

Come on, guys.
We're gonna be late for brunch.

Coming, Dave.

Come on, Dad, we're not gonna hold
your reservations all day.

I can't find my glasses.

-Lorraine, have you seen my glasses?
-They're in your suede jacket, honey.

Again, to keep your attention away
from the fact that it's Jeffrey Weissman

playing George McFly there,
we put him in sunglasses,

made a bit out of the fact
that he couldn't find his other glasses

and kept him in the background,
threw him a little bit out of focus.

Here we are back at Jennifer's house,
which we shot...

-Which we shot during Part II.
-Part II, that's right.

The nice, clean version.
No bars on the windows.

The station wagon in
the driveway is intact.

If you take another look at Part ll,
you'II see that it's a wreck.

Jennifer.

And finally, Marty gets to kiss her.

Took three movies.

Everyone gets to kiss in this movie.

Marty.

I had the worst nightmare.

Now, this was also shot in Oxnard.

All these townhouse developments
look pretty much the same.

So this was good because it had
this farmland across the street from it

to give you the idea that everything was
still being built and under construction.

I mean, this is where we're going to live.

Someday.

I don't think the folks in El Monte
or Baldwin Park, wherever that was,

would have wanted
to have us back, anyway.

Now, the members of Needles' gang there,

it's one member
from each one of Biff's gang,

in different time periods,
so there's Chris Wynne, from the West,

in the back are J.J. Cohen, from the '50s,

and Ricky Dean Logan, from the future.

The Power of Love, of course,
playing on the radio.

Couldn't not have that in the movie.
We use it in all three.

Did you do that on purpose?

Yeah, you think I'm stupid enough
to race that asshole?

Jeez! I would have hit that Rolls-Royce.

It erased.

The remnants of Mr. Fusion,
which Michael Lantieri took

and built a lamp for me out of it.

You're right. There's not much left.

Sat on my desk at Amblin
for many, many years.

Now that's, of course,
what's left of the photograph

that Marty brought back with him
from the '50s.

If it was complete,
would it have had Marty in the shot?

Well, that's the mystery of time travel,
but I guess it would have.

I think it would've.

This is not a miniature.
This is a full-scale prop here.

Marty!

And to keep it under wraps,
the art department and the effects team

actually had to build a garage around it

so that people that lived in the area
wouldn't see it.

They had to build it very close
to where the tracks were,

because it wasn't the easiest thing
to move around.

And last time I checked,

that was available to see
on the Universal tour in Florida.

But I haven't checked into it lately,
so who knows if it's still there?

After all, I had to come back for Einstein,

and, well, I didn't want you
to be worried about me.

The design of this is inspired by

the Walt Disney
20,000 Leagues Under the Sea,

the look of the Nautilus.

It's great, Doc. Thanks.

Dr. Brown, I brought this note
back from the future,

and now it's erased.

Of course it's erased.

But what does that mean?

It means your future
hasn't been written yet.

No one's has.

And Doc's wardrobe here was inspired
by Professor Marvel in Wizard of Oz,

at the very end of that movie.

Stand back!

All right, boys, buckle up!

In case you're wondering
what the "L" stands for in "ELB,"

Lathrop.

Doc's mom's maiden name.

So now this, of course, is a miniature,

but except for this shot,
it was all a full-scale prop.

It is the end.

Sorry, no Back to the Future Part IV.

-But thanks for watching.
-And we hope you enjoyed yourself.