Future is Jericho: Back To The Future 2 – The Wackiest, Darkest, Most Ambitious Sequel Ever Made - Back to the Future: The Podcast

Episode Transcript
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Speaker 3 (01:12):
He's apply. I don't know how to tell you this,
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Is the year two thousand and fifteen.

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Speaker 1 (01:36):
All right, welcome to talk is Jericho's the Pottle, Thunder
and Rock and Rolling. Here we go with a highly
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Speaker 6 (01:42):
Hell the Week, Chris Jericho, Duff McCage and calling you
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Listen.

Speaker 6 (01:56):
A group of scientists finally came up with the number
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Speaker 3 (02:10):
It's a Xilgent thank you bye zilgiin Xilgion. That's a
real muso musicians joke.

Speaker 1 (02:17):
I sent that to Charlie Bananti and Mike Portner, who
are drummers, and they got it because zilgion is a
very famous type of symbol, like a symbol that you
hit on a drum set. So there you go a
little bit of drummer humor. And I'm glad Duff is
feeling better. We'll take a healthy Duff over a funny one. Well,
I think that's actually pretty funny, So I'm glad Duff
is getting healthy and still sending ridiculous jokes. As the

(02:39):
Guns and Roses Tour is rolling through South America, and
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(03:02):
the radio and streaming it. And there's some more Fozzy
news coming soon and.

Speaker 3 (03:05):
Other big news. Chris Jericho's rock and Resting Radchard C
embarks on the seventh cruise of a seventh cruise next year.

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We're setting sale November seventh to the eleventh Miami to
the Bahamas and back. Jeff Hardy, Siraya, the Great Mood
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from pro estig Nation, Quarantine, Fozzy Downstate, The Iron Maidens,
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(03:34):
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Ball, Marcus Monroe.

Speaker 1 (03:48):
And that's just the beginning. We've got plenty more coming.
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and the public gon sales starts October twenty eighth. Can't
wait to see you guys on the ship and all right,
today we're celebrating Back to the Future Day, which was
actually earlier this week October twenty first, to be exact,

(04:09):
but that means Brad Gilmour, our resident Back to the
Future expert, returns of the show to talk all about
one of the most ambitious sequels ever made. Were taking
a deep dive into Back to the Future Part two.
We're talking flying Glorians, hoverboards, self lacing nikes, and that
wild alternate nineteen eighty five that turned Biff Tannon into.

Speaker 3 (04:29):
An evil casino mogul.

Speaker 1 (04:31):
Brian I break down how they shot the same scenes
from the first movie all over again with new angles,
How Michael J. Fox played three characters in one scene,
how Steven Fielberg's industrial Lyton Magic had to invent a
brand new camera system just to pull it off. We'll
get into the drama with Crispin Glover, of course, the
replacement of Jennifer Parker Flee from the Chili Peppers popping
up is Marty's boss in the original script that almost

(04:53):
sent Marty to the Vietnam Era, And why Tom Wilson
as Biff should have been nominated for an Oscar after
playing three, four or five roles in this movie, killer
trivia about the set rebuild, stunt injuries, and once again
the real story behind Old Bif, some mysterious disappearance, time
travel movie magic, and a ton of great Back to
the Future fun and stories with Brad Gilmore starting right
here on talk is Jericho pods.

Speaker 3 (05:16):
Where we're going we don't need pods.

Speaker 1 (05:22):
With us back again, and I think we've decided that
you're going to be kind of a semi regular guest
because you're always awesome. Brad Gilmour is here obviously known
as the expert of it Back to the Future and
all of its sequels and musicals, et cetera, et cetera.
So we just had Brad on for the fortieth anniversary
of the original and we spoke.

Speaker 3 (05:43):
About Back to the Future too.

Speaker 1 (05:45):
But I watched it last week and I was like, man,
we got to talk about this movie because it is unique.

Speaker 3 (05:55):
There's no other movie like it.

Speaker 1 (05:56):
In a lot of ways, it's batshit crazy and in
a lot of ways it's very cringe as well.

Speaker 3 (06:01):
Brad, there's a few First off, thanks for having me
back on the show. I think it's my fourth time.

Speaker 4 (06:05):
I'm one time away from the Five Timers Club, right,
so I can stand there with Steve Martin and my Jackuman.

Speaker 3 (06:11):
What was the fourth one besides the Back to the Futures?
So I did the James bondwin with you? All right? Okay,
so we'll find another pop culture icon for the next one.

Speaker 1 (06:21):
But yeah, one more and you joined, Paul Stanley, Bruce Dickinson,
Charlie Bandy, you got a whole yeah, a lot.

Speaker 3 (06:28):
Bad about it. But you're right.

Speaker 4 (06:29):
This movie is so strange in a lot of ways
because Back to the Future Part two does something that
one thing about a sequel is you want to make
the same movie again for the audience.

Speaker 3 (06:40):
Like, that's what people want from a sequel.

Speaker 4 (06:41):
You want to see the same characters in a similar
format but a little bit different.

Speaker 3 (06:46):
They do that.

Speaker 4 (06:47):
But what's so interesting about it is, I don't know
another movie sequel that goes back into the first movie
and you get to see that movie from a completely
different angle and just kind of be able to give
us that alternate nineteen eighty five and a vision of
the future that isn't so grim in twenty fifteen. But yeah,

(07:07):
going back into the first movie, that's a really inspired idea.

Speaker 3 (07:12):
It's so wacky too though, with all the guys playing
the multiple characters. I mean, and we'll get into that.
You know, Michael J.

Speaker 1 (07:19):
Fox is playing multiple characters, and then I think Thomas
Wilson definitely have to delve into this.

Speaker 3 (07:24):
He might have even been.

Speaker 1 (07:26):
Like Oscar Worthy for his performances because I think he's
playing four characters.

Speaker 3 (07:32):
Yeah, this I.

Speaker 1 (07:34):
Feel that it's a little bit underrated because it's under
the shadow of Back to the Future, which is a
super creative movie, pretty flawless, and two is not that,
but it's almost like a Godfather too, and that in
some ways it might almost be better because there's, like

(07:54):
you said, there is no other movie like either one
of those, but the fact this is on top of
the first one makes it even more genius in a
lot of ways.

Speaker 3 (08:03):
Well, what's strange about this movie? And I agree with you.
I feel like when you look at trilogies, if we
go to Star Wars and you.

Speaker 4 (08:10):
Think about there's New Hope and then Empire strikes back,
you could make the argument it's better than a New Hope.
And in some ways it's a lot darker and it
takes the characters down a darker path, you know. And
in this movie, it's kind of a dark film you're
talking about. Marty's dad is murdered, his mom marries a
man for money and gets all this in plastic surgery

(08:31):
and enhancements. The school is shut down, his house is
now like in the you know, got bars on the
window because it's burglarized so much. His principle is about
to shoot him in the head for stealing his newspaper.
I mean, it is a very over the top movie
when they go about it coming off of Back to
Future one, where the strangest thing about Back to the

(08:51):
Future Part one is the fact that you know his
mom has the hots for him, right, that's like the
kind of the creep factor in a way of Back
to the Future Part one. When you go into two,
they're like, let's just let it go crazy. Let's just
go balls to the wall with some of these ideas.
And if you actually even read the original version of
the movie, it's a script out there on the internet

(09:11):
called Paradox which kind of combines the Back to the
Future two and three together, and that was their first draft.

Speaker 3 (09:18):
It's even crazier than this movie.

Speaker 4 (09:20):
There's like rocket launchers there's helicopter chases, there's even more
crazy stuff. But yeah, this one stands out, honestly to Chris,
I feel like Back to the Future too, has the
more iconic memorabilia from the Back to the Future trilogy,
because you have the flying DeLorean, you have the Almanac,

(09:40):
you have the Pepsi Perfect, you have the hoverboard, you
have the self fitting close, you have the Nike air mags.
There's so many things from Back to the Future Part
two that when you think of this trilogy, you think
of those things first. Just ten or whatever it is
nineteen this time, it's really personal.

Speaker 1 (10:00):
Quickly, before we get into this, we talked last time
and then I fall up with you with a text.

Speaker 3 (10:05):
We talked about how Back in the Future is a
flawless script.

Speaker 1 (10:08):
I did find something that did stand out that I
rupt to your attention, and that's when Marty shows up
at Doc's house to show him the videotape of Doc
getting shot right, Yes, a political television studio, Yeah yeah,
And he looks it into the back of Doc's TV
and I was like, what kind of a TV in

(10:28):
nineteen fifty five would have the right plugins that you
could plug in a VCR so that was kind of
what we were saying, is that that's no way that's
even possible.

Speaker 3 (10:38):
We delved into it, but apparently there is a way
it could be possible, but we haven't really figured that
out for sure yet.

Speaker 4 (10:43):
There's an adapter or something that you could have done,
and maybe Doc Brown figures it out in fifty five.

Speaker 3 (10:49):
But I actually think it's a great catch.

Speaker 4 (10:50):
And when you said it to me, I was like,
wait a minute, yeah, And then I immediately had to
go text my other back to the future people like, Hey,
this is what Chris Jericho said.

Speaker 3 (10:59):
I think he might be right. I think he's right.
Maybe one day I can ask Bob gil.

Speaker 1 (11:03):
And this is one of my superpowers, Brad, because I
found out the same thing. I was watching an episode
of Big Bang Theory, okay, where they said that in
Raiders Lost Ark, Indiana Jones doesn't even have to be
in it and everything would happen the same way. That's
a theory that they had, and I was like watching it, going, well,

(11:23):
I guess you could say that. But there's one scene,
remember when Indy gets into the plane to go to Nepal,
and as he gets to the plane, it's like the line,
the line the line, Well, in the back of the
plane is taught reading the newspaper and glances down. He's
following Indy to get the medallion from Marion in Nepal.

(11:46):
So had Indy not gone into Paul Todd would not
have been able to follow him. So big bang theory,
you could suck incorrect coated Indy for that move for
that point in the movie, because then he gets the
medallion burned into his hand.

Speaker 3 (11:59):
Well that's right, but yeah, and then that's how the
whole movie progresses from there. Yeah.

Speaker 1 (12:02):
So anyways, we've got our plot holes out of the way.
But let's go back to two and you mentioned paradox.
Another thing that we kind of discussed that inter research
about was there was another script that was originally submitted
that would take place in the sixties for Back to
the Future too.

Speaker 3 (12:17):
Yeah, yeah, they'd go back into the sixties.

Speaker 4 (12:19):
Lorraine was like a flower child a Marty McFly gets
arrested because he's a draft age and he's not serving
in the Vietnam War. He tries to be a conscientious
subjector and he has to figure out how to get
out of there. And it's interesting because that sixties plot
I think actually would have been a fun time to explore.

Speaker 3 (12:38):
And I think that there was even something in the
movie that.

Speaker 4 (12:41):
Sets that up, because there's a poster in the Alleyway
and Hill Valley where Jennifer's passed out. In twenty fifteen,
we're talking about in the Future two. Yeah, in part
two that says surf Vietnam is like the advertisement, And
so I always saw that. I go, I wonder if
that's a callback to originally they were going to have
him as a part of the Vietnam War and Lorrange, Yeah,
she's a hippie flower child, she's a protester of the war.

Speaker 3 (13:05):
And yeah, that's all covered in that paradox script.

Speaker 4 (13:07):
Which is interesting too because in the twenty fifteen version,
in that script they see Huey Lewis in the news,
but it's a hologram band. It's not really Huey Lewis
in the news performing, which is interesting because now you
have like Abba and Kiss. I think Kiss is about
to do the Avagar Show. Yeah, and so they kind
of predicted it a deal hologram. I think there was

(13:29):
a Tupac hologround.

Speaker 1 (13:31):
And when you're saying to twenty fifteen, you really mean
the nineteen eighty nine sequel that goes to.

Speaker 4 (13:36):
Twenty twenty five. Yeah, not the actual year twenty fifteen.
That's the year that they go into in eighty nine.

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Speaker 1 (14:13):
So let's go back to the beginning kind of, Because
the original idea for Back in the Future one was
a standalone film. They had no intentions of doing a sequel, correct.

Speaker 4 (14:23):
Correct, You know in nineteen eighty five they didn't really
think about franchises. I think the way that we do
today when you know that there's a new Marvel movie
coming out. You already know there's going to be three
or four sequels planned, and they're already cast, and the
actors even signed multi year, multi film deals. I think
Sam Jackson when he signed on to the Nick Fury

(14:44):
and the Avengers signed like a ten picture deal, so
they knew what was coming for them. But in nineteen
eighty five, that's not really what you did. There were
a few movies that had sequels, like Superman comes to mind.
They did Superman one and two and then all the
way up to Superman four The Quest for Peace. But
other other than that, there weren't too many sequelized films.
And again you have James Bond that we've talked about

(15:05):
before Indiana Jones started up. But so Back to the
Future in eighty five was such a huge, massive hit,
number one movie in the world the entire time, had
an incredible run during the summer, and so it kind
of seemed like, hey, we should do a second one
of these, given that we made so much money from it,
and so Bob Gail and Bob Zamechis talked to everyone

(15:25):
at Universal. They gave the green light on the sequel
and what Bob Gayle said is, look, we can't do
this movie without Michael J. Fox and Christopher Lloyd. If
we have them, we can figure out a script for
Back to the Future too. And then they wanted to
see who else they could get in the film, so
Leah Thompson joined right on to reprise Lorraine. Tom Wilson,
who I think, I agree with you is like the

(15:46):
Academy Award level performing goat of these movies he signs
back on. Wasn't the same for Chrispin Glover. Crispin Glover
was the only one of the original cast that was
a holdout from the previous movie, and that's why in
the film, Bob Gail and the creators go, well, hey,
what if we killed George? And what if George being

(16:08):
dead in present day eighty five is the reason all
these things happened for Marty where he has to go back.
So it kind of worked to their advantage, even though
they did recast the George McFly character.

Speaker 3 (16:19):
And why was Crispin a holdout? It's one of those
things where it's conflicting stories.

Speaker 4 (16:23):
But if you want to listen to Bob Gail, he
makes mention that Crispin just had some demands that were
just kind of a little bit outrageous as not being
one of the top build stars of the film, especially
where he was in his career at the time. And
he said he told Crispin's agent, hey, go back to
your client. I'm gonna call you back in two weeks.
Hopefully he's reconsidered and we can agree on the terms,

(16:44):
and Crispin didn't agree. Crispin Glover has like a bit
of a different account of it. He says, it's more
so like he didn't like how Back to the Future
ended the first movie because he felt this movie shows, hey,
if you stand up to the bully, it's not really
about self improvement. It's that, oh, you're going to have
a nicer house, and your wife's going to be thinner,

(17:05):
and you can buy your son, you know, a four
x four. It's like a more commercial ending. He thought
it was a monetary ending. It was about money.

Speaker 3 (17:13):
We have typical hippie bullshit.

Speaker 1 (17:16):
Because I see it more like, if you stand up
to the bully, you gain the self confidence to write
the novel, which she was worried, no one can read
my stories. Yes, he beats the bully. He shows his
stories and he gets success. Okay, great, there's trappings of materialism,
but he's also a much happier, more confident person.

Speaker 4 (17:37):
That's the message I always got from the end of that.
I agree with you, and to me, it's really not
about the materialism. It's what you said, it's he stood
up to his fear of rejection. Yeah, with his stories,
he was able to stand up for himself and like
being rejected by Lorraine, being rejected by the stories, being
afraid of Biff and standing up to it and all
the other things are happy byproduct of that self confidence

(18:00):
and that self belief in going for your dreams. Because
if you see earlier in the movie, Marty doesn't even
want to send in his tape to the record company, Yes,
because he doesn't want to get rejected, and.

Speaker 3 (18:09):
He learns through his dad, hey, let me go and
pursue my dreams.

Speaker 4 (18:13):
And there's actually a part of the movie that didn't
make it where he sends off the record to the
record company, the tape into the record.

Speaker 8 (18:20):
Yeah.

Speaker 1 (18:20):
Yeah, I had read some stuff that that Crispin wanted
the same as Leah Thompson money wise. Yeah, they weren't
going to do that. So anyways, typical story. So what
they did was then they decide to just make a
model of Crispin Glover. They hire another actor, but it's
with a Chrispin Glover face. Yeah, pick them upside down.

Speaker 3 (18:42):
Yeah.

Speaker 4 (18:42):
So what it was is the in the first movie, obviously,
Crispin plays himself older in nineteen eighty five, and then
they go back to fifty five and he's his younger version.

Speaker 3 (18:52):
So to do that, they had to do all the
prosthetic casting.

Speaker 4 (18:55):
So there was a mask done of Crispin Glover with
you know, the way that they would do those castings
back in the day with the porcelain or what have you.

Speaker 3 (19:03):
And they still had that when they went to the sequel.

Speaker 4 (19:06):
So they're like, oh, we have his mask, we have
his face shape, let's just do prosthetics on this new actor.

Speaker 3 (19:14):
And the new actor's name is Jeffrey Wiseman, who was.

Speaker 4 (19:16):
Put in an unenviable position totally because Crispin's portrayal is
George McFly so specific to Crispin Glover, the line deliveries,
the movements, the laugh, the way he portrayed that character.
It's so recognizable that Jeffrey Wiseman was kind of put
in a position where he couldn't win. But you're right,
that's why they came up with this idea. We'll give

(19:37):
him the ortho lev where he's going to be hung
upside down. It's this futuristic convention to help straighten his
back out because he threw it out on the golf course.
But it was anything to disorient We don't want you
to know that it's not Crispin Glove. Your vision to
just hearing it and seeing him as old man. Even
if you see some of the shots from nineteen eighty

(19:58):
five when Marty goes back and at the end of
the movie in two and three, you see he's wearing
big aviators shades.

Speaker 3 (20:05):
They're shooting him from far away. He's not a ton
of frame. So they were doing everything they could to
make you think that it was actually Crispin Glover, and
for a.

Speaker 4 (20:13):
Long time I did. I did not know that wasn't
Crispin Glover. As a kid, you just assume it's the
same person. It's almost the Elizabeth Shoe effect for me,
like I didn't really realize Claudia Wells was the original Jennifer.

Speaker 3 (20:25):
Parker and then it changes.

Speaker 4 (20:27):
But now obviously as an adult you recognize him, but
you know, they did a good job of did you
know that it wasn't Crispin.

Speaker 1 (20:32):
I didn't know it wasn't Chrispin, but I knew right
away that it was that it was Elizabeth Shoe because
I was a huge fan of Karate Kid honestly had
a big crush on elizabeths Shoe. I remember thinking like,
if I could just get a girlfriend that was like
whatever her.

Speaker 3 (20:45):
Name was, and Karate Kid was like, you know, really
I think her?

Speaker 1 (20:49):
Yeah, and then she of course Adventures in Babysitting, which
is an all time classic as well.

Speaker 3 (20:53):
So as soon as I saw her, and also too,
it's a bad wig. You can tell.

Speaker 1 (20:59):
It's just a like, okay, just put this on, and
it's kind of like nobody would get their hair styled
that way, like curls that kind of go into nowhere.
So I knew that it wasn't her right off the gate,
and that wasn't I didn't know it wasn't Crispin Glover,
but like you said, his part is so small, I
don't think it really resonated with me anyways.

Speaker 4 (21:18):
I think that if you got Crispin in this movie,
I don't really know what would have been different because
the movie is so not about the parents this time.
You know, it's about Marty, it's about Biff, it's about
the effects of time travel like the first one is. Yeah,
but it's more of a Marty centered story. They gave
him that character Arci doesn't like being called chicken. We
know that he now like gets into an accident with

(21:40):
a Rolls Royce and that's why he can't play the
guitar anymore.

Speaker 3 (21:43):
He's kind of given up on himself. So it's a
redemption arc.

Speaker 4 (21:45):
For Marty this time around, whereas the first movie was
all about really George.

Speaker 3 (21:50):
Right right right, just quickly.

Speaker 1 (21:52):
Why was Elizabeth Shoe cast in that role of Jennifer.

Speaker 4 (21:55):
Yeah, so Claudia Wells was the original Jennifer Parker who
in eighty five gorgeous knockout actress, And they went back
to her. Her mother had gotten ill at the time,
and so she actually quit acting. She just quit show
business altogether. And they asked her to return and she said,
I'm not. I'm taking care of mom. I'm not going
to be involved in this, And so.

Speaker 3 (22:14):
They went to Elizabeth Shoe, which was a great casting
for them.

Speaker 4 (22:17):
I mean, eighty nine Elizabeth Shoe's big name doesn't really
have a big part in this movie. Ninety percent of
it she's laid out either on a porch or in
an alleyway if.

Speaker 3 (22:25):
They never wanted her in the film. It was one
of those ones.

Speaker 1 (22:28):
And that's another thing about this that makes me laugh,
is they it happens in wrestling all the time where
they started this thing, and they were like, oh, what
are we going to do?

Speaker 3 (22:36):
We'll just forget about it.

Speaker 1 (22:38):
What do you mean forget I just forget about it
when she pass out in the alley and then we'll
just move on to the next thing.

Speaker 4 (22:43):
Yeah.

Speaker 1 (22:43):
I think when they started going for two, they realized
we'd never wanted It's like if they if they were
going to write two, they would have never had that
last scene in one.

Speaker 3 (22:53):
Yeah, that's what Robert Zemeka said.

Speaker 4 (22:55):
He said, like, if he would have had his brothers
about it, he would have never had Jennifer in the car.
They would have go on to a different adventure. But
because of the way Back to the Future ended that
first one, even though it was supposed to be a joke,
they fly off into the sunset and that's the end
of the movie. We never hear about these characters again,
it did seem like a logical place for them to
pick up because everybody who watched that movie for the

(23:16):
first time, like when I did, was a kid.

Speaker 3 (23:18):
You want to go what happens next? Now?

Speaker 4 (23:20):
I had the letters that said to be continued at
the end when I saw it, but that's not how
audiences saw it in eighty five.

Speaker 1 (23:26):
Oh Mandela effects. So in the original one, they did
not have to be continued on the screen.

Speaker 3 (23:33):
Oh no, it just went off and faded to black.

Speaker 4 (23:36):
But then in the home releases, when they knew they
were going to do a sequel, they're like, we're going
to tack on to be continued so that people know
there's a new movie coming out again. Jennifer being in
the car served no real purpose to the story at all.
But you do want to pick right up with the
why why does Doc have mister fusion? What's up with
these glasses? He's got a translucent tie and a yellow raincoat.

Speaker 3 (23:59):
What happened?

Speaker 4 (24:00):
You know that something's got to be done about Marty's kids,
And yeah, that's what we ended up getting.

Speaker 3 (24:04):
What's up?

Speaker 9 (24:05):
It's Draymond Green. I'm back for my fourteenth NBA season,
and my podcast, The Draymond Green Show is back too.
This season, I'm breaking down games, reacting to the biggest
NBA stories, and sitting down with teammates, rivals and culture shapers.

Speaker 3 (24:18):
And trust me, I'm not holding back on the court
or on the mic.

Speaker 9 (24:21):
Two new episodes every week, new segments, big conversations, real
basketball talk for the real who heads. Listen to and
follow The Draymond Green Show wherever you get your podcast.
We're back, We're better. Let's get it.

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Speaker 1 (25:05):
Let's talk about the movie as it unfolds. Something's got
to be done about the kids. And that's another thing
that's the Mechican Gale as Mecha's obviously being the director
of Bob Gaale being the scriptwriter, both them working together,
was they were like, party's kids, Like, that's not the
story we want to tell here. Let's just get the
kid part over with and move on. So to me,
this movie opens, it's almost a tale of two cities

(25:28):
and maybe even three. I was watching this because it's
been a while since I've seen it, but it's not
that long, maybe ten years or so, and I'm watching
the first probably twenty thirty minutes, and I was going,
this is this is cringeworthy, really really bad. Like I
remember thinking watching this, going if this was the whole.

Speaker 3 (25:45):
Movie, it would have been horrible.

Speaker 1 (25:49):
And the reason why I say that, Brad and we
can discuss this part when Michael J. Fox plays his daughter,
it's terrible. When he gets fired by Flea for no
the worst cast thing ever like this reason for Flee
to be the boss and the fleet looks like he's
younger than Marty and he's not a great actor. That
was terrible, the whole thing with the upside down. George McFly,

(26:13):
let's talk about this. How did you feel about the
first twenty twenty five minutes of this film?

Speaker 4 (26:18):
Okay, So, as a kid, when I saw the movie,
it immediately captured my attention because it's like, whoa, this
is what the future is going to be, Like we're
gonna have hoverboards and flying cars and ye hologram technology
where you go to the movie, so I think as
a kid, there's something about it that you find real appealing.

Speaker 3 (26:35):
In subsequent viewings, it is the part of the sequel
that I look for to get through the.

Speaker 4 (26:40):
Quickest, like can I get past twenty fifteen, because now
what's strange is until twenty fifteen, these were movies still
about the future.

Speaker 3 (26:48):
And now they're all movies about the past.

Speaker 4 (26:50):
And I don't know if it has the same romance
in twenty twenty five that these things actually didn't happen.

Speaker 3 (26:55):
Although they did get a lot right in the.

Speaker 4 (26:58):
Twenty fifteen version, like paying with things with your thumb print,
right picture and picture, home voice assistance like Alexa, you
didn't get like hydrating a pizza or anything like that.

Speaker 3 (27:09):
Yeah, it's good. Or are the sleeves that gets shorter
or longer on the shirt.

Speaker 4 (27:14):
Yes, the clothes that auto fit to whatever size you are,
which is actually a phenomenal idea self lacing shoes. Self
lacing shoes we didn't get, but you know, some things
they actually did kind of come pretty close to actually
making happen. So what I also liked about the future
version is every movie about the future, like take Blade
Runner or whatever you want to choose, it's always dark,

(27:36):
grim depressing. You're at the brink of a nuclear holocaust.
The world is over a terminator, right, Yeah, this one
at least it gave you like an upbeat version of Hey,
this could be what it looks like.

Speaker 3 (27:48):
It's not a nuclear fallout. Not everything's crazy.

Speaker 4 (27:51):
You can go get a hover conversion from Goldie Wilson
third if you want to. And what was cool about
in the original back to If You're fifty five to
eighty five, you saw the natural progression of things where
the movie theater then turns into a porn theater, the
cafe turns into an aerobics class, and you kind of
carried that over to twenty fifteen, which I enjoyed seeing

(28:13):
like the Texaco.

Speaker 1 (28:14):
Or all Robots, crazy drunk drivers. Then he goes to
crazy modern drivers or something.

Speaker 3 (28:20):
Yeah yeah, yeah, yeah yeah.

Speaker 4 (28:21):
And then but when it gets to the McFly household
in Hilldale is where I do agree with you, is
where it feels a little bit Saturday Night Live in
a sense of it feels like a sketch, like we're
looking at a future sketch, and Michael J.

Speaker 3 (28:36):
Fox is playing Marty McFly junior, Marlene and then his
older self.

Speaker 4 (28:41):
And yeah, that part of the movie I don't love,
but I understand like they're trying to set up that
Marty isn't really doing good for himself and that's why
present Marty wants to get the Almanax so he could
be rich in the future.

Speaker 3 (28:54):
I think that's the purpose of that scene.

Speaker 1 (28:56):
I also think too, it's painting themselves out of the
corner to themselves into the corner. With the end of
number one, it's your kids, Marty, it's your kids. How
do we get out of this hole that we've kind
of dug into it? Any word on and this is
a big frickin' movie. Any word on how or why
Flee got cast as Marty's boss of.

Speaker 3 (29:17):
All people flee, didn't you know what.

Speaker 4 (29:19):
It still doesn't make sense to me, and I've I've
talked to people about it before, and it seemed to
be almost similar to like Huey lewis Or's Easy Top
in some ways of like red hot chili peppers were
big at the time, they weren't.

Speaker 3 (29:30):
It was Mother's milk, it was. They hadn't even got
to to Californiication or any of that stuff yet.

Speaker 1 (29:36):
Yeah.

Speaker 4 (29:36):
Yeah, when did Blood Sugar, Sex Magic come out? No,
that was nineties, so yeah, son, well this is right
before that. So this is before they really took off.
So it's a great question as to why is Flea
isn't it now? Flea is also in the end of
Back to the Future three for a moment in present day,
and he looks more that part of fleas more realistic.

Speaker 3 (29:56):
But Douglas J.

Speaker 4 (29:57):
Needles I always try to also figure out, like what
was the setup, Like what were they setting up?

Speaker 3 (30:03):
Because that's never really explained.

Speaker 4 (30:04):
As far as right Back to the Future one, the
script is so tight everything pays off this one. It's
like what was Marty like scanning in and why did
he get fired? And they still have fax machines in
twenty fifteen.

Speaker 3 (30:17):
That's incredible.

Speaker 1 (30:19):
Well, Fox Machines was top technology in nineteen eighty nine.

Speaker 4 (30:22):
So yeah, yeah, send me a facimile so you can
let me know I've been terminated. And they have them
all throughout the house. So they really thought that's the
way that it was going to get communicated Flee. And
it could have just been a stunt casting kind of
thing because he hasn't done a whole lot of acting.

Speaker 3 (30:36):
I know, he popped up in a Star Wars show
a few years ago. Yeah.

Speaker 1 (30:40):
Of course, obviously in Big Lebowski, which is probably the
biggest role he was in.

Speaker 3 (30:44):
Him and Anthony were in the surf movie Point Break. Okay, yeah,
they were in Point Break. Yeah, the la guys.

Speaker 1 (30:51):
But I just googled this and AI overview gives us
the filmmakers needed someone with a specific look, and Flee
fit the bill. There wasn't a particular interest story behind
his casting. He was simply hired from the part, so.

Speaker 3 (31:04):
Okay, there you go.

Speaker 4 (31:05):
Yeah, Flee just shows up as with Jay Needles, and
he does seem like there's something seriously wrong with him
in the way that he's talking and that. Yeah.

Speaker 1 (31:13):
Yeah, and Marty gets fired, but like you said, then
they get out of fifteen and that's when, okay, the
movie takes a turn to where by the end of
the movie you kind of forget the opening twenty minutes
or so, let's talk about that, because that's where the
movie gets really, really good. And we have an interesting
scene where nerdy Marty, Marty McFly juniors is fighting with Griff,

(31:37):
Biff's grandson, you know, and then we start getting there's
Biff and there's Griff, and there's old Biff, and there's
smarmy eighty five Biffs. So there's we get down the
different layers. It almost turns into insurgents. What was it
called the movie with Christopher Nolan inception inception? Yeah, yeah, yeah,

(31:58):
we start getting the inception part of things here. But
let's talk about when it really starts.

Speaker 3 (32:02):
To kick in.

Speaker 4 (32:03):
Yeah, because so this is when Marty finds the almanac
in a store that sells old school oddities and antiques, like, oh,
if you like the nineteen eighties, here's a dustbuster and
even in the window, you see there's a doll of
who framed Roger Rabbit. Now there's a mechas film that
came right before this one, and even I do want
to point this out. In twenty fifteen, there's the mall itself.

(32:25):
They make the clock tower from the original nineteen eighty
five movie. They make it the mall, and the logo
of the mall is a lightning bolt of lightning striking
a clock, which I always thought was cool. It's a
small little decay had to find.

Speaker 3 (32:38):
But he finds his almanac, and he says, hey, what's
wrong with making a few bucks? You know? And Doc
is like, that's not why invented time travel?

Speaker 1 (32:45):
Right?

Speaker 4 (32:45):
Invented time travel to go through time and travel through
time and see answer the question why. So anyway, Marty
buys the book and they throw it away, but Old
Biff season and he goes So Doc Brown invented a
time machine. He puts it all together and figures out
how to travel back into the past, give him younger

(33:05):
self a version of the Almanac, and then come back
without Doc and Marty knowing, because he can come back
right to the same time. But this is a big
contention amongst the Back to the Future fan base is
that scene with Old Biff. In a deleted scene, he
disappears Old Biff disappears completely. When he comes back to
twenty fifteen in the movie version, he just looks like

(33:28):
he went through hell, and he's haggard and he's sweaty,
and he breaks his cane trying to get out, and
has never really shown why. I guess the audience is
supposed to assume like he's an older guy and time
travel can really take it out of you, although we've
never seen that with Doc and Marty before. But what
ends up happening is when that scene continues, he disappears
in the similar way that Marty's hand started to disappear.

Speaker 3 (33:50):
And Back to the Future Part.

Speaker 4 (33:51):
One showing the effects of time travel, and we're what
we're told by the official Back to the Future website
and Bob Gail is that he disappears because Lore got
him somewhere in the nineties and kills him in an
alternate version of events, and that's why he disappears.

Speaker 3 (34:08):
But it's the Almanac. When they come back, they realize
something's not right in this nineteen eighty five.

Speaker 1 (34:13):
And there's also a little addition to the end of one,
which is the beginning of two. Is when the DeLorean
is to some of their kids, Martin let's go when
they take off and the Delorian Biff.

Speaker 3 (34:25):
The eighty five Biff, the wax your car Biff. Yeah,
the car shining Biff sees this.

Speaker 1 (34:31):
Yeah, and that caused a little bit of problems among
hardcore fans as well.

Speaker 3 (34:35):
Right, yeah, what the hell is going on here? Is
what he said.

Speaker 5 (34:38):
Yeah.

Speaker 1 (34:39):
Yeah, So once again you get car waxing Biff, you
get Griff, you get old man Biff, and you get
rich mogul evil Biff.

Speaker 3 (34:48):
Yes, four versions of the same character played by the
same guy in the same movie. Well, but then you
go back to let the end of the movie nineteen
fifty five, where he's young Biff again. Five Biff's five
Biffs in one movie.

Speaker 4 (35:02):
And what I will say is when they go into
the alternate ninet eighty five, Marty realizes someone else is
in his bed. There's I don't remember bars being on
these windows and all those things. He realizes something is
terribly wrong, and they enter what's affectionately known as the
Biff Horrific Era, the nineteen eighty five where Biff becomes

(35:24):
the most powerful man in the world because he's the
luckiest man alive, because he.

Speaker 3 (35:28):
Knows all the results of the you know, all the
sports games.

Speaker 1 (35:32):
Yeah, yeah, yeah, and that's of course when we get
there and it's kind of like this hellish Atlantic city.

Speaker 3 (35:38):
I think Trump.

Speaker 1 (35:39):
Towers in the eighties was the thing, right, It just
thinks it's a very Trump Towers type of vibe. And
this is where, like you said, Biff has taken the
sports book and become a billionaire or whatever, a multi
multi multimillionaire from always knowing the scores because he's the
luckiest man alive. But he's also married Lorraine, who's now

(36:00):
got massive boobs from a boob job, which, once again
nineteen and nine not a very common procedure.

Speaker 4 (36:07):
Yeah, yeah, you know it's and they replay the movie,
the scene from the first movie where Marty wakes up
because he thinks he's dreaming, right, Mom, is that you
you're so uh, you're so big?

Speaker 1 (36:22):
What to say?

Speaker 4 (36:22):
Yeah, you know, and that that version of Biff is
like inspired by Trump in the eighties, just kind.

Speaker 3 (36:29):
Of with the hair. Yeah, the billionaire, he's the casino owner.

Speaker 4 (36:32):
This was kind of the what we thought of Trump
back then, you know, our pre politics and all that.

Speaker 3 (36:37):
So he definitely was inspired by that.

Speaker 4 (36:40):
And this version of Biff we find out is a
is a murderer, you know, you know, he kills George
McFly so he can get Lorraine.

Speaker 3 (36:48):
He was with Marilyn Monroe in one of the pictures.

Speaker 4 (36:50):
That wasn't good enough for him, because when you're the
richest man of the world, what do you want?

Speaker 3 (36:54):
You want the girl that got away in.

Speaker 4 (36:56):
High school, the one that already rejected you, that's who
you want to go after.

Speaker 1 (36:59):
Well, what's like you said the movie, And that's another thing.
I was just watching us thinking, now, like you mentioned,
there's a whole de layer because not like he'ves some murderer.
And now he's shooting at Marty and they're chasing each other,
and then Marty's on top of the building and Biff
tells him to, you know, just jump off the building
to be easier that way, and Marty jumps, and then
he gets Doc is right there and he's on top

(37:20):
of the Dolore and then they fly away and it's
like that's like out of a Schwarzenegger movie or something
like that.

Speaker 3 (37:26):
It was a very like nineteen eighties action moment.

Speaker 4 (37:30):
Yeah, yeah, go ahead and jump, But suicide wuld be
nice and clean, you know, And they're gonna match the
bullet to that gun.

Speaker 3 (37:37):
They couldn't match the bullet that killed your old man.
Like they're just they're making him like the worst human
being alive.

Speaker 4 (37:45):
You really take a step up from the first movie
where he's I guess, a sexual deviant bully in the
Hill Valley High School and this one he is a
murderous owns a toxic waste company, a casino, all kinds
of stuff, has the police.

Speaker 3 (38:00):
I love when Marty's walking through the town square.

Speaker 4 (38:02):
They're playing I Just Can't Drive fifty five with Sammy
Agnar and it's it's like this, you know, biker gangs
are going And then though this is where I think
the genius of the film was, Okay, so you give
us this pretty version of the future, Marty screws up again.
He does something that's going to alter not only his timeline,
but it looks like everybody's timeline. They go back to
nineteen eighty five. Biff's the most powerful man in the world.

(38:25):
He finds out because that's the Almanac. Which I also
love that scene too, because they're sitting there talking about
the Almanac and Marty is like, oh, isn't that the
day of the famous Hill Valley lightning storm, and.

Speaker 3 (38:37):
Biff in a moment is like, you know your history.
That's good.

Speaker 4 (38:41):
I'm like, why did he Why was he impressed that
Marty knew his history. I don't understand, like that character
beat for him. But anyway, that's when they find out
Biff gave Young Biff the Almanac. The very same day
Marty goes back to the future in the original movie,
and that is like, to me, a stroke of genius
to go like, hey, what if we go back into

(39:01):
the first movie then everybody loves and let's look at
it from a different angle. And we already have this
tension built up because everybody knows what happens at the
end of Back to the Future. Now we can kind
of mess with that. You know, is he gonna make it?
Now there's two Marty's, there's two docs there at the
same time. It does add a lot more layers to
the film. And I just found and you're right about that,

(39:22):
and I was just just stuck in my head.

Speaker 1 (39:24):
It was crazy drunk driver in one and crazy drunk pedestrian,
Crazy drunk pedestrian.

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Speaker 3 (39:57):
So, now Marty escapes back to fifty five.

Speaker 4 (40:01):
Yes, try and take the sports book away from young Biff, right,
And so they end up back into the first movie.
And that's where docs like they're now two of me here,
there are two of you here, And they set up
earlier in the film, we can't run into our other
selves because that will be a paradox to where the
entire space time continuum can completely unravel.

Speaker 3 (40:21):
So they put the stakes pretty high.

Speaker 4 (40:23):
And when they go into the first movie in fifty five,
I feel like there's such a satisfying part of this film.
And that's really where you go through the lightness again
of the twenty fifteen you go real dark with eighty five,
the alternate nineteen eighty five the Biff horrific, and then
to be able to go into that first movie again.

Speaker 3 (40:42):
I just you know, other movies have done it, like.

Speaker 4 (40:44):
Even the Avengers film in Game where they have time
travel and they reference back to the future several times
in the movie and say, you can't just go back
in the past and change the future. But that's kind
of exactly what they do in game. They said, that
doesn't work that way. But it's just so fascinating to
be able to look at these iconic scenes from a
different point of view where you see Michael J. Fox

(41:07):
playing Johnny be Good on the stage, but now you're
seeing it from the side, Yeah, because other Marty is
there watching him play, and he goes, oh, you know,
you're doing pretty good.

Speaker 1 (41:16):
That's a really, you know, a mind bender, because you know,
we've seen many time travel movies and that sort of thing,
but you go back to eighty nine, I don't know
if i'd seen anything like this before, and especially like
you really have to pay attention, like this is not
a movie if you're seeing it for the first time
that you can take it and mess around on your
phone while you're watching, Like, you got to pay attention
to this. And I really thought that, like, man, how

(41:37):
much of the first did they have to refilm and
how much were they able to use because now you
have to film what's going on in the first movie
of Marty playing, for example, Johnny be Good, so that
we can see Marty climbing on the rafters on top
of him to drop the sandbags to take out the bullies,

(41:58):
and it's all going on.

Speaker 3 (41:59):
So they have to refilm all of that.

Speaker 7 (42:01):
Yeah.

Speaker 4 (42:02):
Yeah, the majority of the movie, other than the clock
tower scene where Christopher Lloyd jumps down and they have
the lightning strike the clock tower, that scene has actually
used the exact scene in each of the Back to
the Future movies. But even going back to the end
of Back to the Future one, they had to reshoot
it for the opener Back to the Future two, not
just to get the Biff coverage, because Elizabeth Shoe is

(42:23):
new right, and I can't use Jennifer Parker, so they
are Claudia Wells as Jennifer Parker, so they had to
reshoot that. Everything that is seen from a different angle,
they had to reshoot it. So, yeah, the set designers
had to rebuild all the sets from Back to the
Future Part one, just like they were wear the same
clothes shoot. It just in the same way, and to
be able to do that had to be so mind

(42:46):
numbing and painstaking from a production standpoint to be able
to pull off. And this movie was innovative in several
different ways, even when it comes to the production. We
were talking about how Michael J. Fox played three versions
of him in the same scene, and how in this
fifty five we see old man Biff and young Biff
in the car together. ILM was tasked to make a

(43:09):
specific camera to be able to put the same actor
in a composite shot together.

Speaker 3 (43:15):
That wasn't done before Back to the Future Part two.

Speaker 4 (43:18):
So just as Temple of Doom gave us the PG
thirteen rating, Back to the Future Too gave us the
camera that gave us the ability to put the same
actor in the same scene playing different characters.

Speaker 1 (43:30):
I was just looking the budget for this was forty
million dollars, a lot of money, which in today's money
is one hundred million dollars. Yeah, that's a Marvel Avengers
budget for Back to Future Too. Now, once again we
knew it was going to be big, but they you know,
they're having to restart from scratch in so many ways
on this. That's something that I was very impressed by

(43:51):
They kind of had two plates spinning at the same
time of what Marty was doing, you know, both new
material and stuff that we've seen already.

Speaker 4 (43:59):
At the same time they're doing this movie, they're filming
the third movie. This isn't back to back scenario. This
isn't like, hey, we're gonna film Back to the Future
two and then a year from now we're gonna do three. No,
this was an eleven month shoot right entire year essentially
of shooting Back to the Future Part two and then
going right into three. So as the mechas and the

(44:19):
crew are shooting the second movie, they're scouting locations for
the third movie. They're trying to make sure that there's
little plot points that they insert in Back to the
Future two that can pay off in Back to the
Future three.

Speaker 3 (44:31):
That's why they gave.

Speaker 4 (44:32):
Marty the character arc of not loving being called chicken
and he can't be called a scaredy cat, because they
wanted to be able to pay that.

Speaker 3 (44:40):
Off somewhere in the third film. Oh, that's why Doc Brown.

Speaker 4 (44:44):
If you look real close in Back to the Future two,
he's wearing a shirt that has horses and trains on it.

Speaker 3 (44:50):
Like setting up that he's going to be in the
West and he always said, oh.

Speaker 4 (44:54):
I always wanted to go to the old West, or
I remember when you know, all of this was just
you know, the old Peabody stuff, right. So they're always
trying to constantly also set up things that are going
to pay off in the next movie, which I think
is super hard to juggle. You're juggling three different timelines,
an alternate timeline, plus you're trying to set the railroad

(45:14):
track quite literally for the next film at the same time.
I mean, it is really an achievement in cinema that
they're able to.

Speaker 3 (45:21):
Even pull this off.

Speaker 4 (45:23):
And You're right, if you look away for a minute,
you're going to be confused by this movie. You're gonna
be like, what is happening? How are they here?

Speaker 9 (45:29):
What is going on?

Speaker 3 (45:30):
I'm not exactly sure, but somehow they pull it off
by the end.

Speaker 1 (45:34):
I also love the swerve where Marty takes the sports
book and then he finally gets it to wherever he's
Doc Brown whatever, and it ends up being like a
skin magazine La la. Enough of those kind of wacky
teenager things that were so you know, we love those things.

(45:55):
Let's talk about kind of the grand finale of it
and how Marty of course saves today that the tunnel
scene was really well done.

Speaker 3 (46:03):
It's a really great.

Speaker 1 (46:04):
Piece of special effects where Marty's on the hoverboard Biff
is in the car. It's so funny too, because it's
nineteen fifty five, right, this guy's hovering around him and
it's like Biff is must probably thinking.

Speaker 3 (46:15):
What is this guy?

Speaker 7 (46:16):
Like?

Speaker 1 (46:16):
Who are you?

Speaker 4 (46:17):
That scene actually has a whole lot of tension in
it because Biff, again Tom Wilson, I know, we keep
going back to him, but he is so physically imposing
in the movie.

Speaker 3 (46:27):
Yeah, Like he looks like he's a big guy, like
he's a threat at all times.

Speaker 4 (46:31):
There's not one time where even though he might be like,
you know, maybe his elevator doesn't reach the top floor
all the time, but you never doubt him in the film.
He's a menace and he feels like a problem at
all times in the film. And so when they have
that kind of climax where Marty finally gets the almanac,

(46:52):
it was a really satisfying ending for this movie. That
is also, like I said, a setup, and then you
get to see like the little changes of George mc
fly goes from George McFly murdered to George McFly honored
in the newspaper. I think it goes from Doc Brown
committed because he's in a straight jacket. Yeah, he goes
from Doc Brown committed to Doc Brown commended. And I

(47:15):
think that the biff Co nuclear waste turns into biff
Co auto detailing on the match book. Yeah, you know,
so they they correct the timeline. Marty gets one too.

Speaker 1 (47:27):
I can't remember what his was committed to commend it,
and Marty's was something to something was a very similar
word switch as well.

Speaker 3 (47:35):
Yeah, yeah, it was. I'm trying to think of it
on the top of my head.

Speaker 4 (47:37):
But and then they obviously they set up in the
third movie where you know, here lies Clint Eastwood on
the tombstone. But the ending is great and here's here's
what's cool too, is in the same way that Back
to the Future one had this great cliffhanger. Back to
the Future Too, we finally succeed, we saved the day,
we destroyed the Almanac. Everything is right in the world again.

(48:01):
And Doc Brown they set up earlier in the movie
that he already wants to get rid of the time machine.
The time circuits aren't working properly. He's like, damn, got
to fix that thing. And then it gets struck by lightning.
Right as Michael J. Fox says, you don't want to
get struck by lightning. Bam, he gets struck by lightning.
And we know what the lightning can do to the

(48:22):
flux capacitor. It's going to send it back into whatever
the time circuits say. And that's where he disappears, and
we think maybe Doc is dead until the Western Union
Man comes, right, I mean, which is a really interesting
way to end that movie is Marty gets a letter
from Doc saying I'm in the Old West and Western Union.

Speaker 3 (48:43):
Do you really believe?

Speaker 4 (48:44):
Like, look, Chris, I have like sent something to my
brother from Texas to California and it doesn't get there.

Speaker 3 (48:51):
This guy holds onto an envelope for seventy years and
it doesn't get lost.

Speaker 1 (48:58):
It's been a topic of conversation for seventy years, you
know at you know, twelve fifty nine pm on this date,
show up at this billboard and the best part of all,
in the most random of casting. As well being a
Canadian and a huge SCTV fanatic, my whole you know,
preteen and teen life. The moment Joe Flaherty walks on
screen as the Western Union guy, I'm like, once again,

(49:19):
first of all, why did Joe get this part? And
why is it just five lines? Like the guy's the
funniest guy. He's a He obviously wasn't a big star,
but to me he was. I was like, it's like
the most smallest part. Him and Fleeing their own sequels.

Speaker 4 (49:34):
Yeah, you know what, let's do back to the Future
four with flee Joe Flaherty and Elizabeth shoot and then
they could actually have their characters payoff in a meaningful way.
I guess, Chris, when you think about it, in eighty nine,
this is, you know, such a huge sequel. Hey, do
you want to be a part of the sequel to
the biggest movie of nineteen eighty five?

Speaker 3 (49:52):
We only have a little role for you, but it's like, hell, yeah,
give it to me.

Speaker 9 (49:55):
You know.

Speaker 3 (49:56):
It's like, would you rather be on the WrestleMania card
or not?

Speaker 4 (49:58):
Right, if I'm a you know, work the Dark Battle Royal,
I'd rather be on the board than not in the court.
So maybe that was the Western Union for him. But yeah,
and that's where Marty laurns he has got to go
back to fifty five. But this was a great ending
because you finally get to see the fifty five doc.
He sends Marty back to the future in the first

(50:20):
movie and you see the tire trails. Yeah, and that's
where it cuts off in the first movie. In the
second movie, you see the tire trails, and then you
see Marty McFly dressed conspicuously in his fedora and leather jacket,
running down the fire trails.

Speaker 3 (50:35):
And that's when he says, Doc, Doc, you gotta I'm back.
I'm back from the future, is what he said.

Speaker 1 (50:41):
And that was a great And that's the interesting thing
is that, like you mentioned, the first one, they ended
it with not knowing there's going to be a sequel,
and the second one they ended it knowing that there's
going to be one another filling it. You know, it's
interesting because they actually even end the movie. I'm not
sure if I've seen this before either with a trailer

(51:02):
for the next movie. They had filmed enough of the
third film to be able to cut together like a
like a preview for the third film after the second
one was over.

Speaker 4 (51:11):
Yeah, said to be concluded, and then it showed you,
you know, some of the horse racing. I think Marty
dressed in his strange eighteen eighty five regalia that that
doc put him in.

Speaker 3 (51:24):
Yeah, and the thing is too when you think about it.

Speaker 4 (51:26):
Back to the Future two came out November of nineteen
eighty nine, and Back to the Future three came out
in May of nineteen ninety, so just six months between
each other.

Speaker 1 (51:36):
Wow.

Speaker 4 (51:36):
They released these films, which I think, in hindsight probably
wasn't the best thing because if you look at the
box office, that kind of diminished movie over movie, and
by the time you got to the third one, the
third one, I think domestically or worldwide didn't even crack
one hundred million. Really yeah, and you would think it
was some huge success, but it really I don't even
think it cracked one hundred million in its original release worldwide.

Speaker 3 (51:58):
So there was a bit of a all diminishing returns.

Speaker 4 (52:01):
Now, let me ask you this, because I'm somebody who
obviously I love all three of these movies, but the
third movie, and again it's maybe because I'm a Texan
we love our Westerns.

Speaker 3 (52:12):
I love the third movie.

Speaker 4 (52:13):
I think it's actually more similar to the first movie
than even the sequel, is do you have a.

Speaker 3 (52:19):
Preference over Back to the Future two or three? Well,
let me put it this way.

Speaker 1 (52:23):
I think the biggest problem with three, and just so
you know, the way it stands now was three eighty
eight million, three point fifty and down to two forty.

Speaker 3 (52:33):
Okay, agree, So that's what it did.

Speaker 1 (52:35):
Maybe it cracked one hundred million in the States and worldwide.

Speaker 3 (52:38):
Whatever. I was gonna watch.

Speaker 1 (52:40):
Three the moment I finished two, but I'm kind of like,
I don't know, Like, to me, the Western almost seems
a little cliched to where do I really want to
see these guys in the Western times? Now, I remember
I liked it, but I have to like make a
point of watching it. Like I knew I was going
to be talking to you. My original plan is to

(53:00):
talk about two and three, but then I thought, well,
let's leave three. We can do another show on it.
And plus I don't feel like watching three right now.

Speaker 4 (53:08):
See, I like three, I like three, and I have
a problem, Like I can watch Back to the Future
one by itself, right, no problem all the time. But
if I watch two, I have to watch three immediately
because the way it sets it up, is like, I
want that to be paid off for me immediately.

Speaker 3 (53:23):
And I like three and when whenever we get to
that one.

Speaker 4 (53:27):
There's a lot that you can talk about in that
west because a lot of people think it where you know,
it jumped the shark, and I don't agree with that.
Two is so interesting because it's dark, and I think
that's what gives it a benefit to it and Biff
marring Lorraine and killing George and all the things that
this movie could have been. I feel like they did
a really good job of landing the plane. As you said,

(53:50):
the first twenty minutes, you're like, where are we going
with this?

Speaker 3 (53:53):
I don't know.

Speaker 4 (53:54):
This seems a little bit cringe, to use your terminology.
But then by the end of it, they success fully
land this DeLorean. Let me say that they land the
DeLorean quite easily in my opinion, because I don't know
what else they could have done, Like how do you
go bigger? Okay, look, Vince does WrestleMania, right, it's this
huge success, and then he does, how can I go bigger?

Speaker 3 (54:14):
With two?

Speaker 4 (54:15):
I'm gonna do it in three locations La New York,
Chicago or whatever it was, Right, This one is like
the WrestleMania too. It's like, let's go into the past, present, future,
you know, let's jump all over the place.

Speaker 3 (54:27):
Let's give you different versions of all these characters.

Speaker 4 (54:29):
Let's show you Marty as an older man, like we
showed his parents in the first movie.

Speaker 3 (54:34):
So they really try to go huge with it.

Speaker 4 (54:37):
And sometimes when movies go huge and go too much, yeah,
they're not as successful and they don't have that same satisfaction.
To me, I always compare like, the first three seasons
of Seinfeld are a completely different show than the last
three seasons of Seinfeld.

Speaker 3 (54:53):
By the last three seasons, it's really kind of zany.

Speaker 4 (54:56):
It's a little bit Goofy's where you have like the
Kenny Rogers Chicken rest front episodes and those things, whereas
the first three seasons are so small. They're like, oh,
I got fired from my job, but I didn't really
want to get fired. I'm just going to show up
on Monday like nothing ever happened, right, Right, That's a
small story as opposed to Kramer can't get any sleep

(55:16):
because of the Kenny Rogers Chicken sign. And I think
it's similar to a lot of franchises when they get
money sometimes they go too much.

Speaker 3 (55:23):
I think back to the future.

Speaker 4 (55:24):
Although they went huge with this movie, they did find
a way to still keep it within that small hill
valley square and we didn't feel like the universe was
at stake.

Speaker 3 (55:36):
Really, we just were worried about is Marty going to
get through this.

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Speaker 1 (56:10):
If you go to Rotten Tomatoes, that one was ninety
three percent, two was sixty four, and three was seventy
seventy nine. So three does have better reviews than Tokay,
we understand show business, and this was a big money
making franchise, so they're gonna do it. Two and three
they had to go somewhere else, like the wild West

(56:32):
makes perfect sense, because what else you can't go back
to fifty five or fifteen. Yeah, you're to go back
to prehistoric times. It's kind of like Yellowstone, where they
went back to.

Speaker 4 (56:42):
Eighteen eighty three and then nineteen twenty three and then
what are they going to a Yellowstone in the sixties?
Like Yellowstone, A go go, like what more are you
gonna do?

Speaker 1 (56:52):
Right? So I think, once again, I know what you're
saying about about three, and I think.

Speaker 3 (56:58):
That it is worthy of a watch, which we will watch.

Speaker 1 (57:02):
And I think it was a smart move on their
part to do it that way, because, like we said,
two is man, they went for it and it's Look
when I say it's batshit crazy, I say that in
a great way because it is. I bet you when
they were reading the script, I was thinking, I bet
if I'm you know, Michael J. Fox readings, I'm gonna
have to stop a couple of times, or if I'm
Thomas F. Wilson going like back up to a few

(57:23):
pages ten and.

Speaker 3 (57:24):
Like, what what are we doing here?

Speaker 7 (57:26):
What is this?

Speaker 3 (57:27):
Yeah? I think that this is probably one.

Speaker 4 (57:29):
Of those movies to where you're going up to the
director and going Okay, give it to me again.

Speaker 3 (57:33):
What am I doing here? Like, what is happening?

Speaker 1 (57:35):
Yeah, the fact that they were all able to pull
this off, because even Leah Thompson, I've known Lia since
two thousand and five as well, and I've never had
never had on Takas Jericho, which I would love to
have just to discuss this as well. But she plays
young Lorraine, old Lorraine, the terrific Lorraine, scared Lorraine when
needles fires Marty like it's it's just very There's a

(57:58):
lot of range from our actors that they might not
have even known about when they signed up for Back
to the Future one.

Speaker 3 (58:07):
Oh yeah, no way, right, no way. Because even for
Leah Thompson, like going into the third.

Speaker 4 (58:12):
Movie, she's she's an Irish woman all of a sudden
she has to pull out an Irish accent, and Michael J.
Fox having to stretch his comedy muscles too and playing
multiple versions of himself. And I will say the twenty
fifteen family scene, although I will say that's not my
favorite scene in the film by any stretch, because I
do feel like it's a little bit sketch comedy style thing.

(58:35):
But even to be able to pull that off in
eighty nine to where there's not a moment you don't
question yeah, that that's a family and that it's not
the same person. You know, this is before Eddie Murphy,
did Nettie Professor recall that, Yeah, exactly, everybody's in the
scene and you don't question it at all. You Know
what's actually funny is they had a specific camera ILM
helped design for that, and they actually had a super

(58:58):
glue things to the set my cups and trays and
little things so that they nothing would move because if
they shot the scene and something moved, all the continuity
screwed up of the camera. And one night, the night
before a big scene, there was an earthquake in California,
and they were worried that everything would get rattled around.
But thankfully they looked over it, looked over it, looked

(59:19):
over it. Nothing moved that they could tell they were
safe in that one. But there's a lot of I
just can't imagine production headaches on this film.

Speaker 3 (59:26):
There's got to be a ton to.

Speaker 4 (59:28):
Whereas the Old West, it's more simple in the first movie,
it's more simple. It's just all in the fifty five
Hill Valley. This is all in eighty five Hill Valley
where it's you know, they actually shot in Monument Valley
in eighteen eighty five, and in this one, they're all
over the place and they're recreating sets, and they're destroying
sets to make them look like the alternate nineteen eighty

(59:49):
five and souping them up for twenty fifteen. And I mean,
I can't imagine all the production headaches that they went
through and even creating the hoverboards, but the cover boards
were so convinced, convincing people actually thought they were a
real thing.

Speaker 3 (01:00:03):
They thought you could go buy a hoverboard.

Speaker 4 (01:00:06):
And there was a lot of logistical nightmares with that,
and getting that big hoverboard chase across the water, yeah,
that they do in twenty fifteen, and a stunt woman
really got hurt doing that and you know, ended up
not doing too well.

Speaker 3 (01:00:19):
And you know, there's just so much that goes into
this particular movie.

Speaker 4 (01:00:23):
And I don't think that if they had the ability
to remake the trilogy, I don't think that they would
be as ambitious in the sequel because it is a
lot to juggle for the viewer.

Speaker 1 (01:00:35):
Absolutely absolutely. I was just gonna say too, I was
reading that with the skateboard and that Michael J. Fox
wasn't doing very well skateboarding and they're like, oh, you
forgot how to skateboard in four years and then you
find it later. Those are kind of the first symptoms
of his Parkinson's Parkinson's.

Speaker 4 (01:00:49):
Yeah, he started out and he's got a book coming
out later this year about this whole time in his life.

Speaker 3 (01:00:56):
But you know, I think his father passed away while
he was making this movie.

Speaker 4 (01:01:00):
Married to his wife, they had their first child, like
all within the time of Back to the Future two
and three, and then toward the end of that movie,
that's when he starts to find out about Parkinson's because
I think he got diagnosed when he was twenty nine
years old, which is.

Speaker 3 (01:01:12):
Very young for that disease in general, very young.

Speaker 4 (01:01:15):
Overall, What a crazy time it wasn't his life to
be able to have all that happen at once at the.

Speaker 1 (01:01:21):
Same time as we start to wind down, Brad, I mean,
is this one of the most ambitious movies ever made?
Like I'm thinking like Ben hur and these movies that
had like thousands of extras or you know Terminator too,
where they had the special effects that had never been seen.

Speaker 3 (01:01:36):
This has to be up there with those types of movies.

Speaker 4 (01:01:39):
I think that it is especially more along the lines
of A T two in the way that they did
it to where it was such a grand vision. And
I think that only somebody like Zamechis or even a
Spielberg who was a producer in the film, you have
to have this grand imagination to be able to figure
this story out in your head first and be able
to execute it going into four different time periods that

(01:02:03):
we see having alternate versions of your lead actors, trying
to still make this story feel grounded and not too fantastical,
because they could have definitely gone too fantastical with this one.
The first movie works so well because it's what if
you went to high school with your parents?

Speaker 3 (01:02:18):
What would that have been? Like it's an easy hook.
Now what is the hook for the second movie? Like,
you don't really have that one.

Speaker 4 (01:02:24):
It's just the continuing adventures of Marty and Doc and
what happened with his kids. It's not the same grounded
hook that the first movie had, but they still find
a way to make it work. And I think that
it not only relies on obviously what the first film does,
but if it's not Marty McFly as Michael J.

Speaker 3 (01:02:41):
Fox.

Speaker 4 (01:02:42):
And if it's not Christopher Lloyd is Doc Brown, you
really wouldn't care about this story. You care about the
story because you like them so much in the role.
Any other actor, any other plot, it wouldn't have worked.
So yeah, ambitious. Had to create new special effects for it,
had to create new cameras for it, had to re
create sets for it. Had to give people a sequel

(01:03:04):
to the number one movie of nineteen eighty five, give
it a satisfying way saying, hey, we know we made
you eight four years for this big movie, and to
come out in eighty nine when so many other films
were coming out. You're talking about this is the Indiana
Jones and the Last Crusade, This is Batman, this is
Christmas Vacation, this is Karate Kid three, this is Licensed
to Kill.

Speaker 3 (01:03:24):
This is so many movies.

Speaker 4 (01:03:26):
Came out in nineteen eighty nine, major league, and to
be in that crowded field and still stand the test
of time, No pun intended definitely shows that it was
ambitious and that they achieved the goal of making a
great Back to the Future sequel.

Speaker 1 (01:03:40):
The last few things, I was just kind of looking
at the career of Thomas F. Wilson, And like I said,
I was very impressed with this his performance, and I
think a Best Supporting Actor could could have gone to
him from a nomination.

Speaker 3 (01:03:52):
He's had a very successful career.

Speaker 1 (01:03:54):
He's been a working actor for the last forty years,
lots of voice actor credits, lots of credits. I still
feel after I saw him in two that he's a
little bit underrated and untapped.

Speaker 3 (01:04:07):
Do you have any idea why that might be.

Speaker 4 (01:04:09):
It's funny we were talking about Seinfeld a second ago,
and it's almost like a Jason Alexander kind of thing,
right of he's so talented as George, Like, he's so
good and funny, and it's like, how come they never
were able to find another vehicle for Jason Alexander in
the same way that Julia Louis Dreyfus did and and
you know, Michael Richards obviously never had that success either,

(01:04:31):
but Jerry went on to do other things. And I
think that in a similar way. Tom Wilson I think
is the best actor in this trilogy. I think he
can deliver the funniest lines. He's good at physical comedy,
he's good at playing a step behind everybody. He's good
at thinking that he's a step ahead of everybody and
being able to portray that on screen. He's physically imposing,
he's so good. He was a handsome guy back in

(01:04:52):
fifty five too. You could have seen him go off
and do more, and I just don't know if he
was so I hate to use the word type cast
as Biff from Back to the Future.

Speaker 3 (01:05:00):
That's the first thing you think of when you see
him in anything.

Speaker 4 (01:05:03):
Oh look it's Biff, It's Bif. Oh it's Biff. Towards
Michael J. Fox was able to shake Marty mcfla a
little bit, especially when he got to do Something City
and do some other things in Doc Hollywood and things
of that nature. Chris Lloyd went on to do The
Adams Family and he was Jimmy Knatowski before Doc Brown,
he was, you know, a judge Dooman who framed Roger Rabbit.

(01:05:24):
He went on to do a lot more stuff. Tom
Wilson was just always Biff. He just always was Biff,
and I think maybe that held him back some. But
he is a super talented guy and like you said,
has had a great career for himself. Without that, he's
still a working actor, and he's an artist and he
does so many things, but I think that he's the
unsung hero of the entire trilogy.

Speaker 1 (01:05:44):
I agreed, agreed, And if if anybody hasn't seen two
in a while, go back and watch it to see
just the tour to force in acting. Last question for you, Bra,
what's your favorite scene in this? Is there one that
stands out for you? My favorite one is when Marty
goes to the Pleasure Palace, which is like the Trumps,
and he he confronts Biff, and I'm like, Biff is
so evil and it's just I'm like, I was thinking

(01:06:05):
to myself and then suddenly I probably knew this, but
I was like, he's gonna walk in there, Like the
only thing could be more evil is if he's sitting
surrounded by by pretty girls and kind of being evil.
And once again he is in a hot tub. Even
more so he's in the hot tub with the girls
and then tells him to split when he mentions the
sports all monoc and like he's just dripping like sleazy guy,

(01:06:26):
the most cliched version of it, but.

Speaker 3 (01:06:28):
Just kills it for sure.

Speaker 4 (01:06:29):
So I will say I love that scene and really
mine's a biff one too, but he doesn't necessarily have
Tom Wilson right in it is when we get the
kind of montage of Biff Tannon and how he became
Hill Valley's favorite son, and he shows him in Marilyn
Monroe and through the years of his love life and
he always the luckiest man alive, you know.

Speaker 3 (01:06:50):
And it's the history because he has like a museum
the news.

Speaker 1 (01:06:53):
Yeah.

Speaker 3 (01:06:54):
Yeah, it's like a big news reel. I just enjoy that.
And I love that Billy's ain Again.

Speaker 4 (01:06:58):
You want to talk about just a random act in
the movie, Billy's Aine's just a background player.

Speaker 3 (01:07:02):
Elijah Wood is in this movie as a kid. He's
the kid in the Cafe eighties.

Speaker 4 (01:07:07):
This is before Frodo and all all of his success,
So there are a few random actors just in this movie.
This is Billy's Ain't Again, before Titanic or The Phantom,
which I loved him in. But I love I love
that scene in particular, and I like I like seeing
the first Marty going through the future and just seeing
the little inventions that they would come up with, you know,

(01:07:30):
paying with things to your thumb print and that guy
who was the thumb one hundred bucks to the say
the clock tower is the guy who plays the voice
of Roger Raps in the eighty eight movies.

Speaker 3 (01:07:43):
So there's a whole bunch of small little parts in
there for these people.

Speaker 1 (01:07:45):
Well, dude, great talking to you about one of the
most ambitious and definitely one of the most unique movies
ever made that works after where you watch it. But
now now we have to do a part three at
some point, so when I'm ready to watch it, I'll
check it out. But you are the expert of all experts, man,
so we need to think of some other topics to
continue on once we're done with three.

Speaker 4 (01:08:06):
Yeah, man, I'll definitely shoot you some ideas, and three
will make me an official member the five Timers Club.
So Paul Stanley Bruce Digginson makes some room on the
map tool because my bust is being made.

Speaker 3 (01:08:16):
Now, I'll get you a green jackie with adjustable sleeves.
There we go, auto fit man, Thanks man, Thanks Chris.
Thing doesn't fit.

Speaker 1 (01:08:27):
Full out your pants pockets hold kids in the future
where their pants inside out.

Speaker 3 (01:08:32):
Put on this cut perfect Here the spinning image of
your future son.

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Future is Jericho: Back To The Future 2 – The Wackiest, Darkest, Most Ambitious Sequel Ever Made

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.css-14f5ked{margin:0;word-break:break-word;display:-webkit-box;-webkit-box-orient:vertical;box-orient:vertical;-webkit-line-clamp:2;overflow:hidden;}Future is Jericho: Back To The Future 2 – The Wackiest, Darkest, Most Ambitious Sequel Ever Made