Back in Time Page #2

Razor's edge between an absurd

amount of exposition...

Good evening.

I'm Dr. Emmett brown.

I'm standing in a parking lot

at twin pines mall.

It's Saturday morning,

October 26, 1985, 1:18 a.m.

And this is

temporal experiment number one.

...And total immersification.

It's just bursting at the seams

with pipe.

The molecular structure of both Einstein

and the car are completely intact.

Where the hell are they?

The appropriate question is

when the hell are they?

You're being told so many facts for

the first quarter of that movie

Simply so that the sudoku

can complete itself.

This readout tells you

where you're going.

This one tells you

where you are.

This one tells you

where you were.

And that's a rule being broken.

It's not supposed to, uh,

be fair to do that to an audience.

I'm gonna make you

flying-Saucer shaped pancakes.

Oh, there's no need to do that, Beth.

Regular pancakes are fine.

Oh, my god!

What is happening?

"Rick and Morty" was

Justin Roiland's frustrated,

punk rock tantrum

That he was throwing after finishing

working on someone else's show.

He was spending a year

Having no control over the content

he was expected to invest in.

And he came off of that job,

and he just made,

In his opinion, the most kind of

sacrilegious thing he could do.

For him, the equivalent

of Mickey mouse Pluto.

But who cares about Mickey mouse

and Pluto in this generation?

I don't know if the writers know more than

they're telling... than is clear in the movie

About how this teenage guitarist ended up

hanging out with this bankrupt scientist.

People would start wondering, "gee, is doc

brown, like, a child molester or something?"

But back in the day,

nobody ever thought about that.

The infectious

character of Marty McFly,

And his positivity,

and his high spirits.

The crazy doc brown.

That two-hander

between McFly and brown,

That's like laurel and hardy.

That's like Abbott and Costello.

I mean, those guys

will go down in history

As the best two for one

since hope and Crosby.

So Zemeckis and gale really

found lightning in a bottle.

And lightning in a bottle, you know,

tends to stick around for a long time.

We took it around

to every studio in town,

And they would all say, "it's very nice.

It's very sweet.

"Why don't you guys

take it to Disney?"

"It's a time-Travel movie, and time-Travel

movies don't make any money."

Everybody said, "oh, you can't

make time-Travel movies.

Well, you just don't make bad

time-Travel movies. You make a good one.

So finally, after we

heard that about 15 or 20 times,

Bob and I kind of shrugged, said, "well,

what the hell? Let's take it to Disney."

So we submitted it to Disney.

We took a meeting over there.

And the exec at Disney,

we walk into his office,

And he looks at us

like we're completely insane.

He says, "are you guys nuts?

"We can't make this movie here.

We're Disney,

"And you guys have

written a movie about incest."

So, it was nice and sweet for

everybody else except Disney,

And for them, it was taboo.

Marty, I'm almost 18 years old.

It's not like

I've never parked before.

Lorraine McFly is

essentially in love with her own son,

Which I thought was hilarious.

And I always have had a kind

of subversive sense of humor.

So I definitely got it

when I got the part.

But I really loved

the crazy aspect of that.

She was just like... I mean,

I played her like a kitty cat in heat.

And I still think it's funny

that people think

I'm, like, so white bread,

and sweet, and cute

When I'm really known for a part

where I wanted to sleep with my son.

You know what I do

in those situations?

What?

Steven Spielberg

always liked it.

But we'd made three pictures

with Steven,

And none had made

any money at the box office.

So we were afraid if we did another

picture with Steven, and it tanked,

We'd never work again.

And Bob said,

"I gotta get a movie made that's mine,

"So that people understand that Bob Zemeckis

can make a movie without Steven Spielberg."

And after all the frustration of not

getting "back to the future" made,

Bob finally said, "I'm gonna take the next

decent script that gets submitted to me."

Zemeckis went off without me and had a

huge success with "romancing the stone."

Back off me, creep.

Just back off.

Oh. Oh, I'm the creep, huh?

Well, at least I'm honest.

I'm stealing this stone.

I'm not trying to

romance it out from under her.

Out of nowhere,

this phone call comes

From the music editor, tom Carlin,

who I had worked with on "C.H.I.P.S."

And he's doing this movie

called "romancing the stone"

With this guy named

Robert Zemeckis.

Introduced us on the phone.

A guy and a girl running through the

jungle. Raining, machetes, federali.

"Can you do, like,

three minutes of that

"And come in around

9:
30 tomorrow morning?"

I put a little, quickie,

demo mock-Up together,

Went in, got the job.

It's a big, big hit.

Everybody wants his next picture.

The movie he wants to make the most is

"back to the future."

And he decides rather than make it with

any of his new, fair-Weather friends,

Who now wanna be in business

with him because he made a hit,

We should go back to the guy

who believed in it originally,

They came back, and they brought me the

script called "back to the future."

And they said, you know,

"We'd like you

to be involved in this.

"We think it's something

we really wanna do."

And I read it and loved it.

I mean, I couldn't believe what an

accomplished and fun piece of writing it was.

And it was different than anything

I'd ever seen in a movie theater.

The story was off-The-Wall,

And out-Of-Sight, and out-Of-The-Box,

and all those other terms.

And so, I brought it

to Sid Sheinberg,

And Sid loved it too and gave us the

financing to go off and make it.

So we got it set up

at universal.

And lo and behold, the guy who was in charge

of the studio at universal was frank price,

Who originally brought us on

to write it.

Guy McElwaine,

who had worked for me,

Who was now running Columbia,

I mentioned to him that

a project he had with peter Falk

Seemed a lot

like "double indemnity."

And he was committed

to making it.

Guy had his lawyers check it,

Read the script

and make comparisons.

And I got

an urgent call from him,

Saying, "my god, you're right.

It's 'double indemnity, '

As it turned out, universal owned

the rights to "double indemnity."

I came up with two projects

That, as I put it, I'd had them in

development, couldn't get them quite right,

But I know I'd like to

work on them more.

And one is the other project,

and the other one is "back to the future."

I knew guy. He would have been suspicious

if it was just "back to the future."

He agreed to the deal.

And I gave him the license

for "double indemnity,"

And he gave me the two properties,

one of which I didn't want,

But I got the one I wanted.

I originally was in a film

in the early '80s

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