#11 – Esoteric Secrets of Back To The Future

Is Back To The Future a classic 80s blockbuster movie or an esoteric masterpiece? Nick and Jamie discuss how the film influenced them and growing up in the 80s. They also talk about the movies influence on skateboarding, sneaker culture and other interesting facts about Back To The Future. We hope you enjoy this episode and share it with anyone you think might like it!

Back To The Future Podcast

Back To The Future (1985) Movie Transcript by Robert Zemeckis & Bob Gale.

FOR EDUCATIONAL PURPOSES ONLY

Radio: October is inventory time. So right now, Statler Toyota is making

the best deals of the year on all 1985 model Toyotas. You won’t find a

better car with a better price with better service anywhere in Hill

Valley…

Television: The Senate is expected to vote on this today. In other news,

officials at The Pacific

Nuclear Research Facility have denied the rumor that the case of missing

plutonium was in fact stolen from their vault two weeks ago. A Libyan

terrorist group had claimed responsibility for the alleged theft,

however, the officials now infer the crepency to a simple clerical

error. The

FBI…

Marty: Hey, Doc? Doc. Hello, anybody home? Einstein, come here, boy.

What’s going on?

Wha- aw, god. Aw, Jesus. Whoa, rock and roll. Yo

Doc: Marty, is that you?

Marty: Hey, hey, Doc, where are you?

Doc: Thank god I found you. Listen, can you meet me at Twin Pines Mall

tonight at 1:15? I’ve made a major breakthrough, I’ll need your

assistance.

Marty: Wait a minute, wait a minute. 1:15 in the morning?

Doc: Yeah.

Marty: What’s going on? Where have you been all week?

Doc: Working.

Marty: Where’s Einstein, is he with you?

Doc: Yeah, he’s right here.

Marty: You know, Doc, you left your equipment on all week.

Doc: My equipment, that reminds me, Marty, you better not hook up to the

amplifier. There’s a slight possibility for overload.

Marty: Yeah, I’ll keep that in mind.

Doc: Good, I’ll see you tonight. Don’t forget, now, 1:15 a.m., Twin

Pines Mall.

Marty: Right.

Doc: Are those my clocks I hear?

Marty: Yeah, it’s 8:00.

Doc: They’re late. My experiment worked. They’re all exactly twenty-five

minutes slow.

Marty: Wait a minute. Wait a minute, Doc. Are you telling me that it’s

8:25?

Doc: Precisely.

Marty: Damn. I’m late for school.

Marty: Hello, Jennifer.

Jennifer: Marty, don’t go this way. Strickland’s looking for you. If

you’re caught it’ll be four tardies in a row.

Jennifer: Alright, c’mon, I think we’re safe.

Marty: Y’know this time it wasn’t my fault. The Doc set all of his

clocks twenty-five minutes slow.

Strickland: Doc? Am I to understand you’re still hanging around with

Doctor Emmett Brown, McFly? Tardy slip for you, Miss Parker. And one for

you McFly I believe that makes four in a row. Now let me give you a

nickle’s worth of advice, young man. This so called Doctor Brown is

dangerous, he’s a real nuttcase. You hang around with him you’re gonna

end up in big trouble.

Marty: Oh yes sir.

Strickland: You got a real attitude problem, McFly. You’re a slacker.

You remind me of you father when he went her, he was a slacker too.

Marty: Can I go now, Mr. Strickland?

Strickland: I noticed you band is on the roster for dance auditions

after school today. Why even bother Mcfly, you haven’t got a chance,

you’re too much like your own man. No McFly ever amounted to anything in

the history of Hill Valley.

Marty: Yeah, well history is gonna change.

Audition Judge: Next, please.

Marty: Alright, we’re the pinheads.

Audition Judge: Okay, that’s enough. Now stop the microphone. I’m sorry

fellas. I’m afraid you’re just too darn loud. Next, please. Where’s the

next group, please.

Election Van: Re-elect Mayor Goldie Wilson. Progress is his middle name.

Marty: I’m too loud. I can’t believe it. I’m never gonna get a chance to

play in front of anybody.

Jennifer: Marty, one rejection isn’t the end of the world.

Marty: Nah, I just don’t think I’m cut out for music.

Jennifer: But you’re good, Marty, you’re really good. And this audition

tape of your is great, you gotta send it in to the record company. It’s

like Doc’s always saying.

Marty: Yeah I know, If you put your mind to it you could accomplish

anything.

Jennifer: That’s good advice, Marty.

Marty: Alright, okay Jennifer. What if I send in the tape and they don’t

like it. I mean, what if they say I’m no good. What if they say, “Get

out of here, kid, you got no future.” I mean, I just don’t think I can

take that kind of rejection. Jesus, I’m beginning to sound like my old

man.

Jennifer: C’mon, he’s not that bad. At least he’s letting you borrow the

car tomorrow night.

Marty: Check out that four by four. That is hot. Someday, Jennifer,

someday. Wouldn’t it be great to take that truck up to the lake. Throw a

couple of sleeping bags in the back. Lie out under the stars.

Jennifer: Stop it.

Marty: What?

Jennifer: Does your mom know about tomorrow night?

Marty: No, get out of town, my mom thinks I’m going camping with the

guys. Well, Jennifer, my mother would freak out if she knew I was going

up there with you. And I get this standard lecture about how she never

did that kind of stuff when she was a kid. Now look, I think she was

born a nun.

Jennifer: She’s just trying to keep you respectable.

Marty: Well, she’s not doing a very good job.

Woman: Save the clock tower, save the clock tower. Mayor Wilson is

sponsoring an initiative to replace that clock. Thirty years ago,

lightning struck that clock tower and the clock hasn’t run since. We at

the Hill Valley Preservation Society think it should be preserved

exactly the way it is as part of our history and heritage.

Marty: Here you go, lady. There’s a quarter.

Woman: Thank you, don’t forget to take a flyer.

Marty: Right.

Woman: Save the clock tower.

Marty: Where were we.

Jennifer: Right about here.

Jennifer’s Dad: Jennifer.

Jennifer: It’s my dad.

Marty: Right.

Jennifer: I’ve gotta go.

Marty: I’ll call you tonight.

Jennifer: I’ll be at my grandma’s. Here, let me give you the number.

Bye.

Marty: Perfect, just perfect.

Biff: I can’t believe you loaned me a car, without telling me it had a

blindspot. I could’ve been

killed.

George: Now, now, Biff, now, I never noticed any blindspot before when I

would drive it. Hi,

son.

Biff: But, what are you blind McFly, it’s there. How else do you explain

that wreck out there?

George: Now, Biff, um, can I assume that your insurance is gonna pay for

the damage?

Biff: My insurance, it’s your car, your insurance should pay for it.

Hey, I wanna know who’s

gonna pay for this? I spilled beer all over it when that car smashed

into me. Who’s gonna pay

my cleaning bill?

George: Uh?

Biff: And where’s my reports?

George: Uh, well, I haven’t finished those up yet, but you know I

figured since they weren’t due

till-

Biff: Hello, hello, anybody home? Think, McFly, think. I gotta have time

to get them re-typed.

Do you realize what would happen if I hand in my reports in your

handwriting. I’ll get fired. You

wouldn’t want that to happen would you? Would you?

George: Of course not, Biff, now I wouldn’t want that to happen. Now,

uh, I’ll finish those

reports up tonight, and I’ll run em them on over first thing tomorrow,

alright?

Biff: Hey, not too early I sleep in on Saturday. Oh, McFly, your shoe’s

untied. Don’t be so

gullible, McFly. You got the place fixed up nice, McFly. I have you’re

car towed all the way to

your house and all you’ve got for me is light beer. What are you looking

at, butthead. Say hi to

your mom for me.

George: I know what you’re gonna say, son, and you’re right, you’re

right, But Biff just happens

to be my supervisor, and I’m afraid I’m not very good at confrontations.

Marty: The car, Dad, I mean He wrecked it, totaled it. I needed that car

tomorrow night, Dad, I

mean do you have any idea how important this was, do you have any clue?

George: I know, and all I could say is I’m sorry.

George: Believe me, Marty, you’re better off not having to worry about

all the aggravation and

headaches of playing at that dance.

David: He’s absolutely right, Marty. the last thing you need is

headaches.

Lorraine: Kids, we’re gonna have to eat this cake by ourselves, Uncle

Joey didn’t make parole

again. I think it would be nice, if you all dropped him a line.

Marty: Uncle Jailbird Joey?

David: He’s your brother, Mom.

Linda: Yeah, I think it’s a major embarrassment having an uncle in

prison.

Loraine: We all make mistakes in life, children

David: God dammit, I’m late.

Lorraine: David, watch your mouth. You come here and kiss your mother

before you go, come

here.

David: C’mon, Mom, make it fast, I’ll miss my bus. Hey see you tonight,

Pop. Woo, time to

change that oil.

Linda: Hey Marty, I’m not your answering service, but you’re outside

pouting about the car,

Jennifer Parker called you twice.

Lorraine: I don’t like her, Marty. Any girl who calls a boy is just

asking for trouble.

Linda: Oh Mom, there’s nothing wrong with calling a boy.

Lorraine: I think it’s terrible. Girls chasing boys. When I was your age

I never chased a boy, or

called a boy, or sat in a parked car with a boy.

Linda: Then how am I supposed to ever meet anybody.

Lorraine: Well, it will just happen. Like the way I met your father.

Linda: That was so stupid, Grandpa hit him with the car.

Lorraine: It was meant to be. Anyway, if Grandpa hadn’t hit him, then

none of you would have

been born.

Linda: Yeah, well, I still don’t understand what Dad was doing in the

middle of the street.

Lorraine: What was it, George, bird watching?

George: What Lorraine, what?

Lorraine: Anyway, Grandpa hit him with the car and brought him into the

house. He seemed

so helpless, like a little lost puppy, my heart just went out for him.

Linda: Yeah Mom, we know, you’ve told us this story a million times. You

felt sorry for him so

you decided to go with him to The Fish Under The Sea Dance.

Lorraine: No, it was The Enchantment Under The Sea Dance. Our first

date. It was the night

of that terrible thunderstorm, remember George? Your father kissed me

for the very first time

on that dance floor. It was then I realized I was going to spend the

rest of my life with him.

Marty: Hello.

Doc: Marty, you didn’t fall asleep, did you?

Marty: Uh Doc, uh no. No, don’t be silly.

Doc: Listen, this is very important, I forgot my video camera, could you

stop by my place and

pick it up on your way to the mall?

Marty: Um, yeah, I’m on my way.

Marty: Einstein, hey Einstein, where’s the Doc, boy, huh? Doc

Doc: Marty, you made it.

Marty: Yeah.

Doc: Welcome to my latest experiment. It’s the one I’ve been waiting for

all my life.

Marty: Um, well it’s a deloreon, right?

Doc: Bare with me, Marty, all of your questions will be answered. Roll

tape, we’ll proceed.

Marty: Doc, is that a de-

Doc: Never mind that now, never mind that now.

Marty: Alright, I’m ready.

Doc: Good evening, I’m Doctor Emmett Brown. I’m standing on the parking

lot of Twin Pines

Mall. It’s Saturday morning, October 26, 1985, 1:18 a.m. and this is

temporal experiment

number one. C’mon, Einy, hey hey boy, get in there, that a boy, in you

go, get down, that’s it.

Marty: Whoa, whoa, okay.

Doc: Please note that Einstein’s clock is in complete synchronization

with my control watch.

Marty: Right check, Doc.

Doc: Good. Have a good trip Einstein, watch your head.

Marty: You have this thing hooked up to the car?

Doc: Watch this. Not me, the car, the car. My calculations are correct,

when this baby hits

eighty-eight miles per hour, your gonna see some serious shit. Watch

this, watch this. Ha,

what did I tell you, eighty-eight miles per hour. The temporal

displacement occurred at exactly

1:20 a.m. and zero seconds.

Marty: Hot, Jesus Christ, Doc. Jesus Christ, Doc, you disintegrated

Einstein.

Doc: Calm down, Marty, I didn’t disintegrate anything. The molecular

structure of Einstein and

the car are completely intact.

Marty: Where the hell are they.

Doc: The appropriate question is, weren’t the hell are they. Einstein

has just become the

world’s first time traveler. I sent him into the future. One minute into

the future to be exact.

And at exactly 1:21 a.m. we should cat h up with him and the time

machine.

Marty: Wait a minute, wait a minute, Doc, are you telling me that you

built a time machine out of

a deloreon.

Doc: The way I see it, if you’re gonna build a time machine into a car

why not do it with some

style. Besides, the stainless, steel construction made the flux

dispersal- look out.

Marty: What, what is it hot?

Doc: It’s cold, damn cold. Ha, ha, ha, Einstein, you little devil.

Einstein’s clock is exactly one

minute behind mine, it’s still ticking.

Marty: He’s alright.

Doc: He’s fine, and he’s completely unaware that anything happened. As

far as he’s concerned

the trip was instantaneous. That’s why Einstein’s watch is exactly one

minute behind mine. He

skipped over that minute to instantly arrive at this moment in time.

Come here, I’ll show you

how it works. First, you turn the time circuits on. This readout tell

you where you’re going, this

one tells you where you are, this one tells you where you were. You

imput the destination time

on this keypad. Say, you wanna see the signing of the declaration of

independence, or witness

the birth or Christ. Here’s a red-letter date in the history of science,

November 5, 1955. Yes, of

course, November 5, 1955.

Marty: What, I don’t get what happened.

Doc: That was the day I invented time travel. I remember it vividly. I

was standing on the edge

of my toilet hanging a clock, the porces was wet, I slipped, hit my head

on the edge of the sink.

And when I came to I had a revelation, a picture, a picture in my head,

a picture of this. This is

what makes time travel possible. The flux capacitor.

Marty: The flux capacitor.

Doc: It’s taken me almost thirty years and my entire family fortune to

realize the vision of that

day, my god has it been that long. Things have certainly changed around

here. I remember

when this was all farmland as far as the eye could see. Old man Peabody,

owned all of this.

He had this crazy idea about breeding pine trees.

Marty: This is uh, this is heavy duty, Doc, this is great. Uh, does it

run on regular unleaded

gasoline?

Doc: Unfortunately no, it requires something with a little more kick,

plutonium.

Marty: Uh, plutonium, wait a minute, are you telling me that this

sucker’s nuclear?

Doc: Hey, hey, keep rolling, keep rolling there. No, no, no, no, this

sucker’s electrical. But I

need a nuclear reaction to generate the one point twenty-one gigawatts

of electricity that I need.

Marty: Doc, you don’t just walk into a store and ask for plutonium. Did

you rip this off?

Doc: Of course, from a group of Libyan Nationalists. They wanted me to

build them a bomb, so

I took their plutonium and in turn gave them a shiny bomb case full of

used pinball machine

parts.

Marty: Jesus.

Doc: Let’s get you into a radiation suit, we must prepare to reload.

Doc: Safe now, everything’s let lined. Don’t you lose those tapes now,

we’ll need a record.

Wup, wup, I almost forgot my luggage. Who knows if they’ve got cotton

underwear in the

future. I’m allergic to all synthetics.

Marty: The future, it’s where you’re going?

Doc: That’s right, twenty five years into the future. I’ve always

dreamed on seeing the future,

looking beyond my years, seeing the progress of mankind. I’ll also be

able to see who wins the

next twenty-five world series.

Marty: Uh, Doc.

Doc: Huh?

Marty: Uh, look me up when you get there.

Doc: Indeed I will, roll em. I, Doctor Emmett Brown, am about to embark

on an historic journey.

What have I been thinking of, I almost forgot to bring some extra

plutonium. How did I ever

expect to get back, one pallet one trip I must be out of my mind. What

is it Einy? Oh my god,

they found me, I don’t know how but they found me. Run for it, Marty.

Marty: Who, who?

Doc: Who do you think, the Libyans.

Marty: Holy shit.

Doc: Unroll their fire.

Marty: Doc, wait. No, bastards.

Libyan: Go. Go.

Marty: C’mon, more, dammit. Jeez. Holy shit. Let’s see if you bastards

can do ninety.

Marty: Ahh. Ahh.

Mother: Pa, what is it? What is it, Pa?

Father: Looks like a airplane, without wings.

Son: That ain’t no airplane, look.

Mother & Father: Ahh.

Father: Children.

Marty: Listen, woh. Hello, uh excuse me. Sorry about your barn.

Son: It’s already mutated intro human form, shoot it.

Father: Take that you mutated son-of-a-bitch. My pine, why you. You

space bastard, you killed

a pine.

Marty: Alright, alright, okay McFly, get a grip on yourself. It’s all a

dream. Just a very intense

dream. Woh, hey, listen, you gotta help me.

Passenger: Don’t stop, Wilbert, drive.

Marty: Can’t be. This is nuts. Aw, c’mon.

Election Van: Remember, fellas, the future is in your hands. If you

believe in progress, re-elect

Mayor Red Thomas, progress is his middle name. Mayor Red Thomas’s

progress platform

means more jobs, better education, bigger civic improvements, and lower

taxes. On election

day, cast your vote for a proven leader, re-elect Mayor Red Thomas…

Marty: this has gotta be a dream.

Lou: Hey kid, what you do, jump ship?

Marty: What?

Lou: What’s with the life preserver?

Marty: I just wanna use the phone.

Lou: Yeah, it’s in the back.

Marty: Brown, Brown, Brown, Brown, Brown, great, you’re alive. Do you

know where 1640

Riverside-

Lou: Are you gonna order something, kid?

Marty: Yeah, gimme a Tab.

Lou: Tab? I can’t give you a tab unless you order something.

Marty: Right, gimme a Pepsi free.

Lou: You wanna a Pepsi, pall, you’re gonna pay for it.

Marty: Well just gimme something without any sugar in it, okay?

Lou: Without any sugar.

Biff: Hey McFly, what do you think you’re doing.

Marty: Biff.

Biff: Hey I’m talking to you, McFly, you Irish bug.

George: Oh hey, Biff, hey, guys, how are you doing?

Biff: Yeah, you got my homework finished, McFly?

George: Uh, well, actually, I figured since it wasn’t due till Monday-

Biff: Hello, hello, anybody home? Think, McFly, think. I gotta have time

to recopy it. Do your

realize what would happen if I hand in my homework in your handwriting?

I’d get kicked out of

school. You wouldn’t want that to happen would you, would you?

George: Now, of course not, Biff, now, I wouldn’t want that to happen.

Biff: Uh, no, no, no, no. What are you looking at, butt-head?

Skinhead: Hey Biff, check out this guy’s life preserver, dork thinks

he’s gonna drown.

Biff: Yeah, well, how about my homework, McFly?

George: Uh, well, okay Biff, uh, I’ll finish that on up tonight and I’ll

bring it over first thing

tomorrow morning.

Biff: Hey not too early I sleep in Sunday’s, hey McFly, you’re shoe’s

untied, don’t be so gullible,

McFly.

George: Okay.

Biff: I don’t wanna see you in here again.

George: Yeah, alright, bye-bye. What?

Marty: You’re George McFly.

George: Yeah, who are you?

Goldie: Say, why do you let those boys push you around like that?

George: Well, they’re bigger than me.

Goldie: Stand tall, boy, have some respect for yourself. Don’t you know

that if you let people

walk all over you know, they’ll be walking all over you for the rest of

your life? Listen to me, do

you think I’m gonna spend the rest of my life in this slop house?

Lou: Watch it, Goldie.

Goldie: No sir, I’m gonna make something out of myself, I’m going to

night school and one day

I’m gonna be somebody.

Marty: That’s right, he’s gonna be mayor.

Goldie: Yeah, I’m- mayor. Now that’s a good idea. I could run for mayor.

Lou: A colored mayor, that’ll be the day.

Goldie: You wait and see, Mr. Caruthers, I will be mayor and I’ll be the

most powerful mayor in

the history of Hill Valley, and I’m gonna clean up this town.

Lou: Good, you could start by sweeping the floor.

Goldie: Mayor Goldie Wilson, I like the sound of that.

Marty: Hey Dad, George, hey, you on the bike.

Marty: He’s a peeping tom. Dad.

Sam: Hey wait, wait a minute, who are you? Stella, another one of these

damn kids jumped in

front of my car. Come on out here, help me take him in the house.

Marty: Mom, is that you?

Lorraine: There, there, now, just relax. You’ve been asleep for almost

nine hours now.

Marty: I had a horrible nightmare, dreamed I went back in time, it was

terrible.

Lorraine: Well, safe and sound, now, n good old 1955.

Marty: 1955? You’re my ma- you’re my ma.

Lorraine: My name’s Lorraine, Lorraine Baines.

Marty: Yeah, but you’re uh, you’re so, you’re so thin.

Lorraine: Just relax now Calvin, you’ve got a big bruise on you’re head.

Marty: Ah, where’re my pants?

Lorraine: Over there, on my hope chest. I’ve never seen purple underwear

before, Calvin.

Marty: Calvin, why do you keep calling me Calvin?

Lorraine: Well that’s your name, isn’t it? Calvin Klein. it’s written

all over your underwear. Oh,

I guess they call you Cal, huh?

Marty: Actually, people call me Marty.

Lorraine: Oh, pleased to meet you, Calvin Marty Klein. Do you mind if I

sit here?

Marty: No, fine, no , good, fine, good.

Lorraine: That’s a big bruise you have there.

Marty: Ah.

Stella: Lorraine, are you up there?

Lorraine: My god, it’s my mother. Put your pants back on.

Stella: So tell me, Marty, how long have you been in port?

Marty: Excuse me.

Stella: Yeah, I guessed you’re a sailor, aren’t you, that’s why you wear

that life preserver.

Marty: Uh, coast guard.

Stella: Sam, here’s the young man you hit with your car out there. He’s

alright, thank god.

Sam: What were you doing in the middle of the street, a kid your age.

Stella: Don’t pay any attention to him, he’s in one of his moods. Sam,

quit fiddling with that

thing, come in here to dinner. Now let’s see, you already know Lorraine,

this is Milton, this is

Sally, that’s Toby, and over there in the playpen is little baby Joey.

Marty: So you’re my Uncle Joey. Better get used to these bars, kid.

Stella: yes, Joey just loves being in his playpen. he cries whenever we

take him out so we just

leave him in there all the time. Well Marty, I hope you like meatloaf.

Marty: Well, uh, listen, uh, I really-

Lorraine: Sit here, Marty.

Stella: Sam, quit fiddling with that thing and come in here and eat your

dinner.

Sam: Ho ho ho, look at it roll. Now we could watch Jackie Gleason while

we eat.

Lorraine: Our first television set, Dad just picked it up today. Do you

have a television?

Marty: Well yeah, you know we have two of them.

Milton: Wow, you must be rich.

Stella: Oh honey, he’s teasing you, nobody has two television sets.

Marty: Hey, hey, I’ve seen this one, I’ve seen this one. This is a

classic, this is where Ralph

dresses up as the man from space.

Milton: What do you mean you’ve seen this, it’s brand new.

Marty: Yeah well, I saw it on a rerun.

Milton: What’s a rerun?

Marty: You’ll find out.

Stella: You know Marty, you look so familiar, do I know your mother?

Marty: Yeah, I think maybe you do.

Stella: Oh, then I wanna give her a call, I don’t want her to worry

about you.

Marty: You can’t, uh, that is, uh, nobody’s home.

Stella: Oh.

Marty: Yet.

Stella: Oh.

Marty: Uh listen, do you know where Riverside Drive is?

Sam: It’s uh, the other end of town, a block past Maple.

Marty: A block passed Maple, that’s John F. Kennedy Drive.

Sam: Who the hell is John F. Kennedy?

Lorraine: Mother, with Marty’s parents out of town, don’t you think he

oughta spend the night,

after all, Dad almost killed him with the car.

Stella: That’s true, Marty, I think you should spend the night. I think

you’re our responsibility.

Marty: Well gee, I don’t know.

Lorraine: And he could sleep in my room.

Marty: I gotta go, uh, I gotta go. Thanks very much, it was wonderful,

you were all great. See

you all later, much later.

Stella: He’s a very strange young man.

Sam: he’s an idiot, comes from upbringing, parents were probably idiots

too. Lorraine, if you

ever have a kid like that, I’ll disown you.

Marty: Doc?

Doc: Don’t say a word.

Marty: Doc.

Doc: I don’t wanna know your name. I don’t wanna know anything anything

about you.

Marty: Listen, Doc.

Doc: Quiet.

Marty: Doc, Doc, it’s me, Marty.

Doc: Don’t tell me anything.

Marty: Doc, you gotta help-

Doc: Quiet, quiet. I’m gonna read your thoughts. Let’s see now, you’ve

come from a great

distance?

Marty: Yeah, exactly.

Doc: Don’t tell me. Uh, you want me to buy a subscription to the

Saturday Evening Post?

Marty: No.

Doc: Not a word, not a word, not a word now. Quiet, uh, donations, you

want me to make a

donation to the coast guard youth auxiliary?

Marty: Doc, I’m from the future. I came here in a time machine that you

invented. Now, I need

your help to get back to the year 1985.

Doc: My god, do you know what this means? It means that this damn thing

doesn’t work at all.

Marty: Doc, you gotta help me. you were the only one who knows how your

time machine

works.

Doc: Time machine, I haven’t invented any time machine.

Marty: Okay, alright, I’ll prove it to you. Look at my driver’s license,

expires 1987. Look at my

birthday, for crying out load I haven’t even been born yet. And, look at

this picture, my brother,

my sister, and me. Look at the sweatshirt, Doc, class of 1984.

Doc: Pretty Mediocre photographic fakery, they cut off your brother’s

hair.

Marty: I’m telling the truth, Doc, you gotta believe me.

Doc: So tell me, future boy, who’s president of the United States in

1985?

Marty: Ronald Reagon.

Doc: Ronald Reagon, the actor? Then who’s vice president, Jerry Lewis? I

suppose Jane

Wymann is the first lady.

Marty: Whoa, wait, Doc.

Doc: And Jack Benny is secretary of the Treasury.

Marty: Look, you gotta listen to me.

Doc: I got enough practical jokes for one evening. Good night, future

boy.

Marty: No wait, Doc, the bruise, the bruise on your head, I know how

that happened, you told

me the whole story. you were standing on your toilet and you were

hanging a clock, and you

fell, and you hit your head on the sink, and that’s when you came up

with the idea for the flux

capacitor, which makes time travel possible.

Marty: Something wrong with the starter, so I hid it.

Doc: After I fell off my toilet, I drew this.

Marty: Flux capacitor.

Doc: It works, ha ha ha ha, it works. I finally invent something that

works.

Marty: Bet your ass it works.

Doc: Well, now we gotta sneak this back into my laboratory, we’ve gotta

get you home.

Marty: Okay Doc, this is it.

TV Doc: Never mind that, never mind that now, never mind that, never

mind-

Doc: Why that’s me, look at me, I’m an old man.

TV Doc: Good evening, I’m Doctor Emmet Brown, I’m standing here on the

parking lot of-

Doc: Thank god I still got my hair. What on Earth is that thing I’m

wearing?

Marty: Well, this is a radiation suit.

Doc: Radiation suit, of course, cause all of the fall out from the

atomic wars. This is truly

amazing, a portable television studio. No wonder your president has to

be an actor, he’s gotta

look good on television.

Marty: whoa, this is it, this is the part coming up, Doc.

TV Doc: No no no this sucker’s electrical, but I need a nuclear reaction

to generate the one point

twenty-one gigawatts of electricity-

Doc: What did I just say?

TV Doc: No no no this sucker’s electrical, but I need a nuclear reaction

to generate the one point

twenty-one gigawatts of electricity that I need.

Doc: One point twenty-one gigawatts. One point twenty-one gigawatts.

Great Scott.

Marty: What the hell is a gigawatt?

Doc: How could I have been so careless. One point twenty-one gigawatts.

Tom, how am I

gonna generate that kind of power, it can’t be done, it can’t.

Marty: Doc, look, all we need is a little plutonium.

Doc: I’m sure that in 1985, plutonium is available at every corner drug

store, but in 1955, it’s a

little hard to come by. Marty, I’m sorry, but I’m afraid you’re stuck

here.

Marty: whoa, whoa Doc, stuck here, I can’t be stuck here, I got a life

in 1985. I got a girl.

Doc: Is she pretty?

Marty: Doc, she’s beautiful. She’s crazy about me. Look at this, look

what she wrote me, Doc.

That says it all. Doc, you’re my only hope.

Doc: Marty, I’m sorry, but the only power source capable of generating

one point twenty-one

gigawatts of electricity is a bolt of lightning.

Marty: What did you say?

Doc: A bolt of lightning, unfortunately, you never know when or where

it’s ever gonna strike.

Marty: We do now.

Doc: This is it. This is the answer. It says here that a bolt of

lightning is gonna strike the clock

tower precisely at 10:04 p.m. next Saturday night. If we could somehow

harness this bolt of

lightning, channel it into the flux capacitor, it just might work. Next

Saturday night, we’re

sending you back to the future.

Marty: Okay, alright, Saturday is good, Saturday’s good, I could spend a

week in 1955. I could

hang out, you could show me around.

Doc: Marty, that’s completely out of the question, you must not leave

this house. you must not

see anybody or talk to anybody. Anything you do could have serious

reprocautions on future

events. Do you understand?

Marty: Yeah, sure, okay.

Doc: Marty, you interacted with anybody else today, besides me?

Marty: Um, yeah well I might have sort of ran into my parents.

Doc: Great Scott. Let me see that photograph again of your brother. Just

as I thought, this

proves my theory, look at your brother.

Marty: His head’s gone, it’s like it’s been erased.

Doc: Erased from existence.

Marty: Whoa, they really cleaned this place up, looks brand new.

Doc: Now remember, according to my theory you interfered with with your

parent’s first

meeting. They don’t meet, they don’t fall in love, they won’t get

married and they wont have

kids. That’s why your older brother’s disappeared from that photograph.

Your sister will follow

and unless you repair the damages, you will be next.

Marty: This sounds pretty heavy.

Doc: Weight has nothing to do with it.

Doc: Which one’s your pop?

Marty: That’s him.

George: Okay, okay you guys, oh ha ha ha very funny. Hey you guys are

being real mature.

Doc: Maybe you were adopted.

George: Okay, real mature guys. Okay, Biff, will you pick up my books?

Strickland: McFly.

Marty: That’s Strickland. Jesus, didn’t that guy ever have hair?

Strickland: Shape up, man. You’re a slacker. You wanna be a slacker for

the rest of your life?

George: No.

Doc: What did your mother ever see in that kid?

Marty: I don’t know, Doc, I guess she felt sorry for him cause her did

hit him with the car, hit me

with the car.

Doc: That’s a Florence Nightingale effect. It happens in hospitals when

nurses fall in love with

their patients. Go to it, kid.

Marty: Hey George, buddy, hey, I’ve been looking all over for you. You

remember me, the guy

who saved your life the other day.

George: Yeah.

Marty: Good, there’s somebody I’d like you to meet. Loraine.

Loraine: Calvin.

Marty: I’d like you to meet my good friend George McFly.

George: Hi, it’s really a pleasure to meet you.

Loraine: How’s your head?

Marty: Well uh, good, fine.

Loraine: Oh, I’ve been so worried about you ever since you ran off the

other night. Are you

okay? I’m sorry I have to go. Isn’t he a dream boat?

Marty: Doc, she didn’t even look at him.

Doc: This is more serious than I thought. Apparently your mother is

amorously infatuated with

you instead of your father.

Marty: Whoa, wait a minute, Doc, are you telling me that my mother has

got the hots for me?

Doc: Precisely.

Marty: Whoa, this is heavy.

Doc: There’s that word again, heavy. Why are things so heavy in the

future. Is there a

problem with the Earth’s gravitational pull?

Marty: What?

Doc: The only way we’re gonna get those two to successfully meet is if

they’re alone together.

So you’ve got to get your father and mother to interact at some sort of

social-

Marty: What, well you mean like a date?

Doc: Right.

Marty: What kind of date? I don’t know, what do kids do in the fifties?

Doc: Well, they’re your parents, you must know them. What are there

common interests.

What do they like to do together?

Marty: Nothing.

Doc: Look, there’s a rhythmic ceremonial ritual coming up.

Marty: Of course, the Enchantment Under The Sea Dance they’re supposed

to go to this, that’s

where they kiss for the first time.

Doc: Alright kid, you stick to your father like glue and make sure that

he takes her to the dance.

Marty: George, buddy. remember that girl I introduced you to, Loraine.

What are you writing?

George: Uh, stories, science fiction stories, about visitors coming down

to Earth from another

planet.

Marty: Get out of town, I didn’t know you did anything creative. Ah, let

me read some.

George: Oh, no no no, I never uh, I never let anybody read my stories.

Marty: Why not?

George: Well, what if they didn’t like them, what if they told me I was

no good. I guess that

would be pretty hard for somebody to understand.

Marty: Uh no, not hard at all. So anyway, George, now Loraine, she

really likes you. She told

me to tell you that she wants you to ask her to the Enchantment Under

The Sea Dance.

George: Really.

Marty: oh yeah, all you gotta do is go over there and ask her.

George: What, right here right now in the cafeteria? What is she said

no? I don’t know if I

could take that kind of rejection. Besides, I think she’d rather go with

somebody else.

Marty: Who?

George: Biff.

Biff: C’mon, c’mon.

Loraine: Leave me alone.

Biff: You want it, you know you want it, and you know you want me to

give it to you.

Loraine: Shut your filthy mouth, I’m not that kind of girl.

Biff: Well maybe you are and you just don’t know it yet.

Loraine: Get your meat hooks off of me.

Marty: You heard her she said get your meat hooks, off, uh please.

Biff: So what’s it to you, butthead. You know you’ve been looking for a,

since you’re new here,

I’m gonna cut you a break, today. So why don’t you make like a tree, and

get out of here.

Marty: George.

George: Why do you keep following me around?

Marty: Look, George, I’m telling you George, if you do not ask Loraine

to that dance, I’m gonna

regret it for the rest of my life.

George: But I can’t go to the dance, I’ll miss my favorite television

program, Science Fiction

Theater.

Marty: Yeah but George, Loraine wants to go with you. Give her a break.

George: Look, I’m just not ready to ask Loraine out to the dance, and

not you, nor anybody else

on this planet is gonna make me change my mind.

Marty: Science Fiction Theater.

George: Who are you?

Marty: Silence Earthling. my name is Darth Vader. I’m am an

extra-terrestrial from the planet

Vulcan.

George: Marty. Marty. Marty.

Marty: Hey, George, buddy, you weren’t at school, what have you been

doing all day?

George: I over slept, look I need your help. I have to ask Loraine out

but I don’t know how to

do it. I have to ask Loraine out but I don’t know how to do it.

Marty: Alright, okay listen, keep your pants on, she’s over in the caf�.

God, how do you do

this? What made you change your mind, George?

George: Last night, Darth Vader came down from planet Vulcan. And he

told me that if I didn’t

take Loraine, that he’d melt my brain.

Marty: Yeah, well uh, lets keep this brain melting stuff to ourselves,

okay?

George: Oh, yeah, yeah.

Marty: Alright, okay. Alright, there she is, George. Just go in there

and invite her.

George: Okay, but I don’t know what to say.

Marty: Just say anything, George, say what ever’s natural, the first

thing that comes to your

mind.

George: Nothing’s coming to my mind.

Marty: Jesus, George, it’s a wonder I was ever born.

George: What, what?

Marty: Nothing, nothing, nothing, look tell her destiny has brought you

together, tell her that

she’s the most beautiful you have ever seen. Girls like that stuff.

What, what are you doing

George?

George: I’m writing this down, this is good stuff.

Marty: Yeah okay.

George: Oh.

Marty: Let’s go.

George: Oh.

Marty: Will you take care of that?

George: Right. Lou, gimme a milk, chocolate. Loraine, my density has

popped me to you.

Loraine: What?

George: Oh, what I meant to day was-

Loraine: Hey, don’t I know you from somewhere?

George: Yes, yes, I’m George, George McFly, and I’m your density. I

mean, I’m your destiny.

Loraine: Oh.

Biff: Hey, McFly, I thought I told you never to come in here. Well it’s

gonna cost you. How

much money you got on you?

George: Well, Biff.

Biff: Alright, punk, now-

Marty: Whoa, whoa, Biff, what’s that?

Loraine: That’s Calvin Klein, oh my god, he’s a dream.

Marty: Whoa, whoa, kid, kid, stop, stop, stop, stop.

Kid: Hey.

Marty: I’ll get it back to you, alright?

Kid: You broke it. Wow, look at him go.

Biff: Let’s get him.

Girl: What’s that thing he’s on?

Boy: It’s a board with wheels.

Loraine: He’s an absolute dream.

Marty: Ah. Whoa.

Biff: I’m gonna ram him.

Biff, Matches, 3-D, & Skinhead: Shit.

Marty: Thanks a lot, kid.

Biff: I’m gonna get that son-of-a-bitch.

Girlfriend #1: Where does he come from?

Girlfriend #2: Yeah, where does he live?

Loraine: I don’t know, but I’m gonna find out.

Doc: My god, they found me. I don’t know how but they found me. Run for

it, Marty. My god,

they found me. I don’t know how but they found me. Run for it, Marty.

Marty: Doc.

Doc: Oh, hi , Marty. I didn’t hear you come in. Fascinating device, this

video unit.

Marty: Listen, Doc, you know there’s something I haven’t told you about

the night we made that

tape.

Doc: Please, Marty, don’t tell me, no man should know too much about

their own destiny.

Marty: You don’t understand.

Doc: I do understand. If I know too much about my own future I could

endanger my own

existence, just as you endangered yours.

Marty: Your, your right.

Doc: Let me show you my plan for sending you home. Please excuse the

crudity of this model,

I didn’t have time to build it to scale or to paint it.

Marty: Its good.

Doc: Oh, thank you, thank you. Okay now, we run some industrial strength

electrical cable

from the top of the clocktower down to spreading it over the street

between two lamp posts.

Meanwhile, we out-fitted the vehicle with this big pole and hook which

runs directly into the

flux-capacitor. At the calculated moment, you start off from down the

street driving toward the

cable execrating to eighty-eight miles per hour. According to the flyer,

at !0:04 pm lightning will

strike the clocktower sending one point twenty-one gigawatts into the

flux-capacitor, sending

you back to 1985. Alright now, watch this. You wind up the car and

release it, I’ll simulate the

lightening. Ready, set, release. Huhh.

Marty: You extol me with a lot of confidence, Doc.

Doc: Don’t worry, I’ll take care of the lightning, you take care of your

pop. By the way, what

happened today, did he ask her out?

Marty: Uh, I think so.

Doc: What did she say? It’s your mom, she’s tracked you down. Quick,

let’s cover the time

machine.

Loraine: Hi, Marty.

Marty: Uh, Loraine. How did you know I was here?

Loraine: I followed you.

Marty: Oh, uh, this is my Doc, Uncle, Brown.

Loraine: Hi.

Marty: Hello.

Loraine: Marty, this may seem a little foreward, but I was wondering if

you would ask me to the

Enchantment Under The Sea Dance on Saturday.

Marty: Uh, you mean nobody’s asked you?

Loraine: No, not yet.

Marty: What about George?

Loraine: George McFly? Oh, he’s kinda cute and all, but, well, I think a

man should be strong,

so he could stand up for himself, and protect the woman he loves. Don’t

you?

Marty: Yeah.

George: I still don’t understand, how am I supposed to go to the dance

with her, if she’s already

going to the dance with you.

Marty: Cause, George, she wants to go to the dance with you, she just

doesn’t know it yet.

That’s why we got to show her that you, George McFly, are a fighter.

You’re somebody who’s

gonna stand up for yourself, someone who’s gonna protect her.

George: Yeah, but I never picked a fight in my entire life.

Marty: Your not gonna be picking a fight, Dad, dad dad daddy-o. You’re

coming to a rescue,

right? Okay, let’s go over the plan again. 8:55, where are you gonna be.

George: I’m gonna be at the dance.

Marty: Right, and where am I gonna be?

George: You’re gonna be in the car with her.

Marty: Right, okay, so right around 9:00 she’s gonna get very angry with

me.

George: Why is she gonna get angry with you?

Marty: Well, because George, nice girls get angry when guys take

advantage of them.

George: Ho, you mean you’re gonna touch her on her-

Marty: No, no, George, look, it’s just an act, right? Okay, so 9:00

you’re strolling through the

parking lot, you see us struggling in the car, you walk up, you open the

door and you say, your

line, George.

George: Oh, uh, hey you, get your damn hands off her. Do you really

think I oughta swear?

Marty: Yes, definitely, god-dammit George, swear. Okay, so now, you come

up, you punch me

in the stomach, I’m out for the count, right? And you and Loraine live

happily ever after.

George: Oh, you make it sound so easy. I just, I wish I wasn’t so

scared.

Marty: George, there’s nothing to be scared of. All it takes is a little

self confidence. You know,

if you put your mind to it, you could accomplish anything.

Radio: This Saturday night, mostly clear, with some scattered clouds.

Lows in the upper

forties.

Doc: Are you sure about this storm?

Marty: When could weathermen predict the weather, let alone the future.

Doc: You know Marty, I’m gonna be very sad to see you go. You’ve really

mad a difference in

my life, you’ve given me something to shoot for. Just knowing, that I’m

gonna be around to se

1985, that I’m gonna succeed in this. That I’m gonna have a chance to

travel through time. It’s

going to be really hard waiting 30 years before I could talk to you

about everything that’s

happened in the past few days. I’m really gonna miss you, Marty.

Marty: I’m really gonna miss you. Doc, about the future-

Doc: No, Marty, we’ve already agreed that having information about the

future could be

extremely dangerous. Even if your intentions are good, they could

backfire drastically.

Whatever you’ve got to tell me I’ll find out through the natural course

of time.

Marty: Dear Doctor Brown, on the night that I go back in time, you will

be shot by terrorists.

Please take whatever precautions are necessary to prevent this terrible

disaster. Your friend,

Marty.

Cop: Evening, Doctor Brown, what’s with the wire?

Doc: Oh, just a little weather experiment.

Cop: What you got under here?

Doc: Oh no, don’t touch that. That’s some new specialized weather

sensing equipment.

Cop: You got a permit for that?

Doc: Of course I do. Just a second, let’s see if I could find it.

Marty: Do you mind if we park for a while?

Loraine: That’s a great idea. I’d love to park.

Marty: Huh?

Loraine: Well, Marty, I’m almost eighteen-years-old, it’s not like I’ve

never parked before.

Marty: What?

Loraine: Marty, you seem so nervous, is something wrong?

Marty: No no. Loraine, Loraine, what are you doing?

Loraine: I swiped it from the old lady’s liquor cabinet.

Marty: Yeah well, you shouldn’t drink.

Loraine: Why not?

Marty: Because, you might regret it later in life.

Loraine: Marty, don’t be such a square. Everybody who’s anybody drinks.

Marty: Jesus, you smoke too?

Loraine: Marty, you’re beginning to sound just like my mother.

Marvin Barry: We’re gonna take a little break but we’ll be back in a

while so, don’t nobody go

no where.

Loraine: Marty, why are you so nervous?

Marty: Loraine, have you ever, uh, been in a situation where you know

you had to act a certain

way but when you got there, you didn’t know if you could go through with

it?

Loraine: Oh, you mean how you’re supposed to act on a first date.

Marty: Ah well, sort of.

Loraine: I think I know exactly what you mean.

Marty: You do?

Loraine: You know what I do in those situations?

Marty: What?

Loraine: I don’t worry. this is all wrong. I don’t know what it is but

when I kiss you, it’s like

kissing my brother. I guess that doesn’t make any sense, does it?

Marty: Well, you mean, it makes perfect sense.

Biff: You cost three-hundred buck damage to my car, you son-of-a-bitch.

And I’m gonna take it

out of your ass. Hold him.

Loraine: Let him go, Biff, you’re drunk.

Biff: Well looky what we have here. No no no, you’re staying right here

with me.

Loraine: Stop it.

Biff: C’mon.

Loraine: Stop it.

Biff: C’mon.

Marty: Leave her alone, you bastard.

Biff: You guys, take him in back and I’ll be right there. Well c’mon,

this ain’t no peep show.

Skinhead: Let’s put him in there.

3-D: Yeah.

Skinhead: That’s for messing up my hair.

Starlighter: The hell you doing to my car?

3-D: Hey beat it, spook, this don’t concern you.

Marvin Barry: Who are you calling spook, pecker-wood.

Skinhead: Hey, hey listen guys. Look, I don’t wanna mess with no reefer

addicts, okay?

Marty: C’mon, open up, let me out of here, Yo.

Marvin Barry: Lorenzo, where’re you keys?

Marty: The keys are in the trunk.

Marvin Barry: Say that again.

Marty: I said the keys are in here.

George: Hey you, get your damn hands off, oh.

Biff: I think you got the wrong car, McFly.

Loraine: George, help me, please.

Biff: Just turn around, McFly, and walk away. Are you deaf, McFly? Close

the door and beat it.

George: No, Biff, you leave her alone.

Biff: Alright, McFly, you’re asking for it, and now you’re gonna get it.

Loraine: Biff, stop it. Biff, you’re breaking his arm. Biff, stop.

Marvin Barry: Give me a hand, Lorenzo. Ow, dammit, man, I sliced my

hand.

Marty: Who’s are these?

Starlighter: Thanks, thanks a lot.

Loraine: You’re gonna break his arm. Biff, leave him alone. Let him go.

Let him go.

George: Are you okay?

Girlfriend: Who is that guy.

Boyfriend: That’s George McFly.

Girlfriend: That’s George McFly?

Marty: Excuse me.

Doc: The storm.

Marty: Hey guys, you gotta get back in there and finish the dance.

Starlighter: Hey man, look at Marvin’s hand. He can’t play with his

hands like that, and we

can’t play without him.

Marty: Yeah well look, Marvin, Marvin, you gotta play. See that’s where

they kiss for the first

time on the dance floor. And if there’s no music, they can’t dance, and

if they can’t dance, they

can’t kiss, and if they can’t kiss, they can’t fall in love and I’m

history.

Marvin Barry: Hey man, the dance is over. Unless you know someone else

who could play the

guitar.

Marvin Barry: This is for all you lovers out there.

Loraine: George, aren’t you gonna kiss me?

George: I, I don’t know.

Obnoxious Kid: Scram, McFly.

Starlighter: Hey boy, are you alright?

Marty: I can’t play.

Loraine: George. George.

Marty: George.

George: Excuse me.

Marvin Barry: Yeah man, that was good. Let’s do another one.

Marty: Uh, well, I gotta go.

Marvin Barry: C’mon man, let’s do something that really cooks.

Marty: Something that really cooks. Alright, alright this is an oldie,

but uh, it’s an oldie where I

come from. Alright guys, let’s do some blues riff in b, watch me for the

changes, and uh, try and

keep up, okay.

Boyfriend: Hey George, heard you laid out Biff, nice going.

Girlfriend: George: you ever think of running for class president?

Marvin Barry: John, John, its’ your cousin. Your cousin Marvin Barry,

you know that new

sound you’re lookin for, well listen to this.

Marty: I guess you guys aren’t ready for that yet. But your kids are

gonna love it.

Marty: Loraine.

Loraine: Marty, that was very interesting music.

Marty: Uh, yeah.

Loraine: I hope you don’t mind but George asked if he could take me

home.

Marty: Great good, good, Loraine, I had a feeling about you two.

Loraine: I have a feeling too.

Marty: Listen, I gotta go but I wanted to tell you that it’s been

educational.

Loraine: Marty, will we ever see you again?

Marty: I guarantee it.

George: Well, Marty, I want to thank you for all your good advise, I’ll

never forget it.

Marty: Right, George. Well, good luck you guys. Oh, one other thing, if

you guys ever have

kids and one of them when he’s eight years old, accidentally sets fire

to the living room rug, be

easy on him.

George: Okay.

Loraine: Marty, such a nice name.

Doc: Damn, where is that kid. Damn. Damn damn. You’re late, do you have

no concept of

time?

Marty: Hey c’mon, I had to change, you think I’m going back in that zoot

suit? The old man

really came through it worked.

Doc: What?

Marty: He laid out Biff in one punch. I never knew he had it in him. He

never stood up to Biff in

his life.

Doc: Never?

Marty: No, why, what’s a matter?

Doc: Alright, let’s set your destination time. This is the exact time

you left. I’m gonna send you

back at exactly the same time. It’s be like you never left. Now, I

painted a white line on the

street way over there, that’s where you start from. I’ve calculated the

distance and wind

resistance fresh to active from the moment the lightning strikes, at

exactly 7 minutes and 22

seconds. When this alarm goes off you hit the gas.

Marty: Right.

Doc: Well, I guess that’s everything.

Marty: Thanks.

Doc: Thank you. In about thirty years.

Marty: I hope so.

Doc: Don’t worry. As long as you hit that wire with the connecting hook

at precisely 88 miles

per hour, the instance the lightning strikes the tower, everything will

be fine.

Marty: Right.

Doc: What’s the meaning of this.

Marty: You’ll find out in thirty years.

Doc: It’s about the future, isn’t it?

Marty: Wait a minute.

Doc: It’s information about the future isn’t it. I warned you about this

kid. The consequences

could be disastrous.

Marty: Now that’s a risk you’ll have to take you’re life depends on it.

Doc: No, I refuse to except the responsibility.

Marty: In that case, I’ll tell you strait out.

Doc: Oh, great scott. You get the cable, I’ll throw the rope down to

you.

Marty: Right, I got it.

Doc: Ahh.

Marty: Doc.

Doc: C’mon, c’mon let’s go.

Marty: Alright, take it up, go. Doc.

Doc: Huh?

Marty: I have to tell you about the future.

Doc: Huh?

Marty: I have to tell you about the future.

Doc: Ahh.

Marty: On the night I go back in time, you get- Doc.

Doc: Ohh, no.

Marty: No, Doc.

Doc: Look at the time, you’ve got less than 4 minutes, please hurry.

Marty: Yeah.

Marty: Dammit, Doc, why did you have to tear up that letter? If only I

had more time. Wait a

minute, I got all the time I want I got a time machine, I’ll just go

back and warn him. 10 minutes

oughta do it. Time-circuits on, flux-capacitor fluxing, engine running,

alright. No, no no no no,

c’mon c’mon. C’mon c’mon, here we go, this time. Please, please, c’mon.

Doc: Ahh.

Marty: Doc.

Doc: Yoo.

Red: Crazy drunk drivers.

Marty: Wow, ah Red, you look great. Everything looks great. 1:24, I

still got time. Oh my god.

No, no not again, c’mon, c’mon. Hey. Libyans.

Marty: No, bastards.

Libyan: Go.

Marty: Doc, Doc. Oh, no. You’re alive. Bullet proof vest, how did you

know, I never got a

chance to tell you. About all that talk about screwing up future events,

the space time

continuum.

Doc: Well, I figured, what the hell.

Marty: About how far ahead are you going?

Doc: About 30 years, it’s a nice round number.

Marty: Look me up when you get there, guess I’ll be about 47.

Doc: I will.

Marty: Take care.

Doc: You too.

Marty: Alright, good-bye Einy. Oh, watch that re-entry, it’s a little

bumpy.

Doc: You bet.

Marty: What a nightmare.

Lynda: Oh, if Paul calls me tell him I’m working at the boutique late

tonight.

David: Lynda, first of all, I’m not your answering service. Second of

all, somebody named Greg

or Craig called you just a little while ago.

Lynda: Now which one was it, Greg or Craig?

David: I don’t know, I can’t keep up with all of your boyfriends.

Marty: What the hell is this?

Lynda: Breakfast.

David: What did you sleep in your clothes again last night.

Marty: Yeah, yeah what are you wearing, Dave.

David: Marty, I always wear a suit to the office. You alright?

Marty: Yeah.

Loraine: I think we need a rematch.

George: Oh, oh a rematch, why, were you cheating?

Loraine: No.

George: Hello.

Loraine: Good morning.

Marty: Mom, Dad.

Loraine: Marty, are you alright?

David: Did you hurt your head?

Marty: you guys look great. Mom, you look so thin.

Loraine: Why thank you, Marty. George. Good morning, sleepyhead, Good

morning, Dave,

Lynda

David: Good morning, Mom.

Lynda: Good morning, Mom. Oh, Marty, I almost forgot, Jennifer Parker

called.

Loraine: Oh, I sure like her, Marty, she is such a sweet girl. Isn’t

tonight the night of the big

date?

Marty: What, what, ma?

Loraine: Well, aren’t you going up to the lake tonight, you’ve been

planning it for two weeks.

Marty: Well, ma, we talked about this, we’re not gonna go to the lake,

the car’s wrecked.

George: Wrecked?

David: Wrecked? When did this happen and-

George: Quiet down, I’m sure the car is fine.

David: Why am I always the last one to know about these things.

George: See, there’s Biff out there waxing it right now. Now, Biff, I

wanna make sure that we

get two coats of wax this time, not just one.

Biff: Just finishing up the second coat now.

George: Now Biff, don’t con me.

Biff: I’m, I’m sorry, Mr. McFly, I mean, I was just starting on the

second coat.

George: That Biff, what a character. Always trying to get away with

something. Been on top of

Biff ever since high school. Although, if it wasn’t for him-

Loraine: We never would have fallen in love.

George: That’s right.

Biff: Mr. McFly, Mr. McFly, this just arrived, oh hi Marty. I think it’s

your new book.

Loraine: Ah, honey, your first novel.

George: Like I always told you, if you put your mind to it you could

accomplish anything.

Biff: Oh, oh Marty, here’s you keys. You’re all waxed up, ready for

tonight.

Marty: Keys?

Jennifer: How about a ride, Mister?

Marty: Jennifer, oh are you a sight for sore eyes. Let me look at you.

Jennifer: Marty, you’re acting like you haven’t seen me in a week.

Marty: I haven’t

Jennifer: You okay, is everything alright?

Marty: Aw yeah, everything is great.

Doc: Marty you gotta come back with me.

Marty: Where?

Doc: Back to the future.

Marty: Wait a minute, what are you doing, Doc?

Doc: I need fuel. Go ahead, quick, get in the car.

Marty: No no no, Doc, I just got here, okay, Jennifer’s here, we’re

gonna take the new truck for

a spin.

Doc: Well, bring her along. This concerns her too.

Marty: Wait a minute, Doc. What are you talking about? What happens to

us in the future?

What do we become assholes or something?

Doc: No no no no no, Marty, both you and Jennifer turn out fine. It’s

your kids, Marty,

something has got to be done about your kids.

Marty: Hey, Doc, we better back up, we don’t have enough roads to get up

to 88.

Doc: Roads? Where we’re going we don’t need roads.

THE END

Back To The Future Episode Transcript

This episode of the Pistache Podcast has been transcribed using artificial intelligence, so it’s not perfect, but we hope it’s useful to people who can’t listen to the audio. Thanks to everyone who takes to time to check out and share our podcast.

So welcome back to The Pistache Podcast. Today we’re going to be talking about Back to the Future big film in the 80s and really basically whether it’s could be described as the perfect film. It’s a really it’s a really interesting one. And for us growing up, like it was definitely a huge lead influential film from that era. I mean, maybe even the most.

I guess so. When I was thinking about it, I want to be wanted this episode for quite a while because it goes on all kinds of weird rabbit holes and in different directions. But I was thinking, remember us saying when we’re small, our grandparents took us to cinema on what was the choice between.

I don’t know what Disney film it was, but it was a Disney film.

I wanted to see and I wouldn’t see back the future. We went with that. And then it turned out pretty well. So I think it came out in 85. So you have been, what, five, four to five years old? I would say, yeah. Oh, now I have been to five turning six. Yeah. Something like that. Sort of been two years older. So that’s sort of a.. Age range. The only other things I could think of from that sort of era that were big were Ghostbusters of Star Wars as well. We didn’t see I didn’t see it until the third third one. Well, episode six, Turn the Jedi actually in the cinema. There’s a few other films around like that, but I think that one was just a step above everything else.

Yes. Like I say, I remember like like you said, like when we watched it, where we watched it, why we watched it. Yeah. I I can tell you a lot of other films. I think the only other one where I really remember that was big. I remember where I watched it. And when would have been Batman, one of the probably the first of like those currently on Michael Keaton, Batman for some reason as a kid. And but the only reason I remember that is, is 12. And I wasn’t 12. You know, I guess supposedly quite.

So we might go straight into a bit too quickly about sort of skateboarding, because that was obviously something that made it more influential. We didn’t watch Ghostbusters and then start hunting ghosts.

I mean, you know, even though it’s involved in front of the Street Art. Yes. I think we did actually sort of hunt ghosts. Oh, see, that was just I think the first thing I saw was skateboarding. The first thing I can remember.

Yeah. I don’t remember being exposed to skating before that. And obviously with me being probably like, you know, only five years old. It’s definitely something, especially in that area, that you weren’t you know, it wasn’t a boom in skating at that time. Know, you didn’t really see that stuff around. I mean, like you said, that’s probably one of the big reasons. Honestly, it’s been such a big part of our lives afterwards. Yeah. Those that may be kind of or speaking personally, that’s almost the biggest influence that Back to the future happened to me.

It’s got like a little sort of scooter thing. We’d like some kind of little I guess it’s like a fruit box kind of thing on the front. Yeah. So kick so often.

I remember when we were you know, we did a previous podcast obviously on skateboarding and kind of like its influence on culture. But when I was thinking about it and just looking back at the origins and even looking online at origins of skateboarding just to get dates and stuff there, that was kind of a nod to that. Yeah. What was a precursor to the skateboard was the fruit box kind of pressure. I guess when they go back in time into the into the 50s. Yeah. So it’s actually quite, quite on point on top.

So I think when you look at Back to the future, it really sort of inspired new generations of 80s skateboarders, including us. So right from the start and maybe see Marty McFly getting around this skateboard, holding onto the backs of cars and trucks, make himself go faster. I don’t remember us doing that more here in France, like holding on to the back of the bus down in Sakwa here. We can’t be very old. I mean, I don’t think we’re five or six, I think. Yeah, but bigger than that. Yeah. Big enough to be able to actually skateboard.

I think we would have actually probably gone to soccer and come come out to this part. France for the first time the following year. Yeah, I think that would have been the summer of 86. I have a feeling that my seventh birthday. Yeah. Stephanie around about though it would have been maybe even a little long from that.

Yeah. So I mean he definitely us doing that, doing things inspired by it.

It’s funny because skating like when we’ve talked about hip hop and different things in the kind of keeping it real and skating has a kind of slight aspect to that. It’s kind of like it got that kind of counter-culture kind of thing. And it’s funny thinking of being like a four year old essentially lifetime skater, even though we’ve kind of come in and now it I’ve still always got a board in the car to skate, tattoo shop or whatever that was. It was just that was a massive fly. Yeah. Influence on us. And it’s funny that it came from like a big film.

There was that Police Academy for Citizens on Patrol. What’s that Ben Harper video where he’s like in the bowl. You’re sitting in the bowl with Skase’s going around the bar for the like first album.

Was it the will to live the first?

That’s still gonna be a lot later on that same year.

I was going to say even the police academy, I bet you that was at least a good few years they ronk’s had the Bones Brigade, but we actually knew who they were. Yeah, we’d already been skating long enough and gotten into it to recognize her. So that was early exposure to that.

Yeah, super influential from even just a couple of internet rumours were squashed straight away as it michael j fox could actually skate well before they made the film. So it wasn’t like that stuff from A to Z. And and also another rumour that Tony Hawk helped choreograph the skateboarding in Back to the future. That’s also not the case. He was actually still at school and I think it’d been about fifteen or sixteen. So he was still obviously a well-known skater at that point. So it’s not like it was technically not possible, but it just didn’t happen.

He would have been too small yet too young to maybe be choreographing something rather. I mean, you said.

So as per well per within the year and Bopp’s Schmidt Schmelzer, whoever that is. I don’t remember another pro skater or.

Yeah. I mean Per was like super influential on that kind of. He was like a freestyle skater, like one of the few like Rodney Mullen where he was actually influential into the street and creating street skating.

I mean to him that Rodney Mullen per was actually has the unique distinction of being the only person to ever be and Rodney Mullen and escapement where they go. I think a professional skate competition at that. I mean, I can’t imagine Rodney Mullen had lost much in the amateurs, even though he would have been.

Did he even probably skate against the habits? Is he so good? He was.

And I guess Rodney would have only been competing in freestyle, I guess by the time St came round out. Magin who’s competing in street competitions? I don’t know.

Yeah, I think he even competed in ST. I don’t think he even wanted to go into Syria or Rotana. But not even after he’s done it now. Yeah. Yeah. He had to kind of like a bit of a weird sort of transition there, but it’s an interesting, uh, interesting that it was him that did it.

So there was Charlie Craughwell who was michael j fox his stunt double, I think pretty much in not just the skateboarding, but in the whole of the films, who helps those guys together and worked out all the sequences, I guess, you know, walking over the cars, all that kind of stuff, which is semi skate, semi stunt, really, isn’t it?

Yeah. And it’s kind of it’s interesting when you look at skateboarding like it could have at certain times, you know, it kind of fell into the kind of toy bracket at times and it could have ended up as like a little bit of a stunt thing, you know, like on that Evel Knievel. Yeah, like people launching themselves off something instead of becoming the kind of actual cultural sort of thing. Yeah. Thing is, it’s interesting that Michael j fox escape and before they you could see his uh he wouldn’t had enough time to. And it’s not like he’s doing anything special but you can just see he’s like so hard to learn. Yeah. And he’s easy on the board to skating around. Yeah. Even just to do that, especially in that era with the tech anology of the board like he cleared any theory with the skater.

And then I guess the other thing I’ve seen going on the skate winning is talking about the hoverboard. Mm-Hmm. So it became, you know, as an urban legend, there’s still companies like Lexus trying to work on prototypes and I guess it’s all the videos, a ball out where people pretend they’ve done it, trying to CGI it and then isn’t one of those weird new kid things where you have two wheels on the sides and PVA and they even call that share hoverboard. I’m like, well, got fuckin wheels. And I understand how you’re going in that hoverboard.

It’s not hovering. Yeah. You know, it has no Hoffert involved in it. So.

So I think probably skateboarding in aspects of it. I don’t know how much more we need to talk about it, but just sort of sets up a scene of why it’s so influential for us as a film, why we kind of wanted to do here, even talk about it in this way.

So I guess there’s sort of quite a lot of just we could just do some interesting facts about the films, give people a bit more, maybe background about it as well. Yeah, for sure.

This there’s actually it’s like when you started talking to me about doing this podcast, actually there’s so much in you know, as we go along, we’re gonna get into depth of lots of aspects of the film. But kind of like I was just surprised when you started chatting about some of the things actually that I hadn’t maybe not that I hadn’t noticed them, but just how much there was. Yeah. Stacked into this film, you know, and how interesting it is. And so, so, so many various ways, just the attention to detail in almost every sense. Yeah. You were telling me about this one. So like with the when Marty’s turn in the dial. Yep. That’s labelled the CMO Wolesi CRM. See our CRM 1:14. Yep. And that was already a straight just like not to Stanley Kubrick’s Dr. Strangelove is what I mean. It’s like the kind of perfect example because it’s like quite a lot of it’s very subtle. Yeah. You know, and that’s another thing.

I was surprised and it comes up a bit further down into it, not in the sort of the facts bit, but when it starts to get a bit crazy, sort of the content of the film as other.

So Kubrick makes and like on the kind of slightly deeper, deeper side of things. I mean it’s down to the sort of colours at the time display or. Like that, like the red, yellow and green are not like the 60s film The Time Machine. There’s all types of kind of interesting parts like you also telling me about for the film set. It was the the film set. So for Hill Valley, which is the little town that it’s set in. It was on a backlot for Universal Studios.

Me it still is a guess. Yeah. Where has been for quite awhile.

If you look at some of the films, you know, Bruce Almighty, I mean that’s not that new, but yeah, it’s not that old because you were saying about To Kill a Mockingbird like Knight Rider Gremlins, a lot of low 80s stuff then moving into like the kind of Batman and or Batman, Buffy the Vampire Slayer. But then you said all the way up to Bruce Almighty.

So it’s obviously you look at embryo’s would my to see the clocktower sort of in the background, a lot of the things. So, you know, it’s just another little film. So a trivia fact. Yeah.

Another thing that I thought was good and again, it kind of ties into some of our just own personal favourites and stuff like that, but to some of the people that pop up in it. I mean not the my personal favourites, but his án. He’s my personal favourite. That’s like his first film appearance. Alija words in the second part. Yeah, he plays like a kid and I think that’s his first film with the audience as well. And I mean, obviously a big fan of Lord of the Rings and, uh, and and him being a part of that and that, but then getting more. What was talking about is like Flea from the Chilli Peppers. Is in one of the sequel things in both the sea by increasing needles. Yeah. The character Needle Zizi Top or so plain. You know, like in part 3. Yeah. When we were talking about Flea, we were talking about actually just randomly a bit earlier, him and Anthony definitely made some some quite often interesting cameos in some quite good films.

Some clowns asked me the last Chilli Peppers cameo. We’re gonna talk about over the podcast.

Yeah. Other things. I was actually talking to you about that as well when you when you’d mentioned it to me about the Donnie Darko. Director Richard Kelly.

They’re like huge fan of the film and then the influences on Donnie Darko in particular. Yeah. I mean, there’s different theories even of it being essentially like a fan fiction. And the plot line overlaps with substituting Marty for Donnie and Doc Brown with Frank Barney and Jennifer with Gretchen. I really like the movie. You know, that was like that was. I remember at the time watching it and it just being a movie. I mean, I’m not saying on a similar kind of level to back the future, but something that you get out to me.

I remember thinking it has been a a spider paying homage to it. It’s not like where Fast and Furious, just straight jacked like point break or something is doing something that’s equally as artistic or creative as Back to the future was. And I think Donnie Darko, for that very slight younger generation than us is probably quite a seminal. Yeah, he’s a film found.

It was an interesting film. It’s a good film. I remember a while back I saw. And I think only just literally saw it once cinema and have really rewatched it. But yeah, that was an interesting one for you.

You know, Doc, he’s wearing a sort of Hawaiian style shirt in part, too. Oh, yeah. He looks like Hawaiian print. Yep. If you actually get close into it, it’s actually got cowboys in the train, which obviously is or foreshadows the events of the third three. And I think in the third film he actually wears that as the part. The shirt like a bandana or something or it has the same print.

Interesting. And that’s a about this and stuff I’d never know obviously. Yeah. That’s kind of some of the detail aspects that you just would notice. But again, it keeps pointing back to this depth and they’re packing it in. Yeah. Visual representation, kind of hidden representation and stuff like that. It’s really it’s really interesting. Michael j fox like we said, I mean it’s very much through the skating for us. But he wasn’t he on one of those kind of like a lot older than he looked kind of style do as a director.

I wonder what kind of age he was when I think you know, I think when they filmed this, you know, the actor who plays his dad. Yeah, I think he was I could be totally wrong. I think he’s like three years than the actor actually plays his dad. So I think you’re you’re right.

And it looks like I have a feeling I remember here in something like that where he’s kind of like I guess he did other than I don’t even really know why I mentioned it, but it’s just like I’m pretty sure that’s right.

I think it is older than the character that obviously than in the film is different. You know, they use makeup. People look older and younger.

And his dad play it has to be an actor that can be like his dad. And.

And I think in the second my name, I just think the actors, the same person who plays is dad, because, you know, he’s only upside down in the second one, I think. I think they got different actors to replace his dad. So it made him look similar. And I think he might have even won a lawsuit against him for using his image, you know, whatever they call that like. Have you a bit more research on that? But I saw it went down some other rabbit holes for this chance.

Yeah. It’s like this. And so many things. I mean, I just. I’d mentioned that one because they were he almost couldn’t be in it. Michael j fox and obviously became quite like a kind of thing.

I was used on that family ties whenever that series. Okay, right. I don’t really remember ever watching vertically and I don’t know why.

Maybe we didn’t get in the UK or we just got the wonder years winning yet.

Family ties, you know, on the four channels or three channels or whatever it was.

Yeah. And it could have been ralph macchio. Yeah.

Hey, I think I think I offered it to Michael j fox. He’s so accepted. They can’t work out the thing. So I’m gonna go to Ralph macchio second string and then it eventually went. So you know, Eric Stoltz, who you know, he plays the drug dealer in Pulp Fiction and he plays the lead character in it killing Zoe. Remember that? Okay. All right. I actually couldn’t picture him. I mean, in the video, zombies, actually, him. So some of the scenes actually shot him and kept em where you couldn’t see the face. They’d already shot it, obviously. And then Michael j fox thing. The first choice came back into it. And I think I shot the rest of the first film and obviously the sequels with.

I know that I’m definitely going to be getting some viewing in after we’ve record this year because there’s definitely a lot of elements. I wasn’t aware of that. I’d like to just that then look back into I mean, Ralph macchio obviously flows out. There was The Karate Kid.

But you know, really, if you look at their two trajectories at that point, Karate Kid and a massive as well, similar ish time, I’m guessing. Ralph macchio well, had a couple of films here and there. He could’ve always michael j fox his career potentially off the back of that. Yeah, this was ralph macchio on his comeback. KOBRICK High on YouTube. graduate. ever. Which is like watching a funeral semi funny throw you back in and I just I could be good, but I mean other than that watching it.

Other than Karate Kid, I don’t remember ever seeing him in anything else.

He did. That was a film with Steve Viruses like a blues guitarist Cross-roads. I think I quite like that. I mean, I think that’s pretty neat. You know, it’s not like back to the future. So I I’m sure most people have no idea what it is, but I quite like that.

I like to watch it again as a blast from the past. Yeah. Steve ViiV and like even listening to that oh, that sort of style of rock and that kind of Tevi almost goes back to that what we’re talking about a bit on our hip hop versus rap sideway.

Is anyone actually being a pure guitar player than Steve vye? But would you rather listen to Steve via Jimi Hendrix?

You know, like the kind of two technicals in some ways aspects, the art aspects, all of that stuff. But yeah, that’s it. There’s just a bunch of like little facts like that. You know, they seem to pop in and out of the film.

I mean, there’s so many that are sort of just keye off at certain point because a lot of them then get grouped into these. Quite. The film gets pretty weird on the surface. You can watch it just for what it is like a time travel comedy film. And it’s a good thing the family. And it does have that aspect of it. I mean, obviously, another thing, when you’re talking about the skateboarding, you then you got a look at the sneakers. It’s such an integral part of the sneaker game as one sneaker collecting. And everything has happened without, you know, fur is obviously more with back to the future, too. They sort collaborate with NYK and got them to design sneakers that fit into the then futuristic world 2050s, which yeah, seems slightly ridiculous now. But we need like we’re saying when we’re in London the other week working with the NBA, everyone looked like, you know, they’re outback’s the future t for a Marxist like myself. And things weren’t that dissimilar that really, you know, hologram advertising and augmented reality stuff.

People are hovering around, but there’s a lot that scoot your action going on in London and Paris as well.

Paris is dangerous with those crazy scary actually rent electric scooters with the app. You just flash in fucking die and let’s not escape.

Yeah, definitely on that night thing, I mean, you know, outside of that futuristic like self lacing sneakers. But I remember visually seeing those white and red Nikes that he’s wearing in the first one, maybe Cortez or some other night, Bruin.

Byrne I think I’ve also done a I think AOC well my oh so they’ve obviously done some sort of re-issues at some point. So it’s classic.

It’s classic. That is a classic shoe classic. Callaway Maybe a game, maybe one of my first exposures to see and like a brand or even the way it is represented in it. And that having an effect, you know, I think straight after you think about it.

You had some high-top so quite like that didn’t you. Yeah. Why? It’s up to the red team and I had the first pair of Air Jordan 1.

Yeah, I was going to say those would probably be basically in that case being first sort of brand new shoes or any interest in it or anything was probably sparked by that. I had yeah.

I’d been right around that time whether we’d been chosen them or not. I think we both got them in well in department stores like John Lewis and Jim B, the sports better. So we got those shoes that had been right around that time were watching this obviously. So the shoe for the part too is that they created. Came up was called the Knight Mag, which was famous for the self lace as being self. Lacing sneaker. They actually did a release of the night mag. I think I did eighty nine pairs or something like that, maybe four or five years ago. Was it maybe 25? They haven’t check it up, which is sold by auction. I think some or if not all of the money I think went to Parkins as well. And then I think I mean I’m saying that that’s why I said in my in my memory banks. But obviously it might just be way less with Michael j fox Paris at all than that. And they might have done nothing about. I think that’s what happened.

I mean it would make sense because I don’t know how long ago it kind of came about. The Michael j fox had Parkinson’s, so could have been coinciding or following that thing where the Parkinson’s thing was way on.

I think I think 2015 was there. That whole you know, they obviously go to the future and it’s 2015. Right. They did. And there’s a lot that 25th reboot. I think they made, you know, that Toyota pickup. I mean, think they reissued that they bought out the mag’s, you know, did all this stuff. And I think it was to coincide with that day because there was he had the specific date where, you know, they were supposed to go in the future. And that became Back to the future Day. And so it kicked off a bit. But obviously, another thing for sneak heads out there is obviously designed by legend htink outfields. So that’s another tie into the Jordan legacy. And the whole of again, unique is getting into.

Like she’s in it and his work with NYK and the Jordan stuff.

I mean, who else you know, who else could you get to design it and haemorrhages the Virgin? So I think I don’t know if that’s. I mean, there’s obviously more collectible sneakers like specific pairs that someone wore in the Olympics like Michael Jordan or something like that. But I think as far as just a straight out sneaker, guys, I think that’s right up there with that shirt, guys like $78000 for something that’s not even that old. And it’s a small run of 89 pairs or ever self lacing.

There must be some kind of. I remember. Yeah, I remember seeing like little clips. There’s so many shots. You know, there’s lots of people who try to make their own ones, haven’t they.

It hasn’t worked enough where if it was like faultless that would be on every pair of shoes now.

Yeah. I mean I guess depending on like I think the only thing that would stop is like the aesthetic of like the war, the way like a lace up shoe looks like or stuff like that.

But then surely you could have some kind of if there was that technology underneath in the in the tongue or something where you just feel like since you’ve been working in high end sneakers a bit more recently in Paris, in places such as in fucking you know, love is like Velcro, like orthopedic looking shoes and shit like that. You know, it’s like I don’t think aesthetics is even right. I mean, it is. But like a lace thing being even slightly important things. Yeah, maybe not a hard thing. If someone could say we’ve come up with a retail quality self lacing shoe. They’d do it. You know that B is just another branding thing where they can then soak the shoe in CBD and you know, make it out of Eagen, whatever. And you know.

I know, I know, I know, I know what you mean.

So if we just go a bit onto the script and the scripts actually quite use, you know, widely used and a lot of pretty prestigious film scores on part of their courses for actually teaching people how to screen. Right. And I don’t go too much into it because, you know, there’s people always trying to nit pick holes in things. But if you look at it, it doesn’t have over the trilogy, it doesn’t have the kind of holes that they’ve had to fill with something like Star Wars, you know, where you got sort if you actually have issues, you start having problems. You got to go back and. Well, funny enough, in a lot of films, they say with the Marvel things, they actually have to time travel back to set things right to make the story consistent. This is actually about time travel, but they don’t have two stories. So it’s so well written, isn’t it? I bet. Same with Doc Brown with a shirt and episode two, which has all the details of episode three. You know, there’s these things that go through all of it. So it’s not like, you know, a lot people are shitting on the new Star Wars trilogy because they’re like, well, can somebody just written all three films more or less? It seems that they just won a..

A.j., not trying to sort out all the problems like the scripts is kind of ongoing as yet as things have actually been out or coming out.

So I think what’s interesting about people is that uses sort of a really sort of constant barrage of sort of set ups and payoffs in the film across all three of the films to really keep it rolling. And then that allows you to then come back, watch it again, see more interest in it. And there’s all these I mean, the short the best example would be when there’s the woman with the flyer, you know, about fixing Hill Valley’s clock tower, she gives it to Marty because he eventually actually needs to know exactly when lightning is gonna strike the clock tower. And that’s the sort of thing that seems. So I’m not that consequential when she does it, but obviously is almost the key to the whole the whole film. So you actually get into a bit in a bit further in this conversation because it’s kind of quite key to this, like you say, like in love, even when we’re talking talking about the interesting facts.

And then these kind of elements is it’s real layered. Yeah. It’s like it’s really worked. Like there’s there’s a depth to it, which is funny to say on a film that, you know, you wouldn’t think it was the deepest film in the world or something. But there’s just that depth to it. On the. Kind of workmanship and symbolism and all those kinds of things the way also in the opening scene, you get a look round.

So Doc Brown’s room where Marty just comes into it. It’s got lots of ticking clocks in his inventions, but it ends in the shot. In the case of plutonium under his bed, which in newscasts we’re just talking about a few moments from the telly set. So all the little details are sort of tied in. And what’s so quite interesting about Back to the future from is also that it’s it doesn’t just sort of offer you a view of 1955. It gives you a sort of view of what people in 1985 thought. Wow. 1955. And also what people in 1955 thought about in 1985.

And then obviously in the layers in the next ones about then going to 2015 and having those extra sort of layers added onto it, especially for us like looking back on it now, it said even that we piece we we’re past the 23rd, the future jump into 2015. But also it’s a added almost adding to that now. It’s kind of aged well in a way and it shows a glimpse of 1985 like in.

If you know, I mean, if you if you’re actually looking at it from all of those layers, it’s something which you kind of like. So you’re looking at aspects of what they thought. In that 1985 event of another thing, as well as just the as well as the skateboarding or the shoes or the, you know, all those kind of things, it’s even looking back on it kind of.

And then it’s more like fifty five they 0c then looking at 85 is the future, you know, like as if it’s super advanced. Yeah. So I mean I guess that’s really for people who are around in that era like us it was really sort of the Ronald Reagan sort of era of politics and society. You know, it’s quite different to like a lot of other sort of eras gone before and after his 80s is quite a decadent kind of thing.

And I think, you know, like when people talk about like onhe trying to become the president, the states which obviously were not the trying to become их, he couldn’t because he’s not like a like born there. But the idea of, say, like, you know, the president being an actor or something when Reagan was an actor. Yeah. And that was already happening in that era and kind of almost represents that thing. What I mean is that some people always say as if that would be ridiculous nowadays. Yeah, but that was the case.

Yeah, totally happens. And I mean I guess it also in the 80s are looking back to the 50s of being a really sort of I delic life. You know, you always get that sort of people talking about life in the 50s and you know, our families were here and stuff and it is as if people weren’t getting drunk, killing themselves, like abusing it, you know, doing all the terrible things that people do now, as if in the 50s it was in some way different, you know, like a clean, a living or anything like that, where in a lot of ways it really wasn’t. It was a slight probably way more marital abuse and beating each other, beating kids. Slate But on the surface, it prarie.

Yes. You know, like, yeah, like you say, I mean, all types of aspects.

So I think the film, even though it sort of fascinated with that sort of 80s idea of the 50s, it’s constantly so undercutting those ideas at every turn. It’s not like, oh, the 50s is amazing. It’s sort of poking fun at that.

And so pointing out the sort of ridicule of Harry, things going down in defeat, then watching TV for the first time or something, which is just not a simple way of them. You know how big the TV was in the 80s or something. That was crazy, you know, in the 80s.

Tvc Cage Now if you look at TV from the fucking 80s, that ridiculous small.

And it was just such a big part of culture by that point compared to people just tuning into the first TV shows and stuff in the 50s or because in the 50s is a house, isn’t he.

And they’ve got their first TV set or something. Yeah. But he’s watching science. Obviously the first time in broadcasting he’s like, oh, I remember, you know, this is that rerun of When I think about the Three Stooges or something like that. And he’s like, this is when science. I happen to like, what? And then it so happens on the telly. I think the family are aware enough to be in on the joke. You know, I mean, it’s funny.

Yeah. It’s called in that way, is it?

So I think that’s probably almost like maybe a part one of the back to the future story because that sort of gives you the you know, the influence on our lifestyle, on sort of modern culture, a bit different ways in which you’re kind of permeated culture.

And and then the aspects, like you said, are the perfect scripts. You know, the way it permeated film culture change, there was a bit of a game changer.

It was really seems so strange to me. Is that okay, you’ve created this script with all these details and Doc Brownshirt and and all these other things when you have all these I guess what people, of course, are conspiracy theories like connected to to the film. And for me, I’m like, well, why would you go into his depth in these things that people understand the layered aspects of it, but then you wouldn’t notice all these other things. So do you feel like in some way? Well, we’ll get into them and and sort of assess the earlier. Was in 1947, those lists of suspected Roswell crash with the the classics or Grey Aliens, Nero Care and Bodies. You’re near Trinity in New Mexico, which are actually the first nuclear bomb test. And we then sort of go back to where Marty’s getting his flyer about the clock tower and Basey. The lady gives him the essential info he needs to fulfil his time travel adventure. You know, the time when the lightning is gonna strike if you just pause the film when she’s giving it to him. If you look at the shot behind it, it’s actually called the third eye. And it has an eye of Horus in a pyramid’s peering over her shoulder when she’s giving it. Basically, Marty, the key to unlocking the time-travel Stargate. What’s going to generate enough power for him to get the electricity to travel in time, at least point in the movie?

So obviously, Die of Horus is sort of really associated with sort of higher forbidden knowledge. And it’s also associated with the pineal gland and in a pinecone. So the bench is actually also sitting on a Jennifer. It’s for the Twin Pines Mall. And when the shots in there, it just has a little bit of it. And in the corner, it just says poin like on the bench. You see that with an eye of Horus on the other side with this woman giving him the info. Some people then got into crazy levels where they’re looking at things, more things in the background of the square. They’re also very interesting, but they it’s just going down rabbit hole. So it just take way too long to go down. So I just tried to kind of focus on the ones that give a coherent area of the story. But you can then go into your own research and see there’s all kinds of other crazy stuff that happens. Yeah.

I mean, what you’re doing is delving, like we said when you saw what was said, what part one. And then once you start delving into these things, it’s kind of like you’re going into like deep symbolism now or esoteric symbolism and stuff. It’s like you’re starting to it’s starting to get more or like, yeah, deeper basically and more symbolic, smaller like more detail with this, you know, as writing.

And what are someone come in the tattoo studio two days ago and goes, I want this. And I have a horse and a pyramid. It didn’t even know why you wanted it or the symbology you see already then seeing it talking about it. And I guess we get more into this symbolism because it is associate with the tattooing and. Yeah.

And so you notice it. Yeah. And you’re more aware of what it actually means rather than, like you said, straight.

So for me it’s like as soon as I see an eye for a sex peering over the woman’s shoulder in the same direction as her looking at Marty in the shops called the third eye, I’m like, well, someone had to make that set and have that position behind us. Monocytes kavi by char is not. Yeah, you know, with all the detail put into the rest of it. Why would that just be happening by chance? It seems super unlikely and I think almost here it would go into more backing up those kind of things and you know, just creating more, more connections. So Marty then basically gets this sort of key to unlocking his time travel adventure from this women. And as soon as he gets there, he then goes to the store across the street, which is called the blast from the past store, which obviously if you look at the logo, that store as well, people get crazy on the geometry and you can actually see that it then has references back to that bomb test. So it’s pretty much blast from the past reference to that nuclear bomb test. I mean, I don’t see that much of a jump to believe that. And if you want to go, you can go and do all the geometry in the mass, which I did, which is just for maths. 60Hz. You know, I mean, yeah, I catch it. So he basically goes there and that’s where he gets this. GREs Elmina, you know, the book that the betting book. Okay. Right. Yeah. He’s gonna be able to go and do it. And obviously GREs Almanac, greys, grey aliens, nuclear bombs, maybe a bit of a jumper will fill in fill in the gaps.

You say if you look in the window, the shop is just stacked with with stuff in there. So what you’ve got is you’re a Roger Rabbit Bunny, a film set in 1947, which is that year of that nuclear test. And in the film, Marty’s actually directed this information by an actor called Charlie Fleischer, who actually played Roger Rabbit. And he’s one who says, remember the exact words, but he says he wishes he’d go back and make a Sportsbet in the past. So essentially, he’s directing him, giving him that idea, saying in his head. So he then goes over to the blast in the past with this woman’s information and this guy’s idea. And then he sees the great sports Elmina. So the first Back to the future script actually had a timeously machine positioned near this nuclear blast. Basically, the time machine would get power from this nuclear blast and that would be the trigger to opening up the Stargate to allow them to travel through time.

So that was the original idea of how it was good, how they were going to time travel.

So it is actually tied into that nuclear blast right at the beginning so that when he actually disappears in that time in the time machine. So I know it’s just the burning tracks and he’s going down that street. Yeah, the building at the end at the end is actually cinema at that point. And it’s showing a film.

It’s called The Atomic Kid because they’re in a car park on the line.

This is around the edge of that square. I know. So not the one in the pine malls. You know the bars in the street where. Oh, yeah. Yeah. So says going towards yeah, Cinemark showing a film called The Atomic Kid. And then when he comes back, you know, he comes back into any crashes into the building. Yeah. Yeah, it’s the same building. It’s actually become a church called the Assembly of Christ, which again, like when you look at those things, like you could ever see, just make up things and stay in there. Yeah. For sure.

But then this all then ties into why people like you say that the film sets and stuff. So all of that stuff has to be made. Yeah, you could. It could have just said library. Yeah, exactly. Could be any could have just been anything. You wouldn’t make a difference to the film.

Yeah. Basically on the 12th of November which is also my daughter’s birthday, which is slightly strange, was a day that JFK actually demanded intel from the CIA about suspected alien presences on earth. And Marty also finds out the information about his grades on November 12th and the films seriously tying in to people asking for information potentially about aliens on the same day. And bizarrely or not bizarrely, and there’s also a bust of JFK in the window of the blast from the past or when he is looking at this stuff.

So I don’t know. It seems like if you’re just choosing, you know, you could. Could you then choose 20 objects to just put in a shop and fly them all into things? But this is so specific, you know?

Yeah. Could that happen randomly? What’s the chances of that happening? I mean, that’s sort of the chance to go up higher. It’s actually chosen for something. Yeah. If it’s got that kind of connection that just because some of some of the time, like when you look at these kinds of things, like I think I look at it, I think what that’s too random kind of thing, which makes me think whatever, because it’s like it’s one situation in the thing where I’m like, well, that could have just been there. Yeah, but like what you’re saying, it’s like it’s one thing after another after another, they’re all connected.

And we’ve let you know even started ten days later, JFK was assassinated on that same day. There’s actually another nuclear test in New Mexico and the code name was GREs, which is quite strange overseas, looking for information about grey aliens, Roswell. And then on the day he’s assassinated, there’s a nuclear test called codenamed GREs. Marty also mentions when he’s sitting at that table now watching the TV, he’s trying to find out where Doc Brown’s house is to go back and find him. Yeah. And they say, oh, he lives a block past maple, I think it says. And at the time, it had a different road name. He’s like, oh, that’s JFK Drive. And they’re like, who’s JFK? Yeah. Because I’ve seen it before, JFK. Their street name would’ve had a different name if called and they renamed. But he specifically says, oh, that’s JFK Drive also on it. Which is you know, that’s quite a few JFK references in. Quite sure.

About the mountain in time in different ways until it like you know.

But then obviously people do like some people. One of the JFK conspiracies is about his wanting to find out more about alien life. Right. And all of that. And then ten day, you know, ten days, eight days. And there is the paperwork with him trying to get intel from the CIA. So it’s not like a a made up concept.

You know, it’s like it’s it’s a possibility.

So you could then break it down and really say that, you know, the car is basically nuclear powers mechanism for contacting grey aliens potentially, you know, whether that’s a leap or not. I’m not really sure. But I mean, it gets into a whole area that’s you’ve got basically Cronos, who’s the god of time. And he basically ruled the universe until it was stolen by him, stolen from him by ZUS. And Christopher lloyd actually might represent a ZUS character in this film. He basically battles Cronos Так, the clock tower, the God of time and in the what you call them, legends or like mythology. Yeah, in the myths ZIS actually defeats Cronos using a lightning and obiously christopher lloyd. And this actually defeats the clocktower also using a lightning bolt.

Yeah, these kind of things like these kind of elements to it almost. I’m presuming like if you were to go to film school and when you’re learning about the perfect script like what we were talking about before, there’s probably elements that they’d actually be looking at. Because obviously you’re going off the depth of like literature and or classic mythology, mythology and storytelling and all of those things. And it’s it’s taking from, you know, these kinds of things. It’s like it makes me think when we mentioned about Elijah Wood earlier with with the whole Lord of the Rings thing and that like something like that, that’s kind of been so permeated culture. And I’m not saying it’s like similar to back to the future in any way, but it’s something where it’s like there’s it’s the test of time. You know, it’s it has had a really crazy imprint on like modern culture and stuff. But it was so heavily influenced by the colour of valour and that this guy was like so studious in the way he put it together. The language is a based on, yeah. You know, finish and well, schnall, all those kinds of things. It’s got that depth to it. And when you’re hearing it, a lot of people. Say that when they’re talking about, say, the Lord of the Rings or that whole jail, Tolkien like world, is that it’s so layered and it’s got so much depth to it and it’s influenced by these classic things that have such a big influence on culture. That’s why it’s so special is what I’m trying to say. That’s why it can be talked about as like amazing or the perfect script in this case or something.

So if we go a bit more down this Cronos zoo’s rabbit hole, when Christopher lloyd actually sort of defeats the clock to our Cronos, he actually ends up with the pole where it gets Strine cross ends up basically turning into a burning torch like an Olympic torch or my2k, which is actually the symbol of Zus and the symbol of the Olympians defeating Cronos and the Titus’s. Right. And the Olympic torch is basically based on that symbolism. Totally. And he you have this picture image in it and he’s got his head and then it’s got this torch burning behind it. And then you just saying really weird. There’s the burning tracks going down the road. He runs between the tracks. He’s got his hand kind of held up a bit like holding Olympic torch. He’s not holding anything. He’s just running around like that’s not how you just people run, you know? You mean like I mean, with the detail up and some I just find that kind of weird. But again, it’s just another thing that’s tying into this Cronos these battle and then of SEISS. Well, I say obviously. But if you’re into the Greek myths, zoos actually had help from one. The people had helped him was Hades. He seems to be the sort of Marty McFly character younger than Hades is the personification of the planet Pluto. And the actual original name for Back to the Future script was Spaceman from Pluto. And actually Marty McFly even has a line in the original script. He says, I am literally a space man from Pluto. So you’ve got that whole Hades Pluto sort of links there. And then also, you know, when they crash into the barn, they have that tales from Space Comet. Yep. That comic, I think that turns up in like Rick and Morty. What’s the one with the really geeky TV show with the guys sitting around, whether you like science are the big the big bang theory. Like in those films, I know that the comic actually sort of pops up.

And, you know, if you look at the on the cover of it, it says Space Zombies from Pluto. Now she has a drawing that’s pretty much, Marty next to the DeLoreans saying that they’ve come from Pluto.

It’s interesting, isn’t it? And these are obviously things that then got changed and didn’t come out. But there’s physical evidence that I like that comics in.

That’s the comic in the film.

Yeah, but I mean, like the guy going on the original script name all the way through. Exactly. To go back to the original script naming him say no. I guess he would have said that when he crashed and arrived in the past or whatever when he’s got the suit on or you know, he’s a spaceman from Pluto here with me.

Obviously, there’s also a lot of references to plutonium in the movie, which also has the the element derived or named after Pluto. So another thing with the Hades reference that I thought was quite interesting is that Hades actually used a dark helmet and invisibility, that that was sort of his weapon that he used in the battle against Cronos, where Zeus is using sort of lightning and stuff. So you look at Back to the future, too. Marty has that dark hat and glasses and pretty much is that makes him invisible throughout a large portion of the film. You know, he’s in the back of a car with BBF and younger and older beer.

It’s always like in that kind of almost like a disguise.

You’re sort of a hologram, doesn’t have like a little walkie talkie and love it. We’ll talk to Doc. And he just rang like a basic like a dark helmet, really, isn’t he? Like glasses and a hat. So that gave Hades is sort of the power of invisibility. And he’s also the only character in any of the films actually does turn into slightly invisible at a point now where they’re disappearing from the photos last year where they always disappear. And he does actually star. So here, slightly visible as well as names is kind of interesting. Yeah, it’s his hand or his arm. Was the other person in the myth that Zus or person figure that souce has helped from was Poseidon and Obasi. Poseidon isn’t really one of the characters in the film, but if you look at, you know and have it was some Charman under the sea dance school. Yeah. And he looks through some binoculars or like a little viewfinder into it and see what’s going on there. And the first thing you see on the stage behind the band playing, there’s a like a statue of Poseidon really just on on the stage. So which again, it’s like it seems like a reference be like, well, these guys, I don’t think they’re just doing that just by by chance.

I mean, the thing about it comes back to that. We’re saying if it was if that was just one thing in the film, when you’re trying to make a point off of light, just one thing. But if it’s just one thing after another after another and a rule links to the to this same story. Yeah. In all these different ways it’s. Yeah it would be weird that there would be just that much stuff existing without it being purposefully.

So if you go back to the sort of I guess the grey aliens, you know, and the eye of horror so often. So there’s a lot of links between the two. You know.

I4 is pyramid’s aliens, grey aliens, Izu within a realm of things that very often a cross over and have a lot of well, there’s lots of theor ex-friends out like a little like in old cultures like the Egyptians and you and you go into the whole Egyptology and the symbolism of it and why the pyramids are there. Leslie, there’s another way to solve it.

The answer, a plan on talking to guys on a slightly different rabbit hole is, you know, when bef. actually gets the Elmina, he gets out of a taxi and he’s got black and white checking trousers. The guy driving the taxi, he’s got a black and white chequer uniform. The back of the taxi is black and white check. It’s actually a Citrin D.S.. Not only is a safari just Citron D.S. for car nerds out there, but then on the side of it, the taxi company is called Luxor, which is obviously, you know, in Egypt where there’s lots of like a pyramids and his whole temple there and has all these Hauritz connection. I mean, you only need to look at. I think there’s a Luxor casino’s well built in Las Vegas in the shape pyramid as this crazy light light rays that shoot out the top of it. And there’s another rabbit hole. People go down with the whole black and white schecky chessboard is often talked about as like a balance sort of yin and yang thing. But it appears everywhere, you know, the floors and Masonic Lodge is way then obviously a Masonic law. You don’t have the pyramids with the eyes of Horus on it and the communicating with. Yeah, exactly. So Beth’s almost going down his own sort of Stargate journey, which she does based also around this sort of pyramid symbology again where okay OBC taxes do have checks on them, but he’s wearing the trousers. The guys ring a fully checked outfit which I’ve never seen, a cabdriver wearing caps, not a normal cap.

And the name of the cap. Yeah. You know, which again, like you said, it’s like that has to be some. They had to name it something. Yeah. So that’s a choice. It’s been made one way or another. So again you can learn from Charb, from the listener latents, Billy’s cab.

Yeah.

You know it’s very like we said like crashed into a thing to say library. Yeah. It’s done. And in most films that’s what you’d get on top of it because it’s elements that they’re just not going to spend time or bother.

So another thing where they really Gainesville on that is say the GREs Alman art cover, which is basically it’s a fictional publication. I just assumed it was like an American thing we didn’t know about in the UK that it was an actual published magazine. Right. But actually he made it up just for the film. And got choose the word GREs. They Obasi spell it with a letter, a five letters in the middle. You got an A which is basically a pyramid with an eye in it. Hmm. You know, representing I4 is potentially in a triangular pyramid on the side of each letters. Each side letters. You got three stars which is potentially, you know, for Marti’s sort of star quest, Stargate Quest Voyage and other thing that was really bizarre, that sort of kicks back to the Kubrick thing of it is when the women in the store actually takes the book off the display and then actually sort of gives in the book. The only other things you can see in the shot that’s framed photos from the Apollo 11 moon land on the wall behind it.

So what did they just choose randomly? Yeah, just a decco.

Yeah. And then they go shop, obviously. Then that goes into another thing. You know, with Kubrick where he’s got his whole shining thing with the Apollo 11 jump on the little kid. And people say that he then made all the footage for that. And whether it’s fake, too or not. So you basically got, you know, literally the word GREs goes over and you can shoot, pause it. And Grace is in front connected with that photo of the moon landing in the shop. And it’s just two pictures in the background and all. Again, that doesn’t seem like chance. or without Dito was saying they put into other things what just happened to be those two photos in the background, it seems. Yeah, seems like a stretch to me. I mean, I like all these kind of things and going down these rabbit holes with that might. Well. What other explanation?

So you said for me, it’s not really even something that I’m crazy like into. I find it interesting or chatting about that kind of stuff. But it does seem very I mean, I like keep on saying it. It does a very layered it seems to just be like so many things. You know, sometimes I hear that kind of stuff and I’m just like, well, that seems like a stretch.

But, you know, I’m only seem to see these things in Kubrick films or it’s not like I don’t think we’d be doing even though we might do an episode on a point break. I don’t think we’re going into this levels on the details of Point Rangle, pretty much most other films I can think of in that sort of blockbuster era or where most you know, you’re talking you’re thinking more like Christopher Nolan, Stanley Kubrick level attention to detail and all that. But I mean, the thing about that is oversee all of that. You can just put that down to sort of the way they made the film. I got obsessive about details and film and possibly things they’re trying to put out there in the film. But for me, where it gets really weird is the whole christopher lloyd sort of element because obviously he’s an actor. I did some research. It looks like he was born called Christopher lloyd. Didn’t change his name as far as I could understand. Quite rare actors or. Yet she could say, but if you look at Christopher comes from the Greek and it’s one who carries Christ like the cross bearer of C. Christopher is not an unusual name. And then Lloyd comes from Welsh and its first sacred or holy man. So the combination of the tea getting a Christ bear, a sacred holy man kind of name. So from the get go, you know, I’m Jamie Bennett. That’s not Christ Bear a sacred holy man. Like translation is not bring up that many names you can do that have.

But like you say, I mean, like the name Christopher is pretty common name. And Lloyd in the British Isles. Anyway, as you know, there quite a common. Yeah.

I don’t know about in the states, but what happens quite a lot with Christopher lloyd is this the you know, the tunnel in Back to the future to where Marty goes down. He’s looking for the Greys Almanac and it’s called the Griffith Park Tunnel. You know, Marty, he basically is in the back of this car with his invisibility cloak on whatever then becomes visible, doesn’t he?

He’s sort of tagging behind on the skateboard. Okay. Whatever happens. So he’s basically in this tunnel trying to get, you know, the GREs Sports Almanac back out there and then try to grab it. Yeah. And in this tunnel, you can basically see that he’s trying to sort of regain his connection to the greys, which is some kind of higher intelligence or something he can sort of use to rebalance the world or, you know, whoever he is going to the west and his. Yeah. Jemele story, you know, going down tunnels is sort of a metaphor for going down a path where you got limited perception. And at the end of the tunnel you sort of get light and knowledge. Yeah. That quite it’s like. Well, no. Fraser Yeah. It’s quite a common metaphor for all kinds of things. Then when you actually get into deeper things, it’s sort of how it works. So at the end of town you’ve obviously got Christopher lloyd who sort of essentially saves him, doesn’t he, in some kind of what you would call a UFO flying car spaceship that sort of pulls him up in a way sort of as if he’s got this.

If you play with a theme, he’s getting the greys, aliens, things coming out, getting rescued by UFO. They go for the knowledge. So whatever happens here, bizarrely above this Griffith Park tunnel, there’s actually is built because above it’s the Griffith Observatory, which on its own is actually filled chockablock of super bizarre zoos. Would you call it when you paint on the ceiling? So I thought frisks. Yes. Zoos, frisks and all this really weird like time measuring stuff in there and really weird like geometry is also built by quite famous Freemason architects. But this is something I think if people enjoy this episode, there’s a lot more got laid into the second one that goes into things like that observatory. Short story is outside the observatory. That’s actually an obelisk dedicated to the Spirit of Horus literally above this tunnel. So some people call it the spirit of Hauritz tunnel, which obviously then has the whole coming out at the end being illuminated with that. I have knowledge. So it’s physically there. And in this film, it’s sort of represented as being that’s sort of what’s happening in the film in sort metaphorical.

Metaphorical. And what his did was doing it.

And you say, OK, so that’s just the case in that film. That could be chance. or whatever you want to call it. You don’t. Yeah, you have to go back to 1984 and is another film called The Adventures of Buckaroo banzai across the Eighth Dementia, which obviously doesn’t quite have the same ring as back the future. I mean, it came out. Yes, a year before back the future. And Buckaroo banzai is actually going to pilot the world’s first sort of inter-dimensional car like in the film. Yeah. And he’s actually late for when they’re going to do this. He’s actually performing surgery on someone’s pineal gland, which is your third eye for us. So and on his logo numberplate, all the branding is the number 88. And that’s the speed that the delivery and mass actually reach. You know, it’s go inter-dimensional. So between those two films alone is quite a lot of tie ins. At one point, Buckaroo banzai is actually on a motorbike chasing a van and on the side of the van it has a pyramid logo with a ring of Saturn going around it. And Cronos is actually the personification of Saturn and it has an IV Taurus in the middle of the logo. So that’s on the side of this van on film. Anyone can go and watch it. And he actually chases it through the Griffith Tunnel or Spirit or forest tunnel, if you want.

And inside the van, why is chasing someone stole a piece of the car that he needs to be able to travel into dimensionally. So without it, his time machine is going to work. So he’s basically going through it for the same knowledge, the same reason. Yeah. He’s trying to get his knowledge, trying to get his inter-dimensional or whatever going through his tunnel. But the crazy part about it is that the van is being driven by christopher lloyd dressed up like an alien. And it’s on the film in you’re like, fuck yeah. You like, well I don’t know. That just seems a bit strange. And then so you go, okay. So two instances of this tonneau coming out christopher lloyd this film, the original one, I don’t know, but came out. The year before. Yeah, but then so we talked a bit about Roger Rabbit being set in that 1947 and then all the tie ins with Roger Rabbit being in the window. The stuff Roger Rabbit, Bunny in the window and the actor who played him giving him the idea to go and get this Grey’s Almanac. So Bob Hoskins in a frame of Raja is in the same tunnel. The Griffith Spirit Forest Tunnel. And he comes out of the tunnel and it’s on the illuminated with colour into Toontown, which is ruled by guess who Christopher lloyd is.

All these people get long time wehaven’t. So that’s. That’s him. Roger Rabbit, when he gets into that like sort of animated world. Yeah.

Straight out the end of the same tunnel. Okay. So there’s also another film called The Page Master. Not a classic, but some people might see it when they’re younger with Macaulay Culkin. He goes down the same tunnel. And at the end, he sort of I think he actually then goes into the observatory up the top. Either way is then met with a world colour where it turns into animation.

And in that one as well, he goes into an animated world.

Yeah, well, it’s only becomes colour. And Christopher lloyd is the page master who makes it so colourful.

This tunnel is it what I use in this tunnel in particular? Like is it like what I mean is that outside of say, these things that you’re talking about? Yeah. Is it near like studio is it.

Well yeah, I’d have to have a look about where exactly its plants are based obviously below this I guess maybe in that monument we then need to go into share. It gets super involved. This monument obviously has the eye of Horus. I have knowledge above it making it this sort of knowledge tunnel where this observatory for looking at the stars and then inside there they have. Well, I think it goes into this Zus kind of fresco in there. And then they had this eight sided like emerald sort of geometry where the frescoes and they had this weird time measuring thing. crime-ridden is Corbat has these weird things that slide across and then it also gets into that number 42. You know, the meaning of life from Muncy Pi there. If you think 42 degrees is the angle where light, wherever refracs of water that creates a rainbow and actually creates colour. So yeah, there’s a lot of those things. I think I’d just have to get into it in a separate episode because it gets super interesting in there. Maybe it’s close to where they’re filming the films as well.

So it’s like you said, why would even if say it was near where they feel the film and for example. Yeah, yeah. I mean, I’m guessing there’s other tunnels, but they’re doing it in this tunnel. Maybe this. You know, I’m literally trying to play the devil’s advocate as this occurred, even if there was like say, compared to other tunnels. For some reason, that tunnel was better for filming just practically or whatever it is. It seems odd that like like you say, the tunnel happens to be on the observatory and and then say just go straight on that air force and then permeating the film in so many different ways, not just in this part. The whole thing you went down with Christopher lloyd to stand like, why is it always him? Why is he playing that role in all these films where they’re using that tunnel in particular? It seems odd.

And there’s always like elements of that kind of illuminating, say when Marty comes out the tunnel, he’s got that coloured bunting coming down from it that’s got all those different colours on it. So he’s kind of getting illuminated again. It’s not just like there’s a rope hanging down from or a Stetler. You know, most films like The Hero Climbs, I would say like the obvious, you know, they Basquiat he you step back mammaries got that real shark biting his leg or, you know, everyone just always goes know how many other films him. Someone gave up some bunting and. Yeah, again, that is you know, there’s four separate instances of illumination involving Christopher lloyd in this tunnel. His name sort of being so connected to sort of sacred holy man Christ barer here playing that role in these films.

I found it. Really? Where were you? Talk about the other film of the time travel stuff that comes out the year before. Oh, yeah. It’s a buckaroo banzai jerseyites them and it always makes you think. I mean I’d be interested to know just the pure information on who made it, who wrote it. You know, if there’s any connections or whether it’s always there could almost seem like a first try on like a wave. I don’t know, back to the future bare knuckle follow up or something that then they’ve perfected or they’ve gotten it right. I mean, even the name seems just ridiculous as far as like if you wanted to make like a hit film calling it that rather than say Back to the future or something, it’s like. Yeah, seems yeah. Just seems kind of ridiculous. But you know, it it just seems odd that that many tie ins with it, that many elements that cross over and you say with on all aspects, the plutonium, the Pluto, the Michael j fox character, the Christopher lloyd character. The way years you’re going into physicality and the way he moves you going to say, you know, you’re going to crash into a shop. It’s called this. The woman’s shoulders got the eye of horse and the third eye shot. I mean, why? In a little town like that, would they have very lightly had like an esoteric shop called the Third Eye or something in the 80s? I don’t know.

It’s also like people go down rabbit holes that might see more of a stretch for some people. I really enjoyed it. But if you look at what’s already there, like, well, why wouldn’t they have included all this other crazy stuff as well?

You know, that makes me certainly more open. Or find it even just more interesting. It just seems like less like just picking random, not red. Well, actually, not random shit.

But, you know, I mean, just getting to a lot of when there’s not a square as well, there’s a lot of really weird. So. God is love mythology stuff going on. There’s also like an adult cupids, adult bookstore or saying behind Jennifer’s shoulder and one of the shots. And then they’ve got lots of red things behind like a red scooter. And then he gets obsessed about this four by four. He just keeps calling it a four by four. And he’s under a weird Texaco petrol sign that’s like a five pointed star. But there’s all this really weird images and it’s also on a trailer and being carried. It’s like a thing. It’s another episode to get into all those things where there’s just way more. This is just I thought I’d go with the Christopher lloyd theme because it’s so, so substantial. Obviously, there’s so much backing it up that it then allows you a bit more leeway with these other things to go. Yeah. I can get into that because the four-by-four you can get triangles that if you have one side for one side free and one side’s five, then each of those sides is represented by the sort of like Egyptian trinity of gods. So I think the four by four is the goddess ISIS. So also goes into this ISIS thing, which then gets, you know, connected into the Wizard of Oz.

And then Christopher lloyd is Ormet, also in the sequel, The Witches of Oz, where that has some really weird shit that ties into this as well. It’s also got loads of like green emeralds that tie into that the observatory. And yeah, I think it’s another issue episode if you get at least few people who send their messages saying they’re interested in it, but that would cover more about Christopher lloyd Griffith Observatory. GREENE OK, Tegan’s also that tying into ducktales where, you know, Christopher lloyd turns into like an eagle at some point and has like, I decided long to get that landing on a pyramid with an IV chorus on it. So we’re ducktail stuff. We like the World Trade Centre, Freemason Architects. More on that number 42. Zus What pops up is the sound ah as well, which connects so doctors back to shaman’s and they sort of like the Wizard of Oz is sort of the Wizard of Oz. And you get Krishna Buddha like, well, there’s lot of R’s and things they’re saying. If you look up at the stars, your voice, the way you use your throat gets formed, it makes you go, ah, like he’s almost a natural, samey looking out there. So like the gods have got this sound in it. But then that ties into all kinds of crazy stuff bizarrely also related to Christopher lloyd.

So they might have to be a separate christopher lloyd episode, possibly a year where we could then delve deeper into some of the some of the other stuff he’s done.

I guess the question is, you know what I like with all these things is I like getting old. My brain seems to be getting better at seeing the connectivity between everything. So, you know, the rabbit holes is a lot deeper and hope you’ll get to go down at some point with the moment thing is very straying too far away from the straight back to the future sort of aspect of it. But if anyone else knows why. Christopher lloyd is always at the exit of the I.F. Horse Tunnel representing the light and the truth. I’d definitely like to know why. Because it seems to be a common theme, but I can’t see any answer to it beyond that.

Yeah, for sure. I mean, like I said, I’d definitely I’d be interested in hearing, even though it’s not even really my kind of thing or my world in general of going down these kind of holes. And the kinta is something I do find fascinating, especially when there’s substance to it. Yeah. You know, and like you said, I mean, this is like we we’ve been talking about this on so many different elements and already been talking a while and there seems like there’s so much more other kind of stuff to go down and more connections. And the more I see that kind of thing, the more I must admit, the more interesting I find it. I mean, the director is Robert Zemeckis. He’s a Mekas, right.

And off screen screen read, directed, produced. I think he produced it. I think the actual credits on the film go to Steven Spielberg. I think he was a Spielberg sort of disciple or apprenticeship disciple. And I think he wanted producer credits. I think somehow Spielberg actually got them on the okay.

On the film. I mean, obviously and he did Roger Rabbit out as the director of who framed Roger as a maker. So. Yeah, I think so.

Yeah. There you go. He probably I wonder if he did buckaroo undersize. So either way. Yeah, there’s just a lot of you know, I thought at least give people a taster then they could dip into it a bit more.

Yeah. I mean that’s what I mean is it already makes you know when you’re saying about the directors like I remember that being the guy who directed Roger Rabbit when you were talking about. I wasn’t sure whether that was something that you were talking about. It was almost like it was a given that people would know that he also directed. I don’t know that, you know. Right. Yeah. And you’re talking about all that stuff and then you just look at it and it’s like I’m sure he’d probably be quite an interesting person as a follow up or something to look at as well.

I just thought he did. Forrest Gump as well. Okay. And I wonder what you know. That’s another interesting film and it’s layered. And this is funny. That’s another kind of film where it’s hard to nit pick at that shit. You know, like it’s something that deals with a lot of diverse, like, stuff going on. But it’s quite on Point Man, which maybe have a look at more.

I mean, I guess it basically I don’t know if everybody has a conclusion, but, you know, it seems odd to me that they take so much time to create what’s as close to perfect scripts as we probably seen.

But, you know, would they add in all those weird esoteric details by mistake and then would it add into those him? A There Zemeckis making two films with the same theme of getting illuminates in Astana with Christopher lloyd. So being the gatekeeper of that light at the end with the weird geometry and symbology above that tunnel.

And even, you know, I mean, is it just the possibility of choosing him for certain reasons? Yeah. He that character in his films, I mean, if this is written and directed the film. Yeah, it’s like he’s going to be responsible and there’s larger extent as possible of having it. All this visual stuff you were talking about the script stuff. The choice of who’s playing who. The. Then into the deeper visual stuff of the, you know, the tunnel and where it is in all aspects. He’s going to really be in control of all of that stuff.

I mean, it’s just gone forever again. So I think he’s been other ish. Another episode. But I swear, there was a film called like Angels in the Outfield, I’m sure. Remember the guy who plays the kids? I’m sure there’s a moment in it where the kid says something like, Oh, I wish I could talk to God. And like, literally, Christopher lloyd just appeared next to him and starts talking to him.

I wonder who he would have written.

Yeah, I mean, that’s just popped into my head. That’s really not well researched by God. Tell of feeding us what happens in the film. Whether he then says he’s an angel, saying, but I’ve got a real reference point where someone, the kid says he wants to talk to God and Christopher lloyd just appears.

Yeah. I mean literally even just trying to bring out real quickly and I mean, we’ll have to look into it. But it’s interesting. It’s got it’s obviously got christopher lloyd in it. Parent It’s got Tony Danza.

Matthew McConaughey. Danny Glover. And then that Joseph Gordon-Levitt, who’s he’s he’s the kid in it. And obviously then looking into future films.

You know, stuff like Inception and Inception and all of that kind of stuff. Man, it’s seems odd that that group of people, you know, and actors with I guess like we’re saying before, with everything everything Adrien Brody is.

Well, that makes it interesting. That makes it right if this is a back to the future up. So we kind of stop there with that stuff, but maybe then we can just go back and maybe give a conclusion to back the future as a film just about skateboarding and and all this where it’s really sort of the crux of the film, I think is probably that in your adolescence, you know, part of that involves realizing your parents are actually once like you and someday you’re gonna be like your parents. And he has those layers going back into the past, the future. And there was also a human being. I think that’s probably the main message of what the film’s about without all the sort of layered craziness on it. And realizing that, you know, your parents had the hopes and dreams before you came along. And unfortunately, some people, those hopes and dreams, you know, remained long buried. They didn’t get to do what they want because they had kids. You know, some people. Gaslight, you don’t have kids. I had kids later in life that don’t really have any. I don’t feel, oh, my kids stop me doing this. It means maybe you wanted to do it. Might be my kids. Stop me going to ice. Going on a family holiday to New York is the X. I want to be a bit bigger, you know, but that’s like literally. But that’s not a that’s a nothing. I mean, I would just do it in a couple of years time instead of saying, you know, like like you said, maybe that’s part and parcel of southern slightly older or who knows?

Yeah.

And the things you wanted to do then that gives you those layers of how old you are when you’re watching it and seeing that going back with the way in which it was time. Yeah, but that’s. And then so what Marty sort of inadvertently does he doesn’t plan to do it. Is he. So it gives his parents a second chance to live a life that wasn’t sort of as interrupted by him and his siblings and one where they actually ended up sort of achieving some of the things they hoped they would. And when he goes back into the present day, it’s better. And his parents actually from his meddling, he actually improved their lives and they got his dad’s not doing their. sundeen jobs. They hate all this. Beth and Beth working for him. Yeah, exactly. Yeah, they flip around the Beth thing, so he’s gone back and he’s done some time changing things. Actually probably proves his his parents lives.

Yeah, it’s a funny one isn’t it, because like I said, I’ve always liked the movie and in all different eras. Like I said, looking at it as like a young kid loved watching you a bit later, still loved it then watching it into adulthood. And it’s not something I’ve watched like millions of times by I’ve watched a lot of times I reckon, Stephanie, a film that’s been viewed and I guess part of that kind of thing as well is it’s just something like that that was good or like Ghostbusters or something. I mean, in our obviously, once you like two films enough and you saw that they were gonna be on TV with a VHS recorder, you could record it and then watch films because you didn’t have the Internet and, you know, like being able to watch whatever you want, whenever you want it. Yeah, you could go and rent a video, but even if it costs money each, if it wasn’t something you’re going to do every day.

It was cool as I was listening someone the other day there talking about it. You know, when younger going to the video shop, renting films, that is really cool. It’s not like I go on Netflix and you know, that might be what he was like. That was a real sort of Friday night party thing after school. Here, go to the video shop. It’s like three films. It’s like so maybe the first time you see Rambo, Terminator or all kinds of films, no game, Beverly Hills Cop off. That was definitely choir. I think they fell for us. Well, again, I don’t think that’s going to be super layered like just Eddie Murphy just talking non-stop, like two hours. Like. I mean, one thing was he didn’t talk about this. Also, a big thing is the DeLorean, the car itself, so iconic, very well. The most iconic movie car I can think of off the top, my head minus maybe Knight Rider, which sort of see more of a TV thing. But the film Cars, I mean, there’s Lightning McQueen now. But then again, you know, that then gets my head racing into things that he obviously has those bird opening doors. And I think zoos transforms into a bird, an eagle in a they fly. And if you look on a dollar bill, on one side of it, you got the pyramid, the ivories. Now the other side, you’ve got the zoo’s eagles. So you kind of got the zoo’s Horace. Two circular things on a dollar bill in the middle with loads of weird symbology around it. So go down those rabbit hole.

Start with that. Go. Go home and smoke a joint and then start reading on that kind of stuff and see where you find yourself.

Yeah, I guess I was a bit of a different episode that we’ve been wanting to do for a little while. You know, like people’s feedback, whether they want more of that kind of like if you enjoyed it out there.

Sure. Yeah. Seems too much. No worries.

I mean, we can see, you know, we getting more subscribers like a and please, we’ve got the old and the new in there, you know, just shared us to have. You can and just write it. Shera, you know, if everyone shadow one person, we could possibly double our listenership straight away. I mean, we obviously get metrics and all the boring stuff back on the back end of things to see which episodes are more popular. But you never know who just shared things more or something quite a bit more traction on Facebook or stuff like that.

But yeah, it’s cool as well actually. When we were back in London and seeing friends that friends are listening to and it’s almost like a stranger in a strange way, communicating with people who may speak to very often that they get the chance, see a lot of time. That’s a fact. For some strange. We didn’t think about that. It’s been a possibility. It’s quite funny. Yeah, that’s pretty cool.

Thanks for listening to people in us and the people who don’t know summer just to see you guys. Thanks for listening.

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