Speaker 1: Welcome back, friends. This is part two of our series
on Raiders of the Lost Arc versus Back to the Future.
We really appreciate you joining us again and we hope
you tune in for all the episodes to come without
further ado.
Speaker 2: Hello everybody, and welcome to the Surely You Can't Be
Serious Podcast, discussing and debating the iconic and the forgotten
of eighties and nineties pop culture with your co hosts
James D. Graves and Jason Colbin.
Speaker 1: Welcome back for part two of the Shirley You Can't
Be Serious Podcast.
Speaker 3: Welcome, Well, let's talk about the actors that were considered
for India Jones for a second. Do that. Let's do that, Okay,
So as it's I mean, it's well known, maybe maybe
our listeners may have not, maybe sure or whatever. Tom
Selleck was hired to be Indiana Jones had the part.
He did. He actually auditioned with Sean Young. Se Sean
Young who was in later Yes, and Tom Sellick had
the part was Indiana Jones. You can watch the audition tape.
Looked like he was going to do a good job.
Of course, he's that still broad shouldered.
Speaker 4: He was in different looking Indiana Jones. He looked like
a hulking Indiana Jones instead of Professor Jones.
Speaker 3: In a leather jacket. Right, But he had just filmed
the pilot for the show called magnum p I and
CBS said, no, don't think we're going to release Chef.
We want to go ahead and do this magnip I thing.
So he could have had to back out. And at
the time, you know, Spielberg was like, what about what
about Harrison You know, he was in American Effeini with
George Lucas. You're supposed being fast thing in the valley Man,
but can't be your car.
Speaker 2: It must be your mama's car.
Speaker 3: He was, of course Han Solo from the Star Wars,
and George said, I don't really want him to be
my Bobby de Niro. Like Scorsese had worked with Robert
de Niro in several movies, and he keeps reappearing as
different characters in all of his movies. George was very
much against.
Speaker 4: Harrison Ford doing That's fascinating.
Speaker 3: As it turns out, Harrison Ford was the perfect fit.
But here's a couple other guys who auditioned and were
at least in consideration for Freddie and Jones. Tim Matheson,
who you might remember from Animal House and Flitch, Yeah, right,
he and he has the right look but not the
right time. Right. Peter Coyote, he was an et, he's
been in some movies. He's not tough enough, he's not
a handsome man. A guy named John Shay, I don't know.
It turns out he's That was a good call there too.
Sean Young was very very close. Deva Winger actually turned.
Speaker 4: Down the part for Mary Raywood and dev Winger famous
for Urban Cowboy and Beaches, which I can probably say
I've never.
Speaker 3: Seen offstream chilling. So those were actors that were considered.
Harrison Ford, of course, picks it up and runs with it, right.
Speaker 4: And then you have in the part of Marion Kroen Allen,
who was also an Animal House. Yes, and I got
to say, she didn't do a whole lot after this.
You know, it's a shame about Crystal Skull and all,
but but she didn't.
Speaker 3: But she was perfect in this part. She was great.
Speaker 4: Just there's no other person that I think would have
done this place.
Speaker 3: She has the spunk ye in the fire, Yes, and
you believe it when she is she has enough feminine
wiles to seduce Melloch in the you know.
Speaker 4: And yes, so she was grave. Yeah, she's scrappy and pretty.
She's tough but can be frightened like a Amsel in distress.
I mean, she does it all very well. And that's
something to consider about this character. You know, I'm all
for the women who kicked butt, like Black Widow, but
for this time, in this day, she kicked butt, but
she was still someone who needed rescue, came.
Speaker 3: To hold off the white dress. Yep. She also you
believe that punch when she hits Indy in the chin
the first time. You know, I need one of the
pieces your father collected. I learned to hit you in
the last ten years anyway, So that's how it came about.
But we've been together for a million ye Let's talk
about the actors that were originally supposed to be in
Back to the Future.
Speaker 4: Okay, So for the part of Marty McFly, they wanted
Michael J. Fox from the get go, absolutely, but very
much like Tom Selick, he had just become involved in
a very popular TV show called Family Times. Yes, Alex peaking,
Alex Pinking. I loved watching Family Times a great show,
and ironically enough, he played this character who was who
rebelled against his hippie parents by being the Republican of
the family.
Speaker 3: Right.
Speaker 4: He was the you know, the biggest supporter of Ronald Reagan,
and he was the pull for the show.
Speaker 3: I mean everybody wanted to watch him. Oh. Absolutely.
Speaker 4: Goldberg's the name of the guy who's producing Family Ties,
and he's like, I love the script. I will not
let Michael J. Fox read it because if he reads it,
he's going to want to do it and you cannot
have him. I just need him too much. He's in
full time, full time job being Alex P. Keaton right now,
No way, right, So they consider several other people, including Johnny.
Speaker 3: Depp, John Cusack. Yes, see, Thomas Howe finished second to
the guy they actually ended up hiring.
Speaker 4: Right, and also considered was Charlie Sheen Really Yeah.
Speaker 3: I didn't know Charlie Sheen.
Speaker 4: See Thomas Howell at that time, Yes, was big because
of the Outsiders, right, he's I mean it's very popular.
We're talking about nineteen eighty three is when they're doing
the casting. So he's at the top of his game
right now.
Speaker 3: Yeah. Can you imagine Marty McFly, Johnny Depp or John Cusack. No, no,
see Thomas Howe at the time made sense, but now no,
it's Michael J. Fox. But they end up hiring There Stults.
Speaker 4: Who had been in a movie with Leah Thompson Wildlife, right,
So that's actually how she got cast. They were looking
at his Wildlife movie and they were like, who's like her, right, Yeah,
let's have her comment. And it was because she nailed
the old Lorraine that.
Speaker 3: She got that part. It was meant to be, yeah,
because I.
Speaker 4: Mean, obviously she's young and beautiful. She can pull off
the high school student without any trouble. Let's see how
she does with an old beat down lady.
Speaker 3: And she knail.
Speaker 4: So they start filming with Eric Stoles, and they filmed
a lot. They didn't they filmed a whole lot, right,
But at the outset they start to see trouble and
Leah Thompson talks about how when they sat down to
do their the reading, you know, they'll sit down on
the table and everybody they'll go through the whole movie.
Everybody reads their lines. You know, they go through this
whole thing and it's You've got this funny rom com
sci fi action adventure thing, and everybody's laughing at the
end and talking about what they think, and they're like, Eric,
what do you think? And he goes, you know, I
think it's I think it's a tragedy and they're like what,
and he's like, well, everything that this guy has ever
known is all of a sudden gone. I mean, he
comes back to a completely different existence. I can't imagine
how upsetting that would be. And apparently that kind of
was the way it went for the rest of the
filming with Eric Stoltz. Now, Eric Stoltz was a method actor,
which means he's kind of kooky about how he does stuff.
We've heard about Sean Penn and Fast Times at Richmond
High everybody had to call him Spaccoli. He wouldn't answer
to anything else. Eric Stoltz did the same thing. He
said he wanted people to only call him Marty. He
wouldn't answer to anything but Martin.
Speaker 3: I love this story. And then you get ready to
tell her.
Speaker 4: Yes, and so you know, they keep shooting. He's got
this tragedy idea in his head. Bob Zemeckis calls Bob
Gail and says, I need you to come look at
some of these shots. I think we've got a problem.
And Bob Gale's like, we never look at shots until
the movie's done. That just doesn't happen. So this has
got to be something really bad. So they go and
look and it's just sad. I mean, it's not he's
not making the funny funny. And so Spielberg, being the
experienced guy that he is, it says, I'll talk to
Eric about what's going on. And this may be this
may be apocryphal, but hey, I'm gonna tell the story anyway.
Speaker 3: Whatever.
Speaker 4: So Spielberg goes goes over to Eric Stoltz's trailer and
he's like, Eric, kam here, we need to talk. And
he's like Marty and he's like Eric, just come here,
we need to talk. And he's like, my name is Marty.
He goes, no, your name is Eric, and you're fired.
You are no longer Marty.
Speaker 3: Yeah, yeah, you got to give it back, right.
Speaker 4: And so at that point, I don't remember what they
said to Goldberg that convinced him to let Michael J.
Fox come over and do both, but he was literally
filming Family Ties and back in the future at the
same time. Who would film uh, family tized during the
day he would hop in a car and sleep in
the car as he drove to the set for the
shooting four Back to the Future. When they kind of
approached him about this idea, he was like, twenty two
years old, what do I need to sleep?
Speaker 3: Right? In fact, if you notice in Back to the
Future the day shots and when he's on skateboard, yeah,
all those were shot on the weekends. Anytime you see
daylight as a weekend.
Speaker 4: Shot, and there's yeah, I mean quite a few night shots.
I don't know if that's the reason that they had
to go, that they had to have their experiment at
one n fifteen in the morning.
Speaker 3: Maybe that was it. I mean, it's okay. I had
a big part of it. Yeah, right. Also, somebody else
was fired at the same time, Eric Stolets was fired.
Did you hear this story?
Speaker 1: No?
Speaker 3: Okay, So Laura Harden, she was originally supposed to be
Jennifer Parker. She was fired when Eric Stolts was fired. Right,
Laura Harden, You recognize her from the office. She's the
girlfriend she's jan in the office. There you go, Yeah, okay,
so she was fired. You know why she's fired? Too? Tall?
Speaker 4: She was too tall for Michael J. Fox right with Eric.
Eric was a taller guy and so she fit with him.
The girl originally cast was the girl who ended up
playing Jennifer, but she just couldn't do it. She had
started another TV series of her own at the time,
so she wasn't able to do the movie. But by
the time that they switched back and had Michael J. Fox, yeah,
the TV pilot had busted and so she was free
to film the movie and.
Speaker 3: So I inserted Klaudie Wells as Jennifer Parker. It's really cool.
And before we move on, the fact that the cast
all had six weeks to sort of live dress, rehearse
could only improve their performances.
Speaker 4: I think, yeah, well, and you know they talked about that,
talked to like Christopher Lloyd had obviously had to reshoot
all of these scenes with Marty that he had done before. Now,
Christopher Lloyd is a stage actor. I mean he was
in Taxi, which is a TV show, but he is
very script centric. You know, he gets an idea of
who the character is and then he sticks to the script.
Speaker 3: Whereas Michael J.
Speaker 4: Fox, his acting chops had come along in TV shows
which were constantly rewritten, and so Michael when he came in,
but ad lib lines. It didn't throw Christopher Lloyd off
because he's a talented man, but it was an entirely
different experience from the method acting that he had gotten
with Eric Staltz. And some of the best lines in
this movie are lines they well, rock and Roll was
an ad lib line. That's not how it was originally.
Speaker 3: Yeah, hey, it's not the years, it's the mileage ad
libline from Mariyters last.
Speaker 4: Stark, what are you looking at? But ed ad lib line?
Speaker 3: Wow, yep, that's cool. All right. So listen to this
list of actors that were considered for Duc Brown. So
here you go. John Lithgow, Dudley Moore, James Woods, Jeff Goldblum,
Gene Wilder, Gene Hackman, Danny DeVito, Robin Williams, John Cleese.
John Cleese is the only one of those guys that
I could see I actually, but still it's not the
same movie with him. Chris Lloyd kills it.
Speaker 4: Did you ever watch The Old Taxi a little bit?
So his character was this kind of crazy which pulled
him in, and he had rejected the script initially like
they sent it to him. They wanted him, but he
was like, I'm doing this other thing. I'm not really interested.
Speaker 3: And his wife said, you know you always said you
would never turn down something without looking at it first, right.
He's like, okay, well, my wife feels like I need
to look at it. Didn't look at it, right. So
I know you and I've talked about this. I have
some other friends that I talk about on Twitter. But
the alternate universe of a Back to the Future movie
with ce Thomas Howe and Gene Wilder, I mean, are
you kidding me? Watch what twas?
Speaker 4: So In the TV series Taxi, he plays this kind
of nutty office rocker, just you know, off center a
little bit, and he always does the bug act thing.
You know, he throws his head back and he bugs
his eyes out, and so the very first time that
you see him in Back of the Future he does
that look he gets out at the toddle of the car.
Speaker 3: That's right, right.
Speaker 4: So there's your mcguffin for Back in the Future. Of
McGuff and for Lebrators of the Lost Dark is obviously
the arc, it's the driving force.
Speaker 3: Behind the movie.
Speaker 4: The MacGuffin for Back to the Future is the time
machine de Lawyer, Okay, and so it's you know, it's
got an earlier, beautiful introduction, and you know, just to
compare him, you've got this bright, shiny, golden religious treasure here,
and then on the other side of the future, you've
got this bright shiny silver ultra modern scientific wonder as
the driving forces.
Speaker 3: Behind the movies.
Speaker 4: And so then he pops up the wing doors and
pops out of the driver's seat and does his bug
eye look from taxi, and everybody's like, a it's I'm familiar.
Speaker 3: I know this man suck.
Speaker 2: Delated down.
Speaker 4: We've always so we we've had a little bit of
an establishment when Strickland, Yeah, he talks about him being
a nut, so we kind of have this idea of
the nuttiness behind him already. And then of course we've
seen the shed outside of the Burger King that is
his current abode after his mansion is by the way
again set up. I had to try. I was like,
why why are we seeing a newspaper clipping about the
mansion being destroyed and him selling the brown estate of
prime real estate? And I realized that's how he got
all the money to do.
Speaker 3: All this stuff. How he funds this stuff. Yeah, he
sold everything that he had just to make the flux
capacitor and whatever the machine is that turns plutonium into electricity, right,
the whole He sold his entire fortune for a dream
that he had after he had on file hanging the Okay, cool,
we got that covered.
Speaker 4: Yes, So Tom Wilson, there were some other options, Tim Robbins.
Tim Robbins was one of the possibilities for the part
of Biff Tannon.
Speaker 3: You know, Tim Robbinson is a good He can be
menacing a little bit, but he can be funny. Yeah.
But Tom Wilson is the perfect ultra butt head. Yeah.
Speaker 4: And when you say I can remember seeing him all
of them, I mean every single one of them. Crispin Glover,
Tom Wilson, and Leah Thompson, every single one of them.
The first time I saw that movie, I thought they
are that old, And then we got to the nineteen
fifty five I thought, how do they do that?
Speaker 3: Right?
Speaker 4: Oh my gosh, that's really them. And they just made
them look old because they did such a great job
with their makeup and the lighting so that you just
believe there Tically.
Speaker 3: Crispin Glover I think, yeah, he was the one that
I was like, Man, is he old or yelling? I
can't tell him.
Speaker 4: I really like the combover that Beff has though in
nineteen eighty five, pretty good, pretty good with his polyester pants,
Crispin Glover, he's the only one that kind of rubs
me the wrong way out of this whole cast. You know,
it's interesting that you say that, because obviously the directors
didn't keep him around for number two or number three.
Speaker 3: He drove them insane.
Speaker 4: I think it was one of the most disappointing things
for Leo tom. She felt like he did such a
good job. And really, if you go look he does
and he does out. Hey, you get your damn hands off.
Speaker 3: Oh I think you got the wrong Commonfly, do help me?
Speaker 4: Just turn around on M thefly and walk away?
Speaker 3: Are you death? McFly closed the door and beat it
no good?
Speaker 4: You leave her alone?
Speaker 3: And he again.
Speaker 4: He was one of the method actors who did these
kind of weird things, so that probably rubbed them a
bit wrong with their Eric Stoltz experience. But also he
was infamous for missing the marks. Where As you're filming
a movie, you have to land at a certain spot
so that you're the right spot in the frame of
the shot, and he would miss it and they'd redo it,
and they'd miss it and they'd redo it. And so
in the sequels you had a stand in who was
hung ups down right, which honestly they had. I thought, oh,
they hung him upside down, so we can't really see
his face.
Speaker 3: Now.
Speaker 4: The truth is they had written that scene in already
with him in mind, and it was to keep him
from missing his mark.
Speaker 3: And it was Yeah, it was intentionally to miss with him,
to miss with Christmas. Which here's his quote that I
found that. This is one of the reasons why it
kind of bugs me. So christmah Glover claims to have
only seen the film once shortly after its release. Yeah,
that this whole that whole thing just bugs me. Well,
here's the thing, I don't know. I mean, just think
about this. Johnny Depp never watches any of his movies.
I think that's the dumbest thing.
Speaker 4: Well, I can understand it because a lot of times
when I see myself on camera, I'm uncomfortable. I'm like,
is that really what I look like? And if you've
got that in your head as you're trying to perform
in other situations, it's going to mess with you. I
get it, I can I understand how it can be
bothered him. And then as far as only seeing it
one time, I think a lot of them probably just
saw it one time that when you've been in the movie,
you don't have to keep going, you don't have to
watch it like the fan boys.
Speaker 3: I don't know that just me Anyway, he apparently.
Speaker 4: Is is a kind of eccentric.
Speaker 3: He is that type of guy there.
Speaker 4: He's there's an infamous interview that he did with David Letterman,
his appearance on David Letterman that was just bizarre, beyond belief.
Speaker 2: And then they I don't have seemed to be distraught.
Speaker 3: They don't. You seem to be trying to make me
sound a lot weird.
Speaker 2: And I'm just I'm strong.
Speaker 4: You know I'm strong.
Speaker 5: I can arm wrestle. Do you want to arm muscle?
Speaker 1: I mean taking you know, I'm taking us the artline?
Speaker 5: I can, I can, I can chick.
Speaker 2: Okay, I'm gonna go check on the top ten.
Speaker 3: You enjoy that, Paul.
Speaker 5: It was an interesting segment.
Speaker 2: I think that's the first time we've been doing the
show that a guest actually tried to kick me.
Speaker 3: But you couple that with Christopher Lloyd Chris Lloyd. Yeah,
he has said publicly he's channel servant whatever comes across
Hey by Future. So how watch interesting. I think that's
really cool. Yeah, it's I think it's cool that he
can join us and p and Okay, let's talk about
composers and Huey Lewis for a minute.
Speaker 1: Okay, yeah, absolutely, specifically on Huey Lewis, I can remember him.
There's a major part of things I was seeing and
hearing in my early childhood. I before this movie we had.
Sports was one of the first three set tapes that
I owned, along with Minute Work and William Nice.
Speaker 3: Yeah, nice shout out for Careless Whisper right there.
Speaker 1: All I cared about was Waked Me Up before you
Go six?
Speaker 5: Okay cool. So yeah, for me, I'm with you.
Speaker 3: Sports was the tape that I wore out at my
house hard rock and roll. Yeah, they said my hometown
in there right right, Austin, Oklahoma City. So that was
big for my fifth grade self right there.
Speaker 1: Yeah, that's awesome. You know, Hugh Lewis is a big
factor for Back to the Future. And then we can
look at the composers as well, and they are both icons,
and we're both kind of at the beginning stages. At
the time that these movies came out. John Williams was
the composer for Raiders Have Lost Arc and he had
done a few movies before that, but was really kind
of building the momentum. He'd obviously done Star Wars for
George Lucas, he had done Superman for Richard Donner. He
had done Close Encounters, Thank you, Close Encounters and Jaws. Yeah,
and let me just take this moment right here to
pay homage to a podcast that you and I both
listened to call The Soundtrack Show.
Speaker 5: Yeah, it's fantastic.
Speaker 1: It is. It is incredible. It does a better job
than we could ever hope to do with what it does,
and it is brilliant. Thank you David W. Collins for
putting that out there for us to learn from.
Speaker 5: If you haven't listened to it, do yourself a favor.
Speaker 3: And I will tell you from my standpoint as somebody
who's seen both of these movies so many times, I
can barely count it. When you listen to his podcast
and he breaks down the music, I'm like, I got
to go rewatch this movie. Absolutely it's a fresh approach
to a movie that I know by heart.
Speaker 1: I'll say this. You know, growing up, I can remember
punching on a sugar Ray Leonard boxing bag while listening
to the Rocky soundtrack. I can remember putting on my
Superman T shirt, my little red cape that Grandma made me,
and flying around the room to the Superman soundtrack. When
I started playing music and doing music, that was one
of the things that I did was try to put
together things that I thought would sound good in a movie.
And when I was in the theater program, I would
listen to classical music and imagine scenes and create scenes
from the music that I was listening to.
Speaker 5: Yeah, for sure.
Speaker 1: As it turns out, the way that movies typically go
is the soundtrack doesn't happen until the end. You know,
they do all of the filming, they do they do
the writing, they do the editing, they do all of that,
and then last stage, the symphony gets together and they
put the soundtrack to the movie. And so knowing that
it's it's almost it's counterintuitive to me. Almost. I'm just like,
the movie seems so inspired by the music, but as
it turns out, what really is happening is that these
composers have been inspired by what they've seen and they
take that and they give us these amazing sound draps.
Speaker 5: That's so true.
Speaker 3: Yeah, So John Williams, Spielberg sits down with John Williams
and tells him a little bit about what's going on.
John Williams comes back with a couple of themes. I
thought this was kind of an interesting story. Yes, and
he plays them both for Spielberg and I'm gonna try
and do them. Okay, I'm not singing or anything like that,
but so he plays the D right right. That's one yes,
and then he plays another one for me, so, okay,
that's one theme that I like. Spieber's like, yeah, that's
really good. And then he plays this one. He says,
du right right, and he says, well, what do you
think of that one? Philberg's like, well, kids, you use both,
and he does and they come together and it is awesome.
Speaker 1: What John Williams has done. I mean, I don't think
that there's any bigger icon at this time and is
the best at this moment in history right now, not
talking about nineteen eighty one, I'm talking about right at
this moment. I don't think there's anybody that has reached
the pinnacle that John Williams has reached. But Alan Silvestri
is certainly an icon as well, and he may not
just have the notoriety that some of these guys have.
But if you've seen any of the Marvel movies, you've
been listening to Alan Silvestri and his soundtracks. If you've
seen most of Robert Jamackis's movies, which would include Forrest Gump,
you've heard Allan Savestrie's music and it is it is
a critical ingredient to all of the movies that it's
involved with.
Speaker 3: Yep, for sure.
Speaker 1: But back to Back of the Future, what Allan Silvestrie
has done with the music for that is so simple
and so perfect. And I know we can't know his
thoughts and whether this was intentional or not, but what
he does with three notes that defines the whole movie
is just awe inspiring to me. So those three notes,
it is a note that falls down to another note
as in it goes back and then the note that
leads back in is almost the first note, but not quite.
It is a half step off, and this perfect little
those notes together give us the picture of what happens
with Marty. He starts at one place, he moves back
in time, and when he returns to the future, it's
exactly as it was, except not quite. It's about a
half step difference.
Speaker 3: I love it, Okay, Yeah, Alex Sevestri actually was this
is kind of his big break.
Speaker 1: Oh yeah, absolutely. And if you want to talk about
some different backgrounds here, John Williams and Allen Sastry are
perfect comparisons of Hey, two totally different types of people
can be very successful on the same field. John Williams
classically trained, was part of big bands, did whole lots
of composition, worked with a whole lot of orchestras that
did soundtracks to other movies. Alan Savestri was in a
rock and roll band, right, I mean that's that's really
as cool as it can be.
Speaker 5: When you listen.
Speaker 3: When I listened to Alan Savestri talk, Yeah, I'm like,
this is just Joe Blow, you know, like Joe New
York guy, you know. And John Williams is very you know,
very precise and very you know, refined, and.
Speaker 1: They had a little bit of concern about Alan Silvestri
and he was a part of Romancing the Stone that
was the movie that kind of said, Okay, he's good
enough to be involved with Back in the Future. He's
in this position now where it's it's it's like, oh
my gosh, I'm I'm involved in a movie that's a
pretty big deal.
Speaker 2: Big deal.
Speaker 1: Yeah, Spielberg is involved with this thing that I'm doing
and this is new and crazy. And so Spielberg had
his reservations about Silvestri. He was worried that he wouldn't
have it. And they at some point they're watching the movie.
They've got Alan Silvestrie's soundtrack playing, and Spielberg's like, this
is it. This is what you need for the music
to this thing, not what Silvestry is doing. And Bob
Zemeckis is like, this is Alan, this is it, and
he's like, oh, then he's got it right now. As
far as the movies go, here's another interesting thing. You've
got John Williams as the first guy in Raiders of
the Lost Arc. I mean, his music starts in at
the beginning, and it's the mysterious walking through the Jungle music.
Alan Silvestri's music doesn't come in for half an hour
at least into the movie Back to the Future, So
We've got this thing that comes in when the delrium
yes pops out right. Yes, the scene where the back
of the truck opens, the smoke or what a steam.
Speaker 5: Smoke coming out? Who cares, I don't know.
Speaker 1: Want the dry ice whatever, that dry ice effect is
that happens, and it's like wah. That's when the music
comes in. And it's a perfect point to do that
because in my mind, what Back to the Future does
that Raiders didn't do for me is that it tied
two things that I left together. Raiders change the paradigm
and I can talk about that more later, But with
Back to the Future, it took this action adventure scenario
and it made something that was more relatable to me,
Like I almost felt like I could be that guy.
I could be Marty McFly. I could do the skateboarding,
I could deal with the teachers. I can play the guitar.
I could do those things, and so I was more
identifiable to me. And so you were tardy for Glass,
I was always I'm still tardy. I don't feel tardy.
Speaker 5: Actually what you did there.
Speaker 1: But what we've got is for the first thirty minutes
of the movie, we've got rock and roll music. Playing,
We've got Huey Lewis in the news rocking us out,
and I'm thinking cool. This is another of the eighties
teen comedy movies. It's just happens to be about time
travel too, okay, rock and roll. But then Silvestrie's soundtrack
comes in at that moment that you see the DeLorean
for the first time, and suddenly the movie is more
than it has been for the last thirty minutes.
Speaker 3: Right, that's right.
Speaker 5: Let's talk about Power of Love for just a second.
Speaker 3: Okay, So the Power of Love was huge starting June
of nineteen eighty five. Yes, and to be honest between
you and I, this is the best Huios song that
they've ever made in my opinion.
Speaker 1: Okay, it's certainly one of the best ones for sure.
Speaker 3: Does this movie perform as well if it has I
Want a New drug in there instead of Power of Love?
Speaker 5: I mean, it doesn't really work, but it's just a better.
Speaker 1: Song, right, yeah, okay.
Speaker 3: But I thought it was interesting that Zamechas went to
Huey Lewis and said, hey, Marty McFly, if you were
a real person, his favorite rock band would be Huey
Lewis in the News and that's kind of what clinched
it for him. Yeah, So the first time out of
the gate, Hugh Lewis wrote a song, gave it to
Robert Zemeckis, and it just wasn't really working right. He
tried to kind of match it to the movie. Yeah,
does it make us like, don't don't even worry about that,
Just give me a just give me a good Huey
Lewis song. And he said, well, I've kind of been
working on this one. He played it for him, was like, man,
it's perfect powerful love. That's the power. And then later
after he had had Power of Love in the bank,
he came back with Back in Time, which is another
I mean, it's another great song, and that's the closing
credit song. Yeah, two great great songs from here list
in the news.
Speaker 1: Absolutely. I remember getting tons and tons of radio play.
I can remember after seeing the movie, my brother didn't
have to get up as early as I did because
I had to take the bus and he get to drive.
So I would wake up and then later I would
hear my brother's alarm clock go off, and every time
it went off in like the next three months, after
Back to the Future came out, Power of Love was
the song that was playing.
Speaker 5: It's the best song in the nation, right, no, Power
of Love?
Speaker 3: Yeah, yeah, So I remember watching the video premiere on MTV.
It was like a big deal, like, hey, tonight at
seven MTV premiere Power of Love. Nice. So anyway, here's
what okay, So Power of Love, Hue, listen the news,
Alan Selvestrie. I didn't want to mention one more thing before.
I don't know, we can talk all day about the music. Absolutely,
there is a chime that they play throughout the movie
in Back to the Future. Every time that chime hits,
it's when time has been altered, right, which is so cool. Right,
It's like a little thing that accues you to time
just changed.
Speaker 1: Yeah, guess what you just killed yourself.
Speaker 3: Exactly.
Speaker 1: You screwed up Artie.
Speaker 5: Real quickly. Just something I want to mention about the
Raider soundtrack.
Speaker 3: So Indy has his own theme. Yes, the arc has
its own theme, which is a home run. The head
piece to the staff of Raw has its own theme.
The basket chase has its own theme.
Speaker 1: Right, and he does something you know that's kind of
a terrifying scene. But what John Williams does with the
music that moment with this kind of plinkety little DNC
to DNC to ding ding it it makes you realize
the humor and what's going on instead of oh my gosh,
this strategy is about to occur, you know, right. And
he also not only that, but he'll let you know
just like they did in the old movies where you
get the plane that's flying from one place to the other,
like you see in Casablanca, you get that identifying music like, hey,
guess what here we are. I mean, honestly, what I'm
thinking of is the Three Stooges. Like when the Three
Stooges were in Baghdad, they had a definite, you know,
bagdad kind of music shoing on, and John Williams says
that same thing.
Speaker 3: It's so good. Yeah, okay, are you done talking about music?
Speaker 1: Yeah?
Speaker 3: Okay, all right.
Speaker 1: So that'll do it for part two. Please join us
next week where we will do a deep dive into
the big ideas behind Raiders of the Lost Arc and
Back to the Future. Thank you so much for your
support of the Sureley You Can't Be Serious podcasts.
Speaker 5: Don't forget. We also love to discuss these on social media.
Speaker 1: So be sure to follow us at Shirley Podcast on.
Speaker 5: Twitter, Shirly Podcast on Facebook.
Speaker 1: Email us at Shirleypodcast at gmail dot com.
Speaker 3: Or check out the Shureley you Can't Be Serious podcast
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