1 00:00:00,280 --> 00:00:03,200 Speaker 1: Welcome back, friends. This is part two of our series 2 00:00:03,240 --> 00:00:06,400 on Raiders of the Lost Arc versus Back to the Future. 3 00:00:06,960 --> 00:00:09,320 We really appreciate you joining us again and we hope 4 00:00:09,400 --> 00:00:11,919 you tune in for all the episodes to come without 5 00:00:11,960 --> 00:00:22,559 further ado. 6 00:00:24,719 --> 00:00:29,239 Speaker 2: Hello everybody, and welcome to the Surely You Can't Be 7 00:00:29,480 --> 00:00:34,280 Serious Podcast, discussing and debating the iconic and the forgotten 8 00:00:34,439 --> 00:00:37,840 of eighties and nineties pop culture with your co hosts 9 00:00:38,119 --> 00:00:41,159 James D. Graves and Jason Colbin. 10 00:00:47,399 --> 00:00:50,000 Speaker 1: Welcome back for part two of the Shirley You Can't 11 00:00:50,039 --> 00:00:52,200 Be Serious Podcast. 12 00:00:54,039 --> 00:00:56,439 Speaker 3: Welcome, Well, let's talk about the actors that were considered 13 00:00:56,479 --> 00:00:59,439 for India Jones for a second. Do that. Let's do that, Okay, 14 00:00:59,719 --> 00:01:03,200 So as it's I mean, it's well known, maybe maybe 15 00:01:03,200 --> 00:01:06,120 our listeners may have not, maybe sure or whatever. Tom 16 00:01:06,159 --> 00:01:10,159 Selleck was hired to be Indiana Jones had the part. 17 00:01:10,280 --> 00:01:13,840 He did. He actually auditioned with Sean Young. Se Sean 18 00:01:13,920 --> 00:01:17,280 Young who was in later Yes, and Tom Sellick had 19 00:01:17,280 --> 00:01:20,359 the part was Indiana Jones. You can watch the audition tape. 20 00:01:20,400 --> 00:01:21,680 Looked like he was going to do a good job. 21 00:01:21,760 --> 00:01:23,840 Of course, he's that still broad shouldered. 22 00:01:23,920 --> 00:01:28,120 Speaker 4: He was in different looking Indiana Jones. He looked like 23 00:01:28,159 --> 00:01:32,319 a hulking Indiana Jones instead of Professor Jones. 24 00:01:32,000 --> 00:01:34,319 Speaker 3: In a leather jacket. Right, But he had just filmed 25 00:01:34,359 --> 00:01:42,920 the pilot for the show called magnum p I and 26 00:01:43,040 --> 00:01:46,120 CBS said, no, don't think we're going to release Chef. 27 00:01:46,200 --> 00:01:48,120 We want to go ahead and do this magnip I thing. 28 00:01:48,640 --> 00:01:51,560 So he could have had to back out. And at 29 00:01:51,560 --> 00:01:53,719 the time, you know, Spielberg was like, what about what 30 00:01:53,760 --> 00:01:56,840 about Harrison You know, he was in American Effeini with 31 00:01:56,879 --> 00:01:59,680 George Lucas. You're supposed being fast thing in the valley Man, 32 00:01:59,719 --> 00:02:01,040 but can't be your car. 33 00:02:01,159 --> 00:02:02,640 Speaker 2: It must be your mama's car. 34 00:02:02,760 --> 00:02:05,079 Speaker 3: He was, of course Han Solo from the Star Wars, 35 00:02:06,439 --> 00:02:08,520 and George said, I don't really want him to be 36 00:02:08,800 --> 00:02:12,479 my Bobby de Niro. Like Scorsese had worked with Robert 37 00:02:12,520 --> 00:02:15,159 de Niro in several movies, and he keeps reappearing as 38 00:02:15,199 --> 00:02:17,919 different characters in all of his movies. George was very 39 00:02:18,000 --> 00:02:18,960 much against. 40 00:02:18,599 --> 00:02:20,400 Speaker 4: Harrison Ford doing That's fascinating. 41 00:02:20,439 --> 00:02:22,639 Speaker 3: As it turns out, Harrison Ford was the perfect fit. 42 00:02:22,919 --> 00:02:25,719 But here's a couple other guys who auditioned and were 43 00:02:25,759 --> 00:02:29,039 at least in consideration for Freddie and Jones. Tim Matheson, 44 00:02:29,080 --> 00:02:32,479 who you might remember from Animal House and Flitch, Yeah, right, 45 00:02:32,680 --> 00:02:34,960 he and he has the right look but not the 46 00:02:35,039 --> 00:02:39,319 right time. Right. Peter Coyote, he was an et, he's 47 00:02:39,360 --> 00:02:42,439 been in some movies. He's not tough enough, he's not 48 00:02:42,439 --> 00:02:46,280 a handsome man. A guy named John Shay, I don't know. 49 00:02:46,400 --> 00:02:48,879 It turns out he's That was a good call there too. 50 00:02:51,039 --> 00:02:54,120 Sean Young was very very close. Deva Winger actually turned. 51 00:02:53,919 --> 00:02:57,319 Speaker 4: Down the part for Mary Raywood and dev Winger famous 52 00:02:57,319 --> 00:03:01,120 for Urban Cowboy and Beaches, which I can probably say 53 00:03:01,120 --> 00:03:01,520 I've never. 54 00:03:01,439 --> 00:03:04,680 Speaker 3: Seen offstream chilling. So those were actors that were considered. 55 00:03:04,759 --> 00:03:08,080 Harrison Ford, of course, picks it up and runs with it, right. 56 00:03:08,520 --> 00:03:11,520 Speaker 4: And then you have in the part of Marion Kroen Allen, 57 00:03:11,520 --> 00:03:14,759 who was also an Animal House. Yes, and I got 58 00:03:14,800 --> 00:03:17,000 to say, she didn't do a whole lot after this. 59 00:03:17,479 --> 00:03:19,400 You know, it's a shame about Crystal Skull and all, 60 00:03:19,479 --> 00:03:21,360 but but she didn't. 61 00:03:21,400 --> 00:03:24,520 Speaker 3: But she was perfect in this part. She was great. 62 00:03:25,039 --> 00:03:27,879 Speaker 4: Just there's no other person that I think would have 63 00:03:27,879 --> 00:03:28,360 done this place. 64 00:03:28,400 --> 00:03:32,479 Speaker 3: She has the spunk ye in the fire, Yes, and 65 00:03:32,840 --> 00:03:37,080 you believe it when she is she has enough feminine 66 00:03:37,080 --> 00:03:39,439 wiles to seduce Melloch in the you know. 67 00:03:39,520 --> 00:03:43,560 Speaker 4: And yes, so she was grave. Yeah, she's scrappy and pretty. 68 00:03:43,800 --> 00:03:47,759 She's tough but can be frightened like a Amsel in distress. 69 00:03:48,080 --> 00:03:50,639 I mean, she does it all very well. And that's 70 00:03:50,680 --> 00:03:54,000 something to consider about this character. You know, I'm all 71 00:03:54,039 --> 00:03:56,680 for the women who kicked butt, like Black Widow, but 72 00:03:57,639 --> 00:03:59,680 for this time, in this day, she kicked butt, but 73 00:03:59,719 --> 00:04:02,039 she was still someone who needed rescue, came. 74 00:04:01,879 --> 00:04:05,039 Speaker 3: To hold off the white dress. Yep. She also you 75 00:04:05,120 --> 00:04:07,520 believe that punch when she hits Indy in the chin 76 00:04:07,639 --> 00:04:09,599 the first time. You know, I need one of the 77 00:04:09,639 --> 00:04:12,719 pieces your father collected. I learned to hit you in 78 00:04:12,719 --> 00:04:15,840 the last ten years anyway, So that's how it came about. 79 00:04:16,720 --> 00:04:22,079 But we've been together for a million ye Let's talk 80 00:04:22,120 --> 00:04:25,040 about the actors that were originally supposed to be in 81 00:04:25,399 --> 00:04:26,279 Back to the Future. 82 00:04:26,519 --> 00:04:29,560 Speaker 4: Okay, So for the part of Marty McFly, they wanted 83 00:04:29,560 --> 00:04:32,959 Michael J. Fox from the get go, absolutely, but very 84 00:04:33,040 --> 00:04:36,920 much like Tom Selick, he had just become involved in 85 00:04:36,959 --> 00:04:45,319 a very popular TV show called Family Times. Yes, Alex peaking, 86 00:04:45,759 --> 00:04:48,519 Alex Pinking. I loved watching Family Times a great show, 87 00:04:48,720 --> 00:04:52,439 and ironically enough, he played this character who was who 88 00:04:52,519 --> 00:04:55,319 rebelled against his hippie parents by being the Republican of 89 00:04:55,360 --> 00:04:55,759 the family. 90 00:04:55,839 --> 00:04:56,040 Speaker 3: Right. 91 00:04:56,199 --> 00:04:58,879 Speaker 4: He was the you know, the biggest supporter of Ronald Reagan, 92 00:04:59,240 --> 00:05:00,720 and he was the pull for the show. 93 00:05:00,759 --> 00:05:03,040 Speaker 3: I mean everybody wanted to watch him. Oh. Absolutely. 94 00:05:03,120 --> 00:05:05,519 Speaker 4: Goldberg's the name of the guy who's producing Family Ties, 95 00:05:05,800 --> 00:05:08,519 and he's like, I love the script. I will not 96 00:05:08,600 --> 00:05:10,720 let Michael J. Fox read it because if he reads it, 97 00:05:10,759 --> 00:05:13,279 he's going to want to do it and you cannot 98 00:05:13,279 --> 00:05:15,360 have him. I just need him too much. He's in 99 00:05:15,560 --> 00:05:19,199 full time, full time job being Alex P. Keaton right now, 100 00:05:19,399 --> 00:05:23,560 No way, right, So they consider several other people, including Johnny. 101 00:05:23,240 --> 00:05:27,600 Speaker 3: Depp, John Cusack. Yes, see, Thomas Howe finished second to 102 00:05:27,920 --> 00:05:29,720 the guy they actually ended up hiring. 103 00:05:29,680 --> 00:05:33,040 Speaker 4: Right, and also considered was Charlie Sheen Really Yeah. 104 00:05:32,800 --> 00:05:33,720 Speaker 3: I didn't know Charlie Sheen. 105 00:05:33,800 --> 00:05:37,279 Speaker 4: See Thomas Howell at that time, Yes, was big because 106 00:05:37,399 --> 00:05:40,560 of the Outsiders, right, he's I mean it's very popular. 107 00:05:40,959 --> 00:05:42,920 We're talking about nineteen eighty three is when they're doing 108 00:05:42,959 --> 00:05:44,839 the casting. So he's at the top of his game 109 00:05:44,920 --> 00:05:45,120 right now. 110 00:05:45,160 --> 00:05:49,240 Speaker 3: Yeah. Can you imagine Marty McFly, Johnny Depp or John Cusack. No, no, 111 00:05:49,439 --> 00:05:52,279 see Thomas Howe at the time made sense, but now no, 112 00:05:52,639 --> 00:05:56,360 it's Michael J. Fox. But they end up hiring There Stults. 113 00:05:56,000 --> 00:05:59,959 Speaker 4: Who had been in a movie with Leah Thompson Wildlife, right, 114 00:06:00,079 --> 00:06:02,319 So that's actually how she got cast. They were looking 115 00:06:02,319 --> 00:06:06,399 at his Wildlife movie and they were like, who's like her, right, Yeah, 116 00:06:06,480 --> 00:06:09,240 let's have her comment. And it was because she nailed 117 00:06:09,399 --> 00:06:11,360 the old Lorraine that. 118 00:06:11,240 --> 00:06:14,519 Speaker 3: She got that part. It was meant to be, yeah, 119 00:06:14,560 --> 00:06:14,879 because I. 120 00:06:14,879 --> 00:06:16,720 Speaker 4: Mean, obviously she's young and beautiful. She can pull off 121 00:06:16,759 --> 00:06:19,079 the high school student without any trouble. Let's see how 122 00:06:19,120 --> 00:06:20,680 she does with an old beat down lady. 123 00:06:21,040 --> 00:06:21,680 Speaker 3: And she knail. 124 00:06:22,040 --> 00:06:25,839 Speaker 4: So they start filming with Eric Stoles, and they filmed 125 00:06:26,199 --> 00:06:29,120 a lot. They didn't they filmed a whole lot, right, 126 00:06:29,279 --> 00:06:32,680 But at the outset they start to see trouble and 127 00:06:32,800 --> 00:06:35,720 Leah Thompson talks about how when they sat down to 128 00:06:35,759 --> 00:06:37,920 do their the reading, you know, they'll sit down on 129 00:06:38,040 --> 00:06:40,199 the table and everybody they'll go through the whole movie. 130 00:06:40,240 --> 00:06:42,800 Everybody reads their lines. You know, they go through this 131 00:06:42,839 --> 00:06:46,399 whole thing and it's You've got this funny rom com 132 00:06:46,439 --> 00:06:50,199 sci fi action adventure thing, and everybody's laughing at the 133 00:06:50,319 --> 00:06:53,079 end and talking about what they think, and they're like, Eric, 134 00:06:53,079 --> 00:06:55,360 what do you think? And he goes, you know, I 135 00:06:55,360 --> 00:07:00,319 think it's I think it's a tragedy and they're like what, 136 00:07:01,000 --> 00:07:04,480 and he's like, well, everything that this guy has ever 137 00:07:04,560 --> 00:07:06,480 known is all of a sudden gone. I mean, he 138 00:07:06,560 --> 00:07:10,240 comes back to a completely different existence. I can't imagine 139 00:07:10,240 --> 00:07:13,920 how upsetting that would be. And apparently that kind of 140 00:07:14,600 --> 00:07:16,240 was the way it went for the rest of the 141 00:07:16,240 --> 00:07:21,000 filming with Eric Stoltz. Now, Eric Stoltz was a method actor, 142 00:07:21,759 --> 00:07:24,839 which means he's kind of kooky about how he does stuff. 143 00:07:25,120 --> 00:07:28,399 We've heard about Sean Penn and Fast Times at Richmond 144 00:07:28,519 --> 00:07:31,160 High everybody had to call him Spaccoli. He wouldn't answer 145 00:07:31,199 --> 00:07:33,920 to anything else. Eric Stoltz did the same thing. He 146 00:07:34,000 --> 00:07:36,480 said he wanted people to only call him Marty. He 147 00:07:36,560 --> 00:07:38,839 wouldn't answer to anything but Martin. 148 00:07:39,240 --> 00:07:40,600 Speaker 3: I love this story. And then you get ready to 149 00:07:40,639 --> 00:07:41,079 tell her. 150 00:07:41,240 --> 00:07:44,480 Speaker 4: Yes, and so you know, they keep shooting. He's got 151 00:07:44,519 --> 00:07:48,279 this tragedy idea in his head. Bob Zemeckis calls Bob 152 00:07:48,360 --> 00:07:50,959 Gail and says, I need you to come look at 153 00:07:50,959 --> 00:07:53,120 some of these shots. I think we've got a problem. 154 00:07:53,639 --> 00:07:57,279 And Bob Gale's like, we never look at shots until 155 00:07:57,279 --> 00:07:59,439 the movie's done. That just doesn't happen. So this has 156 00:07:59,480 --> 00:08:02,000 got to be something really bad. So they go and 157 00:08:02,040 --> 00:08:04,800 look and it's just sad. I mean, it's not he's 158 00:08:05,000 --> 00:08:10,040 not making the funny funny. And so Spielberg, being the 159 00:08:10,120 --> 00:08:13,120 experienced guy that he is, it says, I'll talk to 160 00:08:13,199 --> 00:08:16,240 Eric about what's going on. And this may be this 161 00:08:16,319 --> 00:08:18,600 may be apocryphal, but hey, I'm gonna tell the story anyway. 162 00:08:19,040 --> 00:08:19,279 Speaker 3: Whatever. 163 00:08:20,199 --> 00:08:24,439 Speaker 4: So Spielberg goes goes over to Eric Stoltz's trailer and 164 00:08:24,480 --> 00:08:27,040 he's like, Eric, kam here, we need to talk. And 165 00:08:27,079 --> 00:08:30,319 he's like Marty and he's like Eric, just come here, 166 00:08:30,360 --> 00:08:32,480 we need to talk. And he's like, my name is Marty. 167 00:08:32,879 --> 00:08:36,039 He goes, no, your name is Eric, and you're fired. 168 00:08:39,240 --> 00:08:40,399 You are no longer Marty. 169 00:08:40,639 --> 00:08:42,960 Speaker 3: Yeah, yeah, you got to give it back, right. 170 00:08:43,279 --> 00:08:46,159 Speaker 4: And so at that point, I don't remember what they 171 00:08:46,200 --> 00:08:50,240 said to Goldberg that convinced him to let Michael J. 172 00:08:50,360 --> 00:08:53,759 Fox come over and do both, but he was literally 173 00:08:54,200 --> 00:08:57,759 filming Family Ties and back in the future at the 174 00:08:57,759 --> 00:09:01,039 same time. Who would film uh, family tized during the 175 00:09:01,120 --> 00:09:05,080 day he would hop in a car and sleep in 176 00:09:05,120 --> 00:09:07,519 the car as he drove to the set for the 177 00:09:07,519 --> 00:09:10,840 shooting four Back to the Future. When they kind of 178 00:09:10,840 --> 00:09:13,519 approached him about this idea, he was like, twenty two 179 00:09:13,600 --> 00:09:14,799 years old, what do I need to sleep? 180 00:09:14,879 --> 00:09:17,320 Speaker 3: Right? In fact, if you notice in Back to the 181 00:09:17,360 --> 00:09:20,360 Future the day shots and when he's on skateboard, yeah, 182 00:09:20,399 --> 00:09:22,320 all those were shot on the weekends. Anytime you see 183 00:09:22,360 --> 00:09:23,720 daylight as a weekend. 184 00:09:23,480 --> 00:09:25,960 Speaker 4: Shot, and there's yeah, I mean quite a few night shots. 185 00:09:26,120 --> 00:09:27,720 I don't know if that's the reason that they had 186 00:09:27,720 --> 00:09:29,600 to go, that they had to have their experiment at 187 00:09:29,639 --> 00:09:30,759 one n fifteen in the morning. 188 00:09:31,000 --> 00:09:32,919 Speaker 3: Maybe that was it. I mean, it's okay. I had 189 00:09:32,960 --> 00:09:35,600 a big part of it. Yeah, right. Also, somebody else 190 00:09:35,679 --> 00:09:37,799 was fired at the same time, Eric Stolets was fired. 191 00:09:37,799 --> 00:09:38,519 Did you hear this story? 192 00:09:38,639 --> 00:09:38,679 Speaker 1: No? 193 00:09:39,120 --> 00:09:42,440 Speaker 3: Okay, So Laura Harden, she was originally supposed to be 194 00:09:42,480 --> 00:09:45,879 Jennifer Parker. She was fired when Eric Stolts was fired. Right, 195 00:09:46,000 --> 00:09:49,200 Laura Harden, You recognize her from the office. She's the 196 00:09:49,279 --> 00:09:52,240 girlfriend she's jan in the office. There you go, Yeah, okay, 197 00:09:52,600 --> 00:09:54,679 so she was fired. You know why she's fired? Too? Tall? 198 00:09:54,759 --> 00:09:57,200 Speaker 4: She was too tall for Michael J. Fox right with Eric. 199 00:09:57,399 --> 00:09:59,399 Eric was a taller guy and so she fit with him. 200 00:09:59,559 --> 00:10:01,679 The girl originally cast was the girl who ended up 201 00:10:01,679 --> 00:10:04,799 playing Jennifer, but she just couldn't do it. She had 202 00:10:04,840 --> 00:10:07,159 started another TV series of her own at the time, 203 00:10:07,440 --> 00:10:09,279 so she wasn't able to do the movie. But by 204 00:10:09,320 --> 00:10:13,399 the time that they switched back and had Michael J. Fox, yeah, 205 00:10:13,440 --> 00:10:16,320 the TV pilot had busted and so she was free 206 00:10:16,360 --> 00:10:17,720 to film the movie and. 207 00:10:17,679 --> 00:10:21,240 Speaker 3: So I inserted Klaudie Wells as Jennifer Parker. It's really cool. 208 00:10:21,799 --> 00:10:24,720 And before we move on, the fact that the cast 209 00:10:24,840 --> 00:10:28,080 all had six weeks to sort of live dress, rehearse 210 00:10:28,559 --> 00:10:30,919 could only improve their performances. 211 00:10:30,919 --> 00:10:33,639 Speaker 4: I think, yeah, well, and you know they talked about that, 212 00:10:33,840 --> 00:10:36,960 talked to like Christopher Lloyd had obviously had to reshoot 213 00:10:37,000 --> 00:10:39,720 all of these scenes with Marty that he had done before. Now, 214 00:10:39,840 --> 00:10:42,559 Christopher Lloyd is a stage actor. I mean he was 215 00:10:42,600 --> 00:10:45,279 in Taxi, which is a TV show, but he is 216 00:10:45,600 --> 00:10:48,039 very script centric. You know, he gets an idea of 217 00:10:48,080 --> 00:10:50,600 who the character is and then he sticks to the script. 218 00:10:50,919 --> 00:10:52,080 Speaker 3: Whereas Michael J. 219 00:10:52,200 --> 00:10:55,559 Speaker 4: Fox, his acting chops had come along in TV shows 220 00:10:55,799 --> 00:10:59,440 which were constantly rewritten, and so Michael when he came in, 221 00:11:00,000 --> 00:11:03,639 but ad lib lines. It didn't throw Christopher Lloyd off 222 00:11:03,679 --> 00:11:06,799 because he's a talented man, but it was an entirely 223 00:11:06,840 --> 00:11:09,279 different experience from the method acting that he had gotten 224 00:11:09,279 --> 00:11:11,919 with Eric Staltz. And some of the best lines in 225 00:11:11,919 --> 00:11:15,799 this movie are lines they well, rock and Roll was 226 00:11:15,840 --> 00:11:18,000 an ad lib line. That's not how it was originally. 227 00:11:18,960 --> 00:11:22,039 Speaker 3: Yeah, hey, it's not the years, it's the mileage ad 228 00:11:22,039 --> 00:11:23,240 libline from Mariyters last. 229 00:11:23,120 --> 00:11:25,679 Speaker 4: Stark, what are you looking at? But ed ad lib line? 230 00:11:25,720 --> 00:11:28,639 Speaker 3: Wow, yep, that's cool. All right. So listen to this 231 00:11:28,759 --> 00:11:31,200 list of actors that were considered for Duc Brown. So 232 00:11:31,240 --> 00:11:35,360 here you go. John Lithgow, Dudley Moore, James Woods, Jeff Goldblum, 233 00:11:35,799 --> 00:11:40,360 Gene Wilder, Gene Hackman, Danny DeVito, Robin Williams, John Cleese. 234 00:11:40,759 --> 00:11:43,399 John Cleese is the only one of those guys that 235 00:11:43,480 --> 00:11:46,360 I could see I actually, but still it's not the 236 00:11:46,360 --> 00:11:49,120 same movie with him. Chris Lloyd kills it. 237 00:11:49,200 --> 00:11:51,039 Speaker 4: Did you ever watch The Old Taxi a little bit? 238 00:11:51,600 --> 00:11:55,600 So his character was this kind of crazy which pulled 239 00:11:55,679 --> 00:11:57,919 him in, and he had rejected the script initially like 240 00:11:57,960 --> 00:11:59,679 they sent it to him. They wanted him, but he 241 00:11:59,759 --> 00:12:02,879 was like, I'm doing this other thing. I'm not really interested. 242 00:12:03,080 --> 00:12:05,240 Speaker 3: And his wife said, you know you always said you 243 00:12:05,279 --> 00:12:08,320 would never turn down something without looking at it first, right. 244 00:12:08,600 --> 00:12:10,919 He's like, okay, well, my wife feels like I need 245 00:12:10,919 --> 00:12:13,039 to look at it. Didn't look at it, right. So 246 00:12:13,120 --> 00:12:14,679 I know you and I've talked about this. I have 247 00:12:14,720 --> 00:12:16,600 some other friends that I talk about on Twitter. But 248 00:12:17,039 --> 00:12:20,080 the alternate universe of a Back to the Future movie 249 00:12:20,159 --> 00:12:24,240 with ce Thomas Howe and Gene Wilder, I mean, are 250 00:12:24,240 --> 00:12:31,200 you kidding me? Watch what twas? 251 00:12:39,720 --> 00:12:42,240 Speaker 4: So In the TV series Taxi, he plays this kind 252 00:12:42,279 --> 00:12:45,320 of nutty office rocker, just you know, off center a 253 00:12:45,320 --> 00:12:47,240 little bit, and he always does the bug act thing. 254 00:12:47,399 --> 00:12:49,000 You know, he throws his head back and he bugs 255 00:12:49,039 --> 00:12:51,480 his eyes out, and so the very first time that 256 00:12:51,519 --> 00:12:53,320 you see him in Back of the Future he does 257 00:12:53,360 --> 00:12:55,360 that look he gets out at the toddle of the car. 258 00:12:55,600 --> 00:12:57,360 Speaker 3: That's right, right. 259 00:12:57,399 --> 00:12:59,639 Speaker 4: So there's your mcguffin for Back in the Future. Of 260 00:12:59,679 --> 00:13:02,279 McGuff and for Lebrators of the Lost Dark is obviously 261 00:13:02,360 --> 00:13:04,159 the arc, it's the driving force. 262 00:13:04,000 --> 00:13:04,559 Speaker 3: Behind the movie. 263 00:13:04,720 --> 00:13:07,559 Speaker 4: The MacGuffin for Back to the Future is the time 264 00:13:07,600 --> 00:13:11,840 machine de Lawyer, Okay, and so it's you know, it's 265 00:13:11,879 --> 00:13:15,639 got an earlier, beautiful introduction, and you know, just to 266 00:13:15,679 --> 00:13:20,360 compare him, you've got this bright, shiny, golden religious treasure here, 267 00:13:20,720 --> 00:13:22,759 and then on the other side of the future, you've 268 00:13:22,759 --> 00:13:28,279 got this bright shiny silver ultra modern scientific wonder as 269 00:13:28,360 --> 00:13:29,600 the driving forces. 270 00:13:29,279 --> 00:13:30,000 Speaker 3: Behind the movies. 271 00:13:30,639 --> 00:13:34,080 Speaker 4: And so then he pops up the wing doors and 272 00:13:34,360 --> 00:13:36,799 pops out of the driver's seat and does his bug 273 00:13:36,879 --> 00:13:41,240 eye look from taxi, and everybody's like, a it's I'm familiar. 274 00:13:41,279 --> 00:13:43,200 Speaker 3: I know this man suck. 275 00:13:46,039 --> 00:13:46,960 Speaker 2: Delated down. 276 00:13:47,240 --> 00:13:49,159 Speaker 4: We've always so we we've had a little bit of 277 00:13:49,159 --> 00:13:56,559 an establishment when Strickland, Yeah, he talks about him being 278 00:13:56,600 --> 00:13:58,120 a nut, so we kind of have this idea of 279 00:13:58,519 --> 00:14:01,279 the nuttiness behind him already. And then of course we've 280 00:14:01,320 --> 00:14:03,639 seen the shed outside of the Burger King that is 281 00:14:03,679 --> 00:14:06,720 his current abode after his mansion is by the way 282 00:14:07,279 --> 00:14:09,919 again set up. I had to try. I was like, 283 00:14:10,279 --> 00:14:14,519 why why are we seeing a newspaper clipping about the 284 00:14:14,559 --> 00:14:20,480 mansion being destroyed and him selling the brown estate of 285 00:14:20,679 --> 00:14:22,879 prime real estate? And I realized that's how he got 286 00:14:22,879 --> 00:14:23,840 all the money to do. 287 00:14:23,720 --> 00:14:26,200 Speaker 3: All this stuff. How he funds this stuff. Yeah, he 288 00:14:26,440 --> 00:14:30,320 sold everything that he had just to make the flux 289 00:14:30,360 --> 00:14:35,519 capacitor and whatever the machine is that turns plutonium into electricity, right, 290 00:14:36,399 --> 00:14:39,080 the whole He sold his entire fortune for a dream 291 00:14:39,120 --> 00:14:44,559 that he had after he had on file hanging the Okay, cool, 292 00:14:44,720 --> 00:14:45,519 we got that covered. 293 00:14:45,720 --> 00:14:50,600 Speaker 4: Yes, So Tom Wilson, there were some other options, Tim Robbins. 294 00:14:50,919 --> 00:14:54,200 Tim Robbins was one of the possibilities for the part 295 00:14:54,360 --> 00:14:55,960 of Biff Tannon. 296 00:14:56,080 --> 00:14:58,519 Speaker 3: You know, Tim Robbinson is a good He can be 297 00:14:58,679 --> 00:15:01,600 menacing a little bit, but he can be funny. Yeah. 298 00:15:01,639 --> 00:15:05,759 But Tom Wilson is the perfect ultra butt head. Yeah. 299 00:15:05,799 --> 00:15:09,440 Speaker 4: And when you say I can remember seeing him all 300 00:15:09,480 --> 00:15:11,919 of them, I mean every single one of them. Crispin Glover, 301 00:15:12,159 --> 00:15:15,480 Tom Wilson, and Leah Thompson, every single one of them. 302 00:15:15,480 --> 00:15:17,440 The first time I saw that movie, I thought they 303 00:15:17,440 --> 00:15:19,399 are that old, And then we got to the nineteen 304 00:15:19,440 --> 00:15:21,960 fifty five I thought, how do they do that? 305 00:15:22,080 --> 00:15:22,240 Speaker 3: Right? 306 00:15:22,279 --> 00:15:25,200 Speaker 4: Oh my gosh, that's really them. And they just made 307 00:15:25,240 --> 00:15:27,440 them look old because they did such a great job 308 00:15:27,480 --> 00:15:29,559 with their makeup and the lighting so that you just 309 00:15:29,759 --> 00:15:30,879 believe there Tically. 310 00:15:31,039 --> 00:15:33,600 Speaker 3: Crispin Glover I think, yeah, he was the one that 311 00:15:33,639 --> 00:15:35,840 I was like, Man, is he old or yelling? I 312 00:15:35,840 --> 00:15:36,399 can't tell him. 313 00:15:36,480 --> 00:15:39,559 Speaker 4: I really like the combover that Beff has though in 314 00:15:39,639 --> 00:15:43,480 nineteen eighty five, pretty good, pretty good with his polyester pants, 315 00:15:43,799 --> 00:15:46,639 Crispin Glover, he's the only one that kind of rubs 316 00:15:46,679 --> 00:15:48,559 me the wrong way out of this whole cast. You know, 317 00:15:48,600 --> 00:15:51,879 it's interesting that you say that, because obviously the directors 318 00:15:51,879 --> 00:15:53,960 didn't keep him around for number two or number three. 319 00:15:54,000 --> 00:15:55,279 Speaker 3: He drove them insane. 320 00:15:55,360 --> 00:15:58,919 Speaker 4: I think it was one of the most disappointing things 321 00:15:59,200 --> 00:16:03,320 for Leo tom. She felt like he did such a 322 00:16:03,320 --> 00:16:06,159 good job. And really, if you go look he does 323 00:16:06,399 --> 00:16:10,039 and he does out. Hey, you get your damn hands off. 324 00:16:12,120 --> 00:16:18,679 Speaker 3: Oh I think you got the wrong Commonfly, do help me? 325 00:16:19,480 --> 00:16:23,639 Speaker 4: Just turn around on M thefly and walk away? 326 00:16:24,399 --> 00:16:27,360 Speaker 3: Are you death? McFly closed the door and beat it 327 00:16:30,519 --> 00:16:31,000 no good? 328 00:16:32,600 --> 00:16:33,960 Speaker 4: You leave her alone? 329 00:16:34,879 --> 00:16:35,519 Speaker 3: And he again. 330 00:16:35,559 --> 00:16:37,279 Speaker 4: He was one of the method actors who did these 331 00:16:37,360 --> 00:16:39,320 kind of weird things, so that probably rubbed them a 332 00:16:39,360 --> 00:16:42,639 bit wrong with their Eric Stoltz experience. But also he 333 00:16:42,759 --> 00:16:47,480 was infamous for missing the marks. Where As you're filming 334 00:16:47,519 --> 00:16:49,720 a movie, you have to land at a certain spot 335 00:16:49,799 --> 00:16:51,960 so that you're the right spot in the frame of 336 00:16:52,039 --> 00:16:54,240 the shot, and he would miss it and they'd redo it, 337 00:16:54,279 --> 00:16:56,159 and they'd miss it and they'd redo it. And so 338 00:16:56,559 --> 00:16:59,559 in the sequels you had a stand in who was 339 00:16:59,600 --> 00:17:04,079 hung ups down right, which honestly they had. I thought, oh, 340 00:17:04,079 --> 00:17:05,960 they hung him upside down, so we can't really see 341 00:17:06,000 --> 00:17:06,519 his face. 342 00:17:06,799 --> 00:17:06,960 Speaker 3: Now. 343 00:17:06,960 --> 00:17:09,799 Speaker 4: The truth is they had written that scene in already 344 00:17:09,799 --> 00:17:11,640 with him in mind, and it was to keep him 345 00:17:11,640 --> 00:17:12,720 from missing his mark. 346 00:17:12,839 --> 00:17:15,400 Speaker 3: And it was Yeah, it was intentionally to miss with him, 347 00:17:15,559 --> 00:17:18,640 to miss with Christmas. Which here's his quote that I 348 00:17:18,720 --> 00:17:20,640 found that. This is one of the reasons why it 349 00:17:20,720 --> 00:17:23,720 kind of bugs me. So christmah Glover claims to have 350 00:17:23,880 --> 00:17:28,160 only seen the film once shortly after its release. Yeah, 351 00:17:29,440 --> 00:17:32,599 that this whole that whole thing just bugs me. Well, 352 00:17:32,839 --> 00:17:35,440 here's the thing, I don't know. I mean, just think 353 00:17:35,480 --> 00:17:38,279 about this. Johnny Depp never watches any of his movies. 354 00:17:38,359 --> 00:17:39,799 I think that's the dumbest thing. 355 00:17:40,000 --> 00:17:43,599 Speaker 4: Well, I can understand it because a lot of times 356 00:17:43,640 --> 00:17:47,480 when I see myself on camera, I'm uncomfortable. I'm like, 357 00:17:47,640 --> 00:17:50,200 is that really what I look like? And if you've 358 00:17:50,240 --> 00:17:52,480 got that in your head as you're trying to perform 359 00:17:52,519 --> 00:17:55,279 in other situations, it's going to mess with you. I 360 00:17:55,319 --> 00:17:57,319 get it, I can I understand how it can be 361 00:17:57,359 --> 00:17:59,359 bothered him. And then as far as only seeing it 362 00:17:59,480 --> 00:18:01,680 one time, I think a lot of them probably just 363 00:18:01,680 --> 00:18:04,480 saw it one time that when you've been in the movie, 364 00:18:04,480 --> 00:18:06,000 you don't have to keep going, you don't have to 365 00:18:06,000 --> 00:18:07,680 watch it like the fan boys. 366 00:18:09,359 --> 00:18:13,680 Speaker 3: I don't know that just me Anyway, he apparently. 367 00:18:13,240 --> 00:18:15,880 Speaker 4: Is is a kind of eccentric. 368 00:18:16,079 --> 00:18:17,720 Speaker 3: He is that type of guy there. 369 00:18:17,920 --> 00:18:21,640 Speaker 4: He's there's an infamous interview that he did with David Letterman, 370 00:18:21,720 --> 00:18:25,839 his appearance on David Letterman that was just bizarre, beyond belief. 371 00:18:26,359 --> 00:18:31,119 Speaker 2: And then they I don't have seemed to be distraught. 372 00:18:31,359 --> 00:18:33,440 Speaker 3: They don't. You seem to be trying to make me 373 00:18:33,559 --> 00:18:34,720 sound a lot weird. 374 00:18:35,119 --> 00:18:36,920 Speaker 2: And I'm just I'm strong. 375 00:18:37,119 --> 00:18:38,240 Speaker 4: You know I'm strong. 376 00:18:38,359 --> 00:18:41,720 Speaker 5: I can arm wrestle. Do you want to arm muscle? 377 00:18:41,799 --> 00:18:45,000 Speaker 1: I mean taking you know, I'm taking us the artline? 378 00:18:45,440 --> 00:18:47,119 Speaker 5: I can, I can, I can chick. 379 00:18:48,519 --> 00:18:50,880 Speaker 2: Okay, I'm gonna go check on the top ten. 380 00:19:05,599 --> 00:19:06,400 Speaker 3: You enjoy that, Paul. 381 00:19:06,680 --> 00:19:08,920 Speaker 5: It was an interesting segment. 382 00:19:09,880 --> 00:19:11,640 Speaker 2: I think that's the first time we've been doing the 383 00:19:11,680 --> 00:19:13,720 show that a guest actually tried to kick me. 384 00:19:15,920 --> 00:19:19,160 Speaker 3: But you couple that with Christopher Lloyd Chris Lloyd. Yeah, 385 00:19:19,240 --> 00:19:23,200 he has said publicly he's channel servant whatever comes across 386 00:19:23,240 --> 00:19:27,039 Hey by Future. So how watch interesting. I think that's 387 00:19:27,039 --> 00:19:29,960 really cool. Yeah, it's I think it's cool that he 388 00:19:30,000 --> 00:19:36,559 can join us and p and Okay, let's talk about 389 00:19:36,599 --> 00:19:41,079 composers and Huey Lewis for a minute. 390 00:19:44,319 --> 00:19:48,680 Speaker 1: Okay, yeah, absolutely, specifically on Huey Lewis, I can remember him. 391 00:19:48,720 --> 00:19:51,400 There's a major part of things I was seeing and 392 00:19:51,440 --> 00:19:56,759 hearing in my early childhood. I before this movie we had. 393 00:19:57,839 --> 00:20:00,960 Sports was one of the first three set tapes that 394 00:20:01,039 --> 00:20:05,920 I owned, along with Minute Work and William Nice. 395 00:20:06,039 --> 00:20:14,920 Speaker 3: Yeah, nice shout out for Careless Whisper right there. 396 00:20:15,799 --> 00:20:17,680 Speaker 1: All I cared about was Waked Me Up before you 397 00:20:17,720 --> 00:20:19,160 Go six? 398 00:20:19,359 --> 00:20:22,119 Speaker 5: Okay cool. So yeah, for me, I'm with you. 399 00:20:22,440 --> 00:20:25,440 Speaker 3: Sports was the tape that I wore out at my 400 00:20:25,519 --> 00:20:29,359 house hard rock and roll. Yeah, they said my hometown 401 00:20:29,480 --> 00:20:34,200 in there right right, Austin, Oklahoma City. So that was 402 00:20:34,599 --> 00:20:36,480 big for my fifth grade self right there. 403 00:20:36,559 --> 00:20:38,720 Speaker 1: Yeah, that's awesome. You know, Hugh Lewis is a big 404 00:20:38,759 --> 00:20:41,359 factor for Back to the Future. And then we can 405 00:20:41,400 --> 00:20:45,359 look at the composers as well, and they are both icons, 406 00:20:45,559 --> 00:20:48,519 and we're both kind of at the beginning stages. At 407 00:20:48,519 --> 00:20:52,279 the time that these movies came out. John Williams was 408 00:20:52,440 --> 00:20:56,640 the composer for Raiders Have Lost Arc and he had 409 00:20:56,680 --> 00:20:59,880 done a few movies before that, but was really kind 410 00:20:59,920 --> 00:21:03,680 of building the momentum. He'd obviously done Star Wars for 411 00:21:03,759 --> 00:21:24,119 George Lucas, he had done Superman for Richard Donner. He 412 00:21:24,279 --> 00:21:29,440 had done Close Encounters, Thank you, Close Encounters and Jaws. Yeah, 413 00:21:29,480 --> 00:21:32,279 and let me just take this moment right here to 414 00:21:32,880 --> 00:21:35,480 pay homage to a podcast that you and I both 415 00:21:35,559 --> 00:21:37,960 listened to call The Soundtrack Show. 416 00:21:38,160 --> 00:21:39,400 Speaker 5: Yeah, it's fantastic. 417 00:21:39,440 --> 00:21:42,440 Speaker 1: It is. It is incredible. It does a better job 418 00:21:42,480 --> 00:21:44,920 than we could ever hope to do with what it does, 419 00:21:45,039 --> 00:21:48,640 and it is brilliant. Thank you David W. Collins for 420 00:21:48,640 --> 00:21:50,440 putting that out there for us to learn from. 421 00:21:50,519 --> 00:21:52,279 Speaker 5: If you haven't listened to it, do yourself a favor. 422 00:21:52,319 --> 00:21:55,279 Speaker 3: And I will tell you from my standpoint as somebody 423 00:21:55,279 --> 00:21:59,079 who's seen both of these movies so many times, I 424 00:21:58,799 --> 00:22:02,640 can barely count it. When you listen to his podcast 425 00:22:02,680 --> 00:22:04,680 and he breaks down the music, I'm like, I got 426 00:22:04,680 --> 00:22:08,799 to go rewatch this movie. Absolutely it's a fresh approach 427 00:22:08,880 --> 00:22:10,759 to a movie that I know by heart. 428 00:22:10,920 --> 00:22:13,799 Speaker 1: I'll say this. You know, growing up, I can remember 429 00:22:13,880 --> 00:22:17,039 punching on a sugar Ray Leonard boxing bag while listening 430 00:22:17,079 --> 00:22:19,960 to the Rocky soundtrack. I can remember putting on my 431 00:22:20,000 --> 00:22:23,079 Superman T shirt, my little red cape that Grandma made me, 432 00:22:23,480 --> 00:22:27,480 and flying around the room to the Superman soundtrack. When 433 00:22:27,519 --> 00:22:30,519 I started playing music and doing music, that was one 434 00:22:30,519 --> 00:22:32,319 of the things that I did was try to put 435 00:22:32,359 --> 00:22:34,799 together things that I thought would sound good in a movie. 436 00:22:34,880 --> 00:22:37,599 And when I was in the theater program, I would 437 00:22:37,680 --> 00:22:42,119 listen to classical music and imagine scenes and create scenes 438 00:22:42,160 --> 00:22:44,519 from the music that I was listening to. 439 00:22:44,799 --> 00:22:45,440 Speaker 5: Yeah, for sure. 440 00:22:45,599 --> 00:22:47,799 Speaker 1: As it turns out, the way that movies typically go 441 00:22:48,079 --> 00:22:50,640 is the soundtrack doesn't happen until the end. You know, 442 00:22:50,880 --> 00:22:53,839 they do all of the filming, they do they do 443 00:22:53,920 --> 00:22:56,480 the writing, they do the editing, they do all of that, 444 00:22:56,599 --> 00:23:00,000 and then last stage, the symphony gets together and they 445 00:23:00,119 --> 00:23:03,960 put the soundtrack to the movie. And so knowing that 446 00:23:04,119 --> 00:23:07,680 it's it's almost it's counterintuitive to me. Almost. I'm just like, 447 00:23:08,400 --> 00:23:11,880 the movie seems so inspired by the music, but as 448 00:23:11,920 --> 00:23:14,359 it turns out, what really is happening is that these 449 00:23:14,359 --> 00:23:18,400 composers have been inspired by what they've seen and they 450 00:23:18,559 --> 00:23:21,680 take that and they give us these amazing sound draps. 451 00:23:21,799 --> 00:23:22,799 Speaker 5: That's so true. 452 00:23:22,880 --> 00:23:26,319 Speaker 3: Yeah, So John Williams, Spielberg sits down with John Williams 453 00:23:26,960 --> 00:23:29,039 and tells him a little bit about what's going on. 454 00:23:29,480 --> 00:23:31,839 John Williams comes back with a couple of themes. I 455 00:23:31,839 --> 00:23:34,240 thought this was kind of an interesting story. Yes, and 456 00:23:34,319 --> 00:23:37,240 he plays them both for Spielberg and I'm gonna try 457 00:23:37,279 --> 00:23:39,039 and do them. Okay, I'm not singing or anything like that, 458 00:23:39,119 --> 00:23:48,039 but so he plays the D right right. That's one yes, 459 00:23:48,240 --> 00:23:50,119 and then he plays another one for me, so, okay, 460 00:23:50,160 --> 00:23:53,680 that's one theme that I like. Spieber's like, yeah, that's 461 00:23:53,680 --> 00:23:55,440 really good. And then he plays this one. He says, 462 00:23:56,039 --> 00:24:02,799 du right right, and he says, well, what do you 463 00:24:02,839 --> 00:24:05,559 think of that one? Philberg's like, well, kids, you use both, 464 00:24:06,599 --> 00:24:10,440 and he does and they come together and it is awesome. 465 00:24:40,039 --> 00:24:41,920 Speaker 1: What John Williams has done. I mean, I don't think 466 00:24:41,920 --> 00:24:45,000 that there's any bigger icon at this time and is 467 00:24:45,000 --> 00:24:48,400 the best at this moment in history right now, not 468 00:24:48,440 --> 00:24:50,400 talking about nineteen eighty one, I'm talking about right at 469 00:24:50,400 --> 00:24:52,839 this moment. I don't think there's anybody that has reached 470 00:24:52,839 --> 00:24:57,279 the pinnacle that John Williams has reached. But Alan Silvestri 471 00:24:57,759 --> 00:25:01,279 is certainly an icon as well, and he may not 472 00:25:01,359 --> 00:25:03,960 just have the notoriety that some of these guys have. 473 00:25:04,240 --> 00:25:06,640 But if you've seen any of the Marvel movies, you've 474 00:25:06,640 --> 00:25:14,920 been listening to Alan Silvestri and his soundtracks. If you've 475 00:25:14,960 --> 00:25:20,119 seen most of Robert Jamackis's movies, which would include Forrest Gump, 476 00:25:20,640 --> 00:25:23,640 you've heard Allan Savestrie's music and it is it is 477 00:25:23,680 --> 00:25:26,440 a critical ingredient to all of the movies that it's 478 00:25:26,480 --> 00:25:27,039 involved with. 479 00:25:27,680 --> 00:25:28,440 Speaker 3: Yep, for sure. 480 00:25:45,319 --> 00:25:48,640 Speaker 1: But back to Back of the Future, what Allan Silvestrie 481 00:25:48,720 --> 00:25:53,839 has done with the music for that is so simple 482 00:25:53,960 --> 00:25:57,519 and so perfect. And I know we can't know his 483 00:25:57,680 --> 00:26:00,640 thoughts and whether this was intentional or not, but what 484 00:26:00,680 --> 00:26:04,039 he does with three notes that defines the whole movie 485 00:26:04,599 --> 00:26:12,480 is just awe inspiring to me. So those three notes, 486 00:26:13,039 --> 00:26:19,519 it is a note that falls down to another note 487 00:26:19,640 --> 00:26:24,839 as in it goes back and then the note that 488 00:26:26,119 --> 00:26:31,559 leads back in is almost the first note, but not quite. 489 00:26:31,720 --> 00:26:35,319 It is a half step off, and this perfect little 490 00:26:39,079 --> 00:26:42,880 those notes together give us the picture of what happens 491 00:26:42,880 --> 00:26:46,519 with Marty. He starts at one place, he moves back 492 00:26:46,559 --> 00:26:49,680 in time, and when he returns to the future, it's 493 00:26:49,799 --> 00:26:53,559 exactly as it was, except not quite. It's about a 494 00:26:53,599 --> 00:26:54,599 half step difference. 495 00:26:55,079 --> 00:26:58,599 Speaker 3: I love it, Okay, Yeah, Alex Sevestri actually was this 496 00:26:58,640 --> 00:26:59,799 is kind of his big break. 497 00:27:00,279 --> 00:27:02,200 Speaker 1: Oh yeah, absolutely. And if you want to talk about 498 00:27:02,240 --> 00:27:05,319 some different backgrounds here, John Williams and Allen Sastry are 499 00:27:05,400 --> 00:27:09,000 perfect comparisons of Hey, two totally different types of people 500 00:27:09,000 --> 00:27:12,000 can be very successful on the same field. John Williams 501 00:27:12,000 --> 00:27:15,400 classically trained, was part of big bands, did whole lots 502 00:27:15,400 --> 00:27:18,960 of composition, worked with a whole lot of orchestras that 503 00:27:19,000 --> 00:27:22,119 did soundtracks to other movies. Alan Savestri was in a 504 00:27:22,200 --> 00:27:25,720 rock and roll band, right, I mean that's that's really 505 00:27:26,000 --> 00:27:27,119 as cool as it can be. 506 00:27:27,359 --> 00:27:28,000 Speaker 5: When you listen. 507 00:27:28,039 --> 00:27:30,839 Speaker 3: When I listened to Alan Savestri talk, Yeah, I'm like, 508 00:27:30,920 --> 00:27:33,480 this is just Joe Blow, you know, like Joe New 509 00:27:33,559 --> 00:27:36,599 York guy, you know. And John Williams is very you know, 510 00:27:37,400 --> 00:27:40,680 very precise and very you know, refined, and. 511 00:27:40,640 --> 00:27:44,200 Speaker 1: They had a little bit of concern about Alan Silvestri 512 00:27:45,000 --> 00:27:47,680 and he was a part of Romancing the Stone that 513 00:27:47,880 --> 00:27:50,039 was the movie that kind of said, Okay, he's good 514 00:27:50,160 --> 00:27:52,960 enough to be involved with Back in the Future. He's 515 00:27:53,200 --> 00:27:55,720 in this position now where it's it's it's like, oh 516 00:27:55,759 --> 00:27:58,640 my gosh, I'm I'm involved in a movie that's a 517 00:27:58,640 --> 00:27:59,359 pretty big deal. 518 00:27:59,400 --> 00:27:59,720 Speaker 2: Big deal. 519 00:27:59,799 --> 00:28:02,440 Speaker 1: Yeah, Spielberg is involved with this thing that I'm doing 520 00:28:02,480 --> 00:28:06,240 and this is new and crazy. And so Spielberg had 521 00:28:06,279 --> 00:28:09,480 his reservations about Silvestri. He was worried that he wouldn't 522 00:28:09,519 --> 00:28:13,599 have it. And they at some point they're watching the movie. 523 00:28:13,720 --> 00:28:17,559 They've got Alan Silvestrie's soundtrack playing, and Spielberg's like, this 524 00:28:17,720 --> 00:28:19,440 is it. This is what you need for the music 525 00:28:19,480 --> 00:28:21,880 to this thing, not what Silvestry is doing. And Bob 526 00:28:21,960 --> 00:28:25,000 Zemeckis is like, this is Alan, this is it, and 527 00:28:25,039 --> 00:28:32,400 he's like, oh, then he's got it right now. As 528 00:28:32,440 --> 00:28:35,160 far as the movies go, here's another interesting thing. You've 529 00:28:35,200 --> 00:28:39,160 got John Williams as the first guy in Raiders of 530 00:28:39,160 --> 00:28:41,759 the Lost Arc. I mean, his music starts in at 531 00:28:41,759 --> 00:28:45,319 the beginning, and it's the mysterious walking through the Jungle music. 532 00:28:46,039 --> 00:28:50,440 Alan Silvestri's music doesn't come in for half an hour 533 00:28:50,720 --> 00:28:54,799 at least into the movie Back to the Future, So 534 00:28:54,880 --> 00:28:58,480 We've got this thing that comes in when the delrium 535 00:28:58,759 --> 00:29:34,759 yes pops out right. Yes, the scene where the back 536 00:29:34,759 --> 00:29:39,279 of the truck opens, the smoke or what a steam. 537 00:29:38,759 --> 00:29:40,400 Speaker 5: Smoke coming out? Who cares, I don't know. 538 00:29:40,400 --> 00:29:43,440 Speaker 1: Want the dry ice whatever, that dry ice effect is 539 00:29:44,000 --> 00:29:47,640 that happens, and it's like wah. That's when the music 540 00:29:47,680 --> 00:29:49,400 comes in. And it's a perfect point to do that 541 00:29:50,200 --> 00:29:53,319 because in my mind, what Back to the Future does 542 00:29:53,519 --> 00:29:57,599 that Raiders didn't do for me is that it tied 543 00:29:57,680 --> 00:30:01,079 two things that I left together. Raiders change the paradigm 544 00:30:01,160 --> 00:30:04,559 and I can talk about that more later, But with 545 00:30:04,680 --> 00:30:08,720 Back to the Future, it took this action adventure scenario 546 00:30:09,319 --> 00:30:11,960 and it made something that was more relatable to me, 547 00:30:12,119 --> 00:30:14,440 Like I almost felt like I could be that guy. 548 00:30:14,519 --> 00:30:17,680 I could be Marty McFly. I could do the skateboarding, 549 00:30:17,960 --> 00:30:20,359 I could deal with the teachers. I can play the guitar. 550 00:30:20,480 --> 00:30:22,359 I could do those things, and so I was more 551 00:30:22,400 --> 00:30:25,640 identifiable to me. And so you were tardy for Glass, 552 00:30:25,759 --> 00:30:29,880 I was always I'm still tardy. I don't feel tardy. 553 00:30:31,279 --> 00:30:32,519 Speaker 5: Actually what you did there. 554 00:30:33,839 --> 00:30:37,200 Speaker 1: But what we've got is for the first thirty minutes 555 00:30:37,240 --> 00:30:39,599 of the movie, we've got rock and roll music. Playing, 556 00:30:41,680 --> 00:30:45,319 We've got Huey Lewis in the news rocking us out, 557 00:30:45,400 --> 00:30:48,319 and I'm thinking cool. This is another of the eighties 558 00:30:48,799 --> 00:30:52,319 teen comedy movies. It's just happens to be about time 559 00:30:52,359 --> 00:30:55,920 travel too, okay, rock and roll. But then Silvestrie's soundtrack 560 00:30:55,960 --> 00:30:57,680 comes in at that moment that you see the DeLorean 561 00:30:57,720 --> 00:31:00,799 for the first time, and suddenly the movie is more 562 00:31:00,839 --> 00:31:02,480 than it has been for the last thirty minutes. 563 00:31:02,599 --> 00:31:03,400 Speaker 3: Right, that's right. 564 00:31:03,759 --> 00:31:05,559 Speaker 5: Let's talk about Power of Love for just a second. 565 00:31:17,799 --> 00:31:23,079 Speaker 3: Okay, So the Power of Love was huge starting June 566 00:31:23,119 --> 00:31:27,119 of nineteen eighty five. Yes, and to be honest between 567 00:31:27,119 --> 00:31:29,359 you and I, this is the best Huios song that 568 00:31:29,359 --> 00:31:30,960 they've ever made in my opinion. 569 00:31:31,160 --> 00:31:33,319 Speaker 1: Okay, it's certainly one of the best ones for sure. 570 00:31:33,400 --> 00:31:36,759 Speaker 3: Does this movie perform as well if it has I 571 00:31:36,799 --> 00:31:39,160 Want a New drug in there instead of Power of Love? 572 00:31:39,400 --> 00:31:41,599 Speaker 5: I mean, it doesn't really work, but it's just a better. 573 00:31:41,440 --> 00:31:42,640 Speaker 1: Song, right, yeah, okay. 574 00:31:42,680 --> 00:31:45,079 Speaker 3: But I thought it was interesting that Zamechas went to 575 00:31:45,160 --> 00:31:48,000 Huey Lewis and said, hey, Marty McFly, if you were 576 00:31:48,000 --> 00:31:50,279 a real person, his favorite rock band would be Huey 577 00:31:50,359 --> 00:31:52,200 Lewis in the News and that's kind of what clinched 578 00:31:52,240 --> 00:31:54,799 it for him. Yeah, So the first time out of 579 00:31:54,799 --> 00:31:56,759 the gate, Hugh Lewis wrote a song, gave it to 580 00:31:56,920 --> 00:32:00,640 Robert Zemeckis, and it just wasn't really working right. He 581 00:32:00,720 --> 00:32:02,640 tried to kind of match it to the movie. Yeah, 582 00:32:02,720 --> 00:32:04,680 does it make us like, don't don't even worry about that, 583 00:32:04,759 --> 00:32:06,440 Just give me a just give me a good Huey 584 00:32:06,519 --> 00:32:08,880 Lewis song. And he said, well, I've kind of been 585 00:32:08,920 --> 00:32:10,599 working on this one. He played it for him, was like, man, 586 00:32:10,599 --> 00:32:15,559 it's perfect powerful love. That's the power. And then later 587 00:32:16,119 --> 00:32:19,240 after he had had Power of Love in the bank, 588 00:32:19,640 --> 00:32:22,519 he came back with Back in Time, which is another 589 00:32:22,559 --> 00:32:24,839 I mean, it's another great song, and that's the closing 590 00:32:24,880 --> 00:32:27,960 credit song. Yeah, two great great songs from here list 591 00:32:27,960 --> 00:32:28,359 in the news. 592 00:32:28,359 --> 00:32:32,440 Speaker 1: Absolutely. I remember getting tons and tons of radio play. 593 00:32:32,799 --> 00:32:35,640 I can remember after seeing the movie, my brother didn't 594 00:32:35,680 --> 00:32:37,000 have to get up as early as I did because 595 00:32:37,000 --> 00:32:38,680 I had to take the bus and he get to drive. 596 00:32:39,039 --> 00:32:41,079 So I would wake up and then later I would 597 00:32:41,119 --> 00:32:44,240 hear my brother's alarm clock go off, and every time 598 00:32:44,279 --> 00:32:47,440 it went off in like the next three months, after 599 00:32:47,759 --> 00:32:49,960 Back to the Future came out, Power of Love was 600 00:32:49,960 --> 00:32:50,799 the song that was playing. 601 00:32:50,799 --> 00:32:53,960 Speaker 5: It's the best song in the nation, right, no, Power 602 00:32:53,960 --> 00:32:54,240 of Love? 603 00:32:54,359 --> 00:32:58,759 Speaker 3: Yeah, yeah, So I remember watching the video premiere on MTV. 604 00:32:58,960 --> 00:33:01,000 It was like a big deal, like, hey, tonight at 605 00:33:01,039 --> 00:33:05,720 seven MTV premiere Power of Love. Nice. So anyway, here's 606 00:33:05,759 --> 00:33:08,319 what okay, So Power of Love, Hue, listen the news, 607 00:33:08,640 --> 00:33:11,480 Alan Selvestrie. I didn't want to mention one more thing before. 608 00:33:11,599 --> 00:33:15,119 I don't know, we can talk all day about the music. Absolutely, 609 00:33:15,359 --> 00:33:19,000 there is a chime that they play throughout the movie 610 00:33:19,400 --> 00:33:23,079 in Back to the Future. Every time that chime hits, 611 00:33:23,680 --> 00:33:28,640 it's when time has been altered, right, which is so cool. Right, 612 00:33:28,720 --> 00:33:31,319 It's like a little thing that accues you to time 613 00:33:31,440 --> 00:33:31,920 just changed. 614 00:33:32,039 --> 00:33:34,920 Speaker 1: Yeah, guess what you just killed yourself. 615 00:33:37,319 --> 00:33:37,759 Speaker 3: Exactly. 616 00:33:38,200 --> 00:33:50,799 Speaker 1: You screwed up Artie. 617 00:33:50,839 --> 00:33:52,839 Speaker 5: Real quickly. Just something I want to mention about the 618 00:33:52,920 --> 00:33:53,599 Raider soundtrack. 619 00:33:53,720 --> 00:34:03,240 Speaker 3: So Indy has his own theme. Yes, the arc has 620 00:34:03,279 --> 00:34:33,960 its own theme, which is a home run. The head 621 00:34:33,960 --> 00:34:36,280 piece to the staff of Raw has its own theme. 622 00:35:02,559 --> 00:35:04,719 The basket chase has its own theme. 623 00:35:06,480 --> 00:35:08,760 Speaker 1: Right, and he does something you know that's kind of 624 00:35:08,760 --> 00:35:11,519 a terrifying scene. But what John Williams does with the 625 00:35:11,599 --> 00:35:14,400 music that moment with this kind of plinkety little DNC 626 00:35:14,440 --> 00:35:17,920 to DNC to ding ding it it makes you realize 627 00:35:17,960 --> 00:35:20,719 the humor and what's going on instead of oh my gosh, 628 00:35:20,800 --> 00:35:23,760 this strategy is about to occur, you know, right. And 629 00:35:24,280 --> 00:35:26,239 he also not only that, but he'll let you know 630 00:35:26,480 --> 00:35:28,880 just like they did in the old movies where you 631 00:35:28,920 --> 00:35:32,079 get the plane that's flying from one place to the other, 632 00:35:32,159 --> 00:35:36,199 like you see in Casablanca, you get that identifying music like, hey, 633 00:35:36,239 --> 00:35:38,119 guess what here we are. I mean, honestly, what I'm 634 00:35:38,159 --> 00:35:40,280 thinking of is the Three Stooges. Like when the Three 635 00:35:40,280 --> 00:35:43,199 Stooges were in Baghdad, they had a definite, you know, 636 00:35:43,639 --> 00:35:46,599 bagdad kind of music shoing on, and John Williams says 637 00:35:46,599 --> 00:35:48,360 that same thing. 638 00:36:00,480 --> 00:36:08,880 Speaker 3: It's so good. Yeah, okay, are you done talking about music? 639 00:36:09,320 --> 00:36:09,679 Speaker 1: Yeah? 640 00:36:09,840 --> 00:36:10,960 Speaker 3: Okay, all right. 641 00:36:11,039 --> 00:36:14,039 Speaker 1: So that'll do it for part two. Please join us 642 00:36:14,079 --> 00:36:16,800 next week where we will do a deep dive into 643 00:36:16,800 --> 00:36:20,000 the big ideas behind Raiders of the Lost Arc and 644 00:36:20,440 --> 00:36:22,760 Back to the Future. Thank you so much for your 645 00:36:22,760 --> 00:36:25,440 support of the Sureley You Can't Be Serious podcasts. 646 00:36:25,519 --> 00:36:28,199 Speaker 5: Don't forget. We also love to discuss these on social media. 647 00:36:28,039 --> 00:36:30,960 Speaker 1: So be sure to follow us at Shirley Podcast on. 648 00:36:30,880 --> 00:36:33,679 Speaker 5: Twitter, Shirly Podcast on Facebook. 649 00:36:33,400 --> 00:36:38,000 Speaker 1: Email us at Shirleypodcast at gmail dot com. 650 00:36:37,360 --> 00:36:39,920 Speaker 3: Or check out the Shureley you Can't Be Serious podcast 651 00:36:40,119 --> 00:36:41,960 channel on YouTube. 652 00:36:41,519 --> 00:36:44,880 Speaker 1: And as always, please hit the subscribe button now so 653 00:36:44,920 --> 00:36:47,239 that you never miss an episode of the Surely you 654 00:36:47,320 --> 00:36:52,119 Can't Be Serious podcast. All music, images, and movie clips 655 00:36:52,119 --> 00:36:55,000 are used for the purposes of commentary and education in 656 00:36:55,039 --> 00:36:57,920 conjunction with the fair Use agreement under the US copyright law.