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Perhaps he was remembering the evening of January 7, when art imitated life and Stoltz and Marty’s experiences finally became one. Years later, when Eric Stoltz was asked to reflect on his time working on Back to the Future, the actor recounted that it felt like a long winter. Meanwhile, production kept moving along with the original McFly. Great Scott! Watch the Honest Trailer for Back to the Future In this exclusive excerpt from Caseen Gaines’s new book, We Don’t Need Roads: The Making of the Back to the Future Trilogy, the people behind the film reveal what those odd few weeks on set were like. Sheinberg agreed, but the transition couldn’t take place right away - Stoltz was forced to labor on, unaware his days as Marty were numbered. They came to the studio head Sid Sheinberg with a proposition: Let them fire Stoltz, and replace him with Fox, whom they had wanted all along. Only a few weeks into filming, director Robert Zemeckis and writer Bob Gale realized something was wrong: Stoltz was a fine dramatic actor, but he wasn’t bringing the screwball energy the film needed. That honor went to Eric Stoltz, at the time an up-and-coming young method actor with significant buzz. Fox was not the first actor cast as Marty McFly. We’re repromoting it for Back to the Future Day.Īs any true Back to the Future fan knows, Michael J.
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He wrote the book for the film’s musical version, which recently debuted in Manchester and which is expected to return to the UK stage after the pandemic.This excerpt was originally published on June 26, 2015. And I’d be delinquent to not mention my own Back to the Future trilogy, all three of which continue to entertain over repeated viewings.īob Gale is a Hollywood film-maker, best known as screenwriter and producer of Back to the Future and its sequels. I always tout a fantastic documentary called Dealt, about a card magician – the less you know about it going in, the better. (My wife was not – until she watched it.) The personal stories of the people who created this music are very powerful.
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Ken Burns’ recent 14-hour series Country Music is terrific, even if you’re not a fan of that kind of music. Photograph: Amblin Entertainment/Universal Pictures/Kobal/REX/ShutterstockĪnd what do I recommend? Well, The Great Escape, starring Steve McQueen, about a real-life POW escape in 1944, is particularly recommended if you have boys aged eight or older in the house. Robert Zemeckis, Bob Gale, Michael J Fox, Neil Canton, and Steven Spielberg on the set of Back to the Future. We love the great black-and-white noir dramas of the 40s and 50s, particularly Double Indemnity, Out of the Past, The Narrow Margin (the original, a low-budget masterpiece), This Gun for Hire, Gilda and The Postman Always Rings Twice, as well as their colour descendants Chinatown and LA Confidential.Īnd we’ll watch almost anything featuring Clark Gable, Henry Fonda, Katharine Hepburn, Barbara Stanwyck, Cary Grant, Humphrey Bogart, William Holden, John Wayne, James Stewart or Bette Davis. George C Scott is still mesmerising as Patton, and I expect we’ll soon be revisiting David Lean’s Lawrence of Arabia and Bridge on the River Kwai. The DVD and Blu-ray editions include a compelling feature-length documentary about its making. Cleopatra (1963), although flawed, is especially breathtaking today when you realise it was made long before CGI, so every set was built, and the thousands of extras you see were actually there. With more time available, we’re watching longer films. Similarly, Becket and The Lion in Winter feature Peter O’Toole as Henry II early and late in his reign. We shun dystopian dramas and depressing tales of personal trauma and sour relationships in favour of historical epics, film noir and golden age movies with the great Hollywood stars.Īs British history buffs, we recently watched Anne of the Thousand Days and A Man for All Seasons, a great double feature because both tell the same story from a different point of view.
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A s a professional film-maker and lifetime movie buff, I have quite a collection of films, so in times of distress, my wife and I turn to the classics – our cinematic equivalent of comfort food.