Editing Back to the Future (section)

==Design==
===Special effects===
[[Industrial Light & Magic]] (ILM) developed the film's special effects under the supervision of [[Ken Ralston]] and [[Kevin Pike]].<ref name="ASCILM" /><ref name="BTTFWebsite" /> It contains approximately 27–32 special effects shots, compared to the 300 such shots typical in contemporaneous higher-budget films.<ref name="ASCILM" /><ref name="ShortlistDudley" />{{sfn|Pourroy|1985|p=40}} Despite working simultaneously on ''[[The Goonies]]'' and ''[[Cocoon (film)|Cocoon]]'', Ralston took on the additional project because it required relatively few effects, and he wanted to realize the planned ending of Marty driving the time machine into a nuclear explosion.<ref name="ASCILM" />{{sfn|Pourroy|1985|p=40}} The team had a nine-and-a-half-week schedule, reduced to less than nine once Universal Pictures moved up the release date. ILM was working on ''Back to the Future'' up to the moment it had to be handed over to print the theatrical film reels.<ref name="ASCILM"/>{{sfn|Pourroy|1985|pp=40, 59}}

The tight schedule affected the special effects' quality. Ralston was disappointed by the scene where Marty's hand fades away as his future is altered. Fox was filmed separately from his hand and the two were [[Compositing|composited]] together; the hand was filmed with a wide-angle lens, making it appear too large, and it had to be scaled down. Zemeckis wanted a subtle fade, but it resulted in a small circle of the hand fading away and there was no time to fix it.<ref name="ASCILM" />{{sfn|Pourroy|1985|p=63}} In the same scene, Marty and his siblings fade away from a photo. ILM found it difficult to fade the photo's individual aspects, especially as it was moving on the neck of a guitar. A replica of the guitar neck was constructed at four times the normal size; the guitar strings were made of cable up to a quarter-inch thick. An 11-by-14 aluminum plate was attached to hold the enlarged photograph. ILM used a version of the photo without Marty or his siblings and individually pasted each character into the photo. When this failed, four different photos were used: one containing the background, and one for each McFly sibling. A mechanical camera cycled through each photo and printed it to the film.{{sfn|Pourroy|1985|p=63}} The enlarged guitar was moved around to add to the realism.<ref name="ASCILM"/>

The original nuclear explosion ending was considered too complicated and expensive, with an estimated cost of $1{{spaces}}million.<ref name="ASCILM"/><ref name="SlashFilmFridge"/><ref name="ColliderDifferences2020"/> Art director [[Andrew Probert]] storyboarded the scene, which would have been created using sets and [[Scale model|miniatures]].<ref name="SlashFilmFridge"/>{{sfn|Pourroy|1985|p=63}} With the ending moved to the clock tower, ILM researched storms to achieve the right aesthetic.{{sfn|Pourroy|1985|p=63}} Clouds were constructed from [[Polyester Fiberfill|polyester fiberfill]], suspended in a net, and filmed from above while Ralston shone a powerful light from below.{{sfn|Pourroy|1985|p=64}} He used a [[Potentiometer#Rheostat|rheostat]] to rapidly change the lights' intensity to imitate lightning.{{sfn|Pourroy|1985|p=64}}

Developed by [[Wes Takahashi]]'s animation department, the lightning bolt that strikes the clock tower was described as "the largest bolt of lightning in cinematic history". It was intended to originate in the distance and move closer, but the footage was filmed too close to the tower and there was insufficient space between it and the top of the frame.<ref name="FXGuide" /> There was also an issue with showing the bolt onscreen for too long as it made it more obviously animated.{{sfn|Pourroy|1985|p=64}}<ref name="FXGuide" /> The frame count was reduced, but the bolt did not look chaotic enough.{{sfn|Pourroy|1985|p=64}} Zemeckis picked out a single frame of the bolt in an "S"{{spaces}}formation and asked that the effect focus on that shape and be reduced to twenty frames.{{sfn|Pourroy|1985|p=64}}<ref name="FXGuide" /> The bolt was drawn in black ink on white paper; diffusion effects and a glow were added by the optical department.<ref name="FXGuide" />

===The DeLorean time machine===
{{Main|DeLorean time machine}}

[[File:Front Side Wings Aloft.jpg|thumb|alt=refer to caption|The [[DeLorean time machine]] on display in 2021]]
The DeLorean was developed under the supervision of Lawrence Paull,<ref name="BTTFWebsite" /> who designed it with artist [[Ron Cobb]] and illustrator [[Andrew Probert]].<ref name="Gizmodo11things" />{{sfn|Pourroy|1985|p=56}} They intended for the vehicle to look fixed together from common parts.<ref name="BTTFWebsite" /> The time machine was originally conceived as a stationary device; at one point it was a refrigerator. Spielberg vetoed the idea, concerned child viewers might attempt to climb into one.<ref name="SlashFilmFridge" /> Zemeckis suggested the DeLorean because it offered mobility and a unique design; the gull-wing doors would appear like an alien [[Unidentified flying object|UFO]] to a 1950s family.<ref name="BOMGaleInterview" /><ref name="EsquireDidntGetMade" /><ref name="HFPAOralHistory" /> The [[Ford Motor Company]] offered $75,000 to use a [[Ford Mustang]] instead; Gale responded, "Doc Brown doesn't drive a fucking Mustang".<ref name="EsquireDidntGetMade" /> Michael Fink was hired as the art department liaison and tasked with realizing Cobb's sketches and overseeing the car's construction. He was recruited by Paull and Canton, who had worked with him on ''[[Blade Runner]]'' (1982) and ''Buckaroo Banzai'', respectively. Fink had a project lined up but agreed to help in the free weeks he had remaining.<ref name="BTTFWebsite" /> Three DeLoreans used were purchased from a collector: one for stunts, one for special effects, and a more detailed [[Prop#Hero|hero version]] for close-up shots.{{sfn|Pourroy|1985|p=56}}{{sfn|Gaines|2015|p=63}} They were unreliable and often broke down.<ref name="EsquireDidntGetMade" /> {{convert|88|mph|km/h|abbr=off|sp=us}} was chosen as the time travel speed because it was easy to remember and looked "cool" on the speedometer.<ref name="TelegraphThings" />

The flying DeLorean in the final scene used a combination of live-action footage, animation, and a 1:5 scale (approximately {{convert|33|in|mm|abbr=off|sp=us}} long) model built by [[Steve Gawley]] and the model shop crew.<ref name="ASCILM" />{{sfn|Pourroy|1985|pp=66, 67}}<ref name="ASCILM" /> The act of the DeLorean traveling through time was called the 'time slice' effect. Zemeckis knew only that he wanted the transition to be violent. He described it as a "[[Neanderthal]] sitting on the hood of the DeLorean and chipping away the fabric of time in front of him".<ref name="FXGuide" /> The effect is so quick as to be imperceptible. Zemeckis preferred this, as he did not want the audience to think too much about how everything worked.{{sfn|Pourroy|1985|p=62}}

===Art direction and makeup===
[[File:Drew Struzan (2012).jpg|thumb|upright|left|alt=refer to caption|Artist [[Drew Struzan]] in 2012. He designed the ''Back to the Future'' theatrical release poster.]]

Actual brand names, such as [[Texaco]], were used to make the sets more realistic, and the producers mandated the inclusion of certain brands that had paid to appear in the film. An unidentified gas company offered a large sum to be included, but Paull used Texaco because it reminded him of a joke from ''[[The Milton Berle Show]]''.<ref name="BOMGaleInterview" />{{sfn|Gaines|2015|pp=143–144}} This choice led to some disputes, such as [[Pepsi]] parent company, [[PepsiCo]], wanting to omit a joke about the [[Tab (drink)|Tab]] drink made by its rival [[The Coca-Cola Company|Coca-Cola]].<ref name="BOMGaleInterview" /> Twenty clock wranglers were needed to synch up the many clocks in the opening scene, and [[pulleys]] were used to start them simultaneously.<ref name="TelegraphThings" /> [[Drew Struzan]] produced the film's poster.<ref name="Nerdistmerch" /> The producers hoped his in-demand poster artwork would generate further interest in the film.{{sfn|Gaines|2015|p=53}}

The film uses a stylized adaptation of the 1950s [[aesthetics]], closer to television show interpretations than an exact recreation. Modern technologies such as contemporary fabrics were used because the designers believed the fashions of the time were not interesting.<ref name="NYTimesJun1985AttheMovies" /> To represent characters across three decades, the filmmakers did not want to have older actors stand in for the younger ones, believing the change would be obvious and distracting. Special effects artist [[Ken Chase (make-up artist)|Ken Chase]] performed makeup tests on the young actors to age them; initial results were discouraging. He created a prosthetic neck and a [[bald cap]] with a receding hairline for Glover but considered them excessive. Chase found it difficult to balance aging the actors and retaining enough of their natural appearance to remain recognizable.{{sfn|Pourroy|1985|p=56}}

Casts were made of the actors' faces, from which plaster molds were made. Chase sculpted more subtle effects over the plaster molds using latex. For Lorraine, he crafted jowls and eye bags, plus body padding to reflect her increased weight and alcohol abuse.{{sfn|Pourroy|1985|pp=56, 59}} Instead of a receding hairline, Chase changed the style of George's hair; he used prosthetics only to give him a less-defined jawline.{{sfn|Pourroy|1985|p=59}} Biff's character changed more significantly because Chase wanted him to look "obnoxious"; he was fattened, given sideburns, and a [[comb over]] hairstyle to hide a growing bald spot.{{sfn|Pourroy|1985|p=59}} The prosthetics were combined with makeup and lighting to further age the characters.{{sfn|Pourroy|1985|p=56}}

Chase found the work frustrating compared to his experiences with more fantastical prostheses that made it easier to hide defects.{{sfn|Pourroy|1985|p=56}} The rubber latex did not reflect light the same way as natural skin, so Chase used a [[stippling]] process (creating a pattern with small dots) to variegate the actors' faces to better conceal where the skin and prosthetics met;{{sfn|Pourroy|1985|p=59}} close-up shots were avoided.{{sfn|Pourroy|1985|p=59}} Doc's appearance was not altered significantly. Chase painted latex on Lloyd which, when removed, caused crinkles in the skin, onto which other elements, such as [[liver spot]]s and shadows, were painted.{{sfn|Pourroy|1985|p=59}}
{{Clear}}