Editing Back to the Future (section)

===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}}
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