Editing Back to the Future (section)

==Production==
===Conception and writing===
[[File:Robert Zemeckis by David Shankbone.jpg|thumb|left|upright=0.75|alt=Robert Zemeckis|Director [[Robert Zemeckis]] in 2010, who developed ''Back to the Future'' with his long-time friend Bob Gale]]

Long-time collaborators [[Bob Gale]] and [[Robert Zemeckis]] conceived ''Back to the Future'' in 1980.<ref name="BOMGaleInterview" /><ref name="EsquireDidntGetMade" /><ref name="HFPAOralHistory" /> They wanted to develop a film about time travel but struggled to create a satisfying narrative, and were desperate for a successful project after the critical or commercial failures of their recent efforts in collaboration with Zemeckis's mentor, [[Steven Spielberg]].<ref name="BOMGaleInterview" /><ref name="EsquireDidntGetMade" /><ref name="HFPAOralHistory" />

Following the release of their comedy ''[[Used Cars]]'' (1980), Gale visited his parents and came across his father's high school [[yearbook]].<ref name="HFPAOralHistory" /><ref name="NYTimesGaleJul85" /> He wondered if he and his father would have been friends had they attended school together. He did not think so, but realized he could test his theory if he could travel back to a time when he and his parents were a similar age.<ref name="NYTimesGaleJul85" /> He shared the idea with Zemeckis, who recalled his mother's childhood stories were often contradictory.<ref name="HFPAOralHistory" />

Gale and Zemeckis began a draft in late 1980. They sketched and acted out each scene to help develop the dialogue and actions.<ref name="NYTimesGaleJul85" /> They believed many time-travel films focused on the past being immutable and wanted to show the past being altered and the effect those changes would have on the future.<ref name="HFPAOralHistory" /> In the draft, [[Copyright infringement|video pirate]] Professor Brown builds a time machine that sends his young friend Marty back to the 1950s where he interrupts his parents' first meeting.{{sfn|Gaines|2015|p=12}} In September 1980, Gale and Zemeckis pitched their idea to [[Columbia Pictures]] president [[Frank Price]], who had liked ''Used Cars'' and was keen to work with the pair. Gale recalled having to rein in Zemeckis's enthusiastic pitch before Price had time to change his mind.<ref name="EsquireDidntGetMade" /> Gale and Zemeckis completed the first draft for Price on February{{spaces}}21, 1981, but Price believed it needed significant refinement.{{sfn|Gaines|2015|p=12}}

Some early concepts were abandoned. Originally, Marty's actions in 1955 had a more significant impact on the future, making 1985 more futuristic and advanced, but every person who read the script took issue with the idea.<ref name="BOMGaleInterview" /><ref name="TheGuardianHowWeMade" /> Marty's father also became a boxer, a result of his knockout punch on Biff.<ref name="TheGuardianHowWeMade" /> The time machine was a stationary object moved around on the back of a truck.<ref name="ShortlistDudley" /><ref name="TheGuardianHowWeMade" /><ref name="SlashFilmFridge" /> Inspired by the documentary ''[[The Atomic Cafe]]'', the drained time machine was written to be powered by Marty driving it into a nuclear explosion, combined with an additional ingredient: [[Coca-Cola]].{{efn|Attributed to multiple references:<ref name="TheGuardianHowWeMade" /><ref name="SlashFilmFridge" /><ref name="Cryer" /><ref name="ColliderDifferences2020" />}} Gale and Zemeckis took inspiration from tales of legendary scientists, opting to make the time machine's creator an individual instead of a faceless corporation or government.<ref name="BOMGaleInterview" /> The pair wanted the inciting time-travel incident to be an accident so that it would not appear that the hero was seeking personal gain.<ref name="TheGuardianHowWeMade" />

Gale and Zemeckis drew humor from the cultural contrasts between 1955 and 1985, such as Marty entering a 1955 soda shop in 1985 clothing; the  shop owner asks Marty if he is a sailor because his down vest resembles a [[Personal flotation device#Life jacket|life preserver]]. They also identified conveniences of 1985 that Marty had taken for granted, but would be denied in 1955. Gale and Zemeckis struggled with the writing, as they were in their 30s and did not particularly identify with either era.<ref name="NYTimesGaleJul85" /> They were inspired by the [[All-American]] aesthetic of films by [[Frank Capra]] featuring [[Picket fence|white picket fences]] and exaggerated characters similar to Biff,<ref name="ShortList" /> ''[[The Twilight Zone (1959 TV series)|The Twilight Zone]]'', science fiction films, and books by [[Robert Silverberg]] and [[Robert Heinlein]].<ref name="CNNGaleInterview" /> The romantic relationship between 1955 Lorraine and her future son was one of the more difficult writing challenges.<ref name="NYTimesJun1985AttheMovies" /> Gale and Zemeckis attempted to take the concept as far as possible to keep the audience on edge. They believed it had to be Lorraine who stopped the relationship; she remarks that kissing Marty feels like kissing her brother. Gale jokingly said no one asked how she could make that comparison, but that audiences would accept it because they did not want the relationship to happen.<ref name="EsquireDidntGetMade" /> The second draft was completed by April{{spaces}}7, 1981.{{sfn|Gaines|2015|p=12}}

===Development===
[[File:Steven Spielberg - GianAngelo Pistoia 1 (cropped).jpg|thumb|upright=0.75|alt=Steven Spielberg shown talking into a microphone|[[Steven Spielberg]] in 1993. He mentored Zemeckis and lent his experience and Hollywood studio clout to support the production of ''Back to the Future''.]]

Price opted not to [[green-light]] the second draft; although he liked it, he did not believe it would appeal to anyone else.{{sfn|Gaines|2015|pp=12, 13}} The most successful comedies at the time, such as ''[[Animal House]]'' (1978), ''[[Porky's]]'' (1981), and ''[[Fast Times at Ridgemont High]]'' (1982), featured sexual and bawdy elements; ''Back to the Future'' was considered too tame in comparison.<ref name="NYTimesRushedPostPro" /><ref name="EsquireDidntGetMade" /> The project went into [[Turnaround (filmmaking)|turnaround]] (a process allowing other studios to purchase the idea).<ref name="EsquireDidntGetMade" />{{sfn|Gaines|2015|p=13}} The script was rejected some forty times, sometimes multiple times by the same studios.<ref name="BOMGaleInterview" /> Reasons given included the concept being unappealing to contemporary rebellious youth{{sfn|Gaines|2015|p=13}} and the failures of other time travel films, such as ''[[The Final Countdown (film)|The Final Countdown]]'' (1980) and ''[[Time Bandits]]'' (1981).<ref name="EsquireDidntGetMade" /><ref name="Gizmodo11things" /> [[Walt Disney Studios (division)|Walt Disney Productions]] turned it down because they considered Marty's fighting off his future mother's advances too risqué for their brand.<ref name="NYTimesRushedPostPro" /> The only supporter of the project was Spielberg, but with their previous collaborations considered relative failures, Gale and Zemeckis feared another misstep would suggest they could get work only through being friends with Spielberg.<ref name="BOMGaleInterview" /><ref name="NYTimesRushedPostPro" />

Zemeckis accepted the next project offered to him, ''[[Romancing the Stone]]'' (1984).<ref name="HFPAOralHistory" /><ref name="NYTimesRushedPostPro" />{{sfn|Gaines|2015|p=14}} Against expectations, the film was a significant success and gave Zemeckis enough credibility to return to ''Back to the Future''.{{efn|Attributed to multiple references:<ref name="BOMGaleInterview" /><ref name="TheGuardianHowWeMade" /><ref name="NYTimesRushedPostPro" />{{sfn|Gaines|2015|pp=15–16}}}} Zemeckis held a grudge against the studios that had rejected the project and turned to Spielberg, who had set up his own production company, [[Amblin Entertainment]], at [[Universal Pictures|Universal Studios]], where Price now worked.<ref name="ShortList" />{{sfn|Gaines|2015|p=16}} Spielberg disliked Price because he had rejected ''[[E.T.&nbsp;the Extra-Terrestrial]]'' (1982) and demanded his involvement in ''Back to the Future'' be minimal. [[Sidney Sheinberg]] installed himself as chief executive to oversee the studio's investment in the project.{{sfn|Gaines|2015|p=17}} Amblin executives [[Kathleen Kennedy (producer)|Kathleen Kennedy]] and [[Frank Marshall (filmmaker)|Frank Marshall]] joined Spielberg as the film's [[executive producers]].<ref name="EsquireDidntGetMade" /><ref name="VanityFairPowerful" />

However, rights to ''Back to the Future'' remained with Columbia Pictures. Price's successor at Columbia Pictures, [[Guy McElwaine]], was developing a satire of the Universal-owned noir film ''[[Double Indemnity]]'' (1944) called ''[[Big Trouble (1986 film)|Big Trouble]]'' (1986). Its similarities to ''Double Indemnity'' meant the studio would violate Universal Pictures' copyright. With production imminent, McElwaine asked for the rights from Price; in exchange, Price obtained the rights to ''Back to the Future''.<ref name="DeadlinePrice" />

Sheinberg suggested modifications to the film, including changing the title to ''Space Man from Pluto'', believing ''Back to the Future'' would not resonate with audiences.<ref name="CNNGaleInterview" /><ref name="Radio Times 30 August 2016" /> Gale and Zemeckis did not know how to reject Sheinberg's suggestions without risking his ire. Spielberg intervened, sending Sheinberg a memo reading: "Hi Sid, thanks for your most humorous memo, we all got a big laugh out of it, keep 'em coming." Spielberg knew Sheinberg would be too embarrassed to admit his memo was to be taken seriously.<ref name="ShortList" /><ref name="Radio Times 30 August 2016" /> Sheinberg later claimed the story was "bullshit".{{sfn|Gaines|2015|p=111}} Sheinberg also wanted to change the name of Marty's mother from Meg to Lorraine (a tribute to his wife [[Lorraine Gary]]), and rename Professor Brown to Doc Brown because he considered it more accessible.<ref name="CNNGaleInterview" />{{sfn|Gaines|2015|p=18}} The third draft was completed by July 1984.{{sfn|Gaines|2015|p=18}} The lengthy development allowed Gale and Zemeckis to refine the script's jokes, especially ones that had become dated since 1980.<ref name="NYTimesGaleJul85" /> The joke about former actor [[Ronald Reagan]] becoming [[President of the United States]] remained following his re-election in [[1984 United States presidential election|1984]].<ref name="NYTimesGaleJul85" />

===Casting===
[[File: Eric Stoltz-2009 cropped.jpg|thumb|left|upright=0.75|alt=portrait of Eric Stoltz|[[Eric Stoltz]] (pictured in 2009) was cast as Marty McFly and spent several weeks filming ''Back to the Future'' before the role was re-cast.]]

[[Michael J. Fox]] was the first choice to portray Marty McFly. Gale and Zemeckis believed his acting timing in the [[NBC]] sitcom ''[[Family Ties]]'' (1982–1989) as the sophisticated [[Alex P. Keaton]] could be translated to Marty's clumsiness.<ref name="HFPAOralHistory" /><ref name="NYTimesFoxInterview" /> Spielberg asked the show's producer [[Gary David Goldberg]] to have Fox read the script. Concerned Fox's absence would damage ''Family Ties''{{'}} success, especially with fellow star [[Meredith Baxter]] on [[Parental leave|maternity leave]], Goldberg did not give Fox the script.{{sfn|Gaines|2015|pp=4–5}} Other young stars were considered, including: [[John Cusack]], [[C.&nbsp;Thomas Howell]], [[Johnny Depp]], [[Ralph Macchio]], [[Charlie Sheen]], [[Jon Cryer]], [[Ben Stiller]], [[Peter DeLuise]], [[Billy Zane]], [[George Newbern]], [[Robert Downey&nbsp;Jr.]], [[Christopher Collet]], [[Matthew Modine]], and [[Corey Hart (singer)|Corey Hart]] (who declined to audition).{{efn|Attributed to multiple references:<ref name="ShortlistDudley" /><ref name="Cryer" /><ref name="Gizmodo11things" />{{sfn|Gaines|2015|p=18}}{{sfn|Gaines|2015|pp=2, 3}}{{sfn|Gaines|2015|p=19}}<ref name="VultureLostRoles" /><ref name="IndependentModine" />}} Howell was the frontrunner,{{sfn|Gaines|2015|p=19}} but Sheinberg preferred [[Eric Stoltz]], who had impressed with his portrayal of [[Roy L. Dennis|Rocky Dennis]] in an early screening of the drama film ''[[Mask (1985 film)|Mask]]'' (1985).{{sfn|Gaines|2015|p=20}}<ref name="VultureLostRoles" /> With the filming date approaching, Zemeckis opted for Stoltz.{{sfn|Gaines|2015|p=20}} Sheinberg promised that if Stoltz did not work out, they could reshoot the film.<ref name="EsquireDidntGetMade" /> The character's name was derived from ''Used Cars'' production assistant Marty Casella. Zemeckis suggested McFly because it sounded "All-American".<ref name="BOMGaleInterview" />

Among others, [[Jeff Goldblum]], [[John Lithgow]], [[Dudley Moore]], [[Ron Silver]], [[Robin Williams]], [[John Cleese]], [[Mandy Patinkin]], [[Gene Hackman]], [[James Woods]], and [[Mark Mothersbaugh]]<!--DO NOT ADD MORE ACTORS WITHOUT FURTHER SOURCES, THE CASTING LIST IS A WIDE NET AND FOR FAIRNESS ONLY THOSE WITH TICKS ARE INCLUDED--> were considered for the role of Doc Brown.{{efn|Attributed to multiple references:<ref name="ShortlistDudley" /><ref name="VultureLostRoles" /><ref name="MentalFlossDocB" /><ref name="WrapMothers"/>}} Producer [[Neil Canton]] suggested Lithgow, having worked with him and [[Christopher Lloyd]] on ''[[The Adventures of Buckaroo Banzai Across the 8th Dimension|Buckaroo Banzai]]'' (1984). Lithgow was unavailable, and the role was offered to Lloyd. He was reluctant to join the production until a friend encouraged him to take the part.<ref name="ScreenRangDocB" /> [[Albert Einstein]] and conductor [[Leopold Stokowski]] inspired Lloyd's wild, white hair.<ref name="Seattle times" /> Lloyd affected a hunched posture to lower his {{convert|6|ft|1|in|m|abbr=off|sp=us}} height closer to the {{convert|5|ft|5|in|m}} tall Fox.<ref name="VultureLostRoles" />

The filmmakers became aware of [[Lea Thompson]] while researching Stoltz in the comedy-drama ''[[The Wild Life (film)|The Wild Life]]'' (1984).<ref name="AVClubThompson" /> [[Crispin Glover]] used many of his own mannerisms in portraying George McFly. Gale described his performance as "nuts", and Zemeckis was reportedly unhappy with Glover's performance choices, instructing him to be more restrained as the older George.<ref name="TheGuardianHowWeMade" /><ref name="AVClubGlover" /> Glover lost his voice during filming and later dubbed in some lines.<ref name="ShortlistDudley" /> DeLuise, Zane, [[Tim Robbins]], and [[J. J. Cohen]] were considered to play Biff Tannen.<ref name="ShortlistDudley" /><ref name="JJCohen" /><ref name="YahoOCast" /> Cohen was not considered intimidating enough against Stoltz, and the role went to [[Thomas F. Wilson|Thomas{{spaces}}F. Wilson]], his first feature starring role.<ref name="VultureStoltz" /><ref name="JJCohen2" /> Zane and Cohen were cast as Biff's minions Match and Skinhead instead.<ref name="JJCohen" /><ref name="USATodayThings" /> Tannen's name was taken from Universal Studios executive [[Ned Tanen]], who had been unpleasant with Gale and Zemeckis.<ref name="ShortlistDudley" />

[[Melora Hardin]] was cast as Jennifer Parker on a two-film contract. After Stoltz's replacement, the crew were polled about Hardin being taller than Fox; the female crew overwhelmingly voted Marty should not be shorter than his girlfriend.<ref name="VultureLostRoles" /><ref name="WiredHardin" />{{sfn|Gaines|2015|pp=42–43}} Hardin was replaced by [[Claudia Wells]], who had previously declined the role because of her commitment to the short-lived television series ''[[Off the Rack]]'' (1984).<ref name="VultureLostRoles" /><ref name="WiredHardin" />{{sfn|Gaines|2015|p=43}} Actresses [[Kyra Sedgwick]] and [[Jill Schoelen]] were also considered; Schoelen was told she looked too "exotic" and not sufficiently All-American.<ref name="FangoriaSchoelen" /><ref name="PeopleSedgwick" /> Doc Brown's pet, a dog named Einstein, was originally scripted as a [[chimpanzee]] named Shemp. Sheinberg insisted films featuring chimps never did well.<ref name="ShortlistDudley" /><ref name="Gizmodo11things" /> [[James Tolkan]] was the first choice for Principal Strickland after Zemeckis saw him in the crime drama ''[[Prince of the City]]'' (1981).{{sfn|Gaines|2015|pp=84, 85}} Singer and soundtrack contributor [[Huey Lewis]] cameos as a Battle of the Bands judge. Lewis agreed to appear as long as he was uncredited and could wear a disguise.<ref name="USATodayLewis" /> Gale cameos as the hand in the radiation suit tapping the DeLorean time display.<ref name="THRGaleCameo" />

===Filming with Stoltz===
[[File:The house of MсFly family 02.jpg|thumb|alt=bungalow with an attached garage, with a tower and power lines in the background|A house in [[Arleta, Los Angeles]], served as the McFlys' home.]]

[[Principal photography]] began on November{{spaces}}26, 1984, on a 14-week schedule set to conclude on February{{spaces}}28, 1985, with an estimated $14{{spaces}}million budget.{{sfn|Klastorin|Atamaniuk|2015|pp=47, 61}}{{sfn|Gaines|2015|pp=2, 32}} Filming took place mainly at the Universal Studios lot and on location in [[California]].<ref name="TheGuardianHowWeMade" /> [[Dean Cundey]] served as the cinematographer; he and Zemeckis had collaborated on ''Romancing the Stone''.<ref name="TheGuardianHowWeMade" /> Editor [[Arthur Schmidt (film editor)|Arthur Schmidt]] was hired after Zemeckis saw his work on ''[[Firstborn (1984 film)|Firstborn]]'' (1984); Schmidt recommended hiring [[Harry Keramidas]] as co-editor.{{sfn|Gaines|2015|pp=2–3, 23}} Frank Marshall also served as a second unit director.{{sfn|Gaines|2015|p=87}}

Owing to the tight schedule, editing occurred concurrently with filming.{{sfn|Gaines|2015|pp=1–2}} On December{{spaces}}30, 1984, Zemeckis reviewed the existing scenes with Schmidt and Keramidas.{{sfn|Gaines|2015|pp=21–22, 27}} Zemeckis was reluctant to review the footage because he would be self-critical,{{sfn|Gaines|2015|pp=21, 22}} but he believed Stoltz's acting was not working and had already listed several scenes he wanted to reshoot.<ref name="BOMGaleInterview" /><ref name="TheGuardianHowWeMade" />{{sfn|Gaines|2015|pp=21, 22}} Zemeckis called in Gale and the producers to show them the footage; they agreed Stoltz was not right for the part.<ref name="BOMGaleInterview" /> Stoltz was performing the role with an intense and serious tone, not the "[[Screwball comedy|screwball]]" energy they desired.<ref name="NYTimesFoxInterview" /><ref name="VultureStoltz" /> Gale characterized Stoltz as a good actor in the wrong role.<ref name="NYTDateMovedUp" />

Stoltz utilized [[method acting]] and stayed in character as Marty when not filming, refusing to answer to his own name. This resulted in feuding with some of the cast and crew, including Wilson. Stoltz put his full strength into pushing Wilson rather than imitating doing so, despite Wilson's protests.<ref name="VultureStoltz"/> Spielberg said Zemeckis needed a replacement in place before firing Stoltz, or he risked the production being canceled.{{sfn|Gaines|2015|pp=28–29}} Zemeckis and the producers asked Sheinberg for permission to do whatever was necessary to accommodate Fox's participation;<ref name="VultureStoltz"/> Spielberg made another call to Goldberg. On January{{spaces}}3, 1985, Goldberg told Fox about withholding the ''Back to the Future'' script from him, and the filmmakers wanted to know if he was interested. Baxter had returned to the show, and they could be more flexible with Fox as long as ''Family Ties'' took priority. Fox agreed to join without reading the script.{{sfn|Gaines|2015|pp=31–33}} The transition could not take place immediately and filming continued with Stoltz in the lead role, unaware he was to be replaced.<ref name="VultureStoltz"/>

On January 10, 1985, Zemeckis informed Stoltz that he was being fired.<ref name="EsquireDidntGetMade" /><ref name="VultureStoltz" />{{sfn|Gaines|2015|pp=35–36}} Zemeckis described it as "the hardest meeting I've ever had in my life and it was all my fault. I broke [Stoltz's] heart."<ref name="EsquireDidntGetMade" /> Stoltz was reported to have told his makeup artist he was not a [[comedian]] and did not understand why he was cast.{{sfn|Gaines|2015|pp=25–26}} The producers informed the principal cast and the rest of the crew much of the film would be re-shot.<ref name="VultureStoltz" />{{sfn|Klastorin|Atamaniuk|2015|pp=61, 66}} Cundey said most of the crew saw Stoltz's removal as "good news".<ref name="TheGuardianHowWeMade" /> Crew members later said there were obvious signs Stoltz would be replaced; the set designers were told to not change the 1955 set, and a scene involving a discussion between Marty and Doc was filmed showing only Doc.<ref name="VultureStoltz" /> Stoltz had shot numerous key scenes including Marty traveling to 1955 in the DeLorean, its breaking down as he prepares to return to 1985, and his final scene was Marty's return to 1985.<ref name="AVClubGlover" /><ref name="VultureStoltz" /> Filming fell behind schedule, with 34{{spaces}}days of filming lost and an additional cost of $3.5–$4.0{{spaces}}million, including Stoltz receiving his salary in full.<ref name="EsquireDidntGetMade" /><ref name="NYTDateMovedUp" />{{sfn|Gaines|2015|pp=33, 52}} Universal Pictures' marketing team was tasked with mitigating the negative publicity from a project replacing its main star.{{sfn|Gaines|2015|p=52}}

===Filming with Fox===
[[File:Court house from Back to the Future films.jpg|thumb|left|alt=the courthouse with its clock tower|The Hill Valley town square and clock tower were a set built on the [[Universal Studios Hollywood|Universal Studios]]' [[backlot]].]]
Fox's first day on set was January{{spaces}}15, 1985.{{sfn|Gaines|2015|pp=41, 43–44}} He filmed ''Family Ties'' during the day before traveling to the ''Back to the Future'' filming location. Often, he would not return home until early the following morning, and on weekends, the schedule was pushed back further as ''Family Ties'' was filmed in front of a live audience.<ref name="EsquireDidntGetMade"/><ref name="TheGuardianHowWeMade"/><ref name="NYTimesFoxInterview"/> The [[teamster]] drivers entrusted with dropping off Fox at home often had to carry the actor to bed.<ref name="EsquireDidntGetMade"/> This continued until April, when ''Family Ties'' finished filming.{{sfn|Gaines|2015|pp=103–104}} Gale said Fox's youth meant he could cope with less sleep than usual;<ref name="TheGuardianHowWeMade"/> Fox described it as exhausting, but worth the effort.<ref name="NYTimesFoxInterview"/> Further into the filming schedule, Fox was energetic during his scenes but struggled to stay awake off set. He ad-libbed some lines when he forgot the intended dialogue,<ref name="TheGuardianHowWeMade"/>{{sfn|Gaines|2015|p=114}} and recalled looking for a camcorder on the ''Family Ties'' set, before realizing it was a prop on ''Back to the Future''.{{sfn|Gaines|2015|p=114}} He also had to learn to mimic playing the guitar and choreographed skateboarding routines taught by [[Per Welinder]] and Bob Schmelzer.<ref name="CBRSkateboard"/>

To compensate for his conflicting schedules and reduce production costs, some scenes involving Marty were shot without Fox, who filmed his part separately.<ref name="HFPAOralHistory"/><ref name="TheGuardianHowWeMade"/> Re-shooting scenes allowed the filmmakers to identify problems and implement new ideas. To avoid building an additional classroom set, the opening pan across the array of clocks in Doc Brown's laboratory replaced an opening scene where Marty sets off a fire alarm to get out of detention.<ref name="ColliderDifferences2020"/>{{sfn|Gaines|2015|p=50}} The height differences between Stoltz and Fox necessitated other changes, such as a scene of Fox teaching George how to punch because Fox could not reach the necessary prop.{{sfn|Gaines|2015|p=51}} According to Gale, once Fox replaced Stoltz, the atmosphere on set improved.<ref name="EsquireDidntGetMade"/> Thompson anecdotally said while Stoltz ate lunch alone in his trailer, Fox ate lunch with the cast and crew.{{sfn|Gaines|2015|p=47}}

The production used many locations in and around [[Los Angeles]]. The [[Courthouse Square|clock tower]] is a structure on the [[Universal Studios Lot]] in [[Universal City, California]].<ref name="ClockTower" /><ref name="Curbed" /> When filmed from below, Lloyd was positioned on a recreation of the clock tower, but when filmed from above, Lloyd stood atop the tower itself.{{sfn|Pourroy|1985|p=64}} Production designer [[Lawrence&nbsp;G. Paull]] insisted on using the Universal backlot sets because of the difficulties and costs involved in making an on-location area look 1955-appropriate.{{sfn|Gaines|2015|p=143}} [[Whittier High School]] in the city of [[Whittier, California|Whittier]] is the Hill Valley high school. Marty's home and the surrounding Lyon estates are in [[Arleta, Los Angeles]]. Several of the residential locations were filmed in Pasadena: Lorraine's and George's 1955 homes, and Doc Brown's 1955 home. (Its exterior is the [[Gamble House (Pasadena, California)|Gamble House]]; interiors were shot at the historic [[Blacker House]].)<ref name="Curbed"/> [[Puente Hills Mall]] in [[City of Industry, California]] serves as the Twin Pines mall, which later becomes the Lone Pine mall after Marty knocks over one of the trees at Twin Pines ranch in 1955, which was filmed at the Walt Disney Studios-owned [[Golden Oak Ranch]] in [[Newhall, Santa Clarita, California]].<ref name="VultureStoltz" /><ref name="Curbed" /> Other locations include the basement of the [[Hollywood United Methodist Church]] where the school dance was filmed, and [[Griffith Park]], where Marty begins his drive to the courthouse to return to 1985, passing by a lamp post outside the [[Greek Theatre (Los Angeles)|Greek Theatre]].<ref name="Curbed" />

Filming [[Wrap (filmmaking)|concluded]] after 107 days on April{{spaces}}26, 1985. The final day of filming included [[Pick-up (filmmaking)|pick-up]] shots of Marty and Einstein the dog in the DeLorean.{{sfn|Gaines|2015|pp=103–104}}

===Post-production===
[[File:Century Domes, San Jose (2773755882).jpg|thumb|alt=the Century 22 Theater in San Jose where the film was test screened|A rough cut of the film was test screened for audiences at [[Century Theatres|Century 22]] theater in [[San Jose, California]], only three weeks after filming concluded.]]

Arthur F. Repola served as the post-production supervisor, but he became responsible for many aspects outside his role, including budgets, storyboarding, and general problem-solving. Those roles belonged to Kennedy and Marshall, but both were occupied on other films.{{sfn|Pourroy|1985|p=40}} Schmidt found editing the film difficult because he had to imagine where the special effects would later be added; there was no time or budget to re-edit afterward.<ref name="ABoutSchmidt" />

A [[Workprint|rough version of the movie]] was cut together for a [[test screening]] at the [[Century Theatres|Century 22]] theater in [[San Jose, California]], in mid-May 1985, just three weeks after filming concluded. The audience was seemingly uninterested at the exposition-heavy opening but became engaged after the DeLorean appeared.{{sfn|Gaines|2015|pp=104, 106–107}} At a test screening in [[Long Beach, California]], 94% of the audience responded they would recommend the film; 99% rated it very good or excellent.<ref name="NYTimesRushedPostPro" /> Gale said there was some concern when Doc's dog Einstein was sent through time, as the audience believed he had been killed.<ref name="TheGuardianHowWeMade" /> But Gale said when they came to the cafe scene where Marty sees his father, the audience "got it". The film was re-cut and screened again at the [[Alfred Hitchcock]] theater at Universal Studios for executives, including Sheinberg.{{sfn|Gaines|2015|pp=108–109}} He was so impressed he moved the scheduled release date forward to July{{spaces}}3, 1985, to give it more time in theaters during the peak summer season.<ref name="NYTDateMovedUp" /> The new date reduced the post-production schedule to just nine weeks for special effects and editing.<ref name="TheGuardianHowWeMade" /><ref name="NYTDateMovedUp" /> Zemeckis spent much of June rushing to finish the film.<ref name="NYTimesRushedPostPro" />

Deleted scenes include: Doc looking at an issue of ''[[Playboy]]'', remarking the future looks better; a scene of 1985 George being coerced into buying a large amount of peanut brittle from a young girl;<ref name="BOMGaleInterview" /><ref name="DOG88things" /> a scene of young George trapped in a phone booth by the man who interrupts his dance with Lorraine;{{sfn|Gaines|2015|p=108}} and the scene of Marty pretending to be "Darth Vader", which was shortened.<ref name="DOG88things" /> Zemeckis considered cutting the "[[Johnny B. Goode|Johnny{{spaces}}B. Goode]]" performance because it did not advance the story, but test audiences reacted well to it.{{sfn|Gaines|2015|pp=107–108}} There is a dispute if a shot of Stoltz's hand is in the finished film in the scene where Marty punches Biff. Gale noted it is impossible to tell without checking the original film negative, which would risk damaging it.<ref name="USATodayThings" /><ref name="DigitalSpyHand" /> The final 116{{nbh}}minute cut was completed on June 23, 1985.{{sfn|Gaines|2015|p=109}}<ref name="BBFC" /> Universal Studios took out a full-page advertisement in ''[[Variety (magazine)|Variety]]'' magazine, thanking the post-production crew for completing their work on time.{{sfn|Gaines|2015|p=109}} The final budget was $19{{spaces}}million.{{sfn|Gaines|2015|p=132}}<ref name="BomBOSummary" />

===Music===
{{Main|Back to the Future (soundtrack)|l1=''Back to the Future'' (soundtrack)}}

{{Listen|filename=Back to the Future Theme by Alan Silvestri.mp3|pos=left|title=''Alan Silvestri – Back to the Future''|description=Alan Silvestri wanted to create a "heroic" theme that could be recognizable from only a few notes.|format=[[Ogg]]}}

[[Alan Silvestri]] composed the score for ''Back to the Future''; he had worked with Zemeckis on ''Romancing the Stone''. The only direction Zemeckis gave him was "it's got to be big". Silvestri used an orchestral score to create a sound that contrasted with the small-town setting and the significant time-changing events occurring within it. He wanted a heroic theme that would be instantly recognizable.<ref name="EsquireDidntGetMade" />

Huey Lewis was approached to write a theme song for the film; he was coming off the success of his recent album ''[[Sports (Huey Lewis and the News album)|Sports]]''. He met with Gale, Spielberg, and Zemeckis, who intended that [[Huey Lewis and the News]] be Marty's favorite band. Though flattered, Lewis did not want to participate because he did not know how to write film songs and did not want to write one called "Back to the Future". Zemeckis assured Lewis he could write any song he wanted. Lewis agreed to submit the next song he wrote, which was "[[The Power of Love (Huey Lewis and the News song)|The Power of Love]]".<ref name="USATodayLewis" /> Lewis maintains "Power of Love" was his first submission, but Zemeckis recalled a different first song that was rejected.{{sfn|Gaines|2015|p=96}}<ref name="AFIGB" /> Lewis later acquiesced to Zemeckis's request for a second song, "[[Back in Time (Huey Lewis and the News song)|Back in Time]]".<ref name="USATodayLewis" />

Musician [[Eddie Van Halen]] performed the guitar riff Marty (dressed as "Darth Vader") uses to wake George. The filmmakers wanted to use [[Van Halen]]'s music, but the band refused to take part, so Eddie took part on his own. [[Jack Mack and the Heart Attack|Mark Campbell]] provided Marty's singing voice, but did not receive credit, as the filmmakers wanted to pretend Fox was singing. When music supervisor [[Bones Howe]] learned of this, he secured Campbell a small percentage of the soundtrack revenue as compensation.<ref name="DOG88things" />{{sfn|Gaines|2015|p=88}} [[Paul Hanson (guitarist)|Paul Hanson]] taught Fox how to use a guitar to play "[[Johnny&nbsp;B. Goode]]", and choreographer Brad Jeffries spent four weeks teaching Fox to replicate various rock star moves popularized by artists like [[Pete Townshend]], [[Jimi Hendrix]], and Chuck Berry.<ref name="EmpireGuitar" />{{sfn|Gaines|2015|p=90}} Berry withheld permission to use "Johnny B. Goode" until the day before filming, receiving $50,000 for the rights.<ref name="TelegraphThings" /> Harry Waters{{spaces}}Jr. provided the vocals on "[[Earth Angel]]".{{sfn|Gaines|2015|pp=92–93}}