Editing Back to the Future (section)

===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" />