Introduction
When Back to the Future premiered on July 3, 1985, no one could have predicted it would become one of the defining films of the decade, let alone celebrated forty years later. Directed by Robert Zemeckis and produced by Steven Spielberg, it blended science fiction, comedy, romance, and adventure with a deft touch. Telling the story of a teenager who travels from 1985 to 1955, disrupts his parents’ first meeting, and must repair history before returning home, the premise was simple, but the execution was layered, witty, and emotionally resonant.
At the 40-year mark, Back to the Future is more than a hit film. It’s a cultural artifact and a perfect illustration of Hollywood filmmaking operating at peak efficiency. Cutting across age, geography, and even time itself, teenagers continue to identify with Marty’s restlessness, parents recognize the bittersweet look back at their own youth, and cinephiles marvel at its narrative craftsmanship. Cinema Scholars celebrates the 40th anniversary of Back to the Future by revisiting its origins, production, and the indelible impact it has had on film history.
Beginnings
The origins of Back to the Future trace back to 1980, when writer Bob Gale stumbled upon his father’s high school yearbook. The discovery sparked a thought: would he have been friends with his father if they had attended school together? Gale brought the idea to Robert Zemeckis, his longtime collaborator. Zemeckis was searching for a project that could serve as a breakthrough. Their previous films—I Wanna Hold Your Hand (1978) and Used Cars (1980)—were critical successes but box office disappointments.
Hollywood studios, hesitant to invest in another of their scripts, turned down Back to the Future multiple times. Disney balked at the subplot involving a teenage boy’s mother unknowingly falling for him. Columbia Pictures’ president Frank Price, who had greenlit Used Cars, liked the story, but ultimately rejected it for being too wholesome, compared to the edgier teen comedies of the era. Columbia put the project into turnaround (a process that allowed other studios to purchase the idea), whereby the script was rejected over forty times.
The script languished until 1984, when Zemeckis’s Romancing the Stone (1984) became a surprise commercial hit. With Zemeckis now considered a bankable director, he turned to longtime mentor and collaborator, Steven Spielberg, who had set up his own production company, Amblin Entertainment, at Universal Pictures. They agreed to finance Back to the Future, and Gale signed on as executive producer. Spielberg secured the rights from Columbia and insisted that Price, now at Universal, have minimal involvement in the film.
The Script
The screenplay went through numerous drafts between 1980 and 1984. The earliest versions differed significantly from the final film. In the first draft, the time machine was not a DeLorean but a stationary device housed in the back of a truck. Another draft, inspired by the documentary The Atomic Cafe (1982), had the time machine being powered by Marty driving it into a nuclear explosion, combined with Coca-Cola. Later versions placed the machine inside a refrigerator, which Spielberg vetoed, fearing children would climb into their parents’ refrigerators.
Eventually, Zemeckis and Gale settled on a car, which added mobility and visual impact. The DeLorean DMC-12 was chosen for its futuristic appearance and distinctive gullwing doors. Zemeckis had initially suggested the DeLorean because it would appear like an alien ship to a 1950s family. The now-iconic DeLorean time machine was designed by production designer Lawrence G. Paull, concept artist Ron Cobb, and illustrator Andrew Probert. They intended for the vehicle to look fixed together from common parts.
The subplot involving the romantic relationship between 1955 Lorraine McFly (Lea Thompson) and her future son proved to be a challenge. Gale and Zemeckis took the concept as far as they could without drawing the ire of censors and the studio. The duo kept it in the screenplay because they believed it underscored the awkwardness and humor of time travel. The third and final draft was completed by July 1984. This lengthy development period allowed Gale and Zemeckis to refine the jokes that had become dated since 1980.
Casting
Casting proved crucial to the success of Back to the Future, but the path was a complicated one. The biggest challenge was finding Marty McFly, the film’s lead. Michael J. Fox was Zemeckis and Gale’s first choice, but his commitments to the hit television show Family Ties made scheduling difficult. Subsequently, John Cusack, C. Thomas Howell, Johnny Depp, Ralph Macchio, Charlie Sheen, Jon Cryer, Ben Stiller, Billy Zane, Robert Downey Jr., and Matthew Modine were all considered.
Sidney “Sid” Sheinberg, president of Universal, liked Eric Stoltz based on an early screening of his performance as Rocky Denis in the film Mask (1985). Stoltz was largely known as a dramatic actor with a serious approach to his craft. While Zemeckis agreed to cast Stoltz in the lead, the fit was not a natural one. Subsequently, Sheinberg decided that they could reshoot the film if things with Stoltz didn’t work out.
Jeff Goldblum, John Lithgow, Ron Silver, Robin Williams, John Cleese, Gene Hackman, and James Woods were all considered for the role of Doc Brown. However, producer Neil Canton suggested Christopher Lloyd to Zemeckis, as he had previously worked with him on The Adventures of Buckaroo Banzai Across the 8th Dimension (1984). Albert Einstein and the conductor Leopold Stokowski inspired brown’s appearance.
Lea Thompson was cast as Lorraine McFly based on her work with Stoltz in The Wild Life (1984). Crispin Glover brought awkward energy to George McFly, and Thomas F. Wilson’s Biff Tannen became the archetypal bully, menacing yet comedic. Melora Hardin was cast as Jennifer Parker, Marty’s girlfriend, but was soon replaced by Claudia Wells when it was decided that Marty’s girlfriend should not be taller than him.
Replacing Stoltz
With a $14 million budget, filming on Back to the Future began on November 26, 1984. Confined to the back lots of Universal Studios and on location in California, the schedule was extremely tight. Early on, Zemeckis and Gale saw footage and realized that it might not be working out with Stoltz. They felt his interpretation of Marty was too intense and lacked the comedic energy necessary for the film’s tone. Despite Stoltz’s dedication, the production team concluded that the movie needed a lighter, more humorous lead to balance the quirky, adventurous story.
It also didn’t help that Stoltz utilized the ‘Method’ approach to acting and stayed in character as Marty when not in front of the camera. Stoltz refused to answer to his own name and feuded with some of the cast and crew, including Thomas Wilson, who played Biff. Still, Spielberg and Zemeckis knew they had to have a replacement at the read before firing Stoltz, or risk having the entire production shut down.
Spielberg convinced Family Ties producer Gary Goldberg that they would accommodate his young star in every way possible and that the show would take precedence over filming Back to the Future. Goldberg agreed, and Fox signed on. Five weeks of filming with Stoltz were scrapped, and Fox stepped into the role. His arrival required a near-complete reshoot of the previously filmed scenes. The actor worked an exhausting schedule, filming Family Ties during the day and Back to the Future at night. Fox would say to The New York Times in 1985:
“…Energy was a very limited resource at the time, but how can you say no to Steven Spielberg?…I have to say that even though it’s exhausting just repeating the schedule, it was sure worth it…”
Filming and Music
After the departure of Stoltz and Fox’s arrival, many scenes were reshot in early 1985. Despite the disruption, filming continued at a rapid pace to meet the planned summer release date. Key sequences were filmed on the Universal backlot, including the courthouse square. For the Enchantment Under the Sea dance, a soundstage was decorated with period-accurate details to capture the 1950s atmosphere. Cinematographer Dean Cundey employed warm lighting for the 1955 scenes and cooler tones for 1985, visually distinguishing the two eras.
Music played a vital role in shaping the film’s identity. Alan Silvestri’s orchestral score was recorded with a full symphony, creating a sense of epic adventure. Conversely, contemporary songs anchored the story in the 1980s. Huey Lewis and the News contributed “The Power of Love,” which became a chart-topping hit. Their second track, “Back in Time,” was used in the end credits. Marty’s performance of Chuck Berry’s “Johnny B. Goode” at the school dance provided one of the most memorable sequences, merging the narrative with rock-and-roll history. Huey Lewis reflected on this in 2022 to the Official London Theater website:
“I told them I was flattered, but I didn’t know how to write for film necessarily, and frankly didn’t quite fancy writing a song called Back To The Future, and they said, ‘Well, that’s okay, we just want one of your songs!’ I said, ‘Well, great, I’ll just send you the next thing we’re working on – actually, we’re working on a song right now that I think is pretty good!’ and that was [The Power Of Love]”
Eddie Van Halen performed the guitar riff Marty uses to wake George. The filmmakers wanted to use Van Halen’s music, but they flatly refused. Mark Campbell provided Marty’s singing voice, but did not receive credit. When music supervisor Bones Howe learned of this, he made sure Campbell received a percentage of the soundtrack revenue. Paul Hanson taught Fox guitar for the “Johnny B. Goode” sequence, and choreographer Brad Jeffries spent weeks teaching Fox to replicate various rock star moves popularized by artists like Jimi Hendrix and Pete Townshend.
Release and Legacy
Back to the Future premiered on July 3, 1985, and became a cultural sensation. It topped the box office for eleven weeks, ending the year as the highest-grossing film worldwide. Critics praised its inventive story, humor, and performances, particularly those of Fox and Lloyd. The film received four Oscar nominations, winning for Best Sound Effects Editing. Its success spawned two sequels, as well as an animated television series, theme park attractions, video games, and a stage musical. The original film, however, remains the most celebrated, often cited as one of the greatest movies of the 1980s.
Over the decades, Back to the Future has endured as a pop culture phenomenon. Quotable lines, memorable imagery, and the DeLorean itself continue to resonate. Its vision of time travel, though scientifically implausible, has influenced generations of filmmakers. Forty years later, it remains both a nostalgic touchstone and a vibrant work of entertainment. Its balance of character-driven storytelling and imaginative spectacle ensures its place as a classic. As audiences continue to revisit Hill Valley, the legacy of Back to the Future shows no signs of fading.
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