VVORD.RU . , .

/

1   2   3   4   5   6   7   8   9   10   11   12   13   14   15   16   17   18   19   20   21   22   23   24   25   26   27   28   29   30   31   32   33   34   35   36   37   38   39   40   41   42   43   44   45   46   47   48   49   50   51   52   53   54   55   56   57   58   59   60   61   62   63   64   65   66   67   68   69   70   71   72   73   74   75   76   77   78   79   80   81   82   83   84   85   86   87   88   89   90   91   92   93   94   95   96   97   98   99   100   101   102   103   104   105   106   107   108   109   110   111   112   113   114   115   116   117   118   119   120   121   122   123   124   125   126   127   128   129   130   131   132   133   134   135   136   137   138   139   140   141   142   143   144   145   146   147   148   149   150   151   152   153   154   155   156   157   158   159   160   161   162   163   164   165   166   167   168   169  
vision.
-Your vision.
You're already bringing in actors...
...and technicians, and all these otherpeople...
...to help you realize a vision, so...
...all filmmaking is collaborative,
all the way through.
Bring each otherinto it,
and bring the audience in that way.
At the end of the day,
we want the movie to work for an audience.
What's the pointif nobody's going to go see it?
Orif they go see it and they don't getit?
Make sure that they getit.
Can you tell us about the music,
how you went about choosing it...
...notjust the score, but also the actual songs.
Huey Lewis and the News
was such a big part of the movie.
Johnny B. Goode was always
in the original script.
There was no second choice.
It had to be Johnny B. Goode.
That turned out to be the most expensive
piece of music in the movie.
We were thinking, "We've got a movie that's got...
"... teens in it. We've got to have a record
on the radio. "
From the beginning,
we knew we wanted to have...
...a signature song
that we could get on the radio.
Alan said,
"You've got to hear this guy, Huey Lewis. "
Al Silvestri. And I said, "Okay. "
I didn't know.
The Sports album hadjust come out.
We called them, and they were
very enthusiastic to getinvolved.
They wrote a song that wasn't right.
I brought Huey into the editing room...
...and I showed him the cutscene.
This was during this insane postproduction.
I think I cut I Want a New Drug to it.
Just to give him an idea, when Michael
blasts out of the Doc's thing on a skateboard.
Huey said, "I get this. You want a majorsong.
We've got to do a song in a major key. "
That was it.
He went off and wrote Power of Love.
I remember when Neil Canton
called me, and he said:
"Ijust found out Power of Love,"
this is two weeks before the movie came out...
"... is going on the radio in heavy rotation. "
I said, "Great. "
We had to send all the field people...
...out to all the radio stations
to remind them to say:
"From the movie Back to the Future. "
The studio always wants the song
to be the title of the movie.
Huey Lewis said, "I can't work that way.
I've got to just write the song...
"... thatis going to be right forit. "
Then he decided to write the second song.
We only asked him to write one.
They wrote the second song,
and we put thatin there.
I think it was the only number one single
that Huey ever did.
It was some big breakthrough record
for these guys, even after the album.
And it got nominated for an Academy Award.
It was great.
All the DJs were saying,
"From the movie Back to the Future. "
It wasjust one of those things where all the...
...synergy all came together.
The plan came together.
Bob Zemeckis, I was wondering
ifyou could tell us...
...how you feel about the movie,
looking back atit today.
Other than there being
some sloppy stuffin the movie...
...from a technical standpoint.
I was watching that early remote head...
...and I hadn'tseen this movie
on the big screen...
...since it came out.
I'm sitting there and I'm watching in the...
...dance scene, we had this
terrible remote head called...
...the "hot head," and you could see itjerking.
I'm going, "Oh, man. "
Nowadays, all thatstuffis perfect.
I don't know if I'd be doing this comedy...
...that broad kind of comedy.
Maybe, if the scriptis right,
maybe I will. I don't know.
-It's a pretty good movie, actually.
-It's pretty good.
I don't know if we've grown
as screenwriters from this.
This is the best thing we've ever written.
It's a pretty terrific screenplay.
We're always flattered
that we hearit's used in...
...classes, as a quintessential example...
...of how you setstuff up,
and how you pay it off.
All thatstuff works. Those are tried and true...
..les ofstorytelling, and we made them work.
That's the nice thing of having
the writers be the filmmakers...
...when the director totally gets the script
because he wrote it.
We start talking about Sid Sheinberg

------------------------------
:
-
-
- 16
-
- -,

|
© 2010-2019 VVORD.RU