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Directed by | |||
| Robert Zemeckis | |||
Writing credits | ||
| Robert Zemeckis | (written by) & | |
| Bob Gale | (written by) | |
Produced by | |||
| Neil Canton | .... | producer | |
| Bob Gale | .... | producer | |
| Kathleen Kennedy | .... | executive producer | |
| Frank Marshall | .... | executive producer | |
| Steven Spielberg | .... | executive producer | |
Original Music by | |||
| Alan Silvestri | |||
Cinematography by | |||
| Dean Cundey | (director of photography) | ||
Film Editing by | |||
| Harry Keramidas | |||
| Arthur Schmidt | |||
Casting by | |||
| Jane Feinberg | |||
| Mike Fenton | |||
| Judy Taylor | |||
Production Design by | |||
| Lawrence G. Paull | |||
Art Direction by | |||
| Todd Hallowell | |||
Set Decoration by | |||
| Hal Gausman | |||
Costume Design by | |||
| Deborah Lynn Scott | (as Deborah L. Scott) | ||
Makeup Department | |||
| Dorothy Byrne | .... | hair stylist | |
| Ken Chase | .... | makeup creator | |
| Elizabeth Rabe | .... | hair stylist (uncredited) | |
| Barry Rosenberg | .... | hair stylist (uncredited) | |
Production Management | |||
| Jack Grossberg | .... | unit production manager | |
| Dennis E. Jones | .... | unit production manager | |
| Arthur F. Repola | .... | post-production supervisor (as Arthur Repola) | |
Second Unit Director or Assistant Director | |||
| Mitchell Bock | .... | first assistant director: second unit | |
| Pamela M. Eilerson | .... | second assistant director (as Pamela Eilerson) | |
| Frank Marshall | .... | second unit director | |
| David McGiffert | .... | first assistant director | |
| Concetta Rinaldo-Williams | .... | dga trainee (as Concetta Rinaldo) | |
Art Department | |||
| Cameron Birnie | .... | set designer | |
| Ernest Depew | .... | construction coordinator (as Ernie Depew) | |
| Al Gaynor | .... | graphic artist | |
| Al Gaynor | .... | scenic artist | |
| Kirk D. Hansen | .... | paint foreman | |
| Joseph E. Hubbard | .... | set designer | |
| Dick Lasley | .... | production illustrator | |
| Margie Stone McShirley | .... | set designer (as Marjorie Stone McShirley) | |
| James Passanante | .... | standby painter (as Jim Passanante) | |
| Joe Pfaltzgraf | .... | assistant property master | |
| Andrew Probert | .... | production illustrator | |
| Michael Scheffe | .... | construction coordinator: DeLorean | |
| Arthur Smedley | .... | lead person (as Art Smedley) | |
| 'Dangerous' Bob Widin | .... | assistant property master | |
| John Zemansky | .... | property master | |
| Mario D'Alfonso | .... | labor foreman (uncredited) | |
| Robert Misetich | .... | paint foreman (uncredited) | |
| Tim Stadler | .... | painter (uncredited) | |
| Drew Struzan | .... | poster artist (uncredited) | |
Special Effects by | |||
| Sam Adams | .... | special effects | |
| Richard Chronister | .... | special effects | |
| William A. Klinger | .... | special effects (as William Klinger) | |
| Kevin Pike | .... | special effects supervisor | |
| Kimberley Pike | .... | special effects | |
| Neil Smith | .... | special effects foreman | |
| Steve Suits | .... | special effects | |
| David Wischnack | .... | special effects foreman | |
| Neil Trifunovich | .... | special effects buyer (uncredited) | |
Visual Effects by | |||
| Peter Albrecht | .... | ink & paint: ILM (uncredited) | |
| Donna K. Baker | .... | rotoscope artist: ILM (uncredited) | |
| Barbara Brennan | .... | animator: ILM (uncredited) | |
| Donald Clark | .... | optical camera operator: ILM (uncredited) | |
| Mike Cochrane | .... | modelmaker: ILM (uncredited) | |
| Jeff Doran | .... | optical technician: ILM (uncredited) | |
| John Ellis | .... | optical supervisor: ILM (uncredited) | |
| Scott Farrar | .... | camera operator: ILM (uncredited) | |
| Ellen Ferguson | .... | ink & paint: ILM (uncredited) | |
| Robert Finley Jr. | .... | stage technician: ILM (uncredited) | |
| Warren Franklin | .... | general manager: ILM (uncredited) | |
| Michael Fulmer | .... | modelmaker: ILM (uncredited) | |
| Steve Gawley | .... | supervising modelmaker: ILM (uncredited) | |
| Tim Geideman | .... | optical technician: ILM (uncredited) | |
| Ray Gilberti | .... | assistant camera operator: ILM (uncredited) | |
| Ralph Gordon | .... | optical line-up: ILM (uncredited) | |
| Ned Gorman | .... | production buyer: ILM (uncredited) | |
| Joanne Hafner | .... | ink & paint: ILM (uncredited) | |
| James Hagedorn | .... | optical camera operator: ILM (uncredited) | |
| Robert Hill | .... | assistant camera operator: ILM (uncredited) | |
| Robert Hill | .... | camera operator: ILM (uncredited) | |
| Sandy Houston | .... | rotoscope artist: ILM (uncredited) | |
| Peg Hunter | .... | optical line-up: ILM (uncredited) | |
| Ed Jones | .... | optical line-up: ILM (uncredited) | |
| Randy Jonsson | .... | assistant camera operator: ILM (uncredited) | |
| Ira Keeler | .... | modelmaker: ILM (uncredited) | |
| Bill Kimberlin | .... | effects editor: ILM (uncredited) | |
| Ellen E. Lichtwardt | .... | rotoscope supervisor: ILM (uncredited) | |
| James Lim | .... | optical camera operator: ILM (uncredited) | |
| Pamela Marcotte | .... | visual effects (uncredited) | |
| Kim Marks | .... | camera operator: ILM (uncredited) | |
| Ted Moehnke | .... | pyrotechnician: ILM (uncredited) | |
| Jack Mongovan | .... | animator: ILM (uncredited) | |
| Michael Moore | .... | assistant editor: ILM (uncredited) | |
| Charlie Mullen | .... | animation supervisor: ILM (uncredited) | |
| Phillip Norwood | .... | visual effects art director: ILM (uncredited) | |
| Terrence Peck | .... | assistant editor: ILM (uncredited) | |
| Ken Ralston | .... | supervisor of visual effects: ILM (uncredited) | |
| Peggy Regan | .... | animator: ILM (uncredited) | |
| Jay Riddle | .... | animation camera: ILM (uncredited) | |
| Jay Riddle | .... | animator: ILM (uncredited) | |
| Louis Rivera | .... | optical technician: ILM (uncredited) | |
| Martin Rosenberg | .... | assistant camera operator: ILM (uncredited) | |
| Thomas Rosseter | .... | optical line-up: ILM (uncredited) | |
| Wesley Seeds | .... | modelmaker: ILM (uncredited) | |
| Kenneth Smith | .... | optical camera operator: ILM (uncredited) | |
| Howard Stein | .... | supervising visual effects editor: ILM (uncredited) | |
| Peter Stolz | .... | pyrotechnician: ILM (uncredited) | |
| Wes Takahashi | .... | animator: ILM (uncredited) | |
| Laurie Vermont | .... | production coordinator: ILM (uncredited) | |
Stunts | |||
| Richard E. Butler | .... | stunts | |
| Charles Croughwell | .... | stunts (as Charlie Croughwell) | |
| Loren Janes | .... | stunts | |
| Max Kleven | .... | stunts | |
| Bernie Pock | .... | stunts | |
| Spiro Razatos | .... | stunts | |
| Robert Schmelzer | .... | stunts | |
| John-Clay Scott | .... | stunts | |
| Walter Scott | .... | stunt coordinator | |
| Per Welinder | .... | stunts | |
| Bob Yerkes | .... | stunts | |
| Charles Croughwell | .... | stunt double: Michael J. Fox (uncredited) | |
| Gene Hartline | .... | stunts (uncredited) | |
| Terry Jackson | .... | stunts (uncredited) | |
Costume and Wardrobe Department | |||
| Brian Callahan | .... | costume supervisor: men | |
| Julie Starr Dresner | .... | key costumer | |
| Haleen K. Holt | .... | costume illustrator (uncredited) | |
Editorial Department | |||
| Donah Bassett | .... | negative cutter (as Donah J. Bassett) | |
| Barbara Palmer Dixon | .... | assistant film editor (as Barbara Dixon) | |
| Terry Haggar | .... | color timer | |
| Roger Jaep | .... | apprentice film editor | |
| Peter Lonsdale | .... | assistant film editor (as Peter N. Lonsdale) | |
| Charles Simmons | .... | apprentice film editor | |
| David Handman | .... | assistant editor (uncredited) | |
| Ron S. Herbes | .... | trailer editor (uncredited) | |
Music Department | |||
| Dick Bernstein | .... | music software | |
| James B. Campbell | .... | orchestrator (as James Campbell) | |
| Bones Howe | .... | music supervisor | |
| Kenneth Karman | .... | music editor | |
| Dennis S. Sands | .... | music scoring mixer (as Dennis Sands) | |
| Deborah Zimmerman | .... | assistant music editor | |
| Tom Boyd | .... | musician: oboe soloist (uncredited) | |
| Chuck Domanico | .... | musician: bass (uncredited) | |
| Tommy Johnson | .... | musician: tuba (uncredited) | |
| James Thatcher | .... | musician: French horn solos (uncredited) | |
Transportation Department | |||
| Bob Cornell | .... | transportation captain (as Bob R. Cornell) | |
| John Feinblatt | .... | transportation coordinator | |
| Tom Garris | .... | transportation captain: picture cars | |
| Eugene Schwartz | .... | transportation manager (as Gene Schwartz) | |
| Jack Carpenter | .... | driver: insert car (uncredited) | |
| Gregory Dultz | .... | driver (uncredited) | |
Other crew | |||
| Kate Barker | .... | assistant: Ms. Kennedy | |
| Richard L. Calkins | .... | animal handler (as Richard Caulkins) | |
| Jeffrey R. Coates | .... | production associate | |
| Ron Cobb | .... | consultant: DeLorean time travel | |
| Robert R. Draney | .... | assistant accountant | |
| Lynn D. Ezelle | .... | assistant accountant | |
| Ann Furia | .... | assistant accountant | |
| Anthony Gibson | .... | production associate | |
| Babette T. Gorman | .... | assistant: Mr. Canton | |
| Nancy Hansen | .... | script continuity (as Nancy B. Hansen) | |
| Diana L. Hayes | .... | production associate | |
| Brad Jeffries | .... | choreographer | |
| Leanne Moore | .... | production accountant | |
| Julie Moskowitz | .... | assistant: Mr. Spielberg | |
| Gail Oliver | .... | assistant: Mr. Zemeckis | |
| Eileen Omaye | .... | assistant: Mr. Gale | |
| Maureen Osborne-Beall | .... | production coordinator | |
| Ramon Pahoyo | .... | craft service (as Ramon B. Pahoyo) | |
| Paul Pav | .... | location manager | |
| Bonne Radford | .... | production controller | |
| Mary T. Radford | .... | assistant: Mr. Marshall | |
| Marsha Robertson | .... | unit publicist | |
| Nina Saxon | .... | title design | |
| Steven Spielberg | .... | presents | |
| Rob Stevens | .... | assistant production coordinator | |
| Steven Talmy | .... | production associate | |
| Judy Thomason | .... | assistant: Mr. Repola | |
| Robert Weatherwax | .... | animal handler | |
| Alexander Xavier Ponce-Bonano | .... | scientific consultant (uncredited) | |
Thanks | |||
| Mark Campbell | .... | special thanks | |
| Ron Hitchcock | .... | special thanks | |
| Gregg Landaker | .... | special thanks | |
| Steve Maslow | .... | special thanks | |
| Tim May | .... | special thanks | |
| Stephen Semel | .... | special thanks | |
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| Back to the Future Part III | Back to the Future Part II | Spider-Man 2 | Click | Transformers |
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Zemeckis's 'Back To The Future' trilogy has been a childhood favourite for a long time. Having revisited it today, brought me to a nostalgic state. The 80's saw a lot of excellent original fun 'young' films like 'Back To The Future' (of course), 'Better Off Dead', 'Heathers', 'The Breakfast Club' etc. What really made these films immensely enjoyable then, and classics today, is that they really reflected what it was like being a young person in the 80s. The movies themselves were well written, well executed, well acted and they cut straight to the point.
Back to 'Back To The Future'. This one is sheer fun, even today. There's an incredible energy about it but it still manages to stay an 'innocent' film. The music is very effective. It's slick and follows a steady pace. The special effects are decent. Though people might pick on the plausibility of the time travelling, I think this is really a very minor flaw because it is overall a well written movie and the point was to entertain. Yet, this is not to say that it's brainless entertainment. I think it cleverly brings forth some interesting themes and I liked how they funnily used some ideas of Oedipus Rex's story.
The acting is superb overall. Christopher Lloyd as the over-the-top mad scientist is a laugh riot. Michael J. Fox totally owns Marty McFly with his natural charisma, raw energy and brilliant dialogue delivery. Lea Thompson is cute and vivacious and Crispin Glover is good.
'Back To The Future' is one of the most enjoyable time-travelling classics. It's over 23 years old and it still hasn't gotten old. Sadly, they don't make it like this these days but then again we always can revisit them. That's why they're classics.