| Photos (See all 55 | slideshow) | Videos (see all 9) |
Directed by | |||
| Robert Zemeckis | |||
Writing credits(WGA) | ||
| Robert Zemeckis | (characters) & | |
| Bob Gale | (characters) | |
| Robert Zemeckis | (story) & | |
| Bob Gale | (story) | |
| Bob Gale | (screenplay) | |
Original Music by | |||
| Alan Silvestri | |||
Cinematography by | |||
| Dean Cundey | (director of photography) | ||
Film Editing by | |||
| Harry Keramidas | |||
| Arthur Schmidt | |||
Casting by | |||
| Mike Fenton | |||
| Valorie Massalas | |||
| Judy Taylor | |||
Production Design by | |||
| Rick Carter | |||
Art Direction by | |||
| Margie Stone McShirley | |||
Set Decoration by | |||
| Linda DeScenna | (as Linda De Scenna) | ||
Costume Design by | |||
| Joanna Johnston | |||
Makeup Department | |||
| Ellis Burman Jr. | .... | makeup artist (as Ellis Berman) | |
| Dorothy Byrne | .... | hair stylist | |
| Hazel Catmull | .... | hair stylist | |
| Ken Chase | .... | makeup designer | |
| Nancy J. Hvasta Leonardi | .... | makeup artist (as Nancy Hvasta) | |
| Michael Mills | .... | makeup applier | |
| Kenny Myers | .... | makeup applier | |
| Allen Payne | .... | hair stylist | |
| Elizabeth Rabe | .... | additional hair stylist | |
| Bron Roylance | .... | makeup artist: Michael J. Fox | |
| Roland Blancaflor | .... | foam latex technician (uncredited) | |
Production Management | |||
| Joan Bradshaw | .... | unit production manager | |
| Martin Cohen | .... | post-production supervisor | |
Special Effects by | |||
| Yarek Alfer | .... | miniatures crew/modelmaker | |
| David Blitstein | .... | special effects | |
| Randy Cabral | .... | special effects | |
| Donald Elliott | .... | special effects foreman | |
| Joss Geiduschek | .... | special effects shop | |
| Pete Gerard | .... | special effects shop (as Bryson Gerard) | |
| Thomas R. Homsher | .... | special effects technician | |
| Michael Joyce | .... | special effects shop | |
| Michael Lantieri | .... | special effects supervisor | |
| Roger Lifsey | .... | special effects: second unit | |
| Matt McDonnell | .... | special effects purchaser | |
| Tim Moran | .... | special effects: second unit | |
| Mark Noel | .... | special effects shop | |
| Larry Odien | .... | special effects crew | |
| Tom Pahk | .... | prop shop/model supervisor (as Thomas Pahk) | |
| John Palmer | .... | special effects project supervisor: WonderWorks | |
| Michael Roundy | .... | special effects crew | |
| Gregory C. Tippie | .... | special effects: second unit (as Greg Tippie) | |
| Brian Tipton | .... | special effects | |
| Joanne Bloomfield | .... | fabricator (uncredited) | |
Visual Effects by | |||
| Barbara Affonso | .... | model maker: ILM | |
| Jon Alexander | .... | optical camera operator: ILM | |
| Charles Bailey | .... | model maker: ILM (as Charlie Bailey) | |
| Gordon Baker | .... | animator: ILM | |
| Bill Barr | .... | stage technician: ILM | |
| Greg Beaumonte | .... | vistaglide system: ILM | |
| William Beck | .... | model maker: ILM | |
| Kathleen Beeler | .... | rotoscoper: ILM | |
| John Bell | .... | visual effects art director: ILM | |
| Tom Bertino | .... | rotoscope supervisor: ILM | |
| Andrea Biklian | .... | optical coordinator: ILM | |
| Mike Bolles | .... | vistaglide system: ILM | |
| Barbara Brennan | .... | rotoscoper: ILM | |
| Marty Brenneis | .... | vistaglide system: ILM | |
| Kim Bromley | .... | visual effects coordinator: ILM | |
| Elizabeth Ann Bundschu | .... | production assistant: ILM (as Elizabeth Bundschu/Mooney) | |
| Anne Calanchini | .... | visual effects coordinator: ILM | |
| Charlie Canfield | .... | effects camera operator: ILM (as Charles Canfield) | |
| Jo Carson | .... | camera assistant: ILM | |
| Sean M. Casey | .... | matte artist: ILM (as Sean Casey) | |
| Lanny Cermak | .... | vistaglide system: ILM | |
| Wade Childress | .... | matte photography: ILM | |
| Donald Clark | .... | optical camera operator: ILM (as Don Clark) | |
| Charlie Clavadetscher | .... | effects camera operator: ILM (as Charles Clavadetscher) | |
| Mike Cochran | .... | vistaglide system: ILM | |
| Susan Adele Colletta | .... | post production coordinator | |
| Michael Cooper | .... | optical line-up: ILM | |
| Peter Daulton | .... | camera operator: ILM | |
| Christofer Dierdorff | .... | effects camera operator: ILM (as Christopher Dierdorff) | |
| Mark A.Z. Dippé | .... | computer graphics: ILM (as Mark Dippee) | |
| Les Dittert | .... | computer graphics: ILM | |
| Jeff Doran | .... | optical camera operator: ILM | |
| Loring Doyle | .... | visual effects artist | |
| Timothy Eaton | .... | visual effects editor: ILM (as Tim Eaton) | |
| Selwyn Eddy | .... | vistaglide operator: ILM (as Selwyn Eddy III) | |
| John Ellis | .... | optical photography supervisor: ILM | |
| Scott Farrar | .... | associate visual effects supervisor: ILM | |
| Bob Fernley | .... | optical processing: ILM | |
| Jon Foreman | .... | model maker: ILM | |
| Joe Fulmer | .... | vistaglide system: ILM | |
| Michael Fulmer | .... | model maker: ILM (as Mike Fulmer) | |
| George Gambetta | .... | optical line-up: ILM | |
| Steve Gawley | .... | supervising model maker: ILM | |
| John Gazdik | .... | camera assistant: ILM (as John Gazdick) | |
| Tim Geideman | .... | optical processing: ILM | |
| Ray Gilberti | .... | camera operator: ILM | |
| Tim Gillett | .... | model mechanical design: ILM | |
| Reuben Goldberg | .... | pyro technician: ILM | |
| John Goodson | .... | model maker: ILM | |
| Chris R. Green | .... | animator: ILM (as Chris Green) | |
| Joanne Hafner | .... | rotoscoper: ILM | |
| James Hagedorn | .... | optical camera operator: ILM | |
| David Hallinger | .... | camera assistant: ILM | |
| David Hanks | .... | camera assistant: ILM (as Dave Hanks) | |
| Kevin Havner | .... | negative cutter: ILM | |
| Rebecca Heskes | .... | rotoscoper: ILM (as Rebecca Petrulli) | |
| Sandy Houston | .... | rotoscoper: ILM | |
| Larry Hunter | .... | stage technician: ILM | |
| Peg Hunter | .... | optical line-up: ILM | |
| Steve Hyde | .... | visual effects artist | |
| Brad Jerrell | .... | supervising stage technician: ILM | |
| Keith Johnson | .... | optical camera operator: ILM | |
| Ed Jones | .... | executive in charge of post-production: ILM (as Ed L. Jones) | |
| Randy Jonsson | .... | camera assistant: ILM (as Randy Johnson) | |
| David Karpman | .... | optical line-up: ILM | |
| Sandra Ford Karpman | .... | computer graphics: ILM (as Sandy Ford) | |
| Ira Keeler | .... | model maker: ILM | |
| Kathleen Keeler | .... | rotoscoper: ILM | |
| Suella Kennedy | .... | visual effects producer: ILM | |
| Bill Kimberlin | .... | visual effects editor: ILM | |
| Jennifer Knoll | .... | visual effects coordinator: ILM | |
| Tad Krzanowski | .... | model mechanical design: ILM (as Tad Krazanowski) | |
| Brad Kuehn | .... | optical line-up: ILM | |
| Demetre Lagios | .... | vistaglide system: ILM | |
| Jeffrey A. Leake | .... | stage technician: ILM (as Jeff Lake) | |
| Jennifer Lee | .... | optical line-up: ILM | |
| James Lim | .... | optical camera operator: ILM | |
| Ross Lorente | .... | stage technician: ILM | |
| Jonathan Luskin | .... | computer graphics: ILM | |
| Mike MacKenzie | .... | vistaglide engineer: ILM | |
| John Malvino | .... | matte photography: ILM | |
| Michael McGovern | .... | assistant effects editor: ILM | |
| Roberto McGrath | .... | negative cutter: ILM | |
| Scott McNamara | .... | model mechanical design: ILM | |
| Gary Meyer | .... | vistaglide system: ILM | |
| Carl Miller | .... | camera assistant: ILM | |
| Richard Miller | .... | model maker: ILM | |
| Terry Molatore | .... | rotoscoper: ILM (as Terry Sittig) | |
| Jack Mongovan | .... | rotoscoper: ILM | |
| Amy Moore | .... | production assistant: ILM | |
| Tim Morgan | .... | stage technician: ILM | |
| Ellen Mueller | .... | rotoscoper: ILM | |
| Patrick T. Myers | .... | effects camera operator: ILM | |
| Lori J. Nelson | .... | optical line-up: ILM (as Lori Nelson) | |
| Cameron Noble | .... | effects camera operator: ILM | |
| Kerry Nordquist | .... | matte artist: ILM | |
| Terry O'Brien | .... | optical camera operator: ILM | |
| Kate O'Neill | .... | camera assistant: ILM | |
| Michael Olague | .... | visual effects crew | |
| Dawn Oltman | .... | editorial coordinator: ILM | |
| David Owen | .... | matte artist: ILM | |
| Udo Pampel | .... | vistaglide system: ILM | |
| Terrence Peck | .... | assistant effects editor: ILM (as Terry Peck) | |
| Lorne Peterson | .... | model maker: ILM | |
| Vance Piper | .... | camera assistant: ILM | |
| Ken Ralston | .... | visual effects supervisor | |
| Chuck Ray | .... | pyro technician: ILM | |
| Louis Rivera | .... | negative cutter: ILM | |
| Stuart Robertson | .... | optical photography supervisor: ILM | |
| Stephen Rosenbaum | .... | computer graphics: ILM | |
| Martin Rosenberg | .... | camera operator: ILM | |
| Scott Ross | .... | general manager: ILM | |
| Thomas Rosseter | .... | optical line-up: ILM (as Tom Rosseter) | |
| Mark Siegel | .... | model maker: ILM | |
| John Silver | .... | stage technician: ILM | |
| Kenneth Smith | .... | optical camera operator: ILM | |
| Thomas J. Smith | .... | optical camera operator: ILM (as Tom Smith) | |
| Douglas Smythe | .... | computer graphics: ILM (as Doug Smythe) | |
| Eben Stromquist | .... | model mechanical design: ILM | |
| Duncan Sutherland | .... | camera assistant: ILM | |
| Pat Sweeney | .... | camera operator: ILM (as Patrick Sweeney) | |
| Eric Swenson | .... | effects camera operator: ILM | |
| Wes Takahashi | .... | animation supervisor: ILM | |
| Larry Tan | .... | model maker: ILM | |
| Melissa Taylor | .... | visual effects coordinator: ILM | |
| Timothy Taylor | .... | vistaglide system: ILM (as Tim Taylor) | |
| Vince Tilker | .... | vistaglide system: ILM | |
| Pat Turner | .... | camera operator: ILM | |
| Sean Turner | .... | animator: ILM | |
| Yusei Uesugi | .... | matte artist: ILM | |
| I.J. Van Perre | .... | stage technician: ILM | |
| Wim van Thillo | .... | model maker: ILM (as Wim Van Thillo) | |
| Bruce Vecchitto | .... | optical line-up: ILM | |
| Danny Wagner | .... | model maker: ILM (as Dan Wagner) | |
| Bruce Walters | .... | effects camera supervisor: ILM | |
| Greg Walters | .... | camera assistant: ILM | |
| Judith Weaver | .... | animation coordinator: ILM | |
| Chuck Wiley | .... | model maker: ILM | |
| Jeffrey Wilkins | .... | model mechanical design: ILM (as Jeff Wilkins) | |
| Isa Alsup | .... | computer animation (uncredited) | |
| Patrick Clancey | .... | effects compositor of video playback material (uncredited) | |
| Steven Kosakura | .... | vistaglide technician (uncredited) | |
Stunts | |||
| Bobby Aldridge | .... | utility stunts | |
| Tony Brubaker | .... | stunts (as Anthony Brubaker) | |
| Will Cascio | .... | stunts | |
| Jake Crawford | .... | stunt performer | |
| Charles Croughwell | .... | stunts | |
| Bret Culpepper | .... | stunt safety | |
| Cheryl Wheeler Duncan | .... | stunt double: Darlene Vogel (as Cheryl Wheeler-Dixon) | |
| Cheryl Wheeler Duncan | .... | stunts (as Cheryl Wheeler-Dixon) | |
| Greg Wayne Elam | .... | stunts | |
| Richie Gaona | .... | stunts (as Richard Gaona) | |
| Karen Laine | .... | stunts | |
| Gary Morgan | .... | stunts | |
| Pat Romano | .... | stunts (as Patrick Romano) | |
| David Rowden | .... | stunts (as David Scott Rowden) | |
| John-Clay Scott | .... | stunts (as John Clay Scott) | |
| Walter Scott | .... | stunt coordinator | |
| R.L. Tolbert | .... | stunts | |
| Mike Watson | .... | stunts | |
| Lane Leavitt | .... | stunts (uncredited) | |
| Gregg Smrz | .... | stunts (uncredited) | |
Casting Department | |||
| Joni Kearney | .... | casting assistant (uncredited) | |
Costume and Wardrobe Department | |||
| Gala Autumn | .... | costumer | |
| James P. Cullen | .... | costumer (as Jim Cullen) | |
| Bill Hargate | .... | costume constructor | |
| Kelly Lindquist | .... | costumer | |
| Nancy McArdle | .... | costume supervisor: women | |
| Maurice Palinski | .... | costumer (as Frank 'Maurice' Palinski) | |
| David S. Powell | .... | costumer (as David Powell) | |
| Ivette Silberman | .... | costumer | |
| Chuck Velasco | .... | costume supervisor: men | |
| Tomas Velasco | .... | costume constructor | |
| Barcie Waite | .... | costumer | |
Editorial Department | |||
| Eric C. Daroca | .... | apprentice editor (as Eric Daroga) | |
| Dale E. Grahn | .... | color timer (as Dale Grahn) | |
| Peter Lonsdale | .... | associate editor | |
| Janet Fiona Mason | .... | assistant editor (as Janet Mason) | |
| Carin-Anne Strohmaier | .... | assistant editor | |
| Alexandra Leviloff | .... | second assistant editor (uncredited) | |
Music Department | |||
| James B. Campbell | .... | orchestrator | |
| Sandy DeCrescent | .... | orchestra contractor | |
| Kenneth Karman | .... | music editor | |
| Dennis S. Sands | .... | music scoring mixer (as Dennis Sands) | |
| Jacqueline Tager | .... | assistant music editor | |
| James Thatcher | .... | musician: French horn solos | |
| Chuck Domanico | .... | musician: bass (uncredited) | |
Transportation Department | |||
| Richard Burch | .... | driver: insert car | |
| Denny Caira | .... | transportation captain: second unit | |
| Lyle Christensen | .... | shotmaker driver | |
| Dale Henry | .... | transportation captain | |
| Hugh Kelly | .... | driver: second unit | |
| Michael D. Kuljis | .... | transportation coordinator: picture cars (as Mike Kuljis) | |
| Russell McEntyre | .... | transportation coordinator | |
| Keith O'Brien | .... | transportation co-captain | |
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| Back to the Future | Back to the Future Part III | Click | Superman | Terminator 2: Judgment Day |
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| News articles | IMDb Adventure section | IMDb USA section |
It's funny that the plot of 'Back to the Future II' should be based on altering Marty McFly's future. Wasn't Doc the one who was so staunchly opposed to knowing too much about their future, preferring instead to let things take a natural course? 'Destiny!' he called it. But that is exactly what the sequel is all about, Doc's proposal to altar the future. And this leads not only to bad news for Doc Brown and Marty, but for the your Density? I mean, Destiny? (flashback humor).
The story focuses on Marty McFly's future. Picking up right where we left off in the first movie, Doc informs Marty that in the year 2015, Marty's son partakes in some unfortunate activities with Griff (Biff's grandson) that lead to his arrest and incarceration. While in the future to fix up that little mishap (again, messing with 'Destiny'), Marty picks up a sports Almanac to take back with him. The Almanac contains all sports scores since something like 1955 (why it is only the size of a magazine, I don't know, considering it covers major college and pro sporting event for a whole lot of years).
The Doc, in disgust at Marty's foolish get-rich-quick desires, throws the magazine out (while still in 2015). Unfortunately, Biff, now an old man, gets hold of both the magazine and the Delorian and travels to his young self in 1955. This sets off a change of events in the past so that when Marty and the Doc, now in the future, are ready to go back to 1985, suddenly find themselves in an unfamiliar hell. With Biff changing the past, he also changed the future, creating a desolate, alternate 1985. One where Biff is the richest man in Hill Valley, though still the sleaziest. And where a lot of other things have changed as well. Now, Marty and the Doc have to go back to 1955 and get the magazine from Biff if they expect to restore the future and erase the alternative 1985.
This is a great sequel to a great movie. You get the 1989 version of the future (I don't know that 2015 will make the kind of progress we see in the movie with cool flying cars and dehydrating pizzas and hoverboards). This is the special effects and visual beauty of the second, whereas in the first one, it was recreating the past. Marty had to once adapt to 1955, now he has to do the same for 2015, even if only for a moment.
But, it also ties in another creative aspect: when Marty and the Doc must return to 1955, they only know the whereabouts of Biff based on where they last saw him in that year--the school dance and all of that which took place in the first movie. Going back to that past means that a Marty "Calvin Klein" McFly is already there, and the events are taking place again just as we saw them in the first movie. And now, the Marty and the Doc from the future are intermingling once again with their past versions of themselves. So, in essence, the filmmakers had to recreate some of the scenes from the old movie, from different angles, and the actors had to play dual roles (which they do often throughout the trilogy) by being added into those scenes. It was a great special effects/visionary project to undertake, and what makes the series so damned creative and really a fun idea. And here, too, the goal is to avoid running into your past self because, yes, it could altar events once again. I wonder how the future changed since Marty and Doc's intervention in 2015?
So, prepare yourself for what may arguably be the best movie out of the trilogy (probably because you get to see the future and past and everything in between; although, I'm still torn between rating the first or the second as my absolute favorite). It is the continuation of a fun first movie, and keeps up the creativity and novelty. I think that was the reason most responsible for its success: the ability to keep offering something new (although some things, are obviously repeated, like the running gag of Marty blacking out and waking up to some version of his mother informing him of what year it is after he tells her what an awful dream he had).
So, sit back and let the Delorean be your guide.