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- KurzbeschreibungA behind-the-scenes look at the making of the wildly successful and beloved Back to the Future trilogy, just in time for the 30th anniversary
Long before Marty McFly and Doc Brown traveled through time in a flying DeLorean, director Robert Zemeckis, and his friend and writing partner Bob Gale, worked tirelessly to break into the industry with a hit. During their journey to realize their dream, they encountered unprecedented challenges and regularly took the difficult way out.
For the first time ever, the story of how these two young filmmakers struck lightning is being told by those who witnessed it. We Don't Need Roads includes original interviews with Zemeckis, Gale, Christopher Lloyd, Lea Thompson, Huey Lewis, and over fifty others who contributed to one of the most popular and profitable film trilogies of all time.
With a focus not only on the movies, but also the lasting impact of the franchise and its fandom, "We Don't Need Roads" is the ultimate read for anyone who has ever wanted to ride a Hoverboard, hang from the top of a clock tower, travel through the space-time continuum, or find out what really happened to Eric Stoltz after the first six weeks of filming. So, why don't you make like a tree and get outta here - and start reading! "We Don't Need Roads" is your density.
- AutorCaseen Gaines
- VerlagPenguin Putnam Inc
- Seiten268 Seiten
- Gewicht246 g
Thursday, January 23, 2014
Murphy's Law-noun: The theory that, moments before an interview with Robert Zemeckis, one's audio recorder will malfunction.
At nine months into the research phase for this book, I knew I had put off calling Robert Zemeckis as long as I could. I was nervous about speaking with the creative brain behind some of my favorite films like Forrest Gump , Who Framed Roger Rabbit , and, of course, that epic time-travel trilogy. There were a million things I wanted to query him about, most of them having to do with the project I was working on. It wasn't so much that I was starstruck by the prospect of speaking with him, but when you have a chance to chat with a visionary whose work you respect and admire, it has a way of putting you on edge.
Or, at least, that's what I attribute my feelings to in hindsight. More likely it was because I had tangible evidence of the benefit of having Robert Zemeckis-or Bob Z, as he's known to friends, colleagues, and Back to the Future aficionados-on board for this book. A few weeks earlier, when I reached out to Christopher Lloyd's manager, he asked me if Zemeckis was on board. A line was drawn in the sand: The day I spoke to the director would be the day an interview would be scheduled with the Doc.
Challenge accepted. I hung up the phone with Lloyd's rep and retrieved the index card with Zemeckis's agent's phone number written on it, a three-by-five piece of card stock that had been haunting me ever since I'd scribbled on it four months earlier. Without jumping through too many hoops, I got a hold of Zemeckis's assistant, who promptly scheduled a half-hour interview for us, with only one request: "We respectfully ask that you contain the time to the thirty minutes which we have allotted." No big deal, I thought, until a week later when it was six minutes before our scheduled interview and the software I use to record Skype calls on my computer stopped working.
It was 12:24 P.M. Pacific Standard Time. I was based on the East Coast, but had grown accustomed to working my day around what I reductively referred to as "Los Angeles Time." Each second became more and more important. There was no way I was going to call Bob Z late. Bob G-Bob Gale, cowriter and coproducer of Back to the Future and its subsequent sequels-had told me that Zemeckis rarely does interviews on his past work. His rep's words raced through my head, an LED sign outside the New York Stock Exchange. Slowly at first, and then faster and faster, with the print getting larger and larger-THIRTY MINUTES WHICH WE HAVE ALLOTTED. THIRTY MINUTES WHICH WE HAVE ALLOTTED. THIRTY MINUTES. THIRTY MINUTES. MINUTES. MINUTES
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