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“We almost always called him Marty,” Bob Gale says. It was a time when we were emerging from the seventies. Tom Wilson remembers there being an off atmosphere and uncomfortable buzz around the set in the first few days of 1985. “Although he was doing the part well, he was not bringing that element of comedy to the screen.” As surprising as the announcement was, some on the crew had sensed that a big change was forthcoming once shooting resumed after the Christmas holiday.

“We thought it was silly, but we figured if it helped him do his job, it was harmless. All the young actors wanted to be like De Niro and Pacino, which was good in a lot of ways. He wasn’t really a comedian, and they needed a comedian. Christopher Lloyd also had a sense that things were not clicking the way they should have been. “There were signs, especially the last week or so,” Cundey says.

The pageant continued, with the crew continuing to accumulate largely irrelevant footage of Stoltz, unknowingly practicing for Fox’s turn at the take, as unit photographer Ralph Nelson snapped photographs that would remain under lock and key for decades to follow. The majority of those called to the mall that night had no reason to suspect that this shoot would be any different from the ones that preceded it. On January 10, in the column for Stoltz, Jones wrote the letter It was decided beforehand that members of the production team would let the principal cast know about the change slightly in advance of the big announcement to the rest of the crew.

Bob Gale spoke with Crispin Glover, who was cast as George Mc Fly, and Thomas F.

When Martha Coolidge was hired to direct, she cast Kim Delaney as Amanda Jones and Kyle Mac Lachlan as Hardy Jenns.

The origin of the frequently awkward and hostile working relationship between Stoltz and Wilson can be traced back to when the former was required to push the latter while filming the scene in the school cafeteria. “My boyfriend at the time was Dennis Quaid, and he was overseas making a movie,” she says. “They said they weren’t done with it, there may be some changes, and they couldn’t go into it any further, but I was to stop what I was doing.” The formal announcement came during the late-night “lunch break,” around p.m.Just hours earlier, Zemeckis got the approval to move forward with transitioning away from one lead actor to the other.Few people knew it at the time, but the actor was soon to be given severance and sent on his way.Sheinberg agreed, but the transition couldn’t take place right away — Stoltz was forced to labor on, unaware his days as Marty were numbered.In this exclusive excerpt from Caseen Gaines’s new book, We Don’t Need Roads: The Making of the Back to the Future Trilogy, the people behind the film reveal what those odd few weeks on set were like.

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