Back in Time Page #4

So we were afraid if we did another

picture with Steven, and it tanked,

We'd never work again.

And Bob said,

"I gotta get a movie made that's mine,

"So that people understand that Bob Zemeckis

can make a movie without Steven Spielberg."

And after all the frustration of not

getting "back to the future" made,

Bob finally said, "I'm gonna take the next

decent script that gets submitted to me."

Zemeckis went off without me and had a

huge success with "romancing the stone."

Back off me, creep.

Just back off.

Oh. Oh, I'm the creep, huh?

Well, at least I'm honest.

I'm stealing this stone.

I'm not trying to

romance it out from under her.

Out of nowhere,

this phone call comes

From the music editor, tom Carlin,

who I had worked with on "C.H.I.P.S."

And he's doing this movie

called "romancing the stone"

With this guy named

Robert Zemeckis.

Introduced us on the phone.

A guy and a girl running through the

jungle. Raining, machetes, federali.

"Can you do, like,

three minutes of that

"And come in around

9:
30 tomorrow morning?"

I put a little, quickie,

demo mock-Up together,

Went in, got the job.

It's a big, big hit.

Everybody wants his next picture.

The movie he wants to make the most is

"back to the future."

And he decides rather than make it with

any of his new, fair-Weather friends,

Who now wanna be in business

with him because he made a hit,

We should go back to the guy

who believed in it originally,

They came back, and they brought me the

script called "back to the future."

And they said, you know,

"We'd like you

to be involved in this.

"We think it's something

we really wanna do."

And I read it and loved it.

I mean, I couldn't believe what an

accomplished and fun piece of writing it was.

And it was different than anything

I'd ever seen in a movie theater.

The story was off-The-Wall,

And out-Of-Sight, and out-Of-The-Box,

and all those other terms.

And so, I brought it

to Sid Sheinberg,

And Sid loved it too and gave us the

financing to go off and make it.

So we got it set up

at universal.

And lo and behold, the guy who was in charge

of the studio at universal was frank price,

Who originally brought us on

to write it.

Guy McElwaine,

who had worked for me,

Who was now running Columbia,

I mentioned to him that

a project he had with peter Falk

Seemed a lot

like "double indemnity."

And he was committed

to making it.

Guy had his lawyers check it,

Read the script

and make comparisons.

And I got

an urgent call from him,

Saying, "my god, you're right.

It's 'double indemnity, '

As it turned out, universal owned

the rights to "double indemnity."

I came up with two projects

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