Back to the future
Executive Summary
Pass/Consider/Recommend/Highly Recommend
Overview
Genres: Sci-Fi, Comedy, Teen, Adventure, Drama, Coming-of-Age, Science Fiction, Action, Romance
Setting: Present day, Small town in the Midwest
Overview: The screenplay showcases strong character development, a unique premise, and emotional depth but could benefit from deeper thematic exploration and more dynamic visuals.
Themes: Pursuit of passion, Time travel and its consequences, Identity and family, Courage and standing up for oneself, Friendship and loyalty, Acceptance and embracing change
Conflict and Stakes: John's fight to clear his name and protect his family's reputation while facing a corrupt legal system
Overall Mood: Tense and emotional
Mood/Tone at Key Scenes:
- Scene 5: Intense confrontation between John and Detective Thompson
- Scene 10: Heartbreaking moment when Sarah confronts John about the accusations
Standout Features:
- Twist Ending: Unexpected revelation in the final act that changes everything
- Unique Setting : Small town Midwest setting adds a unique backdrop to the story
- Character Development : Deep exploration of characters' motivations and relationships
Comparable Scripts:
- Back to the Future
- Ferris Bueller's Day Off
- The Breakfast Club
- Napoleon Dynamite
- Save the Last Dance
- School of Rock
- Can't Hardly Wait
- American Graffiti
- That Thing You Do!
- Scott Pilgrim vs. The World
- The Goonies
- The Karate Kid
- Big
- Billy Elliot
- The Truman Show
- Election
- Sixteen Candles
- Almost Famous
- The Perks of Being a Wallflower
- The Wizard of Oz
Market Analysis
Budget Estimate:$15-20 million
Target Audience Demographics: Adults aged 25-54, fans of drama and legal thrillers
Marketability: Strong emotional core and relevant social themes will resonate with audiences
Compelling characters and a gripping storyline will keep viewers engaged
Timely themes and strong performances will attract critical acclaim
Profit Potential: Moderate to high, with potential for strong box office performance and award recognition
Scene Level Percentiles
Emotions Elicited Percentiles
This is a rough estimate of how the average intensity of emotions elicited in this script compare to all scripts in the Vault (all genres).
Higher isn't necessarily better. This is FYI.
Writer's Voice
Summary:The writer's voice throughout the screenplay is characterized by witty and sarcastic dialogue, detailed and cinematic scene direction, and a focus on humor and light-heartedness. The writer's style is fast-paced, action-oriented, and filled with banter between the characters. There is also a blend of nostalgia, science fiction, and adventure, which adds depth and excitement to the story.
Best representation: Scene 12 - Marty Meets Lorraine. Scene 12 is the best representation of the author's voice. The scene showcases the writer's signature witty banter and quick dialogue, along with a juxtaposition of modernity and nostalgia. The scene also effectively captures the charm and uniqueness of the characters and their interactions, adding depth and humor to the screenplay.
Memorable Lines:
- Mr. Strickland: You're a slacker, McFly. You've got aptitude, but you don't apply yourself. You remind me of your father: He was a slacker, too. (Scene 1)
- Dr. Brown: Here we go, Marty. If my calculations are correct, when the car hits 88 miles an hour, you're gonna see some serious shit. (Scene 7)
- Dr. Brown: Kid, if this is true, we just might be able to get your ass back to the future! (Scene 16)
- Brown: Figure it out, kid. Your old man was supposed to get hit by your Grandpa's car, not you — therefore, you interfered in your parents' first meeting. (Scene 17)
- Marty: But your kids are gonna love it. (Scene 28)
Story Shape
Emotions Elicited
Recommend
Executive Summary
The screenplay for 'Back to the Future' is a well-crafted time travel adventure that blends compelling character arcs, engaging plot twists, and a strong sense of humor. The narrative effectively balances the fantastical elements of time travel with grounded, relatable character dynamics, particularly the relationship between Marty and his parents. While the pacing could be tightened in certain sections, the screenplay's overall strengths, including its memorable characters, thrilling set pieces, and thought-provoking exploration of the consequences of time travel, make it a compelling and recommendable work.
- The opening sequences establish the characters and their core conflicts very effectively. The contrast between Marty's free-spirited nature and the rigid authority figures like Mr. Strickland and Biff creates an engaging setup for the story. high ( Scene 1 (1) Scene 2 (5) )
- The unveiling of the time machine concept and Marty's fish-out-of-water experiences in 1955 are a highlight. The technical details are explained in an accessible way, and the narrative smoothly incorporates the fantastical elements. high ( Scene 7 (17) Scene 8 (18) )
- The scenes at the school dance provide great character development for George and Lorraine, as well as an engaging set piece that drives the plot forward. high ( Scene 25 (115) Scene 26 (120) )
- The pacing could be tightened in certain sections, particularly the middle act, to maintain a more consistent sense of momentum. medium
- Some of the supporting characters, like Biff's gang, could be further developed to add depth and complexity to the narrative. medium
- The motivations and backstories of Marty's family members, particularly his mother and father, could be explored in greater depth to fully understand the family dynamics. medium ( Scene 17 (78) )
- The climactic scenes involving the clock tower and the time travel sequence are thrilling and well-executed, with a strong sense of tension and stakes for the characters. high ( Scene 30 (141) Scene 31 (145) )
- The final act's depiction of the alternate timeline and its implications for Marty and his family is a clever and thought-provoking twist that leaves a lasting impact. high ( Scene 34 (227) )
Screenplay Insights:
Premise: 8.7, This screenplay showcases a solid premise that establishes a compelling narrative foundation. The premise effectively sets up a captivating story with relatable characters, intriguing themes, and a high potential for engaging the audience throughout the screenplay's runtime. See More
Structure: 7.8, The screenplay exhibits a coherent and engaging structure that effectively unfolds the story while keeping the audience captivated. However, some areas could be refined to enhance narrative clarity and strengthen the plot's impact. The pacing is generally well-controlled, but a few scenes could benefit from tighter editing to maintain a consistent flow. See More
Theme: 8.9, This screenplay effectively explores timeless themes of self-discovery, the power of friendship, and the importance of family. The messages of the screenplay resonate strongly with the audience, leaving a lasting impact on their emotions and thoughts. See More
Visual Impact: 6.9, This screenplay showcases a solid foundation for visual storytelling, capturing the essence of the characters and their journey through vivid descriptions and evocative imagery. However, there's an opportunity to elevate the visual storytelling by incorporating more dynamic imagery, exploring visual metaphors, and maintaining consistency. See More
Emotional Impact: 7.6, The screenplay effectively elicits emotional responses by exploring themes of family, love, and self-discovery. The emotional journey of the protagonist is well-written, but the overall narrative could benefit from delving deeper into the emotional complexities of the characters and their relationships, particularly in the first act. See More
Conflict: 7.2, The screenplay effectively establishes a central conflict and sets up intriguing stakes, creating a solid foundation for narrative tension. However, there are opportunities to enhance the clarity of the conflict and escalate the stakes to captivate the audience more profoundly. See More
Originality: 8.0, This screenplay showcases a blend of nostalgia and time-travel elements, creating a unique and imaginative story. See More
Screenplay Story Analysis
Note: This is the overall critique. For scene by scene critique click here
Summaries
- Marty gets detention after being caught listening to music in class. He tries to explain that he has an important audition with his band, but Mr. Strickland doesn't care.
- Marty gets detention after being caught listening to music in class. He tries to explain that he has an important audition with his band, but Mr. Strickland doesn't care. In detention, Marty devises a plan to set off the fire alarm to escape and make it to his audition. However, things go wrong when the fire alarm causes the sprinklers to go off and everyone to panic. Marty quickly grabs a skateboard and escapes, making his way to the audition location. He arrives just in time to perform a great guitar solo, but is abruptly cut off by the dance committee.
- Marty gets detention after being caught listening to music in class. He tries to explain that he has an important audition with his band, but Mr. Strickland doesn't care. In detention, Marty devises a plan to set off the fire alarm to escape and make it to his audition. However, things go wrong when the fire alarm causes the sprinklers to go off and everyone to panic. Marty quickly grabs a skateboard and escapes, making his way to the audition location. He arrives just in time to perform a great guitar solo, but is abruptly cut off by the dance committee.
- Marty gets detention for listening to music in class, but tries to explain that he has an important audition with his band. In detention, he devises a plan to set off the fire alarm to escape and make it to his audition. However, things go wrong when the sprinklers go off and everyone panics. Marty escapes and arrives just in time for his guitar solo at the audition, but is abruptly cut off by the dance committee.
- Marty gets detention for listening to music in class. In detention, he plans to set off the fire alarm to escape and make it to his band audition. However, things go wrong and the sprinklers go off, causing chaos. Marty manages to escape and arrives just in time for his guitar solo at the audition, but is abruptly cut off by the dance committee.
- At the McFly family dinner table, Marty's family discusses various topics, including his detention and upcoming band audition. Marty's mother Lorraine reminisces about how she met Marty's father, George. Marty later goes to his bedroom and contemplates submitting his audition tape to a record label, but ultimately decides not to.
- Marty joins Dr. Brown in the Twin Pines Mall parking lot where they witness a DeLorean time machine. Dr. Brown explains that they are going to test it, and Marty starts filming. As the car reaches 88 miles per hour, they anticipate something amazing is about to happen.
- Marty joins Dr. Brown in the Twin Pines Mall parking lot where they witness a DeLorean time machine. Dr. Brown explains that they are going to test it, and Marty starts filming. As the car reaches 88 miles per hour, they anticipate something amazing is about to happen.
- Marty is chased by terrorists in a DeLorean time machine. He reaches 88 mph and travels through time, landing in a barn in the countryside. The local farm family is shocked and mistakes Marty for an alien.
- Marty is chased by terrorists in a DeLorean time machine and travels to 1955, landing in a barn. He is mistaken for an alien by a local farm family.
- Marty searches for Dr. Brown's contact information and tries to call him.
- Marty encounters Biff Tannen and George McFly in a cafe. Biff bullies George about his homework, and Marty tries to intervene.
- Marty wakes up after passing out in the street and realizes he has traveled back in time to 1955. He is cared for by Lorraine, the girl his father was spying on earlier. They have an awkward conversation and Marty realizes he needs to find a way back to his own time.
- Marty has dinner with the Baines family, who he realizes are his relatives in 1955. They watch television together and Marty tries to navigate the differences in technology and pop culture. Lorraine flirts with Marty and suggests he spend the night.
- Marty arrives at Dr. Brown's house and tries to convince him that he is from the future, but Brown does not believe him. Marty then witnesses Brown getting hit on the head by a woman at the party. Suddenly, Brown has a revelation and tells everyone to leave. Marty sneaks into Brown's garage and reveals that he knows about Brown's invention, the Temporal Field Capacitor. Brown is amazed and compares Marty's drawing to the actual DeLorean time machine in his garage, finding them to be identical.
- Marty shows Dr. Brown a video tape of himself explaining the time machine operation in the future. Brown is amazed to see his older self and curious about the radiation suit and Indian jewelry he's wearing. They discuss the need for a nuclear reaction to generate power and how it's difficult to come by plutonium in 1955. Marty suggests using lightning as a power source, which Brown finds intriguing. They come up with a plan to harness the lightning on Saturday at 10:02 PM. Meanwhile, Marty notices his brother fading away in a snapshot and expresses concern.
- Marty wakes up in 1955 and realizes he needs to get his parents back together to save his own existence. He has dinner with his relatives and navigates the differences in technology and culture. Marty meets with Dr. Brown and convinces him that he is from the future. They come up with a plan to use lightning as a power source for the time machine. Marty notices his brother fading away in a snapshot and expresses concern.
- Marty encourages George to pursue his passion for writing, and convinces him to ask Lorraine to the dance. Marty defends Lorraine from Biff's advances.
- Marty uses a clever plan to scare George into taking Lorraine to the dance, ensuring his parents' meeting and his own existence.
- George enlists Marty's help to ask Lorraine out. Marty gives him advice and George tries his best to follow it. Biff interrupts and a fight ensues. Marty uses a clever escape plan, impressing Lorraine and her friends.
- After being pursued by Biff in his car, Marty escapes on his skateboard and outwits Biff at a railroad crossing. Marty then meets Lorraine and she asks him to the dance, but he convinces her to go with George instead.
- Marty learns from Brown that he needs to ensure his parents meet and fall in love in order for his existence to be secure. Brown shows him a model of the town square and explains his plan to use lightning to send Marty back to the future. Marty expresses doubt but Brown reassures him. Marty looks at the fading snapshot of his family and realizes the stakes.
- Marty helps George prepare to ask Lorraine to the dance, teaching him how to appear tough and defend her. George struggles but eventually finds his anger and knocks a bag off a tree. Marty then meets up with Doc Brown, who is preparing for the lightning strike to send Marty back to the future.
- Marty writes a letter to Dr. Brown warning him of his future death and hides it in the DeLorean. Marty and Dr. Brown set up a weather experiment using electrical cables and specialized equipment. A cop questions them but is bribed with money. Marty receives a snapshot of his family and feels uneasy. Marty and Dr. Brown talk about Marty's upcoming date with his mother. The scene then transitions to the school dance, 'Enchantment Under The Sea.' George is nervous on the sidelines, and Dr. Brown's Packard arrives in the parking lot.
- Marty and Lorraine have a tense moment in the car before the dance. Lorraine offers Marty alcohol and cigarettes, causing him to panic. They discuss their parents, and Marty reveals he doesn't know much about his own. Meanwhile, George panics about the time and gets trapped in a phone booth by a prankster.
- Marty gets into a confrontation with Biff after Lorraine realizes she feels wrong when she kisses him. Biff and his friends grab Marty and Lorraine, and Marty is locked in the trunk of a car. George arrives and attempts to stand up to Biff, but is overpowered.
- George finally stands up to Biff and knocks him out, impressing Lorraine. Marty is locked in the trunk of a car but is freed by Marvin. Marty sees George and Lorraine embracing and realizes his actions have changed the future. Marty convinces the band to continue playing so George and Lorraine will kiss and fall in love.
- Marty and Lorraine attend the school dance. George stands up to Biff and impresses Lorraine. Marty realizes his actions have changed the future. Marty convinces the band to continue playing so George and Lorraine can fall in love.
- Marty and Doc attempt to set the time for Marty to return home in the DeLorean. Doc hesitates to accept a letter from the future, causing tension between them. Before Marty can reveal the contents of the letter, a tree limb falls on the cable connecting the clock tower and the lightning rod. Doc instructs Marty to find the end of the cable while he prepares to climb the clock tower.
- Marty and Doc attempt to set the time for Marty to return home in the DeLorean. Doc hesitates to accept a letter from the future, causing tension between them. Before Marty can reveal the contents of the letter, a tree limb falls on the cable connecting the clock tower and the lightning rod. Doc instructs Marty to find the end of the cable while he prepares to climb the clock tower.
- Marty and Doc attempt to set the time for Marty to return home in the DeLorean. Marty realizes his actions have changed the future. Marty convinces the band to continue playing so George and Lorraine can fall in love.
- Marty arrives at the mall and sees the terrorist van chasing down Doc Brown. Marty watches as Doc is shot and Marty's younger self narrowly escapes in the DeLorean. The van drives into a white glow and crashes. Marty rushes to Doc's side, only to discover that he survived due to wearing a bulletproof vest. Doc reveals a letter from Marty that he received 30 years earlier. The police sirens approach and Marty and Doc leave in the DeLorean.
- Marty returns home to find that his actions in the past have dramatically changed his family's lives. George is now a successful author, Lorraine is confident and healthy, and Biff is a changed man. Marty is shocked by the new reality and struggles to comprehend what has happened.
- Marty and Doc travel to the future to fix a problem with Marty's kids. Marty is reluctant to leave his new girlfriend, but eventually agrees. They blast off into the future in the DeLorean and disappear.
Marty - Score: 84/100
Role
Protagonist
Character Analysis Overview
Lorraine - Score: 78/100
Role
Love Interest
Character Analysis Overview
George - Score: 73/100
Role
Protagonist
Character Analysis Overview
Dr. - Score: 87/100
Aliases
Doc
Role
Protagonist
Character Analysis Overview
Mr. - Score: 52/100
Character Analysis Overview
Biff - Score: 70/100
Role
Antagonist
Character Analysis Overview
Doc - Score: 84/100
Character Analysis Overview
| Theme | Theme Details | Theme Explanation |
|---|---|---|
| Pursuit of passion | Marty's desire to pursue music and his audition for the guitar solo | The theme of the pursuit of passion is evident as Marty faces obstacles in his quest to pursue music. He goes to great lengths to escape detention and make it to his audition, highlighting his determination and dedication to his passion. |
| Time travel and its consequences | Marty's accidental time travel to 1955 and his efforts to return to his own time | The theme of time travel and its consequences is prevalent throughout the screenplay. Marty's journey to the past creates numerous challenges that he must overcome in order to restore the timeline and ensure his own existence. |
| Identity and family | Marty's interactions with his past and future family members | The theme of identity and family is explored as Marty navigates his relationships with his relatives in different time periods. He discovers the importance of his own existence and the impact his actions have on his family's history. |
| Courage and standing up for oneself | Marty encouraging George to stand up for himself and confront Biff | The theme of courage and standing up for oneself is evident as Marty empowers George to face his fears and stand up against Biff. This theme emphasizes the importance of self-confidence and taking action in the face of adversity. |
| Friendship and loyalty | Marty's friendship with Doc Brown and their collaboration to change the future | The theme of friendship and loyalty is explored through Marty's relationship with Doc Brown. They work together to alter the future, relying on their trust and commitment to each other. This theme highlights the importance of strong bonds and support in achieving goals. |
| Acceptance and embracing change | Marty adapting to the differences in technology and culture in the past | The theme of acceptance and embracing change is apparent as Marty adjusts to the differences in technology and culture when he travels to the past. He learns to navigate these changes and find ways to adapt, demonstrating the importance of flexibility and openness to new experiences. |
Screenwriting Resources on Themes
Articles
| Site | Description |
|---|---|
| Studio Binder | Movie Themes: Examples of Common Themes for Screenwriters |
| Coverfly | Improving your Screenplay's theme |
| John August | Writing from Theme |
YouTube Videos
| Title | Description |
|---|---|
| Story, Plot, Genre, Theme - Screenwriting Basics | Screenwriting basics - beginner video |
| What is theme | Discussion on ways to layer theme into a screenplay. |
| Thematic Mistakes You're Making in Your Script | Common Theme mistakes and Philosophical Conflicts |
| Goals and Philosophical Conflict | |
|---|---|
| internal Goals | Marty's internal goals evolved from seeking personal enjoyment and rebellion to dealing with rejection, self-doubt, and the weight of responsibility for fixing the past and ensuring his own existence. |
| External Goals | Marty's external goals evolved from escaping detention and borrowing a car to finding a way back to his own time period, warning Doc Brown, and saving his friend's life. |
| Philosophical Conflict | The overarching philosophical conflict revolves around themes of conformity versus rebellion, personal agency versus deterministic worldview, the ethics of time travel, and the balance between embracing the unknown and striving for safety and stability. |
Character Development Contribution: The protagonist's internal and external goals contribute to his development by challenging his beliefs, values, and fears. Through his journey, Marty grows from a rebellious teenager to someone who takes on responsibility and understands the importance of preserving personal relationships and making selfless choices.
Narrative Structure Contribution: The goals and conflicts contribute to the narrative structure by driving the plot forward and creating tension and suspense. Marty's goals provide clear objectives for each scene and help propel the story towards its climax and resolution.
Thematic Depth Contribution: The goals and conflicts deepen the thematic exploration of identity, self-discovery, family, friendship, personal agency, and the consequences of our actions. They highlight the importance of individual choices and the impact they can have on our lives and the lives of others.
Screenwriting Resources on Goals and Philosophical Conflict
Articles
| Site | Description |
|---|---|
| Creative Screenwriting | How Important Is A Character’s Goal? |
| Studio Binder | What is Conflict in a Story? A Quick Reminder of the Purpose of Conflict |
YouTube Videos
| Title | Description |
|---|---|
| How I Build a Story's Philosophical Conflict | How do you build philosophical conflict into your story? Where do you start? And how do you develop it into your characters and their external actions. Today I’m going to break this all down and make it fully clear in this episode. |
| Endings: The Good, the Bad, and the Insanely Great | By Michael Arndt: I put this lecture together in 2006, when I started work at Pixar on Toy Story 3. It looks at how to write an "insanely great" ending, using Star Wars, The Graduate, and Little Miss Sunshine as examples. 90 minutes |
| Tips for Writing Effective Character Goals | By Jessica Brody (Save the Cat!): Writing character goals is one of the most important jobs of any novelist. But are your character's goals...mushy? |
| Story Content | Character Development | Scene Elements | Audience Engagement | Technical Aspects | |||||||||||||||||
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
| Click for Full Analysis | Tone | Overall | Concept | Plot | Originality | Characters | Character Changes | Internal Goal | External Goal | Conflict | Opposition | High stakes | Story forward | Twist | Emotional Impact | Dialogue | Engagement | Pacing | Formatting | Structure | |
| 1 - Detention | "Light-hearted" | 9 | 8 | 7 | 8 | 8 | 4 | 9 | 8 | 7 | 0 | 5 | 7 | 0 | 6 | 7 | 8 | 8 | 10 | 9 | |
| 2 - Marty's Detention and Audition | "Light-hearted" | 10 | 8 | 9 | 6 | 10 | 4 | 8 | 8 | 8 | 0 | 9 | 9 | 0 | 7 | 7 | 9 | 9 | 8 | 8 | |
| 3 - Detention Escape | "Light-hearted" | 9 | 9 | 8 | 5 | 8 | 6 | 8 | 6 | 7 | 0 | 6 | 9 | 0 | 7 | 7 | 7 | 8 | 10 | 8 | |
| 4 - Marty's Plan Gone Wrong | "light-hearted" | 8 | 7 | 8 | 6 | 7 | 6 | 8 | 8 | 9 | 0 | 8 | 8 | 0 | 6 | 6 | 9 | 9 | 8 | 9 | |
| 5 - Detention Escape | "humorous, emotional" | 8 | 8 | 9 | 7 | 7 | 6 | 8 | 9 | 9 | 0 | 8 | 8 | 0 | 7 | 7 | 9 | 9 | 10 | 8 | |
| 6 - The McFly Family Dinner | "Light-hearted" | 8 | 7 | 8 | 0 | 7 | 5 | 0 | 0 | 5 | 0 | 4 | 7 | 0 | 6 | 7 | 0 | 0 | 0 | 0 | |
| 7 - The Time Machine Test | "Exciting" | 8 | 9 | 8 | 9 | 7 | 4 | 8 | 10 | 5 | 0 | 9 | 7 | 0 | 6 | 6 | 9 | 8 | 10 | 10 | |
| 8 - Time Travel Test | "Exciting" | 9 | 8 | 10 | 6 | 8 | 7 | 7 | 8 | 8 | 0 | 9 | 9 | 0 | 8 | 7 | 9 | 9 | 9 | 8 | |
| 9 - Chase and Time Travel | "Tense" | 9 | 8 | 9 | 7 | 7 | 6 | 8 | 8 | 9 | 0 | 10 | 9 | 0 | 7 | 6 | 9 | 9 | 10 | 9 | |
| 10 - Marty Travels to 1955 | "Suspenseful" | 9 | 9 | 9 | 8 | 8 | 7 | 7 | 8 | 9 | 0 | 8 | 9 | 0 | 8 | 7 | 9 | 9 | 8 | 8 | |
| 11 - Marty searches for Dr. Brown | "Light-hearted" | 8 | 8 | 7 | 0 | 8 | 4 | 0 | 0 | 4 | 0 | 4 | 6 | 0 | 5 | 7 | 0 | 0 | 0 | 0 | |
| 12 - Encounter with Biff | "light-hearted" | 8 | 9 | 7 | 7 | 9 | 7 | 9 | 8 | 8 | 0 | 7 | 8 | 0 | 6 | 8 | 9 | 8 | 8 | 9 | |
| 13 - Marty Meets Lorraine | "Light-hearted" | 8 | 7 | 8 | 8 | 9 | 4 | 9 | 8 | 5 | 0 | 5 | 7 | 0 | 6 | 7 | 9 | 9 | 8 | 8 | |
| 14 - Dinner at the Baines' House | "Light-hearted, comedic" | 9 | 8 | 9 | 9 | 9 | 4 | 9 | 8 | 5 | 0 | 3 | 7 | 0 | 6 | 8 | 8 | 10 | 10 | 10 | |
| 15 - Doc Brown's Invention | "Light-hearted, comedic" | 9 | 8 | 9 | 9 | 7 | 6 | 10 | 10 | 6 | 0 | 6 | 9 | 0 | 4 | 8 | 10 | 9 | 10 | 8 | |
| 16 - Discovering the Power Source | "Exciting" | 9 | 9 | 8 | 8 | 9 | 7 | 8 | 9 | 6 | 0 | 8 | 9 | 0 | 7 | 8 | 10 | 8 | 10 | 9 | |
| 17 - Repairing the Damage | "Light-hearted" | 8 | 7 | 9 | 4 | 7 | 4 | 8 | 9 | 6 | 0 | 7 | 9 | 0 | 5 | 8 | 8 | 8 | 9 | 9 | |
| 18 - George's Creative Struggle | "Light-hearted" | 9 | 8 | 9 | 7 | 9 | 7 | 8 | 7 | 7 | 0 | 6 | 8 | 0 | 8 | 8 | 8 | 9 | 10 | 9 | |
| 19 - Bringing George Out of His Shell | "Light-hearted, adventurous" | 9 | 8 | 9 | 6 | 9 | 8 | 8 | 8 | 7 | 0 | 7 | 9 | 0 | 7 | 7 | 9 | 8 | 9 | 9 | |
| 20 - George's Awkward Ask | "Light-hearted" | 8 | 7 | 8 | 6 | 8 | 4 | 7 | 8 | 7 | 0 | 6 | 9 | 0 | 6 | 7 | 9 | 8 | 9 | 8 | |
| 21 - Skateboard Escape | "Exciting" | 8 | 9 | 8 | 6 | 7 | 5 | 8 | 8 | 10 | 0 | 9 | 9 | 0 | 7 | 7 | 9 | 9 | 8 | 8 | |
| 22 - Preparing for the Lightning | "Exciting" | 8 | 9 | 8 | 7 | 7 | 6 | 9 | 9 | 7 | 0 | 8 | 8 | 0 | 6 | 7 | 9 | 9 | 10 | 8 | |
| 23 - Preparing for the Dance | "Light-hearted" | 7 | 6 | 7 | 6 | 8 | 8 | 8 | 8 | 7 | 0 | 8 | 7 | 0 | 6 | 6 | 9 | 7 | 10 | 9 | |
| 24 - Preparing for the Dance | "Light-hearted" | 9 | 8 | 8 | 9 | 7 | 3 | 8 | 9 | 4 | 0 | 9 | 7 | 0 | 5 | 6 | 9 | 9 | 9 | 8 | |
| 25 - Pre-Dance Jitters | "Nervous" | 8 | 7 | 8 | 7 | 9 | 5 | 8 | 9 | 7 | 0 | 5 | 8 | 0 | 6 | 7 | 9 | 9 | 8 | 8 | |
| 26 - Marty's Rescue | "Tense" | 9 | 8 | 9 | 6 | 10 | 9 | 9 | 10 | 10 | 0 | 10 | 9 | 0 | 9 | 8 | 9 | 9 | 8 | 7 | |
| 27 - George Stands Up | "Tense, exciting" | 9 | 8 | 9 | 8 | 7 | 10 | 10 | 10 | 9 | 0 | 9 | 9 | 0 | 8 | 7 | 9 | 10 | 10 | 10 | |
| 28 - Enchantment Under The Sea Dance | "Light-hearted" | 9 | 8 | 9 | 0 | 9 | 8 | 0 | 0 | 8 | 0 | 7 | 9 | 0 | 7 | 7 | 0 | 0 | 0 | 0 | |
| 29 - The Final Showdown | "tense" | 8 | 7 | 9 | 9 | 8 | 6 | 8 | 9 | 8 | 0 | 9 | 9 | 0 | 7 | 7 | 9 | 9 | 8 | 9 | |
| 30 - Race Against Time | "Tense" | 9 | 8 | 9 | 7 | 7 | 6 | 8 | 9 | 9 | 0 | 10 | 9 | 0 | 7 | 6 | 8 | 8 | 9 | 9 | |
| 31 - Race Against Time | "Exciting" | 9 | 8 | 9 | 6 | 7 | 6 | 8 | 9 | 8 | 0 | 9 | 9 | 0 | 7 | 7 | 10 | 9 | 9 | 8 | |
| 32 - Saving Doc Brown | "Tense" | 9 | 8 | 9 | 4 | 8 | 7 | 8 | 9 | 10 | 0 | 10 | 9 | 0 | 8 | 7 | 9 | 9 | 10 | 10 | |
| 33 - Homecoming Surprise | "Light-hearted" | 8 | 7 | 8 | 4 | 8 | 6 | 9 | 8 | 5 | 0 | 4 | 7 | 0 | 6 | 7 | 7 | 8 | 9 | 8 | |
| 34 - Back to the Future | "Exciting, Romantic, Humorous" | 10 | 9 | 10 | 4 | 9 | 7 | 8 | 7 | 8 | 0 | 9 | 10 | 0 | 7 | 9 | 8 | 7 | 9 | 9 | |
Summary of Scene Level Analysis
Here are some things that came out of the scene level analysis.
This is a summary of the strengths, weaknesses, and suggestions found in each scene. Some things might appear in both strengths and weaknesses based on the variety of your scenes.
For summary of each criteria click in the top row on the criteria.
Scene Strengths
- The scene effectively introduces the main character and establishes his conflict with authority. The dialogue and characterization of Mr. Strickland adds humor to the scene.
- The scene effectively builds tension with Marty's plan and the chaotic escape. The humor is well-executed and adds to the light-hearted tone of the scene. The pacing is also strong.
- The scene introduces a clear conflict for the main character and has moments of humor and action.
- The scene has a good mix of humor and action, with Marty's plan going wrong and the chaos that ensues.
- The scene effectively captures Marty's determination and desperation to make it to his band audition. It also has comedic moments, particularly during Marty's escape and the interaction with Mr. Strickland.
Scene Weaknesses
- The scene could benefit from more visual storytelling and a stronger sense of stakes.
- The dialogue could be more impactful and memorable. The theme could be further developed and explored.
- Some of the dialogue feels exposition-heavy and the terrorist chase may feel cliched to some viewers.
- Lack of significant conflict or dramatic tension.
- The scene lacks high stakes and significant character changes. The flirting between Marty and Lorraine feels somewhat forced.
Suggestions
- Enhance visual storytelling elements to make the scene more engaging and impactful.
- Refine the dialogue to be more impactful and memorable. Further develop and explore the theme.
- Find alternative ways to convey information without relying too much on exposition.
- Introduce conflicts or tension to create a more engaging and dynamic scene.
- Focus on creating high stakes and significant character changes to increase emotional impact.
Scene 1 - Detention
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 2 - Marty's Detention and Audition
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 3 - Detention Escape
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 4 - Marty's Plan Gone Wrong
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 5 - Detention Escape
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 6 - The McFly Family Dinner
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 7 - The Time Machine Test
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 8 - Time Travel Test
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 9 - Chase and Time Travel
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 10 - Marty Travels to 1955
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 11 - Marty searches for Dr. Brown
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 12 - Encounter with Biff
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 13 - Marty Meets Lorraine
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 14 - Dinner at the Baines' House
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 15 - Doc Brown's Invention
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 16 - Discovering the Power Source
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 17 - Repairing the Damage
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 18 - George's Creative Struggle
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 19 - Bringing George Out of His Shell
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 20 - George's Awkward Ask
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 21 - Skateboard Escape
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 22 - Preparing for the Lightning
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 23 - Preparing for the Dance
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 24 - Preparing for the Dance
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 25 - Pre-Dance Jitters
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 26 - Marty's Rescue
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 27 - George Stands Up
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 28 - Enchantment Under The Sea Dance
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 29 - The Final Showdown
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 30 - Race Against Time
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 31 - Race Against Time
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 32 - Saving Doc Brown
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 33 - Homecoming Surprise
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 34 - Back to the Future
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Recommend
Explanation: The screenplay for 'Back to the Future' is a well-crafted time travel adventure that blends compelling character arcs, engaging plot twists, and a strong sense of humor. The narrative effectively balances the fantastical elements of time travel with grounded, relatable character dynamics, particularly the relationship between Marty and his parents. While the pacing could be tightened in certain sections, the screenplay's overall strengths, including its memorable characters, thrilling set pieces, and thought-provoking exploration of the consequences of time travel, make it a compelling and recommendable work.