Bob Gale, the co-creator and screenwriter of the iconic “Back to the Future” trilogy, has once again slammed the door shut on rumors of a reboot or spinoff, and thank goodness for that.
The latest speculation erupted after the Netflix series finale for “Cobra Kai” included a tease for a possible Easter egg — a nod to Back to the Future’s time-traveling DeLorean, as detailed by People.
Before the series ended with two main characters in the diner, you eventually pick up on background characters at a separate table (portrayed by the show’s co-creators) very clearly name-dropping various actors and places from “Back to the Future,” clearly sparking all manner of speculation that the time-traveling movie trilogy may get a spin-off or sequel series, much in the same way “Cobra Kai” was a spin-off to “The Karate Kid” movie franchise.
But Gale, who penned the trilogy with director Robert Zemeckis, wasn’t having it, swiftly debunking the rumors while speaking to People on April 25.
“I don’t know why they keep talking about that!” he said. “I mean, do they think that if they say it enough times, we’re going to actually do it?”
Gale wasn’t done swatting down the rumors. “I mean, it’s like they know in every interview people say, ‘Oh Bob, when is there going to be a Back to the Future 4?’ Never,” he added.
“‘When is there going to be a prequel?’ Never. ‘When is there going to be a spinoff?’ Never,” he said. “It’s just fine the way it is. It’s not perfect, but as Bob Zemeckis used to say, ‘It’s perfect enough.’”
Gale did joke that there was one scenario where they would do a reboot or sequel film.
“If the juggernaut of corporate America or corporate international mishigas says, ‘If you don’t agree to this, we’re going to kill your children,’ alright, well, no, we don’t want our children killed,” Gale told People, before adding that executive producer Steven Spielberg would also have to sign off on a sequel, and the film auteur has been hesitant to sign off on similar projects for his cherished “E.T.” film.
Do you still go to movie theaters?
Gale’s frustration is palpable, and it’s hard to blame him — “Back to the Future” is a beloved trilogy, a cultural phenomena that still resonates today despite a lack of visibility, and one that certainly doesn’t need meddling from a creatively bankrupt Hollywood.
Just look at the over 15,000 likes this YouTube video of the original “Back to the Future” trailer garnered:
The trilogy, spanning releases from 1985 to 1990, follows Marty McFly (Michael J. Fox) and Emmett “Doc” Brown (Christopher Lloyd) through time-traveling adventures that are equal parts thrilling and heartfelt — a near-perfect blend of sci-fi and nostalgia.
Modern Hollywood, however, is a decrepit machine, subsisting on remakes and reimaginings of established intellectual properties, too scared to take risks on anything original.
Disney’s deluge of live-action remakes — like “Snow White” and “The Little Mermaid” — is a prime example, stripping animated classics of their charm to churn out soulless, photorealistic cash grabs.
(In fairness, the former of those aforementioned examples may very well have been so atrocious that it course-corrected the House of Mouse.)
Why can’t Hollywood be creative for once? Instead of retrofitting a gem like “Back to the Future” for a “modern audience,” why not make something new that speaks to today’s viewers (whoever that elusive audience may be)?
Gale is absolutely right: “Back to the Future” may not be a perfect trilogy (though I’d argue it is), but it’s good enough. You’re not going to improve on Marty’s skateboard chase or Doc’s struggle on a giant clock with a reboot.
Any attempt to do so would likely tarnish the franchise’s legacy, as most remakes do — just look at the 2016 “Ghostbusters” or the endless “Terminator” sequels that somehow keep getting worse.
Hollywood’s obsession with recycling IPs is a symptom of its cowardice, a refusal to innovate when it’s easier to slap a familiar name on a project and call it a day.
Gale’s stance is a rare breath of integrity in an industry that’s lost its way, and his refusal to let “Back to the Future” be dragged into the creatively bankrupt remake mire deserves applause.
Let’s hope Gale’s firm “no” sends a message: some stories are best left untouched, and the tale of “Back to the Future” is one of them.
It’s time for Hollywood to grow a spine, take a risk, and create something original instead of pillaging the past for profit.
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