Grays Sports Almanac: Complete Sports Statistics 1950-2000

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Exclusive Behind the Scenes Part IV: How We Got Jennifer". gametrailers.com. March 23, 2011. Archived from the original on November 5, 2015 . Retrieved October 14, 2015. Thomas F. Wilson's "Biff's Question Song" ". September 27, 2006. Archived from the original on September 20, 2011 . Retrieved October 2, 2011– via YouTube. BiffCo Realty, a part of BiffCo Enterprises, owned Lyon Estates. In 1985, a line at the foot of each lion statue at the entrance (albeit partly obscured by graffiti) said that Lyon Estates was a PROUD MEMBER OF THE BiffCo FAMILY. The 62nd Academy Awards (1990) Nominees and Winners". Academy of Motion Picture Arts and Sciences. AMPAS. Archived from the original on April 2, 2015 . Retrieved April 9, 2014.

After old Biff managed to steal the time machine, he traveled to November 12th, 1955 to give his younger self the Almanac. Old Biff told his younger self that all he had to do was bet on the winner, and he'll never lose. Originally, old Biff thought that it would result in positive outcomes, however, the results for Biff did not last that long. When old Biff returned to 2015, he came out of the DeLorean in pain while leaving behind the broken tope of his cane inside. Apparently, in the bad alternate future, Lorraine shot Biff sometime in the 1990s, which resulted in old Biff literally being erased from existence in 2015. Google Libros ~ Haz búsquedas en el mayor catálogo de libros completos del mundo. Mi colección. Editores Información Privacidad Términos Ayuda Información Privacidad Términos Ayuda Hanson, Kevin (April 18, 2013). "Why Don't We Have Hoverboards?". Popular Mechanics. Archived from the original on March 8, 2014 . Retrieved March 5, 2014. Claudia Wells, who had played Marty's girlfriend Jennifer Parker in the first film, planned to reprise her role, but turned it down due to family reasons–reportedly to care for her mother, who was ill with cancer at the time of filming the second film. [16] The producers cast Elisabeth Shue instead, which involved re-shooting the closing scenes of the first film for the beginning of Part II. The re-shot sequence is a near shot-for-shot match with the original, with only minor differences. [17] [18] Solon, Olivia (October 27, 2011). "Video: French researchers build hoverboard". Wired UK. Archived from the original on March 6, 2014 . Retrieved March 5, 2014.The almanac contains an incredible amount of detail, including college football games played on November 12, 1955, and the results of horse races on Biff's 21st birthday in 1958.

Dent, Jonathan (September 2015). "New words notes September 2015". Oxford English Dictionary. Archived from the original on December 22, 2015 . Retrieved June 9, 2019. Gross, Jane (March 27, 1990). "Oscar show lets viewers see movie stars as real people". The New York Times. p.27. Archived from the original on May 20, 2023 . Retrieved May 20, 2023– via Newspapers.com.Given that newspapers from the future change as the timeline is altered (due to the ripple effect), it is conceivable that such an almanac would always be accurate. The producers created a futuristic flying car to depict a typical taxi cab in the future world of 2015. This taxi was based on the Citroën DS. [32] The film was considered one of the most ground-breaking projects for Industrial Light & Magic. It was one of the effects house's first forays into digital compositing, as well as the VistaGlide motion control camera system, which enabled them to shoot one of its most complex sequences, in which Fox played three separate characters (Marty Sr., Marty Jr., and Marlene), all of whom interacted with each other. Although such scenes were not new, the VistaGlide allowed, for the first time, a completely dynamic scene in which camera movement could finally be incorporated. The technique was also used in scenes where Fox, Thomas F. Wilson, Christopher Lloyd, and Elisabeth Shue's characters encounter and interact with their counterparts. [4] It also includes a brief moment of computer-generated imagery in a holographic shark used to promote a fictional Jaws 19, which wound up unaltered from the first test done by ILM's digital department because effects supervisor Ken Ralston "liked the fact that it was all messed up." [6]