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Roooads? Painting

Philip Leister

Painting, Acrylic on Canvas

Size: 96 W x 36 H x 2.5 D in

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Doc: Roads? Where we're going, we don't need roads. Marty McFly: [seeing a holographic ad for "Jaws 19"] Shark still looks fake. Biff Tannen: Where is he? CPR Kid: Who? Biff Tannen: Calvin Klein. CPR Kid: Who? Biff Tannen: The guy with the hat. Where is he? CPR Kid: Oh he went that way. I think he took your wallet! [to bystander] CPR Kid: I think he took his wallet. Doc: The time-traveling is just too dangerous. Better that I devote myself to study the other great mystery of the universe: women! Iko 'Jitz' Fujitsu, Marty's Boss in 2015: [shouts] McFly! Middle-Aged Marty: Fujitsu-san, Konnichiwa. Iko 'Jitz' Fujitsu, Marty's Boss in 2015: McFly, I was monitoring that scan you just interfaced. You are *terminated*! Middle-Aged Marty: Terminated? No, no, it wasn't my fault sir! It was Needles, Needles was behind the whole thing! Iko 'Jitz' Fujitsu, Marty's Boss in 2015: And you cooperated! Middle-Aged Marty: No, I didn't, ah, it was a sting operation. Iko 'Jitz' Fujitsu, Marty's Boss in 2015: It was illegal, and you knew! Middle-Aged Marty: I was - I was - I was setting him up. Iko 'Jitz' Fujitsu, Marty's Boss in 2015: McFly, read my fax! Middle-Aged Marty: No! Please! No! I cannot be fired, I'm fired! Oh! [Fax comes out saying "YOU'RE FIRED!" on three different machines, In concern, Jennifer takes one of the copies] Middle-Aged Marty: Oh, this is heavy. [crumples a copy of the fax against his forehead] Middle-Aged Marty: What am I gonna tell Jennifer? Doc: What's this? Marty McFly: Uh, it's a... souvenir. Doc: "50 years of sports statistics." Hardly recreational reading material, Marty. Marty McFly: Well, hey, Doc, what's the harm in bringing back a little info on the future? You know, maybe we could place a couple bets. Doc: Marty, I didn't invent the time machine for financial gain! The intent here is to gain a clearer perception of humanity. Where we've been, where we're going, the pitfalls and the possibilities, the perils, and the promise. Perhaps even an answer to that universal question, "Why?" Marty McFly: Hey, Doc, I'm all for that. What's wrong with making a few bucks on the side? [Biff is walking down the street when a basketball suddenly rolls his way. He picks it up claiming it for himself] Basketball Kids: [rightful owners come up] Give us our ball back. Give us our ball back. Biff Tannen: Is this your ball? Basketball Kids: Yes! Biff Tannen: Do you want it back? Basketball Kids: Yes! Biff Tannen: [throws the basketball onto an upper balcony of a brown house] Well, go get it! Ha-ha! Young Biff: Why don't you make like a tree and get out of here? Old Biff: It's *leave*, you idiot! "Make like a tree, and leave." You sound like a damn fool when you say it wrong. Young Biff: All right then, LEAVE! And take your book with you! Young Biff: Manure! I hate manure! (Who actually does like it?) Lorraine Baines: Dammit Biff, that's it. I'm leaving! Biff Tannen: Oh, so go ahead. But think about this Lorraine, who's gonna pay for all your clothes, huh? And your jewelry, and your liquor? Who's gonna pay for your cosmetic surgery Lorraine? Lorraine Baines: You were the one who wanted me to get these-these things! If you want 'em back, you can have em. Biff Tannen: Look, Lorraine, you walk out that door and I won't only cut off you, I'll cut off your kids. Lorraine Baines: You wouldn't! Biff Tannen: Oh, wouldn't I? First, your daughter Linda, I'll cancel all her credit cards. She can settle her debts with the bank all by herself. Your idiot son Dave? I'll get his probation revoked. And as for Marty, well maybe you'd like to have all three of your kids behind bars just like your brother Joey. One big happy jailbird family. Lorraine Baines: Alright Biff, you win. I'll stay. Biff Tannen: [to Marty] As for you, I'll be back up here in an hour, so you better not be! Marty McFly: [arriving in 1955] Oh, this is heavy, Doc. I mean, it's like I was just here yesterday. Doc: You were here yesterday, Marty. Old Terry: [Terry is holding a device that uses your thumbprint] Save the clock tower! [to Marty] Old Terry: Hey kid, thumb a hundred bucks will ya, help save the clock tower? Marty McFly: I... Sorry, no. Another time. Old Terry: Come on, kid. That's an important historical landmark. Lightning struck that thing sixty years ago! Marty McFly: [Where Goldie Wilson III's advert was earlier, a "Sportsflash" holo-announcement starts. It says that the Chicago Cubs beat the Miami Gators in the World Series] 'Cubs win world series... against Miami'? Old Terry: Yeah, it's somethin', huh? Who woulda thought? 100 to 1 shot! I wish I could go back to the beginning of the season, put some money on the Cubs. Marty McFly: I just meant that Miami- What did you just say? Old Terry: I said I wish I could go back to the beginning of the season, put some money on the Cubbies! [Terry turns around and walks away] Marty McFly: [showing the two boys how to play the shoot 'em up video game] I'll show you, kid. I'm a crack shot at this. [shoots a perfect score with the electronic gun] Video Game Boy #1: You mean you have to use your hands? Video Game Boy #2: That's like a baby's toy! Marty McFly: There he is, Doc! Let's land on him, we'll cripple his car. Doc: Marty, he's in a '46 Ford, we're in a DeLorean. He'd rip through us like we were tin foil. Data: Hey McFly, you bojo, those boards don't work on water! Whitey: Unless you've got POWER! Western Union Man: Kid, you all right? You need any help? Marty McFly: There's only one man who can help me. from ‘Back to the Future Part II’ (1989) Starring Lea Thompson (Tales from the Crypt), Crispin Glover (Wait, what?), Billy Zane (The Phantom), Elisabeth Shue (Heart and Souls), Thomas F. Wilson (Back to the Future… the Ride), Christopher Lloyd (Taxi), Elijah Wood (Sin City), Ricky Dean Logan (Freddy’s Dead: The Final Nightmare), Michael Balzary ("You pick it. I stick it."), Casey Siemaszko (Young Guns), Charles Fleischer ("Jumpin' Jeepers.”), James Tolkan (Lundgren’s He-Man), and Michael J. Fox (The Frighteners). Written by Robert Zemeckis (Mifune’s 1941) and Bob Gale (Go to the Head of the Class). Directed by Robert Zemeckis (Contact with Jodie Foster). Back to the Future Part II is a 1989 American science fiction film directed by Robert Zemeckis and written by Bob Gale. It is the sequel to the 1985 film Back to the Future and the second installment in the Back to the Future franchise. The film stars Michael J. Fox, Christopher Lloyd, Lea Thompson, and Thomas F. Wilson. The film follows Marty McFly (Fox) and his friend Dr. Emmett "Doc" Brown (Lloyd) as they travel from 1985 to 2015 to prevent Marty's son from sabotaging the McFly family's future; when their arch-nemesis Biff Tannen (Wilson) steals Doc's DeLorean time machine and uses it to alter history for his benefit, the duo must return to 1955 to restore the timeline. The film was produced on a $40 million budget and was filmed back to back with its sequel, Part III. Filming began in February 1989 after two years were spent building the sets and writing the scripts. Two actors from the first film, Crispin Glover and Claudia Wells, did not return; Wells's character Jennifer Parker was recast with Elisabeth Shue in the role, while Glover's character, George McFly, was not only minimized in the plot but also was obscured and portrayed by Jeffrey Weissman in heavy make-up. Glover successfully sued Zemeckis and Gale, changing how producers can deal with the departure and replacement of actors in a role. Back to the Future Part II was also a ground-breaking project for visual effects studio Industrial Light & Magic (ILM): In addition to digital compositing, ILM used the VistaGlide motion control camera system, which allowed an actor to portray multiple characters simultaneously on-screen without sacrificing camera movement. Back to the Future Part II was released by Universal Pictures on November 22, 1989. The film initially received mixed reviews from critics and grossed over $336 million worldwide in its initial run, making it the third-highest-grossing film of 1989. Reception of the film has improved with time, as the performances, story, direction, cinematography, musical score and predictions have been singled out for praise. Some critics have noted it as one of Zemeckis' best films, as well as one of the best sequels of all time. Michael Robert Gale (born May 25, 1951) is an American screenwriter, producer and film director. He co-wrote the science fiction comedy film Back to the Future with writing partner Robert Zemeckis, and the screenplays for the film's two sequels. Gale also co-produced all three films and served as associate producer on the subsequent animated TV series. Michael J. Fox noted that Back to the Future co-creator Bob Gale is "the gatekeeper" for the franchise. Robert Lee Zemeckis (born May 14, 1951) is an American film director, film producer, and screenwriter who is frequently credited as an innovator in visual effects. He first came to public attention in the 1980s as the director of Romancing the Stone (1984) and the science-fiction comedy Back to the Future film trilogy, as well as the live-action/animated comedy Who Framed Roger Rabbit (1988). In the 1990s, he directed Death Becomes Her and then diversified into more dramatic fare, including 1994's Forrest Gump, for which he won the Academy Award for Best Director; the film itself won Best Picture. The films he has directed have ranged across a wide variety of genres, for both adults and families. Zemeckis's films are characterized by an interest in state-of-the-art special effects, including the early use of the insertion of computer graphics into live-action footage in Back to the Future Part II (1989) and Forrest Gump, and the pioneering performance capture techniques seen in The Polar Express (2004), Monster House (2006), Beowulf (2007), A Christmas Carol (2009), and Welcome to Marwen (2018). Though Zemeckis has often been pigeonholed as a director interested only in special effects, his work has been defended by several critics including David Thomson, who wrote that "No other contemporary director has used special effects to more dramatic and narrative purpose.” Source: Wikipedia

Details & Dimensions

Painting:Acrylic on Canvas

Original:One-of-a-kind Artwork

Size:96 W x 36 H x 2.5 D in

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I’m (I am?) a self-taught artist, originally from the north suburbs of Chicago (also known as John Hughes' America). Born in 1984, I started painting in 2017 and began to take it somewhat seriously in 2019. I currently reside in rural Montana and live a secluded life with my three dogs - Pebbles (a.k.a. Jaws, Brandy, Fang), Bam Bam (a.k.a. Scrat, Dinki-Di, Trash Panda, Dug), and Mystique (a.k.a. Lady), and five cats - Burglekutt (a.k.a. Ghostmouse Makah), Vohnkar! (a.k.a. Storm Shadow, Grogu), Falkor (a.k.a. Moro, The Mummy's Kryptonite, Wendigo, BFC), Nibbler (a.k.a. Cobblepot), and Meegosh (a.k.a. Lenny). Part of the preface to the 'Complete Works of Emily Dickinson helps sum me up as a person and an artist: "The verses of Emily Dickinson belong emphatically to what Emerson long since called ‘the Poetry of the Portfolio,’ something produced absolutely without the thought of publication, and solely by way of expression of the writer's own mind. Such verse must inevitably forfeit whatever advantage lies in the discipline of public criticism and the enforced conformity to accepted ways. On the other hand, it may often gain something through the habit of freedom and unconventional utterance of daring thoughts. In the case of the present author, there was no choice in the matter; she must write thus, or not at all. A recluse by temperament and habit, literally spending years without settling her foot beyond the doorstep, and many more years during which her walks were strictly limited to her father's grounds, she habitually concealed her mind, like her person, from all but a few friends; and it was with great difficulty that she was persuaded to print during her lifetime, three or four poems. Yet she wrote verses in great abundance; and though brought curiosity indifferent to all conventional rules, had yet a rigorous literary standard of her own, and often altered a word many times to suit an ear which had its own tenacious fastidiousness." -Thomas Wentworth Higginson "Not bad... you say this is your first lesson?" "Yes, but my father was an *art collector*, so…"

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