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What you see is a true landmark.
In 1948, this 15-foot, 6-inch-long moonscape...
...created by Chesley Bonestell, who designed...
...the Golden Gate Bridge...
...is about to make science fiction history...
...and propel its director into a glorious future.
George Pal had enlightened the minds of audiences...
...to the world of science fiction...
...with the release of Destination Moon in 1950.
In 1955, our paths were soon to cross.
I was making World Without End, about a time warp...
...and George got the rights from the Wells estate...
...to make a time travel movie.
Four years later, this wonderful man with a contagious smile...
...would cast me...
...in this now classic motion picture: The Time Machine.
It took the magic of George Pal and the know-how...
...of Metro-Goldwyn-Mayer to take you to a world that is yet to be.
Why ignore the fourth dimension?
We can move in the other three: Up, down, forward, sideways, backward.
When it comes to time, we are prisoners.
When I worked on the set, I expected something out of Frankenstein.
Electrodes and wires, and things popping.
And when I saw this wonderful thing that was from the Victorian era...
...I was ready to really believe that...
...by sitting in this thing I could indeed travel from 1899...
...the period of the picture, when it started...
...through time. It impressed me so much.
I just loved the look of it. I still do.
I was lucky to get it back.
And we have spent many, many, many years together.
When we finished filming...
...we had a sense of accomplishment. But I felt sad.
I knew the time machine and I would go separate ways.
We did. I went on to make many movies...
...with a lot of other wonderful directors.
I always wondered about the time machine.
Well, 32 years have been pretty hard on her.
She's had some rough times and some great times.
Let's take a journey back to when she was conceived.
The story was based at the turn of the century.
George had to use childhood memories to first envision his machine:
His boyish love for sledding.
To slide down a hill...
...with a cold wind against his face...
That made him realize he needed a sled-like machine...
...to slide through time.
When he saw the first design, George turned it down.
It wasn't a sled. It was an electric chair.
Not the positive image he wanted to project.
But something did catch his eye. Something he liked.
Behind the machine, twirling, spinning...
...propelling it into the future:
A dish. The first important link.
George was into every detail.
Even the design on the dish. These little knobs and ridges.
There are 365 of them.
365 days in a year, makes sense.
George wanted it to spin in both directions.
Clockwise for the future and counterclockwise for the past.
It was a fragile part of the machine...
...and with its limited budget, that would prove too costly.
George wanted a special seat for his machine.
It had to stay true to the era.
The crew made an old-fashioned barber chair...
...because it was like a pilot's seat.
But the pedestal was wrong.
They replaced it with legs...
...and a design which gave it a Victorian look...
...as if the time traveler had carved it himself.
Staying true to the novel...
...George surrounded it with brass railings.
His sled was beginning to take shape.
Unlike pushing a sled down a hill...
...George needed a believable power source.
He could have used something like uranium...
...since science fiction movies at that time dealt with atomic power.
For George, atomic power and bombs would never do.
It was back to Wells' novel...
...and something modern science was researching:
Crystals.
That was it.
A clean source of power. A positive source.
He needed this to have a believable...
...Rococo, centuries-enduring time machine.
You did good, George.
I pushed the lever forward slightly.
And the laboratory grew faint around me.
Fans have been making models of the machine since the film's release.
You see this little gem here?
This was made in 1960 by an 18-year-old, Mike Minor.
All from memory.
Mike became the art director for Star Trek...
...and The Wrath of Khan.
You see this little guy? The dish is the size of a dime.
And Bob said to Steve, who made this, "You can't make it any smaller."
Three weeks later, Steve came back with this...
...the size of a housefly.
The original version for the movie was made by Wah Chang.
I used the blueprints from MGM...
...and we built the model from that.
It was made after the large one, and we had working drawings.
Paula Barran worked with me.
The metal, fancy scrollwork...
...was modeled in clay and cast in, I think...
...a low-melt metal.
For that small machine, probably tops was 50 dollars.
When the film was finished, George took it home.
Then the Bel-Air fire struck...
...and all of George's possessions were destroyed...
...including the machine.
It was a tragedy.
She was with me for 67 years.
George was a master of illusion.
He knew with time-lapse photography...
...he'd make us believe the machine...
...was moving in time with one trick:
The change in women's fashions over the decade.
Simple and brilliant.
This storyboard hasn't been seen in 33 years.
This was used briefly in the film, because George...
...didn't want it to relate to 1960, when the movie was released.
This storyboard has never been seen...
...and it shows how...
...my friend and I would change had we continued into the future.
Photographing The Time Machine presents a challenge.
When I'm in the 4th dimension, how do we make it seem...
...I'm moving through time? Simple.
George called his old friends at Projects Unlimited:
Tim Barr, Wah Chang, and Gene Warren, his Gene.
The most convincing thing was the most simple one...
...which was the first view out of...
...the skylight through the lab...
...because you can relate to it more...
...than a great hall built in the future...
...to see the sun and the clouds change...
...and the sun and the moon moving.
This set the pattern for his...
...time travel more than any other scene in the film.
Possibly, when the...
Having been covered by lava and having the walls break...
...may have, but not really.
The other was more convincing.
We had a light on a track...
...and we moved it one frame at a time.
No computers.
Some things could've been made easier, but other things...
...we did are probably as fast...
...as what you could do with a computer.
And maybe easier, in a way.
And also because there's a different look...
...to most computer animation.
The matte shots were done by Bill Brace.
He'd never done a matte shot before this movie.
He did very realistic renderings of flowers...
...and plants for the L.A. Times.
We knew it'd turn out as well as it did.
We knew it was the way to do that kind of scene.
There were a lot of them in the movie.
We set up his...
...canvas in front of the camera.
He painted frame by frame. That's how those scenes were done.
I think he did a fabulous job.
It really shows in the apples, because...
...of the ripening and aging. Really a great job.
We came up with this kind of sequence...
...in sort of a joint effort.
A lot of this was already in George's...
...script, ideas for the effects.
What we would do is decide...
...how we could enhance them, depending on the budget.
This was done in stop-frame...
...animation and in order to guide it...
...we used animation sheets...
...which I borrowed from the cartoon industry.
As you can see, they're marked out for...
...frames and feet in film.
That gives the direction to the animator of what he should do here.
The clock was easy, of course.
The candle offered a bit of a problem.
Since we didn't have...
...fancy computerized camera equipment in those days...
...it became a trick as to how to be sure...
...to make the candle go down in the proper sequence.
We couldn't just light the candle.
We had to do these things together, stop-frame.
That became a little bit of a challenge.
- To see a snail race by!
The same was used in the flower scene here and the snail...
...which was of course a little...
...manufactured rubber snail.
By the time you set up this scene...
...and each flower was animated...
...it probably was a four or five-hour animation scene...
...to get the five seconds on the screen.
In one of the memorable scenes, I kick...
...a Morlock off the machine.
He falls apart because I'm going the wrong way in time.
Gene will tell you how they made it.
These figures were wax...
...created from molds made off of real...
...bones and real skulls.
And so that...
...the process of the disintegration...
...was a combination of...
...frame by frame of scraping...
...wax away, maybe, and then with...
...I think, a hair dryer...
...gently, here and there.
It was tricky. You didn't want to goof on it...
...because then you'd need a whole new set of things.
You can't just put it back together easily.
The picture was made on a low budget.
- The whole picture was 800,000. - 750,000.
But it was fascinating entertainment.
And it was a technical achievement.
It earned Projects Unlimited an Academy Award.
The machine's supposed to go in two directions:
To the past and the future.
This one had quite a different journey.
It started in 1970 when MGM held a public auction.
Along with several other famous movie props...
...from Forbidden Planet, Atlantis and others...
...was the time machine.
The auctioneers weren't excited about selling it.
It was just another movie prop.
Also, something was missing from the machine. The entire control panel.
The special effects crew...
...had sawed it off during post production...
...to be used to shoot inserts...
...to show the years rolling by.
This was done by stop-frame animation...
...then with rear projections on the back of the panel.
Timing had to be right, because if I move...
...the lever forward too fast...
...and the film wasn't in sync, we had a problem.
The auctioneers had a problem.
They didn't have a panel.
They called Tom Sherman, a special effects man.
He said he'd build a new panel.
He needed the blueprints and a week.
Tom, nothing comes easy.
They had no blueprints. The auction was set for the next day.
Tom accepted the challenge.
By the next day he had built the control panel.
Made out of wood, pie tins...
Yes, painted pie tins on the sides...
...and Christmas tree lights on the top.
What will special effects guys think of next?
The machine sold for around $ 10,000.
Along with the submarine from Atlantis, also a George Pal movie.
The man who bought them loaded them into this huge moving van...
...and he toured the country, charging admission.
The time machine had become part of a sideshow.
A man at the auction, Bob Burns, also wanted the machine.
A friend of George's, he kept an eye out as to where...
...the machine might be.
George once told him he would own the machine.
George was full of hope, but he was right.
The man who bought it was forced to sell it.
There were rumors it was being sold in Florida...
...and it just disappeared for three years.
Then two friends of Bob's in 1974, in Orange County...
...walked into a thrift store.
Do you believe this? A thrift store.
I'll let Bob tell you about this.
My friends did call me, and it was at this thrift store.
They said it wasn't in the best condition.
I was thrilled to know it existed at all...
...because I had heard it was destroyed.
They said, "There are things wrong with it. We'll tell you later."
They told me. When I heard what was wrong with it...
...I was pretty depressed.
I had to figure out how to get it from the thrift store...
...for an affordable price.
So I didn't have to pay "Hollywood dollars."
That's how people think when they find out what they have.
The machine was in such bad shape, we weren't sure we could...
...put it back together. With our friends...
...who were volunteering their time, we knew we could do it.
The pods were broken because the owner used...
...photo flood lights, and it melted the plastic...
...because it's plastic.
All the pieces were broken...
...laying inside of it.
We had to make a mold...
...and form it to give it shape...
...because it wasn't round anymore.
Luckily for us, the non-camera side of the machine...
...the pod was good, so we exchanged it.
We still had work to do.
When we took the pods off, they almost fell apart.
They didn't want to stay together.
Then we stripped the rest down.
We took the big horizontal bar off. In fact, everything came off of it.
It was real dinged. It had some dips in it.
Everyone had to really paint and fill.
But they worked out beautifully. You couldn't tell the difference.
The bars along the bottom were in good shape...
...except they weren't painted correctly.
We stripped it down to the back mechanism that held the dish.
We couldn't tear the worm gear apart without ruining it.
It's a shaft that comes out of the middle and holds the dish...
...and that is the most important part of the whole machine.
The way it works...
...it's a strange...
It's hard to explain what a worm gear does.
It works like a worm. I'll tell you a secret. I shouldn't, but I will.
This thing is powered by a BBQ spit motor.
Yes, a BBQ spit motor which gives it power.
The next thing's to start on the control panel...
...because we had no control panel.
We had Tom's, so we had to start on that.
That was scale, so it helped, including the scribing...
...with the sign...
...an H.G. Wells thing. They did the whole thing...
...which was easy to make a schematic...
...and just do a stencil.
We had the blueprint, so making the control panel was no big deal.
We had lights on top.
All the lights that flicker.
All that the control panel did...
...was just control those lights that blinked.
The back, the dish, the pods...
...were all handled off stage.
Everyone thought it controlled itself, but it's a prop.
The only thing we didn't touch at all was the dish.
It was fiberglass, somehow it lasted.
It hasn't been touched to this day.
If you notice the film you'll see as it progresses...
...the dish gets warped.
You can see it behind Rod.
They finally had to put big runners behind it, like a suspension thing...
...to hold it from getting any worse, which it did.
It won't ever warp any more than it has now. That's it.
The chair was totally gone.
The story was, the guy that got it sold the chair to somebody...
...because he thought it was a real 1900 barber chair.
It's gotta say "Prop Department, MGM" on the bottom.
I heard the guy paid $600 for it. I hope that's not true.
Tom Sherman built the chair from scratch, from nothing.
We had plans, but there was nothing physically there.
Lynn Barker and Dorothy Fontana helped him detail the chair.
He had to do a lot of that.
Detailing the chair, Tom had a slight problem.
He couldn't find the exact type "ner-knees."
They were no longer made.
So he had to put them on and carve the rest of it to make it work right.
And it did. It matched beautifully.
Then the chair was antiqued and painted.
Tom was an expert at making it look old and antiqued.
They had to put it on the machine now, and it fit perfect.
The measurements were absolutely perfect.
Next, we upholstered this chair.
Mark Richards, who created the original Ghost Busters series...
...with Forrest Tucker and Larry Storch and myself as Tracy...
...this was a hobby of his.
Luckily, my wife Kathy found the identical cloth we needed.
Mark spent a lot of time upholstering and putting it together.
That's what made it look exactly like the original.
We got the machine done before Halloween, thank goodness.
We wanted it for the Halloween show.
We didn't know how, but we knew we were gonna use it.
Mike Minor had done a beautiful set that would revolve...
...from the lab to the Morlock cave...
...which was industrial foil put over wooden frames.
Then he painted this backdrop in an hour. He was very fast.
It was the night of the Halloween show.
The machine looked like a jewel, the whole set looked great.
We knew we'd have a good show, because we'd planned it.
David Gerrold, who wrote "The Trouble with Tribbles"...
...offered to write it, which I thought was pretty neat.
Plus, he alternated with Charlie Dugdale, playing the time traveler...
...because it was a long show.
Every participant in the show...
...all had jobs that they were doing.
We had guys do sound and electronics.
Dennis Muren, who's won his seventh Oscar by now...
...did the lighting stuff for us and all that.
At that point, we were still growing with our Halloween shows.
We had about close to 3000 people come by and see that show.
When the Pals dropped by, that was the big thrill.
We loved that more than anything.
They really enjoyed it. George took a trip in the machine.
He wanted to go somewhere. Not sure how far he got...
...but we had fun watching him.
Especially since he wore his striped socks.
He only wears those for very special occasions, he told me.
The Morlocks didn't see him often in the film...
...so they took a look at him. George had everything under control.
Some of the Halloween crew got around George to get a picture...
...with him in the machine. That was the high point.
That's something we will always remember.
George loved Bob's Halloween show so much that at Christmas, 1976...
...he had this card made up to share with all his friends his boyish dream:
Santa Claus in the time machine.
You listening, George? You always did love a good party.
H.G. Wells' novel appeared in different forms.
Each novel cover had a different version of the time machine.
Look at this, guy looks like he's riding a broomstick.
But George's version still remains the classic.
After Bob and friends rebuilt it...
...it appeared in the strangest and the most respected places.
Magazine and computer ads. Even a messenger service is named after her.
Two very fine TV series featured the time machine.
In Search Of was one.
The director was such a fan...
...he created a magnificent segment complete with a Wells look-alike.
The man playing Wells wasn't an actor...
...but an editor at the Landsburg Company, who produced the series.
They projected film on his face...
...to show the passing of time with the different periods in history.
This segment was not based on H.G. Wells or his book...
...but instead was called Time and Space.
Then it appeared on the excellent PBS series, Cosmos...
...hosted by Carl Sagan.
He found it so comfortable, he refused to come down...
...from the 14-foot pedestal under the hot lights.
Were you imagining which century you were in, Mr. Sagan?
Were you in the past or the future?
Bob Burns and the crew were nervous...
...the machine might topple off the high pedestal. It never did.
But it was during the filming of this show that a near-disaster did happen.
Sometimes people forget that the machine is a prop...
...and mechanized props are very fragile.
The only way the machine can be lifted is by the wooden base.
An overly zealous prop man didn't listen...
...and picked it up by the brass railings...
...pulling out all of the electrical wiring.
It took hours to replace them.
Luckily for the prop man and the film's schedule...
...the machine still worked.
Some people have asked me in the past:
Where has the time machine been since I've had it?
I say, "It's alive and well and still traveling," because it is.
We had it on display at Magic Mountain.
A genius named Mike Jittlov used it in The Wizard of Speed and Time.
It also appeared in the Back to the Future promos and Gremlins.
Now...
In Gremlins, Hoyt Axton was attending an inventors' convention.
This whole sequence was conceived by the producer, Steven Spielberg.
The newest blockbuster in time travel was Back to the Future...
...with Christopher Lloyd and Michael J. Fox.
But once again, the old time machine was called upon...
...because Michael was comparing George's machine...
...with his DeLorean time machine. Let's listen to Michael.
Is there really such thing as a time machine we can just hop into...
...roar off through the cosmic calendar in any direction?
No.
Well, not yet.
Maybe next year. Maybe in a thousand years, no one knows.
But what if we had one, right here and now?
Imagine all the amazing things out there...
...between all the ticks and tocks of time.
And how does our hero get to where he's going in time?
In this. The most fantastic, flashy, four-wheeled time machine...
...in the history of movies.
One that might even make H.G. Wells green with envy.
Something built today to recapture yesterday.
Or explore tomorrow. Whichever you choose.
Whether we use black holes someday or machines or whatever...
...we may have to wait a while before we can actually travel in time.
But that's okay, because we already have another easier way...
...to visit any part of time we like, whenever we like.
No, not inside this machine.
Inside this one: The imagination.
It was 32 years ago...
...that I last saw George with some friends.
Since then, no one has seen him.
No one.
He told us about a journey he took...
...with some confounded machine.
Even though I doubted then...
...I feel sure now...
...he is somewhere in time.
It was those flowers George gave Filby in winter.
No botanist I showed them to could explain their existence.
And that little machine!
I tried to rationalize its disappearance as being a trick.
But if you knew George...
...as I knew him...
...he was an inventor, not a magician.
And I fear his invention...
...has trapped him...
...in time.
Long ago, I began to be obsessed with a dream:
A machine which would traverse a bridge for mankind from darkness to light...
...to bring knowledge from the past or future to the present.
I have set down in my journal the details of my labors...
...proof of my endeavor.
I look back on the last two years with the greatest satisfaction.
The dream which I feared...
...could only be a fantasy has become a reality.
What rests so magnificently before me...
...I will call my time machine.
The exhilaration when I first ran my hand along the rails...
...the parts fashioned from nickel, the finest ivory and ebony...
...and then, the crystalline lever.
The facets cut from the rarest rock crystal from Tibet.
This is the key which will enable me...
...to travel through time indefinitely.
When I attached this lever for the first time...
...the machine swayed as if being shaken by the wind.
Its instability startled me extremely...
...and I had reminiscences of my childhood...
...when I'd secretly meddle...
...with the fascinating contents of my father's laboratory.
Now my craft is finished.
And with the grace of God, I pray for a safe first journey.
There's nothing here.
Oh, George...
...into what remote epoch did that infernal machine take you?
Or did that beautiful girl of the future...
...lure you to destruction?
Oh, you're dead, I suppose.
The world will never know. I'll never know.
I begged you not to go. I begged you to live in your own time.
Our own time.
Because if you died in the past...
...or in the future, then you never lived in this life at all.
Well, George, time to lock this place up...
...and get back to headquarters.
Hello, David.
You're back? Oh, thank God, you're back!
Oh, George, I gave you up for dead long ago.
You were almost right many times, but I'm not dead.
How did you know to meet me? Have you become psychic?
Psychic? Nonsense.
Oh, let me look at you.
One more day and I would've missed you.
I'm here because I fly to France in the morning.
I was just locking the place up for the duration but...
Duration of the war.
It's the war that will be known as World War I.
- Will there be others? - Many, many others.
Anyway, I'm here because of this one.
- What about this war? - War is fruitless.
It's a senseless, tragic venture. There are no victors, only victims.
I'm sorry, I could go on about the wars I've seen.
We've got a lot to tell one another.
I've missed you, old friend.
Not a day goes by when I didn't think of you.
"Where is he? Is he coming back?"
I've got to ask you, did you go back to her?
Weena?
We spent many wonderful years together.
We helped build a whole new world of peace, for that time anyway.
Many years, eh?
Come on.
Listen, if you sit in this machine, and go to the year 3000...
...you'll not be a day older. But if you stop in time...
...the way I did, for as long as I did...
...then age marches on.
- Go on. - I don't want to go on, old friend.
I want you to share with me the future. It has become magnificent.
Stop. I don't want to hear anything about the future.
You don't understand something.
There isn't much time.
Isn't time? You're the one with all the time in the world.
- I'm the man who hasn't got much time. - Yes, I know that.
That's why it's so fortunate to find you here.
We can leap the years.
Don't take any more solitary trips into the future.
- I'm not taking a solitary trip. - Thank God.
Thank God, indeed.
- You're coming with me. - Oh, you're joking!
You're not here five minutes and you're ready to go.
Dear friend, why are you so much against living in the now?
You've missed so much. Besides, we both can't fit in this.
Don't you remember I told you? This doesn't shift around in space.
It's not bumpy like a carriage. It stays right there.
All we have to do is hang on and leave this war in the past.
- I have my duty. - Forget your duty!
- You've got to come with me now! - This is madness!
Years ago, I told you to destroy that machine. Well, do it now!
- I could never do that. - Lf you can't, I'll do it for you.
- That machine is an abomination. - That's my life.
This is my whole reason for being.
Would you rob me of that?
No, George. I can't do it.
Forgive me.
I'm sorry, forgive me. I just simply...
I don't like a device...
...that may alter what the Fates have in store for us.
No Fate, no!
Do you remember you invited me to meet little Jamie?
Well, I met him.
I spoke to him in front of your store.
He's become a fine young man.
You talked to wee Jamie?
- He never told me. - Well, he didn't know who I was.
Then you came back here.
Where was I?
You can probably tell me what's going to happen to me.
I had the biggest store in town?
Future prime minister, eh?
- Come on. - It's time to go. We must go now.
- I can't go. I have my orders. - Your orders?
You just won't change, will you?
All right. I suppose I have to understand that.
But believe me, what Fate has in store for us...
...can be changed.
Then, perhaps, another time.
We will meet again, won't we?
We will meet again.
Until then.
Until then, old friend.
Bye, George.
David abhors my machine.
Yet he'll get into a clumsy, primitive flying machine...
...and crash on the coast of France.
It will be May the 15th, 1916.
But like he said, I have all the time.
I shall come back May the 14th.
Maybe my dear friend...
...will change his mind and come with me.
Now you gotta remember, Alan and I hadn't seen each other...
...for 30 years. Can you believe that?
When we saw each other, the 30 years disappeared.
We gave each other a hug...
...and it was as if time, indeed, had stood still.
When we got into makeup and started doing the scene...
...I was back to MGM on the set with him...
...30 years before. It was wonderful.
George would have been proud to know his machine has been respected...
...in Back to the Future promos, all the places it's appeared.
I wonder what the future holds for him. I could always find out.
Oh, I forgot to tell you.
Remember the Halloween party Bob gave for George?
Everyone realized George had never sat in the machine.
He was always too busy directing or he didn't have the time.
Well, he sat in the machine, and they took his photograph.
He was like a kid in a candy factory.
The photo appeared on the cover of Star Log.
George said, "You've made me a cover boy!
I've always wanted to be a cover boy!"
Well, George, you are more than a cover boy.
You are one of a kind.
This will always be your corner of the museum...
...and your time machine will always be here...
...just like you taught me, George.
I think The Time Machine...
...is probably George Pal's strongest science fiction work...
...and the one for which he will be most remembered.
He was one of the most creative and wonderful men...
...it has been my pleasure to work with.
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