Quotes from Christopher Lloyd

There's something overwhelming about being in raw nature. It's got an aura about it is that is really kind of majestic and spiritual.

I grew up on Charles Addams' cartoons, particularly 'The Addams Family,' and Uncle Fester was always one of my favorites.

I had kind of an attitude, which was not uncommon in New York. Theater people who went to Hollywood to do sitcoms were selling out. That was the attitude. And I didn't really relish the idea of being cast in a sitcom, because I shared that attitude.

I get asked a lot what the key is to creating a hit show, and I have a standard answer: Do everything right, and then get lucky 10 ways.

'Cuckoo's Nest' was my first film, and I had wanted to do film for some time, but somehow I had not clicked. I would go in for interviews or readings, and I never had the sense that I was anywhere near what they were looking for.

'Cuckoo's Nest' came along, and I was cast, and that was great, but it was my first film, so I felt like I was kind of walking around on the set as Walk-On A.

I was a slow starter. I didn't really make any dazzling impressions. But I don't really regret that because I learned a lot along the way. I always kept busy - I found my way my way, and I'm happy about it.

I would love to do Doc again, no question. It's tough to come up with an idea that contains the excitement of the original three. So it would be a real challenge for the writers to come up with an original 'Back to the Future' story that has the same passion and intensity and excitement as the other three. But it could be done. You never know.

I love watching film. I love watching stories. I watch the people in them... Even, sometimes, films that nobody else can watch - 'How could you look at that? It's lousy' - I can look at it and be totally into it.

Many gardeners will agree that hand-weeding is not the terrible drudgery that it is often made out to be. Some people find in it a kind of soothing monotony. It leaves their minds free to develop the plot for their next novel or to perfect the brilliant repartee with which they should have countered a relative's latest example of unreasonableness.

I had an attitude about some work, like television sitcoms. It was selling your soul.

I turned down a film that was offered to me in the very early '80s, a Scorsese film. That probably wasn't a good career move.

The outburst of sexual freedom in the '60s was bound to happen because the '50s were so oppressing. You had to live that way; women had to be like this - it was all locked into a false reality.

Many gardeners will agree that hand-weeding is not the terrible drudgery that it is often made out to be. Some people find in it a kind of soothing monotony. It leaves their minds free to develop the plot for their next novel or to perfect the brilliant repartee with which they should have encountered a relative's latest example of unreasonableness.

The Vikings... establishing themselves as the Rus, a word that is thought to come from an old Norse term, rods, meaning "men in row". Islamic sources say they then subjugated the Slavic peoples, who were traded as slaves along a network that reached across the Black Sea as far as Islamic Baghdad. ("Slav" possibly comes from their being traded as slaves by the Rus).

Doc Brown had a feverous imagination. He was constantly coming up with new ways and solutions to various issues, and time travel was one of them. I was just very inspired by being able to portray somebody of that sort. He's a man of tremendous energy and excitement about discovery.

A lot of things you just stumble into: relationships or ways of putting characters opposite one another that really worked. So then it's not always so much about imitating other people, but imitating yourself, at least in your thinking.

I'm often asked, 'What was, for you, your greatest film experience?' And it always comes back to 'One Flew Over the Cuckoo's Nest,' aside from being a film that really handled subject matter in such a brilliant, brilliant way.

There were a couple times with close-ups where I tended to overact. I would use more of my face than I needed to. I learned how to be more subtle.

It was 1976, and I was acting off-Broadway with a pair of Canadians: Victor Garber and Gale Garnett. The play was called 'Cracks,' and Martin Sherman, the man who wrote it, went on a few years later to have a giant hit with 'Bent.' But not this time around. Opening night was a disaster.

I really enjoy playing villains, whether they're realistic like Switchblade Sam or whether they're a bit more over-the-top like Kruge in 'Star Trek III' or Judge Doom in 'Who Framed Roger Rabbit.' It's sort of a license just to be as bad as the script allows you to be - you can just go for it and have fun.