The film 'Back to the Future' certainly did a lot to put me where I am today, and I did not foresee that. I just was hoping the film would open successfully, the first one, but it's gone way beyond what I think most of us have imagined.

I'll run into somebody, and of all the movies I've done, they may say something about 'Back to the Future' or whatever, but then they make reference to 'Clue' very favorably.

The seas are rising, and millions of people are going to be affected by that - and already are. We have to make sure there's enough food, water, and air.

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.

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'm kind of lethargic in real life.

I like television, but there's not as much freedom as there is in film or theatre, and I always felt that there is a certain pressure in being able to put out a product, but it's OK.

I don't worry too much about typecasting. I just figure, one way or another, I'm going to find another role.

When I go to Comic-Cons and people line up for autographs, so many people have a story about how they are moved, how they get tearful about what 'Back To The Future' meant to them.

When I started out, I didn't know if I was ever going to make a movie.

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.

I grew up near New York, and there were a lot of summer stock theaters in the area. I started an apprenticing with some of the theaters. Not really acting in them - I did everything else: everything but act.

Judge Doom is such an evil cartoon! It was just such fun to do. I liked the whole mystique of it: the long cape, the glasses, and all that stuff. You grow up with horror films as a kid, and it all seemed to be embodied in that one guy.

I did so many interviews and auditions for films, and it was just zilch. Nothing I did impressed anybody! I could just feel it. It was always, 'Okay, thank you, Mr. Lloyd.' Then, out of the blue, 'Cuckoo's Nest' came to cast. A casting director who sent me up for different things over the years sent me up for that, and it just clicked.

I wanted to do film. I was living in New York and working in theater, but I always wanted to do film.

I'm slow to pick things up. Everybody always seems to know more than I do.

I ventured into a world of sitcom, and I have no regrets. I loved it.

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 love working with Bob Zemeckis. I think he's amazing and wonderful to work with.

In New York theater, you always talk about wanting a great ensemble of actors.

I had told my agents that I didn't want to do television. I can't believe I had that gall, looking back on it. I would never condescend to do TV, and then 'Taxi' called up for a guest spot in the first season. And my common sense kind of took over, I guess.

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.

In a way, theatre is still my first love.

I meet people on the street who literally chose their careers because they saw 'Back to the Future' and decided they wanted to be scientists or astronomers or engineers.