John Lithgow says his time on ‘3rd Rock from the Sun' were his ‘happiest years as an actor'
According to Lithgow, his time playing Dick Solomon on the NBC comedy '3rd Rock from the Sun' are years he remembers fondly.
'It was the six happiest years as an actor,' Lithgow said on Monday's episode of the 'Smartless' podcast. 'Just interacting with this great writing staff, the '3rd Rock' staff was so terrific and it was so inane.'
On the sitcom, Lithgow played the high commander of an alien expedition who lands on Earth with his alien cohorts posing as a family.
It was a concept that he described as 'flat out nutball farce' and something Lithgow never thought he would do.
In fact, Lithgow admitted that when the showrunners initially pitched him the idea for the show, he thought, 'how do I say 'no' to this fast enough?'
It only took five minutes for the show to make sense to him, he said, adding that once he heard the full concept, 'it just seemed, suddenly, like 'What in the world have I been waiting for?''
'3rd Rock' debuted on NBC in 1996 and ran until 2001. Jane Curtin, Joseph Gordon Levitt, Kristen Johnston and French Stewart rounded out the cast.
The series quickly became a hit and developed a cult following, something that Lithgow said he and his castmates had a feeling would happen before any of the 13 episodes they'd shot aired.
'We had realized, oh my God, we really have something here,' he said. 'We felt like we had the hope diamond in our pocket.'
Lithgow most recently appeared in 'Conclave,' which was nominated for best picture at the Oscars earlier this month. He also spoke about preparing to play Dumbledore in HBO's upcoming 'Harry Potter' TV series during Monday's podcast.
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(This conversation has been edited and condensed for clarity.) DEADLINE: TIM MIELANTS: I think Tracey was Cillian's idea. ALAN MOLONEY: I think it was Yvonne (McGuinness, Murphy's wife). CILLIAN MURPHY: Yeah, it was Yvonne. Most of my ideas come from my wife, my good ideas. I knew Tracy before. She was going out with a friend of mine, and we had hung out, and I'm such a fan of her. She's such an icon. And then Yvonne knew her as well. But then Yvonne heard her on some podcast, and she was saying, 'I've always wanted to be in like a Ken Loach movie.' And we were like, 'Well, this isn't quite Ken Loach, but…' And then I called her up and I said, 'There's this script I have, and that Max has written, and would you take a look?' And it's like everyone who read the script, they responded like calling in floods of tears, going, 'Yes, yes, yes.' And she immediately came back and said yes. It was amazing. 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And then when it came to whether we should keep it in that period for the film, Tim had this connection to movies at that time. I felt very strongly that the music and the fashion of that time would be really interesting. I think in terms of creating an esthetic, particularly with the documentary film crew, it was just too irresistible to create a period piece. It's like a historical drama, but it's recent enough that these are all things that we've been in or fed from. DEADLINE:AdolescenceSteve MURPHY: It never goes away. That stuff just exists, right? But like you mentioned Adolescence, I think that that is sort of the landmark piece of television, I think, it's one of the greatest things I've ever seen. And definitely there's a sort of a thematic crossover to a degree, but I think it was very smart of Max to set it in the 90s, to show this sh*t still exists. People are still, kids are still wounded and vulnerable and alienated without social media. 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It's tough material, but it's stuff that we need to consider, and we need as a society, to discuss and debate, and it's really important that Netflix is doing it, because, frankly, nobody else is doing it right. PORTER: I was sort of anticipating a comparison and a sort of shared conversation around them, and I left it quite late to watch Adolescence, because I don't watch things if Keir Starmer tells me I have to. But I thought it was honestly, utterly astonishing. I thought really, beyond their subject matter of masculinity or whatever, beyond what they what theyappear to have in common, politically, what they both struck me as having in common, and as Alan says,this is huge props to Netflix for making this work, is that they both do a notionally difficult thing. They smuggle deep meaning and layer the layers of discourse into a thing where was also primarily and overwhelmingly colossally ambitious as film, like those single shots in Adolescence and Tim's approach to the montage and the work and the work that you then get out of your actors if you put them under that kind of pressure, like what happened particularly to Jay and Cill and Simz and Emily, Tracey as well, under the pressure of Tim's gaze, which is why he's such an extraordinary filmmaker, because he looks at people like some kind of Dutch master painter.; he's working round people in a room, asking them to go a little bit harder or a little bit deeper, or turn a scene on its head and see if it yields if you try it from a completely different angle, that works so well with political subject matter, because it doesn't just become prescriptive or illustrative. As everyone keeps saying, it's not our message. It becomes the viewers' collaboration, which unlocks the message — if there is one inherent — and I just love that about both these pieces of work. MURPHY: I'd like to add as well, just on that, that I think neither Adolescence or hopefully our film will succeed unless it's entertaining. You can have a boring polemic and no one's gonna get engaged with it. No one's gonna have a discussion about it. But Adolescence is monstrously entertaining, as well as being soul crushingly moving, and hopefully our film is as entertaining as it is, kind of engaging politically or whatever. I think your first duty is to entertain, and then after that, like Max said, you can smuggle stuff in, and if you can do that elegantly, I think then you've won. DEADLINE: MOLONEY: Oh, God, that's a big question, Nancy. I think it is probably, you know, look, we're really pleased with the film. Really, really pleased. I think it is the film we set out to make in the same way that Small Things was. I think it has probably only further confirmed, for me at any rate, that if we trust our instinct, that we have the capacity to make the films that we set out to make. It is, again, always about working with great people. It's really just confirmed the reason why we wanted to make films together was exactly for this reason. MURPHY: It's exactly that. I mean, it's no coincidence that they're both directed by Tim. We got very, very lucky the fact that we have this incredible director that's made two unbelievably different films so, so brilliantly. And, to have that level of trust, like I said to you at the beginning — and I've always said this about working — for me, the trust thing is the kind of most important thing. The scene in the basement when Steve goes down and screams at himself, that couldn't have happened if I wasn't working with these people… It's because of the relationship I have with Tim. So for me, I think there's something in the relationships that have that that has made manifest in these films. And I'm really, really proud of that. MOLONEY: Both of them are, on the face of it, challenging films to make. And I think the confidence that Tim brings to that just takes so much kind of fear and worry away. PORTER: So let's just carry on blowing smoke up Tim's ass for a sec because this was a very unconventional script, and it posed a series of logistical problems. The level of Tim's work, figuring that out way in advance and in watching his drawings, watching his storyboarding, watching the way he communicates with his team. At various points in the shooting of it, I would say to Cillian — I'm careful not to pay him compliments — but the quality of the work was something else. Never in your wildest dreams as a writer, do you see this landing as hard and as powerfully as he's been capable of here. And he would often say, 'Tim can just get this out of me and this is what Tim does when you get us in a room together.' So I think that's right. It's a testing of and an honoring of the relationships that already existed and pushing it further. MOLONEY: It's worth saying about Cillian's performance, because I love embarrassing him, but it is an extraordinary performance. As you know, you've seen the film, he just nails it. I mean, it just gets better and better. MIELANTS: I really would like to express that we did it really all together. I think Cillian was so helpful in the edits. Of course, his performance is mind-blowing. Nobody knows this, but actually he's a very good editor. And yeah, I think he should be an editor on the side of some I don't know… We just have a good team that rolls. DEADLINE: Small ThingsSteve MOLONEY: We wanted the film to have that theatrical release, and Netflix were good enough to support that, and the nature of the film is such that we believe it needs to be best seen in a festival environment and reviewed in that way… There's DNA of independent film all over this piece, and it sort of sits in a particular space. So we wanted to be judged on those merits. Toronto is a festival that has always been very kind to us, has a great audience. Obviously, we are multinational, but it's an English (language) film, so to take it to North America felt like strategically the right thing to do. DEADLINE: MOLONEY: It's a festival that Cillian is associated with in Cork, and we wanted to do something in Ireland. Cork is obviously Cillian's hometown, and so the timing of it all just worked the way it did. It feels like the right thing to do. We are very excited about that, very excited to go to Cork. And people from Dublin, as I am from, don't go to Cork very often. DEADLINE: Speaking of Ireland in general, Cillian, are you guys making headway on that cinema that you and Yvonne bought in Dingle, County Kerry? MURPHY: Yeah, we are. We're working away. We're just doing public consultation now with the community, and we're fully, fully engaged in it. And it'll take a while, but we're determined to get it going. DEADLINE:Peaky Blinders MURPHY: I'm kind of taking the year off. I'm doing this work, but I'm not actually acting on anything, which is nice for a while. I'm just waiting for Tim to cast me in his next film. DEADLINE: 28 Years Later: The Bone Temple MURPHY: I think Danny (Boyle) has already confirmed that. So I can confirm. DEADLINE: MURPHY: Exactly, so in order for that to happen, every single person has to go and see Bone Temple. 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