John Lithgow Breaks Down His Most Iconic Characters
Released on 07/01/2022
I gave a commencement speech two days ago
and they showed a little series of clips of me
when they introduced me.
You know,
they were watching oh long clip
from Third Rock From The Sun,
ah and little bit from Footloose and ah Dexter.
Mm.
They showed Shrek and they went berserk.
[upbeat music]
Shrek.
You know you're just in a sound booth,
giving a bunch of raw material
to a bunch of strangers behind a glass booth.
The only person with me was one of their staff
who was there only to feed me my lines.
I never acted with Eddie Murphy or Mike Myers
or Cameron Diaz.
I only acted with him
and he did such a great job as the gingerbread man
that he became the voice of the gingerbread man.
There's a little piece of trivia for you.
[Movie Character] Run, run, run as fast as you can.
You can catch me,
I'm the gingerbread man.
[Gingerbread Man] You're a monster.
[Movie Character] I'm not the monster here,
you are.
You,
and the rest of that fairy tale trash
poisoning my perfect world.
Now tell me,
where are the others?
And I went and recorded stuff.
And I met with these animators and the directors,
and they were delightful people,
but they would describe these visual jokes to me
like the funniest thing.
Like he's very small.
You know,
you're big,
he's small.
There's a scene where the first time we would see him,
we would put him in a horse,
on a horse in armor and the armor is for a tall man.
But yeah,
when they take him off the horse,
they take him outta the armor,
it turns out he's short.
I thought that's sounds very funny.
Like who are these people?
I was the only actor who had ever visited them.
And I walked through this place.
This is still a year before the film came out
to all these computer cubicles where all these animators
were working.
One was in charge of nothing but milk being poured out
of a pitcher into a glass.
One was in charge of only leaves blowing in the wind.
One was in charge of mud when a wheel went through the mud,
working on this for months in this technology
that not many people had used yet.
And I suddenly realized I am in something history making,
and I didn't even know it.
[upbeat music]
Third Rock From The Sun.
I absolutely loved Third Rock.
It was the creation of Bonnie and Terry Turner,
a comedy writing married couple whom I knew
from Saturday Night Live.
I had hosted it in three times in the eighties.
They presented this character who was brilliant
in every way except knew nothing
about human behavior or emotions.
And they constantly got everything wrong,
but he could try out anything.
He could sing Cole Porter in close harmony.
He could play the piano after just
spending about seven seconds figuring out the difference
between the black and the white keys.
At heart,
Third Rock From The Sun had a very serious premise.
It's like figuring out how to be
an acceptable human being.
[laughing]
You know?
You know I have very few rules in my career,
but the last one I hadn't broken
was never do an episodic TV.
And my agent called and said,
your friends Bonnie and Terry are in town
and they wanna have breakfast with you.
And I said oh great.
So I went off to have breakfast with Bonnie and Terry
at the Four Seasons.
It fell to Terry to pitch this series to me.
And the first sentence he spoke was
it's about this group of four aliens.
And about five minutes later,
he'd persuaded me to do this.
It was such a fantastic premise
for a nut ball character actor.
And they had written it with me in mind,
and if I hadn't done it,
they wouldn't have done it.
This was at just the moment when I was thinking,
I gotta do something other than these cornball villains.
Yes we can lie on our taxes.
[audience laughing]
I can't believe that no human
has ever thought of this before.
[audience laughing]
Okay wait a second you guys,
what if we get caught?
How can we get caught?
All those other dopes out there
are telling the truth about their taxes.
[audience laughing]
The writing staff was so incredible.
They were so smart.
They had such a great combination of smart and stupid
in their humor.
It was just this pendulum swing that went back and forth.
A lot of them had come out of the Simpsons.
Families would watch these together
and the kids would love it for one reason,
and the grownups would love it
for a totally different reason,
but they would laugh at the same jokes.
[upbeat music]
Dexter.
I got a terrific pitch from Clyde Phillips.
He and John Goldwin,
the producer,
sat with me at CAA and banished my agents.
They said,
no,
nobody else can hear this
and you can't tell anybody about this,
but we are gonna tell you about the Trinity Killer.
Where no one said they were thankful for me.
Did you Jonah?
And they told me the entire detailed unfolding story,
but I kept on saying,
well wait a minute,
whatever-
What happened to the baby?
You know things like that.
And they would have to tell me,
and I would kept on saying more, more, more
to the point where they had given me way,
way much more information than they intended,
but they were trying to persuade me to take the part.
And having heard all of that,
I said no,
I won't tell anybody any of this,
but no,
I'm not doing that.
[laughing]
So,
and then my agent and my lawyer got on my case and said,
John you gotta do this.
So I said yes,
and had a great time doing it.
But the curious thing was,
I gathered,
I met all these wonderful actors in Dexter,
this whole company of actors,
they had kept all this information from them.
So I was the only person who knew.
Harry and the Hendersons.
I read it and couldn't quite take it seriously.
It just struck me as a Bigfoot movie.
The most persuasive thing was when I met with Bill Deer
and he showed me the renderings for Harry
and Steven Spielberg was plenty persuasive.
He was the executive producer.
So I said yes,
and yes it was a Bigfoot film,
but it was as good as it gets.
For one thing there was a beautiful actor
named Kevin Peter Hall who played Harry.
And he was like Andy's Circus.
Another actor playing the halfway thankless role
of a creature,
you never hear his voice.
And it's fun.
You know it's gonna be kookie,
but you've gotta play it for real.
There's a moment in toward the end
of Harry and the Hendersons
that every kid remembers,
where Harry is in great danger,
and I have to tell him to get the hell outta here,
to run away and he won't go
cuz he wants to stay with our family.
Leave us alone!
I pretend to be furious with him
and I smack him in the face
and he looks at me with this terrible feeling of betrayal.
And you know,
we intended this to be a heart rending moment,
but we were still in this big Bigfoot movie.
So just how heart rendering is this gonna be?
Well I have a cousin who went through a very unhappy divorce
and the nine year old boy acted out really and resisted
and he was terribly upset.
The seven year old girl had no response at all,
like a zombie,
until she saw Harry and the Hendersons,
and that scene,
she just exploded with grief.
And she was beside herself for weeks
and it unlocked her and she,
it was something she absolutely had to go through.
[upbeat music]
The Crown.
When we rehearsed The Crown,
we didn't even rehearse scenes.
We just talked.
We talked and talked about the history
and the relationships.
I asked about my height.
You know,
I'm six four.
Churchill was five foot seven.
I said what do we do about that?
And Steven said just ignore it.
Don't think about it at all.
He felt the same way about makeup.
It's like just give the audience little credit.
You don't have to give them total accuracy.
In the course,
I was a little concerned that we were spending
so little time talking about the actual performances here.
I brought an apple and the apple baller to the rehearsal,
and I said here let me just show you something
that I have been working on Steven.
This was about with 10 of us just sitting around the table
and I made little melon balls and I stuck them in
and we did read a scene and I thought
it was extreme effective.
But bit by bit my entire mouth was filling up
with like apple cider.
That was the end of that.
But they were way ahead of me.
They had already thought about making these
silicon plumpers.
Whatever for?
Have we not enough qualified pilots
to take him where he needs to go?
No he wants to fly himself.
It's a boyhood dream.
It's what he's always wanted.
Why was government not consulted?
Because it's a private matter and I am in favor.
Nothing you or his Royal Highness do is a private matter.
And the father of the future king of England
risking his life needlessly is quite unacceptable.
Please-
I went to drama school in London many years ago.
So there's this sort of English thread.
I'm about as English as an American actor can get
to a point of pure pretension.
You know,
when you think about Churchill,
he's as different from every other Englishman
as an any American is.
He's an eccentric.
They just loved the idea.
They said we've seen all the sirs play Churchill.
We've seen Burton do it.
And Albert Finney do it.
And there was a whole raft of them that year.
And all of them Englishmen.
Churchill's mother was an American for one thing.
That's the first thing Steven told me
when I asked him why'd you cast me?
And he had this affinity for America.
I may be terrified of playing this role,
but they think it's a great idea,
so I'll go with that.
[upbeat music]
Footloose.
You know I'm not a religious person.
I grew up in eight different places.
There was never even the opportunity
to become part of a religious community,
even if my family were so inclined,
which they weren't,
but I felt I had to find someone
and I went and got some spiritual counseling from a very,
very kind and empathetic and smart man
who talked to me about his deep relationship with Jesus.
And I really needed to hear that.
Missing from your lives.
Praise the Lord in singing,
hymn number 397.
We took it really seriously.
Just the emotional life of this family
motivating the role of Shaw Moore
and his particular almost tyrannical hold
he had on his community.
Finding the roots of that.
It was because his own son had died in a car accident
on a crazy night,
and he was not going to let this happen again.
And it made him far too protective of his daughter
and his religiosity took second place to this,
just emotional,
inner emotional life and his fear.
We took that film seriously,
and a lot of other people did too.
[upbeat music]
Cliffhanger.
Your friend just had the most expensive
funeral in history,
now it's only you.
[Radio Operator] Come in rescue unit rescue.
I have to tell you,
Cliffhanger was the best job I ever had.
We were four months in Italy,
I worked maybe a fourth of the time.
We were high up in the Dolomites for two months
and like skiing on weekends and staying in a chalet
in Cortina d'Ampezzo and then two months in Rome
working at Cinecita' in a studio right next to where
Fellini was making a commercial for Bonco di Roma.
You know,
pretty much my own flat out action film.
And I was even in the big climactic brawl with the hero
and the hero was Sly Stallone.
It was like wow.
At the total top of the action film food chain,
it was like as good as it gets.
Do you know what real love is Crystal?
No.
Sacrifice.
As Eric Qualen,
I had no idea.
As a matter of fact,
I think I had been cast as the sort of second villain.
My role was supposed to be Christopher Walken,
but he bailed and they sort of moved me up
like the night before.
It was so we,
and I remember sitting around with Rennie Harlan,
trying to decide what nationality Eric Qualen was.
Was he an American Secret Service man,
maybe a South African,
or how about an English man.
No you know,
it was literally that.
And I said you know,
I don't think I can master South African overnight.
[laughing]
And I think we should make it something other than American.
Let's just go,
let's go the Allen Rickman route.
But it was fabulous.
You know,
I wish I had a nickel for every time someone's
asked me to say do you know what love is?
The payoff is sacrifice.
[gun sounds]
You know,
it was like the works.
[upbeat music]
The Changing Room.
I came out from under the wing of my dad
who had hired me for my first acting work.
And I was not getting hired as an actor at all,
but I was getting hired as a director.
In fact I was even offered the job of
associate artistic director of a very estimable rep company.
And I accepted it.
I just was getting nowhere.
And two weeks later that Long Wharf job came through.
And I pulled out,
pissed them off,
no end,
but that was a big,
a very early fork in the road.
That's when this 22 cast play,
22 actors,
men,
all set in a kind of semipro rugby locker team
and changing room in the north of England.
Of course it was quite notorious because of these 22 actors,
15 of us at some fleeting moment appeared stark naked.
I was the most nude of any of these men.
This scene where I was injured,
I had to be sort of,
the mud had to be bathed off me off stage.
Then I was brought back glistening and naked
and dried and dressed as if I were a little baby.
It was an extraordinary scene,
but right out of the gate,
appearing that nude on Broadway,
that was almost more than my mother could handle.
On the other hand,
I've appeared nude about five times
since then in an extremely varied career,
and every time I've won some major award.
So let that be a lesson to all you young actors.
[upbeat music]
Bombshell.
I hate being the story.
I'll call Trump.
You go on vacation,
stay above it all.
He won't dent your ratings.
Nobody stops watching because of a conflict.
They stop watching when there isn't one.
There was a reflexive revulsion to even the name
Roger Ailes,
not just because of his misconduct charges,
but because he represented everything that's gone wrong
with broadcast news,
with the creation of Fox News,
even though I think Fox News
would not be quite the horror it is today
if Roger Ailes was still alive.
The challenge was sympathy for the devil,
you know,
finding what it is about this human being.
That is the source of both his power
and people's loyalty and even affection for him.
My great confederate was Connie Briton playing his wife,
cuz you believed absolutely in her love for him
and her devotion and loyalty to him.
The smartest thing I did was to track down
an old friend of mine from the seventies
who used to work as Roger Ailes producing partner
when Roger wanted to be a New York theater producer.
Not many people know that,
but it's true.
He even produced the premier production of Hot L. Baltimore,
Pulitzer Prize winning play.
And I talked to my old friend Steve
about Roger back in those days,
and Steve was a very good friend of his,
loved his company,
loved his sense of humor,
said he was a man capable of sharing a laugh for 20 seconds,
you know,
but that was invaluable.
You sort of had to have that information.
You know,
the most fascinating thing about doing a person
with an ugly compulsion is to contemplate
how he felt about his own compulsion.
Surely he had something he didn't want to have to do.
It was the same with the Trinity Killer.
[upbeat music]
The Old Man.
Copy me on all the raw data you pull in.
I should have my eyes on everything as well.
And do me a favor,
close the door.
[door closing]
I've got another name that we have to track down,
but I want you guys to do it,
no one else.
He is a company man.
The thing that's fascinating about him
is the enormous emotional baggage he carries.
To me there's a great tension
between his impassive public face
and the way he has to operate in his job with the FBI.
He and his wife have suffered a catastrophic loss.
They've lost a grown up son and a daughter-in-law
in a car accident and they've inherited
a five year old grandson to take care of.
That's the very first,
that's information you learn
in the very first scene you see him.
You see him playing with a child,
sitting on the edge of a bathtub sobbing.
For mom and dad?
In case somebody figures out
how to bring them back someday.
[crying]
Finally I got to work with Jeff
and it was completely fantastic.
You know you get to be my age
and you finally get to work with a lot of people
you've been waiting to work with for a long, long time,
and the payoff is simply wonderful.
And in this past year it's been Jeff and De Niro
and DiCaprio and Julianne Moore.
That's been my bumper crop of new colleagues this year.
But Jeff is the best of all.
I mean we had the best time
because you really do get a scene in which you
learn everything about them,
they're past and they're present
and their current crisis.
And it's a long, long scene in a car
driving across the Moroccan desert,
which happened to be in Santa Clarita.
We couldn't go to Morocco as it turned out because of COVID.
It took us six days to shoot this scene.
So that's six days in a car with Jeff Bridges
and he was so much fun.
It's just a wonderful guy to act with,
of course,
but also just to get to know.
Interestingly enough,
we we had mics on,
so the entire crew of about 40 people
were basically listening to Jeff and I
become old, old friends over the course of six days.
We would be talking very, very earnestly
and intimately about issues in our lives,
and then suddenly realizing,
wait a minute,
we're sharing this with everyone.
Or there was an entire afternoon where we were telling jokes
and we would tell each other a joke,
reach the punchline,
and we would hear the laughter of about 40 people.
[laughing]
[upbeat music]
M. Butterfly.
I read this script and it was like,
my God I just like caught fire in my hands,
wildly theatrical and full of so many challenging ideas,
but rehearsing that play that fast and that boldly with,
you know,
with him and David Wong so much in tune with each other
and BD Wong in his very first Broadway show.
He won every single award there was to win
for playing Song Liling,
the man whom I've fall in love with
without knowing he's a man.
We performed it in Washington, DC at the National Theater,
a theater way too big for it.
It got a terrible review in the Washington Post.
The only paper that matters in DC,
it called the play preposterous.
And in fact,
the premise is preposterous.
We were convinced we were take taking a dog to New York
and it was like New York audiences
had been waiting for this play for 20 years.
It was like an explosion going off.
[upbeat music]
The World According To Garp.
I'm sorry,
I mean all I did was just touch her.
Oh it's all right.
She can't bear to have a man's hand touching her.
Boy she got problems.
Yes she does.
I mean it's gonna be kind of hard to avoid being touched,
isn't it?
Yes it is.
That's why she's here.
My name's Roberta.
I'm Garp.
You're Jenny's son.
Yes I am.
Oh, I just finished reading your novel.
I think it's wonderful.
I adore-
I had read the novel like everybody else,
never occurred to me this would be a movie.
It struck me as a book you couldn't possibly
make a movie out of,
particularly because of one absolutely key scene.
Just thought you just can't do this scene in a movie.
It was a very radical choice to make this really kind of
the essential friend of the hero,
a transsexual as they were referred to then.
Interestingly enough when I first met with George Hill
to just basically read for him,
he ruled me out immediately for being too tall,
particularly because I was so much taller
than Robin Williams.
He said it just won't work.
It'll be just too much,
pushing it too much.
But eight months passed.
I was in despair,
cuz I thought I was the only one to play this part.
I went back and I screen tested for it
with three other actors,
among them Jeff Daniels by the way.
Just by chance I had read this book called Conundrum,
the memoir of Jan Morris,
the travel writer who had actually undergone trans surgery.
And I just sort of spouted the things that I remembered
from reading this book two years before.
And he was like,
my God,
you New York actors,
you do so much research.
Not at all.
It was such a privilege to work with George Roy Hill.
He's one of three or four of those Mount Rushmore
kind of filmmakers I got to work with back in the eighties,
Bob Fosse and Brian DePalma.
A lot of these great old timers came out of fifties
television where they rehearsed actors
to perform live in front of the whole nation.
We simply rehearsed it like a play
with George and his cinematographer Merrick Undercheck
sort of wandering around figuring out everything
before even the first day of shooting.
And I remember the first scene I shot
was a scene in which I as Roberto was tied to a tree
and Garp and his kids were clowning around with me
and I ah,
was playing the damsel in distress.
Ooh!
[kids shouting]
Kill him, kill him, kill him.
Help, help, help.
And at the end of that day of shooting,
I went to George and I said,
George rehearsing is one thing,
this I mean,
I'm not that used to the camera.
I feel that I was,
I just didn't was I overdue?
Was it too much?
Just I mean,
how do you feel?
And he said,
well I'm glad you brought that up.
And my heart just sank into my stomach,
and then he roared with laughter
and he said,
ah no it was fine.
If there's ever any problem I'll be sure to tell you.
And that was like the last direction he ever gave me.
He was just such an old timer,
such an old marine.
The movie is first of all,
it was so ahead of its time,
you see it now and you think my God,
this was a movie made for right now.
I mean just think of what's happened
on the whole issue of Roe v. Wade and abortion right now,
how it's been politicized and how fanatical people
are on the subject.
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Taika Waititi Breaks Down His Most Iconic Characters
Yunjin Kim Breaks Down Her Most Iconic Characters
The Russo Brothers Break Down Their Most Iconic Marvel Films, Arrested Development & More
Rae Sremmurd Break Down Their Most Iconic Tracks
Neil Patrick Harris Breaks Down His Most Iconic Characters
Karl Urban Breaks Down His Most Iconic Characters
Ralph Macchio Breaks Down His Most Iconic Characters
Pierce Brosnan Breaks Down His Most Iconic Characters
Christian Bale Breaks Down His Most Iconic Characters
Paul Dano Breaks Down His Most Iconic Characters
Daniel Radcliffe Breaks Down His Most Iconic Characters
Mahershala Ali Breaks Down His Most Iconic Characters
Javier Bardem Breaks Down His Most Iconic Characters
Brendan Fraser Breaks Down His Most Iconic Characters
James Cameron Breaks Down His Most Iconic Films
James McAvoy Breaks Down His Most Iconic Characters
Director Alejandro González Iñárritu Breaks Down His Most Iconic Films
Director Rian Johnson Breaks Down His Most Iconic Films
"Weird Al" Yankovic Breaks Down His Most Iconic Tracks
Danny Trejo Breaks Down His Most Iconic Characters
Don Cheadle Breaks Down His Most Iconic Characters
Giancarlo Esposito Breaks Down His Most Iconic Characters
Bryan Cranston Breaks Down His Most Iconic Characters
Donnie Yen Breaks Down His Most Iconic Characters
Paul Rudd Breaks Down His Most Iconic Characters
Sir Roger Deakins Breaks Down His Most Iconic Films
Donald Glover (Childish Gambino) Breaks Down His Most Iconic Characters
Chris Tucker Breaks Down His Most Iconic Characters
John Leguizamo Breaks Down His Most Iconic Characters
Dave Matthews Breaks Down His Most Iconic Tracks
Liev Schreiber Breaks Down His Most Iconic Characters
Ludacris Breaks Down His Most Iconic Tracks
Danny Elfman Breaks Down His Most Iconic Scores (Tim Burton Edition)
Mads Mikkelsen Breaks Down His Most Iconic Characters
Michael Cera Breaks Down His Most Iconic Characters
Chris Evans Breaks Down His Most Iconic Characters
Martin Scorsese Breaks Down His Most Iconic Films
Paul Giamatti Breaks Down His Most Iconic Characters
Barry Keoghan Breaks Down His Most Iconic Characters
Kurt Russell Breaks Down His Most Iconic Characters
Sam Rockwell Breaks Down His Most Iconic Characters
Clive Owen Breaks Down His Most Iconic Characters
Josh Brolin Breaks Down His Most Iconic Characters
John Malkovich Breaks Down His Most Iconic Characters
Eugene Levy Breaks Down His Most Iconic Characters
Michael Keaton Breaks Down His Most Iconic Characters
Danny McBride Breaks Down His Most Iconic Characters
Trent Reznor & Atticus Ross (NIN) Break Down Their Most Iconic Tracks
Zack Snyder Breaks Down His Most Iconic Films
Kevin Costner Breaks Down His Most Iconic Characters
Walton Goggins Breaks Down His Most Iconic Characters
Cate Blanchett Breaks Down Her Most Iconic Characters
M. Night Shyamalan Breaks Down His Most Iconic Films
J. K. Simmons Breaks Down His Most Iconic Characters