here's always been a likable inelegance to French Stewart's hapless alien in human guise, Harry Solomon--and that was the intention, according to Stewart. Though the actor is not a household name, he's instantly recognizable for his role as Harry on NBC's long-running sitcom 3rd Rock From the Sun, starring John Lithgow and Kristen Johnson. The series, which ends this month, followed the misadventures of aliens among us on Earth.
We caught up with the comedic character actor on the set of this summer's sci-fi fantasy adventure Clockstoppers, which is being directed by Jonathan Frakes. In addition to starring on 3rd Rock, Stewart has appeared in numerous plays, and in such movies as Stargate, Broken Arrow and Leaving Las Vegas.
After six years on 3rd Rock, was it hard letting go when it came time to film the finale?
Stewart: Oh, yeah. I think everybody really felt ready, and deep in your heart, you know that probably, if you did one more season, everybody would get cranky. But still, it's been a huge part of my life, and I've got a lot of good friends there. We've had the same crew pretty much from the get-go, so you have to sort of say goodbye to 50 or 60 friends, so it's a little bit difficult--but I think it's tempered by the fact that we all know it's time.
Were you satisfied with where the show, and your character, ended up?
Stewart: The thing that I really enjoyed about it was that there's not a lot of growth to be had [with a character like Harry]. Basically, you're a dumbass--and that's it. And I was always arguing to keep him stupid, as opposed to having him learn too much, because I just felt it worked better for the show. And it seemed more endearing if he was without a clue. So it was fun to do that, but obviously, eventually, there were limitations to that.
What is that you like about playing this kind of loopy character?
Stewart: Well, part of it is that's just what I do. You always hear about actors wanting to stretch themselves, but there are limitations to that. Whatever I play, I'm going to be coming at it from my own viewpoint, and bringing my own references to it. And so I think for me, choosing projects has never really been so much about trying to do something I hadn't done, or to push myself in any way. It's just always been [a question of] does it look like it will be fun? Does it look like something that I'll enjoy doing for a couple of months? When I get bored with a certain type of character, then it's sort of ousted out--and then I move on.
When you chose acting, was there something in specific you were looking for?
Stewart: I didn't get into it to be this great actor. I just wanted to have some adventure, be on a movie set, travel, meet interesting people and go interesting places. I'm pretty easy to please.
Why do you enjoy comedy?
Stewart: The draw for me ... if you spend three or four months or whatever playing the upset district attorney, for me that would be uncomfortable. I like to laugh, and I like to make people laugh. I like a pleasurable work experience. And comedy is nothing else. When it works, it really works. And when it doesn't, it's like this intricate puzzle that you have to figure out. I've just enjoyed doing it. It's a light, nice atmosphere in which to live.
It's important to find the humor in life.
Stewart: I think it's important. Sitcoms get a bad rap about being a 22-minute skit that doesn't really mean anything. But for my money, that's what they're for--you're supposed to provide a little light relief for somebody who's been working a double shift. You find your audience and the people who are attracted to the stuff you do. And it should just be a few yucks--I don't think you need to cure anybody's alcoholism in 22 minutes, and I think when people do try to do it, it comes off as disingenuous. It's just not called for. Just do Sanford and Son; just do Laverne & Shirley--[that] has its own value. I don't know why people try to measure television against film, because it's a comparison you can't make. American television is miraculous. There's a lot of crap on it, but there's also a lot of good stuff.
Tell me about your role in Clockstoppers.
Stewart: I play this guy named Earl Dopler, who's sort of a technical wizard/lunatic. He's very duplicitous in that he develops this technology for a watch that can warble time long enough that people can speed in and out of places. Obviously, it falls into the wrong hands, and rather than staying around to mop up after his mess, he tries to blow out of town to Costa Rica. It's fun, because you can sense that there's probably a good heart in there some place--but for the most part he's pretty selfish.
How did you get the role?
Stewart: I read the script, and I thought it would be something that would be really fun to do. I was a fan of producer Gale Ann Hurd's track record, and [director] Jonathan Frakes is wonderful; he'd done a 3rd Rock before, so I loosely knew him. They offered it to me and I took it.
What's it like working with Frakes, and how does the dynamic he fosters on set help you to keep things light, as in the scene you were just rehearsing where you were wielding a mean looking banana in lieu of a weapon--and ran with it on a tangent?
Stewart: We've got a great cast and crew, and everybody enjoys having their fun. You could pin it on me, but I think if you trace it back farther, it's Jonathan Frakes, who is a nutcase. [laughs jokingly]. Number one, he's out of his head--and what's been so enjoyable about this is that he creates this atmosphere where people can have a really good time with work, and that makes all the difference in the world. I like to stay loose and goof on everybody--a 12-hour workday can get to be a bit much, so we have our fun.
Were you looking for something different from 3rd Rock?
Stewart: Yes. That's the key right now, is finding people who'll let me do something a little bit different, mix it up a little bit. The show has afforded me a lot of nice opportunities, but now it's time to remove myself from that type of character for a little while.
What's up next for you?
Stewart: I've got a new comedy I'm doing for NBC.
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Also in this issue: Marti Noxon
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