In the FX series The Old Man, Jeff Bridges and John Lithgow portray complex characters linked by a tumultuous past in the intelligence community, transitioning from rivals to reluctant allies. Their off-screen rapport is similarly strong as they recount personal experiences, particularly when Bridges reflects on his battle with cancer and COVID-19, which made him question whether he would live long enough to complete the show’s first season.
“I wasn’t sure I would make it,” Bridges shares, shifting from his usual light-hearted demeanor to a more somber tone. “Gradually, I set small goals for myself… one significant goal was walking my daughter Hayley down the aisle in 2022. I trained as if it were a sporting event.”
Lithgow recalls that Bridges’ updates during his health struggles were often disheartening, but he never lost faith. “I felt this show was just what he needed,” Lithgow expresses. “He required something to strive for, and he truly loves this project.”
Lithgow also revealed a personal motive for wanting Bridges back on set. “We barely worked together in the first season,” he recalls, adding with humor, “I thought, ‘Bridges, you need to come back and act with me – you’re the reason I wanted to be part of this show.’”
The second season presents a unique buddy drama as Bridges’ character, retired CIA operative Dan Chase, discovers that a former ally-turned-enemy has taken his adult daughter, Emily, portrayed by Alia Shawkat. Chase must partner with Lithgow’s Harold Harper, a former FBI deputy director who has a complicated past with Chase but has also mentored Emily.
Bridges describes the season’s thematic core as love, acknowledging its complex nature. “Fathers have deep loves for their daughters. It’s not always cupcakes and valentines; love has a darker side woven into the narrative.”
Lithgow humorously likens Emily’s conflicting loyalties to plotlines in the musical Mamma Mia!, while recognizing that their series showcases some of the most dysfunctional father figures on television. “One character plotted to kill the other, and yet, they’ve moved past that because they each understand the gravity of their professions.”
The actors discuss how their characters are extreme representations of men who navigate a complex emotional landscape. Bridges notes that a balance between ruthlessness and empathy is essential in their world. “You have to embody both to be involved in this line of work,” he states.
As viewers watch Bridges execute fight scenes with vigor in The Old Man, it’s hard to reconcile with the notion that he once struggled with his health during filming. The narrative highlights the struggles and regrets associated with aging, fatherhood, and family—challenges both characters and actors face.
When asked about defining aging gracefully in Hollywood, Lithgow, now 78, reflects on the reactive nature of an actor’s career. “You must wait for people to want you for specific reasons,” he adds, having found that older roles have come to dominate his recent work.
Lithgow has explored diverse roles throughout his career, but more recently, he has earned recognition for portraying older characters like Winston Churchill and Roger Ailes. “For much of my career, I’ve tried to hide my aging, or wished to appear younger. Now, I frequently play roles where I’m older than I actually am.”
Bridges, at 74, contemplates aging with a philosophical outlook. He suggests that while growing older may come with memory challenges, it also brings a sense of discovery. “Old age can offer a fresh perspective. You don’t truly understand your capabilities until you’re tested,” he says, expressing a readiness to face challenges head-on.
Reflecting on his health journey through cancer and COVID, Bridges identifies unexpected insights gained from these trials. “The challenges we fear can often turn into gifts, and it’s only through living those experiences that we understand it,” he shares, admitting he felt surprisingly calm when faced with dire prognoses. “What scares me more is delivering a scene and not executing it well.”