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a es a -- -------- Bai NAEINE Si. FRA gh St patio 2 25 Th dN ricky I vy o¢ AIAN AR ALAR "WEEKEND STAR" Lp -- pa ah a eet ior Sr TAA ca i he io I a Las Tol : . SAT? CATT x FRIDAY, SEPTEMBER 29, 2000-9 Hangin with Bobby Duvall: SCREENING ROOM LB BN BN BN BN By John Foote When the McFarland Publishing Company in the United States signed me to write a biography of Robert Duvall, they did so with an understand- ing that I might get the actor-director to co-operate in the project. Months after McFarland accepted the idea | received a call from Mr. Duvall's manager-producer Rob Carliner who ~ told me | had been granted full access to Duvall's life, and interview time would be set up over the course of the - year. 'Suddenly interest in the project escalated, in particular from some com- panies who initially turned it down. Since April, | have been in weekly contact with Duvall's officé where Adam Prince keeps me posted on everything going on in the actor's life, and provides me with materials | have required for the researching of the book. Duvall has set up interviews for me with Dennis Hopper, Francis Ford Coppola, Horton boote, Gene Hackman, and Ulu Grosbard, all whom have worked or known the actor for several years. As fate would have it, in the summer it was announced that Duvall's latest film A Shot at Glory (2000) would open at the Toronto International Film Festival, and shortly after that he would be in Toronto for eight weeks shooting the new thriller John Q with Denzel Washington, Ray Liotta, Anne Heche, and James Woods. It was arranged that | would haok up with Duvall at the film festival, and that we would meet sever- al times to discuss his life. I received a personal invitation to the opening night party for A Shot at Glory, where Duvall and I got the chance to get re-acquainted. He was dog-tired after the successful screening, but more than happy to chat about the film festival and life in general. The next day we got together for an interview regarding the film, and talked at length about his long, successful career. Nothing about Robert Duvall sug- gests that he is 70 years old. He moves quickly, his handshake is firm, and he speaks gently until something riles him and his voice booms out in anger. His eyes dance with mischief and laughter, and you cannot help but like the guy. So | am sitting across from Robert Duvall for about the fifth time in my life and it suddenly hits me that | am indeed chatting with the greatést actor in the history of the cinema. More than that, I am having coffee with the man who gave performances that changed my life. I clearly remember walking out of the old University Theatre on Bloor Street in 1979 after seeing Francis Ford Coppola's Apocalypse Now, knowing I had just seen one of the great films of all time. Duvall's performance as the napalm- loving Kilgore has never been far from How cool is that? =I Robert Duvall (left) . consults with director Michael Corrente and Michael Keaton during filming of A Shot At Glory. my mind. Because as good as Apocalypse Now is, the film never quite recovers from his exit. He was the mad- ness of Vietnam, the twisted warped psyche of the all-American war monger absolutely at home in battle, and likely unhappy anywhere else. I knew at that moment | wanted noth- ing more than to be a film critic, to spread the word about great work such as this. At the time | was a struggling the- atre student studying both film and the- atre with an early hope for an acting career that slipped away due to lack of talent. Eighteen years later | stood looking at the ruined facade of the University Theatre after seeing Duvall's film The Apostle (1997) at the Toronto Film Festival. | had walked out of the theatre and wandered several blocks in awe of the performance 1 had just witnessed, somehow ending up in front of the the- atre where so much of what I do began to occur. At this time in my life | was indeed a film critic, privy to interviews with actors and directors, and certainly the rumours of the business. | toyed then with the idea of writing about Please turn to page 18 ~ V Studio/ Gallery 170 Queen St. pe 985.8775, email The Zone System (hur courses ane ' ; ied to hel ey \ Beginner Watercolour our of Jazz Seminar wiPeter Stith Intro to Photography Fantasy Masks Open Studio (ongoing) Call now to reserve Blties Seminar w/Howard Ross 14pm : , \ . 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