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Robert Duvall, the celebrated actor whose career spanned decades and encompassed iconic roles in films like The Godfather and Apocalypse Now, passed away on Sunday at the age of 95. Among those reflecting on his legacy is Bruce Beresford, the Australian director who helmed Duvall in the 1983 drama Tender Mercies, a performance that earned Duvall an Academy Award for Best Actor. Beresford, also known for directing films like Breaker Morant and Driving Miss Daisy, shared his recollections of working with Duvall, describing the actor as both “surly” and “absolutely great.”

The collaboration on Tender Mercies, a poignant story of a recovering alcoholic country singer seeking redemption in rural Texas, proved to be a unique experience for Beresford. While the film garnered critical acclaim and solidified Duvall’s reputation, the path to completion was marked by creative clashes and the actor’s unconventional approach to filmmaking. The film remains a touchstone for fans of character-driven dramas and a testament to Duvall’s dedication to his craft.

Beresford recounted that he never saw Duvall again after the completion of Tender Mercies, despite both being nominated for Oscars the following year. The script for the film, written by Horton Foote, had initially been circulated among several American directors before finding its way to Beresford. Foote had previously suggested Duvall for a role in 1962’s To Kill a Mockingbird and specifically wrote Tender Mercies with Duvall in mind, according to Beresford. The script was brought to him by Philip and Mary-Ann Hobel, founders of The Cinema Guild, after they had received rejections from other filmmakers.

Duvall’s commitment to authenticity was evident from the start, Beresford explained. The actor spent considerable time in Texas immersing himself in the culture and perfecting the accent of his character, Mac Sledge. He reportedly traveled over 600 miles throughout the state, playing in local country bands and recording the nuances of regional dialects. This dedication, however, was coupled with a strong-willed personality that often led to friction on set.

A Surly Perfectionist: Duvall’s On-Set Demeanor

Beresford described Duvall as “opinionated” and often resistant to pre-planned shots and camera angles. “I’d pre-plan the scenes and say ‘We’re doing this’ and ‘We’re doing that’—you know, I worked out all the choreography of the moves and the camera angles—and he tended to be rather surly,” Beresford recalled. “He’d look at it and he’d say, ‘Oh, is that it?’ And I’d say ‘Yes.’ But no matter what it was, he did it extremely well—it always looked better than I imagined it would.”

This perfectionism sometimes manifested in unusual requests. In one instance, Duvall insisted on the removal of the boom microphone, arguing that his character, Mac Sledge, would not have had one hovering above his head. Despite Beresford’s explanation that it was a necessary tool for recording sound, Duvall persisted, leading to several hours of filming without audio. Beresford ultimately relented, only to reinstate the microphone the following day without further protest from Duvall.

Another anecdote involved a scene with Ellen Barkin, who played Sledge’s daughter. Duvall paused filming, fixated on a light source visible through a window. “What’s that light doing out there?” Duvall asked, according to Beresford. When informed it was a lighting fixture, Duvall questioned its necessity, pointing out that sunlight should have been sufficient. Beresford patiently explained the require for consistent lighting throughout the lengthy scene, accounting for the sun’s movement, but noted Duvall remained skeptical.

A Performance That Transcended Challenges

Despite these challenges, Beresford maintained that Duvall consistently delivered exceptional performances. “I don’t know what that was all about. I thought to myself, ‘This guy has made over 50 films. He knows about lights and microphones,’” Beresford said. “Generally, though, he just went through the scenes the way I planned them, and I knew from the very beginning that he was giving an amazing performance.” He specifically remembered being struck by Duvall’s performance in the opening scene, where his character is depicted drunk on a motel room floor. “As he did the scene, I could feel the skin crawling on the back of my neck, and I thought, ‘This guy is absolutely great.’”

Tender Mercies went on to win two Academy Awards in 1984, including Best Actor for Duvall and Best Original Screenplay for Horton Foote. The film, available for streaming on platforms like IMDb, continues to resonate with audiences for its honest portrayal of redemption and the complexities of human relationships.

As the film industry and fans mourn the loss of Robert Duvall, the memories shared by colleagues like Bruce Beresford offer a glimpse into the artistry and unique personality of a true cinematic icon. The impact of his perform will undoubtedly continue to inspire generations of actors and filmmakers to arrive.

What are your favorite Robert Duvall performances? Share your thoughts in the comments below.