Robin Williams had a problem on the last day of shooting the drama Boulevard: He couldn’t figure how to play out his final scene.
“We walked for an hour and talked it through,” says director Dito Montiel. “Then after we shot it, Robin was like, ‘We got it!’ I remember that in particular. It was such a great way to end it all.”
For Montiel (A Guide to Recognizing Your Saints), it was the magic moment of working with the Academy Award winner on the art-house drama about a married man coming to terms with his sexuality.
Montiel wasn’t aware that Boulevard (opens Friday in New York, July 17 in Los Angeles and other major markets) would be the last dramatic film of Williams’ distinguished career. (The actor’s final role is as the voice of a dog in the upcoming sci-fi comedy Absolutely Anything.) Williams’ suicide last August at age 63 came just months after Boulevard premiered at Tribeca Film Festival, and distributor Starz held off the film’s release.
The actor’s interest in Boulevard was powerful from the time he left messages on Montiel’s voice mail, hoping to discuss the emotionally repressed Nolan. “Naturally, I kept all of those voice mails,” says Montiel.
Before and during the 30-day shoot in June 2013, Williams pored over details of the confined character. Rather than take dinner breaks during the night shoots, Williams often preferred to take walks around Nashville with Montiel, discussing upcoming scenes.
“He just cared so much about it. He was talking about every single nuance of the role,” says Montiel. “For this Oscar winner to care so much about this little movie, obsessing about it at 3 a.m. on Day 23 like he did, that was pretty special.”
There were no signs that Williams was struggling with personal or health problems from Parkinson’s disease, which might have contributed to his decision to take his life. But there were moments of humor. One night, Williams joined an impromptu rap video with crew members. When a fan yelled out “Mork!” on the set, Williams responded without missing a beat: “I’ve got a new job now.”
Bob Odenkirk, who plays Nolan’s best friend, recalls Williams talking happily about family life between scenes. Williams had detailed knowledge of even the most obscure rising comedy act and his famed improv chops were as sharp as ever during a dinner scene with Odenkirk, which allowed Williams to take flight.
But even Kathy Baker, as his screen wife, noticed that it was a more subdued Williams playing a thoughtful, troubled man.
“Robin was very funny and personal,” says Baker. “But he stayed quiet, I think because of the role. He wasn’t the Big Robin, entertaining the troops.”
Nor was he under pressure to deliver big grosses. “As a specialized release, there’s no expectation of a blockbuster-size box office performance, but certainly the film has the potential to fill the few theaters in which it will play to post impressive results,” says Paul Dergarabedian, senior media analyst for the entertainment research company Rentrak. “Robin Williams still carries a lot of weight.”
Williams’ care for Boulevard didn’t wane once filming stopped. He was in constant contact with Montiel as the director prepared a final cut for Tribeca. Williams urged Montiel to restore a scene with Nolan’s unapproving father, which had been cut in editing.
After he added the scene, Montiel had one final conversation with Williams, who praised the work.
“Robin was like, ‘It’s so great, boss,’ ” recalls Montiel. “When someone so accomplished as Robin Williams goes out and gives everything he can for your film, you hope he’s happy.
“I know he liked the film. After everything that’s happened, I can hold onto that.”
