- There is no such actor who would not dream to wake up famous. Tell me, what are you ready to go for your favorite role?
"It seems to me that everything (laughs)." I mean - trimmed - not a problem. Change your physical look - just for. Going to special classes, workouts, because the hero should own the necessary skill, - give two, I will write first. In the same way, the entire buzz is to change, search for a face, which are not yet known. I like it - to develop, learn everything new. Probably, that is why I take training on fire scenic preparation, fencing, extreme driving on ice and driving enduro-motorcycle, vocal lessons, saxophone, piano, steppa, English. And this list can be continued to infinity. Also, if my agent Gordan Milechich writes to me that it is necessary to urgently write samples, I abolish all my affairs and write samples, until I come to her with her team, for which we all vote for " per". Just to the roles of dreams should be ready, because you never know when it happens.
- Whose methodology is used in your acting profession?
- Well, of course, Roman Grigorievich Viktyuk, as I grew up and studied on him. These are the knowledge that I first began to absorb already consciously. SYSTEM VICTYUKA - it is some kind of unique, it can be seen immediately, but at the same time it does not deny the feasible basis, as in the Stanislavsky method, but on the contrary transforms it into itself. Roman Grigorievich himself said that the method of Konstantin Sergeevich in Soviet times was distinguished, used not as he originally thought. It is elegantly described in his book "Sky". But besides the school, which Viktyuk gave me, I integrate in myself and many different other techniques, because the style is the style of Viktyuk - Skicarem for the scene, performances and other manifestations of the theater, poetic, musical, plastic, where the widest manifestations Souls and bodies will not look hyperbulbly. But it is only for my subjective look. The production itself, its genre, director and many other factors affect. I am not limited to the scene only one sets of tools. Vadim Demchoga has its own most interesting and super-useful system. And it often happens that through one structure you come to another and vice versa. But for the cinema, where other work style is required, smaller, hyperrealistic, I open another toolkit, which is studying for various trainings to work with the camera. But most often it happens that I "open up" all the "boxes with tools" and already connect them. Now I need it, and in the next scene or even a replica must work otherwise, so I will take this tool here. And the greater and wider the toolkit - the easier it works, so I never refuse to learn something new, study new methods and systems.
Frame from the film "On the Moon"
Photo: Personal archive
- What feelings were tested when Yegor Konchalovsky called you?
- I terribly worried about samples, but Egor Andreevich is a chic director, he works during the selection with you as if you were already taken, and you are doing clean creativity without all these conventions. And he is a wonderful partner - so complicity that I forgot that he is a director. There was a feeling that we are on the site and play the scene, as a full partner. When I was called with the news that I was approved - it was some kind of unrestrained joy, and the complete feeling that it should have been. I am grateful that I have experience working with an excellent team of professionals, where I want to return and repeat. No, even to do even cooler!
- How do you behave next to the famous actors, directors?
- With great respect and the possibility of direct doctrine. But the most important thing is on the site - this is a sense of partnership. And if something interferes - it interferes with work. I do not know, I apparently lucky, I don't have this tremor of increased importance, or I don't know how to call, but I hope you understood me. It is simply missing me.
For example, I recently been on set in Kiev, the series "In captivity of the past" director Alexander Mokhova. First, Alexander himself is a professional family and work with him was a solid joy of creativity. So also with my partners were Inga Obold, Emmanuel Gedeonovich Vitorgan, Petar Zekavitsa, Inna Kolyada, Alina Grosu and many other chic artists. But each of us understood that we all make a common cause, and all this Mishur excitement is simply not needed, I repeat, it prevents. Similarly, my teacher Roman Viktyuk, twice the people's artist, and he hated this "social distance". He and with his students, and with his artists worked with himself, for him everyone is equal.
- What partners do you prefer? What do you like, what are you just derived from yourself and why?
- Flexible and sensitive. Which see the situation "in general", which can react here and now. And the artists who repeat exactly their batch so that it does not happen that do not want to listen and hear directors, partners and space, bent their line - here with them the most difficult for me. We are alive. And yes, I understand that the artist is obliged to repeat the drawing in accuracy, but this story arises, it may seem artificial, foreign, looking incorrectly, inanimate. Therefore, the nuances are important, they must be, and this is microscopic, or not, the change should be reflected in the partner. Probably why my author's system of workshops "I / theater" crystallized crystallized, which includes work with the body, space and partner. Because to find a common language for the shortest possible time, able to react sensitive and interact - this is the most important thing in the theater and movies. And it is impossible to come at once. Initially, you need to withdraw your body from the "autopilot", learn to include all the resources of your instrument, understand "where and what lies." Then it is important to build a relationship with space, be able to revive him and respond to its own impulses. Understand from the inside, from outside composite structures. And only then we can talk about interaction with another, the same unique artistic "I", who has its own behavior manner, his handwriting and style of work. It is important that everyone has universal interaction tools, regardless of techniques, methods and schools. Just this topic is so extensive that in one question she is definitely not fit.
- It happened that you had difficulty in filming in the cinema or during the preparation of performances?
- Yes, in fact, they are always. I remember, they shot a short film to "hear", directed by Anton Shebanov, and one shift we had on the roof of the building. In winter. On the waterfront. At night, in a terrible frost. In addition, the blizzard began. And we have a stylish cyber punk, anything without fur coats and boots can not be a speech. Play something is generally hard, do not move lips, fingers do not work, and only one thing was spinning in the subconscious: survive and get to heat. But this is a classic genre. Everyone is faced with this. And there are technical difficulties when there is only one chance to make a double and you can not get on, because there is no second attempt, and you will be responsible for this jamb. It morally presses, you begin to worry. In the theater, for example, one scene can also be rehearsed by two weeks. And it is also morally hard, the brain no longer consists of what drawing the role should be followed, because there are thousands of them, and it turns into a mental torture. Or during the formulation of the musical - every day for 10 hours of rehearsal, which require your physical maximum. After all, all this time you dance and sing non-stop. And for two months. Everyday. I had cases when the body was so surrendered that before going to the scene, I smeared my feet with special creams and cried painkillers. But these are all accompanying costs. Get used to them. It becomes part of life, and every difficulty turn into Chelenge to check yourself. And when you did it, won myself - this is one of the coolest feelings.
Musical "Styles"
Photo: Personal archive
- What is the theater for you?
- Unlimited creative field of implementations. Energote. Portal to another world. The territory of absolute conventional is so much that all those present are starting to believe in it. Act of Magic. Manual for self-development. The place where you can find the answer to any question and where you want to return insanely. In the summer, when the theaters were closed, I realized the unrestrained desire to go on the stage and play a complex dramatic performance. This is what I can't imagine my life. Each exit to the scene is a revelation. And above all, probably for yourself. The place where you directly connect to the universe.
- Do you make a big difference between the shooting area and the stage?
- This difference is. Yes, and she is inevitable. Different approaches of existence in the frame and on the scene. During the performance, you like armored train - you accelerate and then do not stop you, it is a single whole, seamless fabric. And you are obliged to spend the audience through the newly created world along with you, for two hours they forget about the world behind the walls of the hall. In the movie the work of the artist is different. Yes, when viewing the film, the same sensations should be caused as when viewing the performance. But the extension of production is completely different. Short bright outbreaks make up this structure. And often in an indifferent order. It can not be lost from the view. The final scenes should be stronger than the beginning, and, most importantly, not to get lost in the whole of this tunable correction order. I always have a special "character map" for this. And on the set you need to be able to jump from the room in the quarry - here you are sitting, you drink tea with cookies, you repeat the text, or communicate with your colleagues, and here, hop - your name is and in a few minutes you already kill Ophelia, or Dzentemon, or Himself. Well, roughly speaking. And at the same time, the scene itself is bred in the location shortly before the shooting itself, and the short-term memory must have a great potential to remember all the tasks of the director, all the technical nuances, and immediately repeat them exactly, and even on the same degree. During the shooting, the double there is no such, unfortunately, that everyone with a crowned look looks. Work behind the scenes does not stop for a second - the light is set to the next stage, the wires are paired, lunch is set up, and the one who finally has a minute to rest - sticks to the phone. And it all terribly distracts, there is no such incomprehensibility as in the theater when everyone is looking at the movement of your hand, and there is nothing else for anyone at the moment, and you experience incredible energy at that moment.
- What do you like more?
- I can not tell. Theater for me is a very familiar and native structure, where I know many secret moves. In it, I bathe like fish in water. Cinema for me is not so studied world. And I want to comprehend and comprehend. Therefore, I'm terribly interested both. It is like a multi-layer delicious pie that I want to eat entirely, and not enemy its elements.
Photo: Personal archive
- What are your plans for the winter holidays?
- I will be in Moscow on the holidays themselves, but if you receive the offer of shooting on the expedition - I will be happy to take it for him. In the meantime, I will continue to develop my workshop system "I / theater" and work on yourself. And if you think globally, I have a whole list for the whole year. But I don't know how to do everything (laughs).
- Where did you celebrate the new year? How? With whom?
- Houses, in the family circle.
- How did this happen, still in docking times?
- Do not believe, but in the same way. I have a particularly unbound person, I do not like all these discos and loud places. It is more interesting for me and more valuable to sit for a cup of delicious tea or cocoa, to lead interesting conversations, play board games with friends.
Photo: Personal archive
- Do you believe in Santa Claus?
- Of course! And how without it?! You always need to believe in miracles. This is the basis of childishness. You can not kill your inner child, just get holy and cherish. Otherwise, you can turn into a bio shell and that's it. Moreover, the artist is obliged to be a child all his life. Childhood is what is important, and what we must carry through all your life. So my teacher said - Roman Viktyuk, and I fully agree with him.