—How did Corotal time on quarantine?
- At first, the time had fun - the first two weeks were the most pleasant, because before that there was a lot of work, and suddenly it ended. For the first two weeks, we were remarkably relaxed with a wonderful, were lying on them with great pleasure. Then began a period of excitement and almost depressed, because the work was never - and there is no third month. The nervous tension was felt. Despite the fact that the film industry got up, there was a large number of proposals related to remote samples - we recorded a huge amount of "samstitch", so became real masters. (Laughs.) Even bought special lighting equipment and almost weekly recorded rollers. In principle, you can now not come to samples at all, but simply write home self-promotions - it's cool!
—Do you have a hobby? And did it help you to take yourself during self-insulation?
- There is, and it is also associated with quarantine. My main hobby is music. For these three months I learned a few new compositions on the piano, which my beautiful spouse was given to Abyzov, a magnificent actress. I learned the two Bach compositions from the "well-tempered key" (a collection of keypads I. S. Baha, - approx. Aut.) And now I begin to learn Mozart "Fantasy re-minor". I play musical instruments, in particular on the electric guitar, which my spouse also presented me. She helps me develop creatively and artistically.
—What do you usually make actors when there are breaks in shooting, what do you do?
- I am writing self-printing and playing the piano. Also read special literature on acting. From the last - "actor skill. Twelve steps to Hollywood "Ivan Chabbaka. A rather curious book where the best thoughts of Stanislavsky, Nemirovich-Danchenko, Mikhail Chekhov and are combined at twelve steps. From these steps, I like the last, twelfth, which sounds like: "Be what happens." It is like this step by the fact that on the stage or the shooting area about all previous items need to be forgotten - they already have in you, you only need to play "here and now." The most valuable in the art of the actor is the game here and now.
—Now on the video service Start came out the series "Hope" with your participation. Tell us about your character.
"Hope" is a drama about a woman who leads a double life: a concerning wife and mother, she at the same time cunning and ruthless killer. And after 18 years, such a "bloody" work she wants to abandon the dark side of his life and devote himself to the family. My hero is Nadi's husband, a forty-year-old bassist, a musician playing in a group, but nothing, by and large, not achieved. I never played such characters. In the forty years, he "in short pants" continues to "lab" on the bass. (Laughs.) At the same time, he is a very clean and kind man, absolutely trusting his wife, and it turns out to be a killer. About this, of course, he does not know, according to the legend, his wife - stewardess. His throwing and doubts about his own spouse seemed very interesting to me. The arch of my character is quite serious - that husband of hope we see at the end is quite different from the naive bassist, which appears at the beginning of history. This role is not such a heroic, which I usually play. At the end, metamorphosis occurs with it - exactly from this absolutely unclear person grows the hero. He changes and becomes a person who is able to be responsible for the beloved woman, for the child and for the life of the whole family.
—Victoria Isakov - the perfect partner?
- Sure! With Vika, it was wonderful to work. This is the case when the actress does not engage in his own character, and by you, partner. It is completely dissolved in a partner, and it helps me to dissolve in it. This is such an absolutely acting partnership, and I will not replace it - no staged, visual effects, directing strokes. If there is no living life between partners in the frame - the film fails. Ugh, ugh, ugh, it seems we managed to outline this "live life" with Vika.
—We can say that everything was cloudless, or still during the filming arose difficulties?
- Shortly before "Hope", I starred in the film "Expert", where my hero was lame by one leg, and, having come to the set of "Hope", I continued to chrome. And Lena Khazanova, director, told me: "Lesha, why are you lame? You have a hand broken! " After all, really, in the plot in the "hope" I break the hand, and I have to play with a broken hand. That was funny technical difficulty. (Laughs.) Actual difficulties did not occur because a stunning team gathered, everything worked like a clock! All workshops were in place and worked as a single coordinated mechanism.
—What was remembered from work, from the most shot period, breaks, the atmosphere that reigned on the site?
- First of all, the atmosphere of confidence in each other and the feeling that everyone is in its place. We did not have downtime, processing, although the scenes themselves were complex - not by setting, but psychologically. All my scenes were associated with the psychological development of the hero. At the same time, Vicky Isakova had a lot of scenes associated with tricks, with shots and "landings" - this is when a special mechanism exploding when shooting in an actor fastened. I did not have such scenes. I also remember the "European" coherence. Lena Khazanova is an international director, and I had a feeling that they were moving in good European cinema.
"The arch of my character is quite serious - the husband of the hope we see at the end is quite different from the naive bassist, which appears at the beginning of the story."
—What do you like and what do not tolerate in partners?
- I like when the partner does you, and you do it. When you do not think what looks like in the frame, but interact with the partner on the site. I do not like when the partner is engaged only with himself and with its experiences, something in parallel to you, in itself, without interacting with the partner. This "dead" is all what is happening around.
—Have you ever refused role because of the partner's artist that you are unpleasant? Or what are you running to hide hostility and make a job?
- Such partners, fortunately, was not. If there are unpleasant moments, I try to use them in your work - refer to your partner using hostility. After all, this is a strong emotion. I try to overpaid it into how my character would have experienced dislike for this person, even if he loves him according to the script. From love to hate one step. Play clean love is not so interesting. Everything happens to me, I try to overpay into the material for the role.
—Are you a patient man?
- We can say that yes. I am ready to endure long enough, but then I abruptly flash. When the patience comes an end, RBW all personal connections. It is a fact. As Vysotsky said: "I have a positive attitude towards a person until he proves the opposite."
All but dictatorship
—What you can forgive the director, and what - never?
- The director can be forgiven a lot, except, perhaps, dictatorship. I do not reset the stupid vertical dictatorship, when the last argument is: "I am the boss, and you are a fool. Why? Because I am a director! " I can't forgive this. I am a supporter of horizontal control, and when I spend the director of the project, I try to create a confidence atmosphere on the site, without a reminder of who is the main one. Everyone understands who is the main one, it is not necessary to additionally declare. This also applies to the theater and movies.
—Have your favorite directors? If so, what do you invest in the meaning of this word in relation to them?
- There are directions with whom I am pleased to work. Lena Khazanova, the director of the series "Hope" is one of them. This is largely due to its open personal human qualities, its European look at the cinema and the organization of the film process. There is also a wonderful director Vlad Furman, who removed the "mysterious passion", and I would have worked with him yet. He is an example of horizontal democratic management. And, of course, Rife Fayns! At the site, he does not need to seek a certain attitude towards himself, because he is not only a careful director, but also an outstanding British actor. I remember how during the shooting I realized that I lack a cigar and brandy as a props to help himself in this scene. Raif listened to me, and in a minute the necessary props appeared on the site, and the scene began to play with other paints. I also would like to work with Raif.
—What are you ready for the role?
- I agree to everything within the law. Jump into ice water without a flock - please. If you need a close-up of a wet face and body after the hole, for example, I am always ready. All for the sake of frame - my motto!
—Offer a director of your vision role?
- As an actor on the set I try to pay off such ambitions and engage in the development of your character, to live him. Always discuss the scene and a role with the director before the start of the filming, "on the shore". During the shooting process, this is not time.
Exchange roles
—How do you feel about what you compare with other actors? You, as a creative person, is it a shame or flattering? For example, many consider you with Sergey Deligue almost relatives.
- With Sergey Deligue, we are really constantly compared. And once we had a fun story associated with Pasha Derevyko. I came to the theater, where he worked, and I tell me: "Oh, Lesha, you played so well than Batka Makhno! Generally wonderful! " I say: "Guys, you walpped! This Pasha has played wooden, I didn't stand nearby. " (Laughs.) And Kira Pletnev in the same company. It is time for us to play in the "brothers of Karamazov" - Ivan, Dmitry, Alyosha and Messyakov, so that everyone understands that we are four different actors. I treat it with humor.
—What do you do when you are dressed in unusual and unloved apparels?
- Yes, great! In each role you need to go from yourself - and as far as possible. The farther from my own style in clothes, the easier it is to find new faces. The reincarnation system is now no longer working in the cinema, and in the theater works. You can only reincarnate in the cinema only in yourself. On one of the rehearsals, Peter Naumovich Fomenko told Lyudmila Maksakova: "Lyudochka, you reincarnate in yourself!". I gladly took this motto as my own.
"My hero is Nadi's husband, a forty-year-old bassist, a musician playing in a group, but nothing, by and large, not achieved"
—In general, what style in clothes are close to you?
- Previously, I preferred a classic style, but recently it is possible to change your style every day. One day to decide in the classics, the second - in rap-style, the third one is still in anything. My mother-in-law Marina stacker is a magnificent stylist, often advises me in clothes, so I try to look at all a hundred daily.
—Theater is in the first place?
- I can not say that I share the first and second place between the theater and movies, or between music and teaching. All this is part of a large artistic creative field. Theater for me, no doubt, is important, but also cinema, and other art types are also important.
—Why did you leave the profession for a while? What did you do in those few years, what did you achieve that it brought pleasure?
- It happened in the early 2000s, when there were big problems in the theater environment and the film industry - little was filmed and set. The performance was set not in three or four months, as now, and in two or three years. The Lion Abramovich Dodina, for example, were produced with a long rehearsal process, the theater was not financially provided. When I began to understand that there are no artistic and financial prospects, went for three years in the sphere of advertising and PR. I became a PR-director of a large group of advertising companies in Moscow, I had subordinates - PR managers who performed my tasks. I bought the book "PR for teapots," studied it and all these years played the role of the PR director, without being fully.
—What happened why decided to return back to the theater?
- The role of the PR-Director was given to me well, but I realized that PR and advertising - not exactly what I want to do all my life. Just at that time, I turned up the story with the Rights of the jester in the "King Lira" at the Lion Abramovich Dodina in the Small Drama Theater, the Theater of Europe in St. Petersburg. I was invited to samples, passed them and remained in the theater.
—Is it true that you always wanted to be leading television programs?
- Indeed, since childhood, I wanted to keep interesting television programs. And succeeded in this, because a lot in my life was associated with television. First, the Children's Theater Studio "Imagination" under St. Petersburg television, where in the dashing 90s we, being teenagers, read the poems of Mandelstam, Gumilyov, Akhmatova, Mayakovsky and Dona-Amanado, a poet emigrant, who moved to Paris. Later, I led the program "There is an exement in battle" about the history of Russian duels and card games. Then there was a transmission "Incomprehent Stock", the publishing house "New Literary Review" Irina Prokhorova, where my speech began approximately like this:
"Hello, my name is Alexey Morozov, and we will talk about the local individual of the frustration concept, which should ignore the tendency of paradoxical illusion." Here these terms I operated on quite young age. (Laughs.) After that, there was a transmission of the "Reserved Region with Alexey Morozov" on the channel "Russia - St. Petersburg". For this transfer, I drove through the Leningrad region and told my impressions of cultural, historical and religious monuments. It was also rather curious. One of the last gears was Petrograd 17th, where I traveled in various revolutionary addresses related to the revolution, and told about the history of this place. So television has played a very important role for me.
—Were ready for the sake of this to say goodbye to the actor?
- No, of course, not ready. It was more like an additional occupation. Theater and cinema always stood for me in the first place. But my television vision, participation in television programs, is also an important part of my life.
—You can call you an actor with a happy theatrical destiny, and how would you call your film?
"I would call my film" Sporadic. " There are some powerful projects, but not as often as I would like. On the other hand, I don't want to flash from the frame in a frame, from the movie to the film: the viewer is tired of this, and the actor does not have time to tune in to each movie. Thus, you can "sweep up" as an actor. Create powerful filmmakers once in one or two years is quite enough.
—How to select the roles that do not agree. What primary?
- First of all, the story itself is important to me and the role of my character in this story. This is the first thing I pay attention to. Is there an "arch" of the character? Does my hero develop from the beginning to the final? I look at what I played similar roles before. If I did not play this - I agree immediately. And if there were similar roles, there is a place for thought, and agree, only if there is an interesting story. In each hero, I try to find new manifestations that did not use in previous films.