- Nikita Sergeevich, for your classes come ready for more specialists, graduates of theatrical universities, what do you want to convey to these guys? Open them, what is the main secret of the film astronomy?
- The secret is to create a special atmosphere on the site, on which operators are present, artists, director, and the center of all this is the actor. At the same time, the operator, and the director, and the artist should understand that the goals can be achieved only when it is convenient to the actor! Brilliant actor Mikhail Chekhov said: "The atmosphere decides everything. On the playground, on stage, behind the camera and in the frame of the film. " But the right atmosphere is not only a temperament of relationships. This is the correct combination of rhythms on the scene and in the hall. Cinema is not only a motor and stop, it's all the rest, which helps the actor to open as much as possible. This and the ability to masterfully own their technical apparatus that I have rarely observe in young actors lately. If you do not start doing this issue, we will still see a long time on TV screens, in which empty, like a drum, the actors are crying, and the bunch of glycerol tears flow on the cheeks. There is also another problem. The Russian acting school is a huge number of actors who, by completing theatrical institutions, travel around their cities. And very often they find themselves in perfect isolation, with a not very talented director and the complete lack of perspectives. And here our Academy is trying to engage in all these problems. In fact, the Academy is trying to engage in different problems. In class climb, the most pressing issues are raised, including how to get in a big movie. No recipes, but I tend to think that you can get through our academy. Unique perfectionism and decaying the profession on spectra, ways, as and what can be played, give huge technical capabilities that arugue actors in the fight against the director.
"Most of all in the actors, I appreciate the ability to work, humor and light coming from a person." Photo: Gennady Cherkasov.
- Too unexpected concept - Do you learn actors to fight the director?
- Today, the acting school requires organic and communication. You can get from the TV series in the series, and gradually the actor becomes the hostage of its own texture by virtue of his undemanding. But the actor must be the winner. And in our situation, the director is a profession, which is not responsible for anything. Summary of activity, despite the fact that some do not understand what a director is. The screenwriter writes, the artist includes all his skills, drawing up the scene, the operator shoots, the actor turns the soul, and the director says: "I see so" and removes Haltur. Dmitry Dyuzhez arrived to me on the shooting. I ask: "Where are you removed? Who is the director? " Replies: "Yes, so small, in a cap." That's all! He did not even imprinted in the consciousness in the actors who worked with him, and from this vicious circle did not break out. Therefore, the foundations of our communication are Stanislavsky, Chekhov, Vakhtangov and Peter Brooke, a stunning and deepest connoisseur of Russian school. What we are talking about, it is no matter how practical, but has a gigantic value if the actor wants to step over the director who does not understand this.
"Many connoisseurs of your talent noticed that you are working on the screen workshops. And what happens to you when you keep a pause, what are you so concentrated about?
- About the salary. (Laughs.) Pause is thermonuclear energy concentration, it is also the correct distribution of the same energy. A minute of pause, which coincides with a minute in the hall, is a powerful concentrate. The longer the pause, the greater the effect of the spent word, but the pause you need to have the right. Many directors think that if it is long, it will be Tarkovsky. Neither Figa ... Today, arthaus directors give the team to actors to walk near the fence. Well, it goes stupid guy back and back along the fence, and this is nothing more than the encryption of emptiness. We must deal with the influence of the viewer, and if we won't make it do it, he will yawning and look at the clock. For me, for example, the high class of the actor lies in the fact that he constantly thinks about it. What I tell in classes is very important for me.
At the Moscow Film Festival with Brad Pitt. Photo: Lilia Sharlovskaya.
- How to get the role from director Mikhalkov? What does the actor need to make on samples to like and get a job?
- come naked and enjoy it. (Laughs.) The actor wants to like, it is dependent, it's all clear, but it doesn't matter that the actor plays me, it is important for me that he hides. When a person tells about himself - everything can be seen. I once starred with Saveli Kramarov and saw what he was at madness a professional in work, as he worked in the slightest details in the role, and no matter, they fell into a frame or not. In general, he was a brilliant person. Singing somehow in the morning before shooting, breakfast. He eats cottage cheese, and I suddenly ask him: "Did you divorce?" He with a spoon in his hand how to torment me in response: "Did you see her?!" In one phrase flashed all life. Therefore, do not try to like, be yourself - the simpler, the better.
- Are there an actors with whom you would not work?
- Of course, there are actors who never remember to themselves. Most of all I appreciate the ability to work, humor and light coming from man. Also, I appreciate the actor with my life concept: if he was right and convinced me, then "let's take off". The artist must understand that he is on the ground site. What loves him and appreciate. No whims, of course.