Rus News Journal

Our actor demands painful conversations

interview to director Andrey Zvyagintsev

Andrey Zvyagintsev`s New film Exile which this week left in the Russian hire, looked forward. Waited and on last Cannes film festival where it has received one of the main prizes - an award for Best Actor. The world film elite has realised that this person anywhere with the command of semifans really new name at cinema. Perhaps, partially the reasons of such success consist that against modern ostrosotsialnogo cinema Zvyagintsev does everything that its pictures could not be adhered to what - at the right time, to a scene of action. About the glory and work over Exile Andrey ZVYAGINTSEV has told to the correspondent daily to MARINA LATYSHEVOJ.

- What do you think of opinion, what one of the reasons of your success - such yours nemodnost?

- If it is fair, I do not know. I in Cannes have not looked at any film, and on last cinema ­ festival in Venice at all was not. That is now fashionable on film festivals, I do not know. Perhaps, in such opinion something is valid is.

- you often say that intentionally deprive the pictures of communications with the present. Will do it and in the following films?

- While these are my predilections. I do not know that will be with the following picture and that it in general will be such.

- some foreign critics named Returning Russian film, and Exile - Russian film in the western wrapper. It that, misunderstanding of those problems which you before yourselves put?

- Russian film in the western wrapper? Ridiculously. Probably, it is valid misunderstanding. The film one, and is a lot of spectators, and each of them watches a film as - that on - to the. I do not understand, how it is possible to make comments on it, except as sob ­ stvenno a film. Well here such there were my priorities, they to me seem correct.

- in Exile you have continued work with the last command, fans much of them, for example the operator or the composer. Will work with them and further?

- my operator, Misha Krichman, it already the professional. Yes, of course, I am going to work with them and further. Both with Mishej, and with composer Andrey Dergachev, both with art director Andrey Pankratov, and with the costume designer Anna Bartuli, and with others. Very much it is pleasant to us with each other, we find common language, we are simply happy, when all of us together on a set. To us it is simply good.

- and with Maria Bonnevi as to you it was worked?

- About! With Maria Bonnevi to me it was worked perfectly! It the master, simply good fellow. It has arrived on tests, and we practically even have not mentioned a word, it simply left and has made a scene. Maria has been so prepared as the actress that has simply rushed to a role as in the river, and has floated. Our actor demands long conversations, very long, very painful conversations on an image. I do not want to tell that I am am confused with such approach in this business and I as - that run from it. No. But that she has offered, its this readiness to leave for a door, and then to open a door and again to enter already in a scene, it on - to the present has admired me.

- you would like and to remove further it in the films?

- Here all depends on history. Everything is literally, understand? I have such saying: I shoot film, instead of relatives. And all know it. And Kostja (Konstantin Lavronenko. - daily) knows: if it will not have a role, means, he will not act in film. It is defined only by history. If Kostja there is pertinent, he will act in film there. For this reason, instead of because it to me the friend. It to me, of course, the friend, but true is more expensive.

- with Returning you have literally jumped into world elite. It something means for you? There is after all a scheme of life of the film, certain steps, which should be passed to get on the largest festivals, and beginners are afraid, considering that it it not on a shoulder.

- Are afraid to jump into elite at once? Here you speak: to get on the largest festivals . But after all we did not put to ourselves such problem - to get on festival. At us on a set for Returning there was such joke, I am Vane Dobronravovu all time spoke. Say, Vanja if you will so play on the Cannes ladder precisely you will not go. But after all it was simply the figure of speech, actually it meant nothing. We shot film to ourselves in udovol ­ stvie, in pleasure, we liked history. All who was on a set, practically all of them were debutants, and they were simply happy that can do this work, and only.

- But after all you shoot films for the spectator that means - and only ?

- Yes is not present, not for the spectator. Certainly, then it involuntarily becomes object of spectator interest. But after all to think that here now you shoot a picture for the spectator, in my opinion, it unproductively and simply incorrectly. Because spectators of thousand, understand, thousand. And at everyone the sight at the same and opinion. Here a film Exile . Someone speaks: At - at - at, it is intolerable a long film (and it goes two with superfluous hour), well the director has simply taken off! another considers that and should be. To Raisa Fominoj (the distributor Exiles abroad, the general director of the company Intersinema - Art . - daily) has sent the letter with the review one of the oldest workers of the European museum of cinema. He wrote: the Film has ended, and I want it to look still that to me happens extremely seldom concerning so long film . All spectators different how it is possible to try for someone to please, and in other words to film not for themselves, and for someone else? You should do a film for yourself, you write for yourself, from yourself, and everything with what you will be co-ordinated, he/she is your own censor, your own sight at things. Only it.

- and rolling destiny such your personal, for herself films, it suits you?

- Here it is one of the greatest problems - a problem of that you do a film for yourself, but it thus costs much. And time a picture costs money it is natural that it should leave on screens and to become object of the general attention. And I do not know how to resolve this conflict, too expensive a prorecension ­ stvo - cinema. It after all it is not just necessary to sit down and something to write, truly? So for me it while remains a riddle.

Andrey Zvyagintsev was born in Novosibirsk in 1964, studied in local theatrical school, then in the Moscow GITIS. In 2000 REN of TV removed for TV channel advertising and korotkometrazhki. Producer Dmitry Lesnevsky has suggested it to remove a feature film and has found the budget in 400 thousand dollars Zvyagintsev has invited to work of the unknown actor, two teenagers, acquaintances and never the operator working at cinema and the composer. In 2003 for a ready film the commissions of Venice, Montreal, Locarno and Toronto fought. Venice, where " has been chosen; Returning has received the main thing the Gold lion and a prize for the best debut. A picture have sold in 63 countries of the world, to France 66 copies have been sold, it is the absolute record of the circulation which has broken a record The Siberian barber . In world hire Zvyagintsev`s first work has collected hardly more than 4 million dollars, in Russia - the 350 thousand dollars Second film of the director - Exile . Third of film which have gone on it has been received as a prize for the best debut in Venice, third more was a prize from academy Nika for the best Russian film in 2004. The budget Exiles it is not disclosed, but it is obvious that it it is essential more than at Returnings . To the Cannes festival a picture has bought for hire, without knowing neither plots, nor its festival destiny, more than 30 countries of the world. In a picture the same command, and also Alexander Baluev and Maria Bonnevi - Ingmar Bergman schoolgirl worked all.