Rus News Journal

" I cleaned footwear in streets of New York "


ANDREY PLAHOV has talked to the executor of the strongest role karlovarskogo competition of LU KASTELEM.
- In " Beating of sacred Etena " you have played the best role over the last ten years …

- I do not work every month. So it has turned out that I do one good film in ten years. It for me norm.

- you were born in Colombia and have begun actor`s career in cinema Italian. And who you on a nationality?

- the Semiswede - the Semiirish. Was born in Bogota, but mother did not want to live there, has taken away four children (my brother - the twin and two sisters) at first to Jamaica, then to Cuba, then in the USA. Life was difficult: I cleaned boots in streets of New York. Then we with mother have plunged on the ship and after twenty days of swimming have landed in Genue. Three years I studied on Cap d ` Antibe at very progressive French school where the teaching system included ecological ideas, affinity to the nature and art. It were the happiest years - the present utopia. Then on an insisting of the father me have given to the Swedish college, and I have got to a hell. Children of diplomats and even the future Swedish king there studied. All went in a uniform, and I have tested all delights of elite institutions such. Therefrom has run away to Rome, has got to an epoch " dolche vita " and sexual revolution. There I have opened for myself cinema.

- you have appeared for the first time on the screen in " the Leopard " Visconti …

- Still I has got acquainted before with Fellini as my mother worked in its scenary group. It wanted to me to become the director, but for this purpose it was necessary or to study, or long to wait for a place of the assistant to the director. At Visconti I only pass through a hall in the one and only shot. Shootings to Sicily were heavy, all occurred in an authentic palace in Palermo, for stars the second floor has been allocated, and supernumeraries as I, have accumulated below where it has been intolerable is stuffy. I have been revolted by such working conditions and after the first day have declared that I leave. Besides, Visconti on my concepts of that time was insufficiently politically radical. I preferred Marko Bellokko and the first present role have played at it - in a film " Fists in a pocket " become by the manifesto of the youth protest.

- you have said goodbye to dreams of direction?

- Still any time fluctuated between akterstvom and direction. The first has defeated. Mother has insisted, that I have gone to actor`s school. Over it supervised Alexander Fersen which was guided by Li Strasberga technique, but also used as a training method the African trance that is dangerous enough to mentality. After Bellokko I have acted in film at Liliany Kavani in a role of the Francis Assizsky. And in 1968 - the m has played in a scandalous film of Salvatore Samperi " Thanks, the aunt " - it has been shown at the Cannes festival before it was closed by protesting youth.

- at that time you have played also in a western of Damiano Damiani " the Gold bullet " - on this film you most of all know in Russia...

- Yes, it is interesting: some thrillers and westerns become in due course cult.

- then you as - that have for a long time disappeared from a trade or this erroneous impression?

- the Cinema has faded into the background. I was fond of Marxist ideas, have entered in maoistskuju party. If continued to act in film incidentally, mainly to finance party. The disappointment has then come, and I have returned to cinema - again thanks to Bellokko.

- When it has occurred?

- In 1982 in a film " Eyes and a mouth ". By then I have lost almost all actor`s skills: was any more the actor, and the fighter - the revolutionary. It was necessary to study, be reconstructed anew on a cultural wave. Bellokko to me has fine helped. And more Franchesko Leonetti, the poet, the actor, the author of vanguard articles about Pazolini, too from a circle maoistov. Extremely left intellectuals criticised communists for conformism but as they wanted to war only, eventually ceased to be intellectuals. Leonetti and its girlfriend, the serious philosopher, lived in culture space - their favourite heroes were Van Gogh and Heidegger.

- and with Pazolini you worked?

- As with the director - is not present. We together acted in a film at Karlo Lidzani Requiescant, one more spegetti - a western. Pazolini too was very left and could to tell, for example: he/she is the good actor because it comes from peasants.

- as you have appeared in France?

- In Italy me considered as the foreigner. My voice duplicated, but other time which has demanded an original sound has come, dubbing-in have cancelled, italo - French koproduktsy became less.

- Visconti could not remove " any more; the Twilight of the gods " with polyglot structure of actors?

- could not. But in France on - former loved the Italian actors. In 1980 - e years I began to go often to Paris and eventually have lodged there. It was contributed by Berlusconi`s which have ruined the Italian cinema the reforms.

- on skolkih languages you speak?

- On five. French became now the main things. In Paris I have entered into a circle of experimental video artists. Life has again deduced me in cinema sphere - under the theory narrow when the person leaves in a direction which could not foresee.

- then you have met Phillip Garrelem?

- Yes, in the beginning 1980 - h. I even lived in the house of Garrelja, it was soon after  destruction of his wife, singer Niko. And in 1993 - the m has acted in a film at it " a love Birth " with Jean - Pierre Leo. It was very strong picture.

- we Will return to " to Beating of sacred Etena ". You were not afraid to appear in maloestetichnom a kind of the dying old man, but after all it also an image sacred …

- Having read the scenario, I have understood at once: it is a role! Prepared for it long, every morning sat on a balcony, absorbing sun beams. It was necessary, that my skin has darkened. Colour accents are very important in this film, and I marked phrases from the scenario with felt-tip pens of different colours - yellow, red. Preparation for the actor is especially important today, after all from - for economy of shooting occur very quickly, and you are covered by a paranoia. In this film is both political, and economic implied senses. I did not want personification, did not want to work as a studio method. More likely, it is possible to name my method empirically - scientific. I wanted to be simultaneously concrete and abstract that a film generated some different senses and impressions. After all the cinema is the special language which is not similar with any by another.