Interviews | Simon Townsend (The Who): “Performance at the Olympics in London is the main achievement of my career”

For more than half a century the backbone of The Who, one of the greatest groups in the world, is the mighty duo of Roger Daltrey and Peter Townsend. Not always the attention of the press and fans is focused on other musicians who appear on stage during the show Who, but now it is such a unique case. Rock Cult talked with Simon Townsend – the multi-year tour guitarist of the band, Peter’s brother and a man from an early childhood in the inner "kitchen" of the legendary band.

Rock Cult: The first question will be about your solo career. Tell us about your recent album Denial, will you be touring with his material on Russia or the surrounding countries? Do we have a chance to hear it live?

Simon: Yes, there is a chance. I just had a new manager working with other regions (except Great Britain), opportunities … So yeah, the chances are really great.

Rock Cult: A lot of people are waiting not to wait, when it will be possible to hear it live, so we hope to see you here.

Simon: Well, The Who, I suppose, too.

Rock Cult: The Who began their careers when you were only four years old, did not they? You were a very small boy. Has your brother, his career, become a source of inspiration for you, or have you become a musician for some other reason?

Simon: Well, he really influenced me a little, my whole family became a source of inspiration for me in the field of music. After all, my father was a musician, my mother sang well, well, Pete, of course, too. So we had musical rooms, pianos and guitars. Around us there were many ways of access to music, so she came to me naturally.

Rock Cult: So, you have not considered any other profession? You did not want to become anyone else, except a musician?

Simon: No, what you! I was fond of football when I was a kid. But what I did not like about football was training. I did football, but not too much. In the end, I took a step towards music – it was easier. It’s easier to fix what you know.

Rock Cult: You have worked with many bands and musicians besides The Who: for example, Pearl Jam or Dave Grohl. Are you dreaming of working with someone else? Or maybe you already have any plans?

Simon: I would like to play with Stevie Wonder.

Rock Cult: Wow!

Simon: You know, he was a legend of my childhood, my favorite performer. So I really would like to work with him. I also love Paul Weller, I would like to do something with him. And Peter Gabriel. Do you know Peter Gabriel?

Rock Cult: Yes, of course.

For more than half a century the backbone of The Who, one of the greatest groups in the world, is the mighty duo of Roger Daltrey and Peter Townsend. Not always the attention of the press and fans is focused on other musicians who appear on stage during the show Who, but now it is such a unique case. Rock Cult talked with Simon Townsend – the multi-year tour guitarist of the band, Peter’s brother and a man from an early childhood in the inner "kitchen" of the legendary band.

Rock Cult: The first question will be about your solo career. Tell us about your recent album Denial, will you be touring with his material on Russia or the surrounding countries? Do we have a chance to hear it live?

Simon: Yes, there is a chance. I just had a new manager working with other regions (except Great Britain), opportunities … So yeah, the chances are really great.

Rock Cult: A lot of people are waiting not to wait, when it will be possible to hear it live, so we hope to see you here.

Simon: Well, The Who, I suppose, too.

Rock Cult: The Who began their careers when you were only four years old, did not they? You were a very small boy. Has your brother, his career, become a source of inspiration for you, or have you become a musician for some other reason?

Simon: Well, he really influenced me a little, my whole family became a source of inspiration for me in the field of music. After all, my father was a musician, my mother sang well, well, Pete, of course, too. So we had musical rooms, pianos and guitars. Around us there were many ways of access to music, so she came to me naturally.

Rock Cult: So, you have not considered any other profession? You did not want to become anyone else, except a musician?

Simon: No, what you! I was fond of football when I was a kid. But what I did not like about football was training. I did football, but not too much. In the end, I took a step towards music – it was easier. It’s easier to fix what you know.

Rock Cult: You have worked with many bands and musicians besides The Who: for example, Pearl Jam or Dave Grohl. Are you dreaming of working with someone else? Or maybe you already have any plans?

Simon: I would like to play with Stevie Wonder.

Rock Cult: Wow!

Simon: You know, he was a legend of my childhood, my favorite performer. So I really would like to work with him. I also love Paul Weller, I would like to do something with him. And Peter Gabriel. Do you know Peter Gabriel?

Rock Cult: Yes, of course.

Simon: It would be an interesting collaboration.

Interviews | Simon Townsend (The Who): "Performance at the Olympics in London is the main achievement of my career"

Rock Cult: Do you listen to any new bands that are popular at the moment?

For more than half a century the backbone of The Who, one of the greatest groups in the world, is the mighty duo of Roger Daltrey and Peter Townsend. Not always the attention of the press and fans is focused on other musicians who appear on stage during the show Who, but now it is such a unique case. Rock Cult talked with Simon Townsend – the multi-year tour guitarist of the band, Peter’s brother and a man from an early childhood in the inner "kitchen" of the legendary band.

Rock Cult: The first question will be about your solo career. Tell us about your recent album Denial, will you be touring with his material on Russia or the surrounding countries? Do we have a chance to hear it live?

Simon: Yes, there is a chance. I just had a new manager working with other regions (except Great Britain), opportunities … So yeah, the chances are really great.

Rock Cult: A lot of people are waiting not to wait, when it will be possible to hear it live, so we hope to see you here.

Simon: Well, The Who, I suppose, too.

Rock Cult: The Who began their careers when you were only four years old, did not they? You were a very small boy. Has your brother, his career, become a source of inspiration for you, or have you become a musician for some other reason?

Simon: Well, he really influenced me a little, my whole family became a source of inspiration for me in the field of music. After all, my father was a musician, my mother sang well, well, Pete, of course, too. So we had musical rooms, pianos and guitars. Around us there were many ways of access to music, so she came to me naturally.

Rock Cult: So, you have not considered any other profession? You did not want to become anyone else, except a musician?

Simon: No, what you! I was fond of football when I was a kid. But what I did not like about football was training. I did football, but not too much. In the end, I took a step towards music – it was easier. It’s easier to fix what you know.

Rock Cult: You have worked with many bands and musicians besides The Who: for example, Pearl Jam or Dave Grohl. Are you dreaming of working with someone else? Or maybe you already have any plans?

Simon: I would like to play with Stevie Wonder.

Rock Cult: Wow!

Simon: You know, he was a legend of my childhood, my favorite performer. So I really would like to work with him. I also love Paul Weller, I would like to do something with him. And Peter Gabriel. Do you know Peter Gabriel?

Rock Cult: Yes, of course.

For more than half a century the backbone of The Who, one of the greatest groups in the world, is the mighty duo of Roger Daltrey and Peter Townsend. Not always the attention of the press and fans is focused on other musicians who appear on stage during the show Who, but now it is such a unique case. Rock Cult talked with Simon Townsend – the multi-year tour guitarist of the band, Peter’s brother and a man from an early childhood in the inner "kitchen" of the legendary band.

Rock Cult: The first question will be about your solo career. Tell us about your recent album Denial, will you be touring with his material on Russia or the surrounding countries? Do we have a chance to hear it live?

Simon: Yes, there is a chance. I just had a new manager working with other regions (except Great Britain), opportunities … So yeah, the chances are really great.

Rock Cult: A lot of people are waiting not to wait, when it will be possible to hear it live, so we hope to see you here.

Simon: Well, The Who, I suppose, too.

Rock Cult: The Who began their careers when you were only four years old, did not they? You were a very small boy. Has your brother, his career, become a source of inspiration for you, or have you become a musician for some other reason?

Simon: Well, he really influenced me a little, my whole family became a source of inspiration for me in the field of music. After all, my father was a musician, my mother sang well, well, Pete, of course, too. So we had musical rooms, pianos and guitars. Around us there were many ways of access to music, so she came to me naturally.

Rock Cult: So, you have not considered any other profession? You did not want to become anyone else, except a musician?

Simon: No, what you! I was fond of football when I was a kid. But what I did not like about football was training. I did football, but not too much. In the end, I took a step towards music – it was easier. It’s easier to fix what you know.

Rock Cult: You have worked with many bands and musicians besides The Who: for example, Pearl Jam or Dave Grohl. Are you dreaming of working with someone else? Or maybe you already have any plans?

Simon: I would like to play with Stevie Wonder.

Rock Cult: Wow!

Simon: You know, he was a legend of my childhood, my favorite performer. So I really would like to work with him. I also love Paul Weller, I would like to do something with him. And Peter Gabriel. Do you know Peter Gabriel?

Rock Cult: Yes, of course.

Simon: It would be an interesting collaboration.

Interviews | Simon Townsend (The Who): "Performance at the Olympics in London is the main achievement of my career"

Rock Cult: Do you listen to any new bands that are popular at the moment?

Simon: Maybe … Well, if I need to choose, I would like to work with Kasabian, because, in my opinion, they are the closest to the groups of my time. You see, from my point of view there is not much quality in music now. That is, modern technologies have made the recording process too simple. Around so much shit … So much rubbish … But Kasabian is a good band, remembering its origins. I like them. Are they popular in Russia?

Rock Cult: Yes, very. They have been with us several times.

Simon: They are very popular in Europe. Probably, in America they are not loved so much, but they are an excellent company of excellent guys.

Rock Cult: About a year and a half ago there were rumors that a new album The Who. Is there any work on it? Maybe there are already some dates?

Simon: We have not started the recording yet, although Pete has stuff. So I think that there is a possibility of releasing the album next year. New album. But this probability largely depends on Sir Roger (Daltrey, note author) Sir Roger was recently ill, and we even had to postpone the recent tour.

Rock Cult: Tell us a little about how The Who played at the closing ceremony of the 2012 Olympic Games. In your opinion, what are the main differences between an ordinary stadium concert and a performance at the Olympics?

Simon: It was a special concert, because London is my hometown. So to play there … Just one month before all this happened, I did not even suspect that I could perform at the Olympics. That was incredible. It’s an incredible honor to be a part of it all. I was delighted! Perhaps, this is the main achievement of my career. I enjoyed every second of the process! Such an honor! I think that every person who has crossed the 50-year mark must look back and find in his life some such great event.

Rock Cult: Terrific! Now many bands make covers of The songs Who. Surely you have heard some of them, are there any among them that you like?

Simon: The ones that I like? I must say that I really like the version of Behind Blue Eyes from … Oh … What are they called? …

Simon: Repeat, please.

Rock Cult: Limp Bizkit, they are called Limp Bizkit.

Simon: Exactly, Limp Bizkit! I love this version, but I’m pretty sure that they did not really understand it. They changed the words, making them more accessible. I would not like that. But after living with these thoughts for a while, I came to the conclusion that it really worked. I liked their version. And I also like the version Summertime Blues from Joan Jett.

Rock Cult: This year marks the 40th anniversary of The film Who "Tommy". You played it in childhood, did not you? Could you tell us some interesting episodes that you remember from the filming process or from the time when the film has already been released?

Simon: Oh, I was very small when we did all this. I was probably about seven years old, and I was in the studio with my other brother, Paul. We began to play a little, it was already dark, and it was already time for us to be home. Then Pete did not appear so often in our lives. That’s why it was incredibly great when Pete finally joined us, and even right in the London studio. It was very cool. And then Pete says: "Do you want to try to record your voice?" And I generally did not really sing in the studio. I never put headphones on my head, and I never heard my voice from the microphone. So for a kid of my age it was an incredible experience. Pete praised me, turned on the second track and asked me to sing again over the first take, keeping the same timbre – and I did it cleanly. Everyone liked how I sang – that’s how it all began for me. In the studio, in the episode "Tommy" "Smash The Mirror". I sang "Rise Rise Rise …", because no other voice could reach such high notes.

Rock Cult: It’s great. Well, that was my last question. I know that not so long ago, October 10 was your birthday, so – happy birthday! And thank you for spending some time with me!

Simon: Thank you very much, I really appreciate it! Always please, I myself am very happy. Thank you!

Interviewed Lana Alterova and Ivan Balashov

Interviews | Simon Townsend (The Who): "Performance at the Olympics in London is the main achievement of my career"

Sergei Ursulyak turns 60

Today, June 10th, notes the 60-the famous Russian director, screenwriter, producer, actor and TV host Sergey Ursulyak.

Sergei Ursulyak turns 60

Sergey Vladimirovich Ursulyak was born June 10, 1958 year in Petropavlovsk-Kamchatsky. In 1979 he graduated from the acting department of the Theater School named after B.V. Shchukin (workshop Evgenia Simonova), in 1993 – VKSR (workshop Vladimir Motyl). From 1979 to 1991 he served as an actor in the "Satyricone", where he played Chatsky in the play "Woe from Wit". Director of the TV show Dog Show "Me and my dog", documentary cycle "The Newest History", filmmaker in the play Satire Theater "Andryusha". For some time he was the host of the TV program about actors "The motley ribbon".

The directorial debut of Ursulyak took place in 1993 – he staged a social drama "Russian Ragtime". Then followed "Summer People", "Composition for the Victory Day", "Poirot’s failure" and "Long Farewell", but real fame came to him after staging a popular series "Liquidation", released in 2007. Since then, the director prefers to create many-hour paintings ("Isaev", "Life and destiny", "Quiet Flows the Don"). At the moment working on the adaptation of the novel Alexei Ivanov’s "Fate".

He is the recipient of numerous awards, among which there are two prizes of Kinotavr, three Golden Eagles, two Niki, Tafi and others. Married to actress Lika Nifontova. His daughter Alexandra and Daria are also actresses.

Stanislav Govorukhin died

Director, actor, chairman of the State Duma Committee on Culture Stanislav Govorukhin died on the 83rd year of life, according to twitter State Duma.

Director, actor, chairman of the State Duma Committee on Culture Stanislav Govorukhin died on the 83rd year of life, according to twitter State Duma.

Director, actor, chairman of the State Duma Committee on Culture Stanislav Govorukhin died on the 83rd year of life, according to twitter State Duma.

In the State Duma, a minute of silence was honored by the memory of Stanislav Govorukhin. "After a long, long illness, our colleague Stanislav Govorukhin died. He fought to the end with the disease, but she won it, "- the speaker of the State Duma Vyacheslav Volodin.

Stanislav Govorukhin died

Stanislav Sergeevich Govorukhin was born March 29, 1936 of the year. He graduated from the Geological Faculty of Kazan State University, but soon realized that geology was not his vocation. Just at this time the first studio of television opened in Kazan. Stanislav Govorukhin became one of its founders. But relations with the party bosses did not work out. In 1961 Govorukhin was forced to leave for Moscow and entered the directing department of VGIK. His thesis work was the tape "Vertical", Which opened talent Vladimir Vysotsky.

From 1966 to 1988 Stanislav Govorukhin was the director of the Odessa studio of feature films, in 1988 took part in the organization of the International Festival of Genre Cinema "Golden Duke" in Odessa; then worked for Mosfilm (1988-1993).

Stanislav Govorukhin diedOn the set of the movie "The meeting place can not be changed"

Among his most famous works is "Meeting place can not be Changed","The Adventures of Tom Sawyer and Huckleberry Finn","Ten Little Indians","Voroshilov Sharpshooter","Bless the woman". The last film Govorukhin released was the tape "The End of the Beautiful Era"Based on the prose of Sergei Dovlatov. Stanislav Govorukhin was also known as an actor. He starred in more than 20 films, the most famous of his acting work was the role of Krymov in "Assy" Sergei Solovyov.

In the early 1990s, Govorukhin came into politics. During the August events of 1991 Stanislav Sergeyevich was in the building of the Supreme Council and the Government of the Russian Federation. In December 1993 he was elected to the State Duma of the Federal Assembly of the Russian Federation.

In the State Duma of the first convocation Stanislav Govorukhin headed the fraction of the Democratic Party of Russia, was chairman of the first parliamentary commission to investigate the causes and circumstances of the emergence of a crisis situation in the Chechen Republic.

In 1995, Stanislav Govorukhin intended to stand for election to the State Duma on the list of the Democratic Party of Russia, but the party did not dare to go to the elections as a separate list, a split occurred, part of the democrats went to the Congress of Russian Communities, part merged into the Govorukhin bloc.

Stanislav Govorukhin died

On December 17, 1995 Stanislav Govorukhin was elected to the State Duma of the second convocation in a single-mandate electoral district. In the State Duma, he entered as a co-chairman in the parliamentary group "People’s Power", was elected chairman of the Committee on Culture. In the 2000 election, he was a candidate for the presidency of the Russian Federation. Since 2011, he headed the pre-election headquarters of Vladimir Putin.

Instead of parties Cocoon in Amnesia will Pyramid

Instead of parties Cocoon in Amnesia will Pyramid

In response to the departure of the Cocoon team, which through their activities shook the walls of the club Amnesia, on the island of Ibiza, for 20 years, the leadership of the legendary ibisen institution decided to make a horse’s move and launches on Mondays parties called “Pyramid”.

In the summer of 2018, as part of the Pyramid events in Amnesia, Yoris Voorn, Mind, Against, Stefan Bodzin, Len Faki, Helena Hauf, Brame & Hamo, Zip, Sonia Munir, Nina Kravitz: Charlotte de Witte and others. According to the creators, these parties will reflect the entire bright palette of actual styles, from techno to tribal.

As a special surprise, at parties “Pyramid there will be two headliners, which will be Ricardo Villalobos and Maceo Plex. By their participation they will symbolize a series of these events in support of which they will play special sets long in the night. Seth from Ricardo will be held on August 27, and Plex will play music, throughout the night, on September 3. And besides the many artists with their performances, Ricardo Villalobos and Luciano will come together in creative impulse, having played a multi-hour joint set, this will happen on August 13, and on July 23, within the framework of the Pyramid, Solomun and his team will hold a special Diynamic party.

A series of events “Pyramid” starts in Amnesia on June 4 and will last until October 1, 2018.

Daniel Rayskin: “Conducting is a slowly developing disease”

Daniel Rayskin: "Conducting is a slowly developing disease"Daniel Rayskin. Photos – Vladimir Vyatkin

Living in Amsterdam, a native of St. Petersburg, Daniel Rayskin already by the beginning of the 2000s gained a reputation as one of the most popular solo violators.

Over time, the priorities of the musician have changed in the direction of conducting. Over the past ten years, Rayskin directed symphonic collectives of German Koblenz and Polish Lodz.

In August this year, he will head the Canadian Winnipeg Orchestra.

The reason for the conversation about the meaning of the profession and the meaninglessness of many of its surrounding attributes was the recent performance of the maestro in Moscow with the Philharmonic Orchestra.

“Daniel, it’s customary for you to talk both about the viola player and about the conductor. Such a multiplicity seems to be inherited. Your father Joseph Reiskin is known as a music critic, musicologist, editor-in-chief of the newspaper “Mariinsky Theater”, chairman of the musicology section of the St. Petersburg section of the Composers’ Union. And at the same time as a physicist …

– My father was born in Samara – then still Kuibyshev. Music began for him at the age of six when he visited the premiere of Shostakovich’s Seventh Symphony, performed by the Bolshoi Theater orchestra under the leadership of Samuel Samosud. Father was by the hand brought there by the elder cousin and sat without stirring.

Love for music became a disease for him, which then it was impossible to get rid of. However, after the war, it was first necessary to get a profession, and then to play “on your music”. Therefore, it was decided that the father will be engaged in physics. The pope sent his photo in naval form recently – the engineer-captain of the third rank of the reserve of the first rank. On Defender of the Fatherland Day, when you are already 82, you can play it sometimes …

With his professor of transformer oils, Mikhail Vladimirovich Kurlin, he played four hands Mahler’s Fourth Symphony. Such in the Leningrad Electrotechnical Institute was in those years a teaching staff. Father – a man talented in all respects. In his life there was the issue of wall newspaper, poetry, military department, the development of navigation systems for the Navy, several copyright patents, teaching at the institute.

Entry at age 35 to the Leningrad Conservatoire for the Faculty of Musicology and, of course, the appearance of two sons, endlessly beating their cellos and violins. As long as I can remember, my father was always torn between the physics students who fed us and the music. At some point the music took over.

Daniel Rayskin: "Conducting is a slowly developing disease"

“Your brother has not been here for more than twenty years.” You very often perform with cellists. Even the Echo Klassik Award was awarded for recording with a cello. This is some kind of internally given obligation?

– The cello entered me on a genetic level. When I was born, my brother was already playing it. At us with it a difference in seven years, therefore the first sounds which surrounded me, including including sounds of false shades and etudes Romberg. Then my phony violins were added to them. We competed with each other, who no longer engaged. Deceived parents, arranging the scenery with the decomposed instruments and notes. The bad tools are not ebony, but dyed. Therefore, if you did a lot of work, your fingers got soiled. But in the same way they could be stained with a simple slate pencil.

Birthday brother – March 8. He died on March 13, 1997. And it so happened that almost all twenty years in the region of these dates I’m conducting something with a cello. This happens completely unconsciously and not specifically. I have a lot of cellist friends. A huge role in my life was played by Boris Pergamenshchikov and Natalia Gutman. This instrument, perhaps, is not so gifted with a classical repertoire with an orchestra, like a violin. But in the twentieth century a lot of works were written for one certain person – Mstislav Rostropovich, which was a crucial factor in the development of cello music.

I was with him briefly, I fell this happiness. Mstislav Leopoldovich staged at the Amsterdam Opera “Life with an Idiot” by Alfred Schnittke in Victor Erofeev. I always remember there episode, in my opinion, quite remarkable, when, after the rapid development of Fermata freezes and from the scene of the baritone is heard: “She shit on the carpet!” I sank into the soul, these two dinosaur, Pokrovsky with Rostropovich and I, 21- Summer orchestra, running to the buffet for a beer Leffe or Duvel. They loved him very much and could use this pretty strong drink in the morning.

Thank you, the announcement is hidden.
Thank you, the announcement is hidden.

Once I was able to play Mstislav Leopoldovich a Brahms F-minor sonata. And I did not have an accompanist or pianoforte notes. But there was a grand piano in the room, and after a while he began to accompany me, by ear, quite close to the text. Then he said: “You know, a stagik, in general it sounds good. But your takktovka did not convince me. Here is a long line, and you somehow sound. Intonation – you hear it yourself … And shtososhchek, pcsgichek look in the finals. ” And immediately jumped on another topic: “Now Galya should pie. Pgedstavayte, vchega I stand at the plate, zagyu cutlets. And she govogit me: do not burn to me. She has a diet … Well, in general, through the pagoda of the days, let’s get lost again. “

I literally lived a week in the theater, I was engaged like a madman. After that, we met again. Rostropovich no longer sat down at the piano. He listened and said: “Stagik, a dagger kolenkog!” This was all he had. Such people sometimes do not need to say anything at all. They radiate something like that … If you ever touch the moonlight or the sunshine, they will stay with you forever.

“But the sun can be burned …”

“Of course, if you get too close.” Suffice it to recall the myth of Icarus … Any truly bright, charismatic personality who knows how to change the course of historical events is always contradictory. Sometimes, when approaching such people, you see that you are disappointed in them. Fortunately, I did not have such an opportunity with Rostropovich. I was young. Stand by, shake hands, drink beer, play 28 sounds, get it by ear, then play again and hear: old man, another calico. What else is needed at this age? For me, Rostropovich remained so.

Daniel Rayskin: "Conducting is a slowly developing disease"

– You said that as a child, they tortured violins around them. How did you become a viola player?

– It happened naturally. I was always pretty big, and with the violin I was somehow cramped. Once I was led to listen to one of the last concerts of Yuri Markovich Kramarov in the Capella. I was probably about eleven. I was completely dumbfounded and realized that this is my instrument and I must play it. The sound, lack of “squeakiness” (let my numerous friends-violinists do not resent me), crawling into the 28th position, some special nobility …

In addition, I was not so promising that the path of a successful violin soloist unfolded before me. And I’m absolutely not ashamed of it. What I turned out viola player, as many say, good and marketable, dispels the myth that unpromising violinist must necessarily be a bad violist.

I was very lucky with the teachers. In the school I entered Vasily Ivanovich Shulga – concertmaster of the viola group of the Academic Philharmonic Orchestra. Then he went to Finland, and I was taken to myself by the 25-year-old Daniil Grigorievich Meerovich, who had already worked at the Mariinsky Theater. This was his first set, and he fussed with us like with younger brothers.

Once before an important test I spent a whole month at his house in the kitchen. And all the time, when Daniel G. was not at work, he dealt with me – eight or nine hours a day … Then I entered the conservatory to Oleg Lvovich Balabin, who immediately went to work in Sweden – at the Royal Opera. Then I left.

– You have been living in Europe for about 30 years …

– Abroad, I was completely by accident. In the beginning of 1990 I went to Spain for a competition of youth groups as part of the Soloists Orchestra of the Leningrad Conservatory under the direction of Saulius Sondeckis. In Murcia, we naturally got the first prize. After the tour, everyone went back, and I had two foreign passports on my hands. One was issued by the Foreign Ministry for Spain, the other by the OVIR for a tourist trip to Holland. The right hand of the Soviet system did not know what the left was doing. Had a poor trip to Holland, where he played a contest in the orchestra and got a seat. And already on – he finished his studies.

Sondeckis is no more. Fortunately, Lev Marquis is still alive, who is now 86. Under his leadership, I played a lot in the Amsterdam Symphonyet. These people were making sounds. One note in a group of second violins of six people, they could paint in completely different shades.

“Second console, play a little brighter. The third – with a little more pressure. And you, the accompanist’s console, are slightly on the neck. And do not drag everything on yourself: you have to be kept all the time, but you’re driving! Play the last cello console with the last remake of the first violins. Until you are together, everyone else will never play together. ” Such were the wizards. Itself to such things you knowingly come much later. But when it comes up from somewhere, you understand – my father, how rich you are, it turned out, at one time they were equipped!

Daniel Rayskin: "Conducting is a slowly developing disease"

– In your repertoire more than 50 works for viola and orchestra …

– It was. I have not consciously come out on stage with the viola for ten years … In fact, almost all the alto repertoire is modern music. Take away from these fifty works Sinfonia Concertante by Mozart, Stamitz concert, and Bruch’s “Harold in Italy” Berlioz – and you will immediately find yourself in the twentieth century, if not in the twenty-first. Three violin works by Schnittke, three by Kancheli, two by Gubaidulina, two by Stankovic and so on.

– Did you achieve everything you wanted in this field?

“It’s impossible to achieve anything.” But I am grateful to the fate that I happened to be in demand both as a soloist and as a chamber musician. Recently I was sorting out boxes with my notes, some of which had already been given to my daughter’s close friend, Mikhail Zemtsov, who is himself a remarkable violist. You can not do with the sonata Paganini, the concert of Bartók and the processing of brilliant violin miniatures. There is a lot of interesting music that you just need to play: the ballads of Frank Martin, the works of Bernd Alois Zimmermann and so on.

As a viola player, I always wanted to promote my instrument. And now I am one of the conductors who most often perform with viola soloists. With Dana Zemtsova, we just recorded a CD with the Estonian National Orchestra. After a while we will play in Belgrade Schnittke’s concert with Tanya Mazurenko.

– Speaking about your activities as a soloist, you always emphasize that it is left in the past …

– It is impossible to move simultaneously in two directions with the same coefficient of efficiency. Very few people in history managed to combine these things without loss of quality.

“And Barenboim?”

– Daniel Barenboim for many years, above all, the conductor. And, speaking as a pianist, he rarely falls short of his current conductor level with a rare exception. Several years ago, one could still argue about the violinist and conductor Pinchas Zuckerman. But let’s frankly admit that even Mstislav Leopoldovich Rostropovich for us all was, above all, a cellist. But he was the head of the US National Orchestra in Washington for seventeen years. And the same Vladimir Ashkenazi for us, in the first place, remains a legendary pianist.

Unfortunately, the situation is as follows. A good, recognized instrumentalist starts to conduct, still playing. And it begins: “Ah, what a fine violinist, pianist, violist. Time to work is not enough. ” You do not feel like hearing it behind your back.

When you try to pull both, you fly between two chairs. Not yet a conductor, no longer an instrumentalist. It is physically and socially impossible to combine conducting with constant studies, the execution of complex programs. Everything has its time. Maybe because in my life I managed to work well and as an orchestra, and as a soloist and even poprepovat, I somehow do not feel that somewhere I did not have time and something under-played. I now transfer all the energy to conducting. But if you need to check something, put the finishing touches on it, I open my tool and I can “popilicate” something.

Of course, I did not part with the hope that one day I would take a vacation for three months or six months, restore the form and offer my friends, chamber instrumentalists, the anthology of the second viola. It sounds like a joke, but I’m sure many people will call me. After all, how much joy it is to just sit down and talk with sounds.

Sometimes you have an extreme need to do what you want to hear from others with your own hands. Sometimes, especially if it’s a youth orchestra and you can not express what you need in words, you have to take the violin from the accompanist and give something like that. And very often this is motivated by just such an instrumental hunger.

– What did you all the same prompt to become a conductor?

– Conducting is a slowly developing disease. In the beginning, you become infected with it, and then there is an endless process of understanding that you are doing everything wrong. And that you are in itself a very small and temporary phenomenon. But the contact with the music that you trust is a huge responsibility and a heavy cross. It must be realized that the conductor – a person who seems to have unlimited power and attracts all attention – is the only person on the stage who does not extract sound. Take the orchestra off and you will not be anything.

Conducting for me began with one important concept, which was instilled by my amazing (now already deceased) first teacher-conductor Lev Yakovlevich Savich – a pupil of Nikolai Rabinovich and Igor Markevich. Once, working with the orchestra of Musorgsky Musical College, he saw in my eyes an unhealthy shine. He beckoned me to him and gave me his wand. And on the consoles there were not a lot of notes of a minuet from Mozart’s “Jupiter”. I have not managed to get out yet, as I have become wet. His hands were shaking. Waved, spread a storm.

“Well, come tomorrow,” said Lev Yakovlevich. A few days later he asked me: “Are you ready for the most important thing in this profession?” – “Yes I am! Oh sure! Mahler, Shostakovich, I, the orchestra, the audience! Of course, I’m ready! “-” No, Danechka. You must be ready for solitude. This will be both a gift and a burden for you. “

Under the word “loneliness” he meant that there are a lot of musicians on the stage, the audience is full of listeners, and the conductor is always one on one with the score. He comes alone and works all week with a team where he does not know anyone. If he comes to the orchestra with whom he is familiar, he will smile twice. Already somehow warmer. But the main thing is loneliness in decision-making. You can not reveal yourself to anyone in your constant doubts. And doubt is something without which art can not be imagined …

Other conductors are the same loners. However, in my life there were exceptions. I will never forget the three older colleagues who are no longer alive. They could be called any day and hour, in a panic, not understanding in which tact to switch from two to one time, and from time to time back to four. For example, in the middle of the night to wake up in Australia, Erie Klasa, the question: “How to be at this place of the Fifteenth Symphony of Shostakovich?” And he could calm down without the score: “You do not interfere with the orchestra there. Only listen to the trombones, and the rest of the musicians will play. Do not try to help anyone. “

Or Waldemar Nelson is a conductor from Novosibirsk, the only one who conducted the opera Wagner in Bayreuth at the invitation of Karajan. He died at 66 years old from throat cancer. Or the elder of Eastern European conducting Milan Horvath. I once acted with him as a soloist in Switzerland and for several days literally did not lag behind him with the scores of Schubert.

But mostly conductors share their secrets reluctantly. Of course, if this is not some official master classes: when you become older, sometimes it’s nice to share your findings. But in the very principle of the conductor’s profession there is something wolf. In this game there are no rules: everyone is looking for something in the midst of loneliness and incomprehensibility. You often become a goal, which is very easy to get into. Let’s say they can say half a whisper to colleagues from the last console, but if the conductor hears, there will be nothing: “Well, today, it seems, we’ll have to play the accompanist.” And you already left part of your heart on this scene. Well, they did not. It happens…

And in another city you come without bright expectations, in a bad mood, hungry, having missed the plane, not having received luggage. You go on stage with loathing to yourself and to life. And in a minute you forget about where you are, because you find a group of accomplices, like-minded people. There is an act of inspiration. And in 1 hour 32 minutes the inspector shyly says: “Maestro, break”. Loneliness for a time recedes. It goes away the moment you dissolve in the music. When you get rid of the need to constantly monitor your emotions and custody of the orchestra, which you need to conduct on some obviously difficult parts of the score.

Do not take my words as a complaint. To such conclusions you come with time. And initially you experience delight. Before you Music, unlimited repertoire. And you can do everything in this Music. The way in conducting can be different. Someone comes from the orchestra, someone from the choir. Someone through playing the piano and then working as a tutor in the theater. Someone from musicology or even from philosophy, like Sinopoli. My path is purely instrumental. A violist is, above all, an orchestral filling, an average voice. It’s an amazing school.

Daniel Rayskin: "Conducting is a slowly developing disease"

– From the side it seems that you have an accompanist character …

– What do you, a viola player, rather, have a binding, speculative role – due to the fact that he is constantly inside, in the center. You sit, for example, in a quartet, where a cellist always swears with the first violinist. The violinist has his own problems – his notes are twice as large as those of the first violin. And you’re trying to make it so that the concert takes place, otherwise they’ll just mutter each other now. In the orchestra the same.

I have very good colleagues on which you can equal: Temirkanov, Julini, Simonov. All of them are ex-violists. In general, any conductor who has experience working in an orchestra, especially the practice of playing for the first remote with strings, gets a grand experience. You learn what you want to avoid as a conductor. Because you see, what mistakes do people who conduct you conduct.

In addition, I performed very much as a soloist, standing between the conductor and the accompanist. This is the next stage, when you study all the time to hear the orchestra. Therefore, I still like working with soloists, which many conductors often avoid. It’s very burdensome: someone to listen to, to “put under” someone, to catch. Working in the accompaniment requires a lot. It is with her, in fact, begins the conductor’s profession.

Symphony, especially repertoire, even if you give a crooked “time”, a decent orchestra will play, even without ever looking at you. And in the accompaniment of the fact that the soloist’s performance is often simply not audible, the orchestra needs constant help. And it can be provided only by a person who really owns the profession, and not conducting under the orchestra. Therefore, there is always a tour on respected competitions, where you need to accompany.

– Is it true that Kirill Kondrashin was an unsurpassed master of accompaniment?

– He was in principle an unsurpassed master in many things. Already, as Kondrashin writes about the art of conducting, speaks of his ability to deeply feel and analyze everything he did. I can not say that the canonized record from the Tchaikovsky competition, where he accompanies Van Cliburne, makes a special impression on me.

Actually, as the conductor looks, for me recently it became not so important. Well, when it’s Temirkanov’s stunning hands or Simonov’s unsurpassed technique. But all this eventually becomes secondary, when you, as a listener, close your eyes and enjoy the orchestral sound.

Recently I drove my 14-year-old daughter to the “Don Quixote” of Minkus with the Amsterdam National Ballet. Very well accompanied by a local orchestra. Conducted unknown to me, a strange looking, but extremely professional Italian. Ballet hanging, farms require great skill. And I respect people who know how. And how they look at that moment …

Daniel Rayskin: "Conducting is a slowly developing disease"

– Do you divide the orchestras by mentality into western and eastern ones?

– At the heart of the matter is always to put not the mentality, but quality. There are brilliant and bad orchestras in Germany, weak and bright in Poland. Remarkable and boring in Russia, medium and outstanding in France. But you are right: your mentality is inherent in many collectives, and I sometimes amazed how it turns out to be noticeable.

Two years ago I opened the season of the Moscow Philharmonic with the Belgrade Symphony Orchestra. Charismatic violinist Nemania Radulovic played Khachaturyan’s concert. Then Dvorak’s Ninth Symphony was heard. And the program began with Fantasy on the Serbian themes of Rimsky-Korsakov. Representatives of the administration of the philharmonic society then said: we have not played such a dedication for a long time. For the Serbs to come to Moscow – it’s like for any European orchestra to perform in Vienna’s Musikverein. But Moscow is closer to Serbs. Still, the Slavs, Orthodox.

This is the highest that you want to achieve, there is always the Berlin Philharmonic Orchestra. Look at the video, as there are coordinated with each other woodwinds. Everyone carries his solo with a sense of mission. Of course, the Berliners have a pose: we are “masters”, “firmachi”. Musicians get high on how cool they are. In each unison they literally absorb each other with their ears. This produces an incredible impression. And let 95 percent of the audience not hear, high or low in F-sharp and who entered earlier – double basses or cello. People simply feel that they are witnessing something beautiful that happened right here and now.

– Do you have your own recipes for achieving this result?

– I’m more and more eager to communicate with orchestras, which allow them to try and search. Do not get annoyed if you want to repeat separate fragments of the score in the second or third time. Not because I need to invent an auktak. Often I’m looking for some paint, trying to feel what the musicians need to sound like I’d like to hear.

Huge happiness, when the orchestra manifests this generosity, is like a good string quartet or piano trio. They can say: let’s try now to play in this part of the bow. Or at this point, draw two notes up, one down. You will prolong this league, but you will be interrupted … Gennady Rozhdestvensky has a small book called “Conducting Fingering”. Of course, it says not only the aspects of manual techniques, but also about phrasing, change of breath.

Brahms, for example, could put the league on twelve bars, which you will not play for one bow. It takes three or four. So, where to change them and the whole group – this is the conductor’s fingering. If the orchestra is not ready for such things, maybe it’s worth trying to convince it. But no one will be forced to. It’s like Bernstein said: “You can not get musicians to play anything. We need to make sure that they want to do it. “

Such things do not imply a routine attitude to art. I’m not interested just to memorize some idea, and then work it out. When you, as a conductor, feel yourself heard, when the orchestra allows you to experiment in a good way – this is a very important aspect. It is not enough to rehearse with a beautiful sound and dynamics. It is necessary that the musicians and the conductor have the desire and time to live the music before it is brought to the public’s court.

Today, this is less and less. Everyone used to work very quickly. Now in three days you can collect an essay on which Mravinsky needed weeks. They, these weeks, he was required not because the orchestra could not play together, purely and beautifully. Although the quality of the number of rehearsals only won. It was necessary to live this symphony of Tchaikovsky, Bruckner, Shostakovich, explain for himself. Otherwise it will be beautiful, professional, but it’s not clear what.

Sometimes you succeed, and you see a return. The orchestra suddenly feels that it began to sound somehow different. Sometimes he becomes so grateful that he invites you to another program and already then becomes truly generous. And this time musicians better, sometimes, leave alone. Maybe they had a difficult week with the chief conductor. Maybe they looked at the notes the day before and waved their hand – but we already know this symphony. And you go pregnant with it for a few months, you nurse …

Sometimes, when you are young and inexperienced, you hurt about it painfully. Over time, you stop beating your head and begin to calmly do your professional work. One must never forget that the idealism of a lone conductor is much stronger than any collective idealism. And do not expect that musicians, like you, will feel, seemingly obvious to you things.

– For many years you led the orchestra of the German Koblenz. He is grateful to you?

“At least I tell him exactly.” But without false modesty I can assume that the German musicians too. I have parted very well with Koblenz, I have already returned there many times and will soon come again. This is the first orchestra where I became the principal conductor. And this was not a mistake of the collective, which in four years it was customary to get rid of. I spent twelve years there.

Over the years we have achieved a lot. From a little-known region, Koblenz has turned into a place where something is happening musically all the time. We were awarded the Echo Klassik Award. In 2018 they won the Radio Denmark Award for the best record of symphonic Danish music. Twice went to concerts in Salzburg, performed in the Amsterdam Concertgebouw, Tonhalle in Zurich.

Soloists came to Koblenz, which the orchestra knew only by hearsay and by the discs in the music stores. Many musicians I took on their first job: for example, the first French horn and the first trumpet. They had to be raised later. And I myself as a conductor at that time turned out to be a year without a year.

It was a very grateful laboratory. In parallel, I worked in Polish Lodz. There was an opportunity to try the same repertoire with a collective, quite different in scale and mentality. The orchestra is much larger, and it is only engaged in symphonic programs. But when during the European tour the Lodz Orchestra lacked some positions, the musicians from Koblenz came to the rescue.

– Since August of this year, you will head the symphony orchestra of the Canadian Winnipeg. Are there any preconceptions already: musical, geographic?

– Geographic foreplay is very simple: there will be many flights. As for the musicians, in my opinion, quite a good credit of professional and human trust has already accumulated. If this loan is used correctly, with the mind, it can last for a long time. The orchestra has a remarkable reputation. In many respects it was formed thanks to my predecessors, including the conductor Andrei Boreiko, who worked there for six years.

I hope they let me work seriously and in detail. And I will try to give the orchestra an opportunity to actively perform. All the rest is a completely new form of work for me. Music in North America does not begin with the score, not with the public, not with the hanger, but … with the ticket office. Here, in Europe, we are accustomed to orchestral socialism, when 95 percent of the money is given by the state. And there you need to count every dollar and do it so that people always want to give it. I’m ready for this.

Canada is a young country. This year the Winnipeg Orchestra celebrates its 70th anniversary, which is almost half the state path. The size of the country is astounding, and this incredible territory is inhabited by only 36 million people, mainly on the coast. Therefore, due to its central location and even some kind of isolation, Winnipeg and its orchestra must develop their own cultural initiatives.

And this need to rely on ourselves creates a special kind of color. Winnipeg by Canadian standards is a big city, 850 thousand people. There is a concert hall for 2400 listeners and there is a large number of people who need classical music. The famous troupe of the Winnipeg Royal Ballet operates, there is an opera. In the course of our preliminary communication, the idea that the orchestra would like to leave its geographical shell, to build an international profile, was stressed several times.

– For 2020, you have already scheduled a tour in Europe …

– The combination of circumstances is such that in May 2020, Amsterdam and the whole of Europe will celebrate the 75th anniversary of the end of the Second World War. It was the Canadian troops that won Holland, Flanders and, above all, Amsterdam. But even more coincidentally, the main forces that liberated the capital of the Netherlands were parts from Winnipeg. And a monument to these Canadians stands literally 300 meters from my Amsterdam apartment. On the day of the commemoration – May 4, 2020 – the execution of Britten’s Military Requiem in Concertgebouw is planned with the participation of Tonkunst choir – the oldest of the Amsterdam choral bands.

In addition, we hope that our enormous efforts – bringing an orchestra to Europe without serious sponsorship support is unrealistic – will attract the attention of other European halls. I have already spoken with the Viennese Musikverein, the Cologne Philharmonic. I hope this will result in something and the orchestra will write a new page in its history. He deserves it – both soloists and critics have repeatedly expressed surprise at the high level of the collective. In communication with him, I was attracted by some kind of human and musician simplicity. You know, it happens when after a few bars you have a feeling of deja vu. That you have already been here, you know all and do not need to negotiate anything – everything happens naturally.

The subscription of the orchestra is divided into series A

Kinotavr-2018: Director-debutant lacks faith in himself and his cinema

Kinotavr-2018: Director-debutant lacks faith in himself and his cinema

This year, for the first time since 2003, that is for a full 15 years, which formed a completely new domestic industry, the main review of Russian cinema “Kinotavr” will be a competition of debut films. There are eight of them. But they were chosen from 58, sent to this year’s organizing committee. And the number of debut works this year for the first time in the history of the festival has surpassed, although very little (altogether 102 films were sent for selection), the number of pictures created by non-novice filmmakers. The splash (at least quantitative) of the debuts was not the least due to the fact that a couple of years ago the Ministry of Culture of the Russian Federation supported a record number of the first works of the authors. Among those supported were seven of the eight current participants of the Kinotavr competition. Many of them are already familiar to the festival audience, but a wide range of spectators are only to hear about these new names of Russian cinema. That’s why we decided to talk about debutants and get to know from them why they make films, who are inspired, how Russian cinema is judged, and what they need for further work in the domestic industry.

Vladimir Bitokov, «Deep rivers

Kinotavr-2018: Director-debutant lacks faith in himself and his cinema

He was born in 1985 in Nalchik. In 2010 he entered the “Workshop of film and television directors” Alexandra Sokurova in the Kabardino-Balkarian State University (a graduate of the same workshop is Cantemir Balagov), took a number of educational works, with which he participated in domestic and international festivals. After graduation he worked for VGTRK “Kabardino-Balkaria” as a direct-air director.

At the center of his debut “full meter”, the production of which was carried out by the Sokurov Foundation “Example of intonation” with the support of the Ministry of Culture of the Russian Federation, is the youngest son who returns home to help his father and brothers fulfill a profitable order for logging. During his absence, nothing has changed: overwork for the sake of a piece of bread, confrontation with the inhabitants of a neighboring village, the inability of family members to express love and understanding to the native people. And the river, which at any time spreads and wipes standing at the very shore of her father’s house.

«I never planned to do movies, except that, like many in my childhood, I wanted to be an actor. At the first lecture in the workshop I realized that I want to do only movies and nothing else. Why? Because it’s mine. The idea [of a full-length film] came spontaneously, quickly, but, of course, completely unformed, raw. It took two years to formulate a general idea. Now there is a film. On Kinotavr I wait for the reaction of the audience. This is the first show. The first film is in Kabardian. My first film. It’s very interesting how the viewer will appreciate how he will perceive.

In modern Russian cinema, in my opinion, there is one fundamental mistake – an attempt to follow Hollywood, some kind of cliche, which are completely inorganic to Russia. Russian cinema has its own way and it is necessary to go this way, not copy it. Debutant today does not have enough attention. Although, the emergence of a separate competition debuts on Kinotavr “- the evidence that the situation is greatly changing for the better, for beginners, the party. It is important”.

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Alexander Gorchilin, «Acid

Kinotavr-2018: Director-debutant lacks faith in himself and his cinema

He was born in 1992. He graduated from the course Kirill Serebrennikova in the Moscow Art Theater School, since 2012 he has been working at Gogol Center. He played one of the main roles in the film Valerie Guy Germanici «Yes and Yes“, Also starred in the film Serebrennikov”Pupil“, For which he was nominated for the” Nika “award in the category” Best Supporting Actor “. In 2015 he made his debut as a director with a documentary tape “#SOMMUNICATION GOOD“. The painting was awarded a special mention of the jury of the festival “Movement”. In 2016, as a co-author and video artist, he took part in the production of the opera “Iolanta. OPUS »(together with Philip Avdeev and Igor Bychkov), and also released his second documentary work “Russian Fairy Tales.” His first full-length feature film is described as a “silent manifesto of a generation of twenty.” Production of the painting was carried out by the studio “Elephant” Sabina Eremeeva – with the support of the Ministry of Culture of the Russian Federation.

I do not know how decisions are made in life, so it turned out that I really like the video as an Art material, I like to work with it, but I might like the cake oven. But if you had in mind how it happened that I made a movie, then I do not know, I just got called one morning by Sabine Eremeeva and offered to do it. We did it. We do not have a very clearly structured movie, which has such a big big idea right now. It is a collection of experiences and observations of oneself, of loved ones. Although there was an idea to make a film about young people of today, not a genre, not a social drama about gopnik from the outskirts, not a comedy about students, but about such guys as me, like my friends, about guys who go on weekends to clubs, and on weekdays they sit at home with their grandmother or try to get rid of their girlfriend or boyfriend, try to understand themselves and what’s going on around.

I have a lot of favorite directors, so if you orient yourself, you will get a team solyanka. I just love them as artists and, of course, something inspires my work. As for Russian cinema, I do not have any assessment for it, it is different, as it is in all countries of the world. Something thoughtful, interesting, provocative, and something inappropriate, parodic, propagandistic or filmed for a rollback))). For debutants there is not something lacking from outside, there are shortcomings private, internal, lack of responsibility, fear, etc. Today, a lot of people, without any cinematic benefits, still shoot a movie, without money, without everything, and they get it. So all should suffice all, and if is not present, it is necessary to understand with myself.

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Timothy Zhalnin, «Two

Kinotavr-2018: Director-debutant lacks faith in himself and his cinema

He was born in 1981 in Novokuznetsk. In 2012 he graduated from SPbGUKiT in the specialty of “directing a feature film” (workshop Sergei Ovcharov). His film F5 became the winner of the program “Kinotavr. Short meter – 2013 “and received many prizes from other festivals. The debut full-length film tells about a married couple experiencing a crisis against the background of the taiga, where they go on a hike. The production of the tape was carried out by the studio “Artlight” and “Invad film” – with the support of the Ministry of Culture of the Russian Federation. [/ I]

“In the beginning there was a theater. Rather, the dance workshop, which later degenerated into an experimental theater. Working on mixing genres in performances, he began to notice more often that the accompanying video was “more important” than what is happening on stage. This language interested me more and more. So I came to the idea that I had to go and get a trade in the Kinovuz. The idea of ​​this feature film was born in the third year of study at the St. Petersburg University of Film and Television. I myself am from Siberia. My grandfather often took me to the taiga. There I listened to different stories from hunters and villagers. Stacked in my head some stories and have long wanted to share their sense of nature in those places. After all, the taiga, when viewed from the inside, is not so much an awaiting bear and a biting mosquito, as a metaphor for our life as a whole, it seems to me. Paraphrasing a well-known expression, I will say – one can get out of the taiga, but the taiga is harder to pull out of itself. In addition, in the film, I raise an actual environmental theme for the native Siberian region. For example, in the Kemerovo region, people are now taking to the streets in vain to protest against the construction of coal mines near their homes. Mining companies and officials do not hear them. That’s all I wanted to share with the audience: from the violence of people over the external nature to the struggle of man with his own nature.

If we talk about cinema, then I have directors who inspire creativity: Cockpit, Bob Foss, Antonioni, Ilya Averbakh, Bela Tarr, The Quei Brothers – this is the first who comes to mind. But there are certainly more of them. As for the Russian cinema, I am happy about the success of our author’s cinema at international festivals. It’s good that despite many circumstances, we often designate ourselves on the world cinema. For beginning filmmakers, in my opinion, today there are not enough full-scale studios for the debut film. From participation in “Kinotavr” I expect new acquaintances – it is important for further work. The rest is the will of chance. “

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Olga Zueva, «In the area

From 2006 to 2016 she lived and worked in New York. She received an acting education at the school Susan Batson, studied at the Faculty of Cinema at The University New School. In parallel, her studies were shot in episodic roles, for example in the well-known TV series “Orange – the hit of the season“, Wrote scripts and shot short films as a director. In 2016, Zueva moved to Moscow. I played in a short film Anna Melikyan “This mood, Adagio Bach and a small fragment of the life of the girl Lena, as well as the main female role in the film”Trainer“.

The action of her debut full-length film takes place in the native land of the director – in Vladivostok. Vova and his best friend Kisa earn money by engaging in illegal activities. Their life is spent on a wave of fun, in pursuit of thrill and short-term pleasures, until another order brings their friendship to the main test, forcing everyone to answer the question “Who are you?”. Cast – and Olga Zueva herself, and her boyfriend, actor Danila Kozlovsky. The production of the painting was done by the company “Mars Media” Ruben Dishdishyan – with the support of the Ministry of Culture of the Russian Federation.

“The desire to make a movie came by itself. I searched for myself and found it in the cinema. The idea of ​​my first full meter appeared around 2008. There was such a model, Ruslana Korshunova, I knew her personally. She committed suicide by throwing herself out of her own window. Her death made a strong impression on me. I started writing a script about the model world with all the difficulties and loneliness. “In the Area” is my second scenario. Participation in Kinotavr is an opportunity for me to show my debut to the professional community. And the film will receive media attention, which is good for the future rental.

I do not like to evaluate such things as “the current Russian cinema”. Moreover, there are a lot of “evaluators”, I would say too much. I do not want to replenish these ranks. Cinema is not a sport. In any sports competition there is a category, criterion, age or even weight. A competition in the movie I think inappropriate. It is important not to forget that the cinema reflects its nation. Americans shoot about Americans. And the Russians about their people, problems, habits, joys, fears, their culture or its absence.

In my understanding, the director should not be guided by someone’s creativity. Favorite directors are: Paolo Sorrentino, Martin Scorsese, Bertolucci, Cary Fukunaga, Sofia Coppola, a lot of them. And from our very love the Soviet cinema, kind and heartbreaking, such as “Scarecrow“,”White Bim Black Ear“,”Station for two“,”Burnt by the Sun“. These films penetrated me when I was a child and stayed there forever.

I think that any debutant, not only Russian, does not have enough faith that it can be possible to be a director and make his own movie. It is not as difficult as it seems from the outside. The profession of the director is elevated to the status of something unattainable. It is generally believed that the director is …. And they went into high-flown expressions. I shot my first film almost two years ago, and yes, it was very difficult. This was the most difficult thing that I did in my professional life. But the film is removed, the editing is completed, the film will soon be released, and the responsibility that was felt on the site, the lack of time and sleep left behind. But, for example, a single mother of three children has a responsibility, lack of time and sleep, a sense of loneliness and misunderstanding will last much longer than any director. Therefore, I remind myself of this, sometimes. “

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Igor Kagramanov, «Let it be Lisa

Kinotavr-2018: Director-debutant lacks faith in himself and his cinema

He was born in 1983 in Baku. Since 2004 he works on TV. He graduated from the directing department of VGIK (workshop Valeriya Akhadova). His thesis short film “Mashka“Became the best at several festivals. With another short meter “Everything in the box“He participated in the competitive program” Kinotavr. Short meter “in 2016.

The main heroine of the debut full-length film Kagramanov – Katya – lives with her husband and mother in a small provincial town and works at a local factory. Mother suddenly falls ill and wants to rewrite all the property for her son – Katya’s brother. Katya feels the injustice of this decision and begins the struggle for the inheritance. In pursuit of imaginary material well-being, Katya decides on the most desperate act. The production of the tape was carried out by the studio “Metronome Film” Arsen Gottlieb – with the support of the Ministry of Culture of the Russian Federation.

“I decided to shoot the movie, because it’s the best thing in the world. The film “Let Liza Be” began with the fact that my friend and co-author Yuri Glushenkov sent a letter with an idea that I really liked. We began to develop it and eventually developed the story to the full meter. On “Kinotavr” I expect, first of all, the moment when the audience will first see my picture – this is very exciting.

As for Russian cinema, it is on the rise unequivocally, and in all genres. Debutante, if you talk about me, too, just enough – I was able to make a movie. And what other people do not know, I do not know. “

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Anton Kolomeets, «Your tutor

Kinotavr-2018: Director-debutant lacks faith in himself and his cinema

He was born in 1984 in Knyazhpogost (Komi), studied at the Novosibirsk State Theater School as a theater and cinema actor, then graduated from a director’s studio Vladimir Khotinenko and Vladimir Fenchenko in the VGIK. I took two short films, one of which was “Tonia cries on the bridge of lovers“- participated in the contest” Kinotavr. Short meter “in 2014. His first feature film tells about the relationship of a 17-year-old entrant and a teacher in foreign literature. Production of the painting was carried out by the studio “Marmot-film” Valeria Todorovsky. The ribbon was created with the support of the Ministry of Culture of the Russian Federation.

«It’s hard to answer the question why I decided to make a movie, definitely. This desire does not form immediately. When I was at school, I watched a lot of nonsense on videocassettes, because there was nothing but two television channels. Through the cinema, I received the most information about the world. Then I had a desire to get into the world of cinema, I did not even think about choosing a profession.

I like movies Mike Lee, Stephen Daldry. Like Todd Haynes, Haneke, Ilya Averbakh, Bergman, Almodóvar. But I say so, that I want to orient myself on them, I can not. But they probably influence me even without my knowledge. If we talk about Russian cinema, then I think it’s all right. He has come to life in the last few years, he has spectators. What young professionals do not have is a community. We are very fragmented. All by themselves. And from this there is a sense of vulnerability and loss. You just do not know where to go with your idea, which doors to knock on. But, probably, it is natural. No one is obliged to help and support. He who emerges will come out.

My first full meter began with the idea of ​​a short film for a diploma in VGIK – about a meeting between a schoolboy and an adult female tutor. Then I decided to postpone this idea, because it seemed too complicated for a short film. And how things went on, I already do not remember. I wanted to make history in an enclosed space, hidden from prying eyes. I finished the work on the film a few months ago and now I have only one desire – to show the film. I want the hall on Kinotavr to be not empty, and that the picture is well received. “

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Mikhail Kukushkin, «Gift

Kinotavr-2018: Director-debutant lacks faith in himself and his cinema

He was born in 1976 in Kurgan. While studying at the university, he organized a youth video studio “Most”, on the basis of which the Kurgan regional TV company “Region-45” was established, later became the director of this TV company. In 2005 he moved to Moscow, worked as an assistant director and second director on television series. In 2009 he graduated from the School Herman Sidakova on the specialty of “directing”. However, his way to big cinema began with producer. The first such project for Kukushkin was “Inadequate people“By Roman Karimov. Then he also produced “Shivers“And last year’s participant of” Kinotavr “the film”Dead lucky“Vadim Valiullin. In addition, last year, as a director, he published the Russian-American-Spanish co-production “A tree of bodies“(The Body Tree, director Thomas Dunne). For his full-length directorial debut, Kukushkin chose the story of a simple working pre-retirement age from the Russian heartland of Tolya Sidorov, who unexpectedly opens the artist’s talent and becomes a sensation in the world of contemporary art. The film was produced without state support – by the companies “Artlight”, “Invada Film” and Herman Sidakov’s School.

“At the institute, I got carried away by KVN, after the institute – by television, then there was nowhere to fall, but then I remembered that there is still a movie))! In fact, we always tried to shoot all sorts of clips on the video since the time of the students, then this hobby turned into the main work in the “Region-45” TV company in the city of Kurgan, where I started trying to shoot something game, the result is not for me I liked it, and I went to Moscow to study. The idea of ​​my first full meter was born when my good friend on the television company Nikita Zhmakin sent his father’s book Sergey Zhmakin. It seemed to me that this could make a good movie. Now on Kinotavr it will be very interesting to see the reaction of the first spectators.

My favorite directors change with time, but now I would call the brothers Coen, David Fincher, Tarantino, McDonough, Louis Xi Kei. Of our – Gleb Panfilov, Boris Khlebnikov. In general, it’s easier for me to be inspired not by individuals, but by specific films or serials. And serials – art is even more collective than cinema, so there is not always possible to single out one author or director. If we talk in general about Russian cinema, then it “rose from the knees”, now it remains to learn how to jump high. Judging by the latest releases, in cinemas we can already compete with world cinema, which is already good. Separately, I want to rejoice for the fact that we are starting to gain popularity genre movies.

Debutante in Russian cinema is enough. Want to be a director – shoot! Previously, there were many technical obstacles, now the cinema can be removed to the phone, mounted and sounded on the home computer, so all restrictions are only in the head of the director. The only thing if you decide to shoot a full meter, it’s better that you have at least one person whom you trust and who could take on organizational issues. It helps a lot. “

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Natalia Pershina, «Dead Swallows

Kinotavr-2018: Director-debutant lacks faith in himself and his cinema

She was born in Gomel (Belarus). In 2001 she moved to Moscow. In 2008 she graduated from the directing department of VGIK, workshop of A.V. Novikov, in 2015-mastership of the scenic faculty of VGIK, workshop Yu.N. Arabov. Since 2006 she has been engaged in advertising and documentary projects. Since 2014 he has been writing scripts for Russian TV series. Her debut full meter, telling about the singer of the musical theater Sasha, who together with his friend Kulik go to a remote protected place for fishing and discover there forest spirits, is a mixture of mysticism and folklore. The film was made by Gorky Film Studio and “Airfilm” company – with the support of the Ministry of Culture of the Russian Federation.

“I wanted to shoot a movie since I was 12, since then I’ve never changed my mind. Despite this, the path from admission to the directing faculty at 17 and up to the first full meter turned out to be very long (Do not do, like Natasha). The idea of ​​the film came from a dissertation, which I wrote in VGIK – about the elements of a fairy tale in dramatic works. In the process, I concluded that the fairy tale is the ideal basis for a thriller or horror. I really wanted to test this statement in practice. And then a friend told me how the swallow was hanging before his eyes, this gave the first impetus to history.

There are four directors, whose creativity I focus on, not only in successes, but also in failures: Stanley Kubrick, Terry Gilliam, Werner Herzog and Francis Ford Coppola. And I dream to learn a visual sense of humor Roy Andersson and Edgar Wright.

Around it is often said that there are no good scenarios that our cinematography is in decline in comparison with the Soviet period. And I know from the inside that there are many good screenwriters-many, talented and intelligent directors-many, times are interesting now, and I think that sooner or later they will shoot. So, Russian cinema in the near future is waiting for the rise.

The debutant in Russian cinema does not have enough confidence. Few producers decide to invest in debut pictures. And from this follows another paradoxical thing: the debutant lacks the right to make a mistake. The directors who have taken place often have the opportunity to reshoot the scene, if something went wrong, or to remove two versions of the ending of the film. The debutants have no such possibility.

Recently I heard the phrase: “For happiness we need people close to the spirit, their support and joint plans with them.” So we can say that from participation in Kinotavr I’m looking forward to happiness: to find like-minded people for further creativity. “

Agnes Warda: Madame Cinema

Agnes Warda is 90 years old. We congratulate one of the most effective ladies of world cinema with the memoir of Andrei Plakhov, who talks about his meetings with Agnes and devotes her poems. The Russian premiere of Vard’s new film “Faces, Villages” will be held on June 1 in the framework of the Beat festival.

Agnes Warda: Madame Cinema

Agnes Warda in childhood

Agnes Varda was also called the first swallow, and the pioneer, and even the grandmother of the “new wave.” As a result, she was among her two long-livers. Apart from Godard, who met this ninetieth birthday this spring, Warda experienced all the main figures of the tumultuous current of the middle of the last century – Alain René and Jacques Rivette, Eric Romer and Claude Chabrol … Not to mention the early departed life of Francois Truffaut and Jacques Demi, husband Agnes, the creator of the “Cherbourg umbrellas” and “Girls from Rochefort”.

With his death, the mystery is related, first published in Ward’s film “Beaches of Agnes”: Demi died not from cancer and not from cerebral hemorrhage, as previously officially reported, but from AIDS. Varda says that at that time (it was in 1990), AIDS was considered a shameful disease, although it does not comment on the leaked rumors that Demi, having found himself in the US at the height of the sexual revolution, had same-sex connections. Much unsaid and in the mystery of the death of Jim Morrison: Warda was close to him, according to some sources, she and his civil wife Pamela Courson are the only witnesses to his departure.

Agnes Warda: Madame CinemaAgnes Warda and Jim Morrison

In the film, there are many other interesting subjects. For example, as Demi, who was invited to work in America, wanted to remove Anouk Emma as young partner of Harrison Ford, but the studio bosses said he was hopelessly talentless. Agnes Varda started as a photographer and documentary, shot famous people and was friends with them: among them Gerard Philip, Jean Vilar, Natalie Sarroth, Andy Warhol.

It was Warda who helped find Catherine Deneuve an image for her role in the “Cherbourg umbrellas” that turned her career. Agnes combed the hair of Catherine (in the fashion of those years – under Brigitte Bardot), and laid them on the “babetta” and scattered them on the shoulders. Becoming a star, Deneuve willingly starred in Ward in the film “Creations” and even took over part of the cost. But the film did not find a response: a typical for the “new wave” reflection on the dominance of mass culture led the director too far along the path of destruction of dramatic structures. But this is one of the first pictures, where the mechanism for fabricating virtual reality is foreseen.

Having many friends in the artistic and bohemian environment, just with the “new wave” figures, Varda stayed at a distance. She did not belong to the breed of cinephiles – “sinematechnyh rats”, her temperament was different, more spontaneous. And although Andre Bazin, the patron of the “wave”, recommended Cannes for her debut band “Pointe Curt”, Varda did not enter the “sacred circle”, choosing her own way, taking responsibility for both luck and mistakes.

Agnes Warda: Madame Cinema«Creations». Dir. Agnes Warda. 1966

1962 is the year of her triumph: everyone speaks of the movie “Cleo from 5 to 7” as a model of a new cinema dominated by the image, not the word, and the movement of the camera is close to the rhythm of human breathing. However, the following tape “Happiness” sharply shares the fans and opponents. The hero of the picture, a loving husband and father, meets another woman and tries to explain to the wife that two women mean more happiness for him than one. But the dumb wife is drowning in the river, and her place is taken by another. According to the director, the film’s idea was based on one beautiful family photo: “Visibility of happiness is also happiness.”

The success of this film and the commercial failure of the “Creatures” discarded Ward from the big projects. She continued to work in the genre of documentary essays, studying the life of fishing villages and country castles, socialist China, the Cuban revolution, the hippies, the “Black Panthers” … Once in America, she shot Andy Warhol and his star Vivu, and years later – Angela Davis. Even one-minute miniatures and custom-made tapes she prepared with utmost care. Freedom, subjectivity, perpetual motion are the key words by which critics define the work of Agnes Ward. Her natural cinematic instinct was said: “She uses one hand to shoot the other.” Another key word is feminism: Varda never put him forward as a weapon, but internally was true to the feminist view of the world.

Agnes Warda: Madame CinemaAgnes Warda and Jacques Demi

Thanks to the triumph in Venice of the movie “Without Hoods and Outlaws”, Varda returned to the big cinema. In this film about the vagabond girl, whom young Sandrine Bonner played with dramatic drama, a strong plot joined with an equally strong author’s beginning, sociality – with existentiality. Now Agnes was already difficult to knock out of the saddle. She founded her own “family” company “Sine Tamaris”, with her daughter Rosalie Warda and son Mathieu Demi.

All of them participate in the film “Beaches of Agnes”, the leitmotifs of which are reflections and mirrors, as well as seaside beaches. Varda settles on the beach on some eastern couch, tries on funny clothes, young people place around the mirror, and all this together is a captivating installation of happiness, in which the ideal balance between reality and art is maintained. What the “new wave” has entered the history of cinematography.

× ×

For my generation of film critics, Warda was the same legend as Truffaut with Godard. And suddenly the legend appeared in Moscow – as part of a large delegation of cinematographers who came to the Week of author’s cinema in France. This landing was headed by Bertrand Tavernier, important and often angry. I remember how he chided Mikhail Yampolsky for asking at a press conference why the author’s French cinema of the 1980s was covered with a layer of aesthetic lacquer that interferes with contact with the screen. The tavern was jammed: “What kind of lacquer you say, our films conquer the world!” On the contrary, the completely indifferent to what was happening was demonstrated by a very young Leos Karaks: he did not communicate with anyone and constantly smoked, huddled in a corner. The soul of the company was Agnes and her then muse Jane Birkin, to whom she dedicated the film “Jane B. with the eyes of Agnes V.” – a gentle cinematic declaration of love. Two women walked around Moscow, trying to understand what “Perestroika” is: it was the very height of it.

Agnes Warda: Madame Cinema“Jane B. with the eyes of Agnes V.” Dir. Agnes Warda. 1988

We became friends, and a few months later I was invited to lecture in France. Agnes planned to introduce me to Catherine Deneuve, whom I was writing at the time, at the “Cesar” awards ceremony. But just for this evening the first lecture was assigned, and the meeting did not take place. Probably to comfort, Agnes called me to her house for breakfast – real French, with croissants, which we dipped in large cups with “cafe ole”, and crumbs scattered all over the table. “When people share food, it brings together like nothing else,” said the hostess. It seems that we really got closer: we spent a whole day together, and in the evening we went to Creteil to a women’s cinema festival, where Agnes Warda and Jane Birkin were honored as the main stars.

Soon Jacques Demi died, Agnes as a born documentalist filmed his departure from life day after day. With the dedication to the late wife “Jaco from Nantes” she came to the Moscow festival, and four years later she returned again – with the film “One and One Nights”. Varda has participated in this grandiose skits for the 100th anniversary of the invention of cinema not only by French stars, but also by important overseas guests like Robert de Niro. All of them were shot in short episodes-sketches practically for free – to the glory of cinema. All of them – and Alain Delon and Marcello Mastroianni, and Jeanne Moreau, and Gerard Depardieu, and Hannah Shigula – come to visit the century-old Mr. Simon Cinema, who is recklessly and slyly played by Michel Piccoli. The old man is a little sick, he has seizures every now and then, but more often he pretends. In fact, he still at least somewhere: he loves to eat and drink, wants to priudarit for Catherine Deneuve. Which, appearing in the castle of Mr. Cinema, prefers to retire with De Niro.

× ×

Alas, the last two visits of Agnes to Moscow cooled our relations. Why – you will understand, reading her letter to the then leaders of the Moscow International Film Festival.

Sergei Solovyov and Alexander Atanesyan:

“I’m not lucky with the Moscow festival. In 1991, my film “Jacquot from Nantes” was invited for the closing evening. But it was at the moment of the beginning of the film that a banquet was organized, which, of course, was preferred by everyone except the cinephiles. I decided not to return to the Moscow Festival, and I should have followed this decision. But you wrote me a few letters with apologies for the past and with the invitation to my movie “One and One Nights” to open the current festival. I came for three days, and you did not find an opportunity to meet with me, and during the demonstration of my film a banquet was again arranged, to which I was not invited. There was no information about my film, and I almost had to force the head of the press center of Mr. Tsirlin to organize a press screening and a small press conference. Fortunately, Naum Kleiman at the Cinema Museum gave me a real treat. You should come there and see the public of my paintings. As for the official services of the Moscow festival, they do not know anything and do not know how to accept their guests. “

Agnes Warda

I do not know if Solovyov and Atanesian read this letter, which I published in the newspaper Kommersant. I know that the anger of the temperamental Agnes hit me when she saw the empty hall watching her film: everyone was really in a hurry to the banquet. None of the leaders of the festival in the hall was not, and although I had not the slightest relation to the drama of the evening (and even warned the organizers that it was impossible to combine cinema with a banquet), it turned out to be a scapegoat.

× ×

Our last meeting took place in Venice, on the beach of Excelsior Hotel.

– Why did you decide to make a film about yourself?

– I’m a documentary with experience, I’m interested in people, and I know how to shoot them. But then I decided to make a film about myself. I do not think that from immodesty. Much of the picture is dedicated to other people who have gone through my life. I realize that my destiny does not contain anything particularly dramatic, I did not survive what people experienced, for example, in Russia. Or in Georgia. Inspired by the words from Montaigne’s Essays: “I dedicated my book to a narrow circle of relatives and friends; in the end they will lose me, but in return they will find out something of my features and moods that will allow them to preserve and multiply what they knew about me. “

– Have not your previous films been personal? For example, “Cleo from 5 to 7?”

– I doubt it. I was never a tall blonde, like the heroine of this picture.

– And why “Beaches”? A tribute to the memory of Jacques Demi, whose life and work are connected with the seaside cities – Nantes, Cherbourg, Rochefort?

– The idea to make this personal film came to me on the beach in Noirmoutier: I grew up on the beach in Belgium, and the seascapes accompanied me all my life. The shore of the sea reflects the state of mind.

Agnes Warda: Madame Cinema

– The film very briefly talks about your parents …

– My father was an emigrant from Greece and hated to remember his homeland. I saw my grandfather and grandmother only twice. But with my grandchildren communicate more often.

– The theme of memory often appears in your picture …

– I would say that the theme of the film is the fear of losing memory, which visits us at a certain age. How wonderful it is to remember!

– You were involved with radical movements. Wanted to change the world?

– I never wanted to change the world. I wanted to express my disagreement with him. And in the feminist movement, I was not ahead of everyone. But I managed to raise the level of “female cinema”.

– In France, did you have any like-minded people? What are your relations with the “new wave”?

“I was friends with Godard and Rivette, with the rest – no. But this only concerned personal relationships, not creativity. It was a group of Cahiers du Cinema, they had a group code – like the Dadaists. Renee and Marker existed separately. And I was all alone – until I met Jacques Demi. The structures of my films were completely different than those who were part of the group, and Jacques too.

– What did the experience of working in the USA mean for both of you? Were not you disappointed?

– Demi worked for a big studio, and I did independent films. We fell in love with Los Angeles. It was a time of aspiration for freedom: everyone smoked artfully, committed sexual experiments, brought up children together in communes. But we were not going to stay in the US from the very beginning. And when they returned to France in 1970, the revolution was almost over.

– And Jim Morrison died. Why do you talk so stupidly about him?

“Jim clung to us with Jacques as the pioneers of the” new wave. ” He himself came to us after the concert. Then I regretted, but then I did not even dare to take pictures of him, because I protected his privacy. Similarly, I have never photographed Natalie Sarroth.

– What do you think about modern cinema?

– Do not expect that as a grandmother I’ll start to scold him. Today there is a quality industrial cinema. And there are those who, like the Dardenne brothers, make films with the author’s attitude. I consider them my younger brothers.

– In your picture, magnificent costumes that you willingly change …

“They’re all from my wardrobe: it’s a documentary.” Even the suit “Potato” hangs in my house in the closet.

Agnes Warda: Madame Cinema

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And in my old notebook I wrote a poem dedicated to Agnes Varda.

Happiness

Together at the cinema, in the full hall,

where the sight was eaten by the eyes

all who came to see the painting “Happiness”

we were full of fate

to each other – and everyone said everything to each other.

We did not say anything to a friend,

no hand reached the hand

another to connect with it,

and the light from the booth penetrated through the faces.

Together at the cinema, in the full hall,

For an hour and a half we lived

Four lives are not a single falsehood.

We hardly dreamed of happiness,

but the thought of it did not become impossible.

“Wonder Woman” Gal Gadot refused to conduct “Eurovision”

The 33-year-old actress and model Gal Gadot politely declined the offer of the Israeli Public Broadcasting that was made the day before to become the leading "Eurovision Song Contest 2019" in Jerusalem.

Recall, this year at the show, the champion was Israeli Netta Barzilay. According to the rules of the competition, the following "Eurovision" must take the country-winner.

According to the i24news channel, the actress argued her refusal by having an excessively tight working schedule, and some of the previously concluded contracts may prevent her from leading it. Although, of course, there are circumstances otherwise, I would be happy to help.

Famous showman Yigal Ravid, who led "Eurovision" in Israel ten years ago, in 1999 – after the victory of transsexual Dana International, immediately publicly appealed to Gadot with a call to change his mind, promising "brilliant show", which is sure to please everyone. And, in addition, will glorify the country.

Whether the actress responded to the ardent call is still unknown.

What is noteworthy, in the song Barzilai Toy, which brought Israel first place, there is a line dedicated to the Wonder Woman – the most famous role of Gadot.

Gal Gadot was born in Rosh-ha-Ain. In 2004 she won the contest "Miss Israel", after which she represented her country at the contest "Miss Universe" in Ecuador. Worked in advertising.

In the movie debuted in 2007 – in the television series "Pupae" (Bubot). The following year she appeared in "Fast and Furious 4", followed – in two continuations, the fifth and sixth parts. In 2013, was approved for the role of the Miracle Woman in the film Snyder "Batman vs. Superman". After signing a contract for the performance of the same role in the "Justice League" and "salt" superheroines. To which the unnamed sequel has been announced so far – with the premiere for the next year.

Earlier we wrote that actress Natalie Portman tore up the delivery "Jewish Nobel" – for political reasons.

"Wonder Woman" Gal Gadot refused to conduct "Eurovision"

Photo: Alexander Kozhokhin / RIA Novosti

“At the daughter from” Gogol “shivers ran”

The second two-part block of an ambitious and extraordinary domestic film project "Gogol", in April released in Russian cinemas, very soon reach the Web. June 5 premiere of the film "Gogol. Wii" will be held on the service ivi. On the eve of this significant event "Kinokratiya" exclusively publishes an interview with actor Ian Tsapnik (дилогия "Bitterly!", "Ice", "Drunken firm", deductible "Christmas trees"), who played the role of an intelligent and heavily drinking decadent surgeon.

Your character, Dr. Leopold Bomgart, is a drunkard. But Gogol finds something in this man. What are its positive features?

Jan Tzapnik: Humanity, kindness, talent of the doctor, a solid baggage of knowledge. Gogol is still an intelligent person, and in Dikanka he does not have enough intelligent communication, so he converges with Bomgart. Contact between them happens on the first evening and continues with friendship and cooperation. Yes, a long part of the role I exist in a slightly different dimension of a drinking person, but this is the fate of my hero, who was born in Russia. No wonder he says: "And what else should a Russian person do, how not to disinfect himself in health? So much infection that inevitably have to. Drink this, my dear fellow, and it will be easier for you".

Bomgart drinks for good. He had an unsuccessful operation, as a result of which a child died in his arms. As a result, Leopold Leopoldovich becomes hostage to the torture of his conscience: he begins to drink and comes to the point when he is afraid to engage in living people. Here are the corpses to dissect – please. He sleeps in the same barn where he dissects: in his own anatomical theater with cracks and a current roof.

How do Gogol and Bomgart complement each other?

Jan Tzapnik: Gogol appreciates Bomgart for his advice and reasoning. All decisions are made by him, but he collects information from us, the environment. Gogol in turn influences me, and I stop drinking, although then I start again. At some point, I refuse to dissect Gogol, lamenting: "This is my best friend, and I’m not going to dig it!".

Is Bomgart a comic or tragic character?

Jan Tzapnik: Neither one nor the other. It would be wrong to call him a simple village fool and a drunkard. It has everything. He is a life hero, but in life everything is mixed up. There are funny situations connected with it, and tragic ones. Bomgart is an ambiguous character, he has many traits. Actually, for this vitality, our viewer must love us, as our master Yegor Baranov said.

How did you feel about working with a young director like Yegor?

Jan Tzapnik: I’m shocked by Egor! When I came to him to get acquainted for samples, I kept thinking about who was present from the director. He shocked me. I still do not understand how in his beautiful skull there is so much mind and thought! He was ahead of us for kilometers according to the scale of the vision. I’m rarely lucky, but I learned a lot from this man. He pushed us to think, helped to work on the role, now it is rare to find such a director, especially his age. He is a genius! Yes, and a wonderful man.

Generally this project is that rare case when all bombs fell into one funnel. Stunning all: the cast, director, cameraman, screenwriters, artists, producers. All coincided! All existed in the classical traditions of the school of experience, not forms.

Did you read Gogol at school?

Jan Tzapnik: Of course. Thank God, life in the distant Soviet Union was reading, read everything, even wipers. I loved Gogol. I remember how we went to the cinema to watch a second movie "Wii" and how scary it was. All those who did not know, then rushed to reread the entire Gogol. I hope that this film will have a similar fate.

Do you have a favorite work?

Jan Tzapnik: There is a favorite book. "Evenings on a Farm Near Dikanka" pre-revolutionary edition, with "Yatami", the year 1905 or 1906.

Where did you get it?

Jan Tzapnik: And you know, there used to be so many good garbage … I lived in Chelyabinsk, in the 70s people were more concerned about how to put the Czech wall in the apartment. Throw away everything: old furniture, photo albums, books. I found the prerevolutionary "Robinson Crusoe", "Gargantua and Pantagruel", "Munchhausen" with engravings by Gustave Dore and tracing paper between them. So I found this book not far from home, on a spontaneous dump, when old barracks were demolished in the neighborhood.

Are you going to show your daughter’s movie? She just turned 16.

Jan Tzapnik: Of course, she already looked at the fragment and said that she had never seen anything like this, she was interested. And I know that she does not speak that way for me to be pleased. She is a spoiled spectator, she goes to all my premieres, and I always listen to her opinion, sometimes she speaks very sensible things. And if she was so impressed with the fragment, not even the whole work, then I am calm. I ask: "Was it scary for you?" – "I almost jumped a few times, “he replies. – Goose bumps".

Do not you think it strange that after the Gogol mystical genre, horrors, and did not receive much development in Russia?

Jan Tzapnik: I think that he had followers, it is impossible that nothing from such a fruitful seed grew. It’s just that we do not all know. But the main charm of Gogol is not that he used "horrible" plots, but in the way he combined the tragic and the funny – as, for example, the devil at Gogol is both terrible and funny, and funny with his pig hare and pig eyes. Gogol could unite in a single text a lot of different beginnings, reflect the depth of life with all its problems, which since Gogol’s time have remained the same as they were. Therefore Gogol is a classic, which will remain forever.

Actor “Contemporary” Yuri Rashkin died on the 73rd year of life

The actor of the theater “Contemporary“, Director-documentary Yuri Rashkin died at the age of 72 years. This is reported on the page of the theater in “Facebook“.

«Today, a person dear to our theater, Yuri Leonidovich Rashkin, passed away. A man with a tender heart and a keen sense of beauty. In the theater “Contemporary” Yuri Rashkin served from 1967 to 1973“, The report says.

Actor "Contemporary" Yuri Rashkin died on the 73rd year of lifephoto: Contemporary

The actor played roles in 10 performances of Sovremennik, in particular, in “Decembrists “,” Snow White and Seven Dwarfs“And”Masters“. In addition, he was filmed in such tapes as “About Love “,” Bridges ““And”Unusual Summer“.

Rashkin is also known as a documentary film director: his tapes tell about Konstantin Raikin, Galina Volchek, Alla Larionova and on Oleg Efremov.