With the Director and screenwriter Anna matison we met in Sochi at the festival “Kinotavr”, where she together with her husband Sergey Bezrukov has presented his third feature film “After you.” Sergey became the producer of the film and played the famous ballet dancer Alexei Temnikova, whose career came to an unexpected end.
Photo: Timur Artamonov
“In the first draft of a script I introduced Maya Plisetskaya
In the original scenario, “After you,” have you figured Maya Plisetskaya. What was she supposed to do?
We had good professional and human relations. We just finished the film-Opera “Lefty” with her husband of Maya Plisetskaya — a terrific composer, Rodion Shchedrin, which I filmed for the Mariinsky theatre. I told her about the conception of the picture in the first draft of a script together with Maestro Valery Gergiev introduced and Maya Mikhailovna, but on may 2, 2015 she was gone. It was a terrible blow. It was indescribably strange and hard to rewrite the script. I even wanted to commit “After you” Maya Mikhailovna, but then there would be Parallels with the main character, but they are not. It is absolutely different people, so the dedication is there, but unspoken — it’s in a lot of little things related to the way Plisetskaya, in music. It was originally a liaison with Valery Gergiev, who starred in our film. Then, its functions transferred to the hero, filmed the show Temnikova at the Bolshoi theatre and passed the Gergiev recording. Plisetskaya has, like Gergiev, artistic flair. I can’t even talk about her in past tense. It also gave people a chance. They are similar with Temnikova relationship to the music. Whatever the technique was, to dance only with those who hear the music. So always told Maya Mihajlovna.
But there is a contradiction between the game structure of your film and the emergence of him as a real person of Valery Gergiev. Why do you need it?
— I think that, on the contrary, he did not question the existence of heroes, and confirms, because Temnikov lives not in an abstract city, and in Moscow and the wedge, and it’s a real city, and we have a real ballet. Then the theater should have been called not the Mariinsky, but otherwise, to pretend that it is led by a different person that it would be wrong in relation to Valery Gergiev, who for 20 years it is headed. Many people are now trying to find on the Internet who Alex Temnikov. That is, they have the impression of Temnikov as a real person. If we put a ballet, it is true that we did. It was impossible to use the three episodes from an existing ballet, for example Sasha waltz in the art Nouveau style, and to give his statement Temnikova. It seemed to me from an artistic point of view less convincing. That’s why we invited the staging of new ballet Radu Poklitaru and the ballet was included in the repertoire of the Mariinsky theatre.
— You do not blame the opposition of the Mariinsky and Bolshoi theatres? In whose favor the account, we understand. You sang with the Mariinsky, it’s a new building. And what good we see in Big?
— At the Bolshoi theatre only one character that does not allow Temnikova to the stage, can cause negative emotions. And the theatre itself remains in the aura of legend. We tried to remove the episode release Temnikova so breathtaking. He appears on the scene, we see the hall of gold and red velvet, and then there is associative array of cultural layers associated with this place. Breathtaking. You can’t even imagine how much time we were looking for music that is able to excite so that the breath froze.
— Temnikova was originally a nickname for Baryshnikov. Refused it in order not to have problems?
— In the script Baryshnikov mentioned one time Temnikov said in an interview that he didn’t want to be called a young Baryshnikov. And this is the character. The name “Baryshnikov” is good, if you consider the movie as such. But we are not in a vacuum but in a country where Sergey Bezrukov has played a huge number of roles. So all the polls, hearing the title, thought removed another biopic. No one had any doubt that it will be a story about Baryshnikov. We, therefore, before the start of filming changed the name so as not to confuse.
— At this year’s “Kinotavr” everyone is talking that removed the auteur film. And you and Sergei is no exception. And what can be considered the author’s cinema in addition to films by Tarkovsky?
— This is a movie where is the author. It is no secret that in the producers movie, the final decision for producers. The opinion of authors, screenwriters, Directors, artists and operators is listened only when it coincides with the vision of the producers. Rare cases when you can insist on. And in the independent film the opposite situation. You can insist that you think is important. And if the producer will say, “why don’t we articulate all classical music? It will kill the rental,” you say, “No!” And to the point! What if today there is no Stravinsky and Prokofiev? Well, that Schnittke wrote the music for the film “the Ascent”, it takes the picture to another level. I honestly would be happy if, for example, Rodion Shchedrin agreed to write the music for the movie. But he was busy with Opera.
— Where did you get this for music love? You don’t have special education?
— No, but the music I really love and feel almost his duty to bring it to the largest possible number of people. When my movies about Denis Matsuev and the Mariinsky was shown on one of the Central channels, they were seen by millions of viewers. And I think it’s important. If we can recklessly shoot a trio of Shostakovich, so that froze the breath, it means that achieved results. Why I consider it my duty? Because she is not from a musical family, where playing the piano, attending concerts was considered as common as brushing your teeth. I have a good education, as all my friends from Irkutsk. But almost none of us knew nothing about classical music. If you’re coming from secondary school and did not read “War and peace”, then this should be ashamed. Not to know the sound of Rachmaninoff, the norm. At the two higher formations you haven’t heard of this because at school in music class sang “the birch, Rowan” accordion. Arriving in Moscow, you decide to visit the Conservatory, but it turns out that it is not ready to hear classical music. It’s like a first grader to read Tolstoy’s works. Yes, he’ll hate him. It must first be taught to read a small phrase, then great… We can help the novice listener at the expense of installation, high quality pictures, any tips. Gradually it becomes easier for him to perceive music.
To me, it must be hard to understand for those who was born in Moscow and went to concerts since childhood. And we have nothing like that. When I was a kid, we just stopped going creative teams. Denis Matsuev, and he’s older than me by almost ten years, recalled that in his childhood in Irkutsk still coming bands, and then stopped. He does a great job not only in our city, for example, made in Chita, where the orchestra was not heard for 20 years. Generations grow up without it. Well, someone will arrive once, and the hall can accommodate 700 people, 700 people will hear, and in 3 and a half million. So I felt it important to make films that the viewer accustomed to the juicy the picture, to contemporary installation and tempo took it as its what he didn’t understand. It is important to let classical music into everyday life.
“Gergiev often gives chances to young”
— Why Valery Gergiev has chosen you to create movies about Mariinsky theatre?
— In my eyes Valery Gergiev often gave chances to young. I studied at VGIK, and went after the concert of Denis Matsuev backstage, asked if rehearsal for Cinematography. He agreed. This turned out short. Denis liked it, and he offered to make a great film. I gladly agreed. I don’t care what girls Denis like how he plays football. I wanted to show how he, as a representative of the younger generation, as young people excitedly tell you about the Third Concerto of Prokofiev, which he did. The result was a picture where he was presented Gergiev, Lorin Maazel, Vladimir Spivakov, Temirkanov… the Film was shown on television.
Photo courtesy of the Film company, Sergey Bezrukov
In life there are coincidences that determine the future course of life. Called me Alexei Uchitel, who produced a documentary about the Mariinsky theatre, and offered to work on it as a Director. It warned that the volume would be enormous. It was necessary to show a slice of life of the Mariinsky theatre. There every day there are new events. In the same week got a call from the Easter festival, was invited to make a film about him. At the time I released “Satisfaction” and was well aware that if you go into documentary film, I will be lost for all. Then he called the Maestro and asked, is it possible to make a film about the performance of the Third Concerto of Rachmaninov. At the same time from three different sides have been proposals to make a movie about the Mariinsky theatre. I will not hesitate agreed.
Remember the incredible fear that I was shown the first documentary Gergiev. There’s nothing like it. I have many times seen, as it takes work and if he becomes interested, begins to write SMS. And then he watched and offered to work on. It was for me a moment of happiness.
In work he had not invaded?
— No. To visually interpret the music the way it makes Gergiev, is a huge responsibility. I was really scared. I tried to understand his look and gesture he is in the music exists. His rehearsals are so interesting. To make a movie with every rehearsal. And so are you’re on the verge of feeling the music, it’s like a drug. I am a person who had never drunk or smoked but felt a state of euphoria, working on musical material.
“I’m not a public person, and I no Sergei, no one will know”
— How did the idea of the film is “After you”? Maybe Sergei Bezrukov wanted to play such a role?
— I was on the play of Sergei at the Moscow art theatre “Adventure”. His role was precisely built not only dramatically. It was attended by choreographic element, though not explicit. He danced and moved to the music and so practiced syncopation, as do ballet. He surprisingly felt the music. I was amazed. I watched him and realized what a huge job. Went backstage and saw squeezed through people. It was totally transparent, porcelain-like ballet after the performance. It was the first impulse. In my head was his way and did not like to live. Then he layered reflections on the nature of creativity and talent — and created this character.
Now you and Sergei together, know each other feel. But do not get so that you will become each other slow? You’ll go into a movie and will think that it would be necessary to give Sergei the role. And he, maybe, need some more hard drama.
Serge is a completely independent personality. He agrees to a job he seems interesting. Now he is preparing to shoot, and this has nothing to do with me. I also try not to interfere in his theatrical activities. Of course, Serge shares with me some thoughts as artistic Director of the theater, but I avoid having anything to do. A person must be his own life that we don’t touch. I just play the role of a close person, with whom you can share, something to tell, still a friend to come to for advice. No more. As for me, I have only one idea where there is no Sergei. All other scenarios I am interested to work with him. Three scenarios are completed, we with Timur, my co-author, wrote in based on him. I now experience greater freedom. Used to write scripts by order of the producers, not knowing who they will take on the lead role, this limits. In this movie many things, play them slightly differently, can result in banality or pathos. Just knowing that Sergei would handle them, I could not stop. To work with Sergey — a great happiness. We wrote the script keeping in mind the presence of the second plan when you say one thing but really feel another, which is characteristic of this acting school. Our next collaboration will exploit none of the known images of Sergei. They do not appeal to Temnikovo. All! Temnikov was already dead. We have other characters. When Tom read the script, the hero of which is a drinking man, his face becomes puffy, like an alcoholic. From thin Temnikova with a straight back, he turns our eyes to the heavyset man. In other word. He has a fantastic ability to transform. He played Temnikova, and at this moment the site came to the accountant to sign documents. Three times she passed by and asked where Sergei. Yes here it is! But he had a different gait, gestures, and everything else, so it unrecognizable.
— And then there’s the production duties necessary to execute…
— We have received from the Ministry of culture and cinema Fund money below the subsistence level. Therefore producing talents came to the fore. I have so many people willing to help, have not met. And Valery Gergiev has supported us because he seemed interested in what made our choreographer Radu Poklitaru. Maestro uncompromising always in the interests of theatre and music. In my life he is the only man who gave his life to music without big words — every day, every hour.
photo: Gennady Avramenko
With her husband Sergey Bezrukov.
It is important that it and our film will be shown in the small town of the Irkutsk region, where the theatre will never come, though, because we have a very expensive flight. The cost of a ticket from Irkutsk to Moscow equal to the salary of my mother. Denis Matsuev worried about the fact that he was in America easier to take the orchestra than in Irkutsk. I remember my life when I thought that I was in a vacuum. There is a shortage of everything. Why I he not seen before in the theater? Yes, because “Snuff” did not come to us. And the TV channel “Culture” takes bad.
— But the girls in the province read more, they’re educated and modest.
All the girls are in the province. There are those who need nothing. By the way, books became a separate theme in our film. I was told that no-one will ever read that in the closet are works of Chekhov and Kuprin. It wasn’t necessary. Everyone who was a multi-volume Chekhov, recognize him by the color of a sea wave. But if Tom purple Kuprin. This heritage is triggered. The collected works of Chekhov looked the same from all who lived in the Soviet Union. The same applies to records. All the people who even slightly understand, understand, what music to listen to hero. Of such trifles there is a character on a subconscious level.
Is your life radically changed after a meeting with Sergei. When you’re invisible, nobody can touch you, wanted — went for a walk. And now you have all the time in the rays of spotlights.
— It is not so. I’m not a public person, and me without him nobody would know. When I first arrived on “Kinotavr”, no lack of proposals to participate in photo shoots for glossy magazines — not for his merits in the movie, but simply because of their age and gender. I categorically refused them not to drive themselves into a trap outdoor his personal life, which is alien to me a thousand percent. As for current life, I did not want any more public appearances. We are not the people who go to cinemoremedia. I generally never in life, probably, was not on any cinemechanica. And on “a Kinotavr” has arrived for the movie. I’m interested to talk about the movie, I kind of theatrical experience. And Sergei, too. It was an embarrassing moment for the invasion of our personal lives. Me any faux pas seems to be invalid, and when she crosses the border, becomes rough, it is unclear what to do with it. Except that it does not encourage. We stand by the fact that they were open to conversations about movies, about work, but anything beyond that is a closed subject.
I have a few friends. My mom and brothers not one of those who reads the tabloids. Therefore, none of them are all hype and nonsense especially does not affect. I don’t think the world is so interesting to know how we live. Serge sometimes meets his colleagues, who have awful mood because of the explosion of the Internet for some related reason. I ask him: “did You know about this?” It turns out, no. And I didn’t know. So should you worry? I understand that Sergei is very popular but we’ll get through this.
Help “MK”. In 2010, Anna came to Sochi with his debut “Satisfaction”. She comes from Irkutsk, where he graduated. Then studied in Moscow at the scriptwriting faculty of VGIK. Filmed documentaries about Denis Matsuev, three of the Mariinsky theatre, wrote scripts for the “Trees”-2 and -3, “Christmas Trees 1914”. And at the end of last year released her second full-length feature film “the milky Way”.Related posts: