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Sunday, March 25, 2018

Sergey Ursulyak: “We’ve lost movie – in Russia there is no system of talent”

Over the past six months, the film Director Sergei URSULYAK, the author of the film “Composition for Victory Day”, “Elimination”, “Life and fate”, “the Quiet don” three headed jury of national film festivals. The state of the Russian film critical. According to the results of Vyborg “Windows to Europe” Sergei Ursulyak honestly made, called all things by their proper names. It is strange that to him it has done nothing. In the end, was offended that someone didn’t interpret his words, attributing the phrase that “fill” all have Directors.

Sergey Ursulyak at the Vyborg festival “the Window to Europe”. Photo: Tikhon Chernyshev

— You watched the whole clip of Russian films, which is nothing but horror, can not cause. What is the main problem of our film?

— She is that talented people, individuals put on the course. No system exists, and she used to be. Cinematography, advanced directing courses, large Studio — “Mosfilm” and “Lenfilm” — generated talented people. Even in the darkest Soviet years were able to distinguish good from bad, understand, who is talented and who is not. Disagreement with something does not overlap the way in the profession. With all the difficulties of that time we inherited the films that we are proud. The complexity of the situation is to fight with money, in that the emergence of large individuals there is no interest. The system of the state, as shown, was more correct than the current one.

Modern producer need a man dutifully carrying out his tasks?

— To talk about the unfairness of the superiority of a producer to a Director in my situation awkward. The last five years I have been working in perfect conditions, live in an ivory tower, I have created producer Anton Zlatopolsky. If it worked with all, then there would be problems. When I leave this tower, and in the last six months what happened, then see what happens to white light. My colleagues live completely differently. The Director has no rights. It is much wiser to give grants to Directors under their plans and scenarios, and then they’d pick the Studio that will come full partners, not hired workers. Then you can discuss the conditions under which they will not fire the first click will give the opportunity to finish the painting. They would become the owners of the film in the artistic sense. More nobody claims. What’s the point in that the jury hands out prizes at festivals, if the receiving people will be tomorrow to beg and get rejected. Leaders of the year award-winning the film awards “Nika” and “Golden eagle”, should be given the opportunity to remove the movie that they want. I wonder why Alexander Veledinsky so painful makes the picture. He had no money, but three years ago, he received all that is possible at “Kinotavr” and other festivals for the film “the Geographer globe propyl.” Why not give carte Blanche to the Director, who is in wonderful form? I’m calling the producers and asking if I advise someone of the Directors. Begin to list the names and hear: “No, he’s a terrible character.” What’s the character? That is, producers need not a Director, and the person with sweet temper. In Vyborg excellent work “Drunk firm” shown by Gregory of Constantinople. Come to him, asking what he was doing and he said, “I have money can’t find.” Thus we see the shaft of the nightmare from which the hair stand on end, and not the work of those who really has the right to make a movie.

— When happened the crash? It’s not happened today.

— It happened when we took a course on the model of American cinema. She gave us a dozen producers, with insight and skill. That everything is limited. We have two large canal and several structures that can be produced, and to plan for the future. Only in this case it is possible not just to grab a piece and tear it, but to cherish their reputation. Films produced cloud. People coming out to represent them, so happy, like sitting in the hall the audience, who had not seen anything in my life. And then show that it is impossible to watch.

Working in admissions, I asked the incoming Director of young people what they like. The answer was: Bekmambetov, Bondarchuk. Straining gyrus, some remembered Mikhalkov. In the understanding of students in the world were the lumière brothers, then a failure occurred, until new Directors, removing the blockbusters. What such people say? This is a complex problem. Why do we have all measured America? We have to compete with the Soviet cinema, which his audience totally satisfied. It’s been 30 years since the release of many of the paintings, and they still work.

— Brains all zapudrili our favorite producers. They are largely to blame for the current course to support purely commercial movie.

It’s great that films by Nikolai Lebedev, and Fyodor Bondarchuk gather halls have commercial success. But everything else — the author’s festival and a human movie — you need to do differently. There is always the middle part of the film, which is its core. But we lost it. All criticized the Ministry of culture in the 20 to that which it is published and will be encouraged. But I can’t throw a rock in their garden, because under these topics gets any picture of those that we love — “Moscow does not believe in tears”, “the diamond arm”. The question is, who does it, who it funds, from whom to choose.

Sergey Ursulyak on the set of “the quiet don”. Photo: courtesy channel “Russia”

— And who selects them.

— Of course. Government structures should play a major role. I call the man who calls himself a producer, and says, “let’s serve up some application for a grant to the Ministry of culture. We will go”. Why must we go? Maybe we won’t. I understand that he has the opportunity, but he needed a name under which he will receive funding and begin the project. And if at some point I say, “I don’t like”, he immediately excommunicated from work, will find another Director. The directing profession largely consists of the ability to say “no”. Today is “no” in 90 percent of cases will lead to his dismissal. “No, you’re not going to shoot Elias in the role of Kutuzov in “hussar ballad”. But Ryazanov was removed, and no it is not destroyed. Try now to commit such an act, we will be fired before Il will appear on the site. Sometimes I hear: “I would Like to work with you. Shooting in a month”. “How about next month?” — “And we have everything ready, the artists are chosen”. Excuse me, but why did you name me? So I shouted “Action!”? People do not understand what is the role of the Director, but receive funding. Seeing at festivals all what comes out, understand that this is a humanitarian catastrophe.

From the village of Srostki difficult to break into the cinema, as it was with Shukshin

Recently was talking with a young and talented documentary filmmaker Maria Murashova. Her paintings have repeatedly taken part in international festivals. But she can’t apply for and get money for a new project, because she has no producer.

— She has no producer, so she is forced to go to someone who doesn’t know, and become an employee. I’m sure this all will end. But in the documentary film, in principle, the situation is much better.

And in animation too.

— That’s because there’s less money, and it’s not so interesting to people, do not understand. And in game movies are more of them here there and climb those interested in only the material part. If documentary and animated film funded in the same size that the play, I assure you, there would have been a similar situation. And while documentary and animation engage only those who are without it can not live. In the cinema comes God knows who.

— Uneducated, undereducated people?

— Absolutely. And graduated from one of the millions short-term courses, students pay offices. Advanced directing courses was created in order to be a person who made a mistake in the choice of profession, but who have architectural, medical or other education, received a second degree for free and become a master. See who graduated from the Higher courses. What are the names! Now all is translated on a paid basis. Life is like that. But in art it is detrimental. From the village of Srostki difficult to break into the cinema, as it was with Shukshin. And Tarkovsky VGIK today wouldn’t have.

— Is there an ideal model of the relationship of producer and Director?

— To paraphrase Shklovsky, the producer should be the Director with the candlestick. Not in the sense that to beat them on the head, and to be able to give a new impetus to understand the idea, agree with the surprise. Today the Director might say, nothing depends on me. Like this? In Vyborg, I spoke with Armen Medvedev, for many years led the film industry, and the operator Anatoly Mukasei. For whom have the last word, even after the most fierce of the arts Council? In 90 percent of cases — with the Director. If he said that he saw in particular the role of Andrei Mironov, and not someone else, it was said Mironov. Now this is practically impossible. When I brought Anton Zlatopolsky photo album, filled with unknown actors who would like to remove “Quiet Don”, I bet it’s heart trembled. He could say: “Go and look for real artists”. But Anton said, “are You sure that they are playing?”. “Yeah, sure,” I replied. All! I was responsible for his words, and he for everything else. Responsibility we shared. It seems to me that the only way of coexistence of producer and Director.

— Still a novice and unknown Director a different situation.

— Why would you want to invite, if you don’t trust? Name debutant — help. Many years ago I was called by Vadim Abdrashitov asked to see the work of the student and write her opinion. It was a black-and-white period. I wrote something immoderate enthusiastic. It turned out that this is a picture of Alexey Mizgireva. We immediately see that is a man, whether he realizes it or not, about what makes his little film. Take the newcomer — don’t try to turn it into a commercially successful Director, love in it that it is not a substitute for themselves. And here it turns out so, what makes a man a picture of marked individuality then comes somewhere and begins to stamp that it is impossible to distinguish from the mass of other works. Movie must be like its author. Why do we love the Soviet cinema? Because Herman movies not like the movies Ryazanov Ryazanov and paintings at paintings Gaidai. Even their mistakes and errors in love. Only the set of individuals create the world of cinema, which we lost. Probably everything I say, like a madman.


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