LOVE IS NOT LAYING ON THE ROAD

KINOBODKA

Information from Novaya Gazeta: MUZALEVA Olga Eduardovna, director. Graduated from the Moscow Energy Institute and the Moscow Institute of Modern Art (workshop of L. Pchelkin and V. Zobin). Projects: "Petersburg Secrets" (TV series, assistant...

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MUZALEVA Olga Eduardovna, director. Graduated from the Moscow Power Engineering Institute and the Moscow Institute of Contemporary Art (workshop of L. Pchelkin and V. Zobin).

Projects: Secrets of Petersburg (TV series, assistant director), Best Performances of the Russian Theater (TV version, director), Old Apartment (TV program, director), In Search of the Lost (TV program, director), Life of Remarkable People (series of documentary films, director), Readings. Russian Lessons" (TV program, director), "Taxi Driver" (TV series, director).

I had an idea for a long time to shoot the Russian "Grace on Fire". I just couldn't think of a profession for Grace. On July 13, 2002, I went to Malkin's dacha to celebrate the end of the television season. I was late. Got a car. And I met a taxi driver. I flew into the dacha with the words: “I came up with it, I understood everything.” Malkin said: "Well, write." In the "New Russian Series", where Anatoly Grigoryevich sent our application, they just realized that the people are already tired of crime and want to breathe. They were looking for comedy. We liked our application.

After the first one, God began to send taxi drivers to me in batches. They were different, but all alone. That is, some may be married, but this does not change the essence. Once at two o'clock in the morning I voted at the curb. A new yellow Skoda stopped. The girl is driving. On the way, I began reconnaissance in force: “How are you like this at night? How does your husband let you go? She said that at night it was just very convenient: “I’ll take the child to school in the morning, sleep during the day, and bomb at night. Husband ... I also think that if my husband was normal, he would not let me in.

This is not a normal existence for a woman. But many of our women live just like that: taking full responsibility for themselves, for their children and for their husband, if he exists. For some reason, it is believed that a man needs great courage to admit: I am responsible only for my family, and not for the whole world. In this situation, women are forced to become non-women.

Nadia is not a woman. She no longer trusts anyone with responsibility for her life. We tried to show it in the series "The Stripper, or the Free Woman". There, the psychologist says to Nadia: "A man cannot be with you." But paradoxically, the spectators, who in many ways associate themselves with Nadia, missed this moment. They didn't want to see. And this is also a feature of our perception.

In Russia, a woman must be married in order to claim happiness. These are very Russian questions: “When will you get married? Why don't you have children?" In principle, these are absolutely correct ideas about the role and purpose of a woman - but in a different world, the world of men and women. Which are now so rare! We live in a space of non-men and non-women.

Nadya is a lonely aunt with three children who finds herself in a hopeless situation: no money, no job, nothing to feed the children. However, instead of complaining about fate, she managed to say to herself: “Stop!” and look at the situation from the outside: is there really no way out.

Lyuska, Nadia's friend, is a contrast not only and not so much because she is, as it were, a woman-woman against the backdrop of a woman-not-woman. Lyuska is a woman at the bottom of her fall. All the games have already been lost, only a kind of love for a nonentity remains, which occasionally appears and hits her in the eye. It is convenient to hide behind this kind of love and kind of fate - in order not to see your own life and not change anything in it.

In general, when a person no longer wants to do anything, he begins to suffer. It's not about the decisions we make on a conscious level. It's about the spirit. The spirit is the basis of man. Any of our ideas must be agreed within us. And if you have an internal agreement that you are tired, tired of fighting, tired of being the best, tired of holding on, tired of moving, you say: “That's it, I'm drowning. I will drink. I feel extremely sorry for myself. I am an unfortunate victim. Nobody loves me. And then you will see all the confirmation that your brain needs in order to agree with this. And it's not the devil, not the dark forces - it's you yourself.

Suffering is the most serious drug of humanity. And Russia is especially partial to him. We are a country of victims.

If a person himself does not cancel the inner agreement on suffering, the result of it is alcoholism, drugs or a sect. Maybe next season Luska will get into a sect. But we are kind, we will get her out of there - according to the laws of the genre. Under all other laws, this is impossible.

I was taught how to make psychological films. And here is a fairy tale. It's not easy for me to stay within the boundaries of the genre. Everything I know about life contradicts this. We fiercely argued with the producer when I wanted to definitely show in the New Year's "Taxi Driver": the point is not that Nadia does not want, as they say, "personal happiness", but in a change in her internal structure, which is now irrevocably far from " traditional woman. Andrey Kamorin is the best (after Malkin) producer I have ever worked with. He does not press, he is ready to talk and convince indefinitely, if only I understood. I understood. The viewer needs at least a ponytail of hope that everything will work out.

Where can I get such a man, next to whom Nadia would let herself go! These only happen in the next life. But we will try to send a meeting to Nadia. We have a fairy tale.

This is my first time making a feature film. At the first "Taxi Driver" it always seemed to me that I was not giving enough to the artists: I talk little with them, I give little material ... I rehearsed and rehearsed, time was running out, and I began to think: so, what am I all with the actors, - what about frame plastic? I also wanted to say a new word in art.

On the second part, we had a misfortune: we had to urgently, on the go, redo most of the scenarios. I had to actively get involved in the work, and the text ceased to be alien to me. At some point on the set, I noticed with horror that I expected from the artist not a scene played, but the correct presentation of my joke. I reveled in my own writing. I tried to make all the actors look like me, because I already lost everything for them. Thank God, I forbade myself to do it in time.

Then I began to rot myself for the fact that I think standard. In the end, I said to myself: “When you have non-standard thoughts, then, be kind, and film them. If you make the obvious indistinct, no one will thank you for it.

The trouble is that I never did direct stories. I've always made it difficult: rapids, passages, mixers, allusions, visions. Solid images and symbols. In fact, people love chaos, they love it when they leave space for the imagination. But it all depends on the story and the task. Here the task was clearly, simply to tell the story, sparing the viewer as much as possible and not putting some dots over the corresponding letters. And I do this task to the best of my ability.