The story of "indifference"

"Take a movie and roll around the world!" - Such advice gave the audience at a meeting in the “Films. McGaffin ” on February 7 Oleg Flyngoltz , director of the film “ indifference ” , who received the main prize of“ Kinotavra-2011 ”. The whole story of a film shot in the late 1980s. A young 23-year-old man who simply wanted to make a movie and shot, and finished only in 2010, proves that everything is possible, there would be a desire. Today, we publish the most interesting moments of discussion for all those who were and were not at the show.

Participants in the discussion:

• Oleg Flangoltz, director of the film "indifference"
• Elizaveta Panfilova, General Director of Salvador D, the official distributor of the film

Guests:

• Evgeny Mitrofanov, director
• Olesya Potashinskaya, actress

The moderator of the discussion and ideologist "Film Schools named after McGaffin ” - Daria Gladysheva.

Daria Gladysheva: Oleg, immediately questions that you ask you in any interview: how did the whole story begin? How did Fedor Bondarchuk get into the picture?

Oleg Flangoltz: Yes, very simple. It all started with the fact that my friend and I decided to write the script: "Why not take off?" I do not deceive anyone. Or some kind of story - why not take it off? Our script was thin, dialogs in the film, then you write on the film and already draw everything. They came up with - they decided to take it off. Everything happened spontaneously, there was no difficulty in life. I was introduced to Sasha Bashirov with Valera Rozin, the kingdom of heaven, with Fedya [Bondarchuk], I realized that this person suits me. They gave me a sound, I told him: "My idea is so brilliant - I have to remove it." And they began to shoot. Everything is very simple.

Spectator: I read that when you started shooting, you were 22 years old and you took money to shoot and on the film from your mother. This is true?

O. Flyngoltz : Absolute. I was twenty -three.

You know how a young man changes everything: I want to engage in skiing - mom buys skiing for you. I want to engage in volleyball - mom bought a ball for you. Who has what mom, I had one. I want to make a movie - buy me films.

Spectator: Is it possible to make a film as much as you shot it 20 years ago?

O. Flygoltz : The main thing is desire and the whole world is possible.

If you want, you can always remove. They will give you money, and everything else. Take a movie and roll around the world!

D. Gladysheva: And later, after many years at the festival in Israel, F. Bondarchuk persuaded you to finish the picture ...

O. Flygoltz: He did not persuade him, he just came up and said: “Is the movie left?” I say: "left." Then Sveta [Svetlana Bondarchuk] came up and also said that it should be finished.

D. Gladysheva: Did you give money?

O. Flygoltz: Fedor? No, did not give it. But Fedya was still in -calling. He wanted and fulfilled his professional duty, he went through festivals, stood ...

D. Gladysheva: Tell us a legend about the song of Edward Hilya from the film.

O. Flygoltz: There is no legend. I thought that if I put some kind of “temporary” song, then I would be attached to the time. I decided to write better in the spirit of that time so as not to grimace. If I put Hilly's specific song, it would be wrong ...

O. Flygoltz: He is actually the only musician who has been preserved. It is absolutely impossible to imagine there Joseph Kobzon or Edita Piekhu ... And Hil was always a cheerful, perirable person. Therefore, we invited him through friends.

***

Director of "indifference" Oleg Flangoltz photo: Mikhail Ivanov

O. Flygolts:

It was not difficult to look for nature in 60-70, because all the houses stood, there were no posters of some advertising. Everyone was filmed pointily, all passing yards. The cars of that time even stood, with good tires, not settled and not yet rustling. You just find the yard - they removed it in a young manner.

Spectator: Is the room where Bondarchuk and the heroine were still alive?

O. Flygoltz: Yes, yes. This room is still alive, it stands as it is, I have a workshop in the next room.

Spectator: I wonder what technology you used there.

O. Flygoltz: They made fingers. Initially, I wanted the scene to be slow. They did not do it on the computer, but puncture. Moreover, I myself sat in the "cartoon", smoothly inserted and exaggerated.

Spectator: That is, this is originally a film?

O. Flygolts: Now this plan has remained, but this is already a computer business.

Spectator: You said that a lot of material has already been shot in our days - what are the materials? And did Bondarchuk himself participate in the filming?

O. Flygolts: No. Bashirov starred because Bashirov was then 33 years old, Bashirov and 80 would look young as young, I adore him. Sasha was already an adult then, and Fedor was 21 years old, even his skeleton did not fully form.

Spectator: By the way, how did the film have been preserved for 20 years, where it was lying?

O. Flygoltz: I was lying under the bed, under me, I warmed her in the frost, in the heat languished, put it in the toilet, I am happy that she did not sink.

D. LORDSHEVA: Would the picture look different if you had finished it right away?

O. Flygoltz: I am trying to think that I understand something in the cinema and come up with something serious. That's why

It seemed to me that I went along the path of the least resistance - to finish the movie, as if I'm young.

***

Director Evgeny Mitrofanov and actress Olesya Potashinskaya spectator : Tell me, how did the name arise?

O. Flygoltz: “At first there was a word” ... This name really arose. We did not think about the name. I mean, we came up with a name, and then began to think what to remove.

Why "indifference"? I liked it. When the name “indifference” was invented and the script was already invented, we thought that it might not “indifference”, but “northern lights”, because there was Papanin. Then after 20 years there was an option “The Last Soviet Film” ... But I am satisfied that the name “indifference” was originally invented and it came to you.

Spectator: And where are the actors who played the main roles in the film now? Where is Olga Shorina?

Elizaveta Panfilova : She came to the premiere.

O. Flyngoltz: She is a professional actress, there are very few professional actors: Fedor, Sasha, Olga.

Spectator: Oleg, did you draw all sketches?

O. Flygolts: I draw, yes.

D. LORDSHEVA: Are there any more questions? Vitya, our favorite moviegoer.

Victor Victor: I wanted to ask about your feelings: how much did they change? How did you feel when you started shooting and now, when you were already dragging? It seemed to me that your then and current sensations are very different ...

O. Flygolts: It was not that it was difficult ... What I do now, what I shot is the same movie, it was created only for myself. Everyone thought, even Fedor, as if we had found some old movie and made modern. It was hard to match the 23-year-old, being already 42-year-old.

I tried to make the film seem like educational. In fact, it is not built as a classic film of the 60s. I watched specifically films that were never shown at all, only now they released, such a Soviet category is not the first, but the second.

This is when there are some inconsistencies, so that there is “third-rate” from that period. He sat for a week.

***

Olesya Potashinskaya: It seems to me

This is a very interesting experience for the actor to participate in such works, because it is a completely different specificity of acting. She is such, “tuning”, and it seems like you don’t need to play anything. The most important thing in such paintings is that the less you play, the better.

D. Gladysheva: When you watch “indifference”, it feels like you were very cool on the site.

O. Flygoltz: Yes, I had so fun on the set, you can’t imagine!

O. Potashinskaya: Have you drank champagne?

O. Flygoltz: Yes, of course, vodka. Shampapan every fool can drink. Both cognac and port stood there, the label changed, and the director was a little. But what to do? I drew everything, invited the operator, he made me everything from almost nothing. This is only pathos - "I am a director." This is a fun lesson, cinema is very fun.

D. Gladysheva: Oleg, how much did the shift begin?

O. Flygolts: at 9-10. The people were a cloud, I had a huge film crew.

E. PANFILOVA: I was also unlucky, because at the festival everyone asked to send mounting sheets ...

General Director of Salvador D, the official distributor of the film Elizabeth Panfilova and Oleg Flyngolts

O. Flygoltz: I painted everything, I painted the whole rental.

E. PANFILOVA:

Instead of mounting sheets, Oleg Flylolts brought me such an album with drawn pictures, where dialogs were written with pencil calligraphic handwriting - they had to make mounting sheets.

O. Flygoltz: I really like to draw, it’s not difficult for me. There was no cracker with me, I did everything myself, circled the red around what I took off.

O. Flygolts about rock, work in the present and profession of the director of the video clips

D. Gladysheva: During the break, we watched your clips. When did the story of the directing of music clips began? I have always been an ambition?

O. Flyngoltz: I was always friends with rock musicians and their party. In fact, the ambition was more operator, not the directorial. I am not important status, and many people are moving from related professions to directors - operators, scriptwriters.

D. Gladysheva: In 2006, you had a documentary about Viktor Tsoi. Maybe we are lucky and we will be able to show her someday?

Oleg Flangoltz: Invite.

D. Gladysheva: And now what are you doing?

Oleg Flangolts: Without departing from music - we work with Konstantin Kinchev, in 2013 his group will be 30 years [Alice Group].

O. Flygoltz: We are sometimes writing the script for the next big film, Elizabeth likes it in mystical terms, but we will not frighten, we will not scare.

D. Gladysheva: We have young clipmakers - you can tell how similar the professions of film director and director of music clips are similar?

O. Flygolts:

The main thing is to drink with the performer for a long time. Then he will offer you first to make him a video for free, and then pay him.

D. Gladysheva: We need a master class on how to shoot a music clip without investing a penny.

O. Flygoltz: Now this can already be done. Here is a camera and installation - what is there to shoot? It was difficult when we still shot on films, and then you can steal the camera.

The ideologist "Film School named after McGaffin" and the moderator of the discussion Daria Gladysheva

About film festivals, rental and film education of spectators

Daria Gladysheva: For a month, we show in the “Film Building to them. McGaffin » Films-laureates of the last year's festivals. "Indifference" is the first Russian film with us. Tell us about the festivals you visited.

O. Flygoltz: Elizaveta Panfilova took up the rolling fate with all the ensuing.

We received a prize and were happy, and then went to different countries. We did not receive more prizes, but I liked to ride. We were in New York, in Vladivostok, Paris, Israel, in Warsaw twice, in Berlin, Jurmala ...

D. Gladysheva: That is, you need to shoot more?

O. Flygoltz: Yes, you need to shoot movies again.

Daria Gladysheva: Elizabeth, tell us more about the rolling fate of the picture. "Kinotavr" greatly affects it? And a more common question: how to live in our market such a picture? Not easy?

E. Panfilova : Not easy. But with Oleg Flangoltz, everything happens somehow spontaneously and fun. Initially, there was no finished business project. Everything was like he had 20 years ago, and I have absolutely spontaneously. Our common comrade, who has nothing to do with the picture, financed the end of the picture. He, succumbing to the charm of the picture, decided to invest in it, not especially thinking about what a business effect could be from this.

D. Gladysheva: It's about a large sum?

E. PANFILOVA: Yes, the amount is large, because again it was necessary to remove the scene in the style of that time - respectively, the pavilion, costumes, details, etc. There are a lot of computer graphics, which in itself is expensive. The amount is tangible, but somehow it was easy to spend it. And then he thought - what to do with it now? He really liked everything, but he did not know how to do it so that someone else liked it. And so he came running to me - what should I do with "indifference"? - Let's send to the Kinotavr, they can take at least ... At least they took him, and we already considered it a big victory. The film was shown one of the first on the Kinotavr, and we gathered and left, since the group was at the festival for only three days.

But when at the closing ceremony, people from the hall in a whisper began to call: “You have the main prize” - I thought they were mocking and jokes at us.

I did not count on such an effect. Further - more. Firstly, at the time of the closing ceremony of the Kinotavrav, Vyacheslav Nikolayevich Telnov entered the stage and said that the ministry of culture allocates money for the rental, and again we had no way back-we had to go through the rental, since the Ministry of Culture offers us this.

General Director of Salvador D, the official distributor of the film Elizaveta Panfilov

Then other festivals, learning that the film received the main prize at the Kinotavr, began to be invited to other festivals. The only festival that we had before the Kinotavr - the Voices festival in Vologda, the beautiful project, the extraordinary, is organized by a very strong team. The selector of this festival Igor Gusko fell in love with our film before the Kinotavra, Oleg called and said what a wonderful film we have. But there was a really strong program, because it was a festival of European cinema, and there was only one in the Russian film in the competition. Now it is difficult to compete with European cinema schools because their cinema is very serious and strong.

And then, indeed, the festival for the festival, and the time has come to work. I talked with friends-producers who release Russian cinema. They say: "Yes, we do everything ourselves, we ourselves describe copies, we agree with the movie theaters." Because the distributors are not very interesting, they understand that there is much no money here.

While we have 30 copies, there are still agreements with several cinemas, which a little later will give “indifference” for rent. I hope that up to 35 copies will be as a result.

This is a completely new experience for me, very difficult and intense, because specially a group of people sat and engaged only in these agreements, painting copies, negotiations with cinemas, etc. But the experience is positive, because

We learned that not only in Moscow, but also in the regions there are cinemas that are more enthusiastic about good Russian cinema, arrange special shows, work with the press, and study an advertising campaign themselves.

For example, from Novosibirsk Oleg Flylolts just returned very joyful, he liked how it was accepted there, and what kind of spectators are there, and a wonderful cinema, where all the halls are clogged, and not only the movie are watched, but also the recordings of the opera, for example.

There they raised more money than many Moscow cinemas only due to the fact that they did something else, and not just received copies.

But there are other cities ... For example, my friend lives in Yuzhno-Sakhalinsk, he is very interested in cinema good, unusual. And he says: "We never show anything except the films that come out for the crowd." And to see something good in the cinema, taking into account the fact that there are big problems in Yuzhno-Sakhalinsk and the Internet. On -line is also impossible. They are really cut off from any cinema, except for the mass. It is clear that not hundreds of thousands of people suffer from this, but someone still needs it.

***

D. Gladysheva: Question about Russian cinema. Today everyone says that there are few high -quality Russian films, a few, and the audience watches third -rate cinema. What is the root cause - in spectators or in production? Team "Film School named after McGaffin ” decided to go from the audience - soon we are gaining a training course for the audience and named his course of an advanced moviegoer . The main objective of the course is the education of the viewer, we will instill the skills of competent perception of the cinema, because we believe that the viewer is also a profession.

E. Panfilova: This is a great idea and a wonderful project,

Because in fact, the viewer is now a big problem. It is difficult to say about Moskovsky, but in general, the Russian viewer is not at all advanced and tortured with all kinds of third -rate comedies and American blockbusters.

But practice shows that if the film has a certain information support, as soon as one of the creators of the film comes to a meeting with the audience, the director, the people gather, are interested in. Because

People need to not only watch a movie, but also talk, discuss, figure out, understand. In this sense, a film school is a very important cultural project,

After all, we must not just watch the movie and leave, writing some kind of review, but again they didn’t tell you anything, namely, try to perceive the viewed together, pass, feel and understand.

I would love to study on the course of an advanced moviegoer, because from my youth I always reached for a large, complex, “strange” movie. And at first it was very difficult, especially if no one explains anything and there is no special literature.

I remember that my friend and I in my youth took some cassette Bertolucci and tormented him for a very long time, looked courageously, gritting our teeth, it was very difficult and incomprehensible to us. Some kind of vague feeling remained in the soul, but I wanted someone to explain what was happening. Years passed before I was able to watch such films and get just physiological pleasure, as recently at the premiere of Faust.

It is difficult - to open something in yourself and let in there a "stream of cinema", unusual sensation at the physical level - as if you touched something completely unearthly. И мне кажется, этому нужно учиться. Если будут объяснять, то человек больше сможет понять и почувствовать.

Это как русская литература: нас с детства учат читать Достоевского и Толстого, а на самом деле это тяжелая и сложная литература, мало кто в мире способен ее читать, потому что она не для развлечения, а для напряженной работы.

Д. Гладышева: Курс продвинутого кинозрителя мы для того и создаем, чтобы такого рода «кинолитературу» читать вместе со зрителем, причем читать не все подряд, а только тщательно отобранный киноматериал. Объяснять же при этом все тонкости каждой конкретной картины будут профессионалы.

***

Д. Гладышева: Нашим гостям и будущим студентам дайте совет - профессия режиссера обязывает идти учиться?

Олег Флянгольц: Нет, не очень. Я, например, не учился. Кому-то надо, кому-то не надо, зависит от человека.

Хотеть - это самое главное. Много же людей, которые не заканчивали ничего и стали кинематографистами...

“ Film school named after МакГаффина » продолжает разбираться в кинохаосе. Посмотреть расписание фильма «Безразличие» можно на сайте mcguffin.ru . Записаться на Курс Продвинутого Кинозрителя можно здесь .

New project

February 18 (Saturday) “ Film School named after McGaffin ”together with the information and analytical Internet channel" Polit.ru "opens a cycle of lectures on the history of cinema. Famous film experts, film critics and cinema historians will become lecturers. Цикл является тематическим спецпроектом в
рамках существующего с 2004 г. проекта « Публичные лекции «Полит.ру ».

Первую лекцию прочтет Андрей Михайлович Шемякин , филолог, киновед, кинокритик, автор и ведущий телевизионных программ, специалист по современному отечественному документальному кино.

Lecture theme : through holes in the iron curtain. The stages of the reception of “foreign” cinema in the USSR, 1955-1985. Prologue.

Лекция посвящена важной и все еще малоисследованной программе восприятия «зарубежного» кинематографа в эпоху оттепели и холодной войны, то есть время жизни страны за «железным занавесом». Будет рассмотрен значительный массив материала зарубежных кинематографий (Франции, Италии, США, Англии, Японии, Индии), а также затронута проблема ликвидации «железного занавеса» в конце 80-х. В ходе лекции будет показан тематический фильм «Во всем прошу винить Битлз» режиссера Максима Капитановского, фильм о том, что в 70-е годы любовь к музыке была не только личным делом каждого, но и социальным явлением, которое не одобрялось, воспринималось как социально опасное и могло перевернуть, а то и искалечить жизнь «битломана». Сам режиссер придет на лекцию и сможет рассказать не только о фильме, но и многих других сферах своей работы - он режиссер, сценарист, продюсер и экс-барабанщик группы "Машина времени", писатель и поэт.

Лекция состоится 18 февраля 2012 года (суббота) в 15-00 в клубе ZaVtra (бывшие «ПирО.Г.И. на Сретенке»). Address: Moscow, st. Sretenka 26/1 (m. "Sukharevskaya"). Driving scheme . The entrance is free.

Photos: Mikhail Ivanov