Leonid Fedorov: "And we ourselves are nonsense"

On June 7 and 8, the premiere of the film Dmitry Lavrinenko “Still” will be held at the Moscow Beat Festival. The first documentary about Auktsyon-a large Russian rock band-starred for seven years and from a very close distance. Dmitry Lisin went to Leonid Fedorov to find out how the Kharkov director was able to get so close to the Auctsyon, and in parallel found out a lot of unexpected - for example, that Fedorov and Vladimir Volkov were recorded a new album.

- Lenya, tell the truth. Thirty years to Auktsyon. Fifty Rollingam. What does not give your brother, that is, the famous groups of people with guitars, drums and other power tools, decay into individual musicians who make their careers? What is the recipe?

- And hell knows. So it happened. We never - in any case, I have never done work from this activity. Always, from the very beginning and to this day, it is interesting to do this. Not a job, but a buzz.

“But this is creativity, but what about the fatigue of people from each other?”

- For the last ten years we have been trying not to give many concerts. In order not to be tired, we play no more than once a month. Large tours did not make for a long time, it became physically difficult.

- It became, it was, no, right?

- What used to be easy and simple is now almost at all and even impossible. From a sense of self -preservation. Moreover, most auxteswoman live at the expense of concerts, so this is still work. Although Boryusik played there-SIMs, colic always has projects.

-And then suddenly came the documentary Dmitry Lavrinenko to finally fix your group, your whole life is at work. Before him, no one has ever been interested in you in the genre of “Cinema about Great Groups”?

-In the 90s, the Germans and the French often shot us. But all kinds of short things. Dima is the first and only. And he shot for many years - seven or eight. In fact, we are on the drum whether they shoot us in the cinema or not. When he said that he wanted to make a film, I was quite ironic to this. The main thing, do not bother, I say. And so he managed to get to us.

- And you did not advise him anything, did not fit anywhere, did not press the authority?

- Nothing, nothing at all - he is all himself. We all watched the film and are quite satisfied, there are a lot of cool moments, which he somehow spied surprisingly.

- And what is their coolness?

- A lot of high states in the film. It's not about music, but in those simple things when you understand - this is life. He climbed into things that no one has ever seen, even ourselves. The process of writing songs, for example. It always eludes an external glance, you know? We would not let anyone so close to anyone else.

- Interesting. Why no one else?

- We are sitting here in the kitchen with Dima Ozersky and compose. If one of the famous was filmed, the first question would be obscene-what the hell? But Dima Lavrinenko came from Kharkov and somehow managed to get into our trust. I went with us to relax, took off to Svir, at Dima in the village. In Israel were together. He took an interview from everyone who could and could not. And now he suddenly went back to Kharkov, when all this buch began. So we made friends.

- That is, you are so gullible people that the first Kharkov citizen made a huge film about Auctsyon, which no one could come closer to the camera.

- When we met in the Chinese pilot, everyone was around. They began to slowly be friends, he began to shoot, talk, ride with us. Clipov removed several pieces - “Homb”, “pencils and sticks”, “thought” and “fell”.

"Auktsyon" - "Homb"

“When do you see yourself on the screen, what do you feel?”

- What a paw, I think. Pugacheva told on TV: I go to the scenes, watch - Boris Moiseev sits, carefully watches TV and says: clever, Lapka, oh what the boy is doing. Pugacheva became interested, came up and saw Borya on the TV. So, when the second film will be released in Lavrinenko in the fall, I will also sit and admire myself about me and other people from our projects.

- What people will be there?

- Volkov. Starostin and Kotov. Martynov and Grindenko. Many more. Dmitry even gave the Lida a camera, to be an operator in America, and there is riba and a bear. They almost left the expensive camera at the airport, the episode from America nearly disappeared.

- We do not need America already. But after all, to you, a paw such, for sure, the directors of the feature cinema made a proposal for the main role?

- Well, yes, Lesha Balabanov, the kingdom of heaven. Somehow fought back. Well, thank God, Garkusha came up to him. I understand that Balabanov has no actors in the last films. I think that still, professional people should play in the cinema. And I only played the episode of Ilya Khrzhanovsky in “4” - the Suncher of the Piano. No, what he played there, he was present. We also had a Volkovsky jazz with Volkov in the film “Dau”, about which no one knows when Ilya mounted him. He removed almost everything, but still 18 hours left.

They fell into a feeling of global universal loneliness, it is impossible to come up with this.

- You and Lavrinenko worked a lot and tightly. How did you affect each other? What kind of movie are you close to?

- Dima took off a good triptych about the northern small peoples, Chukchi, Yakuts and others. Starostin and I made music there. But the closest of the cinema to me what was shot at the "Landfill". Because we have been written there for many years. The “tenant of the peaks” was recorded there, “there will be no winter”, “Anaben”. Vasiliev gave our music to various doctors. I think documentary films are now much more movie than game. When Igor Voloshin shot the film “Hunting Hares”, we shot the video “There will be no winter”. We had a dying grandmother. Voloshin immediately wanted to take this scene into his film, but these personnel are so powerful that everything else would be meaningless, the game would fall off. Dima in the film about extinct Veps on Sviri and Onega has an episode where a grandmother sits in an empty village and says: “You will go out into the street and there is no one.” We are this Evdokia Mikhailovna from the village of Sarozero into the disc “if not” was inserted. Magic simplest words "there is nobody." They fell into a feeling of global universal loneliness, it is impossible to come up with this. It turned out that our work was intertwined with Dimkina.

- So Balabanov wanted such a documentary view of the world.

- Yes, he was very dismissive about world cinema. After Danila Bagrov, something happened to him. But sometimes he knocked out of the actors that he could not dream. Renata Litvinova in "It doesn't hurt me", for example. I did not expect that he would completely remove her mannerism. He is the only realist, because he managed to make a real and metaphorically deep world invented by him. He turned primitive texts into some terrible fairy tale. He considered the cargo 200 to be his best work. But still, he has illuminators, make-up artists, all kinds of workshops. And the grandmother on the next bench is such a minimalism that nothing needs at all. Look, and you will understand more than any movie will show. In music, too, something similar is happening, unprocessed sounds, inappropriate moods.

The end of all in our general stupidity always occurs.

- Do you consider yourself a composer? Martynovsky end of the time of composers steps on you?

- Not that the end, but the result of the work is always not defined. You never know what happens and what not. I like something from what I did, but there are no listeners. Some things seemed cool, and then you never play them, you think-how this nonsense turned out. Or I don’t like it, at first, and then, like a “homb,” shoots, penetrates. When they wrote with Ozersky, I did not notice this “Homb”, and then some revelation came. The composer is not a composer for himself at all, you know? The end is not so much composers as to all people of art. The end of all in our general stupidity always occurs.

- And what about the latest song “Moths”, which we have recently heard at the Central House of Sciences? Do you like her?

- So Volkov and I have already recorded a whole album and called it “moths”. There are two old songs that we love to sing at concerts, but they were not recorded anywhere. Garkushins - “I'm not an example” and “Shamurla”. The first back in 1985 was invented, she was thirty years old, and the second-one day with the song "Bird", in the 91st year. Dima wrote a couple of songs - “Moths” and “He drank the sky”. Half album is not a moth at all. Now you listen. In September we will show.

Volkov -Fedorov - Martynov and Opuspost - "Moths"

- Fuck. As they say, it’s not too late, the day is already living. It seems that only yesterday I listened to your latest album - and here again. Time is compressed, like shagren skin?

- Hold on to the chair - we were “the word about Igor’s shelf” there. It is amazing that Vova and I recorded the first tracks a year ago. Volokhonsky sent his verse "Avvakum". So for a long time we thought about the split and the Grand Duke, you know? The “Moths” disk turned out about the impossibility of the wise prince. About the spinelessness of our state, about moths flying into the world of the promised life. Songs about the fear of life during changes. Khlebnikov wrote in the “War in the Mousers”: “And when the globe, burning, will become stricter and ask:“ Who am I? ” “We will create“ the word of the Igori Regiment ”or something similar to him.” So we created. Listen.

- (after an hour) fuck a second time. Yes, a lot of oddities. I did not understand at first what was happening. And you, and Volokhonsky for the choir of old women playing? A huge number of all sorts of interesting natural sounds. And at the same time, computer modulation of the votes. And how will you fulfill it, such specifically electronic funk?

- Let's make a multitar, installation on forty speakers. Propagate the "word". That is, we will divorce back, share all the sounds, make the video-in a small space, a fifty-one person. True, I don’t know where it will be, but we will arrange a movie sessions. On September 26, there will be a concert at the Central House of Sciences, we will somehow deduct our multimedia installation of the Moths to this matter.

I do not tolerate herd aesthetics, if it is soviet or Nazi, anyway. And suddenly all this pineapple climbed again.

-What do you think about the current insanity of state-public? I'm not talking about a TV, about more advanced propaganda. Do you read Facebook, at least our friend Mitya Olshansky?

- Sometimes I read through Lida. Our story is a constant Avvakum, a continuous split. For the past 700 years, Russia fought in the 14th year. What is there to be surprised. And the rhetoric is depressing-some Komsomol campaigns around. I'm not talking about individuals, I'm talking about a general tone. You can approve or not, but all the texts look the same as in native advice. I could not tolerate the scoop for style, aesthetics and all this Volpyuk. I do not tolerate herd aesthetics, if it is soviet or Nazi, anyway. And suddenly all this pineapple climbed again. Moreover, on both sides, the American, relatively speaking, ours, - stupid and lying shesion, I can not find other words. Look at these presidents, Bush and Obam. Goodness to them is not applicable in any way, so much blood was poured and pours all over the world with their patronage. Libya, Syria, Egypt, Iraq - and the plans of the huge. Yanukovych Small lamb next to the wolves of the world.

-Bu-b-bubu-bushi, suck our souls. Everything is like in your song. Is the power stupid?

- It was stupidity that led to the collapse of a huge country in the center of Europe. I crumbled like a house of cards. No one pays attention, and people were killed in mass quantities at once and continue to kill. I will never be for anyone, nor for those who were separated, nor for independent. Look at these faces in power and ghouls trying to jump into power at all costs. And around crazy, that's for sure. The people with whom you have long been communicating, suddenly carry complete nonsense at the level of "we boldly go to battle go for the power of the Soviets and as one will die." Why die for this? Read, pour the texts of the XX century, all this was already.

- As if instantly, everything happened by click. The toggle switch clicked, and relocated everyone. Bolotnaya was demolished, and the Maidan resisted. One of the two, Maidan or the state?

- Imagine if this happened in Mexico. What would the US do? Yes, they would have washed away all of the corpus delicti, there would have been no one in a week. There were tents on Broadway, and they were slowly pushed into a special place, and there are no occupation. In Israel the same thing - a year ago they protested in the center, then they were moved closer to the station. And who, in fact, is beneficial for the collapse of Ukraine? It seems to me that only America can be beneficial, no one else. So for some reason, everything here, and the other side, dance under the American pipe. For me, it's all mysterious.

- Maybe the reason is that a huge number of people at all, radically have nothing to do? The factories in China are all, the beep does not wake anyone to work. From social and even more than personal depression, only the war saves.

- The reason is that no one has ever considered us Ukraine to be another state. Georgia could be considered Estonia, and Ukraine was never considered a different country. “Auktsyon” since 1987 has played several times in Kyiv every year. Now the first year that they abandoned the concert. Because we do not want to be hostages of the situation from any side, we do not want any use by the propaganda of both sides. We will never go to Chechnya, we will not go to where politics, power and the state are more important than life.

It was stupidity that led to the collapse of a huge country in the center of Europe.

- Yeah, you fall out of the current degenerate reality, from a moronic binary code - either for or against.

- Yes, I understand that this choice is the basis of wretched social life, it always happens. But we must remain yourself. Any political struggle of false, because they think that they lead it out of noble motives. It is necessary to make a choice in favor of life, bearing in mind that life is not a struggle for power, but for humanity. We were in the fall in Dnepropetrovsk with a concert, lived in chic suite and went for a walk. There is the largest embankment in Europe, 23 km. We go and see the remnants around, the ruins of its former life. I was engaged in a manual ball at school, we traveled the whole country in the 70s, when everything shone, like a new ruble. So, now there are only the ruins of the 70s around, and there is no feeling that something new has been built. Because in the middle of all this horror of barracks, the remains of the Packgauzes and the marinas are giant glass salons with Mazerati and Alfa-Romeo. And the chic gas stations "Lukoil".

- And silence. And the dead with the braids stand.

- A huge number of half -rotten monumental arbors, rusty funiculars. There is nothing to survive, everything is killed. And a year ago we traveled a lot around Russia. You understand that everywhere the same is a parody of repairs. We sat in Yaroslavl on the shore in a restaurant. We order the fish, and I will breathe ask - and this fish is from the Volga? Yes, you say, you can’t catch fish here. Once a year, only a pike perch is brought from Rybinsk. People on the Volga live, understand? The river is infected, they say. This is fine? Symbolic-the water of our life is infected with something.

-Some kind of cafianism. No one carries cargoes on the river, there are no factories along the shores for a long time. Most likely, not only the great rivers, but also the smallest streams are privatized, it is necessary to buy a license for any fishing rod, and there are more fish supervision than fishermen, more officials than people. This is symbolic.

- Yes, what a river. In the heads of politicians, everything is rusty. They think, only in our foam, but in fact, deception and forgery are everywhere. Igor Voloshin told a good thing. He had a family in Crimea, and he flew out of Los Angeles, even before these referenda. At the airport, everything is clogged by TVs with Obama, broadcasting about the Russian troops in the Crimea. On the screens, smoke shows their native Balaklava, and there is something incomprehensible. Voloshin is worried, flies away, the troops really passed through Balaclava, the inhabitants quit working and rushed to fraternize, put a mangal next to the tank and let's thump. Why were the inhabitants grateful? They were afraid that there would be a massacre. Several tanks passed, and the Crimeans calmed down. And why not respect them for this? This is better than killing people because of all garbage. The everyday life of people and the whole inflamed garbage, because of which they kill, are incomparable things. Frankly, Putin is smarter than others only because he does not allow terrible Bosnian and Serbian options. But there are absolutely no people like Vaclav Gavel at all. The classic divorce of Slovaks with the Czechs is a world ideal.

- What other ideals are there?

- Recently I read the memoirs of the cousin of the last king, Grand Duke Constantine, who lived for a very long time and did a lot. I was shocked by the language and boundless love for the country, visible in every word. He stood at the tomb of Alexander III, he was the only surviving of all who were then standing at the coffin, and he broadcasts the special intelligence of the royal family. I am not a monarchist, but the question remains - where and how such people appear. Crimea is a royal patrimony, he attracts us with this.

I will never be for anyone.

- Well, yes, if there is health in the accession of Crimea, then only in this. The fact that there were estates of enlightened people, even if they are not brahmanas, but ordinary Russian kings.

- Yes, it's not about kings. Most of all I am oppressed by the fact that all songs of the "Crimean" type inevitably work for destruction. There is not a single positive thought, if you consider positive not sweet, strained Bodryatskoye and sedative - and honest, bitter and painful. There are no texts that work for unification, for universal love, oddly enough it sounds.

- Is the bacchanalia of all sorts of dummies of the State Duma destructive?

- We must look specifically. Some things are pretty if they are torn from those people who are sitting in the Duma. When the mat is prohibited in the works, it is necessary to consider this not by an infringement of freedom, but by the ban on destruction. I know only one person who was swearing correctly: this is Yegor Letov. Все остальное было невыносимо эстетским и манерным. Димка Озерский никогда не признает мат, даже когда я прошу в песню вставить (смеется) .

— Меня терзают смутные сомнения. Есть ли связь матерщины с порнографией?

— Гениальная демонстрация была в Штутгарте, где вышли три тысячи человек против обязаловки секс-воспитания в школах. Что такое уроки секс-воспитания? Это хуже матерщины в семье. В детском учебнике есть зайчик, у которого два зайчика-папы. А где матерь, я вас спрашиваю? (Смеется.) Нормальные немцы, толерантные к однополой любви, то есть им все равно, восстают против толерантности государства. Ничего нельзя приказывать — ни за, ни против. Любое насилие государства подобно грязной матерщине. Сейчас мы договоримся. Свобода с примесью насилия превращается в концлагерь.

Я думаю, Европа не знает, что такое толерантность, потому что не знала нашего 75-летнего насилия.

— Выхода нет, даже логического. Любое действие рождает противодействие, прав старик Ньютон.

— Толерантность Обамы привела к тридцатипроцентному росту национальной нетерпимости, по опросам социологов. Мы же каждый год даем концерты в Штатах, читаем. Культивируемые сверху, по обязаловке, качества добрососедства, толерантности и мультикультурности привели там к массовым закупкам личного оружия.

Все песни типа «крымнаш», даже самые лучшие, все равно работают на деструкцию.

— А могут как-то люди искусств внедрить не розово-лживый, а честный тренд «возьмемся за руки, друзья» или бессмысленно это?

— Для этого они должны хотя бы заниматься своим делом. А то на коньках катается вся наша поп-музыка. Перевели весь интерес и время зрителей на дилетантские занятия, все эти зрелища, бои по странным правилам типа «Голоса». Если ты хороший архитектор — плевать, главное — спой. У нас шоу фриков — квинтэссенция всего. Меня коробит это. Помню, Швыдкой в «Культурной революции», когда было 50 лет смерти Сталина, ни словом не обмолвился, что в тот же день умер композитор Прокофьев. Для министра культуры гений культуры — ничто, а гнобитель всего и вся, упырь и неуч, «отец народов» — все. This is fine? Мало того, хоронили Прокофьева двое — Ростропович с женой, а через 50 лет на могилу пришли тоже только двое — Ростропович и Вишневская. Эти двое — да, могли связывать все со всем, остальные на их фоне — симулякры. Fine? Пушкин писал, что главный европеец — царь, Сталин понимал про Прокофьева, Маяковского и Эйзенштейна с Мейерхольдом, а нынешним все до лампочки. Короче, если не понимать культуры как работы по связыванию всего и вся, не видеть работы гениев культуры, то все бессмысленно. Сплошной «Терем-квартет». Все полюбили виньетки, орнамент, вышивку по краям культуры, а надо в «Преступление и наказание» влюбляться.

— А почему же так мало влюбленных в «Идиота»?

— Мы любим домысливать и превращать любую мощную вещь во что-то доступное, чтобы можно было горделиво сказать — какая ерунда. А это мы сами — ерунда. Не видим масштабов настоящей, поражающей вещи. Произведения живут и действуют объективно, их невозможно ограничить идиотизмом какого-то критика. Вот все восторгались фильмом «Географ глобус пропил», а это не фильм. Fine? Роман — произведение, а фильм — нет. Джармуш да — фильмы снимает. And so in everything. Есть ошибка критика, навязывающего свой мелкий тезис обществу, и есть жизнь произведения.

— Ну вот не кино, так литература же есть? Или, как бабушка бормочет в твоей песне, — нет никого? Сплошная жесть?

— Наша литература вся похожа на «Поднятую целину». Кого, кого мы можем поставить рядом с этой троицей, Джойсом, Прустом и Кафкой? Нет никого. Наши таланты все в пещерах живут, а те в космосе резвятся. Мы в разных временах живем.

— Может, это протестантство, лютеранская ересь Европу продвинула? Упор же на личность у них, не на общину.

— Дело не в том, что их продвинуло, а в том, что у нас это не воспринимают. Говорят: вот было у них Возрождение, вот это круто. То есть лозунгами мыслят даже искусствоведы. И не могут связать Золя и Мопассана с Кафкой. А там нет разрывов, все сплошным потоком развивалось. Что-то и мы можем, но айфон, условно говоря, нам не светит.

— Может, протестантство — перенесение кайфа труда в семью, санкция на священство дана отцам семейств? А у нас кайфа труда никогда не было, потому что отец — государство.

- Well, yes. Приезжаешь туда, они действительно искренне интересуются результатом своего труда. Мы сидели на Майорке в ресторанчике, где повар один работает, без помощников. Пришлось ждать своей очереди. Вкуснейшая еда. Вышел повар и спросил каждого, что думают о его произведениях. Как будто другая планета. Меня еще в металлургическом институте поражало, что большинство открытий — мартен, конвертеры и прочие вещи были придуманы у нас. Но внедрялись все технологии за границей. Придумать мы можем целый мир, а внедрить, освоить — нет, сплошной ё-мобиль выходит.

Мы опять сидим в клетке и не понимаем широты мира.

— Вот, мы дошли до запрещенной депутатами альтернативной истории. Если бы не 17-й год, Европа бы укоренилась и у нас, у скифов с раскосыми и жадными очами.

— Ну как минимум не было бы океана понтов и дешевой показухи перед миром. Не так стыдно было бы за отечество. Делали бы настоящие вещи, а не финтифлюшки, что в технике, что в культуре. Или самое близкое — гастрономия, например. Митя Борисов открыл итальянский ресторан. Итальянский прекрасный повар обалдел, когда увидел, что все, абсолютно все привозное — зерно, мука, соль, сахар. Нет ни одного московского поставщика, гарантирующего качество яиц на каждый день. This is fine? Ты не можешь что-то делать постоянно, только в порыве, куры отечественные тоже. У итальянцев есть своя линейка лучшего — ювелиры, дизайнеры, повара и прочие. И у всех народов Европы есть такие незаменимые отрасли и мастера. И они этим гордятся. Я к тому, что нам тоже гордиться следует только трудом и произведениями. Тогда и особый путь нарисуется.

— Нельзя уважать себя по приказу. По приказу все равны, нет отличий в качестве труда.

— Можно «Лексус» купить и приобрести тем самым национальную гордость. Unfortunately. Но стоит нашему человеку попасть на серьезную работу за кордон, в Google , «Цирк дю Солей» или оперу-балет, он уважает себя за настоящие вещи, и в чем тут дело, не пойму. У нас нет разницы между трудом «Ласкового мая» и Мамонова. Когда здесь у Брайана Ино спросили, как можно хорошо жить за счет некоммерческой музыки, он ответил, что некоммерческая музыка оценивается значительно дороже.

Курехин дружил с Фрэнком Заппой, бывал у него дома в Нью-Джерси. В соседнем доме жил Род Стюарт. И вот дом Заппы в три раза больше, хотя он продал в тысячу раз меньше пластинок, нежели Стюарт.

— Зато у наших людей всегда масса странных теорий и фантазмов на каждый день. Не требуются амфетамины и экстази, утром встал — и за дрель.

— Волохонский рассказывал, что свою теорию пассионарности народов Лев Гумилев придумал в лагере. Когда он приехал, Волохонский подсмеивался над другом, говорил: Лева, как ты мог, сидя в клетке, обдумать устройство огромного мира, не зная никаких точных фактов истории. Когда Волохонский уехал в Мюнхен и засел в архивах, чтобы специально изучить татаро-монгольское иго по записям европейских путешественников, он был поражен, насколько все факты и даты не соответствуют теории Гумилева. Но даже Гумилев был ближе к правде, чем официальные историки. This is fine? И вот мы опять сидим в клетке и не понимаем широты мира.

— А когда вы с Лидой по нашему Северу ездите, смотрите на древние церкви, понятна широта мира?

- Well, yes. Во времени мы широки, XIV и XV век еще стоит, причем деревянный. Но это церкви, их Хрущев пожег, и те, что стоят, еле живы. А самые древние деревянные дома в Норвегии. Там чудеса — люди живут в избушках X века. This is fine.