She does not know how "like everyone else"

The prize for the development of domestic and world animation art was awarded to Francesca Yarbusova, who worthy of all the awards of the world

If you ask professionals about Francesca, the co -author of all films of Yuri Norshtein, the word “incomprehensibility” will probably sound.

For a long time, Francesca complained that she could not draw like other multipliers. She really does not know how to - "like everyone else." In her sketches, paintings, frames created with Norshtein, echoes of picturesque and poetic consonant, the smell of “Wild grasses in the wasteland”, bird Homon, the ringing of a mosquito, a pattern of the wing of a butterfly.

Would I have discovered the grandiose animated artist Francesca Yarbusov, she could not meet her co -author, Tiranian and Despot Yuri Norstein? It is unlikely. But for the sake of justice, I note that Norshtein’s films without hands, imagination, breath would be franchis ... Yes, they would be completely different. I'm not sure that the same brilliant.

Norshtein immediately found in her an amazing painter with a flying weightless pattern. An artistic gift with the sensual integrity of worldview. Whose characters and backgrounds of dozens of individual details are connected into one. In this exquisite image, filled with lively breathing, the memory of childhood, the life and creative experience of Yarbusova. And a striking sense of nature. Norshtein says that Yarbusova makes an image as a drug collection.

She understands, hears a living world: flying, trembling, buzzing, born and dying. For her, birds singing are not anonymous: this is an Ivolga, Chizhik, Sinichka-Polovnik. In childhood, she raised silkworms for scientific experiments. I squatted for a long time in the chicken coop, until the hens took her for their own, looked into the eyes. The daughter of a scientist who is engaged in biophysics of vision, she penetrates the creature of things and phenomena.

The artist needs a difficult but clear task in which he should dissolve himself. Sometimes the director himself does not know the exact vector - and without a co -creeper he can not get out of the impasse.

Their first film “The Fox and the Hare” painfully slowed down until the director Norshtein came up with the solution: folk painting, spinning spinning, murals of huts, tables, cabinets. Together they established a dialogue with the disappeared world. Painting franchis was grabbed from eternity and filled it with a hare hut: a pot in the stove, grab, a patchwork blanket, a blue jug. In just four days I made all the sketches. Yuri Borisovich says: “She slowly gets into the work, but then there is no need to explain anything - he will do more than I can suggest. When he is in creative unconsciousness, self -forgetfulness, draws with lightning speed. ” The director represented a bunny as a clown, a buffoon, and in a gait something from Chaplin. Francesca did so, and then she took a pencil and painted a bunny of Valenka to be warmer. On rough paper, which textbooks are wrapped.

The easiest film in her life is "heron and crane." (Norshtein didn’t even torment her too much, although it was a lot of sketches in the basket.) I just found a tuning fork: I remembered the post -war estate in Kuskovo, the overgrown paths, sculptures wrapped in the winter.

In the central episode there are two heroes. It would seem created for each other. The crane brings a straw hat to his beloved heron, a marvelous, full of sadness of the waltz Meerovich sounds. Everything is merged in the lace harmony of the “dull pores”: the frozen columns of the gazebo, the thin ligature of the branches. We needed a detail that would turn the action, destroyed the idyll. Francesca suggested: "Yur, maybe he will just fix her hat?" Obsessing the absurdity of the gesture. Resentment. The episode is ready.

And she did a hedgehog in the fog.

How many tears, torment, trial. But it does not work. At least kill yourself. Hedgehogs of a variety of thorns are dreaming at night - pure hitchcock. And Norshtein all achieves silhouette clarity. To flashed for a moment, and took root in the eye of the viewer. And after the next scream, she sat down and instantly drew. One hundred percent hit. Live, some kind of fluffy thorny, almost an icon. And she bursts out. Then everything in this film happened almost the first time.

The next was the Fairy Tale of Tales, their most difficult film. To the "overcoat", of course.

Norshtein described her overall structure and asked: "Franya, I need a general sketch that would include some moments of the film." These moments themselves were unsteady: "I just pressed the strings, the sensations on the tip of the fingers." We needed the city and quietness of the province. And space. She made a sketch: a city from above. Not that: the city should sound different. Norshtein took the tablet with its sketch ... and cut off the part. And the sketch "Sit".

Then the Grinsk Wolch had to come. But he did not come and did not come until his living space appeared. With an abandoned, dying house, a court in Maryina Grove (this is a house in which Norshtein grew up, but drawing him, Francesca recalled the house of her post -war childhood, a mug of paired goat milk, which was brought by her grandmother, and as a sweet foam tickled the upper lip). She, with knowledge, recreated golden balls and a lilac bush in the front garden in the frame. She versed in flowers, picket fence, roofs of old houses, knows how the grass grows. She made all the images, as usual, herself, without decorators.

Norshtein brought a crumpled magazine to the studio, it seems, “Light”. There was a wet kitten with a rope on her neck. He was drowned, but puzzled - pulled out at the last moment. Therefore, the kitten looked strangely: one eye seems to be at us, and the other on the other side. And Francesca made the eyes of the top: the creatures of the living and the infernal. Earthly and otherworldly.

She generally has a rare sense of conjugation of character and space in animation. Look at the frames on which the long -legged traveler goes into the distance along an endless wavy road. He slowly dissolves into Dali, waves to us, hiding behind the hill. The artist laid a whole road of three pieces, and the character, the field, the sky connected in one image, one magic crystal.

The same can be said about the author’s consonance - it is impossible to divide the director’s hand and hand. Yes, Norshtein, like any big director, dictator. Often, real battles unfolded between them, quarrels to tears, resentment. Once, Francesca, under the sketch of Norshtein, drawn herself in the form of a crucified skin of a donkey. But without this flour, there would be no films. The director Norshtein needs the artist to die, dissolve in the film - and she was dying. Every time.

And the tyrant and despot admits: “Frane is a real fairy, a sorceress. The more I recognize her, the less I know. ” She finds simple means for expressing complex moves, thanks to an amazing instinct for the slightest psychological shifts. Feels and understands the price of the stroke. The amazed gaze of the top is not only round with a tear of the eye, but also soared the arcs of the eyebrows under the brackets that were wrinkled in the eternal question of the forehead. The top runs through the gloomy autumn forest. The director wanted him to be black earth, hung with autumn leaves. Francesca brought the finished sketch with the ground, which could be scooped up with his hands. He suggests: "And here there will be a newborn bush with foliage, doused with rain so that the leaves sparkle." After 15 minutes, she takes out a bush raw from paint with leaves shimmering in rain drops.

The famous winter scene with frozen white branches, black crows, a red -cheeked baby with an apple - as expected, became the brightest point of the film. Like a dance in the air, the scene became one day in one touch, of course, after the samples and errors. There were just the right textures - titanium white. They have a density of oil, dry quickly - and on the screen they look voluminous and transparent: a real winter.

Do you know why the wide audience has not heard anything about Francesca Yarbusova? Because very modest. It does not give an interview, it does not go to the TV. Even when their joint exhibition opened in Pushkinsky, it was impossible to pull out Francesca to the vernissage. She froze somewhere on the sidelines with the newly presented beloved asters.

Translated from all languages, Francesca means freedom. Yes, it is the director who clearly imagines the movie camera in all details. But then the artist saturates him with dense sensuality or transparent air.

Now Francesca Yarbusov is completing the book "Storm outside the window." About the birds that she can draw endlessly, without looking at the encyclopedia. At the end of March, work on the “overcoat” will resume, their main endless, like the road of a traveler, the labor of all life.