"Smart people should play stupid"

The director of the “servant” and “text” Klim Shipenko-about the success of his films, relations with the Ministry of Culture and the action triller about Yesenin

The film “Solop” released on New Year's Eve, the Klimenko film, became the cash desk of the Russian film distribution itself - in two weeks he raised 1.8 billion rubles. Prior to the premiere of “Solder”, the 36-year-old director, who studied film production in the United States, became famous thanks to the film “Salyut-7” and the film adaptation of Dmitry Glukhovsky’s novel “Text” with Alexander Petrov in the title role, for which Shipenko received the Golden Eagle Award. At the presentation of the award, the director from the scene asked not to fine a colleague of Sergey Paratov , who was on the list of debtors of the Ministry of Culture. At the same time, Shipenko’s superpowed paintings are dispensed with without state support. Medusa discussed with the director the success of the “slave”, scandals around the “text” and problems in relations between filmmakers and officials.

- In 2019, you had two very successful films - “Text” and then “Solder”. How did you combine work on them? Hard?

- No, it's not hard. Not that I made these films in parallel. They did not harm each other. At first I took off and mounted the “slave”. When I already had his first installation assembly, I began to globally prepare the “Text”, at this time the installation of the “slave” was already undergoing minimal work. It is not as terrible and difficult as it seems. I understand that from the outside it may look like this, but in principle, this is a normal schedule, not some kind of horror.

- “The servant” was originally conceived as a New Year's film?

- No, this is a summer film, it has never been planned as a winter - with decorated Christmas trees. There was nothing like that! This is a summer comedy. Then it just happened, thanks to the producers that she went to the New Year.

- “Solder” has become the most successful Russian comedy film. What do you think, why did he deal with the audience so much?

- I think this is a combination of many things. Firstly, I sincerely, honestly made this film, most talentedly did what I am capable of. In this regard, I have never been ashamed for anything, I laid out in full. But this is still not enough in our movie world, so that the film collects as much as he collected the “slave”. It was necessary that he be presented in time to the viewer in time, so that he would be in the mood, to be at the right time of the year, in fact. Everyone wants to run away from winter in the summer, but it so happened that for two hours it can be done. The production work and work of the distributors to ensure that this film is released precisely on the New Year and the whole New Year holidays are going on - this is a huge part of success.

- Other films are not so good for the holidays?The Union of Salvation is a historical tape; Bondarchuk's film is science fiction.

- The viewer was represented by some diversity. If three comedies came out, it would probably also be bad. Maybe someone said: yes I do not like Russian comedies, I want to see something serious or something fantastic. But on this New Year, it was this, between a serious historical film, claiming some kind of rethinking, his interpretation of historical events, and comedy, the viewer chose a comedy, he wanted to relax more and relax. He does not want to go to school, sit, read historical literature. He wants to relax. I don’t know, I would not go either. I would look at him when my brain would have already been working. The "attraction" gathered some kind of viewer. Such, therefore, the viewer - so many people want to watch a fantastic film.

I believe that our comedy is good. At least, for my part, I did everything so that she was like that. We do not offer a terrible story: let's tell you my version of the execution of the Decembrists. We say: let's still have a joke! Do you understand what I'm talking about? And then the viewer looked, received pleasure, suffered to the summer, love, jokes-somewhere funny, somewhere less funny-but in general, everything is positive. Then he comes to friends and says: I was cool, go, you will be cool too!

- Why did you decide to shoot in the title role of Serbian actor Milos Bikovich? Have you been familiar with him for a long time?

- Milos and I have known each other, probably five years old. He had to act in Salute-7. There was a line of the American ambassador, and he was supposed to play his assistant, a young diplomat, but even before the filming, this line left the script. I met him then, he was then approved. I really liked him in Duhless 2 and I thought: wow, wow, what a cool dude! I wanted to work with him. After that, he and I maintained exclusively hat-compliance.

When the “slave” arose, he quickly came to my mind, because, in fact, in our cinema there are not many of such an age of men - you will not find 10 people! With difficulty - three, but two of them will not work. Both the girls and the guys do not seem to be a stranger at Milos, because he has good male energy, they think: I could have such a friend, it would have fun with him, he loves to light up, I also want to with him. Milos handsome, talented, he has a sense of humor and a sense of comedy that is needed here. This is a lot! And he is smart. Smart people should play stupid. I think that there are very few such actors, and everywhere, except for Hollywood, which over the world vacuums actors of the best. Milos, thank God, can act with us, and this is a great gift to Russian cinema.

- How did the story itself appear? We all saw such major, but why did you decide to make a film about him?

-The idea of ​​this film did not come to me, but the authors of the script- Daria Grasevich, Anton Morozenko, Dmitry Permyakov , they came up with her when, as I remember, they made some historical series of “interns”. Then they had already promoted her: a major appeared, who had to be re -educated.

It seemed interesting to me, I saw in this story some of my films, the correct combination of those comedies that I like and not only comedies. For example, the "Show of Truman", with which this film is often compared, is quite fair. “Show Truman”, “Ivan Vasilievich changes the profession” - this is such a roll call.

Such a cross seemed to me very interesting, relevant. This is a reality show that everyone wants to peep. Such voyeurism, someone is involved in this, someone is peeping. Then we began to unwind this idea, think out, finish.

I never made a pure comedy, I had films in other genres. There was a romantic comedy , this genre works completely differently. It seems to me that in a good comedy there should be serious topics, even the theme of God in the “slave” is. I think that the viewer liked it. He left the cinema and said: yes, there are funny moments there, but this is a three -dimensional, voluminous story. Many spectators wrote to me that during the viewing someone even burst into tears.

But in general, I must say that our comedies are very low. The main thing is that the jokes joke, but how it is shot there is already less important.

- In ours, does it mean in Russia?

- Yes. In America, I must say, too. There you rarely see a comedy that is somehow sophisticated, there are very few of them. True, little! As a rule, you think that the genre of comedy can be removed and roll cheaply, as long as jokes joke.

Here I wanted to make a story and take it off so that the viewer understands why he came to watch it on the big screen. Therefore, there are visual scenes that are not characteristic, for example, for a romantic comedy. I was interested in trying it - I took what I know from other genres, from my other experience.

- In your interviews, you said that you did not receive any funding from the state - neither at the “slave” or “text”. Why do you think?

- Yes, it's true. For a long time, the Film Foundation allocated some small amount, irrevocable for a long time. Then, when we submitted an application last year, we did not give money either to the “text”, nor to the “slave”. Why - I don't know. They did not explain. They usually do not explain this.

- Do you have a version, why did they make such a decision?

- Yes, the devil knows him! Don't know. No, why didn’t they give it to the “text”, I know. And on the "slave" ...

- Because you made a “text”?

- Yes. But I made Salyut-7, I received all the awards, for the “text” I was again nominated for the “eagle” (after the conversation the film “Text” Klima Supenko received “Golden Eagle”-approx. Medusa) , so “Text” did not get up in the throat. The Minister of Culture, already a former, [Vladimir Medinsky] even spoke out that he supported the film when he was released. So why did not give funding for a comedy - I don’t know.

- Do you think you will receive help for the next film?

- Don't know. I took off Salyut-7, received awards, received the box office, box office. I applied for the film about the last four days of Yesenin’s life to the Film Foundation, I was refused. Yesenin was refused, the “text” was refused. In general, they refuse me a lot, much more than they support. I don't know why. I somehow did not understand, no one explained to me what was the matter.

- Apparently, you still cope, but it would be easier to state support?

- We can hardly cope. The “text” was risky, the guys [the production company Yellow, Black and White ”risked their personal money. It was their personal initiative, they laid them out of their pocket. They took a chance, the same with the "slave".

- And with "Yesenin"?

- Esenin is more complicated, because “Yesenin” costs more. Still, the “text” could be removed by 70 million rubles, and the historical film cannot be made for this money. During this year, two of my films raised more than three billion rubles, and still I can’t find money for “Yesenin”, no one gives them. Everyone is very afraid, no one rushes: oh, come on, take off!

Moreover, about Yesenin-this is not some kind of bayopic, it is a genre action-triller, it is a thriller-raid. About a person who understands that he is now crashed, and he is trying to save his life. This is a genre movie! This is not just Yesenin walks slowly, reads poems on the embankment of St. Petersburg. So there are no laws: your film has earned so much, Okay, so you shoot the next film for sure. Nifiga! No one guarantees anything.

-Do you think that with the change of Minister of Culture, something can change or a matter in the system itself?

- It seems to me, of course, this system has established, it has already worked for so many years. But I hope that at least such cases as with me ...

It would seem what you want? Maybe now 7.5 million will not be asked from the paradise for the fact that he takes off as he takes off, and in general, promoting culture to the main festivals? Maybe at least the Ministry of Culture will not make such strange claims to the director with world recognition? There is hope for it.

- Would you like just such changes in the policy of the Ministry of Culture?

- I can only talk about the cinema - at least it! At least see the track record of directors and companies. We did everything with the same company and with the same company we ask for money for other projects. They refuse us. I can only say about what I feel now; And about the situation with Paratov. Of course, we must stop it.

And there are many such directors. There are a number of directors who promote our culture. For some reason, they are not allowed to do this. Well, the cinema fund is aimed at making money, at commercial cinema. But there is a Ministry of Culture. Why do both the Ministry of Culture and the Cinema Foundation refuse projects, for example, Bakura Bakuradze , who wrote an excellent script about the blockade of Leningrad, about women? I personally read it at the expert council [of the Film Fund], where I entered. This is an absolutely cultural project, historical, does not denigrate anything. There is a personal story, a drama about a woman, her fate. For some reason, they refuse, while everyone likes the script, very coolly appreciated. Culture? Culture! Baccan is also famous, he participated in Cannes, he has prizes. Why doesn't this happen? Tell us, I want to have a dialogue.

- Explain the rules of the game.

- Explain, yes. There is always such an excuse: we do not see commercial potential. Well, you also refused the “text”, which collected 400 million - four times more than the box office drama before that collected. And for some reason they refused the “slave”. Maybe then you will trust me after all?

- After it became known about the successes of the “serf”, did you repeatedly learn about the possible financing of “Yesenin”?

- Now we will also declare, but still everyone is afraid to take risks. We will try again to serve in the Ministry of Culture. Let's see.

- You still do not tell who will play the main role in this film?

- I don't know yet.

- Already there were samples?

- Of course, I have thoughts on this subject, but I am not ready to share them yet. For what? I'm not sure of them yet. There are several options, but I am not yet sure of either one or another, relatively speaking.

- Will your Yesenin differ from how it is usually portrayed?

- He will be different from the Yesenin, which was performed by [Sergey] Bezrukov in the series. Definitely! It will not be some strange poet who runs and quotes his own poems, and then drinks everything with vodka. There will be a slightly different view of this.

- You already have a large blockbuster about space, a gloomy story about Russia and a New Year's comedy. In all the interviews, you say that you try different genres to find yourself - you understand which direction is closer to you?

- I did not set myself a goal to try all the genres - no, everything always comes from a specific story. And I'm already looking for a tools for her, how to tell her. I have never been interested in horrors or frankly fantastic sai-fi. I want to make pure action like Michael Mann ! I do not exclude some historical film, I do not exclude the military. Why not? All these genres have their own traditions, their own stories, which are not yet told, which may be hooked, and I will want to tell them.

It’s a rarity that the director is so jumping according to the genres, but Stephen Spielberg does this too. He has a film about the Holocaust and there is a film about an alien, in fact - a child. It's all great. I am not saying that he is some kind of my role model, that I want to be like him, no. It's just not strange for me at all.

- In all of the above genres, would you like to work in Russia? Or are there plans to leave for the USA?

- I don't know. I have ambitions to shoot something in America. Moreover, I already have an agent there, he is looking for material, talking with producers and so on. I work with him, but all this does not happen quickly. I do not want to take anything there, because if I wanted to, I would have done it. I want to shoot those stories that I like, no matter where. If I am offered to work in China, if I like this story, I will see myself in it, I will go to China. We have a global society, there are practically no borders.

Will I be able to make a good military film about some American war and tell from the American side? Don't know. Still, I have a Russian mentality, although I speak English well, practically without an accent, without any translation of internal, but still ... it is unknown, maybe I can. I do not want to depend on the place.

- I can’t help but ask about the scandal that flared up after the release of the “text”. Tell me, you discussed with Christina Asmus that perhaps there will be such a reaction to frank scenes with her participation?

- Yes, sure. But we thought that the reaction would be tougher.

- Why?

- Don't know. When we shot, we did not pull ourselves, we thought, maybe this would not work at all. In this regard, we had no restrictions. My producers and I agreed that such material should be done honestly. They went to it. Further, we already went with the actors, as they say, to all the heavy ones. I immediately, on the shore, said - we were not familiar with her before - listen, there is such a scene there, I want such a degree of frankness, because this is an justified story in the proposed circumstances in which everything happens. "Are You Ready?", What is called. She took a pause, then came, said yes. I do not know what she did in this pause, spoke with her husband or did not speak. She came and said she was ready. Of course, we expected the reaction of society - such scenes are not in every film, we assumed that there would be such a reaction.

If history requires such scenes, then I will do them. If history does not require such scenes, then I will not do them so that they are just there. In this regard, I do not understand people who say that this scene could not be there. Why? Why did the hero Petrov other aspects of the life of the hero Yankovsky received through the phone, but did not receive this one?

What, sex is not part of our life? This concept: a person studies the life of another person, his soul with the help of this device. Anyone who asks this question says that sex does not matter to him, is not part of life. This is his personal opinion. But I think that he occupies some part of his life, so this scene is there. When you read the script, you can immediately see when the hero wants something, and when the screenwriter wants. This is very noticeable, and I myself against such prompted things.

- The actors themselves shot this scene. How many took?

- There were four of them, and the first two or three did not work out very well. We shot so many times, not because we liked it. (Laughs.) Let's go again! Pour wine! No, the first doubles were not good, there was no emancipation. It was something puppy at first.

- Surely it is very difficult to play such a scene.

- Certainly. These are not porn actors. Artists are like ordinary people in this regard. Let us now, for example, we will remove you in such a scene! Even if you agree, you will be shy. The actors have the same thing - they do not know how to do this, they were not taught this at universities, so for them it was just as nervous. Ну да, они должны были это снимать — по-другому это нельзя было это показать, это условия этой истории. Я не мог там ходить с камерой, потому что было бы видно, что я хожу там с камерой. Я не мог вообще там находиться, потому что они снимали во все стороны, и мы все бы попали в кадр.

— На площадке никого не было?

- No. В этой комнате никого не было, никто ничего не видел. Телефон не транслировался на мониторы. Потом я смотрел отснятый материал, говорил: не то, не та степень откровенности, коряво, не так. Но потом все получилось.

— Вы учились в США. Как вам кажется, в ваших фильмах все-таки больше советской школы или американской?

— По тому, как я их делаю, американской.

- What is this expressed?

— Просто в том, как это выглядит. В режиссуре, в монтаже, в съемке — я думаю, что это американский подход. В каких-то темах духовности — я думаю, что я все-таки русский человек, я здесь жил б о льшую часть своей жизни, поэтому, наверное, это отсюда. Какая-то рефлексия, какая-то духовность, надеюсь, существует, мне хотелось бы так думать. Я же не эмигрировал в США, я приехал туда, чтобы учиться ремеслу и, как мне кажется, неплохо его выучил.

Natalia Gredina