Truth

“But it’s probably more interesting for you to play a complex character rather than fighters for all that is good.” “I’m lucky with contradictory characters.” But now I speak as a spectator. I'm talking about the world in which I want to live. — As for roles, “there are no barriers for you”: as a child you played Madame Butterfly’s son, among your recent works are Prince Myshkin and even Michael Jackson in the ironic series “Drunk Firm.” - You said loudly: “Role.” — Which of your works surprised you and allowed you to discover something new in yourself? “I’m rather surprised that all this could be interesting to others.” Sometimes it seems like I’ll wake up and they’ll say to me: “Who are you? Leave. You deceived us." -Are you not being disingenuous? You have popularity, the opportunity to play serious roles in experimental performances. — A role is interesting if it’s lively, when you don’t immediately see the result. You go to him together with the director. Such a profession. If I sit comfortably in a chair, the profession will disappear. I’m not saying that you have to torment your wounds, but... every day you go anew. From point "A" to point "Z". What is the last letter of the Russian alphabet - “ya”? - This is both a letter and an important word, including for your profession. — The acting profession probably has its own ABC. You are different every day: “I”, “he” or “it”. You can't play the same as yesterday. There are, of course, brilliant technical actors... But it’s like the proverb - “you can’t step into the same river twice.” The role is the river. Do you have a headache? Did you quarrel with someone? It has an effect, but the river flows. — You talked about the river, and I immediately remembered your work in Balabanov’s “War.” The most difficult, truly dangerous filming in an icy, fast-moving river. Then you played Anna Nikolaevna in his “Morphia”. What was the meeting with Aleksey Balabanov like for you? — Lesha and I met at Kinotavr. I remembered this recently. I had two different experiences with him. The first one is “War,” which is very difficult. — Tough shooting? - Yes. I had hypothermia, but it is forgotten. First of all, a very difficult relationship. - He told me that filming was a real test for you and that he wanted to film you, although he doubted whether he would agree. “I liked his films, and I really wanted to act in them.” But after the first days of filming, I felt like a mediocre actress. He hardly looked at me, I didn’t know what to do. But Seryozha Bodrov Jr. arrived. He said: “No, he’s always like this. He will never tell you: “That was not bad.” And I calmed down. “Morphine” is a different story, we have already become comrades. — It seems to me that in this role you feel freer. - Different characters. In “War,” almost all of the filming took place in a cold pit. Perhaps, in his alienation, Lesha instinctively sought from us the necessary intonation. Imagine lying in a hole all day, flies bite,

like dogs. Then you walk a long road through sheep shit all day. He did not consider the actor a “monkey in the frame”; he respected the profession. He only said: “Play talented. Please". And we did more than we could, just a little more. By some kind of inner inspiration and feeling, he knew and saw the entire depth of the frame. I could move some of the things, and the frame would transform. Such a gift. It was funny at times. I need to give Bichevin an injection at Morphine. I learned how to give injections, but with plastic syringes. In front of the camera they give me a metal syringe that they boil - this is 1919. I approach Bichevin. I need to stick “this” in his butt - the needle jumped off - it’s thick - not the 21st century. Balabanov yells: “What are you doing, come on, come on, stab him!” In the next frame, I hit it so hard that Bichevin jumped up in pain. Balabanov, looking at the monitor, says: “Bichevin melted. I need to calm down. Let's do some more." - You are lucky with partners. From Malkovic and Brad Pitt to Bodrov, Mironov and Lars Eidinger in Matilda. Is a partner an adventure, an alliance, a competition for you? — Your role depends on the work of your partner. For example, “The Bridge” took six months of filming. I was very lucky with Misha Porechenkov. He is an extremely generous partner. In the frame he has time to think about how to make us good together. What can you do alone? Close-up "play"? Healthy competition is possible, but not at the expense of others. — Our moral guardians accuse your partner in “Matilda,” Lars Eidinger, the star of the Berlin “Schaubühne,” of God knows what, but most importantly, they consider it unworthy to play the role of Nicholas II. “These attacks and accusations are inappropriate and desperately stupid. Lars doesn't need my protection. The leading European actor, filming in Europe, in England, for the sake of “Matilda”, refused to film in the American series “Homeland”. Before our work, I saw two of the best performances in the Schaubühn with his participation - Hamlet and Demons. He's a brilliant partner too. It's wonderful to play the mother of such a son. — How did he pronounce the text in Russian? Did you feel the “wall”? - No. I understood him. For “The Bridge” I had to learn Estonian myself. — Tell me, did your accent interfere with your profession? - A double-edged sword. Sometimes it helps, sometimes it hinders. - A double-edged sword - not exactly in Russian, but figuratively. - It’s like “your hands are frozen.” If I stay in Russia longer, then I make fewer mistakes, and the accent disappears. But when I play an American woman in The Circus who speaks with an accent, my accent becomes stronger. Do you know which of the dozens of roles is my favorite? The lover of “Cherry in Chocolate” is Olga from “The Cynics” based on the novel by Mariengof. Thanks to her, I felt how the slab of revolution covered the “former” ones, who experienced horror in front of the emptiness of the abyss. Those who tried to somehow flounder in this abyss. There's great text there. I forget all the roles, but from “The Cynics” I remember verbatim: “They say that French lipstick will completely disappear in the city. How then to live?” Or when they say to her: “Why don’t you become an actress?” I answer: “I don’t want to be Kohnen, and I won’t make Komissarzhevskaya.”

Interviewed by Larisa MALYUKOVA, Novaya columnist