Andrey Smolyakov on film «moving up»: «I love this era»

© Photo courtesy of Central partnership Frame of film moving upAndrey Smolyakov on film «moving up»: «I love this era»© Photo courtesy of Central partnership

The film «moving up» became the highest grossing in the history of the Russian box office, collecting for the month more than 2.5 billion rubles.

Actor Andrey Smolyakov, who played the friend of head coach Garanina (Vladimir Mashkov) told RIA Novosti about their impressions about the picture and whether there is today in the principle of «sports movie.»

— I have a very good impression from this picture, but you can’t ask about the movie people who worked on it. When people are going to do, they are not trash, but rather trying to put all their knowledge, ability and effort. This painting was made with love, so I is difficult to assess.

But I comfort myself with the illusion that everyone can ignore and see as a normal spectator. I can say that, at least, the film is professionally made. In some episodes just perfectly.

— I think the viewer who goes on a sight — be it theatre, concert, cinema or street shows — one way or another goes beyond the emotions. Of course, also the thoughts. But emotions were never canceled. I think the emotion that is happening is a fundamental part of any presentation. Otherwise the audience’s attention quickly weakens.

We are talking in the Theater-Studio under the direction of Oleg Tabakov. I love this theatre, for the spectator it’s a miracle that’s happening right now. In the movie it is not, there is footage. But the first time you view this illusion remains. Therefore, the viewer needs emotions: the laughter and tears and love and bitterness and the rest.

Many today complain that the public requires simple entertainment that she is not ready to difficult experiences. Is that so?

Is, unfortunately, true. It is caused not by ill-tempered man, and his environment.

— And what for the author is more important — to satisfy the public or to convey concern at the moment?

— It depends on what degree of compromise you’re capable of. Perfect balance can be observed, and at my age it was. My wonderful partner in «moving up» actor Vladimir Mashkov did once play «death defying», it was the same — a theatrical phenomenon, and was satisfied with everything.

— In an amazing way in the last few years in large-scale paintings, based on real events, life gives me fictional characters. It was in the film «Vysotsky. Thank you for living», where all the images are real, and next to them a fictional KGB Colonel, which I played. Same thing here. With coach Vladimir Kondrashin, in reality, was aide Sergei Baxin. My character performs some of its functions, but at the same time empowered almost President of the Federation. So this is a collective hero.

Do you like him?

— It is interesting to me. I love this era, I lived there. I think I these people well know, understand their aspirations, pain and despair, motivation. There is a feeling that I know much about them, and I’m wondering «there» to come with this knowledge. Let the readers will not think I’m presumptuous, but I think I’m doing such roles more voluminous. This applies, for example, and my character of major Cherkasova from the TV series «Mosgaz», «Spider», «the Executioner».

These other guys, they grew up in another time, in another country. They have a different perspective on life, a more developed sense of self-worth, maybe slightly less developed sense of collectivism. I think, for the man, whoever he was, that’s good.

You play here in the theater, in films, on TV, just produce a few works a year.

— In the Theater-Studio under the direction of Oleg Tabakov I now have three performances: «Fathers and sons», «actors» and «waiting for the barbarians». «A clockwork orange» — at the Theatre of Nations Yevgeny Mironov. With the TV otherwise, it all started with major Cherkasov. It so happened that this history has gone and now I try to do every season, because the audience is waiting for. And serious work in film — it is one per year.

— Previously it was thought that the work of the actor in theatre and film are completely different things…

— Probably, it came to a logical conclusion in the 70-ies, when Jerzy Grotowski invented his system, the notion of the small stage, when in the theatre the actor is approaching the viewer to unimaginable distances, maybe just a few inches. And it all equalizes.

Indeed, a movie on the camera you’re not going to play very vividly, facial expressions will be more severe. We are now in the basement of the theatre, here the people when he came the first time, wondered, realized that the theatre can be.

Picture Tribute Kozlovsky called «Coach» is his first directorial work. He shouldered the back-breaking labor: to play and to remove. I understand how difficult this is. I want to play, and parallel to look at ourselves, to see what happens. I think Daniel well done, being also a producer, and one of the authors of the script, he really seriously did it.

Working with him was very good, because he plays in a beautiful theatre under the direction of a wonderful Director Lev Dodin. He has school, the concept of direction, an idea of how to work with the artist. It’s all there, and he very properly and skillfully uses this.

I play the father of the protagonist. Daniel suggested very exact detail, and I was glad that he sees it. In his film akin to «moving up»: there is a very interesting shot football. Of course, not like Igor Grinyakin shot basketball. Worked there for another brilliant and insightful statement, Fedor Bookmark, and he also came up with something.

This year I should get a picture of the «Factory» that we made with Director Yuri Bykov, and on TV, on NTV, will be shown the two-part tape «the Axe».

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