— What issues does director Dmitry Svetozarov raise in the film?
— You can talk in general terms: a story about human relations, deception, love, but this is nonsense. Together with Yura Stoyanov, our characters lived their lives and did not earn anything, but remained happy people. There is also a second theme that I caught. It may not be in the movies, but it warms my heart. And by playing Nakhimson, I start from my own fantasies. And this theme: No matter how old you are, go, invent, travel. Don’t just stand still with your feet on the ground, but also in your fantasies, dreams and desires. They say there is a Japanese philosophy: The further you plan, the longer you live. I am a supporter of this theory. I’ll dream that I’m 100 years old, but I don’t care where I land. Let others take me. The important thing for me is to go.
This is the subject of the movie. These two people were doing something, serving someone, pleasing someone, always being cunning, cunning, submissive, hypocritical, accommodating, dammit. And then suddenly we stopped at a bus stop and there was no bench, no bus, no meeting, no road. And they stare into the foggy distance as they wait for the bus to take them to their destination. However, the bus has nowhere to come and it is not known which direction it will go. I’m speaking metaphorically, but that’s what the story is about.
— How do you define the “Five Percent” genre? Is this a comedy?
— The other day I asked Mitya Svetozarov what genre it would be. “Tragic comedy,” he said. But I didn’t define a genre for myself. But it’s certainly broader than a tragicomedy: a detective story, Hitchcockianism, and comic tales of con men – there’s a lot of it.
— Tell us about your character.
— I play a fake Jew named Nakhimson. His lie is that he is a Russian who took someone else’s name and went to Israel with fake documents. He escaped from the troubles he created for himself in his hometown. This is an unsuccessful artist who is looking for his own happiness and enters someone else’s territory. If it doesn’t work at home, no one needs it in a foreign country. Realizing this, Nakhimson will return and want to start all over again, but he will not be successful.
The role is very exciting, cheerful, funny and meaningful. I haven’t had roles like this for a long time. Nakhimson is a character that the main character Ferapontov, played by Stoyanov, could not do without. And he, Ferapontov, is an award-winning folk artist. They are old friends and colleagues. And a situation will arise that they will both understand.
— How is the atmosphere on the set?
“The shootings are so professional and traditional that I think: “That’s how I worked there, in that magnificent cinema that the whole world knows.” I am happy that we work on the basis of Lenfilm. We have a complete mutual understanding with Mitya Svetozarov. When you get an assignment, you complete it. Yurka Stoyanov’ I totally agree, we write together and the director lets us be creative on set.
— What is Yuri Stoyanov like as a friend and partner?
“It’s okay that we came from the same route, it’s okay that we’ve lived a wonderful life together, and our fates are pretty much the same; first take off, then land.” The important thing is that he is so talented that being around him is like being around a radiator in winter! I keep myself warm next to him! I’ll tell you a secret: after every shooting, when we go to a restaurant to eat, I tell him: “Yura, how grateful I am that we got together!” And he flirtatiously ignores my gratitude.
— Have you crossed paths with Dmitry Svetozarov before on any project?
— In the late 80s, I auditioned for the lead role in Svetozarov’s detective film “Murder Arithmetic”. And he disapproved of me; But not because he doesn’t like me or because it’s not a good fit. The main roles were played by Sergei Bekhterev and the legendary Leningrad actress Zinaida Sharko. Years later, Svetozarov admitted: “Vit, I didn’t take you because initially it was clear that you were the person I didn’t want to figure out.” So the audience would have realized beforehand that my character was a murderer.
— Why wasn’t the movie “Five Percent” made for several years?
– There was a fight. This statement bothers me a lot. I still don’t understand why such a word “puppy” means some kind of competition, defending the basis of the scenario. There is a humiliating execution in this. Artists sit around debating whether to give money to their friends. What is it?
It was clear from the beginning that the project needed to be supported, but for some reasons some problems arise. Director Dmitry Svetozarov – experienced, wise, with a huge load of life lived and stuffed in such a magnificent cinema, comes to this damn presentation. We’ve got this setup – okay. But it would be a shame not to support such a director with crumbs. And there are many of them.
How did you eventually manage to get the film financed?
— A few years ago I recorded a video message to this competent commission [с просьбой выделить средства на фильм «Пять процентов»]. Permission was not given. About a year later, Mitya Svetozarov called and said with a sigh: “I’m applying for a pitch again, but I won’t go there myself. If you can, record a video message.” I got dressed, put the phone in front of me and said: “Dear procedure commission! Do not be silly. Destiny gives you a very interesting intrigue. Yura Stoyanov is my classmate. He was the youngest person on the GITIS course, and I was the oldest. We even stayed in the same room for a year. And in his old age, when he is already pot-bellied and gray-haired, and I am bald, worn-out and with false teeth, fate brings us together in one story, thanks to the director Svetozarov. So which one!”
Of course, I made fun of them a bit and mocked them by calling them a “procedural commission”. But I clearly asked them to give me money, I bent down, extended my hand through the screen and said, “You won’t regret it!” I said. And today I will tell you a secret, I really want to win together with Yuri Stoyanov, Dmitry Svetozarov, Gleb Klimov – this is a glorious operator, creator.
— What do you mean by the word “win”?
– I really dream of winning – in the sense that history works! And it should work! Because there is such an atmosphere of creativity, kindness, mutual understanding here! You will say – oh, this is so inappropriate, everyone is praising and praising themselves… But if Hollywood people are praising themselves, why shouldn’t we praise ourselves? I want to win, achieve success, win, attract the audience to the hall so that they applaud and pay money. And then I would come to this presentation area and say: “Well, you bastards, they didn’t want it, they cheated for two years, they gave us pennies, but look what a masterpiece we prepared!”
This is of course trivial, it may be funny, I am telling you all this with elements of irony. But I don’t really know how the funds are distributed today.
— Was this your first experience participating in a pitch?
– No, I participated in this once and more than once. Sometimes I was lucky, sometimes I wasn’t. When these pitch sessions first started, only directors and producers attended them. It was not customary for players to appear there. And I was the first actor to come to this event with a group from the Ministry of Culture to defend the script. I was lucky then. By the way, Yura Feting’s St. “Heavenly Camel” was our movie from St. Petersburg. Otherwise I had no luck: you need to collect some applications, ingredients, dust in your eyes, God’s dew. There are a lot of things that don’t happen in pitch sessions.
— By what criteria do you evaluate the work of operators?
— We have the strongest camera school; these are the creators! Yes, I also know those who rely primarily on light, speed, and chiaroscuro play… But there are also those who actually create the plot together with the director. And it costs a lot. I haven’t done any serious work in cinema for a long time. The last big movie I did was “Champion of the World.” But it was traditional, even somewhat ostentatious. Then I was immersed in the atmosphere of the pavilion and the decorations. Even the light coming from the spotlights gives this process the feeling of some of my cinema periods, which I can call an illusion.
– Many of your best films – “Brother”, “About Freaks and Men”, “Happy Days” – St. It was shot in St. Petersburg. What does this city mean to you?
– Yes, I started as an actor.
— And here’s another St. Petersburg movie. How does it reflect your attitude towards the city, what tones does it give?
— Gratitude, love, responsibility… It may sound a bit pretentious, but that’s what it is. I’m having a bath day here.
– Bath?
– Cleaning!
— Apparently St. Is St. Petersburg a second homeland for you?
– Only home! There is no second one! I am a child of three cities: Orekhovo-Zuevo, Moscow and St. Petersburg. And I believe that they are all my homeland. Number three is good! Holy Trinity, drink for three. And it makes me happy that fate distributed me to three cities. I have mentioned before where the small homeland is and where the big one is. Today, in my old age, I can say that there is no such thing as small or big, there is only the homeland! It’s either there or it’s not. Second, third, fifth… Are these meatballs in a pan or something?
— I would like to note the impressive work of production designer Elena Zhukova, who created Ferapontov’s studio apartment. Many Lenin busts attract attention in the landscape. Do you have a relationship with “The Comedy of Tight Security,” in which you played Vladimir Lenin, and “Favorites,” where the sculptor turned Lenin into Pushkin by gluing sideburns and hair to these Lenin busts?
— Yes, such associations appear immediately! Production designer Elena Zhukova – she’s a genius! I worked with such masters! And I look at all this, I pass through these pavilions – the memories take my breath away! We lived like this. Did you live badly? Good morning my baby! Difficult yes but beautiful!
— You can now change your character’s costume and St. You are wearing the hat of St. Petersburg football club Zenit. Are you a fan of any club?
– I will upset you, I do not support anyone. I’m not a hockey player or a football player.