– Alexey discusses how the TV series “The Right to Freedom” began for him and reflects on whether taking on a first film role is generally easy. He explains he was invited to audition after a test, recognizing director Artem Dubra during the process. He values reading the script, talking with writers, and then deciding, especially since a debut is a unique, timely experience.
– When asked about his character in the project — the founder of the sect — he notes that the role is more a collective image than a single person. He believes there are real-world figures who embody such traits, and that tyranny can manifest even in everyday professions, not only within a formal sect.
– On character development, he says an actor inevitably adds personal touches to any role, since personal interpretation is the essence of acting.
– The topic of sectarianism is raised: does it belong to the 90s, or has it faded amid information noise and present-day issues? He responds that sects have always existed and will continue to exist because people seek guidance, peace, and answers they cannot find alone. In turbulent times, the need for guidance grows stronger. The 90s saw a media avalanche, and even today, despite more closed systems of information, people still fall prey to cults and scams. He quips that a sucker is not a mammoth — he will not simply disappear. [Citation: interview with actor discussing sects and society]
– The idea of helping those drawn into sects is considered. He reflects that many hope to avoid such situations, almost assuming it won’t happen to them.
– He says he did not personally know the individuals involved in sects and doesn’t feel called to curse or preempt trouble; one can never be sure of when danger might strike or whether one has the wit to recognize it. He hopes for protection, possibly through faith.
In The Right to Be Free, characters frequently assist others for personal reasons. He weighs pure altruism versus the need for a motivating trauma, guilt, or other factors. He suggests that true altruism can exist, yet even generous acts may have underlying reasons. He mentions modern psychology as a tool for understanding how early childhood experiences shape problems and achievements, and whether it matters to analyze motives when someone is ready to help, protect, and save without expecting anything in return.
– The question arises whether he is a volunteer or might travel with students. He replies that volunteering isn’t immediate for him, though he cites Andrey Popov, a prominent figure with a broad program and a series called “Man of the World.” Popov has organized festivals and promotions, including a pre-Olympic laboratory in Sochi where children with serious illnesses and disabilities crafted dramaturgical pieces. About ten participants from across the country were chosen to perform in Sochi, with playwrights guiding their dramaturgy for a week. The experience culminated in a performance at the Winter Theater in Sochi and a subsequent show in Moscow — a profoundly memorable moment for him.
– He was recently seen as Azazello in the film Woland. He expresses hopeful anticipation for a timely release, while acknowledging uncertainty about the project’s timing. He believes it matters that works like this come out when ready, not five years late.
– He notes that the production of The Master and Margarita adaptations has sometimes faced challenges. He reflects on nervous moments during production but emphasizes that Woland was a valuable collaboration, with many talented people contributing. Even when setbacks occurred — for instance, the cinematographer contracting the coronavirus and directing shots remotely via zoom — the effort remained meaningful, not frivolous.
– In another interview, he commented on how short-thinking affects students and whether concentration has diminished in the digital age. He observes that new habits emerge with the present pace of information. Yet he stresses that actors and their students must develop the ability to focus on a single object for extended periods, as that concentration translates into professional skill. He notes that everyone today navigates a rapid information flow, and each profession has its own rhythm. The art of acting, he adds, seeks to deepen attention for both performer and audience.
– When asked what teaching gives back, he highlights how interactions with students cultivate tolerance and humility. He must accept that not every idea will be embraced, yet the ongoing exchange keeps him connected to a fresh cultural context. It is, he says, an immensely useful and enlightening experience. [Citation: interview excerpts on teaching and recent projects]