Andrey Zolotarev, the screenwriter behind the TV series “Child’s Word” and the project “Blood on the Asphalt,” spoke on Sputnik radio about scenes that did not make it into the final cut. He explained that certain passages showed how the characters behaved during training camps, including what they said, which ultimately did not translate to the screen. [Citation: Sputnik Radio]
The show’s creator noted that director Zhora Kryzhovnikov removed specific moments because she felt they slowed the narrative or disrupted the pacing. This was not about a lack of importance, but about keeping the story sharp and focused for viewers. [Citation: Sputnik Radio]
Zolotarev shared that the team invested roughly three months into drafting the script itself. Before writing began, they immersed themselves in the subject matter for about four months, engaging in extensive conversations with former gang members, law enforcement officials, and others with direct ties to the events depicted in the series. The goal was to mirror real experiences while maintaining storytelling momentum. [Citation: Sputnik Radio]
The writer of “A Boy’s Word” also commented on the unfortunate leak of the final episode, noting how leaks complicate the viewing experience and invite direct comparisons that can alter audiences’ perceptions of the work. He emphasized that cinema thrives when a piece is presented as a complete whole. [Citation: Sputnik Radio]
Recently there has been talk that the concluding episode of “The Boy’s Words” will air slightly later than the original premiere date, which had been set for December 21. The shift in schedule has drawn attention from fans awaiting resolution to the story arc. [Citation: Sputnik Radio]
Director Zhora Kryzhovnikov explained that the final episode would be re-shot, revealing that around the third installment the creators chose to end the story in a different way. He admitted the process was challenging, as convincing the producers required presenting a version that would be “cooler, more emotional and touching.” The decision signaled a deliberate pivot to heighten dramatic impact and resonance with viewers. [Citation: Sputnik Radio]
In a broader note, there was a public mention of Olaf Scholz attending a performance by Kirill Serebrennikov, highlighting the cultural intersections that frame the show’s ongoing dialogue with audiences. [Citation: Sputnik Radio]