– The series follows the survival of a magnate navigating poverty in the storyline. Share details about the character and how the actor prepared for the role.
In this production, the focus centers on a Russian billionaire trying to maintain stature while facing sanctions. The creator explains that the character, a figure who rose from Saratov to London and built a vast fortune, confronts a shift in values as sanctions reshape the playing field. This revaluation is presented not as a downfall but as a catalyst that clarifies loyalties and priorities, providing a unique lens on wealth, power, and integrity.
– How did the preparation unfold? The actor mentions following the latest sanctions news against Russian oligarchs abroad to stay in the right mindset for the ongoing circumstances. The character resides in London and represents a classic path from humble beginnings in Saratov through the turbulent 1990s to a seat among the elite in England. The accumulating wealth becomes vulnerable to sanctions, prompting a reconsideration of what truly matters, and this recalibration is framed as advantageous for the arc.
– Is the Poor Oligarch a straight comedy drama, or does it carry a broader social message? Why is the role appealing? “Of course there is a social thread, that’s the core,” the actor says, noting that humor underpins the narrative. The story carries a sharp subtext: those around the protagonist are drawn to him for money, while the only genuine ally appears to be a loyal servant. The humor serves as a vehicle for larger questions about trust, friendship, and the cost of wealth.
– You already know many people on set thanks to previous projects. Was there a sense of camaraderie during production?
– Yes. The collaboration with Sarik Andreasyan feels natural and enjoyable. There are longstanding friendships with Max Lagashkin off set, and even with the busy schedules, time is found for humor and light moments on set. The experience was both rigorous and enjoyable.
– Andreasyan asked you not to shave for the Poor Oligarch. Which moment in preparation tested you the most?
– Earlier, in another project with Sarik, the look called for a hat that required keeping hair intact. When the time came for The Poor Oligarch, the decision was made to preserve facial hair as the beard grew and thinned over time. The makeup team attempted to gray the beard, creating a striking, memorable image. The process produced a vivid character, and the decision to let things unfold was celebrated as a success.
– There were also physical changes for another role. During filming with Petya Buslov, the actor shed more than six kilograms. In parallel, three months of training were dedicated to the project Restart, a sports drama in which a rugby coach is portrayed. The preparation involved a careful study of athletic routines to authentically inhabit the role.
You must prepare for each role in your own way. The most challenging aspect was portraying a perverse oligarch in Sarik’s Life on Call project. The portrayal required a careful balance of psychological depth and moral nuance, making it a demanding performance.
– In another interview, you mentioned that entering GITIS came with advice to avoid discussing prior film work. Why do theater programs discourage talking about past shoots? Isn’t that a strength for actors?
– The sentiment is noted, and the stance is puzzling to the actor. Theater instructors from specialized programs sometimes advise restraint to protect the study process. The actor recalls being told not to reveal screen work during school, and he followed that guidance, while his art director learned that his film experience began in the later years of study.
– You frequently collaborate with Dmitry Nagiyev. Do you keep in touch off set?
– The rapport with Dima is strong, built on friendship. Yet meetings outside the studio are rare because of busy schedules, families, and children. Still, occasional encounters are welcomed and appreciated.
– Are you proud of your most recognizable image, Lekhi from Fizruk, and the role in Yeralash as well?
– The actor reflects on a span of roles, including early work in Yeralash during school years. Fizruk stands out as a valuable and interesting series, and the role of Alexei Alekseevich Psycho left a lasting impression. Pride comes from a diverse career that began in Yeralash and evolved into more substantial projects.
– Do you stay in touch with colleagues from Yeralash?
– A close circle remains, especially with Boris Yuryevich Grachevsky in remembrance, and with Natasha Ionova and Yurka Shashurin. The plans for future appearances in Yeralash are a reminder that old collaborations can resurface, and new opportunities continue to arise.
– The return to acting after a hiatus in the 1990s was a notable chapter. How did the comeback unfold, and did it require reestablishing credibility?
– After finishing at the institute, the actor spent some time in theater before stepping away from cinema. In 1999, a fresh opportunity at Mosfilm led to a chance to audition for the DMB project with Roma Kachanov, who was a familiar presence from school days. The role of a ship steward opened the door to more filming after a period of recalibration in the industry, and the journey included candid moments about the ebb and flow of fame. The experience underscored that visibility can wane during breaks, but persistence and adaptability keep an acting career moving forward.
– One of the lower-rated projects, Gas Tank, Klubara Basty, drew questions about participation. What drew you to the project despite the reception?
– The decision to join came from the script, which was bold and written in prose. The subject was challenging, yet the ensemble was strong, working with Misha Goreva and Zhenya Stychkin, and meeting Vasya Vakulenko. The actor suspects the film’s high ratings may have confused the audience rather than reflecting a misstep in the project.
– Your eldest daughter appeared in one of your films. Was it difficult to separate family ties from on-set work?
– The project, a comedy titled Bachelor Party, features Anya’s debut. It was a personal choice to avoid over-involvement in the shooting process, yet the collaboration proved successful on screen. The role remains a positive milestone in a cinematic journey that continues to evolve.
– The spouse is said to be a trained actress but not actively working in film. Is there a chance you might share a screen with her?
– The partner is not an actress; she has her own path in the real estate sector and previously operated in the business world. She enjoys watching films, but cinema is not her professional arena.
– Looking ahead, discussions about the future of Russian cinema surface amid shifts in international studio presence. What is your forecast for domestic cinema, and what role might you play?
– The actor believes in giving one’s best effort with heart and love. With that mindset, Russian cinema will continue to live, evolve, and grow. Personal involvement will persist, and opportunities will arise to contribute in meaningful ways.
– Do you lean toward comedy as a preferred genre, or do you follow the script and choose roles as they come?
– When a project resonates and audiences respond, decision-makers tend to offer similar roles. The crime comedy Bablo helped establish a certain trajectory, leading to Fizruk and the character of the Pervert. While the actor enjoys comedy, he sees himself as more of a dramatic talent. A forthcoming dramatic work, Starting Over, where he portrays a rugby coach, is expected to broaden the range and perhaps shift future choices toward more dramatic roles. If a role presents as authentically powerful, it will likely be considered.
If offered any role, who would the actor choose? He would love to participate in a robust historical epic, something that resonates with Russian heroes, a film in the vein of Braveheart or Gladiator, a project that allows the scope and grandeur to shine.