In a conversation with mk.ru, director Yuri Grymov discussed a surprising shift in his early career, revealing how the idea of teaching dance-based performances emerged from a need to earn money. The dialogue sheds light on a practical path that intersected entertainment, media, and personal ingenuity during those years.
Grymov described being approached with a simple request: could he teach stage movements to others? As interest grew, a wave of popularity around morning fitness routines swept through the media landscape. He notes that he was among the first to capture these workouts on camera for Channel 1, a move that tapped into a broader appetite for light, energetic content. The public clearly wanted more stage-ready movement, and Grymov found that he could monetize this demand by offering instruction in choreography and performance. Rather than dancing himself on screen, he chose to focus on the educational side, guiding others to translate energy into movement and rhythm into routine. This pivot opened a new avenue for income and skill-building within the evolving entertainment industry.
From a practical standpoint, the quick grasp of rhythm and technique allowed Grymov to establish a steady workflow of teaching. He could translate what he observed in front of the camera into clear, repeatable steps for students, enabling them to perform convincingly while maintaining professional discipline. The financial benefit soon followed, with earnings that supported personal goals such as purchasing a car—an early sign of how performance-focused income could translate into tangible, everyday gains. The experience underscored a broader truth about the era: that skills tied to movement, presentation, and timing could be turned into a viable career path beyond traditional performance roles.
Beyond the classroom and studio, Grymov recalled moments tied to major productions and set decisions. He remembered selecting wardrobe options for Valery Leontyev during the video shoot for the song “Michelle.” The artist initially preferred his usual attire, but the director had a different vision, resulting in a wardrobe choice that required Leontyev to adapt to a new look. The team purchased a raincoat, a sweater, and trousers to achieve the desired on-screen aesthetic. Leontyev, candid about the change, faced the adjustment with a lighthearted spirit, acknowledging the improvisational nature of video production. The anecdote illustrates how styling choices can influence an artist’s performance and the overall mood of a scene, even when the path to that mood involves unexpected items or constraints.
Earlier comments from Grymov touched on the dynamics of collaboration on video projects that pushed boundaries. He referenced a shoot described as particularly intense for Diana Arbenina, noting that the creative team balanced ambition with the realities of production. The dialogue reflects a broader pattern in the era’s music and video work: directors, performers, and wardrobe teams navigating bold concepts while keeping a clear eye on the practicalities of filming schedules, audience expectations, and broadcast standards. In this environment, effective communication, quick adaptation, and a willingness to explore different approaches were essential to delivering compelling performances that resonated on screen and outside it.
In sum, the period documented by Grymov captures a moment of experimentation, where the convergence of choreography, media production, and personal enterprise created new routes for artistic expression and professional growth. The shift from purely performance-driven roles to instructional guidance and collaborative styling choices reveals how creators leveraged emerging media formats to expand their reach, monetize new skills, and influence the visual language of contemporary video work. The reflections offer a snapshot of a time when the boundaries of performance were being redrawn, enabling a generation of artists and directors to experiment with form, rhythm, and presentation in ways that still inform productions today.