“I want, I can’t!” features a small, but unforgettable, comic turn led by a character who often drinks a little too much and somehow steals every scene he occupies. The central figure is Kolya, a typical family man from central Russia. He heads a lively household with Marina, portrayed by Daria Feklenko, along with their two daughters and a wife who are all vividly drawn. They have earned a kind of sunny residency on the southern coast, and anyone who shakes that arrangement has their work cut out for them. Under the spell of a few strong drinks, Kolya begins to drift from his steady path and gravitates toward the series’ main character, Sasha, played by Dasha Melnikova. Viewers will discover where this trajectory leads as the six half-hour episodes unfold, a compact but powerful format that suits the tone of the show.
– What drew the actor to the project’s script, and how did the collaboration with director Yana Gladkikh begin?
The script resonated first and foremost with its humor, its light touch, and its honest, insightful look at everyday life. It’s the product of a collaboration between Zhenya Khripkova and Alexei Morozov, with Zhenya serving as a creative producer. The actor had previously worked with Alexei on projects like the acclaimed series “Call DiCaprio!” and the feature Film “Beauty on the Beat,” both of which were directed by Yana Gladkikh.
Yana and the actor go back fifteen years. Since 2007, the actor has been a member of the Moscow Art Theatre troupe named after Chekhov, and in the same year Yana joined the Moscow Art Theatre School under the tutelage of Roman Kozak and Dmitry Brusnikin. They have shared the stage and collaborated in performances, forging a connection that feels like a high-stakes game of strategy and improvisation—together on the hot seat of live theatre and screen work alike.
Thus, stepping into the audition for “I want, I can’t!” signaled a certain standard and quality expected from Zhenya and Yana. It’s a playful nod to their longstanding rapport, even as the actor notes that every collaboration has its tests. There’s a wink about the inevitable scrutiny that comes with any promising project, even when affection and history run deep. Ugly? Well, a laugh follows—because that’s the nature of life on set.
– The project originated from the short film “Sexaholics.” Before the series released, what did the actor know about it, and was there a desire to explore roles beyond Kolya, perhaps someone else entirely?
The actor knew the short film “Sexaholics,” which provided a sense of the future tone: bright and witty yet with a depth that cuts through. The performer believes there is room to stretch beyond Kolya, but the current range makes this particular role compelling. Casting is viewed as a kind of solitaire played by the director, screenwriters, and producers. The actor admires Yana as an artist and collaborator and places strong trust in her vision.
– In a recent versatile year, the actor appeared in a crisp, high-energy drama on the big screen titled Express. The question arrives: what drives these vividly different heroes, and what do they share with Kolya in terms of energy and purpose?
The character in Express is distinct from Kolya, carrying a semantic weight that differs from Kolya’s. Both roles inhabit different energies and serve different functions relative to the central character. As for the breadth of the acting, there is a belief that there are no small roles, only small actors. Choices are defined by the available parts, and the aim is always to bring maximum depth and nuance to each one.
Another major project from the previous year, the TV series “Alice Can’t Wait,” is described as provocative in many ways. Its story centers on a young woman named Alice who faces a life-altering challenge and navigates family ties during upheaval, creating a charged dynamic with the actor’s character.
– Natalia Meshchaninova is acknowledged as one of the best writers and directors in modern Russian cinema. Her work is highly visible, bold, and expressive. She is described as a guiding force who creates the conditions on set that allow performances to flourish. The actor notes that meeting such a director feels like a gift to any artist.
– With two children, does family life temper or fuel the actor’s willingness to take on complex, conspiratorial roles? Does parental curiosity create an extra incentive?
The actor has a 14-year-old daughter and a 10-year-old son, which means questions of influence and upbringing come up often. Parents worry, wonder, and strive to keep dialogue open with their children about difficult issues. The key is transparency and support, allowing conversations to happen without judgment. When it comes to selecting projects, the more complex and controversial a role may be, the more value it can offer in terms of growth and insight.
– In the series “I Loved My Husband,” the hero appears cold toward his wife yet engages in certain intimate acts. Is the actor more drawn to comedy or drama among offered roles?
The actor accepts both comedy and drama with equal enthusiasm. The most important element is the script, followed by a collaboration with the director. A strong story and shared vision can elevate any performance, regardless of genre.
– Tallinn is the actor’s hometown, and 2020 offered limited chances to show that city to the children. Has there been any chance to share the hometown with them since then?
There is a sense of longing for Tallinn. The pandemic interrupted plans, and busy schedules have made travel difficult. Still, there is hope that one day the opportunity will arise to show the children the place where the actor’s roots lie.
– Have there been notable differences or similarities between acting in Tallinn’s theatres and in Russian venues? Is the craft the same, or does the environment alter the performance?
The theatre experience is universal in its core. The magic happens whenever two actors share a stage, whether in Russia or Estonia, under any conditions. The Estonian theatre scene is strong and diverse, with Russian-speaking stages existing within its circles. The craft remains the same—emotion, timing, and connection with the audience—but the context and culture can enrich the process.
– It is remembered how Oleg Pavlovich Tabakov assisted with housing in Moscow, and the stories of mutual aid among colleagues surface. Are there memorable moments of support that stand out?
Tabakov’s generosity is recalled for giving guidance and help—beyond a single apartment loan, he supported many in the troupe and beyond. Gratitude is also extended to others who contributed in smaller but meaningful ways, such as generous gestures from fellow students and early mentors who paved the way for collective growth in the Moscow theatre world.
– The actor has spoken in support of women in cinema across departments, from directing to camera work. With the new series inspired by a popular video game, did the actor watch the first episodes with interest, given Ksenia Sereda’s involvement?
There is a belief in breaking gender stereotypes in the industry. The actor values opportunities where talent, not gender, drives the outcome. About The Last Of Us series, there is curiosity to see Ksenia Sereda’s influence on the episodes, and the actor would gladly watch it when the chance arises.