During preparation for filming, was there a desire to glance back at anything from the 2002 series, or did the team intentionally build the new characters without consulting that movie adaptation?
Vladislav Tiron admits there was a pull to peek, yet he chose restraint. He watched only half of the first episode and then moved on to a film about a film. The team felt no need to reuse material from the 2002 series. The new project was conceived two decades later, under different circumstances with a fresh perspective on Boris Akunin’s book. The goal was to focus on the script and avoid comparisons that might skew the current interpretation.
At one point, Tiron began rereading Azazel, but director Nurbek Egen advised him to distance himself from even a literary source. The emphasis was on the adaptation in front of them rather than past iterations.
Mila Ersova notes that before the premiere, her mentor Konstantin Arkadyevich Raikin taught the cast not to compare their work with other actors. He urged students not to watch performances elsewhere, to avoid copying and misdirected readings. Everyone brings their own interpretation, analysis, and process. The cast spent considerable time with Azazel, yet Nurbek recommended sticking to the script rather than rereading the book right before shooting. The aim was a focused, contemporary portrayal rather than a repetition of what already exists.
Vladislav is asked about how the heroine stands apart from other Fandorins seen on screen and from the literary model. How did the screenwriters’ choices shape this image?
Tyrone believes the writers illuminate Fandorin’s past and his relationship with his father more than the novels do. This focus has a significant impact on the portrayal of Fandorin. The adaptation provides flashbacks that reveal how the drama of a troubled childhood shapes his adult self. The fear of forming intimate bonds becomes a central element, influencing how he relates to others. In this series, Fandorin’s circle includes Grushin, who mentors him at first, and Lisa, the woman he longs for but fears losing to his own emotional barricades.
Ershov adds that Lisa’s place in the story reflects a shift from the book. In the original, Lisa is often seen with her grandmother, but the drama’s modern setting makes that dynamic less plausible. Thus, the groom stands in for the grandmother, introducing new obstacles for Fandorin. Lisa’s long relationship with her fiancé since their ninth grade adds another layer of complication and pushes the hero to act more decisively.
When asked to interpret Lisa’s interest in Fandorin, the actors describe her as a rich but restless young woman seeking adventure. Her attraction is sparked by a desire for life’s unpredictability, a contrast to a life that has been carefully planned. Fandorin’s appeal lies in an awakening of his own sense of possibility, a spark he has kept hidden beneath a composed exterior. The dynamic between Lisa and Fandorin embodies a clash of personalities that creates tension and tension fuels the relationship.
One of the most intense scenes involves Fandorin’s shootout with Zurov, portrayed by Artem Bystrov. The actors recount the emotional and physical preparation for this moment, which marks a pivotal shift for Fandorin as he confronts death in a direct, personal way. The scene reveals an inner truth about the character, a rare glimpse of vulnerability and spontaneity in his behavior.
Ershov notes that this sequence is a personal favorite. It showcases Fandorin’s inner world finally coming to the surface, a revelation that resonates with the audience and deepens the character’s arc.
When pondering the most challenging scenes for Mila, she cites the moment when Lisa’s fiancé, Gleb, proposes in a restaurant. Although the scene was compelling on paper, it did not always translate on set. The actor felt a more nuanced resolution could have offered a deeper, more satisfying moment of emotional truth.
Fan easter eggs surface for observant viewers, such as books with chapter titles from a novel visible in the frame. The cast is occasionally asked about other hidden nods to the source material, though they acknowledge that only the authors might fully explain these references.
Regarding Boris Akunin’s favorite Fandorin novels and his preferred screen adaptations, Tyrone leans toward Leviathan as a favorite hermetic detective tale. Ershov agrees, naming Leviathan along with Diamond Chariot as top picks.
As for the most compelling on-screen Fandorin, Tyrone expresses admiration for Menshikov’s portrayal and the moment in which Fandorin’s life begins to transform. Reading the Council of State, he felt a harmonious alignment with the character as imagined, noticing how a seemingly robotic exterior could still carry a fierce inner fire—an essence that echoes the Fandorin first encountered in Azazel. Ershov also holds praise for Oleg Menshikov in the role and highlights a DVD performance that left a lasting impression.
Boris Akunin has publicly noted his approval of the script years before the series aired, though he waited for the entire project to be released. The actors share a wish that he would recognize the faith shown by the team and the characters they have brought to life. They believe a shared belief in the portrayal would be a gratifying outcome for all involved.
Ultimately, the conversation centers on fidelity to the core characters while allowing them to evolve within a new context. The performers cherish a balance between honoring Akunin’s creations and delivering a fresh, contemporary interpretation that resonates with today’s audiences.