– Did you speak with Larisa Savitskaya? How would you describe your memory of that conversation?
– Savitskaya attended the shoot, though there wasn’t a close personal connection. He comes across as an ordinary person who is bright, open, and kind. There was no sign of a heavy burden or grim fate. The film, in many ways, explores the idea that faith and love can save any ordinary person.
– Why was Savitskaya on set as a consultant, given that the story has already been told and studied?
– It matters because someone who lived the experience can offer guidance to the writers. A screenplay remains a work of fiction built around a core idea. When a firsthand perspective is available, it becomes priceless.
– Tell us about your character, Knyazev, a KGB officer from Moscow. What is his role in the story?
– He is a well-educated, service-minded man, part of a large system that combines bureaucratic and military-political machinery. He arrives to investigate what happened and, of course, never imagines that anyone would survive such a collision.
Do you know how the plane crash scene was filmed?
– The crash sequence received a lot of focus. A spacious pavilion was built to reproduce the crash scene in intricate detail over a long period. He did not witness it live, as his participation was limited to the scenes showing the plane crash investigation.
– How many days were spent in the Ural taiga for these scenes, and what stands out about working in the forest?
– It’s difficult to pin down the exact number of days after so long, but the shoot took place in the Perm Territory, celebrated for its hospitable and breathtaking nature. A helicopter ride over vast Permian rivers and lush forests left a lasting impression. That is one of cinema’s strengths—what can be done on screen often surpasses real life.
– The director, Dmitry Suvorov, noted that the production moved to the Amur Region due to the cutting down of a large forest area. Some visitors who recently toured the crash site described the taiga as impassable. Was distance from Moscow another factor in choosing locations?
– The film World Champion is set in the Philippines, not the Philippines. Yet, it is a reminder that filmmaking hinges on production logistics and the ability to shoot in specific places. The Amur Territory lies much farther from Perm, and travels like Blagoveshchensk or Vladivostok add complexity. Refusing to shoot near the true crash site also ties to transporting actors and equipment efficiently.
– You mentioned recently that you did not participate in Roman Polanski’s The Palace due to the difficulties of navigating Europe. What role were you to play, and how important was it to you?
– The plan was to appear in one of the few short stories portraying Russian men negotiating with an ambassador during a political transition in the year 2000. While the role would have been interesting to study abroad, it never came to be, and that is acceptable. Opportunities sometimes slip by, and life continues.
– Media reports later stated that Alexander Petrov would appear in the film abroad. Why not him and what about working overseas?
– Petrov had the chance to participate without hindrance to the production, avoiding repeated cross-country travel. For him, the schedule at the Vakhtangov Theater allows performances on multiple days, making frequent travel impractical. Border closures and flight cancellations only added to the challenge.
– How would you assess the state of Russian cinema amid the cancellation of foreign premieres?
– The industry can thrive without foreign invitations. If this discussion had happened fifteen years ago, there might have been a sense of scarcity. Today Russian cinema covers every genre—children’s films, drama, comedy, horror. After years of looking westward, it may be time to define a clearer national voice.
[Citations: Attribution to the interview source and participants.]