Interviewer and Director Discuss the Fourth Season of Pregnancy Test
From the perspective of the fourth season’s director, the reveal of his name surprised many. Why did he choose to participate in the project?
He admits it wasn’t an immediate yes. He needed time to think, then decided to take a chance. The core appeal lay in the script’s characters and destinies, ensuring the plot carried more than a single thread — it wasn’t just a surface tale. With that conviction, he chose to proceed.
“Pregnancy Test” centers on the fate of women and childbearing. Some men might find the topic daunting. Was there any fear about tackling such a story?
Fear was absent. As a father of many children who has witnessed births up close, he felt a personal connection rather than fear. He saw birth as a lived experience rather than a distant topic.
Was it challenging to work on a medical project? Have some actors ever known more about medicine than he does after years in the role? They’ve immersed themselves since season one, after all.
He grew up around medicine because his mother was a pediatrician. He often came to work when others could not. Yet he remains a director, not a doctor, and consultants offered crucial help. The fourth-season cast sometimes knew more about medical details and guided the shoot with their expertise.
Is it difficult to start work on a project with an established ensemble of actors?
It compares to welcoming a new football manager. The key is early, open communication: letting the artists know they are heard, that someone is listening, and that collaboration can replace fear of the unknown.
During the series, did he take a break from more demanding projects such as “Once Upon a Time Deniz Gets Worried”?
Not a holiday, but a different kind of challenge. The production of “Pregnancy Test” is a distinct shooting process, highly intricate and demanding. In some respects, it proved tougher than author-driven cinema.
Did he make too many edits to the “Pregnancy Test” script?
The script is central to the film’s life. No matter how skilled the director, a play with flawed dramaturgy and stilted dialogue struggles to come to life. Edits happened — driven by him and the creative producers, alongside the lead actor who has carried the character through three seasons. The result is a fresh story that still sits within the series’ established universe.
Viewing feedback on social media, some audiences feel the show shifts toward personal lives rather than focusing on illness stories. Is that balance achieved?
Patient stories and doctors’ personal lives are both essential to the series. The challenge is to discover a golden mean in each season, explaining both doctors and patients with credible dramaturgy. That balance remains a guiding objective.
Was any portion of the production shot in operating theatres?
The bulk of filming occurred in a Mosfilm pavilion housing offices, dressing rooms, and medical facilities. A portion took place in real operating rooms because modern clinics rarely offer such equipment. The hospital staff supported the project, attracted by its devoted fan base, and their collaboration proved invaluable.
Looking ahead, one upcoming project is the series “The End,” in which he collaborates with Alexei Serebryakov and Anna Ardova. What is this narrative, and what stage is it in?
Before “Pregnancy Test,” he completed filming a project titled “Son.” A strong creative collaboration between Alexei Serebryakov and Anya Ardova, the project is in post-production with completion anticipated in the next couple of months. Audiences are expected to see the series soon.
The script of “The Son” was written by Arif Aliyev. How did he decide to work together?
Scripts were refined with Arif Aliyev because the series, as offered, arrived already drafted. Modifications were necessary to tailor it for the project, to reinforce certain elements. Working with Arif proved highly rewarding.
Is he more inclined to direct feature films or TV series? What’s his take on enduring audience interest in the serial format?
He has found TV series directing increasingly engaging. They offer variety and flexibility — copyright considerations, for example — and in a series one can explore destinies and character arcs more deeply than in cinema alone.
There has been critique about theater institutions. Why does he view them as problematic for actors?
There are certainly gaps in many theater schools, with teachers who do not impart lasting skills. Young actors often learn to perform in a way that needs correction on set. As for directing, he has taught workshops that emphasize life experience, ensuring people do not just fall in love with cinema but also gain real-world perspective. Early assignments often focused on documentary sketches to build authenticity.
With nearly two decades of work, does he manage his workload carefully?
Not by accident. He stays busy, juggling multiple projects across different genres. Currently, there are four series in progress: Dragon Syndrome, The Secret of the City, Pregnancy Test, and The Only Son, along with various feature projects. He always seeks something new and meaningful, rather than chasing time-wasting roles. Some projects take longer, but he aims to pursue opportunities that feel fresh and valuable.
Does he watch a lot of modern cinema at home?
Not as much as he once did. Time is limited, and he prefers to avoid pitting one form of cinema against another. He values the broader landscape of domestic filmmaking and respects the work in progress across both contemporary and classic cinema.
Besides the above, what else is in development?
A sizable project is developing in St. Petersburg, described as a historical series about the city. This project represents a different facet of storytelling and a new stage of exploration for the team. [Interviewer notes and context attributed to the interview panel. Source: internal interview materials.]