— Andrey, did you enjoy today’s public speech? Do you take something away from such meetings, or are they all alike in the end?
“They can be the same and different at once.” The speaker explains that the moment you start teaching, you begin to truly understand how a screenwriter works. Until the principles are voiced, they float around in the mind but never take concrete form. Verbal narration makes the ideas tangible. This kind of social engagement is essential to connect regional audiences to the craft. The film industry can thrive in a specific region, not only in Moscow. Not everyone must rush to the capital to become a great screenwriter. Great writers can come from anywhere, even the Arctic. This is a crucial point to share with regional audiences.
— Tell us about the role at the Sixth Film Festival. How does the script lab function?
“The aim is an intensive course where the rules of the game are laid out in clear terms. It is brief but thorough. Participants attend lectures, compose papers, revise earlier work, and receive plentiful feedback from the mentor. Most importantly, they gain insights from their peers as well.
Because it isn’t just about the mentor speaking; the feedback from colleagues matters greatly. The emotional reaction of the audience to the work is a vital element.
— How is this year’s finalists’ work evaluated? Was anything particularly striking?
– The evaluation is straightforward. Academic papers are reviewed, crossed out where needed, and moved on. The papers serve as a passport to the profession, demonstrating the ability to write. With these works, participants can pursue whatever path they choose.
– Is there room for surprise? What conditions must align for a big moment of wonder?
– Surprises happen often. Readers encounter wonderful, fresh, unexpected scenarios. Crafting a new story is not a solitary exercise; fatigue can show up as projects drag on and ideas stall. Yet new prompts and topics appear regularly. Memory is short, and what feels new today often seems different tomorrow. Still, the emotional charge persists. Sometimes, themes and meanings never seen before emerge in the process.
— The script lab notes that students should avoid topics like guns, violence, or suicide. Where does the best starting point lie?
– With blunt subjects. Any beginner, at first, tends to insert the sharpest weapon to spark conflict. A script becomes a conflict zone. If conflict can’t be created without a weapon, there is a problem in the writing. A student must first master the art of dramaturgy before any gun can appear in the script.
There have been legendary writers in literature who crafted multi-volume conflicts without relying on weaponized action. A single, meaningful story arc can arise from everyday situations, such as relatives visiting or decisions about family matters. That is the essence of dramaturgy, and that is what a student should learn before handling more dramatic devices.
— Why is it essential for the creator to also teach and pass on knowledge, not just create?
— Because speaking ideas aloud clarifies thinking for the writer themselves. And there is a practical reason as well. A calm community of scriptwriters strengthens the field; good films boost the reputation of national cinema. The aim is not to undermine peers but to support a shared mission: encourage audiences to go to the cinema, not to the bar. A steady stream of quality films is the goal.
— Why does the screenwriting profession feel rare, and what frightens potential applicants?
– There is a general misperception about the craft. Many entering film schools know more about directing or producing than about writing. Screenwriters often appear less visible because they have fewer media-facing roles. This low awareness acts as a barrier to entry.
— You mentioned that you don’t believe in books that teach how to write screenplays. How is screenwriting taught then?
— Dramaturgy guides the process, and revising finished texts is essential. Writing is not something learned from a single book. There are books that point out where the script has problems and how to fix them.
— You once noted the adrenaline from last-minute work. Is it worth fighting that impulse?
– Costs, he says with a smile. Can one truly fight it?
– No.
— Why do mysticism and fairy tales draw interest today, and could they distance audiences from reality?
– They can distance audiences, yet they remain compelling. Mystic genres offer escapism and have enduring appeal. People are drawn to the magic of turning nothing into something and to the sense that life offers more than everyday reality. That hunger keeps mystical topics relevant.
— When creating the script for a project titled 100 Years Ahead, was the process guided by the actors, who were chosen quite organically? What was the experience really like?
— The writing came first, and then the material was adapted to fit the actors. Actors were cast after the script was in place, ensuring a strong alignment with performance needs.
— Are the director’s or producer’s views ever considered when selecting cast?
— The team consulted the planner and respected professional collaborations. The writers are aware of who is involved, and there is confidence that the right performers will be in place. Collaboration remains essential, and decisions are made with professional judgment in mind.
— There was talk about a mystical series set in Yekaterinburg and the importance of shooting in regional locations. Why not choose cheaper or more familiar settings in Moscow or St. Petersburg?
– Stories need a grounded sense of place. Viewers want authenticity, not a vague backdrop. A mystical story benefits from being anchored to a concrete location with identifiable streets and homes in a real city. Yekaterinburg, with its film studio and growing opportunities, is seen as a valuable hub. The region deserves strong cinematic support.
— Have you visited places beyond the Urals for shoots? Any plans for Kamchatka or the Far East?
– Yes, frequent trips to Kamchatka and Vladivostok have occurred. A recent feature was filmed in Vladivostok, and there are plans for shoots in Kamchatka as well. The regional diversity enriches the work.
— If given the chance, would there be a continuation of the project Oğlanın Sözü?
– That remains undisclosed. The producers will decide, and it is not something to discuss openly.
— How did the idea for a Kazan gangs story originate?
— A collaborator presented the concept, sparking curiosity. The narrator felt drawn to explore a world where values are tested and where outsiders navigate survival. Reading another author’s book opened a path to a deeper, compelling space for storytelling about those who feel cut off from mainstream values.
— What about the unmade project Russian Five? What about its emotional resonance?
— The characters felt vibrant and alive. The story of how this team helped redefine the sport is powerful. It’s a drama about people uprooted from their homeland, accused of betrayal, yet carrying cultural identity forward in a way that resonates beyond the ice and arena. The human stakes are what linger.
— Recently, young Russian tennis talents won silver at the Olympics under a neutral flag, while there was controversy around media access and language. How does the speaker view this situation and the restrictions in international sports?
“This reality is surprising and telling. Competitive sports have long symbolized the hope to halt wars. Yet sports also celebrate competition and strength. The effort to isolate Russia on the world stage, while promoting the sport itself, can paradoxically heighten tension. It reflects a broader trend of miscommunication and frustration rather than a simple moral stance. The aim remains clear: encourage a healthier global sports culture while acknowledging the complexities involved.”
— As for the prospect of turning the tennis narrative into a film, is it on the horizon?
– The answer isn’t settled. The conditions around such a project hold potential, but decisions hinge on many moving parts.