Ruzil Minekaev recently shared details from an interview with blogger Nadezhda Strelets, revealing that a financial push from his mother helped him pursue his dream of moving to Moscow. He explained that his mother lent him 110 thousand rubles to establish himself in the Russian capital, a sum that supported him during a crucial transition. When he arrived in Moscow, the city did not greet him with open arms. He describes a tough start, renting a modest room with a roommate who was often under the influence, and working two jobs every week to keep things afloat. Minekaev relocated to the city in 2019 after enrolling in the correspondence faculty at GITIS, a decision that shaped his path in the performing arts and provided him with a flexible schedule to pursue acting opportunities.
Speaking about his early days, Minekaev reflected on the inherent challenges of starting anew in a city as vast as Moscow. He observed that the sense of camaraderie within the acting community grew slowly, and the road to professional reliability required persistence. He noted that his initial experiences were marked by a sense of caution and a determination to prove himself, rather than an easy ascent. The actor emphasized that personal perseverance played a central role in adjusting to life in the capital and laying the groundwork for future roles.
Minekaev found wider recognition through his portrayal of Marat in the television series The Boy’s Word, directed by Zhora Kryzhovnikov. The character resonated with audiences, and the show became a notable reference point in his acting career. The phrase There’s blood on the asphalt, associated with the series, underscored the gritty mood and stark storytelling that characterized the project. This role helped solidify Minekaev’s presence on screen and opened doors to further cinematic and television opportunities, reinforcing his status as a rising talent in contemporary Russian cinema.
In February, director Zhora Kryzhovnikov, known for his work on The Boy’s Word, spoke about the creative ambitions surrounding the project. He shared that the team had envisioned three full seasons, each exploring a different year: 1989, 1991, and 1993. The idea was to weave a series of interconnected stories that could be mined from these distinct periods, offering audiences a rich tapestry of social and historical textures. Kryzhovnikov noted that while there were many compelling narratives tied to these eras, he had decided to pause work on The Boy’s Word for the time being, allowing room for reflection and new ideas before resuming production.
Earlier discussions from Minekaev highlighted concerns about the direction of the second season and its potential impact on the show’s legacy. He suggested that the continuation might risk destabilizing the established tone and dynamic that fans had come to expect. The actor’s comments reflect the delicate balance between expanding a beloved series and preserving the integrity of its storytelling, a tension familiar to many actors as they navigate evolving projects and creative partnerships in a demanding industry.