– Did you enjoy transforming into a fairy-tale figure in the series “Sergius against evil spirits”? Shabbat?
– In my role in “Sergius” I’m not limited to Gorynych the Snake. The character shifts through various forms, which fascinated me. I stepped into different guises. And I love changing it up with prosthetic makeup. Since the days of Viy, when I wore one of the most intricate prosthetics and transformed from a Cossack into a monster, I basically flew in that scene. I enjoy projects that feature bold, even if small, parts. Many viewers won’t recognize me in them, and that is valuable for an actor.
Director Kirill Kuzin and I had wanted to collaborate for years, and finally an opportunity emerged.
– At first, the project was conceived as a series, but it later expanded into a feature film that hit the box office. Is it important to you that “Sergiy” landed in cinemas?
– Of course, more projects are appearing on streaming platforms now, and many series are produced. But watching a film on the big screen mattered to me. Attending the premiere, reconnecting with friends, and hearing fresh ideas from the team provide immediate feedback. I always try to attend cinema premieres to gauge reactions from people whose opinions I value. Studios and audiences share feedback faster in theaters than waiting for platform reviews.
– Do you think Russian filmmakers should place greater emphasis on Russian fairy tales? Why don’t we often see these stories on screen?
– It was easier to buy ready-made content in the past, but the landscape is changing. I believe Russian fairy tales deserve adaptation. I have a young son, and it feels odd that he spends so much time on a tablet. I’m not sure what those cartoons teach him. They often lack motivational content and acts of courage and kindness. When I suggested showing Kolobok to Lyuba’s son, she tried but didn’t engage. More steps are needed. Soviet cartoons can still resonate with modern kids if presented correctly. Encouraging reading bedtime stories can also help.
– Has the participation of Russian actors in foreign projects changed recently? How challenging is it to break into international cinema?
I don’t think the situation has significantly shifted. Only a handful of Russian actors have worked in foreign films, especially Hollywood, largely due to limited industry at home in earlier years. Russian actors living in the United States continue to work, and nothing has fundamentally altered for them.
– You have collaborated with global stars like Quentin Tarantino and Steven Spielberg. What did you learn from them?
I learned to shed any notion of star arrogance. The pros around me do their jobs, and they don’t let fame cloud judgment. Americans might seem cooler, yet there are driven, devoted directors everywhere. Spielberg is brilliant and has crafted many world hits, which fuels his legendary status. Still, there are outstanding directors in every country.
– Have you seen Spielberg’s latest film, The Fabelmans?
– Unfortunately not yet. I don’t have time right now. Filming keeps me busy. I split my days between rehearsals in the theater, travel to St. Petersburg, and frequent flights. Life on the road becomes the norm.
– One of your recent projects is the low-budget Chekago, directed by a debutant. When choosing roles, do you prioritize the director’s experience or the chance to work with newcomers?
– Both matter. Working with first-timers can be especially rewarding. I’ve met many ambitious directors who push bold ideas and craft unexpected moves that seasoned filmmakers might overlook. That freshness is compelling.
– Why did you decide to take part in this project?
– The film clearly touches on a social issue. My son is growing up, and I worry about his future. I want the movie to handle its themes without crossing into harmful territory. Filming took place in Khakassia, where we spent a month and a half on location. It was a remarkable experience—mountains, marble quarries, clear air, rivers, and bears in the distance. Living in such places while shooting was incredibly inspiring. I would welcome a sequel.
— Do you think the geography of cinema has broadened recently? In the past, shoots were mostly in pavilions in Moscow or St. Petersburg, with limited outside locations.
– Yes, filming geography is expanding. Khakassia has become a more common filming destination thanks to its natural beauty, and other regions are opening up as well. I recently spent time in Nalchik with Kavkazfilm studio and enjoyed the local nature, cuisine, and hospitality. Each place has its own flavor, which I love about traveling across Russia.
– I was lucky to be born in the USSR. After serving in the army, a circus job allowed me to travel across the entire Soviet Union, wherever the circus performed. If there was no circus, a tent could pop up even in the Ussuri taiga. This took me to the Baltic States, Kazakhstan, and Uzbekistan.
– You mentioned dealing with injuries in the circus. How about film work? How often do you take on stunts?
– Hollywood taught a valuable lesson: performers rarely do their own stunts. There is a lot of chatter online suggesting many stars do everything themselves, but contracts often require others to take the risk. When I filmed in Hawaii, Spielberg spotted me riding a bike and reminded me of the contract that prohibits on-set stunts. I still enjoy the thrill of action but understand the safety and backup measures are essential.
– How is this viewed in Russia?
– There, the question is often what a performer can do on screen without stunts. I’ve kept a good level of athleticism, including pentathlon, marksmanship, fencing, and horseback riding. Still, there needs to be safeguards. I once convinced Clint Eastwood to let me perform a stunt myself: a high jump from a window onto a mat. He declined at first, but finally allowed it. It felt incredible, though I paid for it with injuries, including a broken collarbone from a fall. These days, the industry could benefit from stronger safety rules. Russia has plenty of skilled stunt professionals, and globally, Russians make up a significant portion of top stunt crews.
– You worked with Jackie Chan in China, and you noted that the local mentality differed. Does this cultural gap affect work dynamics?
– The mentality gap exists everywhere. The Chinese approach, especially on Jackie Chan’s lot, is a different flavor of professionalism. In a previous project, The Secret of the Dragon Seal, the character I played did not speak on screen because he was dead. The filmmakers wondered why and learned the character could not speak. It highlighted how cultural norms shape storytelling on screen. The experience underscored the importance of respecting different filmmaking practices while staying committed to the craft.
– Have you ever wanted to try directing or stepping behind the camera?
– It’s a common dream for actors to explore behind the lens. The path should be travelled with care. I would like to take directing courses, learn the craft thoroughly, and then perhaps make something of my own when time allows. For now, I remain dedicated to acting, but the future could bring a directorial project.