The Family Interview: Insights on Roles, Set Life, and the Craft

Tell us what draws you to The Family, and which role you play in the series? How close is your character to you as a person?

The project hooked him with sharp, well-written dialogue, light humor, and brisk, lively exchanges. His hero is the eldest son in the family, a grown man with his own life. He works as a sales manager, and his wife tends to crumble under pressure. In terms of personality, the character is not a mirror of him. He is bold and quick to act, especially when it comes to safeguarding his pregnant wife. Yet his actions often feel self-directed. He can be selfish, but he also tries to show care for others. It likely stems from the idea that the first child in a family is cherished most by the parents.

What was the atmosphere like on set? Did the cast become close enough to feel like a real family?

Mostly yes. They laughed constantly and kept the mood light. The pilot was filmed two years ago, but a year of pandemic interruption followed. They resumed with a season that spanned from mid-summer to autumn. During that time, the crew found their rhythm together. He had known Seryozha Udovik for a long time and met Elena Valyushkina on set. Elena was easygoing, sociable, and self-deprecating, which made working with her effortless.

Tolstoy once wrote that all happy families are alike, while every unhappy family is unhappy in its own way. Do you buy that idea? Can the series be described as showing every family happy in its own way?

He wouldn’t claim to interpret Tolstoy’s thoughts, but this family reads as genuinely content. Regardless of disputes, love and understanding prevail in their dynamic.

The show was produced in an Almanac format, weaving together four distinct family stories. How does the series mirror the everyday life of Russian families? Is there a more idealized portrayal than reality?

In some respects, the family feels relatable, though the comedy tilts the balance. There are real-life equivalents that the show nods to, but with its own distinctive color and tone.

One plot follows a young couple preparing to welcome a new member into the family, with the father showing a level of responsibility that sometimes outpaces the mother. Do you ever want to convey an alternative view where the father figure is less present?

The hero worries a lot and fears he might not be ready. He doesn’t want to spoil the moment, but it becomes clear as the series progresses that he isn’t meant to be shown as a perfect parent. The project’s intent wasn’t to redefine fatherhood, because the character wasn’t written that way.

Are there family traditions in your own life?

Like many post-Soviet families, they celebrate New Year and Easter together, gathering around a large table. Growing up in the countryside, he recalls simple barbecues and meat on the grill, rather than elaborate rituals.

Several roles in his filmography revolve around finding a family and escaping loneliness, including The Big Top Show and Heart of the World. How does he choose projects?

There’s no rigid rule. Time and cinema have changed him since those earlier projects. The Big Top Show felt like a celebration; Seryozha Loban invited him to shoot in Crimea for three months. Heart of the World presented a separate story, with the script co-authored by his wife, Natalya Meshchaninova. While working on it, he did not view it through the lens of his earlier work.

He once shared that he studied as a veterinarian before attending the Moscow Art Theater School, and that experience did inform his work on Heart of the World. But for a given role, it is a different matter entirely.

Would he dare to take on a wildly unconventional project?

He wouldn’t go to space or join a reality show in Africa, as these formats aren’t his thing. He prefers acting to be a true craft, not a spectacle. When naming his on-screen personas, he separates them from real life—Stepa Devonin, Yegor from Heart of the World, and Nikita from The Big Top Show. As for stunts, there’s no desire to hire a stunt double when it can be avoided.

Which Russian cinema hero is still missing in his view?

There aren’t enough fresh faces in cinema, new kinds of heroes waiting to be explored—the devil knows what form they’ll take.

Is there a taboo in the profession, such as taking on ethically troubling roles?

He doesn’t believe in restrictions for roles or character types. He has played some controversial figures, including one of the more unforgiving characters in Natalia Meshchaninova’s new film. In his view, art stands apart from moral judgments.

Which director would he like to work with in the future?

With many filmmakers, if an agreement can be reached. He avoids naming specific names to spare others’ feelings or to avoid unintentionally omitting someone important. If he mentions someone now, he risks forgetting another collaborator later.

With recent events sparking concerns about the film industry in the country, what initiatives could help?

The industry is in a cautious phase with producers uncertain about what lies ahead. A comeback is possible, both for cinema and for television, but how the landscape will evolve remains unclear. He clings to faith that things will return, believing that perseverance is part of the craft.

What is his take on cancellation culture? Should an actor be judged by their work rather than by personal life?

He thinks judging actors by private life is misguided. The media environment often blends art and politics, which should stay separate. An actor’s job is to deliver performances that resonate with audiences, not to discuss personal beliefs in every moment.

Among his many memorable roles—Vertinsky, The Big Top Show, Mir! Friendship! Chewing Gum! Kidney—which performance stands out as the most meaningful to him?

What matters is the moment when a role aligns with the actor’s instincts. The mix of misses and hits often defines a performance’s impact. He notes that his public exposure grew after Heart of the World, but his earlier work in theater briefly faded from memory. The discovery of Natasha’s Heart of the World gave him another chance; if he hadn’t delivered, he might have had to look for another line of work.