Andrey Zvyagintsev: ''I’ve had a script about the Great Patriotic War since 2008''

The director talked to all people interested in his work during the meeting organised by the Moscow Institute of Psychoanalysis

The author of notorious films like Elena, Leviathan, Loveless started the meeting with his fans with the reasoning whether the modern world had room for miracles and ended with forecasts of development of acting career in the future. He also explained why his films were so gloomy. Realnoe Vremya tells what interested the audience the most and what an outlook on life Andrey Zvyagintsev goes by.

''Who believes in miracles?''

''Do you believe in miracles?'' was the first question from the hall to the director whose Loveless was on the Oscar shortlist.

''Does anyone of you believe in miracles?'' Andrey Zvyagintsev answered the question with a question.

Almost all people in the hall raised their hands – it's such a 'miraculous country'. The director didn't give a direct answer but clearly expressed his opinion by answering another question and calling it good and fundamental: ''Do you believe good wins?'' ''It does.''

One can't say so judging by his films, but it was deliberately designed so.

''I'm convinced if good wins on the screen, it remains a winner there. If a bad character gets what he deserves on the screen, it also remains there. The main job isn't done in the hall. It's better if good wins in our lives, but it's the matter of our choice,'' the director explained.

Scene from Leviathan. Photo:

Spectators want epic

At least one representative of the audience was interested in the question when there would be anything epic, car explosions, sieged fortresses.

''It's not my thing. I don't know as for the cars, of course, but fortresses are scheduled. Do you mean large-scale projects? Any historical reconstruction is a costly idea. I've had a script about the Great Patriotic War since 2008, $15m are needed for it. Meanwhile, I spent $5m on Leviathan. It's obvious that any old-fashioned story is always 2-3 times more expensive,'' Andrey Zvyagintsev told.

But he's afraid not to cope with an action film if something literally epic is needed.

He likes every minute of work

Zvyagintsev's fans were interested in more distracted, philosophic and lofty questions, for instance, what is happiness?

''I won't be talking from a personal perspective, of course, what is happiness for me and what moments are memorable. From a creative perspective, I like absolutely every minute. Even the body changes its shape while working on a film, I'm absolutely happy. Undoubtedly, it becomes tough at times and there is despair, but then the happiness of implementing an idea is expected.''

Scene from Loveless. Photo:

Preparation of the trailer and poster for some country is one of the most difficult moments that arise after the picture is ready because every country has its own specifics of the audience producers and distributors work for.

''I tried to promote my own films, but to make a trailer is like a forced separation. My ideas are often in conflict with what a producer and distributor offer, they consider themselves to be right to present. I prepare for the release of trailers, it's always stress for me. I don't interfere in it any more. I'm responsible for the film and I finish here as soon as I get the perfect copy.''

Absence of thoughts about new technologies

''I never think of new technologies. I believe we will still shoot actors' faces in the future because they can offer new experience.''

Nevertheless, there are such ways that can lay out a director's work differently. Andrey Zvyagintsev remembered that there was a film performance that lasted for no more than 15 minutes in one of the most modern US cinemas. The film told about the migration of citizens of Mexico to America as illustratively as possible. The spectators who weren't many were gathered in a small absolutely black room. It was important everybody was barefooted. Then there were alarm sounds, opened gates where the crowd pushed to, symbolic shooting that sounded naturally. In the end, Andrey Zvyagintsev recalled that the spectators told how many times they had been 'shot'. Then the problem arises in front of them in a different way.

By Yuliya Kosolapkina

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