Girl makes a deal with her demons in Wendell & Wilde trailer

Girl makes a deal with her demons in Wendell & Wilde trailer


ABOUT THE INITIAL DATA OF ACTORS

– To be an actor, you need to be able to laugh, and cry in a second, you need a very mobile psyche. I have her just like that. At work, this is great, but in life it is sometimes very difficult to manage this energy. I think all creative people – not just actors – learn to live with it. My friend Igor Vavilov said somewhere right after the Cannes Film Festival: “Alena, you will have a very difficult period and depression.” He called it the “crisis of twenty-five”. I thought: I will already be 27, 25 has passed, and in general he is talking some kind of nonsense. I laughed and thought, what a fool. After all, everything is in order with me, life is just beginning, there are so many interesting things ahead. But in the end Igor was right. I faced a difficult period when you can’t do it in the old way, but you don’t know how to do it in a new way.

ABOUT PERSONAL CHANGES

– I understand that I would like to not only play, but also create something. There is no specific idea yet, but there is momentum. I am interested in many things, but everywhere it is important to gain experience. The other day we met with my agent Natasha Gneusheva – I like her work. I like to negotiate, connect someone with someone, sometimes send someone three letters (it can be nice). Before, I always wanted to be good, comfortable, but now I just want to be myself. I didn’t understand at all what personal boundaries were and what they were eaten with. Luckily this phase is over. I like it when they offer a role, and I see that it’s not me who is suitable for it, but someone else, and I know who and I can offer this person.

ABOUT THE CLOSING OF THE GOGOL CENTER

– It was one of my favorite places. I was there preparing for Antonina from Tchaikovsky’s Wife, I came to Andrey Polyakov to play the piano. I could just come to a concert, sit, for someone’s birthday. In general, my first acquaintance with the Gogol Center happened when Sasha Gorchilin invited me to Anton Sevidov’s video. A very long time ago, when I just moved (from Perm. – Approx. ed.). Then I began to get acquainted with the guys and still could not understand why they spoke so enthusiastically about Cyril. It seemed to me that they were all a little … Well, yes, Kirill is cool, but I somehow calmly treated this then. Then I realized: only when you work with him, it becomes clear what an incredible person he is, an incredible personality. He is so multifaceted, you want to communicate with him all the time, create, interact. He never makes a blunder. Always gives all the best, no matter – in the movies, on stage, in advertising. Everything is creativity. In this he is, without a doubt, a landmark for me. It is important to invest all your strength in what you love and believe in. It’s sad when people don’t do what they love. Because from this they are unhappy themselves and make others unhappy. And, of course, it is sad that the Gogol Center has closed. I was at the play “Take care of your faces”, which closed the season and the theater in general. Some were crying, I was crying too. And after these tears at the closing party, I danced like never before, I was happy that I was among them, that I knew all these people, that fate brought me together with them, that they are insanely talented, different, unique, different, free. This theater was created by people. And if you close this place, then these people will not stop creating, they will still do something. And I look up to them.

ABOUT INVITATION TO TCHAIKOVSKY’S WIFE

– I was in Mexico a year and a half ago, in the winter, then I cut my hair very, very short, almost bald. My boyfriend and I were bitten by ticks, I got sick, there was a suspicion of Lyme disease, but we could not go to the hospital – the coronavirus epidemic was in full swing. And my friend the makeup artist sends a letter: Kirill will shoot the project – please send a photo. I send a photo with a short haircut, she replies: “Alena, I’m sorry. The project is the 19th century, you are not suitable for us. And I think: I’m a fool, I lost the role, why did I do this at all? Well, I sat for a day or two, got upset, and then let go of the situation and thought: it means I don’t need it, it’s not mine. At that moment, I had not read the script yet, they had not sent me anything. And then two or three months later I returned to Moscow, and I was asked to come to try at the very last moment, when they had already tried everyone, everyone. I read the script just avidly, swallowed it overnight. I cried on almost every stage. I was reading, and my boyfriend was sitting next to me and listening to my comments: “Lord, Misha, it’s like this, and then it gets worse… And it gets even worse… Lord, how is she, poor…” I just didn’t understand how to play it, in principle didn’t know what to do with it. Three days I studied auditions, four scenes. I came, I tried – and Kirill approved me.

ABOUT WORKING ON THE ROLE OF THE COMPOSER’S WIFE

– Of course, playing a role, you always pull out some personal experience that you can rely on. In fact, I was just as crazy at eighteen or nineteen. I had a very complicated love story in Perm, where I am still not ready to come again. I was in love with the boy, the boy was also in love with me, but for some reason it was simply impossible for us to be together, and then it was simply impossible to understand: how, why, how is it even possible to part? You think I love a man, why can’t I be with him? And you just can’t. And it does not depend on you. That is, I had where to get this difficult experience. As a result, it seems to me that hopeless love can still be a bright feeling. When I was preparing for this project for a month and a half, learning to play the piano, reading these notes of my heroine from a lunatic asylum, I became very closed, I didn’t go anywhere, I even began to be afraid of people, it was very difficult psychologically. But when the shooting began, lightness came. I stopped evaluating myself in any way. In previous roles, I somehow evaluated myself all the time: what I was doing, whether the director would like it, whether the audience would like it. And then I had no control over anything. I have a feeling that I did not play the role, but lived her life. When you live inside a character, it’s easy for you.

ABOUT KIRILL SEREBRNIKOV

– With Cyril, for the most part, we understood each other without words. In some ways, he corrected, somewhere I came up and asked: maybe I should turn it down here, but here it’s like this. But in general, everything was born by itself. It is also important that we filmed almost all the scenes in chronology, in the order in which they go according to the script. This happens extremely rarely, more precisely, this practically does not happen in the cinema. How is it usually? Today the eighth series, tomorrow the first, on the same day – the sixth, fourth, third, some scenes; terrible confusion. And then it turned out to live in stages: to fall in love, to be fascinated, to be disappointed, to remain in this illusion of being in love, to get stuck in this time.

ABOUT “SECRETS OF FAMILY LIFE”

– This, of course, is a completely different filming experience than working on Serebrennikov’s film, but also an important one. I really liked the script, I love black humor. We still don’t have a lot of great comedies that really make you want to laugh, not yawn while being bombarded with stupid jokes. Well, when I read this script, I myself wanted to try my hand at comedy for the first time. Before that, I did not agree, but here the task aroused genuine interest. With my heroine Polina, we have one hundred percent common ground. As for the second season, I see justice in the fact that morality has nevertheless caught up with the heroes. Some kind of punishment awaits them. It becomes clear: they cannot just endlessly create whatever they want. Everything has opposition. And then the comedy, of course, ends, it becomes almost unfunny. It seems to me that I myself can take any comedy into a drama, but here the script was like this, honestly.

(“Kinopoisk”, 10.10.2022)



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