Your new film had to reward weight epithets from absurdist parables to vyrviglaznogo kitsch.
Andrew Proshkin: Both are true, I think (laughs). You see, I myself do not think about what kind of definition to what I took. For me, there are basic just two words – grotesque and absurd. That is something on which everything inside the “Orleans” holds.
Then why to implement this plan writer Yuri Arabova you’ll need is grotesque and absurd?
Andrew Proshkin: They are incorporated in the thing itself: in the scenario Arabova, and in the novel on which the script is written. The director does not have to follow the path that points him screenwriter. But I’m just this way in this case and the possibility. Subtle eclectic genre very accurately describes the current time – this for me has been one of the main lures.
Do you think theater of the absurd – is a topical realism?
Andrew Proshkin: Yes, of course.
Then what inspired you when you were shooting in extremely duhopodemnuyu “Horde”? Time is not much changed.
Andrew Proshkin: Well, first of all, in the “Horde” absurd too, just not to the same concentration. Second, five years ago, the time was, of course, different. It seems to be the same, but with different degrees and with different intonation. In my opinion, a rollicking absurd permeated everything in life, some irrational centrifugal forces strengthened considerably.
“Orleans” goes, topical picture?
Andrew Proshkin: No, I do not think “Orleans” burning. At least, those are not reflected. Although there is a scathing phrase, which produce the effect on the audience. I they do not fit specifically, it was in the script, which was written five years ago.
It seemed to me, in the “Orleans” shows how artists valiantly fighting with text that sometimes looks too literary.
Andrew Proshkin: Here you can see, but I think that the artists that we have in the movie, just find a way of being in this scenario. Although the samples to the “Orleans” faced with the fact that even good actors have broken the teeth of the multi-stage design. But I like to work with complex texts.
A few years ago I was doing, “Minnesota” scripted Mindadze. It was a very specific text in which the actors had to just learn to live – to change anything in it, I shall be prohibited. Well then, it would seem, is “zasurdinit” it and bring it all to the everyday conversation? But in this case all is lost – and the idea, and the sharpness and artistic task.
Is it true that Arabova not like your “Horde” (filmed in his case), and you were not delighted with the text written by him “Orleans”?
Andrew Proshkin: And that, and another, and the truth, and not simultaneously. When we did the “Horde”, there was quite idiotic story. I was forced to show Arabova half finished work installation – the installation of his guard. I was hurt: It is clear also that the outcome will be different. Tarkovsky once showed Tonino Guerra installation “Nostalgia” and was furious: he really does not understand that looked semi-finished ?! And the film eventually Yura liked, and he immediately offered me the script, “which everyone is afraid”.
By the time I read his novel “Orleans”, and was delighted. Realizing that the script on the same novel, was about to give up. But suddenly I got a grasp, and …
Many people will want to discuss the parallels with “Master and Margarita”, which are present there deliberately …
Andrei Proshkin: These parallels are incorporated in the story. But there are many echoes of parody and other books, why discerned only Bulgakov, I do not understand.
However, fans of “The Master and Margarita” may bring you a bill. Ready?
Andrew Proshkin: It’s fine if they watch a movie. The response is positive and negative, polite and rude … But the most sad when there is no response at all.
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