Yegor Andreyevich, how in your life did this project?
Yegor Konchalovsky: Initially they were engaged in Stanislav Govorukhin in his film Studio “the Vertical”. There was found a budget and had already run. But Stanislav died, and offered me a project to complete, giving full freedom to work with the script. So my author Alexey Poyarkov pretty deep already “under me”, reworked the story based on the theme that interested me. I mean not just the eternal conflict of fathers and children, and the confrontation of generations, who seemingly speak the same language, but think completely different. I wanted to try to understand who are these people who were born in the 21st century, and which, in the end, in 5-10 years will make the key decisions in our country.
Yegor Konchalovsky: I, too, was a major
what, in your opinion, the main difference between your generation X and the current generation Z?
Yegor Konchalovsky: first, we were the first capitalist generation, and once in the new economy, in fact, abandoned their children. We found it easier to “pay off” from them. In a sense, we lost them. These problems are exacerbated by the historical breakdown, when in 90-e years have destroyed the old values and the new one is still painfully born. And my generation, the generation of fathers, formed in the 90-ies, in moral terms, too, was lost… This is another story. And the other is the changed model of socialization. It is the generation of the XXI century to fully confronted with the ambivalence of the modern world. There is a physical reality, where you have to study, to work, to protect themselves. And virtual whichI’m not less, and even more responsible for phobias, complexes of the man, for his actions. This reality is aggressive, obsessive, and to oppose virtual communities sometimes more difficult than the present society.
In the film you showed archetypal situation, when a young man takes on the iPhone found in the woods dead. What is inherent in human nature that seeing the accident, the fire, he immediately pulls out the camera?
Yegor Konchalovsky: Yes, we are bewitched by the troubles, disasters, when we are sitting comfortably on his sofa. The main idea behind this: “it’s good that this horror didn’t happen to me”. In General, when thinking about human nature, I am inclined to believe the theory that Homo sapiens were able to transmit thoughts at a distance, like dolphins. But unlike the dolphins we have gradually lost this ability. People getting worse and he needed to hide his mind, his true self. And sublimina lost this ability, people eventually invented the Internet, which offers a direct access to the thoughts of users. It turns out that people still came to the openness of his brain, but through the technique. Sometimes it is enough just to see pictures, which puts people on instagram in order to understand what it is. On the other hand, in this devil’s the beauty of social networks that you can see his real face as much as you need to. Or even to create an image that does not match the true. But the main curse of the Internet is that if you’re not in it, then you cease to exist for others. Gleb, our hero goes through this test.
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So humanity is not “come back” to the dolphins?
Yegor Konchalovsky: I think that if we pridesa to this perfection, in technocratic progress.
nevertheless to find himself and the answers to some important questions of the universe, the character had to be among untouched nature. By the way, the place named in the film “Moon” – a full-fledged character in this story. From the majestic landscape is breathtaking and, of course, there is the irrational sense of national pride.
Yegor Konchalovsky: We wanted to give viewers were breathtaking. Given that the picture was intimate, it was important to give it the scale at the expense of nature. We were shooting in Karelia, in one place, on the banks Jakimanskaja Bay of Ladoga lake, near the town of Lahdenpohja. It has everything that we needed – rocks, lake, pine. A fabulous place, which wonderfully combines the power of a primeval forest, with some poignancy, or something. Thanks, of course, drones that give the opportunity to shoot such footage, that before was almost impossible, or incredibly expensive because they had to dispatch a helicopter to the belly which hung the camera.
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So what with the juxtaposition of the modern metropolis, where force majeure is taken Gleb and rocks, lakes and forests? It fundamentally? Only one with nature can find harmony within yourself?
Yegor Konchalovsky: I wouldn’t call myself anti-urbanist, I like the city, I shot a lot of about them. I used to be exclusively secular urban life. Of course, when you’re young, when every night can go to a nightclub, go to bed at 5 am, and at 9 is already up, the city is the place where you want to be. At me now the city puts pressure, I constantly feel the tightness. And nature, indeed has a therapeutic effect. I live a long time outside the city, I am pleased to know that chaos does not begin at the door of my apartment, and much more. As for achieving inner harmony, all very individually. Anyone for a swim in the pool, someone to do yoga, anyone can and in a tiny room somewhere in Tokyo to reach this state of meditation.
Yoga, meditation, still, in some sense, this is also a departure from the society. Interestingly, once Alexander Baluev has already played such a hermit, in your debut film “recluse”.
Yegor Konchalovsky: You know, no hidden thoughts, I do not put, inviting Alexander in a picture “To the moon”. I am very glad that it was he who played our grandfather, but indeed, the role of the old man planned one very old Lithuanian actor. However, having gone to Karelia to the choice of nature, I realized that Lithuanian simply will not withstand the conditions. Wind, bitter cold, lake ice, although the court may. And in one scene the actors are in the water. So the weather – it was the most difficult on set.
the Hermit, whom, as always, powerfully played by Alexander Baluev, not benevolent as, say, Sergius of Radonezh. Forest retreat is a consequence of his past. And so every character in the film stretches your loop, even if directly it is not spoken. One of the meanings of the film: people change through suffering.
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Yegor Konchalovsky: it is. To some serious conclusions come only as a result of accidents which bring suffering. Then you start to look differently at other people and think about what they are experiencing.
One of the most emotional scenes in the film features three sheets drunken militiaman, who played great he was born in Moldahanov. It’s amazing what compassion relate to the loss they face is not only familiar to all the old man, but young urban major. This is your position? Not scorn, not disgust, but sympathy?
Yegor Konchalovsky: In this scene, the dead-ball soothes policeman: “Bob, Yes, all is well.” And it’s important. Because every man sooner or later loses face, if it is natural in its manifestations. Compassion in revealing our humanity. You can and should sympathize with a drunk policeman, and the man who committed the heinous act, which ruined his life. He was put in prison, he escapes for escape, and the third time successfully. But in the end he still is in prison, in the forest, from which he has no moves. The old man so it’s easier to make amends. But I have a very important message that person can go their entire life the wrong way, but there is always a chance to turn around. This chance is given to the young hero. He in the end recognizes that a lot more understand about life, and got better, but still flies to Paris on forged documents.
And I think that your open final – taking the young hero from his fate, and he still goes to jail.
Yegor Konchalovsky: well, that’s good, then, everyone has adopted the final measure of his conscience.