Alexander, degrees, awards stimulate the Creator?
Olexander Yefremov: no doubt. Employees theaters – not the most highly paid public sector workers, and rank, which assigns the state: the recognition of merit. Evidence that we are doing the right thing.
the Union state Award you inspired?
Olexander Yefremov: to Flirt there is nothing, it is very nice and a good reason in order to a little bit be proud of yourself.
How do you assess the current situation in Belarusian-Russian cultural space?
Olexander Yefremov: Our space and the cultural environment are really one in the long run. In the environment some separation there. If somewhere today there is idle talk that the Federal government has outlived its usefulness, it is necessary to remove it and build a pragmatic relationship just for the economy, believe that it is wrong and unfair. Too deep we have. I as a Director with great pleasure working with both Russian and Belarusian artists. In addition, if we talk about cultural relations, our recent premiere at the Theatre-Studio of film actors “Women without borders” based on a play that is a well-known Russian writer and playwright Yuri Polyakov.
What attracted you to the play Polyakova?
Olexander Yefremov: See how eagerly the theaters today are taken for pieces that speak about the present, about daily problems of people, trying to wonder what he is now, what happens to it? Wise theorists and practitioners believe that the world is facing a crisis in culture. I would not quite agree with this idea. Come soon some moment waiting. What will happen next? Whether we comprehend the reality in which they live, or the way the intended development of mankind and the processes occurring in the world… What awaits us in the future from the point of view of ideology, morality, ethics? What we build, why go? As measured in this life? This is what drama Polyakov struck me as important, interesting and sharp enough… he has a clear author’s position, and it actively protects. What makes Yuri Polyakov, – humanely.
we Have shared festival space, and the “falling Leaves” and “Golden Vityaz” seem Belarusian and Russian paintings. But successful Belarusian works lately not so much…
Olexander Yefremov: I think festivals are ready to show themselves the Belarusian tape. And we are invited. Last year I was in the jury of the television movie “Together” in Yalta. It was attended by Belarusian filmmakers. I think we just need to make a movie. And if you talk about unity cultural space, the Russian festivals and the filmmakers are excited to see our pictures on festivals. And Moscow international film festival, which is headed by Nikita Mikhalkov, will be with great pleasure to take our picture. Only they have to answer the artistic quality of a festival, and it is our problem. And it’s our duty to make them brighter, or more talented.
Russian TV, you have removed about ten projects. What is the experience? Filmmakers sometimes complain about the dictates of modern producers, who say that we should shoot for a conditional Housewives, worse than can in fact, reduce the creative bar to a digestible format.
Olexander Yefremov: No, I never said I shot worse than I can. Could insist on taking one or another actor for the role. But to remove the worse than know how… I tried, rather, to improve the scenario. That story looked like from my point of view is deeper and more interesting.
Scenario there is a problem?
Olexander Yefremov: of Course. And it is the main. For me it’s all the costs of postmodernism. In the world of classical art work valued for the author’s skill, his ability to work with a brush or a cutter – anything. In contemporary art to the fore the idea, and the execution is secondary. The most important is not “what” but “how.” Important bright wrapper, and it doesn’t matter what’s in it.
how do you become media artists? This is a PR technology or talent, coincidence?
Olexander Yefremov: One way is the way of a talented person, but there are people who made a display with the PR-technologies. With this encounter. I was lucky, I worked with artists, Belarusian and Russian, which became recognizable thanks to the talent. Is Margarita Terekhova, Yuri Nazarov, Armen Dzhigarkhanyan, Gennady Ovsyannikov, Veronica plyashkevich, Galina Makarova, Alexander Kalyagin, Stefaniya Stanyuta, Mikhail Gluzsky, Pavel Sormunen, Dmitry Pevtsov, Mariya Mironova, Danila Kozlovsky, and many others.
You worked with Mikhail Efremov, who now because of a tragic car accident has become the focus of public attention…
Olexander Yefremov: In the film “Dounia” he embodied the image of the Director, in fact, his father even brought a jacket Oleg and it played. He was friends with Sergei Shkalikov, who starred at me in two films – “the Examination for Director” and “Our man in San-Remo”. They came to Minsk, Mikhail Olegovich, we communicated long before there was a picture of “Dounia”. Sergei Shkalikov we largely tied, unfortunately he passed away in 1998. Misha was very necessary for me to work. Regardless of that now, unfortunately, happened, I testify that this is an extremely talented artist.
You removed the five military paintings. Can reveal the secret to a successful film on military subjects?
Olexander Yefremov: In the center of the story should be feat. It is of course very presumptuous to say that I retain the memory of the war, but I’m kind of trying to do it. Because my father was a member of the war from 17 to 22 years, 22 years back… His generation is gone, our generation of sons, generation of grandchildren, great-grandchildren are left alone with this war. And memory turns out to be so easy to distort. What happened to our country, worthy of infinite respect and memory. For me this is obvious and no explanation does not need. I know that you want to return to this subject. After the Soviet Union collapsed, 97 per cent of its former residents in various republics were United in the assessment of the great Victory. It’s all been United by so far. That remains our value, which it is impossible to deprive people of the country, our descendants.
