Cinema about crisis in journalism

you could not tell p a little about the movie which brought to Saint Petersburg?

In the movie it is a question of the young journalist who tries to approach with the old artist who is once well-known, and now forgotten to create his biography. This young journalist actually decent rascal. According to its plan when it will add the biography, the artist already, probably, will die. As a result the book will make the journalist so known as far as it is possible.

Ya received the invitation from the director to read this novel (the movie is put according to the novel Kelman Danielle "I and Kaminski"). And I very much liked this book, humour of the author to me was very clear. Two persons – the young man and old, at both is very bad tempers, but slowly, in process of action somehow they grow to us into soul both.

If I correctly understand p, in the movie the question of journalistic ethics is in addition brought up. This subject now is widely discussed, including to Russian Federation. How, in your opinion, in what now a state there is a journalism in the world?

Journalism really now in crisis. I think that journalists insufficiently now work to write good stuff. They collect data too little, too quickly write. And because news to us all wants to receive all quicker, quicker and quicker. As a result journalists simply have no opportunity normally to acquire that they want to tell then public. I do not think that it is especially German or especially Russian problem. I think is a global problem of our time. But, despite it, there are certain ethics and it concerns that the person wants to report. And here this young man, the main character of the movie, the unprepared young journalist – it meets the person who is larger than it as the personality and as the artist. And during this acquaintance he understands gradually that in life there is still something besides simply quickly "to spit out" the text for public or quickly to become well-known. And this happiness of our movie that we can show it.

K to what else subjects you addressed in the scenario, what subjects were for you main?

the movie has still an important aspect. Namely: aspect of an old age as the person grows old. And it seems to me, within the movie the young man, the main character, learns something about the life end. And for me this most important enlightenment which it can make and any young man. The young journalist at some instant understands, as aged it is advisable to adhere to that you did in young years. Should remain true.

If will allow, we will a little distract from that movie which you brought to Saint Petersburg, and we will address to one of your previous works. You acted as the scriptwriter in the movie according to the play of Chekhov. You could not tell, what pushed you to participation in this project?

Ya and Katharine Vanshted, we wrote the scenario for the screen version "Platonova" (in Russian-speaking tradition the name "Fatherlessness" is more often used). And I in this play most of all was interested by a view of Sofya's situation – the murderer. Though, I want to note that generally I am an actor. And I played in Chekhovian performances much. And I love Chekhov. Me the anarchical aspect in Platonov's figure very much interested. Nevertheless, in the movie center we put not it, namely Sonya, the murderer. As a result, it seems to me, the excellent movie turned out.

Ya in general I love the Russian classics. But trouble that I cannot read it in Russian. I should read it in the translation. I very much love Dostoyevsky, with pleasure I read Pushkin. I was just recently in Pyatigorsk in places which are connected with Lermontov. I am very happy about it. I very much love its poetry.

Nevertheless, it should be noted that now the most poetical form of expression for me is not literature, and cinema. I watched all Sokurov. I very much like the movie "Return" of the director … (reflects)

of Zvyagintsev?

Yes, it is exact! Zvyagintseva. At me everything turned over [during movie viewing]. At Zvyagintsev I too saw everything that is. whether

A exists, in your opinion, today a difference in art language of the German cinema and Russian?

Here it it is hard to say. It seems to me that the Russian movies which are pleasant to me, involve language of visual images more. And the German movies, in turn, are guided by words, by formulations more.

it is curious to hear p. At once one interview of the legendary Petersburg theatrical director Tovstonogov where he told about the experience to Germany is remembered. He just said that the German theater much more shocking, visually focused.

Ya told only about movies! In sense of theater I agree. The classical theater to Russian Federation really very much differs from German, and here I will agree with Tovstonogov rather. Concerning theater! The Russian theater is guided by texts, than cinema more. My first performance to Russian Federation at which I looked, was at Comedy theater, and it was Schwartz's "Shadow". And it was very klassichno, well everything could be understood on movements of actors, to catch visually. To Germany all is wilder. More fantasmagorichno. But it and is good that there is a possibility of a cultural exchange. as you consider p by

A, the difference mentioned by you above in art language of the German and Russian cinema can be reflected in perception by the Russian viewer of your picture?