"When we get together at the same table, we don't talk about movies at all"
The director of "Antikiller" starring Gosha Kutsenko and the recent "Aviator" based on Vodolazkin's novel approaches his 60th birthday without illusions and without a desire to sum up. Egor Konchalovsky does not read criticism, is cautious about technological breakthroughs, and does not support humanity's desire to play God. In an interview with Izvestia, he told why a birthday has ceased to be a holiday, about a film that he considers his professional failure, as well as about which profession in the industry is already being replaced by artificial intelligence and why the Mikhalkov-Konchalovsky family hardly discusses cinema.
"Any art must contain a human factor and even a certain schizophrenia"
— January 15th is your birthday. How do you usually celebrate this day? And does it remain a holiday for you?
— Of course, as you get older, it's less of a celebration. In the sense that regular birthdays, to put it mildly, do not add to optimism. Rather, they are counting down what has already been left behind. That's why I love this day less now than I did when I was a kid. Then, yes, it was a real celebration. And today I try to celebrate it exclusively with my family. But this year, unfortunately, I twisted my leg a bit. Of course, I wanted to gather friends, but how am I going to jump on one leg? I had to cancel.
The film crew at the premiere of the film "The Aviator" directed by Egor Konchalovsky
— Traditionally, it is customary to sum up personal and professional results on the anniversary. What are your results?
— How can I tell you… Probably not, rather than yes. I don't really like to take stock on purpose, because everything that happens is always with me. We've just finished The Aviator, and we're writing a new script right now. So to sit down and record: this was it, but this wasn't it, I don't have that.
Although, of course, it is generally human nature to evaluate what is happening. Especially if he somehow plans his life. In this sense, we are all constantly rethinking something. But this year, it so happened that our film was released, and this is certainly an important point.
— Speaking of the Aviator. It was released almost simultaneously with Guillermo del Toro's "Frankenstein," and many saw semantic parallels with your film. It turns out that people in different parts of the world are thinking about eternal life and how a person with superpowers can influence the future. Why do you care about this topic?
— I would say a little differently. The idea of the Aviator is not really about eternal life. Rather, it's about the possibility of putting a person to sleep and defrosting them in a hundred years. And then, perhaps, some of your problems will be solved. The topics of scientific interest, love, and the relativity of time are important here.
A shot from the movie "The Aviator"
But in general, I am very wary of such human aspirations. We have cloned a sheep, children are already born outside the mother's body, atomic energy has been mastered by man, artificial intelligence has appeared. People always want some incredible achievements. But it's very dangerous to play God like that.
— Artificial intelligence is actively used by cinematographers today. Do you use it when making movies?
— Of course, as an auxiliary tool. It helps in certain types of jobs and really replaces some professions. For example, a storyboard artist: artificial intelligence does this job more accurately than a human.
But therein lies the problem. Technology strives for the ideal. But it seems to me that any art should contain a human factor — paradoxical, absurd, illogical, even some kind of schizophrenia. Call it whatever you want. Artificial intelligence avoids this very thing.
— You said that when working on the script of The Aviator, the topic of "the possibility of entering the same river twice" was especially important to you. Have you ever had such situations in your life?
— Unfortunately or fortunately, no.
A shot from the movie "The Aviator"
— Is there an international distribution strategy planned for the film?
— This is a question for the producers. Of course, I hope that the Aviator will be seen outside of Russia.
— What response did you get from Evgeny Vodolazkin?
— Zhenya and I worked very well and harmoniously. He helped with the script, participated in the process, and, by the way, was pleased with the film.
"Yes, I've had unsuccessful projects. But these are the costs of the profession"
- Fifteen years ago, you said that you wanted to make "small noir films" in the spirit of the Coen brothers. How close have you come to this desire? And who are you inspired by now?
— It was a long time ago. Actually, I made such films.: "Big House", "On the Moon", "My dad is a leader". My landmarks are changing, and the people I like are changing. Once it was the Cohens, then other directors.
A shot from the movie "My Dad is a leader"
— Actors of the first magnitude often play in your films, but you rarely invite them again. Why?
— That's not quite true. Sasha Baluyev, Seryozha Shakurov, and Lyuba Tolkalina have starred with me many times. There is no rule here.
— Your father, Andrei Konchalovsky, still cannot forgive The Nutcracker. Do you have any films that the audience hates you for?
— In fact, the film "Canned Food" was not very successful. And I don't really like him myself. I think it was a mistake. Although we tried very hard to make it high-quality. Yes, I've had unsuccessful projects. But these are the costs of the profession. This must be understood and accepted. It happens.
— So you take criticism calmly?
— Now, yes, absolutely calm. I don't read it at all. If anything comes across, it's only positive. Although I used to read everything and didn't take it so indifferently.
A shot from the movie "Antikiller"
— Have you ever regretted that you didn't turn Antikiller into a long-running franchise? It seemed like this story had a lot of potential.
— I shot the second Antikiller, and another director was already working on the third film — I had a disagreement with the producer at that time. By the way, I've just been offered a chance to retake Antikiller.
— And how do you feel about this?
— To be honest, nothing yet. Even then, it wasn't so interesting for me to work on the second film. What can we say about the franchise?
"The Chinese are very difficult negotiators"
— You have shot films in Kazakhstan and Azerbaijan. What territories are you interested in today?
— North Africa is very interesting: Morocco, Algeria — stunning landscapes. And, of course, China. But I still don't fully understand how to work with it.
— It would seem that now is a good time for cooperation with China.
— It's not that simple. The Chinese are very difficult negotiators.
— But at the same time, you gravitate towards Asian culture, including by virtue of your origin.
— Yes, absolutely. But if we talk about Kazakhstan, my culture is rather antagonistic to the Chinese one. Historically, the Mongols, Kazakhs, and Turks have long been enemies of China.
Director Egor Konchalovsky with his uncle Nikita Mikhalkov
— If we return to family and traditions: Do you watch your movies with your family? Do you appreciate each other's work or, on the contrary, do you spare each other?
— When we get together at the same table, we don't talk about movies at all. And this surprises people terribly. It seems to them that the Mikhalkov-Konchalovsky family should certainly discuss the super-task in the new painting by Nadia Mikhalkova or Egor Konchalovsky at the table. Unfortunately, Nikita Sergeyevich hasn't been making movies lately. Although I really like his films.
Of course, it's nice when Dad or uncle calls and says kind words about your work. Or I can easily call my dad myself if I liked his movie or play. But we don't have a tradition of specifically watching each other's work. In fact, we talk about life and women at the table.
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