The first interview with Sergei Bodrov’s wife: “Like a bird, it came and flew away. On Sergei Bodrov’s birthday: the most touching quotes from the only interview with his widow

Director Svetlana Bodrova, the widow of actor and director Sergei Bodrov, gave her first interview to journalist Ekaterina Gordeeva. It was published by Colta. In it, Bodrova talked about her work in “Wait for Me,” about the outrage over Yuri Dud’s film and why Alexey Balabanov wanted to stop filming “Brother 2.”

Svetlana Bodrova said that in 2002 her husband invited her to become the second director of the film “Svyaznoy”, on the set of which in North Ossetia he died as a result of an avalanche. For this reason, she left the television program “Wait for Me,” where she had worked since 1999.

After her husband's death, she returned to the program. According to her, if the creator of the program, Sergei Kushnerev, had not offered her to do this, she “would not have survived.” “We still had nothing to live on. Before Seryogin left, we bought an apartment. There were bare walls. Two children. We have to feed them somehow, we have to earn money, we have to live. But I don’t remember these months at all. In my opinion, I didn’t understand anything at all. I didn’t even understand that everything, that I was left with nothing, that it was all over,” Bodrova said.

According to Bodrova, it was Kushnerev who invited Sergei Bodrov to host the TV program “Vzglyad”. “You know, kind people, of course, sent me a film by Yuri Dud, in which Alexander Mikhailovich Lyubimov [producer and presenter of “Vzglyad.” - Rain] told how he noticed this young artist. I watched the film and heard it all with my own ears. And this outraged me. And Serezhina’s mother was also outraged by this. The man with the blue eye says: “I noticed him, I saw him, I invited him.” No! Lyubimov had nothing to do with Bodrov’s invitation to Vzglyad. They were never friends, they never had a warm relationship.” She accused Lyubimov of presenting himself as Bodrov’s great friend, but after his death he did not call anyone from his relatives.

Bodrova also said that Lyubimov tried to take revenge on Bodrov when he left the “Vzglyad” program. Lyubimov was supposed to play a role in the film “Brother 2”, according to the original script of which guests should come to the “Vzglyad” program.

“And then, the day before filming, Vzglyad called Balabanov and said: “You know, everything is cancelled. You won’t have the Vzglyad studio, Lyubimov refuses to film.” It was revenge. Petty, nasty, who hurt Lesha [Balabanov, the film’s director] the most,” Bodrova said. She added that after the incident, Balabanov wanted to stop filming the film, but subsequently, through friends, filming at Ostankino was still possible.

In addition, Svetlana Bodrova accused Lyubimov of the raider takeover of “Wait for Me” - that’s what she called Lyubimov’s plans to fire the creator of the program, Sergei Kushnerev. Kushnerev found out about Lyubimov’s plans before his dismissal and quit himself.

She also said that the general director of Channel One, Konstantin Ernst, helped extend the search for the film crew of Sergei Bodrov. “I called Kostya Ernst. I called in some kind of oblivion, in despair, completely unable to discern what day of the week it was, what time it was. I told him, sobbing, into the phone: “I ask you as a woman, as a wife, as a mother. I beg you, help!" And Kostya, to his credit, says: “Sveta, I will help. Now are the holidays, they will end, and I will do everything in my power." Then she found out that she called Ernst on the evening of December 31st.

Sergei Bodrov died when a glacier collapsed on September 20, 2002 in the Karmadon Gorge in North Ossetia. More than 127 people disappeared due to the disaster. During the rescue operation, only 17 bodies were found. Bodrov was 30 years old. Two weeks before his death, his son Alexander Bodrov was born.

I am responsible for my hero and do not refuse a single word or action, although the director came up with all this. Maybe I attach too much importance to work in general. I always and everywhere say: I am not an artist, I am not an artist, I am not an artist. And to me: “Nooooo, you’re an artist!” And I: an artist is completely different. These are different people, a different constitution. [...] a role for me is not a profession. This is an action that you perform.

The director generally has such a profession. He must be able to choke. Such a bad but necessary quality. A director is like a captain on a submarine. You should always understand that you can argue with the captain, but already on shore. These are the conditions of the game, this is the order.

Sergey, you are an actor. Talented...

SB: God knows. It’s like with drugs: the main thing is to get off in time. As soon as you start to think about it: how organic I am, how organically I looked, how organically I leaned in - and everything will immediately, instantly, in one second, collapse like a house of cards. As soon as you start treating this as a profession, as acting, everything will disappear. It’s enough just to be an organic person and not be afraid of the camera.

SB: I don’t know if everything turned out so well, but the first time it happened was in my first film - “Prisoner of the Caucasus”. I found out that I was offered this role three days before filming. And here is the first day. Military registration and enlistment office. Everyone is naked. Well, I think the movie has started. It's not that I was scared by all this. But I feel like I was thrown into some other reality. And the only way to protect yourself from this aggressive reality is to remain yourself. The surest way. Because you know yourself. I am me. The table is somehow different, the chair is soft, the glass is of a different shape. And I caught myself - like on a tram handrail.

SB: This is one of the very valuable qualities - the ability to love and be interested in people. I have always been interested in people - in a taxi, on a tram. I love listening to their stories.

- I would like to know about your sense of age - you will turn thirty next year.

SB: Every day this worries me more and more. Time is one of those things that we cannot influence. The only thing we can do is fill our days, make them longer, wider. And there is only one remedy - love and attention to others. Like a child. His day is very long: he finds a leaf, looks at it for half an hour, and the whole world unfolds before his eyes. Or you can look not at a leaf, but at people. Do as much as possible, write, film. Fill life.

Are you a superstitious person?

SB: Yes. Of course, superstition is a sin, but there is some kind of karmic responsibility. This has been tested thousands of times.

Do you like expensive things?

SB: I like good things, but it always feels like someone is stabbing you. Why should we pay three hundred dollars for a T-shirt if there are some special two letters on it? Who came up with this? I want to wear completely different clothes out of spite. In general, you need to buy abroad - it’s cheaper there.

Why do you have such laconic heroes?

SB: Actually, I prefer listening. This is more interesting to me. When I was on air, I constantly had to fill the time with something. And you feel like a meat grinder into which meat is thrown, and it releases minced meat. Less words. There's more power in that.

Excerpts from an interview with OM magazine, May 2000

This fall marks 15 years since Sergei Bodrov went missing. This is the first ever interview with his widow, television director Svetlana Bodrova. She told Katerina Gordeeva about her husband, her work and her best friend - television producer Sergei Kushnerev, who died earlier this year, with whom she made the unique program “Wait for Me” for many years. We are already accustomed to treating today's television with disgust. But this is a story about a completely different television.

- At the 30th anniversary of the VID television company (celebrated in early October. - Ed.) you were not. Why?

I was invited, but I refused to come. I don’t think it’s possible for me after everything that happened.

- Are we talking about the program “Wait for me”?

Including.

You worked in the program for fourteen years and left it together with the creator of “Wait for Me,” its editor-in-chief and editor-in-chief of the VI television company D Sergei Kushnerev. Most of the team left with you. Can we say that from this moment on “Wait for me” is already a different program?

Don't know. At least this program no longer has anything to do with me.

- Have you seen the first broadcast of “Wait for Me” on NTV?

Yes. But I wouldn’t like to comment. Very painful. Remember, when Vlad Listyev was killed, all the projects created by him began with the title “Vlad Listyev Project”. So, “Wait for Me” must begin with the fact that this is “Sergei Kushnerev’s Project.” This is honest, this is correct, this is a tribute to the man, thanks to whose countless ideas, talent and sleepless nights these people are now working: pronouncing the words he invented, using the search system that he created over the years. All this - I mean the huge project “Wait for me” - Kushnerev did not give of his own free will: his brainchild was taken away from him. And now they are trying to convince everyone that some kind of continuity has been preserved, that everything is in order. No. Not okay. And there is no one from our old team in the new “Wait for me,” including the presenters. But in the database that remains there are two million letters from those who are looking for each other. These people are not to blame for anything. Therefore, of course, I looked: it is important for me to know what is happening and will happen with the program in which I worked for 14 years.

- And in VIDHow long did you work?

Since 1991. It so happened that I graduated from the Moscow Institute of Geodesy, Cartography and Aerial Photography, and the country was in complete disarray, it was completely unclear where to go. In the depths of my soul, I always dreamed of making films, but I probably wouldn’t even dare to say it out loud then. I rushed around Moscow in search of work: some Soviet-American enterprises, cooperatives, something else. And then a friend calls and says: “The Vzglyad program needs an administrator. Don't you want to go? I'm speechless. Because then, of course, like the whole country, I was a fan of television. This is the first thing. Secondly, I had a girlfriend Natasha Bodrova - that’s what fate is, right? - her mother, Aunt Tanya Bodrova, still works on Channel One, and then she worked on the youth channel of the Yunost radio station. And Natasha and I ran to see her at Ostankino. And it was another, magical world: Ostankino corridors, coffee in the buffet in cut glasses, round almond cakes and small cakes with mushrooms. It was all fascinating. Sometimes, frozen in one of these Ostankino corridors, I thought: “What if I also work here?”

In general, when my friend called, I was completely dumbfounded: should I work at Vzglyad? Yes, this is a dream! It's a speech about that very thing“Vzglyade”, for which the whole country froze on Fridays in front of the TV. And I ran as fast as I could. Then all this was still the youth editorial office of the USSR State Television and Radio Broadcasting Company, I still have my ID with a gilded inscription! And Friday was given over to the programs of the VID television company - “Muzobozu”, “Vzglyad”, “Field of Miracles” and others. VID already had many programs back then. It was customary that the head of each program was attached to the administrative staff who worked with him. We came at the same time as Roma Butovsky (now the chief director of Channel One, director of the programs “Times”, “Let them talk”, etc., parades on Red Square and “Direct Lines” with the president. - Ed.). When they began to register us as a staff member, we already had to decide which program we were in, and Roma said: “I want to join Vzglyad.” But with me, it seemed like it was clear to everyone: I went to Muzoboz. This was my element. I worked in this program from the fourth graduation to the very last.

- Is television in the 90s completely different from what it is today?

Oh, no, these are different elements altogether. That television is pure love for me. There has never been such an atmosphere and freedom as then. And this opportunity never happened again. Imagine: we had the opportunity to create new television with our own hands, because the old one fell apart before our eyes.

Careers - from administrators to correspondents and directors, or from editors to presenters - this is also about television in the 90s. It seems that back then anyone from the street could come to the television center and get a chance.

Certainly! In addition, we were lucky: my teacher Ivan Demidov (one of the founders of the VID television company, in the early 90s - the head of the television company’s programs on TV-6. - Ed.) sent Roma and I to study. At that time, there was an Institute for Advanced Training of Television Workers on Shabolovka. And we learned editing, how the director’s console works, and the profession itself.

From the personal archive of Svetlana Bodrova

- You also did “Sharks of the Feather”, right?

Certainly. Sometimes I even think with horror that I myself, with my own hands, raised this yellow press in our country. But it was like this: at the end of November Ivan [Demidov] came: “Here, Svet, we need to make some kind of program for journalists to sit in the studio, questions, hero...” Everything is somehow neither shaky nor shaky, nothing concrete . I say: “Well, I’ll think about it.” And he, already leaving the control room, says: “Light, I forgot to tell you. We go on air on the second of January.”

- Are you out?

They left, of course. The first hero was Valery Leontyev. And everything worked out! Then it could not have been otherwise. It was some kind of happy mixture of impossible fanaticism and love for the profession: no personal life, everyone lives with toothbrushes at work, for everyone work is their home, and no world outside the television center seemed to exist. It's not like we were on fire at work. We just lived by it and were happy. Although they swore, and quarreled, and died from lack of sleep. Sometimes I can’t even believe that I saw such television with my own eyes almost 27 years ago, that all this happened to me. Imagine, from 1991 to 2014 I had only one entry in my work book: the VID television company.

- How did you come to the “Wait for Me” program? How and by whom was it invented?

For me, it all started with a call from Kushnerev: “Svetka, don’t you want to do a wonderful program “Wait for me” with me?” And I say: “I want.” - “Then come right now. We are preparing for filming." Filming was scheduled in two days. This program at the very beginning was called “Looking for You.” It was invented by Andrey Razbash (producer, TV presenter, one of the co-founders of the VID television company. - Ed.) and journalist Oksana Naychuk. Several live episodes were broadcast on the RTR channel. Kushnerev was invited to the program by Razbash. But something didn’t work out at RTR. Naychuk reserved the name “Looking for You.” And Kushnerev began to further invent the program. That is, in fact, he began to create a system for finding people that had never existed anywhere in the world before, which would later become the basis of the program. In 1999, “Wait for Me” in the form in which you already know it was released on Channel One.

From the personal archive of Svetlana Bodrova

- How did Kushnerev himself get into VI?D?

He came to VID from Komsomolskaya Pravda in 1992 or 1993. At the same time, VID was based not in Ostankino, but on Lukyanova Street. There were editing rooms in which both “Vzglyad” and “Muzoboz” were edited in shifts. I, in fact, edited my “Muzoboz”. And Vzglyadov’s people infuriated me terribly: they edited at night and constantly delayed the equipment room. The situation was like this: we are show business, cool guys, and these are journalists with all their politics and the truth of life, well, them! And we kept baiting each other in this editing line. I remember after they took Seryozha Bodrov, I stood over them when they were editing and said: “Who did you take anyway? He somehow says that you can’t mount it, so you sit there for so long.” They tell me: “This is an artist.”

- Before you met Bodrov, didn’t you see him on the screen?

No. Moreover, a few weeks before we met, in one simple video store on Mira Avenue, the guys who somehow rolled out all the latest new releases and who always had everything suddenly said to me: “Look, “Brother” has come out, our film is very good.” I say: “I don’t watch our films.” Well, if you don’t look, you don’t look, okay.

- And you haven’t watched “Prisoner of the Caucasus”?

No. But Seryozha Kushnerev watched “Prisoner of the Caucasus”. He was then the editor-in-chief of Vzglyad. And he called Bodrov. First on air, and then on camera.

After they took Seryozha Bodrov, I stood over them when they were editing and said: “Who did you take anyway? He somehow says that you can’t mount it, so you sit there for so long.” They tell me: “This is an artist.”

- That is, to put Bodrov in the frame, to make him the presenter - was it Kushnerev’s decision?

Well, of course, yes. First, Sergei Vladimirovich was invited to “Vzglyad” (director Sergei Bodrov Sr. - Ed.) and Seryozha as guests. Right during the broadcast, Kushnerev’s eyes lit up, and he decided to call Seryozha as the host. He somehow felt that Bodrov would be a breath of fresh air, that he was from a new generation, he was the hero of this generation: this is what Kushnerev saw in him. He had this amazing talent of seeing a person right away. In general, they started talking right after the broadcast, went somewhere to a bar, and talked there for a very long time. Then we called each other and met. Seryoga [Bodrov] didn’t make up his mind right away. Well, somehow, he said, he’s not ready. But Kushnerev knows how to get excited with his ideas, he’s terribly enthusiastic! In general, I persuaded him. And Bodrov himself caught fire. And they were already hooked up and never let go - at work, after work, they were always coming up with something, discussing: “Let’s do this, let’s do this?” They were instantly on the same page.

You know, kind people, of course, sent me a film by Yuri Dud, in which Alexander Mikhailovich Lyubimov told how he noticed this young artist ( documentary film about Sergei Bodrov, released in September. - Ed.). I watched the film and heard it all with my own ears. And this outraged me. And Serezhina’s mother was also outraged by this. The man with the blue eye says: “I noticed him, I saw him, I invited him.” No! Lyubimov has nothing to do with Bodrov’s invitation to Vzglyad. They were never friends, they never had a warm relationship. I’ll say more: when a tragedy happened in our house, in our family, Sasha Lyubimov did not call either me or Serezhina’s mother. He didn’t offer help and didn’t ask: “Sveta, how are you?” Although he readily participates in all films about Seryozha, introducing himself as a great friend.

Friends - there are very few of them in general. When everyone makes films about my Serezha on different channels, I am always amazed by the number of people, generally strangers to me, who pretend to be Serezhin’s friends. Maybe they once existed? I don't know. But while we lived with Serezha, only four people regularly appeared in our house: Sergei Anatolyevich Kushnerev, Sergei Mikhailovich Selyanov, Alexey Balabanov and also Volodya Kartashov, the artist who died along with Serezha. All. Now only Selyanov remains, with whom we, unfortunately, meet very rarely. But Balabanov is no longer there. And Seryozha Kushnerev is not there either.

From the personal archive of Svetlana Bodrova

- How did you meet?

In fact, we met both Kushnerev and Bodrov at the same time in 1997. As one of the best employees of the VID television company, I was promised a vacation anywhere in the world I wanted. I chose Nice. And then they squeezed Nice and said: “Vzglyad” is going to Cuba, they will work, and you will relax. In general, when I got on the plane, I hated Vzglyad and all these people with whom I would somehow have to spend my vacation. Well, they didn’t like me either. Kushnerev later recalled: “Some kind of Fifa with glasses is all about himself.” But suddenly, somehow, on the plane, Kushnerev and I started talking. Of course, about television. Of course, about my “Sharks of the Pen”, I want to change the format and add something. He listened more and more. Then he told me that he thought: well, yes, I don’t seem to be stupid, we can talk. And Kushnerev’s best friend is Bodrov, they have a common “Look”, sleepless nights that they spent arguing and talking at Kushnerev’s dacha in Valentinovka. And they sat next to each other on the plane. But, unfortunately, during the flight the pilots were informed that Kushnerev’s father, a very famous Moscow neurosurgeon, had died in Moscow. And Seryozha [Kushnerev] was forced to fly back to Moscow on the first flight. But Bodrov remained.

And there, in Cuba, we suddenly started talking to him... For some reason I remember this moment very well: we got hooked on each other in Hemingway’s house. And then they talked and talked, without ceasing: about themselves, about me, about him. He later wrote to me in one letter: “You and I are like two twin brothers who were separated thirty years ago.” You know, we were kind of stuck with each other, so to speak? They spoke to each other as if they had been silent all their lives before.

From the personal archive of Svetlana Bodrova

- What is it the same one love, did you both understand immediately and at the same time?

You know, I tried to build some kind of walls, of course. I was used to living alone, I was an adult - 30 years old, it seemed to me that I would never get married and would never have children; I was sure: there is and will be only one thing in my life - work. And I somehow defended myself with this. But Seryoga didn’t let go. After Cuba, we practically never parted with him.

Although no: immediately upon returning from Havana, my Seryozha was supposed to go fishing with Seryozha Kushnerev on the Don. They agreed for a long time. For two whole weeks. There was no communication where they were going. And suddenly I receive a message on my pager from Bodrov. Very warm, personal, tender. And I think: « Well, why? Well, if there is a connection, why can’t he call me?” Then it turned out that it was Petya Tolstoy who was there fishing with them, but returned earlier. And Seryoga gave him this order. But I didn’t know! I missed you, of course: we just met, and for some reason we broke up. And that’s when I went to my video store on Mira Avenue and said: “Well, give me this “Brother” that you were talking about.” They: “You didn’t want to watch.” - “Well, I didn’t want to, but now I want to.” I took the tape and, while he was gone, watched it probably a hundred and fifty-five times. Then he arrives. And we no longer part, we are always and everywhere together. One evening I told him: “Oh, I have such cool guys here at a video store. Let’s go pick something and see.” We'll go in with him. The guys' jaws drop and they remain silent to all questions. “Anything to see?” - "There is nothing". - “Well, is there anything new or interesting?” - “There is nothing at all.” And Seryoga says: “It’s really good, your video salon has a wide selection.” And as soon as he came out, they said to me: “Why did you even bring him here? They’ll put us in prison now!” Already on the street, Seryoga and I realized what a wild picture they had in their heads: first I refuse to watch “our” movie, then I demand “Brother,” and then I come to them with the main character. These were the times when they recorded all this underground. They were just scared. God, how we laughed with Bodrov then.

- And Kushnerev? Did he become your friend or did he remain Serezhin?

At that very first moment, of course, there was only Bodrov in my life. He filled, in general, my entire life. But, of course, we talked with Seryozha [Kushnerev]. I have already managed to visit his Valentinovka, where he and Seryoga [Bodrov] loved to spend entire evenings, all night long, discussing and inventing something.

Once my Seryoga and I had a big fight at Kushnerev’s in Valentinovka. This was the very beginning: he has a difficult character, and I also don’t have the most flexible character. I slammed the door, jumped into the car - I’m a cool guy: show business, car, mobile phone. And I was blown away by them! - got lost. Serezha later told me how Kushnerev sat and said: “Seryozha, would you like to marry Sveta?” And Bodrov replies: “I would like to very much.” She does not want". And our entire already serious romance, in fact, developed in Valentinovka. Because every day after filming, after some business, we came there. Serezha actually had his own room in this house. And we always sat for a long time, discussed new projects, came up with something. We were all young, with sparkling eyes, of the same blood type.

From the personal archive of Svetlana Bodrova

But Kushnerev, when we first got married, made Seryoga a little jealous. We didn’t work together then. And they have all the projects, all the dreams, everything. And it turns out that because of me they had less time for their nightly gatherings in Valentinovka. But they still took time for themselves. I remember that on the night of the famous hurricane in 1998, I stayed with my mother at the dacha, and Bodrov and Kushnerev stayed in Valentinovka. And when all these trees fell, I was overcome with such horror! I was pregnant with our eldest daughter Olya and I thought: “Lord, Seryozha is probably worried about me there!” And then mobile phones were not picked up everywhere. I could barely wait until morning to get to the nearest point where there was a connection. I called Kushnerev: “Serega, tell Bodrov not to worry, everything is fine with us.” He says: “What happened?” I just. Have you had a hurricane? - "Hurricane? What hurricane? Well, our lights were turned off for a short time. We were just sitting at the computer, coming up with something. And we also think: why the hell did the lights turn off! Well, the candle was lit." As soon as he hangs up, he goes out onto the porch - and there he has a century-old Christmas tree lying there. She fell ten centimeters from the house! And they sat there in their ideas and did not notice anything!

In general, the two of them and the three of us sat in Valentinovka at Kushnerev’s and talked endlessly about projects, about plans - about everything! And our romance with Serega [Bodrov] is inseparable from these conversations. It was against this background and precisely at the suggestion of Kushnerev that Seryozha and I decided that we would connect our lives for a long time. And from those very days we were friends with Kushnerev. My closest friends, probably. Until the very last day of his life - February 27, 2017.

- And then we worked together in “Wait for Me” - and left from there together.

Yes. And I want to say that we would never have left “Wait for me. We would do this program to the last opportunity. We loved her. It was more than just a program. Especially for Seryozha [Kushnerev]. I don’t know what to compare it with, the comparison with a child is kind of stupid... This was his life. He came up with an amazing system for finding people, an algorithm in which in these two million letters two people looking for each other would be found in two minutes. Can you imagine? And when now I hear that Alexander Mikhailovich Lyubimov says on camera: “We,” “We thought how to look,” I don’t understand at all: who are these “we”? I have a feeling that all these 14 years I’ve probably been somewhere on the Moon or on Mars. And somehow I missed some of Alexander Mikhailovich’s participation in this story. But no, I was sitting in Ostankino, in the control room, next to the man who created all this before my eyes and in whose life there was nothing more important and meaningful than “Wait for me.” I saw how Kushnerev came up with this, I saw the results of his sleepless nights, the implementation of his ideas, which he may not have even talked about, but “Wait for me” - it was his dream come true, which lived and developed.

From the personal archive of Svetlana Bodrova

- In the press release of the new “Wait for me,” which is now airing on NTV, Kushnerev’s last name was not mentioned.

Lyubimov said it on camera, on air. The names of Kushnerev and Bodrov, who actually had nothing to do with “Wait for Me.” But for some reason he needs to hide behind the names of Seryozha Kushnerev and Seryozha Bodrov. For some reason you have to pretend to be Bodrov’s friend. Although, I repeat, they were not friends. You know, after certain events, I think it would be insulting for Bodrov if Lyubimov were called his friend.

- What is it about?

I will only tell you one episode. Balabanov began filming “Brother 2”. They were supposed to film it in 1998, but they didn’t find the money. I remember how we met - me, Selyanov and Serezha - with Lyubimov and with Larisa Sinelshchikova (media manager, ex-president of the VID television company, ex-wife of the general director of Channel One Konstantin Ernst. - Ed.), who was already working at VIDE, and asked them to help with money. Selyanov, I remember, banged on the table: “This will be a people’s movie!” But there was no money for filming. Selyanov found them only in 1999. In the same year, even before the filming of Brother 2, Seryozha Bodrov decided to leave Vzglyad.

- Why?

Seryozha is a very freedom-loving person. And television is full of obligations. Sometimes there is no development, it seems to you that you are marking time in one place and nothing further happens to you. At some point he got tired of everything and decided to leave. Kushnerev was very deeply affected by his departure. But they somehow decided it among themselves. My position was this: “Seryozha, whatever you do, I will support you in everything.” Seryoga [Kushnerev], of course, persuaded him, there were some arguments, it was their man’s conversation, I don’t know what, I won’t say. At some point, Kushnerev understood and accepted everything. But the leadership of VID was, of course, unhappy with Bodrov’s departure. Even the TV company called me.

No! Lyubimov has nothing to do with Bodrov’s invitation to Vzglyad. They were never friends, they never had a warm relationship. I’ll say more: when a tragedy happened in our house, in our family, Sasha Lyubimov did not call either me or Serezhina’s mother. He didn’t offer help and didn’t ask: “Sveta, how are you?”

- Who called?

I remember that Larisa Sinelshchikova called: “Persuade him.” I say: “This is not even discussed. What kind of persuasion can there be? An adult who makes his own decisions.”

Lyubimov was also dissatisfied. He probably understood that “Vzglyad” at that moment was largely watched because of Bodrov. He was very offended by this, I think. This was evident in some moments when he was quicker than Seryozha in a hurry to say the phrase “Everything is just beginning,” although Kushnerev wrote it specifically for Bodrov, it was Seryozha’s phrase.

I think Lyubimov treated Seryozha with some envy also because he understood: their time (that “Vzglyad” of 1987) had passed. The generation grew up, and Bodrov became a symbol of the new generation, a young hero: “Prisoner of the Caucasus” was released, “Brother” was released.

And then just filming “Brother 2”. According to Lesha Balabanov’s script, the brothers come to Ostankino at the very beginning of the film.” Balabanov came up with the idea that they should come to the “Vzglyad” program. Logical. They wanted to cast Lyubimov as the presenter. He agreed. He promised to help with organizing the shooting and to give me the Vzglyad studio. By this point, the “Moscow” period of the film was almost finished. The scene in “Vzglyad” is almost the last, then they had to go to America. And then, the day before filming, “Vzglyad” called Balabanov and said: “You know, everything is cancelled. You won’t have the Vzglyad studio, Lyubimov refuses to act.” It was revenge. Small, nasty, who hurt Lesha [Balabanov] the most.

Everything happened before my eyes. Balabanov, when he came to Moscow, always stayed with us. We lived in Ramenki: a small apartment, in the kitchen there was a TV box instead of a table, we washed the dishes in the bathroom. And I remember poor Lesha, completely crushed, as he walked around this box in the kitchen. He didn't even scream. He was simply crushed. He couldn’t understand: how, how can one betray like that, how can everything be canceled at the last moment, why agreements don’t mean anything? It was the human attitude that offended him. The studio didn't burn down, nothing happened. They simply refused.

At some point, Balabanov suddenly, in all seriousness, looking into Bodrov’s eyes, said: “I won’t make a movie.” I started calling the director of the film to buy return tickets to St. Petersburg. By the way, I always have this scene before my eyes when Alexander Mikhailovich [Lyubimov] publicly speaks about his friends Balabanov and Bodrov.

From the personal archive of Svetlana Bodrova

- But there is a scene in Ostankino in Brother 2. Although there is no Lyubimov in it.

When Balabanov was about to leave, I literally grabbed him by the sleeve: “Lesh, for God’s sake, please, I beg you. Well, he’s not the only one who works on television. Now we’ll come up with something quickly.” He: “No - that’s all.” Bodrov and I are sitting next to this box in a complete stupor and don’t understand what to do. But then they remembered that, fortunately, there is Vanya Demidov in the world. I think Selyanov called him. Vanya, without any questions, agreed to act in the film himself and to give him the studio. And all the people who, according to the script, were supposed to be on the set were those with whom I worked in the “Canon” program on the same TV-6, it was a talk show about religious issues. I remember how I called all my “combat” comrades, and no one refused, no one asked for money: “Svet, what do you need?” - “I need you to act in a good movie.” - “Okay, come on.”

She pulled out her sound engineer, administrator, assistants, all the operators, Sashka Zhukovsky the great. Lesha was so happy, his eyes widened. In general, this is how I and all of us got into the film “Brother-2”. Not as they said later, that Bodrov’s wife was cast in the movie. And because this situation happened. And everyone came and starred with Balabanov. Lesha was very touched. Suddenly, already on the set, he says: “Who usually yells at everyone here?” Demidov laughed: “Well, guess what.” Balabanov: “Light, can you yell at them now when they come in?” - "Easily!" They command: “Motor!” Bodrov and Pirogov fly into the studio, and I scream: “There’s a live broadcast here! What are you talking about? How long should I wait for you? Seryoga stops and says: “Light, why are you shouting?” I say: “I am an artist!” In general, the first take was ruined. They filmed it in a second take, although the first was more natural.

Lesha, of course, came up with all this mise-en-scène on the fly; it was not in the script. He took pictures of us all in gratitude for the fact that we helped him out. And he even gave me the words: I sit at the remote control and say my usual commands. He really liked the phrase: “Sash, don’t cut his head.” He then left it in editing. And in the credits we were listed as “people who played themselves.” Back then I still had the last name Mikhailova.

From the personal archive of Svetlana Bodrova

- Did you like the film?

I have always liked everything my Seryozha does. You see, he and I, of course, were on the same wavelength, I supported him in all of this. And I was always proud of him in everything. I remember when he defended his dissertation, I came out and told him: “I’m proud of you, like my homeland, Seryoga!” And there in the commission they tell him: “Your wife looked at you like that! Incredible...” And I just realized every second how lucky I was: what an incredibly deep and talented person was next to me.

You know, I now understand that we could give so much to our children together. I can't do this alone. This makes it very difficult for me. It’s hard that I don’t have these daily hours in the kitchen with him, when we could talk, talk, talk until the morning. They could have remained silent in the same way. Drive in the car and be silent. Or stay at home and remain silent. Sometimes I see how people don’t know how to remain silent with each other, but he and I could. We didn’t talk - but that didn’t mean that we didn’t want to talk, we were still together, we had an internal dialogue with each other. And our son Sasha is the same, very similar in character to Seryozha. Very. Even in his movements sometimes: when he starts to grimace or dance, I get an electric shock because I see Seryozha. Somehow, at the genetic level, everything was passed on, right down to character. And I understand that if she and Seryozha were together now, they would feel and understand each other so subtly.

From the personal archive of Svetlana Bodrova

- After “Brother 2,” Bodrov began filming himself because he didn’t want to act anymore?

In the beginning there was the script “Morphine”. He was thinking about what kind of script to write, and I advised him “Morphine,” since Bulgakov is my favorite writer, and “Morphine” is such a multi-level work: a love story, a story of a fall, and this leitmotif of constant running, when he runs from the hospital, from yourself, and then there’s already a full-blown Ivanovo revolution. I say: “Try it.” He got carried away and wrote a very good script. But he was not ready to shoot “Morphine” at that moment, he said that it should be a global picture. As a result, Lesha [Balabanov] took it off. But this is not the film that was intended, although Serezha’s name is in the credits, but that already happened when he died. After “Morphine” “Sisters” appeared. In St. Petersburg, we chose locations and locations together for them, I helped him. He brought the material, we looked at it together, I even gave some advice.

And then Svyaznoy appeared. At the level of ideas. It started when Seryoga starred with Varnier in “East - West” (a 1999 film by Regis Varnier. - Ed.). There, on the set, he met two such semi-bandits, guys from Dagestan, as far as I remember. They were hiding abroad. When he called me from there, he told me how interested he was in listening to them. Seryoga generally loved to listen to people, he adored stories from someone’s life. He always asked Nina Ivanovna, my mother, to tell me something about the post-war years, my grandmother, when she was still alive, he asked about life, he loved to listen to old women. So, in Bulgaria, where “East - West” was filmed, these half-bandits told him how they ran away, how they hid, about some real-life witch they met. And Seryoga wrote everything down for them. This is how the idea for the painting “The Messenger” arose. There, even the heroes’ names are Armen and Ilyas - that’s what those guys’ real names were. He wrote for a very long time, tortured this “Messenger”. He was dear to him.

I remember how he gave it to me to read for the first time. And I had this feeling, you know, I thought to myself: “How can this, in general, boy fit so many things into his head at once? How talented he is! How lucky I have been.” Because, you see, it seems that we are nearby, some kind of everyday life surrounds us, but at the same time I had in my hands a work that characterizes it in a completely different quality - with complex designs and a deep understanding of many things, life, people’s characters, it's all intertwined. And I read and understand that I am in contact with a person of incredible talent and intelligence. And he lives next to me! It’s difficult to explain clearly, but when you have an ordinary life, even one permeated with relationships, love, filled with children, you still cannot always fully appreciate the happiness that fate has given you: to be close to such a person. And I’m also proud that he always told me: “If it weren’t for you, I might not have filmed it, I wouldn’t have written it.” Yes, of course, I encouraged him to do his own thing. And, having completed the script for “The Messenger,” he said: “I’ll film it in such a way that I won’t be ashamed in front of you.”

There was also such a character in the script - the Afghan Lekha. Bodrov could not choose an actor for this character. I didn’t want to act in film myself. But when I read the script, I said: “This role is yours, yours!” And she persuaded him to act there after all. And he began to persuade me to go to him for this film as a second director. Then heavy artillery - Selyanov - joined in these persuasion. He understood that everything here was like in “Wait for me,” where I feel without words what Kushnerev wants. On Svyaznoy I will be able to understand Seryoga [Bodrov] at a glance. On set, in such a complex picture, it is terribly important to have people nearby who don’t need to explain anything for a long time, who can do everything you have in mind without further ado. In general, Bodrov and Selyanov persuaded me.

And I quit “Wait for me.” Seryoga was shocked, Kushnerev. I quit, several episodes were released without me, and then the program went into repeat because Kushnerev just couldn’t accept the idea of ​​what “Wait for Me” would do without me. Well, then he somehow slowly got used to it. And in August, Bodrov and I’s son Sasha was born. I remember well how we were driving in the car from the maternity hospital and Kushnerev called: “Congratulations, Svetka!” And then he says to Seryoga: “Well, when will we meet?” Bodrov replies: “Listen, I’m now leaving for filming in North Ossetia. As soon as I return from Vladikavkaz, we’ll meet.” This was their last conversation. After Sasha was born, we stayed at home for two weeks. Then Seryoga took us to the dacha and left for this filming. I can see it right now: he gets into his beloved Land Rover Defender » huge and says: “I’m coming straight from the airport to you.” This is his last sentence. And I'll see him off. You know, he flew into my life like a bird and flew away.

From the personal archive of Svetlana Bodrova

-Who was there when it all happened?

Seryozhka Kushnerev has arrived. He arrived and said: “Light, please return to Wait for Me.” And then on September 20 everything happened, and on November 5 I already went to filming.

- Otherwise, you wouldn’t have survived?

In every sense, I would not have survived. We still had nothing to live on. Before Seryogin left, we bought an apartment. There were bare walls. Two children. We have to feed them somehow, we have to earn money, we have to live. But I don’t remember these months at all. In my opinion, I didn’t understand anything at all. I didn’t even understand that everything, that I was left with nothing, that it was all over.

Even Kostya Ernst came. He hugged me like that and said: “Well? Your men abandoned you." I say yes. I have no one left now.” He said: “I won’t quit.”

- Did Kushnerev fly to Ossetia?

No. I flew every weekend. And, you know, when in various films and programs Ossetians say that no one helped them at the level of the government, the country, then this is not so. There, when the situation arose that they were about to disperse everyone, there was no equipment, there was no support and the phone was silent - this is also very scary, when the phone went silent, that’s it, no one believes, no one says anything... Generally silence. You know, somehow everything was on the edge. And Seryozhka Kushnerev says to me: “You should probably call Ernst. Only he can have a way to the top.” To the level of the presidents of the republics, who could give the command to continue searching - which of us could get out? Seryozhka got me a phone number and I called Kostya Ernst. I called in some kind of oblivion, in despair, completely unable to discern what day of the week it was, what time it was. I told him, sobbing, into the phone: “I ask you as a woman, as a wife, as a mother. I beg you, help!” And Kostya, we must give him his due, says: “Sveta, I’ll help. Now is the holidays, they will end, and I will do everything in my power.” Then it turned out that I called him on the evening of December 31st. But I didn’t really understand it then.

- Did Ernst help?

Yes. He called me back and said: “On January 6, the equipment will be there.” And the equipment arrived: excavators, tractors, whatever was needed. No one usually talks about this. And he himself does not speak. But that's how it was. I then called him a lot, sometimes right from the mountain, from there, from Ossetia. And he contacted Shoigu and other ministers. And they helped, allocated, sent. Divers, speleologists. For some reason he never talks about this. And I’ve never given an interview before, so no one knows.

From the personal archive of Svetlana Bodrova

-Did you meet him at that time?

He called me immediately when everything happened. I was shocked by what my salary was and influenced it to be raised at least a little so that I could survive. Until the very last day of the search operation, he was in touch, calling, asking, helping. Until the last moment, it seems, he did not want to believe that this was the end.

It was impossible to believe it. Very painful. You know, when we brought his personal belongings back from Ossetia, I sorted them out. And in the bag there was a completely tattered note that I wrote to him back in St. Petersburg, when he was filming “Sisters.” We didn’t have Sasha yet, we only had Olechka. There at the end it was written: “Remember that two people on this Earth truly love you: me and Olechka.” And I found this note in his bag, it was impossible to take it out.

- Did you write to each other often?

Yes. We talked on the phone every day, and always wrote, all the time: a note in the kitchen, some short letter. Or a long one, if apart. When he left, for example, for “East - West,” I wrote letters to him every day and he wrote letters to me every day. And we changed when he came. It's impossible to read now. At first it was impossible to even take them out of the boxes. And I still can’t read.

I also remember how our computer genius Lesha Bartosh flew to the set of “The Last Hero” to deliver tapes. Having learned about this, I immediately wrote a huge letter to Bodrov. And Lesha flew away. He flies back to Moscow and says from the doorway: “Listen, Bodrovs, you’re crazy, this can’t be done!” Me: “Lesha, what happened?” And he: “I came to see “The Last Hero,” everything is fine, we’re sitting and chatting with Bodrov and Kushnerev. And then I remember: “Oh, Seryoga, Svetka gave you a letter.” - “Why are you silent, where is it? Give it back! Couldn’t you tell before?” He grabbed the letter and rode off with it. And now he doesn’t talk to me.” I say: “So, Lech, you’ve been talking to me for a long time. Did Seryoga give me the letter?” - "Yes". - “So come on, why are you standing there, come quickly, are you a fool or something, Lekha?” And he threw up his hands: “You Bodrovs are truly crazy. Take your letter and leave me alone."

From the personal archive of Svetlana Bodrova

How did the idea for “The Last Hero” come about? This is the first such large-scale reality show on Russian television.

"Survivor" had a rating of 50. It seems that this record has still not been broken. “The Last Hero” in the form in which he conquered the country was also born in Valentinovka by Kushnerev. I have a picture before my eyes right now: our daughter Olya is very little, running around us in felt boots. And two Seryogas and I stared at the screen, watching « Survivor» , which aired two years before our “The Last Hero,” Kushnerev dug up a tape somewhere in English: one episode, another. Olya is already tired of running in these felt boots, Kushnerev’s dog, Funtik, is also tired, they are sitting somewhere at our feet, and we can’t take our eyes off. And here, of course, the thought stuck between him and Bodrov: we must do this. Then there was another great idea, “The Game of Life,” but it didn’t come to fruition. Although I sorted through Serezhkin’s archive, looked through the cards, and found a directly written program. There was also the “Big Dream” project, absolutely wonderful; also did not materialize.

Kushnerev is probably the first and last Russian producer who retained the belief that television, which touches a person, touches his soul and lives with him, is a national idea.

Yes, sure. This is true. It’s not for nothing that one journalist once wrote about “Wait for Me”: the nation unites on Mondays - this program had such popularity and such social significance. It's all together: love for people, hard work, sleepless nights and dedication. Who will believe it if I say that Kushnerev personally answered the letters that came to “Wait for me”? Sometimes it even pissed me off. Well, imagine, he says to me: “Svetka, a woman wrote there alone, asks what kind of music you put on such and such a broadcast. Can you write her a name, or better yet, send her a track?” I say: “Sereg, are you stunned, or what? Am I going to go through all the broadcasts now and send music to everyone who wants it? I edit, I have work.” He raised his head, looked at me and said: “Light, this must be done.” He answered letters and complaints. Since the time of “Vzglyad”, he and Bodrov had such an idea. This is respect for the viewer! It was Kushnerev who came up with this idea when “Vzglyad” helped lost people meet in GUM near the fountain.

And Kushnerev instilled this in Bodrov. He and Seryoga came up with an answer to a letter from a boy about his older brother who dreams of playing the trumpet - Bodrov came to his window with a brass band, and he gave me a trumpet. Then a project began with Santa Claus from “Vzglyad”, to whom one could write and who could fulfill a wish, come and give gifts - this Santa Claus was Bodrov. I also remember one story when Seryoga [Bodrov] received a letter from a woman in Vzglyad: “You are the idol of my sons. It so happened that the youngest had his motorcycle stolen, and the eldest was in the army. And the younger one walks around, shaking his fists: “I’ll tell my brother, he’ll come and kill everyone for this motorcycle.” The woman writes: “What should I do? This is wrong." Well, Seryoga read it and read it. And Kushnerev says: “We must answer.” And Seryozha personally answered this woman, wrote to her, her son.

From the personal archive of Svetlana Bodrova

Probably no one will believe it, but, as the editor-in-chief of “Wait for Me,” Kushnerev himself edited the program’s releases in all the countries where it was published. I always edited our main, Moscow, episode on Channel One, and Seryoga sat in the next control room and edited for Ukraine, Belarus, Kazakhstan, Armenia, Moldova... He is the editor-in-chief, he could, as usually happens on television, sit in his office behind the door, they would come in with a knock, and he would scan the layout with his eyes. But Kushnerev sat in the editing room and in the control room along with everyone else. And we were always running to each other, discussing something, arguing, yelling at each other.

- Were you quarreling?

Yes. Sometimes they didn't even talk. Then they wrote letters to each other. But he could calmly call at three o’clock in the morning and begin, as if after a decimal point: “Svetka, you know, this is the moment that we doubted, it seems to me that this is how we need to do it.” And he spoke so calmly, as if he was sure that at that second I was sitting in front of the telephone receiver and waiting for his call. It has always been this way, all these fourteen years. He left “Wait for Me” only once: when “The Last Hero” launched.

I remember this time well: 2001. Serega [Bodrov] and I have nowhere to live, because we sold our old apartment in Ramenki and went to live in Kudrino, where I got land from my grandparents and I built a house there, more like a summer house. But there is nothing to do, we moved there together with little Olya, Seryozha and Nina Ivanovna, my mother. And then this adventure of theirs, “The Last Hero,” begins. Nobody understands how it will all end, there is no money, the project is huge. And Kushnerev and I actually sculpt “Wait for Me” every week. And then he says: “Svetka, you know, I’ll be leaving for “The Last Hero,” well, for a couple of weeks, for the launch.” And the fact that Bodrov will host “The Last Hero” was not even discussed. It's as if it was decided from the very beginning. Together we came up with an image for him: we ran around buying shirts and figuring out how to tie them. We were sick with this idea, like everyone lived in a fever. And finally we got together in the evening, and Kushnerev told me that he was going to filming. “But, Svetka, “Wait for me” should come out like clockwork,” he says. “Don’t worry, it’s ten days, two weeks maximum, and I’ll be back.” At first, I really wasn’t worried: we had filmed the material, I was sitting there editing it, and the program was going on air. He's been gone for a week, ten days. I called: “Are you coming?” - “Yes, yes, yes, I’m literally going to.” He's been gone for two weeks, three. The program comes out, I edit it, we go on air. He writes again: “Will I stay a little longer?” - “Yes, of course, stay.” As a result, he stayed, of course, for the entire term; he could not quit. And “Wait for me” was completely on me, for which he was terribly grateful.

They returned a month and a half later, and Kushnerev again went to the editing of “The Last Hero”. And we hardly saw him. Only one day he suddenly arrived (his Valentinovka is not far from our Kudrin) from installation - not to himself, but to us. As soon as I saw him, I said: “Lord! How are you still alive?” My mother immediately began to feed him: cabbage soup, cutlets with buckwheat porridge. And he was so tired that he couldn’t even speak, he just repeated: “Oh, how good, how good. But I have to edit tomorrow at six in the morning, I won’t sleep.” But we somehow got him down. Morning comes. I get up early. I look - he's sleeping. Then Seryoga [Bodrov] got up, it was noon. I say: “Go and see what’s going on with Kushnerev. Sleeping? Don't wake him. And turn off all the phones, let the person get some sleep, it’s impossible.” I figured that they still had time before the broadcast; this montage would not go anywhere. In general, he slept for a long time. He comes out on the porch wearing felt boots: “Svetka! Is this true? Bodrov told me - it’s already two o’clock in the afternoon!” I told him: “True. Calm down. You will have time to do everything.” And he suddenly became so happy that he had slept well, that he was with us. We even went somewhere else together with Seryoga and Olechka. And then he rushed off to work again. Moreover, they were silent until the last moment and didn’t even tell me who won in this “The Last Hero”.

“At the same time, the whole country was sure that this was happening live.

Yes. This is also Kushnerev’s unique talent - to make the viewer believe. Just imagine: we are going to the village with Seryozha in our huge Land Rover Defender. All the traffic police officers along the way already know that this is our car. Kushnerev was always laughing at us: “Why do you need a school bus?” Well, Seryozha liked this military machine, wildly cold and uncomfortable. Even then, about three years after everything that happened, I drove it, and couldn’t decide to sell it. But then no one knew what would happen. 2001, we are driving, they see us, they slow down Seryoga: “Yeah, Bodrov, so you’re not there now? When are you flying back? He: “Don’t let me fly away.” - “You’re not flying away, that means. Then tell me who won? He: “I can’t say, guys, it’s true.” - “We’ll take away your rights!” - “Well, I can’t, I gave my word.” The next day, everyone was laughing: “We’ll take away your license, speak up.” They stopped me every day, but Seryoga didn’t say anything. He generally had a funny relationship with the traffic police officers. Once Seryoga violated something, he was stopped. And the police officer says: “Seryoga, red light - stop, green light - go.” This is a phrase from "Brother 2".

From the personal archive of Svetlana Bodrova

- And you let him go?

He let me go. People treated our programs somehow this way - with tenderness. Kushnerev in “Wait for Me” had established connections with the Ministry of Internal Affairs, doctors, police, patrols, anyone. Everyone always met us halfway. All you had to say was “Wait for me,” and some kind of magic happened. Everyone helped. Always. Always met halfway. It was literally people's television. And people felt it and reciprocated. I even, I’m ashamed to say, trained Sashka Zhukovsky, the cameraman. He was stopped by traffic police all the time, he even complained: “I’m on my way to filming, they slow me down, and it starts.” And I told him: “Zhukovsky, tell me that you are going to film Wait for Me.” And he comes after the first post and says: “Listen, it’s working. They released me immediately. I would never have believed it."

- And why did you and Kushnerev leave the program in the fall of 2014?

Because by this time the program had already been taken away from us.

- How?

What I call a raider takeover happened. Chief editor of the program Yulia Budinaite, whom Kushnerev brought from Komsomolskaya Pravda, and Alexander Lyubimov (after working at VGTRK and RBC TV in 2014, he returned to VID and took the post of president of the company. - Ed.) behind Kushnerev’s back they decided that they would be able to continue the program without him.

- So how? How did this happen?

I have no answer. I cannot say that for Budinaite, just as for me, as for Seryozha, “Wait for me” was the work of my whole life. She was the editor-in-chief who handed out assignments to correspondents, but never appeared on the set. Why and why she suddenly needed to head “Wait for Me”, why Lyubimov needed it, I don’t know. But this was a conspiracy that Kushnerev knew nothing about until the last moment. They wanted to remove Sergei Anatolyevich from the position of editor-in-chief of the television company and take away the program. This was not easy to do, because Kushnerev had 25% of VID shares.

- Who had the remaining 75%?

I don't know the full schedule. But the main stake was owned by Alexander Mikhailovich Lyubimov. And he wanted to become the full owner of the company. He did not imply the presence of Sergei Anatolyevich Kushnerev in the company, because he understood that he was a man of character, a very honest person. And Lyubimov decided to get rid of Kushnerev. And Yulia Budinaite, apparently, decided that she would make “Wait for Me” without Kushnerev’s help. And he will do even better than him.

- How did all this happen technically?

I was driving to work when Kushnerev called me: “Sveta, I’m quitting, I’m forced to leave.” - "In terms of?" “I learned that behind my back, Sasha Lyubimov wants to replace the editor-in-chief and head of “Wait for Me” Yulia Budinaite. As you understand, I do not consider it possible to remain either in the program or in the television company if such things happen.”

Can you imagine, he found out about this in one second, almost by accident. No one talked to him, no one discussed anything. Of course, you may not like something, you may have complaints about both the program and the manager. But perhaps such issues can be resolved during a meeting?

-Have Lyubimov and Kushnerev met?

No. Nobody met Seryozha. His dismissal was accepted. And the issue with shares was resolved literally before my eyes. We stood with Kushnerev after one of the last filmings in the smoking room. Lyubimov’s assistant approached Serezha and handed him a package of documents with the words: “Sign.” I wouldn't tell you if it didn't happen right in front of me. I ask: “What is this?” Kushnerev: “I don’t know.” We left the television center, went to the Ostankino pond, and opened the package. These were documents for signature on the renunciation of 25 percent of VID shares that belonged to Kushnerev.

- On what basis?

There was no reason, it was a voluntary refusal. Our commercial director and I began to persuade Kushnerev not to do this. I asked: “Can you not do this? Can you not give it back? - “Light, I won’t get involved in this.” Kushnerev was not a business man; he did not need money. He didn't do television for the money. He loved his job, wanted to do it, develop this program, launch new ones, teach at the university, teach young journalists, he liked it. He did not want to fight with Lyubimov.

- Were you fired too?

No, I did not give them such an opportunity. I wrote a letter of resignation immediately after this conversation with Kushnerev, as soon as I got to work. I’ll tell you honestly: I didn’t even leave because of Serezha. We are all adults, and when you have two children to feed, you don’t really go to the barricade with a flag, right? I submitted my resignation because I understood that I would never work with these people. Because these are mediocre people who, by and large, do not need this program. They won’t put their soul or heart into it, or bother with it as much as we did. Well, just imagine that after each shooting we gathered - Igor Kvasha, Masha Shukshina (hosts of “Wait for Me.” - Ed.), Kushnerev and I sat, discussed these stories, worried, cursed, and came up with something. We lived by it. We loved it. As you can imagine, we were terribly proud of our work. Because we can help people find each other. Especially in our country, so plowed up by war, repression, and camps.

From the personal archive of Svetlana Bodrova

- Did you experience any feeling of addiction or burnout? In fourteen years on the air?

What do you! We remembered every story, discussed it all endlessly, and worried about it. They were always interested in how everything turned out there, they called and kept in touch. This is not some cold modern approach to television, let’s say, technocratic. We lived by it. And it seemed to us that this would continue. Maybe somehow different, better, cooler. We wanted to change some format solutions and moved forward. We wanted to try to devote more time to the search process itself, to show the viewer how we search, where, we thought of doing it in the detective genre. There were a lot of ideas. But we still did “Wait for Me” with our hearts. And, it happened, they roared in the control room.

-Can you remember the last time this happened?

Yes. It was 2013, December. Grandfather and grandmother came to us. Very old, but very good looking and very similar: brother and sister. When they came, I was basically reading the script. But the script is one thing, and then suddenly grandpa starts telling: “I was born in 1916.” And everyone in the control room: “Lord, this is space! Under Nicholas II! In general, he is 96 years old, his grandmother and his sister are 94. And they came to look for their own sister, whom they lost in 1925. It so happened that their father died during the famine years. The father's sister, an aunt, offered to help - to take the youngest girl for a while. And mom agreed: hunger. And suddenly the family of this aunt, along with the baby, disappears. They never saw their sister again. And after so many years they come to us. And the search began, led by Kushnerev, who developed this topic.

- Found it?

Yes, Katya, we found it.

- Incredible. Where?

She was found in Iran. At the time of filming she was 90 years old. It so happened that the aunt’s family into which she ended up did not have children of their own. And they took this girl, passing her off as their daughter, somewhere to Central Asia, and from there to Turkey. There she married a diplomat and ended up in Iran. And so, you know, I have a picture before my eyes of how they approached each other, all very similar, the same height. We hugged. And they pressed their heads together, all three of them. The studio stood up. Kushnerev and I froze in the control room. I need to switch buttons on the remote control, and tears are falling. They take out their only photograph, where the three of them are together. And they say: “Thank you!” And then suddenly such pride, right up to the point of trembling, goes through you for what you do, what you do. And you can feel the scale of the country. And such great happiness, for everyone. I remember I turned to Kushnerev and said: “Seryoga, thank you very much, this is incredible.” He created an incredible project, of course, an incredible story.

- How did he live without this job?

I don't know how to tell you about this. How did he live? He could hardly discuss what happened with anyone. In no case did he want to tell his classmates, university friends and just friends outside television, of which he had a lot, about these experiences. Because you can’t explain a lot. And to people who are not into this, of course, it is very difficult to explain what is lost, what it is impossible to live without. Seryozha was deeply worried and scared. When we met, we always slipped into the discussion of “Wait for me,” because this is part of our life, a large part of life. I once told him: “Tell me honestly, Seryoga, have you seen at least one episode after we left?” He says: “No, Svetka, no. At all". And I say: “And I don’t look either.”

Well, it was painful. And all conversations about this are painful. And then this stroke, a serious condition. He didn't want to be seen like that, didn't want to believe that he was a sick person. Therefore, only I, the children, whom he was endlessly happy about, and Leszka Bartosz, could come to the hospital. And for some reason I remembered how on the ninth day in intensive care he was finally able to talk. And when he called me for the first time in such a weak voice: “Svetka!” - oh, I'm in tears. And I say: “Well, at least don’t leave me. I'm begging you, please! He, you see, was the only one left who connected me with my Seryozhka. He and I always talked a lot about Seryozha.

From the personal archive of Svetlana Bodrova

And he really, not in words, understood that I absolutely lived by this, that in my life Seryozha was the last man who existed, and no one else appeared in my life, either mentally, physically, or in any way. No matter what they wrote about me in the newspapers, no matter how much they wanted to receive some news. This cannot be understood by someone who did not know what it was like to have such a man in your life. This is a happiness that, I think, many women do not experience in their entire lives, which I lived in this short period. And if you had this, then you will carry it through your whole life, you will keep it.

I could probably only talk about this with Kushnerev. And then I asked him not to leave me. And he answered: “I won’t leave you, Svetka.” When he recovered, I remember we came to his dacha - me, Lesha Bartosh, Chulpan Khamatova, all with the children, it was such a nice day and evening, we laughed a lot and walked.

Serezhin’s rehabilitation somehow went quite quickly. Then he got hooked on the idea of ​​a book (the idea of ​​the book series “My Twentieth Century. Characters” - in the combination of large and “small”, personal history; Kushnerev managed to write and released the first two volumes in 2016-2017: “1900” and his memories. - Ed.) and started writing it. The first copy was given to the children and me, there is a lot about Seryozha Bodrov. This book is a fantastic work. A huge amount of materials, such subtle things, such piercing stories that only Kushnerev could pull out. And I asked him to just start writing the script for the documentary. He says: “I’ve even already thought of some things that you can do. You will understand me now.” We have even discussed the details. Did not have time.

- What did you do after leaving “Wait for me”?

Wherever I wandered. I even worked on the Federation Council TV channel, then on NTV, and many other places. Now on Channel One. But in this sense, it was somehow easier for me: I was just stupidly looking for a job, because I have children, I can’t think for a long time or be in a creative search. I need to earn money to feed them. With ten thousand in survivor's pension and a family relying solely on your salary, you don't have much choice of work.

- Have you been offered to go to the new “Wait for me” on NTV?

No. This is impossible. I know, Masha (Maria Shukshina, hosted “Wait for Me” from 2000 to 2014. - Ed.) called, offering to go now to NTV in “Wait for me.” She said that she would only work with the old cast. Now there are completely new people in the program: wonderful editors and correspondents left with us, and the presenters also left. You see, “Wait for Me,” created by Kushnerev, was not only a program or a team of like-minded people, it was a family. He had such an ability to unite amazing people around him. This is how I met Galina Borisovna Volchek, this is how Igor Vladimirovich Kvasha, with whom we were friends until his last breath, came into my life, Masha Shukshina, Misha Efremov, Chulpan Khamatova, who also became a member of this family, a close person about whom you know that You can call at any time and they will support you.

From the personal archive of Svetlana Bodrova

- How did Chulpan appear in “Wait for Me”?

It started with the fact that she hosted “Another Life” (a program of the VID television company, aired on Channel One. - Ed.), into which Seryoga [Bodrov] dragged her. So they all became friends. And when the question arose that Masha Shukshina needed to go on maternity leave to give birth to twins, Kushnerev said: “Only Chulpan.” We were very afraid that she would not agree. But how could she not give consent to Sergei Anatolyevich and me? She agreed. And, you know, sitting in the control room, I spied some absolutely fantastic moments that happened to her in the studio, she amazed me every time: one of the guests forgot her purse, she runs through all the stands, jumps over the steps: “Handbag! You forgot your purse! Come back." No one spoke better to the children in the program than she did. I don’t know how she did it, but it was, of course, from the heart. And she - it was visible, it was felt - she experienced with her heart all the stories that she had to tell. Sometimes it was completely difficult for her. You can't play this! And so she found the words, of course, outside the script, sat down next to someone, stroked their knee, hugged them, and sometimes cried. And the man pressed against her, as if he was under some kind of protection. Seryoga and I adored her.

I feel incredibly sorry for these times. It's a pity for the work of a lifetime. Because the people who have come now have not created anything with their own hands, they are working on the basis of what Sergei Anatolyevich created. And they are not going to develop anything, move anywhere.

This means that his dream will not be realized - to create a worldwide people search network. He had almost connected the ends with the ends; all that remained was to be finalized. He had absolute statistics on how many people were lost all over the world, and he had an idea of ​​how to look for them. He was sick of this idea. We were going to expand the geography of Wait for Me. The Baltic countries agreed to work with us, we made teleconferences from Riga, London and China with the company CCTV. And, imagine, during this teleconference with China they were looking for the relatives of Grigory Kuleshenko, a raider who during the Sino-Japanese War accomplished a feat defending the borders of China, and they are considered a national hero: they erected a monument to him, where they accept him as a pioneer. And it turned out that this was Kushnerev’s grandfather. And he never told me. Outside of work, he was a very shy and gentle person.

From the personal archive of Svetlana Bodrova

When Sergei Kushnerev passed away, I thought that the last romantic of our television, who thought about the viewer and loved him, had passed away. And he loved his job not because it was power or money: the man simply loved television.

There are probably no more people who are so “sick” of television. We are some kind of mastodons. We lived by it. Bodrov couldn’t watch some of our things, of course, sometimes tears welled up, but he was interested in all the stories. And he took one story about a nurse who was looking for through “Wait for me.” I wanted to make the next film after “Svyaznoy”: where a nurse hid our wounded in the basement of a village captured by the Germans. She said that when they had not seen the sun for several weeks, she quietly released them into the yard. And as soon as they left, a German arrived. I came for the goose. And he sees four bandaged wounded soldiers in the yard.

- And what is he?

Silently he took the goose, put 10 marks on the table and left. This story terribly affected my Serezhka. This nurse came to us at “Wait for Me” to look for at least one of these wounded soldiers. After some time (they understood that the German would remain silent for the time being), she slowly led them all out into the forest.

-Have you found any of them?

Kushnerev was doing this, they found one, already old. Seryoga [Bodrov] then asked Kushnerev to find out some details from this already elderly woman for the film, details.

From the personal archive of Svetlana Bodrova

I remember well that in Kushnerev’s office, in the main place, there was a photograph of your children, Olya and Sasha. He always talked about them with delight.

The children loved him very much. He was Olya and Sasha's godfather. And he loved them very much. He always came to birthdays, always congratulated them, he adored children, of course. In the last year, Olya has become very close to Serezha. She told him that she was going to enter the theater institute. And he very much supported her in this decision, which no one else knew about: neither my mother, nor Serezha’s father, nor Serezha’s mother. Nobody! There was a journalism department at Moscow State University for everyone. And Seryoga and Olya played around the theaters! He took her to rehearsals and introduced her to the artists. She really enjoyed talking to him, they had a lot in common, and she took his passing very hard, very hard.

When it became clear that Olya was going to theater school, she first enrolled in preparatory courses at the Moscow Art Theater, and then, in the spring, when she finished 11th grade, she entered all theater universities, even going to Yaroslavl. She passed the competition at the Moscow Art Theater, Sliver and GITIS. But I chose GITIS. I was, of course, terribly worried! I even kept my diary; I couldn’t wait until it was all over. I was sitting here in the kitchen alone: ​​Sasha was kayaking at the camp, Olya was taking exams, a competition. I remember she called at about eleven in the evening: “Mom, I got in!” And I burst into tears. And she began to tell everyone: her mother, Serezhina, Sergei Vladimirovich Bodrov. He responded: “Like at GITIS?” I say: “That’s what I decided.” Oh, how happy Kushnerev was! And after admission, they continued their trips to the theaters. He introduced her to everyone. This was already a new generation of Sovremennik, led by Shamil Khamatov, Chulpan’s brother. And they were already gathering at Seryoga’s dacha in Valentinovka. He adored young people, he enjoyed this communication. He himself gave a lot, and they loved him very much, the guys. He felt so at ease with them, so much fun, they were so interesting to him, and he was the center of attraction for them. I just asked him all the time: “Kushnerev, how is your health?” He narrowed his eyes in response: “That’s enough.” And he was always in touch. There was always enough for everyone. Always responded to messages.

Actually, I realized that something was wrong when I wrote him a message: “We need to gossip.” And suddenly he didn’t answer. I started calling: one day, two. I immediately felt that something had happened: Seryozha was not getting in touch. In January 2017, he suffered a second stroke. It so happened that I was the first of all of us, of all my friends, to know about this, then every day I called his sister Nastya, found out how he was feeling, and after talking with her I informed everyone along the chain about his condition, the guys from the theater, from our “Wait for me” team. Everyone was very worried about him. We hoped until the last...

You know, Katya, I was amazed how many people, how many of Seryoga’s friends came to say goodbye to him. How he knew how to make friends and maintain relationships. Amazing! Very young artists, students, and elderly grandmothers from Komsomolskaya Pravda came. Those whose lives somehow intersected with him loved him very much. The memorial evening was held at Sovremennik. The young actors dedicated the play they performed that day to him. There were everyone there who loved Seryozha. At some point I stood up and said: “Let's not cry anymore, Seryozha was a very cheerful person, and tears upset him very much. Let it be a real theatrical evening full of life, just as he loved.” And they sang, there were many poems and songs. And Galina Borisovna [Volchek] was there, she stayed almost until the morning, and Chulpashechka, that’s all. Even Kostya Ernst came. He hugged me like that and said: “Well? Your men abandoned you." I say yes. I have no one left now.” He said: “I won’t quit.” Now Olya and my mother and I often go to see Seryoga Kushnerev at the cemetery. Sometimes I travel alone when it becomes unbearable and I want to talk. As I’m driving, I’m thinking how I’d like to consult with him, complain that something about work isn’t important right now, this, that. I approach his grave and seem to directly hear his voice: “Hello, Svetka.”

15 years ago, 30-year-old Sergei Bodrov went missing. The group of his film “Svyaznoy” (Bodrov was an actor, screenwriter and director) worked in the mountains of Vladikavkaz and were caught in a landslide: the Kolka glacier collapsed in the Karmadon Gorge, causing a rock avalanche. 130 people died that day, 23 of whom were members of the film crew. The victims' bodies were never found.

In February 2017, a close friend and colleague of Sergei and his wife Svetlana, television producer Sergei Kushnerev, with whom Bodrova made the “Wait for Me” program for many years, passed away. After Kushnerev’s death, Svetlana decided to give an interview for the first time. The woman told Colta.ru the story of her acquaintance and relationship with Bodrov, about life after his disappearance and about the recent release of Yuri Dud’s show, dedicated to Sergei Bodrov.

Before meeting Bodrov, Svetlana had never seen films with him, not even “Brother.” However, then Bodrov was noticed by Svetlana’s colleague, Kushenev. He invited Bodrov to Vzglyad for an interview and saw potential in him. After which Bodrov came to the program as a presenter, and “opened” it not only for the country, but also for Svetlana.

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That is why Svetlana was outraged by Yuri Dud’s recent video blog, or rather what guest Alexander Lyubimov said in the episode. According to him, it was he who noticed the young Bodrov and invited him to act. “Lyubimov has nothing to do with Bodrov’s invitation to Vzglyad. I’ll say more: when a tragedy happened in our house, in our family, Sasha Lyubimov did not call either me or Serezhina’s mother. He didn’t offer help and didn’t ask: “Sveta, how are you?” Although he readily participates in all films about Seryozha, introducing himself as a great friend,” Svetlana was indignant.

After the new presenter and director began working together, they managed to get to know each other better on a business trip to Cuba. According to Svetlana, at some point they started talking as if until that moment they had been “silent all their lives.” However, despite mutual sympathy, Svetlana did not plan to start a relationship.

“I was used to living alone, I was an adult - 30 years old, it seemed to me that I would never get married and would never have children; I was sure: there is and will be only one thing in my life - work. And I somehow defended myself with this. But Seryoga didn’t let go. After Cuba, we practically never parted with him,” she admits.

After the start of the novel, Svetlana supported Sergei in everything: “Every second I understood how lucky I was: what an incredibly deep and talented person was next to me.” Bodrova worries that her children do not have the opportunity to receive the attention that Sergei could give them. “Our son Sasha is the same, very similar in character to Seryozha. Even in his movements sometimes: when he starts to grimace or dance, I get an electric shock because I see Seryozha.”

The couple’s youngest son was born a few weeks before the tragedy: the young parents bought a new apartment, Svetlana went on maternity leave from “Wait for Me.”

After the incident, Svetlana returned to “Wait for me” and flew to Ossetia every weekend to find her husband. “We still had nothing to live on. Before Seryogin left, we bought an apartment. There were bare walls. Two children. We have to feed them somehow, we have to earn money, we have to live. But I don’t remember these months at all. In my opinion, I didn’t understand anything at all. I didn’t even understand that everything, that I was left with nothing, that it was all over. I flew every weekend."

At some point, Bodrova was overcome by despair, and Kushnerev advised her to turn to Konstantin Ernst. He took a great part in the search and helped bring all the necessary resources to Ossetia. “For some reason he never talks about it. But I’ve never given an interview before, so no one knows,” Svetlana noted.