Ivan vyrypaev wife. Ivan Vyrypaev - biography, information, personal life

Irkutsk filmmakers are filming the film “Ivan Vyrypaev’s Irkutsk” about a compatriot and famous Russian playwright. The director of the film is the author of the acclaimed film “Pokhabovsk. The other side of Siberia" Yuri Yashnikov. Russian writer and playwright Evgeny Grishkovets took part in the filming. Yuri Yashnikov spoke about why and for whom this film is being made.

The hero found us himself

We didn't set out to make a film. The idea of ​​filming arose completely spontaneously. In 2016, the Irkutsk Union of Cinematographers (Irkutsk regional branch of the Union of Cinematographers of the Russian Federation - Ed.) invited Ivan Vyrypaev to present a new film “Salvation” in Irkutsk. As the head of the youth center of the union, I was assigned to meet him. I wanted to meet him in an interesting way, and Sergei Dubas and I came up with the idea of ​​making a short video about Ivan’s visit. After all, the world-famous playwright from Irkutsk is flying to his homeland.

The airport administration responded to our request and even allowed us to film near the plane. As a result, Ivan’s first words in the film were: “Oh, how did they let you in here?” Cameraman Ilya Zakablukovsky and I, confident that we were just filming a video, put the guest in the car and drove him to Chaika, where his dad lives.

It was in those 20 minutes that we were driving that the film began to be born. On the way, Ivan casually told us so many unexpected things! As a director, I was shocked by his worldview, the pure formulations of the world around me, that it seemed criminal not to capture it on film. We weren't looking for a hero, he found us himself.

Of course, we did not inform Ivan about the sudden change in our plans. I couldn’t even bring myself to say that we had started the film. I was afraid to hear “no.” I think he immediately began to guess. After all, at first two cameramen followed him relentlessly, and at performances their number reached four and eight people.

The revelation almost happened on the day of Ivan’s departure. The car we were transporting him in was completely covered with cameras, and there was a cameraman sitting inside. We accompany Ivan to the airport building, the door opens - and another operator meets him there. And then Vyrypaev stops, turns to me and asks: “Yur, what’s going on? This is no longer at all like filming a small video...” I didn’t even have time to answer him, when an employee came up and quickly pulled Ivan into boarding. He flew away without knowing anything. I explained later in an email. And Ivan sent a short message: “Okay, shoot.”

Ivan Vyrypaev rarely visits his native Irkutsk. In 2001, he left for Moscow, and during our filming, for family reasons, he moved to Poland. But my “Vyrypaevsky” Irkutsk remained in my memory as a reminder of my past childhood and youth. About events that once caused him joy and pain.

He recalled how he grew up and lived on “Chaika”, and perfectly remembers that bacchanalia of the 90s. That many of his classmates died from heroin. And while driving around the city, he admitted that his mother died in an accident in a minibus. The accident occurred due to the fault of the driver, who was under the influence of drugs. Ivan had just started living in the capital and suddenly lost his mother. He didn't even have money to come to the funeral. He was helped by Mikhail Efremov, with whom they managed to become friends.

And yet, the future playwright had a serious reason to leave his hometown. He dreamed of creating his own theater, but Irkutsk did not allow it.

Patriarch of the “new Russian drama”

In modern Russian theater there is an established movement “new Russian drama”. Three people are considered its patriarchs in the country: Evgeniy Grishkovets, Kirill Serebrennikov and Ivan Vyrypaev. Since 1998, Ivan dreamed of the idea of ​​talking about current issues in theatrical language. But authoritative people from the Irkutsk theater community blocked his attempts. And this creativity of Ivan, which did not find implementation in Irkutsk at that time, became a cult trend in Russian drama. If he had stayed here then, he would not have become the current Vyrypaev. He understands this and, probably, that’s why he doesn’t hold a grudge against his hometown.

The genre of the film is documentary with two main characters - Ivan and Irkutsk. We will show the real Vyrypaev. People with whom he worked and communicated will also tell about Ivan. Or maybe he never worked, as, for example, with Evgeniy Grishkovets. But as long as they are both called the patriarchs of the new Russian drama, it means that these people definitely have something in common. And at the same time, there are colossal differences.

While talking with Grishkovets about Ivan, we got goosebumps. To be honest, he said a lot of negative things. But one phrase shocked the entire film crew. Evgeniy admitted that he considers Ivan Vyrypaev the greatest artist of all his contemporaries. And then he added that their communication was not working out well. “And what should we talk about?” - Grishkovets grinned.

There will be no censorship in the film. During filming, I said to Ivan: “Van, do you understand that we were filming something like this...?” Can you imagine how much frank facts have become known to us? He replied that this is our film and we can dispose of our materials as we intended. By the way, when I said that we filmed Grishkovets, Ivan didn’t even react. That’s what he certainly couldn’t say: “Well, well, what did he say about me?” (Laughs.) No, this is not Vyrypaev.

“Why are you making a film about Vanya at all?”

It’s funny, but at the time of filming, my team and I didn’t really know anything about Ivan’s work. I have not seen a single performance of his, nor have I read his plays. I only watched the film “Oxygen” and briefly “Delhi Dance”. Because of this “ignorance” many funny moments happened.

All of Ivan’s friends and colleagues, seeing that we were making a film about him, were sure that we were some kind of ardent fans. And they were very surprised to learn that this was not so. In Moscow, I met Ivan’s student named Anna-Maria, she was filming backstage (a film about a film - editor’s note) on the set of “Salvation.” We asked for some shots. While uploading the video, she simultaneously explained to me where and what the scene was. Until I said that I haven’t seen the film. She looked at me with amazed eyes and asked: “Why are you making a film about Vanya at all?”

We never cease to wonder every day of filming: why didn’t this idea come to our minds earlier? And I’m happy that this happened, and we were also supported by the regional Ministry of Culture and Archives. If someone else had started filming about Vanya, for example from Moscow or Poland, Irkutsk would not have been in the film. And it definitely wouldn’t be called “Ivan Vyrypaev’s Irkutsk.” Well, they would note that, supposedly, he was born in Irkutsk, and that’s all.

And we want to show both Irkutsk and Ivan of those 90s. How the city influenced the future screenwriter. In this light, it is nice to see that many people agree to take part in the filming. In addition to Evgeny Grishkovets, we have already filmed Veniamin Smekhov, Mikhail Kozyrev, and Irkutsk residents Anna Matison and Natalya Merkulova. Filming is still ongoing and we will finish the film next year.

Yuri Yashnikov shared an interview with Evgeny Grishkovets, in which he talks about Irkutsk and the personality of Ivan Vyrypaev.

Vyrypaev and Irkutsk

I remember I once met Vanya in Irkutsk, it was when Anya Matison and I were filming the film “Satisfaction.” He came to us so well-fed, funny and very self-confident. This was just after the success of the film “Oxygen”, the premiere of which he brought to Irkutsk. Vanya then seemed disgusting to me. He behaved very self-confidently, like some kind of sectarian who understands that he is already enlightened, who has learned some truth, and here we are fussing about some minor issues, mired in stupidity.

I believe he doesn't really have any contact with this city. Irkutsk is a very difficult city; it is perhaps the heaviest of the Siberian cities. A city that is located on the outskirts and was built by some not very happy people - the Decembrists and other exiles. And they did not meet: Vanya and the city. Judging by what he conveys in his works, I see that it was difficult for him there. Yes, even purely symbolically: the city killed his mother. What could be more symbolic than death in a minibus? The city killed my mother.

I saw Vanya cheerful, but never truly happy. I think he is one of the most unhappy people I have ever met in my life. He is a lucky but unhappy person, because he was somehow very unhappy in the place where he was born. That's how I see it. This does not at all coincide with my attitude towards my hometown of Kemerovo. I love Kemerovo, I was both happy and unhappy there. But they also love me very much in Kemerovo.

And Irkutsk, just as it didn’t love Vanya, still doesn’t love Vanya. He is loved by some small group, but in general, Irkutsk residents, in general, do not know him. Even those in Irkutsk who have never read Vampilov know that there was such a Vampilov. But Vanya did not become Vampilov for Irkutsk. And it won't. Because there is a strange, deep relationship with the city from which its mysterious artistic soul grew.

People in Irkutsk love me more than Vanya Vyrypaeva, and they know me much more. I made films there, visited Irkutsk dozens of times, and for me it became not just a city, but an artistic space. But by and large this city is incomprehensible to me. I feel good and understand everything about Tomsk, Novosibirsk, my native Kemerovo, Omsk, Krasnoyarsk. I don’t understand Irkutsk. The most unsmiling city in Siberia. Even in Chita it’s clearer to me than in Irkutsk.

Perhaps I have this attitude towards Irkutsk because I do not have an enthusiastic attitude towards Baikal. When I look at Baikal, I'm scared. For me he is some kind of cosmic object. A place so powerful and beyond human control. I’m a purely urban person, I’m scared near Lake Baikal. I have never been touched by Lake Baikal, as I can be near Lake Issyk-Kul in Kyrgyzstan. It's nice there, but Baikal is creepy. I am a man who went to sea, served in the navy for three years, and am not afraid of the vastness of the ocean and the depths of the ocean. And I’m terrified at Baikal. And next to it is this city, a little out of the way. Irkutsk is by no means a city where I can feel at ease and relaxed.

For me, Vanya is, in many ways, probably the most important artist of all my contemporaries. I always want to understand how and why he felt and feels this city this way. He has some kind of deep and very difficult relationship with the city, which he did not voice or pronounce.

About bad education

I don’t know a more talented artist who would work in theater. Vanya is a priori theatrical. He can't write prose or make movies. He doesn’t know a damn thing about cinema, he doesn’t understand anything about film language. But he accidentally managed to make an amazing film, Salvation. Vanya is so gifted, fantastically, but very uneducated. He is not an ignorant person, he is simply uneducated.

Chekhov was also not educated, he was an ordinary doctor. He tried to write prose, but he only succeeded in short stories. But he didn’t know how to write a novel, he didn’t know the anatomy and technology of a novel - he couldn’t do it. And even the story “The Steppe,” which he tried to write as a large prose work, fails in many places.

And theatrical by nature, Vanya was born a man who is obliged to create his own theater. He doesn’t understand anything about theatrical directing, that is, about the laws of perception. He just doesn't know people very well. It is deep and far away in areas where I have not gone or even looked. I'm scared to look there. I will not decipher what I just said.

In particular, I have never tried drugs in my life. This is one of those hidden corners where I have not been, but Vanya has been. And he apparently went into serious trouble. So when Vanya talks about aliens, he means absolutely not the same thing when I talk about aliens. (Laughs.) Here. I know a lot of people, I know a lot of brilliant artists, I knew several great poets and painters. But I don’t know a more gifted person than Ivan Vyrypaev. And I think he doesn’t cope well with his talent.

He does not have enough tools to process the plans that come to him, that are given to him, that happen to him. If he had had an education, there would have been many more tools. And due to the presence of such instruments, it would be better heard by people. They can't hear him well. Because he doesn't speak very clearly. Irkutsk did not give him the necessary education. Irkutsk forced him, or demanded of him, or suggested that he do things that were not what he needed to do in those young years. I was more fortunate: I received a very good education in Kemerovo.

There was a time when I had already given up on Vyrypaevo. But a few years ago life changed my mind. And then I had the biggest complaints against him, because he was the most talented. What complaints can there be against a mediocrity and a fool? None. And he's damn interesting to me.

I'm really looking forward to his next work. And even if it is unsuccessful, or rather erroneous, because Vanya makes a huge number of mistakes. But these are mistakes. Mistakes are forgivable, but sometimes mistakes are beautiful. Vanya makes both forgivable and beautiful mistakes. Even if this is so, I will perceive it with annoyance, I will say: “Eh, it’s a pity, it’s a pity that this is unsuccessful. Let's wait for another one."

“What should we talk about?”

We never had significant conversations with him. What should we talk about?
It's better for us to write short text messages. For example, when I watch his next performance. I really like the play “Drunk”, I was struck by the text of “Illusions”. I then called Vanya and said that I don’t know how to write like that, I don’t know how to write this way.

In Irkutsk he would have died. Then he would have died in Moscow. Now he can live in Warsaw. He already speaks Polish, he speaks warmly about Warsaw, which I can’t stand. He is constantly moving. I left Kemerovo, realizing that I live very well there, but I need to make my life even more difficult. And Vanya left Irkutsk out of unbearability. I think so. Then he felt unbearable in Moscow. This is not natural, but it was vitally necessary to leave. The man didn't have enough air. There was nothing to breathe.

I never went to his Praktika theater, I don’t like this theater. I saw the performances he made - I think they are all bad. I can't watch this. This is unconvincing. But he is an absolutely unique playwright, outstanding. It is the person who writes for the theater.

Daria Vasilyeva, Irkutsk Online Information Agency

URL: http://www.site/news/articles/20170511/theatre/

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Ivan Vyrypaev grew up with his father, Alexander Nikolaevich, who taught at the Irkutsk Pedagogical College and was awarded the “Patriot of Russia” medal for his services to the profession. Ivan's mother died tragically.

As a child, he was known as a bully and a threat to the yard; by his own admission, he even took money from his classmates. Despite his violent temper, he showed interest in cinema and theater, and unexpectedly for everyone, he even decided to become a professional actor.

In 1995, Ivan received a diploma from the Irkutsk Theater School, and then began writing his first plays. In Irkutsk, he founded his own theater, “Space of Game,” with which he toured throughout Russia. On the stage of the theater, Vyrypaev staged performances based on his own first works.

He went to Magadan, where he worked in the theater, and then moved to Petropavlovsk-Kamchatsky. There he performed on the stage of the Drama and Comedy Theater for two years. In Kamchatka, he met theater director Viktor Ryzhakov, with whom he still works closely to this day.

In 2002, the actor moved to Moscow, where he began to implement his theatrical plans. In 2006 he worked as art director of the Praktika theater, and in 2013 he took over the post of artistic director.

Over the years of work, Vyrypaev has become one of the most significant figures in theatrical art in Russia and Europe. The director's dramaturgy is recognizable and special; he pays attention to every phrase, placing words at the basis of the entire performance, immersing the viewer in the world of capacious dialogues and monologues.

Ivan Vyrypaev’s plays have been translated into several languages; “Dreams,” “Valentine’s Day,” and “Oxygen” are especially popular among foreign directors.

Films by Ivan Vyrypaev

Having implemented many experiments and forms on the theater stage, Vyrypaev set out to conquer the unknown world of cinema.

In 2006, the film “Euphoria” was released. A sketch on the topic of difficult relationships between men and women in the realities of rural life was initially supposed to become a modern vision of Sholokhov’s “Quiet Don”, but Ivan Vyrypaev calls his screen debut unsuccessful.

He failed to convey the main message to the audience and critics, focusing too much attention on stereotypes about Russian drunkards and slobs. However, the film was awarded at the Venice Film Festival, receiving the Small Golden Lion from the jury.

The film “Oxygen”, released later, was based on the successful play of the same name by Vyrypaev, which won the love of the audience in the Russian theater, and then on the stage in England, the Czech Republic, Poland, etc.

The film “Oxygen” turned out to be close to the original source - a collage of short clips accompanied by recitative looked stylish, the film turned out to be emotional and holistic.

Few were able to appreciate it; the film went unnoticed at the box office. Vyrypaev presented his interpretation of the Ten Commandments and reflections on their meaning for the modern young person. The material of the play required careful processing - in the theater it was a passionate monologue with vivid visual effects, but such a format was not suitable for cinema.

Delhi Dance (2012) and Salvation (2015) solidified the director's position in independent cinema, proving his depth and ability to convey emotion through the screen. Polina Grishina, who played the main role of a traveling nun in “Salvation,” received an award in the “Best Actress” category at the Kinotavr 2015 awards.

Director's Awards

• 2004 – youth award “Triumph”.
• Award of the Guild of Film Critics of the Russian Federation "White Elephant".
• 2006 – Prize of the Independent Youth Jury “Golden Lion Cub”, Venice (“Euphoria”).
• 2007 – Nika Award, “Discovery of the Year” (“Euphoria”).
• Kinotavr Award, Best Director (Oxygen).
• 2012 – Award for contribution to the development of art, Poland.

Two actresses in the life of a playwright

From 2003 to 2007, the director was married to actress Polina Agureeva, who played the main role in his film “Euphoria.” The couple had a son, Gennady, in 2006. Agureeva remembers relationships as “an endless struggle everywhere – in love, in creativity.”

Now Ivan Vyrypaev is happy in a union with an actress of Polish origin - Karolina Grushka. She starred in all her husband’s films, with the exception of the debut “Euphoria”. In 2012, the couple had a daughter.

Ivan Vyrypaev is a Russian director, writer and actor. Winner of the Venice Film Festival Award. He gained the greatest fame thanks to his films “Euphoria”, “Oxygen” and “Pure Light”.

The main films of director Ivan Vyrypaev

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  The main films of actor Ivan Vyrypaev

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    short biography

    Born on August 3, 1974 in Irkutsk. His father worked at Irkutsk College, and his mother had a higher trade education and was a manager. After graduating from school, Ivan entered the acting department of the Irkutsk Theater School (graduated in 1995), after which he moved to Magadan. There he played in the local theater and taught stage movement at the Magadan State School of Arts. In 1996, Vyrypaev went to Kamchatka, to the Drama and Comedy Theater. Two years later, he returned to his hometown and opened the theater-studio “Space of Play”.

    In 1999, Ivan staged the play “Dreams” based on his own script, then the plays “The City Where I Am” and “Valentine’s Day”. A year earlier, he entered the correspondence department of the directing department of the Shchukin School, and at the same time taught acting at the Irkutsk Theater School. In 2001, Vyrypaev moved to Moscow and became a director at the Theater.Doc Center for New Plays. He soon gained wide fame thanks to his new play “Oxygen,” which was highly praised by critics. Ivan was awarded the Golden Mask award in the Innovation category.

    Film debut - script for the series “Money” by Ivan Dykhovichny (2002) and participation as an actor in one of the episodes of the series “Diary of a Murderer”. Vyrypaev's theatrical career was gaining momentum: in 2005, he began collaborating with the Praktika theater, on whose stage he staged such performances as Genesis No. 2 and July. The director also opened a creative projects agency, Dvizhenie Oxygen, to produce his own projects, and published the book 13 Texts Written in the Fall.

    Vyrypaev paid more and more attention to cinema. In 2006, he was invited as a screenwriter in the film “Boomer-2” and the science fiction series “Bunker, or Scientists Underground,” in which he also played one of the roles. In the same year, Ivan’s first full-length film “Euphoria” was released, which immediately collected a number of awards, including the Grand Prix at the International Film Festival in Warsaw, the “Small Golden Lion” of the Venice Film Festival, the Nika Award and a special prize jury of the Russian festival "Kinotavr". Vyrypaev also worked actively in the theater and presented the play “Explain” in 2008. The next major film project is the film “Oxygen”, based on Ivan’s popular play of the same name. For this film he was awarded the Kinotavr Prize as “Best Director”. At the same time, Vyrypaev shot a short film “Feel” for the anthology “Short Circuit”. His third feature film is “Pure Light” (2010), which takes place in the Tibetan Himalayas. In 2011, the premiere of the new play “Illusions” took place, and in April 2013 the director was to replace Eduard Boyakov as artistic director of the Praktika theater.

    Vyrypaev also gained wide fame abroad. Performances based on his works, translated into many languages ​​of the world, were staged in twenty countries, including Poland, Germany, the Czech Republic and England.

“Oxygen” has already been called the most scandalous premiere of the year. Director Ivan Vyrypaev talks about the new film, the perception of creativity and the meaning of life.

Ivan Vyrypaev

Ivan Vyrypaev, 35 years old, director, playwright, screenwriter

The hero of my new film – text. The task is to make it sound. All other components of the film - actors, scenery, costumes, countries - worked to ensure that the text reached the viewer. Not just to be heard by him, but to be emotionally involved. The principle is this: you hear and you see. For this reason, “Oxygen” cannot be shown to foreign audiences. It cannot be duplicated with a subtitle - it stops working. It can only be duplicated replica to replica. This is a minus.

There's no plot here as such, but there is the theme itself, and the plot is made up of the text. When I make a film, I always imagine myself in the viewer's place. And never in another way. And for all of us, for the whole team, there is no film that we would make and then show to the viewer: we are immediately spectators ourselves. And we mentally attract other people with us.

If we had no confidence that our text could be listened to, they would never have decided to do so. We were guided by the fact that we had already listened to this text once, albeit in the theater. And all you need to do is find a film language that would allow you to achieve the same result in other ways.

When we played at the theater the text hit the viewer with the help of the actor’s performance, directly here and now, with the help of his sweat, his tears. This story doesn't work in cinema: plots work here. So the method became the rhythm of the text, editing and video images. Therefore, the film itself was created from the auditorium.

For fans of the play “Oxygen” the film will not be of particular interest: it was made for the person who will hear this text for the first time. After all, most people in our country have not seen the play; they will be interested.

We want the film raised an emotional question, not just an intellectual one. So that a person can say: yes, I care about this, this story is about me. This is from this series. So that the viewer’s heart somehow responds.

I made the film the way I wanted. The film comes out to the viewer the way I wanted to make it. If it doesn't work out, it's my fault. There's nothing to blame it on.

Ivan Vyrypaev

I, a simple man, have no answers to deep questions related to the Ten Commandments, murder, death, life. When I was 28 years old and just arrived in Moscow, I was torn by these questions, I simply recorded them - like an ordinary person who lives in this city. It's just that energy captured. She contributed to the success of the performance because she is genuine.

All the people who are involved in the war, are to blame. My position, the position of the group and the autoplay is very simple: in war there are no rightists. It is the idea that there is a right in a war that leads us to the next war. Here everyone is to blame, people die, there are no rules. You can blow up women and children, old people, rape women - because there is war. And the only way to avoid this is to avoid war. Until we come to this point of view, the war will continue.

We drag religion into wars. Agree, terrorists blow up their houses for real, of course, not because of God. But formally, their cause is religion. This means that it is not a bad religion, but those people who interfere with a great teaching, such as Islam, Judaism or Christianity, in their socio-political motives. These are the questions asked in the film. And this is the problem that we need to talk about today. There is only one film in the world that can be made – an anti-war one. You can't make a film about war.

When we hear the commandments, we no longer perceive them as real. They have turned into routine and rhetoric for us. We hear all the time: “Thou shalt not kill!” - that's all. Why “thou shalt not kill”? Why can't you kill? We kill cows and eat pork escalopes. Why can't you kill a person? Please take the gun. Why can't you steal? Go and steal. If you can’t, you need to think about it. Why can't you do this? Every philosopher and every artist living on this earth is forced to constantly remind us of this, and we must again revive these commandments for ourselves.

God is air, this is something you can’t live without, and not just something that may or may not exist. This is not a Sunday sermon. That's life. Try to remove the air - what happens? That's what we're talking about. This is not a scandal, but a study.

Now I'm doing a play about death. I collect materials, talk about it with different people. With those who suffer from cancer or AIDS, or simply with older people. For a person who is dying, the question “what will happen in the next world?” is not philosophical. He is no longer philosophical. This is a specific question. What will happen to me in two weeks? And not in general, whether there is a god on Mars or something else. And this specificity, his life in these last two weeks, is worth his whole life. This is the most important and interesting thing in life. Illness is also given to us by God. Because it is a very strong, important thing in your life. This helps you understand what you cannot, due to your laziness, realize in your entire life. You are filled with this spirituality here and now. And you understand what you live for.

Ivan Vyrypaev

I'm not a role model, because he is unstable in his spiritual path. And, probably, I cannot be used as an example: look what a young hero he is. I will even say this: I am not the hero of my work. The hero in Oxygen is more likable than me. And he is much more determined. Of course, since I wrote the play, these problems concern me. But I cannot say that I am such a Chatsky. Although the Chatskys are needed, so are the Decembrists, who commit a seemingly strange act and then die. We need a person like Prometheus. I am not that kind of person. I can’t write about such a person. Each has its own purpose.

When I myself played this performance, I was 28, 29, 30. The play ran for four years and was played a lot. When I turned 32, I already realized that somehow I couldn’t play in it anymore. Even at 28 I didn’t really look like a hero, and at 32 I definitely didn’t have that maximalism. That sincerity, maximum sincerity, I have it, of course, but it’s not enough. And then, I looked bad and gained weight. And in general he failed somewhere.

I once told myself, that I am a man without conscience: it is difficult to say seriously of conscience. In general, then I went too far. No, my conscience is fine. I got rid of this complex of judging myself.

I don't know jealousy, I'm generally not a jealous person. Agree, it is wrong to be jealous. You can’t love a person and at the same time think bad things about him. It is very strange. That is, I love a person whom I consider good, and it would not occur to me to think something like that about him.

I've been married three times, and all my wives were wonderful women, and it is impossible to think even the slightest bad about them. They are the best on earth and remain so. Here we need to deal with jealousy. When a person is jealous, you need to think: it means that something inside is not right.

Someone calls me a prophet. I don't feel like a prophet. This film cannot be a prophecy. What does this even mean - prophecy, and who these prophets are - is unknown. I just managed to write the actual text. This does not mean that he is some kind of great. It's just written in a poetic manner, and that makes it relevant, because only the sublime remains. You always need such a modern text.

I used to think that I had to be extremely clear so that everyone understands you and does not blame you. Then I realized that this, unfortunately, is impossible. Still, someone will say that I promote drugs. Some will say that, on the contrary, it is not enough. You will always be blamed. That's how it works.