Petr Fedorov: “With each new role you get a one-way ticket. Petr Fedorov: “With each new role you get a one-way ticket Petr Fedorov Sunday evening
The future actor did not intend to go on stage in his early youth, but his genes took their toll, changing his plans for a creative life. Today Pyotr Fedorov is a rising star of Russian cinema. The name of the artist is known to everyone who closely follows changes in the world of cinema. Fans call the man the new sex symbol of Russian show business.
Pyotr Fedorov was born in the Soviet capital in the spring of 1982. The future actor was lucky enough to be born into a family that became famous for two generations of artists. Grandfather Evgeny Fedorov - Honored Artist of Russia. His half-brother, Alexander Zbruev, is also a Russian cinema star. The boy’s father, Pyotr Evgenievich Fedorov, was also an actor. Viewers remembered the artist from the film “Starfall” by director Igor Talankin. Later, Pyotr Evgenievich hosted popular children's programs and became the organizer of the first Roerich Society in the capital.
After his parents’ divorce, the future star of “Stalingrad” went with his mother to Altai, where he grew up until the age of 14 in one of the villages of the picturesque Uimon steppe. Petya was a hooligan boy and enjoyed going to the neighbors’ orchards to buy apples with his peers. But when the teenager turned 14, his mother decided to return to the capital. Soon Peter went to 8th grade at a Moscow school. The boy drew well and even thought about entering the Stroganov Academy.
The plans were changed by the death of his father in March 1999. Pyotr Evgenievich died of cancer at the age of 40. This sad event prompted his son to follow in his father’s footsteps. In the summer of the same year, Pyotr Fedorov entered the Boris Shchukin Theater Institute. It cannot be said that Peter passed the exams brilliantly, because the guy never prepared to become an artist. Fortunately, Pavel Lyubimtsev was on the admissions committee at that time, who saw potential and glimpses of talent in the modest applicant. Young Pyotr Fedorov was enrolled in Rodion Ovchinnikov’s course. In 2003, the aspiring artist was awarded a diploma of higher theater education.
Movies
A cinematic biography of Pyotr Fedorov started during his student years. Even in the first courses of “Pike”, the young artist was approved for a role in the film “101st Kilometer”. This is Fedorov's first full-length film, and quite successful at that. The actor successfully coped with the debut role of the boy Lenka, who lives in a “reservation” for marginalized people and criminals.
The theater stage also “received” the guy with open arms. The graduation performance “Beautiful People” with the participation of Pyotr Fedorov, according to “Moskovsky Komsomolets”, turned out to be the best in the “Beginners” category.
As a result, the promising graduate of “Pike” was accepted into the troupe of the Stanislavsky Theater, on the stage of which the young actor more than once received applause for his excellent performance.
A brilliant debut in “The 101st Kilometer” opened up Pyotr Fedorov to directors and audiences. Soon the actor starred in the films “Count Krestovsky”, “Reel in the Fishing Rods” and “Men’s Season. Velvet Revolution". The artist’s first leading role came in 2006, when the youth series “Club” was released, recognized as the most popular MTV Russia project in the entire history of the channel.
Pyotr Fedorov felt the taste of his first glory. 8 seasons of the series were released, in which many rising stars of Russian cinema starred. Dima Bilan, Anna Semenovich, Sergey Lazarev, Natalya Podolskaya and many other famous performers appeared in cameo roles. Fedorov got the image of the capital’s playboy, the “golden boy” Danila, the son of the director of a popular Moscow nightclub.
Pyotr Fedorov starred in three seasons of “The Club.” In season 4, the actor appeared in only a few episodes, because he was busy in another project - Fyodor Bondarchuk’s project “Inhabited Island”. The director offered the young artist one of the main roles - Corporal Guy Gaal.
The film was released in 2008 and became one of the most rated. The following year, Bondarchuk filmed a sequel, calling it “Inhabited Island: Brawl,” where Pyotr Fedorov again appeared.
2009 brought the actor a new wave of success, somewhat overshadowed by scandal. The artist first tried his hand as a screenwriter and composer, which greatly surprised his fans. The film “Russia 88,” in which Pyotr Fedorov told viewers the story of a gang of skinheads, was not liked by everyone. The film received mixed reviews. The artist assigned himself one of the key roles - the leader of a gang nicknamed Bayonet. According to the actor, the heroes of the films “Inhabited Island” and “Russia 88” have similarities, because both firmly believe in their ideology.
The premiere of the film “Russia 88” took place at the end of 2009, and in 2010 the Samara prosecutor’s office filed a lawsuit against the creators of the film, considering the film extremist. Later, Pyotr Fedorov admitted that he was amazed by this development of events. The actor did not expect that some of the spectators would react to what they saw in exactly this way. Litigation and proceedings dragged on for three years, exhausting a lot of nerves for the filmmakers.
But not everyone reacted so negatively to the film. For example, the film received a large number of positive responses at Berlinale. At the National Film Criticism Award "White Elephant", the project "Russia 88" received the special prize "Event of the Year". The Guild of Film Scholars and Film Critics also presented the filmmakers with an incentive award. The film was called the opening of the year, but Russian companies did not rent the film.
The next two years were eventful for the actor. In 2010, films with the participation of Pyotr Fedorov “Gop-stop”, “No room for error” and “Phobos” were released. Fear Club." The last film was filmed in Estonia, where the artist unexpectedly found several relatives.
And in 2011 the film “PiraMMMida” was released, where Pyotr Fedorov played the main character - the child prodigy Anton. The plot is based on the work of Sergei Mavrodi. The film was liked by critics and viewers and received a high rating.
The Muscovite also starred in a foreign project. American director Chris Gorak invited the Russian actor to play a role in the Phantom project. At the same time, the adventure film “Runaways” was released, based on the story “The Witch’s Key” by the Siberian writer Gleb Pakulov. Here Pyotr Fedorov became part of a tandem with Elizaveta Boyarskaya. Filming took place in the taiga and Altai Mountains, where there were no mobile communications and the benefits of civilization.
Fans of Pyotr Fedorov will also remember his work in the New Year's comedy "Yolki-2", the film-almanac "Moms", the film "A Man with a Guarantee" and the TV series "Odessa-Mama".
A new wave of fame “covered” the Muscovite after the release of the military drama “Stalingrad”. Fyodor Bondarchuk invited a young colleague to play the role of Captain Gromov. This is the first Russian project filmed using IMAX 3D technology. The drama earned more than a million rubles in 11 days of release and turned out to be the highest-grossing project of 2013. The film was nominated for an Oscar as “Best Foreign Language Film.” In the future, roles in historical dramas and military series will become the main ones in the career of the Russian actor.
2013 turned out to be successful and generous for the actor. Pyotr Fedorov starred in the action-drama “Priest-San” by Yegor Baranov, whose script was written by Ivan Okhlobystin. The genre of the film was defined by its creators as “Japanese Orthodox Western.”
But two other projects, released on big screens in 2013, became successful and resonant. This is Renat Davletyarov’s film “Pure Art”, in which the artist got the key image of the artist Andrei Stolsky, and the thriller “Locust”, where Pyotr Fedorov and Paulina Andreeva have a lot of frank scenes The actor admitted that he was “hooked” by the film’s script. Reading it, the artist realized that there was a lot here that he had never had to play. Critics called the project “the first Russian erotic thriller.”
In 2015, the name of Peter Fedorov sounded loudly several times. The actor played Sergeant Major Vaskov in the new film adaptation of the military drama. He also starred in the drama “Motherland” by the famous director Pyotr Buslov. Filming of the project took place in Goa.
But the peak of popularity of the new star of Russian cinema came in 2016, when the artist’s fans saw their idol in the blockbuster “The Duelist” and the disaster film “Icebreaker”. In these two projects, Pyotr Fedorov got the main roles, which secured the actor’s star status.
Pyotr Fedorov pleases his army of fans not only with his vivid images in films, but also with his musical creativity. Since 2010, Fedorov has been performing with the band Race to Space as a keyboardist. The soloist of the group is actress Miriam Sekhon, whom many music lovers know from the performances of the retro group VIA “Tatyana”.
Personal life
The actor seems to be in no hurry to start a family. But this does not mean that Pyotr Fedorov has no personal life. The girls' favorite has had a lover for a long time. This is the beauty and model Anastasia Ivanova. Peter and Anastasia started dating in 2003 and are still together.
Some argue that Nastya is the common-law wife of Pyotr Fedorov, because the couple have been together for several years. If you believe rumors from social networks and tabloids, then Ivanova’s parents - respectable and wealthy people - are not happy with their daughter’s choice. In any case, this was the case in 2003, when the name of Pyotr Fedorov was little known to the viewer.
For the first time, people started talking about Fedorov’s relationship with Ivanova after the scandalous appearance of a photo of a naked couple on the cover of the Sobaka.Ru tabloid. Since then, the lovers are often seen together. Peter and Anastasia appear in public at the premieres of films with the participation of the actor. They don’t have children yet, although Peter’s mother has long dreamed of grandchildren.
It is known that Pyotr Fedorov loves his family. He has a loving relationship with his mother, grandfather and grandmother. The artist always finds time for his family, although recently Fedorov’s schedule has been packed minutely. Not long ago, when the actor’s grandmother broke her hip, her grandson equipped her bed with his own hands so that the woman could feel comfortable.
The actor himself says about himself that he is constant and responsible, and his family and friends are the most important thing in life.
Petr Fedorov now
Today the actor continues to participate in filming. In February 2017, the film “You’re All Infuriating Me!” was released with the actor’s participation, and in September the comedy film “The Adventures of a Crazy Professor” is scheduled to premiere.
The artist constantly receives invitations to participate in filmmaking, but believes that it is difficult for novice actors to gain a foothold in Russian cinema. According to Fedorov, today in cinema there is a tendency to extract funds, the income that a particular film can bring. This pattern, according to the actor, is the result of the choice of producers, because such a compromise leads to the fact that there are more commercial films, and films are created with the wording “this is the time.”
“It is believed that the acting profession is dangerous because someone always slips or explodes. But the profession must be dangerous, because psychologically, with each new role you get a one-way ticket... The only way out is to do your job honestly, to be useful to society. Roughly speaking, fight for that spark with which the Lord has awarded you. “I am very grateful to my profession,” said Pyotr Fedorov in an interview, reflecting on the acting profession.
The artist’s integrity manifested itself during the filming of the next film. According to Russian media reports, Pyotr Fedorov did not star in explicit episodes with Paulina Andreeva, the fiancee of director Fyodor Bondarchuk, due to the negative attitude of his family towards such scenes.
Netizens Instagram and other social networks continue to monitor the personal life of the artist, who in the near future may again declare himself by appearing in successful projects.
- Watch the film "Gop Stop" (starring Pyotr Fedorov) here at 14 - 30 Moscow time.
By the age of 34, Pyotr Fedorov had managed to be the main major of domestic television screens, the most terrible Nazi of auteur cinema and the first hero of the Great Patriotic War in 3D - not counting three dozen other roles. To more accurately outline the actor’s creative trajectory, Grigor Atanesyan spent a week with him.
From the darkness of the July evening, which you greet with barely perceptible alarm on the outskirts of South Butovo, Pyotr Fedorov steps out, followed by a husky dog. Dressed in a blue T-shirt and denim shorts, in these circumstances he resembles his character Vasyanya from the film “Gop-Stop”, and only plastic Crocs sandals break the integrity of the image. Behind the high gates you can see a three-story stone house. “Put on your summer slippers. You are hungry?" - Fedorov asks, inviting us inside. Steps lead up to the clapboard kitchen, whose walls are decorated with posters of Scarface, Fear and Loathing in Las Vegas and Natural Born Killers.
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“The guitarists will arrive soon. Here the kutabs remained from ISIS. Eat kutabs,” Fedorov speaks abruptly, but without interruption, and soon discovers the reason for his excitement. “My grandfather called last night and said there were people sitting in the kitchen. And the poor grandfather was robbed several times over the past three years. I arrived - and indeed: the smell of cheap perfume and alcohol, also cheap. The nurse we hired through an agency set up a hangout in the apartment. I kicked them out half the night, and she also cursed me goodbye.” After about a minute, this crime story, through unknown paths, brings Pyotr Fedorov’s thought to cinema: “Why are criminals fascinated? In cinema there is no hero who is completely bad, there must be some kind of motivation.”
While I’m finishing the kutabs, a tired-looking man comes down the stairs and introduces himself: “Vadik.” Composer Vadim Mayevsky is the owner of the Butovo house, where actor Pyotr Fedorov has been spending a significant part of his free time for the last fifteen years. There is a recording studio on the second floor, and a rehearsal space on the third. Next to the stone house on the site there is a small dacha - Mayevsky is going to demolish it, but for now Tajiks live in it, the same ones whom Pavel Bardin and Pyotr Fedorov starred in the film "Russia 88" (in one of the rooms all the Nazi props collected for filming).
Fedorov met Mayevsky in 2003 at the Shchukin School - he was selecting music for the graduation performance of Rodion Ovchinnikov’s course. Together they founded the group Device in which Fedorov played the keys and sampler, then the vocals of Miriam Sekhon were added to the electronic guitar compositions - to some people better known as the vocalist of VIA "Tatyana" and actress of the Praktika theater, and to most - as commissar Rosalia Zemlyachka in "Sunstroke" Nikita Mikhalkov. The new group, which already has two albums recorded in Berlin, has been named Race to Space. In Berlin, records were printed, the covers for which were drawn by the artist Pavel Pepperstein, and the layout was made by Fedorov himself.
The house in Butovo is filled with musical instruments: samplers and synthesizers from the early nineties, Soviet electromusical systems, accordions, harmonicas and even a balalaika. Fedorov lovingly examines the microcircuits laid out on the floor: “These are new modules from which we assemble pure analogues, hardware. A digital synthesizer offers you a bunch of worlds, but they are already invented for you, and it’s interesting to return to the original sound sources.” The eighties drum machine he is responsible for has just arrived from Berlin - “after it we went out to the porch, because it costs about the same as a car.” As if to prove the value of the acquisition, Fedorov takes a seat behind the machine: he spends a long time adjusting the handles and keys, tightening the levers.
In the far corner of the rehearsal room there is a leather sofa, in front of it there is a coffee table with a bottle of whiskey, glasses and an ashtray, and a hammock is hung against the wall. Having finished with the drum machine, Fedorov pours whiskey into glasses, lights a cigarette, and shows a note from the group The xx, warming up for them Race to Space performed at Crocus a couple of years ago, and talks about a recent expedition to the Russian North - a new video was filmed there. He shrugs: “I’m just a musician pretending to be an actor.”
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The group gathered for the last rehearsal before the Afisha Picnic - “we are performing on a local stage, we will be something like headliners there” - and in the absence of the vocalist, who was expected after the concert, the guys play instrumental versions of all compositions: with dirty bass, guitar riffs and the sound of synthesizers reaching minimal techno. Once every half hour they look up from their instruments, smoke and drink whiskey. When the alcohol runs out by one in the morning, Fedorov finds the Alkobutovo number in his phone and, instead of greeting, says into the phone in Italian: "Buongiorno!" This is a code word, and it is enough for Alkobutovo to go to the address. The collection of money begins - as in any company, no one has cash. When the required fifteen hundred thousand for a bottle of the simplest whiskey is finally found, Fedorov leaves to meet the courier.
“You get a profession, but there’s nothing to choose from”
The film set in an abandoned collective farm near Serpukhov is surrounded by hogweeds. It smells from the dung hill. The stunted trees on the roof of the barn are bent by the wind. There is a cherry red Volga in the frame: Pyotr Fedorov again and again puts an ax in the trunk, jerks open the door and sits in the front seat. In the back, a gray-haired man with sloppy stubble is waiting for him - Kirill Pirogov, an artist from the workshop of Pyotr Fomenko, beloved by the people for his role as Ilya Setevoy in Brother 2. In the mini-series “Savva” he plays the main role, investigator Savchenko. Fedorov carries out the commands hissing from the walkie-talkie: “Petya, walk a little past the car in an arc like a banana, just the way you like.”
After the ninth take, the lunch break begins, and Fedorov comes up to me with a cigarette in his mouth. He wears a faded blue polo shirt tucked into jeans, a pistol holster on his belt, and a gold watch on his wrist. Pilot(Fedorov’s grandfather asked to take it in for repairs, but the old Soviet watch seemed to him the only one suitable for the hero, and he “brought it in”). Kirill Pirogov sits on a wooden box and repeats his role. Gray-haired, in a rumpled jacket and worn-out sneakers, he seems to live every free minute in the world of theater - when Fedorov sits down next to him, the story he started, apparently in the morning, continues about how Pirogov is staging “Richard III” with students of the Shchukin School. They remember the best times of their native university and agree that “Pike” was corrupted by the attention paid to students by television channels.
The actor’s grandfather Evgeny Fedorov and his half-brother Alexander Zbruev, as well as his father Pyotr Fedorov Sr., graduated from the Shchukin School. The son was going to enter Stroganovka to become an artist, but after his father’s death in 1999 he decided to follow in his footsteps. Already in his first year, he received his first leading role - with Leonid Maryagin in the film “The 101st Kilometer”. The director drew attention to him during the exam on stage speech. “I was in good hands - at the age of 17 I myself could not understand whether the film was good or not. Seven years passed, I looked it over and thought: “Petrovich, how lucky you are.” After graduating from the institute, Fedorov was enrolled in the troupe of the Stanislavsky Theater, but the “Club” brought him fame. The main youth series of the 2000s, with the subtitle “A Cinderella Story in the Style R&B”, showed millions of teenagers a grotesque picture of nightlife during the era of Putin’s stability: Fedorov’s hero, the son of a nightclub co-owner, goes home every evening with a new queen of the dance floor, wins friends with witticisms like “Why are you a metrosexual? Do you take the subway all the time?” and the girls with a wide smile and bushy eyebrows. A year after the premiere of the first season of “The Club,” Fedorov was already starring in Fyodor Bondarchuk’s blockbuster “Inhabited Island” with a record budget for domestic cinema of $36 million.
Now Fedorov hurries to the trailer, where the same empty soup and mashed chicken awaits us, to explain how, after a successful start and a string of serious roles, he ended up on the set of a series, albeit for Channel One: “I used to think: I’ll be famous , there will be interesting offers. No shit. You get a profession, you begin to serve it, but there is nothing to choose from. Here the producer invited me to play Savchenko, but I decided that I was in the wrong situation. This is my first conscious refusal to play a leading role. Nobody understood me, but I support the project, and the last thing I want is to grab a bigger piece. I would ruin this role, it would become gender dominance: a strong guy arrives and starts putting pressure on everyone, but that’s boring.” “Gender dominance” is generally Fedorov’s favorite expression; this is how he seems to define the role that has been trying to stick to him in recent years, and therefore pronounces this expression as a curse. “As soon as the show had a director, I said, 'Can I shift?' And he immediately said that the only suitable artist was Kirill Pirogov. He’s so subtle, theatrical, and he’s matured so much, he’s turned grey.”
After the castling, Fedorov plays a local investigator, who is sent as an assistant to the auditor who came from Moscow in the person of Savva. “I’m tired of playing cops, I don’t do that on principle. I do not advertise shoulder straps or other state insignia. And our police have such a uniform that, excuse me, when a policeman enters the frame, it needs to be alarming and scary, not funny. But the trails are a kind of canon. There is first love, there is betrayal, there is treason, and there is a follower - this is also a dusty cinematic archetype,” the actor seems to be justifying himself. Taking on a smaller role, Fedorov set out to maintain a psychological authenticity that is rare in Russian TV series. His favorite example is not even “True Detective,” with an eye to which “Savva” was written, but the British “Luther.” “The main thing there is not a crime plot at all - you just sit in the kitchen and your whole life is explained to you.” To achieve this authenticity, I had to disassemble my own acting technique piece by piece. “At the institute they always said that the character is not you, it’s another person. Well, what the hell kind of person is that, it’s me? - No, not you. - Okay, it’s not me, but the tears are mine? My. My pain? My. This schizophrenic moment has never been clear to me. When we were learning to cry in our third year, Vladimir Petrovich Poglazov asked me who I feel most sorry for. Of course, we always feel sorry for ourselves, not for our mother, not for our grandmother, but for ourselves. On his advice, I felt sorry for myself, and it worked right away,” Fedorov’s monologue is interrupted by the crackle of a loudspeaker announcing that the lunch break is over.
“All kinds of rabble go to the cinema”
For the third time we meet Fedorov on Gogolevsky Boulevard after shooting the cover of this issue and, to end the conversation, we go to the nearest bar. For the actor, who disappears for six months on set, the variety of wine bars is new, but he does not dwell on this thought for long, obsessively returning to the same questions. Where do actors have “that fucking line” between their profession and life? How to talk about people if you don’t have time for them? And when time appears, how to communicate with people without turning this communication into a benefit? And, most importantly, how to film and act in a country where there is no film industry?
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T-shirt, BOSS
The next after the dystopia of Fyodor Bondarchuk was the low-budget pseudo-documentary drama “Russia 88” by Pavel Bardin, whom Fedorov met on the TV series “Club”. The script, written jointly, was based on a common interest—research, the actor emphasizes—in subcultures in general and the Nazi skinhead subculture in particular. The film showed with amazing authenticity the life and morals of neo-Nazi teenagers, busy implementing their complex ideas, in which “Mein Kampf” became related to the “Veles Book”, and British rock - with domestic shit-punk. To finish the film, Pavel Bardin had to sell his apartment. Many actors who auditioned refused to film after learning that the immediately announced fee of $50 per shift was no joke. As a result, they selected people they knew: relatives of the Caucasian Robert were played by artists Georgy and Konstantin Totibadze, and the role of one of the skinheads was played by Race to Space participant Alexander Turkunov. The editing director was Pyotr Fedorov himself.
Having gained 20 kilograms of muscle mass for filming in “Inhabited Island,” Fedorov appeared in “Russia 88” as a young man bursting with adrenaline with a square chin and a look in which any absence of fear and reflection could be read—“blue eyes and a hot forehead,” according to Mandelstam. Living with his mother and sister in Tushino, 21-year-old Shtyk is the leader of a neo-Nazi gang. He leaves behind a small mountain of corpses: his sister Yulia, who is dating a Caucasian man named Robert, Robert himself, and his comrades who died in a shootout with his relatives - a mentor in the “white revolution” Kliment Klimentovich, who is also a school teacher of life safety, and his beloved pit bull.
In 2009, the film received the Nika Award as the discovery of the year and was well received at the Berlin Film Festival, but none of the major Russian companies rented it. And in December of the same year, the prosecutor’s office of the Samara region filed a lawsuit for the confiscation and removal from civil circulation of the film “Russia 88” as extremist. The formal reason was the operational search activities of the local FSB: they revealed that citizens Valeev O.R. and Rustamkhanov R.A. independently watched “Russia 88” and saw signs of extremism in it. Bardin and Fedorov went to the trial in Samara and even found Candidate of Pedagogical Sciences Shamil Makhmudov - previously sentenced to seven years probation for bribery - who, commissioned by the Ministry of Internal Affairs, became the author of an expert report and found “incitement of hatred and enmity” in the film: “Moral and aesthetic an unformed reader may take this material as a signal to fight for the establishment of the Russian nation in competition with representatives of other nationalities on the principle of “me and the world.” A year later, the prosecutor’s office withdrew the lawsuit, but in February 2016, by decision of the Naryan-Mar court, the film “Russia 88” was again declared extremist. Pavel Bardin then argued that the reason for the persecution should not be considered the depiction of neo-Nazis itself, but rather their cooperation with the state: in “Russia 88” the Bayonet gang is protected by a local police officer, and a conditional deputy played by Andrei Merzlikin offers participation in serious business - protecting rallies and marches, propaganda work among young people. Also in 2009, human rights activist Stanislav Markelov and journalist Anastasia Baburova were killed by neo-Nazis - this murder formed the basis of the BORN case, “a militant organization of Russian nationalists.” At the trial, the militants spoke about their connections with employees of the Presidential Administration and pro-Kremlin youth movements.
It did not succeed in wide release, and the filmmakers did not prevent its distribution on the Internet. Downloaded on torrents by the majority of its viewers, the drama became perhaps the main event of Russian cinema for several years and ideologically ended the 2000s, which began with “Brother 2”. Bardin managed to go beyond admiring shaved heads and panel high-rise buildings - “Russia 88” talks about teenagers who grew up without fathers from a residential area, past which the financial flows of the “fat” 2000s passed by, but corruption, drugs, cheap vodka and an ideological vacuum never went away. Fedorov smiles, remembering all the times when on the street he was recognized as Bayonet - much more often than Guy Gaal from The Inhabited Island.
After Russia 88, Fedorov said that he would continue to act only in original films. Did not work out. By the age of 34, the actor’s biography was adorned with a free adaptation of Sergei Mavrodi’s autobiography “PiraMMMida”, and the role of Captain Gromov in “Stalingrad” by the same Bondarchuk, and participation in the remake of the Soviet classic “The Dawns Here Are Quiet”, and a comedy with characteristic titles “A Man with guarantee" and "Odnoklassniki: call for luck." However, now the actor takes it calmly: “I can’t help but participate in craft work at all. But there should be absolutely free work that you do yourself with like-minded people. Since I have my own personal audience, I must comply. You can't just make money from these people. What's worse: advertising or a fucking TV series? In my opinion, the series is fucked.”
Recently, Fedorov was persuaded to star in the series “Bitch” for STS, directed by Oksana Bychkova. The producers assured that the channel had reformatted and was ready to create truly high-quality projects. But somewhere in the middle of filming at STS, the management changed, and after it the team of the series - Fedorov calls it a raider takeover. Even the operator changed: “Where was the last time I saw him? That's right, on the set of "Club". A production drama about employees of a city publication, hipsters from the outback, turned into a grotesque farce with stilted characters. But when Fedorov wanted to leave the project, it turned out that somewhere in the contract, in fine print, the payment of a huge penalty was written down - such that it would not even help to sell the car.
The need to finish filming brought the actor to the brink of despair, and he continued the experiments with alcohol that he had begun during a previous professional crisis. I came out of them rumpled and haggard, but with a sober understanding of the main problems of the domestic industry: “I always liked cinema better than theater, because all kinds of rabble come here: some have three degrees, some have none at all. But there was a time when many people brought their own - relatives, friends, fellow countrymen. It turns out that cinema is not a profession, but a resource from which you can make money. Half variety, half some kind of bullshit. Producers choose money projects, although this is still mathematics, but because of it there are more compromises and commercial films. And everything complicated is closed with the wording “this is the time.”
"Materialization of human fantasy"
Fedorov’s faith in big cinema was restored by the filming of “The Duelist.” Its hero is a retired officer Yakovlev, who fights duels for other people for money in St. Petersburg in the mid-19th century, in order to one day take revenge on his offenders. Initially, the Russian Monte Cristo was to be played by Vladimir Mashkov, who eventually played the role of the antagonist of the main character. The meeting with director Alexei Mizgirev changed Fedorov’s ideas about many things. First of all, he asked the actor to forget everything that he had been taught up to that moment, the argument was convincing: “We are grown-up guys, we have the right to talk about ourselves.” Fedorov recalls that he asked again - shouldn’t he be talking about Yakovlev? The answer was the same: “No, tell me about yourself.”
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“I realized, this is the key, what a fool I am, how I didn’t understand. You just need to act less in shit, and then you can feel it. There is a piercing thought in this “telling about yourself”, and it has nothing to do with the actor’s schizophrenic change of images. Mizgirev explains the problem and cries. He comes very close, goes into your personal space, explains the hero’s motivation. And I see that he has a tear - it makes cold sweat run down his back.”
“Alexey Yuryevich restored respect for the profession,” sums up Fedorov. According to the rules established on the set, the actors did not see the scenery before recording the take and did not communicate with each other - they never even crossed paths with Mashkov outside the frame. Contrary to usual practice, the film crew was helped to set the frame and light not by the actors themselves, but by understudies, who were selected by height and figure and made up to match the actors. The main characters were brought onto the stage by assistants, like boxers into the ring; instead of the usual conversations on the radio, there was complete silence. “For the first time, I experienced this moment of concentration around the frame, when the materialization of human fantasy occurs through the mobilization of a large number of people,” Fedorov difficultly formulates his experiences. Not everyone could withstand psychological discipline - the actors fainted and suffered nervous breakdowns. Peter laughs: “It is believed that the acting profession is dangerous because someone always slips or explodes. But the profession must be dangerous, because psychologically with each new role you get a one-way ticket.”
“Peter remembered us,” Fedorov sums up. He is pleased with the work of not only the director, but also the producer - for the sake of filming, something in St. Petersburg was blocked every day, including Nevsky Prospekt and the embankments, and they even obtained permission to set up a market in front of the Kazan Cathedral. Despite the historical setting, Mizgirev wanted the actors to forget the stereotypes of costume dramas and play about the 1860s as if it were the 2010s. One of the most important technical means was peat, which was used to fill the pavements during filming - even on Palace Square. The peat was watered, horses walked over it, and the result was real mud - only after that were gentlemen in uniforms and ladies in dresses released. Mizgirev gave the costume designers the task of sewing, “as if McQueen lived in the 19th century,” Fedorov recalls.
On October 20, a month after the premiere of “The Duelist,” Nikolai Khomeriki’s disaster film “Icebreaker” is released, based on the story of the 133-day drift of the icebreaker “Mikhail Somov” in the Antarctic ice. Having agreed to the main role, Fedorov began to read all available materials about the feat of “Mikhail Somov” and discovered that captain Valentin Rodchenko, who received the title of Hero of the Soviet Union for saving the ship, was alive. Secretly from everyone, Fedorov found his contacts - it turned out that Rodchenko lives near St. Petersburg. The actor made his way to filming in Murmansk through St. Petersburg and decided to get to the captain at any cost.
After four hours, which the taxi driver spent wandering along the Scandinavia highway, Fedorov ended up visiting Rodchenko. He apologized for being late with the wording: “I’m very sorry for your nerves,” to which Valentin Filippovich replied: “They don’t exist.” Fedorov shyly brought a jar of jam with him, but in the end they drank all evening, and Fedorov asked Rodchenko about 1985. “I was interested, of course, in psychosis. Psychosis of loneliness, its peak. When a person sits and looks at one point for a day, two, three. When the table was set for 50 people every day, but no one ate. When they were fighting for sleeping pills.” Fedorov had not yet seen the final cut of “Icebreaker” and was noticeably worried: “I would really like the film to have a piercing note of the eighties. Cameraman Fedya Lyass shot with old Soviet and French optics and, it seems to me, captured some of the poignancy of Soviet cinema.”
The conversation, which has been going on for three hours, is interrupted by a call from Vadim Mayevsky: Race to Space We were invited to a festival in Kaliningrad, and we need to prepare everything for the tour. Peter went to Butovo by metro. This evening he was a musician who was only pretending to be a famous actor. And the next day at seven in the morning, Pyotr Fedorov was already filming the first take near Serpukhov - and again he was an actor, painfully searching for a way to create good films in a country where good films are only steps, the fruits of personal achievement.
The topic of anti-Russian sanctions is still relevant and exciting. Politicians from different countries, journalists, business representatives, and ordinary people speak out on this matter. There is an opinion among Europeans that Russia, with its “wrong” actions, is itself provoking the introduction of new restrictions and forcing the entire world community to unite against it. However, if you look closely, it becomes clear that sanctions against the Russian Federation are not being imposed by the whole world, but only by individual states that have previously united against Russia for their own personal purposes.
On the popular program “Evening with Vladimir Solovyov,” which aired the day before, Russian journalist Pyotr Fedorov spoke about the sanctions. During a discussion with representatives of European states, Fedorov made a sharp statement with which it is difficult to disagree.
The Russian journalist competently put the Europeans in their place! The man cut the truth - the uterus, I respect it!
And you're scaring me with sanctions? pic.twitter.com/Y0ISYZ3otb
Maria Rostova (@RostovaRus) March 1, 2017
Thus, the journalist dispelled the myth that the whole world is against Russia today. As Fedorov notes, only NATO countries, Australia and Japan have imposed sanctions against Russia. According to him, this state of affairs is not the first time for Moscow, since the above states united against Russia in the Crimean War and even in the Second World War.
Fedorov states that during the Second World War, the USSR fought not against Germany, but against all the resources of Europe. He gives the following examples: the Czech Republic supplied the Wehrmacht with a third of all weapons, Belgium - small arms, Sweden secretly supplied structures for German tanks using submarines, and France transferred 200 thousand cars to Nazi Germany, repaired their tanks and produced giant ones for them in Toulouse naval bombers. Fedorov also recalls that there were a lot of French soldiers in the SS divisions. Their numbers exceeded even the French resistance. According to the journalist, French soldiers were the last units to defend the Reichstag in 1945, and even Luxembourg organized two battalions and sent them to fight against the Soviet Union.
Having cited all these facts, Pyotr Fedorov turned to another European guest of the program with a reasonable question: “Are you scaring me with sanctions?”
The Russian journalist really put the Europeans in their place. He cited undeniable facts and evidence that Russia has always been attacked by many European states, and each time emerged victorious from these duels. This is what happens now. Many EU countries, for example, Italy and France, are already in favor of lifting anti-Russian sanctions, since their economies are suffering serious losses.
There is every reason for rapid positive changes that will mark another victory for Russia.
