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 issue. There is an opinion among Europeans that by its “wrong” actions Russia itself provokes the introduction of new restrictions, forcing the entire world community to unite against it. However, if you look closely, it becomes clear that the sanctions against the Russian Federation are introduced not by the whole world, but only by individual states that have previously united against Russia for their own purposes.
On the popular program "Evening with Vladimir Solovyov", which aired the day before, Russian journalist Pyotr Fedorov spoke about the sanctions. During the discussion with representatives of European states, Fedorov made a harsh statement with which it is difficult to disagree.
The Russian journalist has competently put the Europeans in their place! The man cut the truth - the uterus, I respect!
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. According to Fedorov, only NATO countries, Australia and Japan have imposed sanctions against Russia. According to him, such a 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 declares 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 number even exceeded 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 indisputable facts and evidence that Russia at all times was attacked by many European states, and each time it emerged victorious from these duels. This is the case 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 quick positive changes that will mark another victory for Russia.
The future actor in his early youth was not going to the stage, but the genes took their toll, changing 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 the changes in the world of cinema. Fans call the man the new sex symbol of show business in Russia.
Pyotr Fedorov was born in the Soviet capital in the spring of 1982. The future actor was fortunate 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 star of Russian cinema. The boy's father, Pyotr Evgenievich Fedorov, was also an actor. The audience remembered the artist from the film "Starfall" directed by Igor Talankin. Later, Petr Evgenievich hosted popular children's programs and became the organizer of the first Roerich society in the capital.
After the divorce of his parents, 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 with pleasure, together with his peers, went to the neighboring orchards for apples. But when the teenager turned 14, my mother decided to return to the capital. Soon, Peter went to grade 8 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. Petr Evgenievich died of cancer at the age of 40. This sad event prompted his son to follow in the footsteps of his father. 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, at that time, Pavel Lyubimtsev was on the selection committee, who saw the potential and glimpses of talent in the modest applicant. Young Peter Fedorov was enrolled in the course of Rodion Ovchinnikov. In 2003, the aspiring artist was awarded a diploma of higher theater education.
Films
The cinematic biography of Pyotr Fedorov started in 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 it is also quite successful. The actor successfully coped with the debut role of the boy Lyonka, who lives in the "reservation" of outcasts and criminals.
The theater stage also "accepted" the guy with open arms. The diploma performance "Beautiful People" with the participation of Pyotr Fyodorov, according to "Moskovsky Komsomolets", was the best in the "Beginners" nomination.
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 drew applause for his excellent performance.
The brilliant debut in the "101st kilometer" opened Pyotr Fedorov to directors and spectators. Soon the actor starred in the films "Count Krestovsky", "Reel the Fishing Rods" and "Male Season. Velvet Revolution ". The first major role came to the artist in 2006, when the youth TV series "Club" was released, recognized as the most popular MTV Russia project in the entire history of the channel's existence.
Pyotr Fedorov tasted the first glory. There were 8 seasons of the series, in which many of the rising stars of Russian cinema starred. Dima Bilan, Anna Semenovich, Sergey Lazarev, Natalia 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 engaged 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 highest rated. The following year, Bondarchuk filmed a sequel, calling it "Inhabited Island: A Fight," where Pyotr Fedorov reappeared.
2009 brought the actor a new wave of success, somewhat overshadowed by a scandal. The artist first tried his hand as a screenwriter and composer, which greatly surprised the fans. The film "Russia 88", in which Pyotr Fedorov told the audience the story of a gang of skinheads, was not to everyone's liking. The film received mixed reviews. The artist himself took one of the key roles - the leader of the gang named 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 picture, considering the tape extremist. Later, Pyotr Fedorov admitted that he was amazed at this development of events. The actor did not expect that some of the audience would react in this way to what they saw. Three years of litigation and proceedings dragged on, exhausting a lot of nerves to the filmmakers.
But not everyone reacted so negatively to the picture. For example, at the Berlinale, the film received a large number of positive responses. At the National Film Critics Award "White Elephant" the project "Russia 88" received a special prize "Event of the Year". The Guild of Historians of Cinema and Film Critics also presented the filmmakers with an Honorable Mention. The film was named the opening of the year, but Russian companies did not rent the film.
The next two years turned out to be intense for the actor. In 2010, films with the participation of Pyotr Fedorov "Gop-stop", "No room for error" and "Phobos. Fear Club ". The last tape 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 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 in the Phantom project. At the same time, an adventure film "The Runaways", based on the story "The Witch's Key" by the Siberian writer Gleb Pakulov, was released. Here Pyotr Fedorov became a member of the tandem with Elizaveta Boyarskaya. The shooting took place in the taiga and Altai mountains, where there was no mobile communication and the benefits of civilization.
Fans of Pyotr Fedorov also remembered their work in the New Year's comedy "Yolki-2", the film-almanac "Moms", the film "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 to be filmed using IMAX 3D technology. The drama earned over a million rubles in 11 days of rental and turned out to be the highest-grossing project in 2013. The film was nominated for an Oscar for Best Foreign Language Film. In the future, roles in historical dramas and military series will become the main roles in the career of a Russian actor.
2013 turned out to be successful and generous for the actor. Pyotr Fedorov starred in Yegor Baranov's action-drama Priest-San, written by Ivan Okhlobystin. The genre of the painting was defined by its creators as "Japanese Orthodox Western".
But two other projects that were released on big screens in 2013 became successful and resonant. These are the film by Renat Davletyarov "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 script of the film. Reading it, the artist realized that there is a lot here that he had never played. Critics called the project "the first Russian erotic thriller."
In 2015, the name of Pyotr Fedorov sounded loudly several times. The actor played the foreman Vaskov in the new film adaptation of the military drama. He also starred in the drama "Homeland" by the famous director Pyotr Buslov. The 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 the idol in the blockbuster Duelist and the disaster film Icebreaker. In these two projects, Pyotr Fedorov got the main roles, which secured the actor in stellar status.
Pyotr Fedorov pleases the army of fans not only with vivid images in the cinema, but also with musical creativity. Since 2010 Fedorov has been performing with the Race to Space group as a keyboardist. The soloist of the group is the actress Miriam Sehon, whom many music lovers know from the performances of the retro group VIA "Tatiana".
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 sweetheart for a long time. This is the beauty and model Anastasia Ivanova. Peter and Anastasia began dating in 2003 and are still together.
Some argue that Nastya is the common-law wife of Peter Fedorov, because the couple have been together for several years. If you believe the rumors from social networks and tabloids, then Ivanova's parents - respectable and wealthy people - are not happy with the choice of their daughter. 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, they started talking about the relationship between Fedorov and Ivanova after the scandalous appearance of a photo of a naked couple on the cover of the Sobaka.Ru tabloid. Since then, lovers are often seen together. Peter and Anastasia appear in public at the premieres of films with the participation of the actor. They have no children yet, although Petra's mother has long dreamed of grandchildren.
It is known that Peter Fedorov loves his family. He has a reverent relationship with his mother, grandfather and grandmother. The artist always finds time for his family, although recently Fedorov's schedule has been scheduled every minute. Not so long ago, when the actor's grandmother broke her thigh, the 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 relatives and friends for him are the main thing in life.
Peter Fedorov now
Today the actor continues to take part in the filming. In February 2017, with the participation of the actor, the film "You all pissed me off!"
The artist constantly receives invitations to take part in the filming of films, but believes that it is difficult for novice actors to gain a foothold in Russian cinema. According to Fedorov, today in cinematography there is a tendency to raise funds, earn money, which a particular film can bring. Such a 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 the tapes are created with the wording “such time”.
“It is believed that the acting profession is dangerous because all the time someone 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 honestly do your job, to be useful to society. Roughly speaking, fight for the spark that 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 principledness manifested itself during the filming of the next film. According to Russian media reports, Pyotr Fyodorov did not appear in explicit episodes with Paulina Andreeva, the fiancee of director Fyodor Bondarchuk, because of the family's negative attitude to such scenes.
Users of the Instagram and other social networks continue to follow the personal life of the artist, who in the near future may reassert 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 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 creative trajectory of the actor, Grigor Atanesyan spent a week with him.
From the darkness of a July evening, which you meet with barely perceptible anxiety on the outskirts of Yuzhny Butovo, Pyotr Fyodorov emerges, followed by a husky dog. Dressed in a blue T-shirt and denim shorts, under these circumstances he resembles his character Vasyanya from the movie "Gop-Stop", and only plastic crocs sandals break the integrity of the image. A three-storey stone house is visible behind the high gates. “Put on summer slippers. You are hungry?" - asks Fedorov, inviting inside. Steps lead to a clapboard kitchen, whose walls are adorned with posters for Scarfaces, Fear and Loathing in Las Vegas, and Natural Born Killers.
Shirt, DRIES VAN NOTEN
trousers, LOUIS VUITTON
boots, BRUNELLO CUCINELLI
“The guitarists are coming soon. Ishilov's kutabs remained here. Eat kutabs, ”Fedorov speaks abruptly, but without interruption, and soon discovers the reason for his excitement. “My grandfather called last night - he says there are people sitting in the kitchen. And the poor grandfather has been robbed several times over the past three years. I arrived - and indeed: the smell of cheap perfume and alcohol, also cheap. A nurse we hired through an agency set up a brothel in the apartment. He kicked them out at midnight, and she also cursed me goodbye. ” About a minute later, this criminal story by unknown paths leads Pyotr Fedorov's thought to the cinema: “Why are criminals fascinated? In cinema, there is no hero who is completely bad, there must be some kind of motivation. "
While I finish my kutaba, a tired-looking man comes down the stairs and introduces himself as “Vadik”. The composer Vadim Mayevsky is the owner of the Butovo house, where the actor Pyotr Fedorov has spent a significant part of his free time for the last fifteen years. There is a recording studio on the second floor, and a rehearsal room on the third. Next to the stone house on the site there is a small country house - Mayevsky is going to demolish it, but for now Tajiks live in it, the same ones that Pavel Bardin and Pyotr Fedorov filmed in the film "Russia 88" (in one of the rooms, all 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 a group Device, in which Fedorov played the keys and a sampler, then the vocals of Miriam Sehon were added to the electronic guitar compositions - someone better known as the vocalist of VIA "Tatiana" and the actress of the Praktika theater, and to the majority as Commissioner Rosalia Zemlyachka in "Sunstroke" Nikita Mikhalkov. The new group, which has already recorded two albums in Berlin, was named Race to Space. In Berlin, plates were printed, the covers for which were painted by the artist Pavel Pepperstein, and the layout was made up by Fedorov himself.
The house in Butovo is filled with musical instruments: samplers and synthesizers of the early nineties, Soviet electric musical installations, accordions, accordions and even a balalaika. Fedorov lovingly examines the microcircuits laid out on the floor: “These are new modules from which we collect pure analogs, iron. The digital synthesizer offers you a bunch of worlds, but they have already been invented for you, and it's interesting to return to the original sources of sound. " The drum machine of the eighties, for which he is responsible, has just arrived from Berlin - "after it we went out to the porch, because it costs about like a car." As if to prove the value of the acquisition, Fedorov takes a place behind the car: for a long time he adjusts the knobs, keys, tightens the levers.
In the far corner of the rehearsal room is a leather sofa, in front of it is a coffee table with a bottle of whiskey, glasses and an ashtray, and a hammock is suspended from the wall. Having finished with the drum machine, Fedorov pours whiskey into glasses, lights up, shows a note from the group The xx, warming up for which 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 being filmed there. Shrugs: "I'm just a musician pretending to be an actor."
Shirt, DRIES VAN NOTEN
trousers, BRUNELLO CUCINELLI
watches, PANERAI LUMINOR DUE
The group gathered for the last rehearsal before the Afisha Picnic - “we are performing on the local stage, we will be some kind of headliners there” - and in the absence of the vocalist who was expected after the concert, the guys play instrumental versions of all the compositions: with dirty bass, guitar riffs and the sound of synthesizers, reaching minimal techno. Once in half an hour they break away from their instruments, smoke and drink whiskey. When the alcohol ends by one in the morning, Fedorov finds the Alkobutovo number on the phone and instead of greeting he says into the receiver 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 any cash. When the necessary fifteen hundred for a bottle of the simplest whiskey are finally found, Fedorov leaves to meet the courier.
"You get a profession, but there is nothing to choose from"
A film set in an abandoned collective farm near Serpukhov is surrounded by cow parsnip. It smells from the dunghill. The stunted trees on the roof of the barn are weighed down by the wind. In the frame is a cherry Volga: Pyotr Fedorov again and again puts the ax in the trunk, jerkily opens the door and sits on the front seat. In the back, a gray-haired man with sloppy stubble is waiting for him - Kirill Pirogov, an artist of Pyotr Fomenko's workshop, popular among the people for the role of Ilya Setevoy in Brother 2. In the mini-series "Savva" he plays the main role, the investigator Savchenko. Fedorov executes commands hissing from the radio: "Petya, walk a little past the car in an arc like a banana, as you like."
After the ninth take, lunch break begins, and Fedorov comes up to me with a cigarette in his mouth. He wears a faded blue polo tucked into jeans, a pistol holster at his waist, and a gold watch on his wrist. Pilot(Fedorov's grandfather asked to take them for repairs, but the old Soviet clock 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. Turned gray, in a rumpled jacket and worn-out sneakers, he seems to live every free minute in the world of the theater - when Fedorov sits down next to him, the story, started, apparently in the morning, continues, about how Pirogov is staging Richard III with students of the Shchukin School. They recall the best times of their native university and agree that "Pike" has corrupted the attention of students from TV channels.
The actor's grandfather Yevgeny Fedorov and his half-brother Alexander Zbruev, as well as father Peter Fedorov Sr., graduated from the Shchukin School. The son was going to enter Stroganovka as an artist, but after the death of his father in 1999, he decided to follow in his footsteps. Already in his first year, he got his first leading role - with Leonid Maryagin in the film "101st kilometer". The director drew attention to him during the stage speech exam. “I got into good hands - at the age of 17, I myself could not understand whether it was a good film or not. Seven years have passed, I reviewed it 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 TV series of the 2000s, with the subtitle “The Story of a Cinderella in the Style of R&B", Showed millions of teenagers a grotesque picture of the nightlife of the era of Putin's stability: the hero Fedorov, the son of a co-owner of a nightclub, leaves 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, do you go 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 filming for Fyodor Bondarchuk - in the blockbuster Inhabited Island - with a record budget of $ 36 million for the national cinema.
Now Fedorov is in a hurry to the trailer, where the same empty soup and mashed potatoes with chicken awaits us to explain how, after a successful start and a string of serious roles, he ended up on the set of the series, albeit for Channel One: “I used to think: I’ll be famous , there will be interesting proposals. Not a dick. You get a profession, you start serving it, but there is nothing to choose from. Here the producer invited me to play Savchenko, but I decided that it was not in the right texture. This is my first deliberate rejection of the main role. Nobody understood me, but I am a fan of the project, and least of all I want to grab a larger piece. I would spoil this role, it would be gender domination: a strong guy comes, starts pushing everyone, and this is boring. " "Gender domination" is generally Fedorov's favorite expression, as he seems to define the role that has been striving to stick to him in recent years, and therefore pronounces this expression as a curse. “As soon as the show had a director, I asked, 'Can I move?' And he immediately said that the only suitable artist is Kirill Pirogov. He is so delicate, theatrical, and he has matured so much, turned gray. "
After castling, Fedorov plays a local investigator who is sent as an assistant to an inspector who has arrived from Moscow in the person of Savva. “I feel bad about playing cops, I don’t do it in principle. I do not advertise shoulder straps and other state insignia. And also our police have such a uniform that I'm sorry - when a policeman enters the frame, you need to be alarming and scary, not funny. But sledaki is a kind of canon. There is first love, there is betrayal, there is treason, and there is slyak - this is also a dusty cinematic archetype, ”the actor seems to be justifying himself. Taking on a smaller role, Fedorov set himself the goal of maintaining a psychological certainty that is rare in Russian serials. His favorite example is not even "True Detective", with an eye on which they wrote "Sawa", but the British "Luther". “The main thing there is not at all a criminal plot - you just sit in the kitchen, and they explain to you your whole life.” 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 is a different person. What the fuck is a man, am I? - No, not you. - Well, it's not me, but my tears? My. My pain? My. This schizophrenic moment has never been clear to me. When we were in our third year learning to cry, Vladimir Petrovich Poglazov asked me who I was most sorry for. Of course, we always feel sorry for ourselves, not for mother, not for grandmother, but for ourselves. On his advice, I felt sorry for myself, and it worked out right away, ”Fedorov's monologue is interrupted by the crackling of a loudspeaker announcing that lunch break is over.
"Every rabble goes to the cinema"
For the third time we meet with Fedorov on Gogolevsky Boulevard after shooting the cover of this issue and, in order to end the conversation, we go to the nearest bar. For an artist who disappears for six months on the set, the variety of wine bars is a novelty, but he does not dwell on this thought for a long time, obsessively returning to the same questions. Where do the actors have this "fucking line" between profession and life? How to talk about people if there is no time for them? And when time appears - how to communicate with people without turning this communication into a benefit performance? And how, most importantly, to film and film in a country where there is no film industry?
Suit, BRUNELLO CUCINELLI
T-shirt, BOSS
The next after Fyodor Bondarchuk's dystopia was the low-budget pseudo-documentary drama Russia 88 by Pavel Bardin, whom Fedorov met on the TV series Club. The script, written together, was based on a common interest - research, the actor emphasizes - in subcultures in general and the subculture of Nazi skinheads in particular. The picture amazingly reliably showed the life and customs of teenage neo-Nazis, engaged in the implementation of their complex performances, in which "Mein Kampf" became related to the "Veles Book", and British rock - with the domestic shit-punk. To finish the film, Pavel Bardin had to sell his apartment. Many of the actors who passed the audition refused to shoot, having learned that the immediately announced fee of $ 50 per shift is not a joke. As a result, they were recruited by acquaintances: the artists Georgy and Konstantin Totibadze played the relatives of the Caucasian Robert, and the role of one of the skinheads was played by Race to Space participant Alexander Turkunov. The editing was directed by Pyotr Fedorov himself.
Gaining 20 kilograms of muscle mass for filming in "Inhabited Island", Fedorov appeared in "Russia 88" as an adrenaline-pumping young man with a square chin and a look in which any absence of fear and reflection was read - "blue eyes and a hot frontal bone", according to Mandelstam. Living with his mother and sister in Tushino, 21-year-old Bayonet is the leader of a neo-Nazi gang. He leaves behind him a small mountain of corpses: Yulia's sister, meeting with a Caucasian named Robert, Robert himself, and his comrades-in-arms who were killed in a shootout with his relatives - Kliment Klimentovich, a mentor in the White Revolution, who is also a school teacher of life safety, and a beloved pit bull.
In 2009, the film won the Nika Award as the Discovery of the Year and was well received at the Berlin Film Festival, but it was not hired by any of the major Russian companies. And in December of the same year, the prosecutor's office of the Samara region filed a lawsuit for the confiscation and withdrawal 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 court in Samara and even found Shamil Makhmudov, Candidate of Pedagogical Sciences, who had previously been sentenced to seven years probation for a bribe. 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 claim, but in February 2016, by the decision of the Naryan-Mar court, the film "Russia 88" was again recognized as extremist. Pavel Bardin then argued that the reason for the persecution should be considered not the very image of the neo-Nazis, but rather their cooperation with the state: in Russia 88, the Bayonet gang is covered by a district police officer, and a conditional deputy performed by Andrei Merzlikin offers participation in serious business - protecting rallies and marches, campaigning among young people. In the same 2009, human rights activist Stanislav Markelov and journalist Anastasia Baburova were killed by neo-Nazis - this murder formed the basis of the case of BORN, "a militant organization of Russian nationalists." At the trial, the militants talked about their connections with officials from the Presidential Administration and pro-Kremlin youth movements.
It did not work out with wide distribution, and the filmmakers did not interfere with its distribution on the Internet. The drama, downloaded on torrents by most of its viewers, has become almost the main event of Russian cinema for several years and ideologically ended the zero years that began with Brother 2. Bardin managed to go beyond admiring shaved heads and panel high-rise buildings - "Russia 88" tells about teenagers who grew up without fathers from a sleeping area, past which the financial flows of the "fat" 2000s passed, but corruption, drugs, cheap vodka and an ideological vacuum did not go anywhere. Fedorov smiles, recalling all the cases when on the street he was recognized exactly as Bayonet - much more often than Guy Gaal from "Inhabited Island".
After Russia 88, Fedorov said that he would continue to act only in author's films. Did not work out. By the age of 34, the actor's biography was adorned with a free film adaptation of Sergei Mavrodi's autobiography "PiraMMMida", and the role of Captain Gromov in "Stalingrad" by the same Bondarchuk, and participation in a remake of the Soviet classic "The Dawns Here Are Quiet", and comedies with characteristic titles "A Man with a guarantee ”and“ Classmates: Call your luck ”. However, now the actor takes it calmly: “I can't help but participate in handicraft work. But there should be absolutely free work, which you do yourself with like-minded people. Since I have my own personal audience, then I have to match. You can't just make money on these people. Which is worse: an advertisement or a f ** king series? In my opinion, x ** serial. "
Recently Fedorov was persuaded to appear in the TV series "Bitch" for STS, directed by Oksana Bychkova. The producers assured that the channel had been reformatted and was ready to create truly high-quality projects. But somewhere in the middle of filming on STS, the leadership changed, and after it the team of the series - Fedorov calls this a raider takeover. Even the operator changed: “Where was the last time I saw him? That's right, on the set of The Club. A production drama about employees of a city publication, hipsters from the provinces, turned into a grotesque farce with stilted characters. But when Fedorov wanted to leave the project, it turned out that somewhere in the contract the payment of a huge penalty was spelled out in small print - such that it wouldn’t help to sell the car either.
The need to finish filming brought the actor to the brink of despair, and he continued his experiments with alcohol, begun in the previous professional crisis. He came out of them rumpled and haggard, but with a sober understanding of the main problems of the domestic industry: “I always liked cinema more than theater, because every rabble comes here: some have three educations, some have none at all. But there was a time when very many brought their own - relatives, friends, countrymen. It turns out that cinematography is not a profession, but a resource from which money can be extracted. Half-oestrada, half-kind of bullshit. Producers choose monetary projects, although this is still math, but because of it the compromise and commercial films become more. And all complicated things are closed with the formulation “such time”.
"Materialization of human fantasy"
The filming of "The Duelist" returned to Fedorov faith in big cinema. Its hero is a retired officer Yakovlev, who fought for money in duels for other people in St. Petersburg in the middle of the 19th century, in order to one day take revenge on his offenders. Initially, the Russian Monte Cristo was supposed to be played by Vladimir Mashkov, who eventually played the role of the main character's antagonist. Meeting with director Alexei Mizgirev turned Fedorov's ideas about many things. First of all, he asked the actor to forget everything that he had been taught up to this moment, the argument was convincing: "We are grown guys, we have the right to tell about ourselves." Fedorov recalls that he asked again - shouldn't he tell about Yakovlev? The answer was the same: "No, tell me about yourself."
Shirt, DRIES VAN NOTEN
trousers, LOUIS VUITTON
bow tie, boots, BRUNELLO CUCINELLI
“I understood, this is the key, what a fool I am, how I did not understand. You just need to act less in shit, and then you can feel it. There is a piercing thought in this "tell about yourself", and it has nothing to do with the actor's schizophrenic change of images. Mizgirev explains the task and cries. He comes very close, goes into your personal space, explains the motivation of the hero. And I see that he has a tear - a cold sweat goes down his back from this. "
“Aleksey Yuryevich has restored respect to the profession,” Fyodorov sums up. According to the rules established on the set, the actors did not see the scenery before the take was recorded and did not communicate with each other - even with Mashkov, they never crossed paths outside the frame. Contrary to the usual practice, it was not the actors themselves who helped to expose the frame and the light to the film crew, but the understudies, who were selected according to their height and figure and made up for the artists. The main characters were taken to the site by the assistants, like boxers into the ring, instead of the usual conversations on the radio - complete silence. “For the first time I experienced this moment of concentration around the frame, when the materialization of human fantasy takes place through the mobilization of a large number of people,” Fedorov articulates his feelings in a difficult way. Not everyone resisted psychological discipline - the actors fainted and experienced nervous breakdowns. Peter laughs: “It is believed that the acting profession is dangerous because all the time someone slips or explodes. But the profession must be dangerous, because psychologically, with each new role, you get a one-way ticket. "
“Peter remembered us,” Fyodorov sums up. He is pleased with the work of not only the director, but also the producer - for the sake of filming in St. Petersburg, something was blocked every day, including Nevsky Prospect and the embankments, they even got permission to arrange a market in front of the Kazan Cathedral. Despite the historical surroundings, 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 poured with water, horses passed over it, and it turned out to be real mud - only after that were the gentlemen in uniforms and ladies in dresses launched. The costume designers, Fedorov recalls, was instructed by Mizgirev to sew "as if McQueen lived in the 19th century."
On October 20, a month after the premiere of The Duelist, the disaster film of Nikolai Khomerika Icebreaker, based on the story of the 133-day drift of the icebreaker Mikhail Somov in the Antarctic ice, will be released. Having agreed to the main role, Fedorov began to read all the available materials about the feat of "Mikhail Somov" and discovered that Captain Valentin Rodchenko, who had 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 lived near St. Petersburg. The actor built his way to the shooting in Murmansk through Petersburg and decided to get to the captain by all means.
After four hours that the taxi driver had spent wandering along the Scandinavia highway, Fedorov came to visit Rodchenko. He apologized for being late with the wording: "It's a pity for your nerves," to which Valentin Filippovich replied: "They are not." 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 every day for 50 people, and no one ate. When we 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 filmed with old Soviet and French optics and, I think, caught on with some shrillness of Soviet cinema. "
The conversation, which has been going on for the third hour, is interrupted by Vadim Mayevsky's call: Race to space invited to the festival in Kaliningrad, and everything needs to be prepared for the tour. Peter went to Butovo by metro. That evening he was a musician who only pretends to be a famous actor. And the next day at seven in the morning, Pyotr Fedorov was already filming in the first take near Serpukhov - and again he was an actor, painfully looking for a way to create good films in a country where good films are only steps, the fruits of personal feat.
