Alexander Sokurov about Caucasians - Politics in Russia - LiveJournal. Prizes and awards
I have been dealing with the fate of my students for seven years now, I love them very much, but this is too much for the life of an individual. “In seven years, I made only two films,” Sokurov shakes his head. Like a true Russian artist, he will always find something to reproach himself for. - This is my big mistake - that I have decisively reduced my professional stress and do not remove anything myself. We had 12 people in the workshop, and everyone had to work on it. We didn’t talk much about “art” with them, we were just busy developing the skill. And the tasks were all about proportionality of consciousness. During the course it was forbidden to film about aggression, about war, something with daggers, with saber-toothed horsemen of all kinds. The educational work was about how a daughter loves her mother, how a son loves his father or sister. Only about emotional relationships between people.
- There is nothing more complicated than this in cinema.
Yes, this is the most difficult thing. Because we in Russia know nothing but bad things about the Caucasus. We don’t know how the Kabardian, Chechen, Ossetian family lives. We know nothing about the people with whom we have lived together for centuries. I asked my students to show who they are, I asked them to be critical of their people: figure it out, dig in, take an example from the Russians. Who else but Russian writers knew how to analyze the vices of the Russian person. I'm surprised that I liked all 12 theses. I myself did not expect such a result. Now four of my students have either completed or are preparing to complete full-length films.
Before the work of your students, we knew nothing about the city of Nalchik, and now we have discovered not just films, but some kind of whole picture of the world that we have never seen before. At the same time, the same Kantemir Balagov says that he is not a genius at all, he calls himself a “vegetable” - but here you come to Nalchik, and there you raised a young director of European level from a “vegetable”. If you went to another city, would the results be the same?
Not necessary. I don’t really believe that Russian young people will come to study with me. I naively believed that in the Caucasus there is some kind of initial respect for a person of a different age, for the status of a teacher, etc. Before Nalchik, I had experience teaching classes in Poland, at Andrzej Wajda’s film school, and a little in Japan, but I couldn’t imagine taking a course in Russia. I agreed after the university rector Barasbi Karamurzov and Albert Saralp, the representative of Kabardino-Balkaria in St. Petersburg, answered “yes” to all my conditions. This did not concern salaries, it was not even discussed - all higher education workers in Transcaucasia receive pennies. This concerned the creation of infrastructure. It was difficult, of course. Because the initial base of applicants was zero. During the entrance exams, I asked who Eisenstein was - no one knew this, with the exception of one guy who was 36 years old... Although teachers in Moscow and St. Petersburg say that the level of applicants there is almost the same. But in the North Caucasus there is no philharmonic activity at all, no serious theaters, no art galleries. Signs, shops, restaurants - yes, but everything else, no.
- And is it important? In Italy, culture is at every turn, and there is almost no cinema now either.
Let me recruit a group of students in Italy - I am sure that we will get ten of the best directors in the world. You just need to carefully understand who is studying with you, support his specific abilities in each, not demand universalism and be cruel and persistent.
- Did this teaching experience give you anything?
No. And a lot of disappointments. In national character. I understand that there is no longer any tradition within. Although we were constantly convinced that this was not the case in the Caucasus region. I didn't see this anymore. I did not see upbringing within the family, with very rare exceptions. I was amazed that I didn’t have the skill to work hard. Because there are almost no libraries in houses. Parents were confused by the level of the tasks that were set for their children. I met with the parents of everyone who came to me every year! I told each of them what was happening to their daughter or son.
How did you feel about the scene in "Tightness" that angered the jury at the Cannes Film Festival - with the showing of actual footage of the execution of Russian soldiers?
This scene was longer. We agreed that it would be shorter. I had a big fight with Cantemir over the drastic cutting of the film. It is still insufficiently compressed and compacted. In general, in this film many professional tasks were not fulfilled. Cantemir has an inner conceit that did not allow him to do this. I hope that this will gradually go away for him. But I warned him that this film would have a “ring” due to the Jewish material. If a Russian family was leaving Nalchik in the 1990s, no one would have paid attention to this film. I generally don’t like films on Jewish themes, because I don’t know of films where the authors treat this topic honestly and seriously. Everything I've seen, including films by great directors, is the use of a nightmarish tragedy.
I rate "Tightness" a solid "B". As the artistic director, I had complete authority to do whatever I saw fit in completing the film. But I never use this power. My task is to say what I think, to show how it can be done professionally. But “Tightness” was ruined by the pride of its author. Now everything will depend on what he films next. In general, I treat my first works very calmly and I think that my first work was overrated, it has a lot of shortcomings - for objective reasons. It takes me 40 seconds to understand what the problem is with any picture, because I went through this myself, I make a lot of mistakes myself. Besides, perhaps, Bergman, Fellini, Muratova or Khamdamov, I don’t know of other names that can create great works in cinema. Only they had the chance to produce in cinema something that we could put on the shelf next to the great literary works - Thomas Mann, for example.
Certainly. I simply forced them to read. I tried to show that the first directors were writers. How they storyboarded scenes, how they built aesthetics, how they knew how to not finish everything. Nowadays every second director strives to chew everything through and finish it to the end. Such literalness arises that obscene language is heard even from the lips of women, which is somehow not good in Russian culture.
- As far as I know, you never needed swearing in the movies.
Completely unnecessary. Despite the fact that I have been in situations where people died, were on the verge of life and death, I heard them talking to each other. The use of swear words by Russian women (and now every second speaks this language) speaks of the degradation of masculinity in society. Mat is only a male language, a purely male way of communication. That's how it should remain.
- But the director must reflect what happens in life - including with women.
If he considers it necessary, if it suddenly became part of his task (it wasn’t before), then God will be his judge. Of course, each director must decide this for himself. I believe that everything that exists publicly should have its own strict task, behind everything there should be its own measure of responsibility. If we introduce obscene language in the theater and cinema, then please wait until your son or daughter sends you to a known address. Moreover, they will not even understand why this is bad.
- What if you are filming a drama from the midst of people's life?
That’s how I filmed - both in the war, and I filmed soldiers, and I filmed the sailors’ environment, and all sorts of things. And neither I nor those who acted with me had the slightest need to express themselves this way - even in combat conditions.
- Now that you have already done a lot for your guys, are you going to return to cinema?
There is an idea that is slowly starting to come to life. This is the story of the period 1935-45, with a very difficult film language for me; I have never worked in such a language. Both editing and dramaturgy will be absolutely uncharacteristic for me. I can’t say anything more, I’m very afraid to share incompletely formulated ideas.
- Is this Russian history?
European history. There will be one character from the Soviet Union, all other heroes are Europeans. There will be no Russian money in the film either. I have practically no audience in Russia. In the movies, what I do is not shown. There is a ban on showing my films on television - both fiction and documentaries. Including “Faust” and “Russian Ark”. Even Granin’s “Siege Book” is not allowed to be shown. I have almost no chances in my homeland now. Although I am absolutely neither an export nor an import person, I am a Russian person. I was educated in my homeland, I didn’t master my profession with the help of European film schools, I learned everything myself.
- You now comment on some social events to a greater extent than before.
Because I am worried about what is happening in the country. I witnessed when Rostropovich and Vishnevskaya, Solzhenitsyn, dissidents, our outstanding people were spread rot, I remember all this. I didn’t do anything in their defense, I couldn’t even really think about it. It was then the reward of my life that one day I received a call from Alexander Isaevich, a call from Rostropovich. I didn’t understand at all why I was doing this, considering my guilt before them - how can it be that they call me and offer me a meeting? I don’t perceive today’s social situation as a tragedy, I perceive it as a misfortune. But I think that I have no significance for the public life of the country. At the Nika Award ceremony, I said what I couldn’t help but say. I had no other opportunity to speak out. I have one passport. I have no savings, no dacha, I am not protected in the same way as all the rest of my compatriots. And when I see how riot police behave with girls at rallies, I boil. I could not remain silent then.
- What will happen to “Matilda”, in your opinion?
Everything will be OK. The film will be shown, but the situation around it shows only one thing: the number of sick people is multiplying. And also that absolutely no one guarantees the validity of the Constitution of the Russian Federation. The forces that could guarantee it are drying up. And the most unpleasant thing that can happen is the beginning of work to change it... The saddest thing for me is that I cannot do anything to alleviate the situation in the country. Although I understand that it is necessary to change - it is so simple and obvious that even I see it, not being a professional in politics or political economy.
How do you feel about new technologies? Would you like to make a movie in the “virtual reality” format, using a 360-degree space?
These are all toys for now. Just like all these 3D and sound tricks. For me personally, this technique does not reveal much. It's like trying to destroy the stage in a theater. And I really don’t like it when an actor jumps off the stage and starts playing next to you, grabbing you by the hands and ears. Because there is a world of convention, which is very important for a person. In general, visual creativity is a weapon that can inflict deep, never-healing wounds on a person. And this is much more dangerous than ideological war and environmental problems. You yourself see how with the help of television, narrowly and sharply targeted, you can control millions of people. And when you introduce the “virtual reality” tool everywhere, there will be no hope at all. It’s very easy to kill a person, and in the movies they show us a million different ways. High-cheekboned American directors are especially good at doing this - they will show you how a person screams, suffers, and explains that killing a person is not scary. We live in conditions of uncontrolled progress. Not progress, but chaos. Steve Jobs took us where he didn't even know. We were not in this future, no one returned from there. Here Leo Tolstoy went to war in his novel, returned to his contemporary readers and told them what he saw there. But Tolstoy is gone now, and there is no one to go to the future or past. Therefore, we are left with only chaos.
Alexander Sokur, whose personal life, wife and children we will talk about in the article, became recognizable thanks to the filming of films that are still popular today.
Alexander Nikolaevich Sokurov is a great Soviet and Russian film director and screenwriter. This is a person who certainly puts his soul into each of his films, who knows how to tell actors how to make their characters 100% alive and real.
Alexander Sokurov in his youth
Alexander has behind him not only honorary titles, which have become a formality for him, but he also has world recognition and his contribution to world cinema. The modern personal life of Alexander Sokurov is in no way connected with children, since he was never able to find a wife.
Born June 14, 1951. Then still a child and far from a director, he grew up in the village of Podorvikha, in the Irkutsk region. If Alexander began studying in Poland, he completed his studies only in Turkmenistan - this happened because of the work of his father, who was a military man and was often sent from place to place. Alexander Sokurov understood from early childhood that his personal life and children were of the greatest importance to him, but he still failed to find his beloved.
Director Alexander Sokurov
The faculty chosen by Alexander could hardly have become the basis for him to become a great director in the future - he started from the history department. During his studies, what was especially interesting was that he joined a team involved in television broadcasts and became very interested in the relevant processes. As Sokurov himself would later write, the atmosphere of creativity here was many times higher than when studying history, where you get acquainted with what has already passed.
Here, for the first time, Alexander Sokurov felt a strong desire to create himself, create forms and make useful decisions. As a result, for the first time he began creating a full-fledged television program at the age of 19.
This will be followed by television films, live broadcast programs and much more, which will allow him to gain knowledge and experience in a very serious team.
Alexander Sokurov - first attempts at filming
What is noteworthy is that Alexander still did not give up studying history and in 1974 received the long-awaited diploma. But at that time Alexander Sokurov was unable to improve his personal life; he could not find a wife or have children, but devoted himself completely to cinema.
Becoming a director
Professional training to become a director began for Sokurov in 1975. He goes to the disposal of A. M. Zguridi, who was then engaged in scientific paintings and was able to teach Alexander a lot. Sokurov coped with his studies perfectly, as a result of which he received an Eisenstein scholarship.
It was during this training that Sokurov met Yuri Arabov, who became his friend and staff screenwriter for a long time. Due to accusations of anti-Soviet sentiments, Alexander had to urgently complete his studies at the institute as an external student, which he also successfully completed.
Alexander Sokurov at work
As a result, a very talented work, “The Lonely Voice of a Man,” was created, which as a result received several honorary awards, but was not accepted by the leadership of the educational institution and there were problems with the graduation thesis.
It even got to the point that this picture was subject to destruction, but Sokurov and Arabov, like two faithful comrades, hacked into the archive and were able to save the film.
It was at this moment, when Sokurov could break down and give up, seeing this incredible machine that is ready to wash everything and everyone, Andrei Tarkovsky himself provided him with moral and professional help, who highly appreciated the work of the young talent.
Alexander Sokurov and Boris Yeltsin
Alexander Sokurov and his personal life always stood aside; he could not find a wife or have children, as he was constantly working. Various trips around the world, work with film projects and many other areas of his work prevented him from achieving the goal that he always dreamed of. Today, you can get more detailed information about his life on various biographical sites.
Finding your place
Sokurov began having problems finding a place in the sun. It is assumed that it was after negative opinions about him at the institute for suspicions of dislike for the Soviet Union that unbearable working conditions were created for him at Mosfilm. Only the recommendation of Andrei Tarkovsky helped Alexander take a place at the Lenfilm film studio, where he began making truly good, high-quality feature films. In addition, there was time and energy left to make high-quality documentaries.
Alexander Sokurov on the set of the film “Francophonie”
Alexander Sokurov did not have a wife or children, nor did he have a personal life; all this created certain difficulties. Information about his relationships with the wives of other celebrities has repeatedly appeared in the media, but all the facts have been refuted. Thus, he still remains an eligible bachelor.
Everything was far from being as simple as perhaps we would have liked. Already his first works caused violent indignation on the part of party bodies. In addition, Sokurov begins to suspect that they want to get rid of him completely, by sending him “to a camp near Syktyvkar.” For a very long time, Sokurov was tested for strength.
Still from the film "Faust"
Alexander would later say that the move was stopped because of his love for the Russian and the Hermitage - two things he could not bear losing.
Air of freedom
At the end of the 1980s, the outright prison in which Sokurov found himself ended. Now his films are released, gather full houses and amaze with their magnificent achievements and level. The world discovers Sokurov, and he finally feels that he has been heard.
At the turn of the era, Sokurov begins to shoot several films a year and gives out all the ideas, all the ideas, everything that has become painful in recent years. The paintings turn out interesting, non-standard, sensual. It was during this period that it became obvious that Sokurov was not reaching out to someone, but was creating his own unique style, which came from within.
Alexander Sokurov received the Golden Lion in Germany for the film Faust
In 1995, world recognition was finally secured - Sokurov was named one of the 100 best world directors who ever lived.
In fact, only a few achieve such recognition, but for a person whom the state machine has been trying to break for decades in a row, this is a real achievement.
Now Sokurov becomes an honored guest of any world film festival, now he is among the judges, his opinion is listened to, they are guided by him, and a lot of attention is paid to him. Out of 43 nominations in various film festivals, he received 26 prizes.
Public position
As a person, Sokurov is very well characterized not only by his cinema, unique style and ability not to give up, but also by his public position. He was one of the first who, back in 2008, felt that a conflict between Russia and Ukraine was possible.
Great director and screenwriter Alexander Sokurov
He was one of those who first realized that politicians and active figures in Russia continue to provoke, continue to distort facts and set people against each other. It has always been striking that Alexander Sokurov did not tolerate the excessive role of the state in human life under the Soviet Union, and does not tolerate it in the Russian Federation either.
This makes him a real director who is not in a vacuum, Alexander does not say that we are separate and he is separate, but who strives to ensure that in this world, in every detail, there really is balance.
Future plans
Alexander continues to say with great pleasure that he is always ready to continue working, strive for more and, of course, be fully responsible for what he has done. Indeed, this is exactly the person who devotes himself completely to work. We see that Sokurov is capable of much.
In his free time from filming, Alexander Sokurov visits the Louvre in France
Despite the fact that the modern world of cinema is overflowing with releases, because filming has become easy, no one can feel the spirit of the time so subtly, no one can so easily return to the past, run into the future and teach us in the present. This is a great director and a living legacy of an entire era, this man and his work belong to the whole world.
For Alexander Sokurov himself, personal life, family, wife, children always stood in the background. Of course, he wants to find exactly the one with whom he can spend the rest of his days.
Alexander Sokurov and Vladimir Putin
Every actor who, for some reason, was unable to have a loved one or even children, is trying to change his life. Maybe soon completely new news and information will appear about Sokurov.
You teach in Kabardino-Balkaria, often visit the Caucasus, and see the situation with your own eyes. Can you explain the rejection of Caucasians who came to the Russian regions of the country?
Firstly, national mixing is not always acceptable, in my opinion. Secondly, there are significant mental differences in the nature of behavior in society. The conflict occurs at the everyday, national level. You will immediately notice that, for example, Chechens came to the cafe. You must understand that they may have weapons, and that they most likely have no idea where they can be used and where they cannot be used. They said that Kadyrov once said that this is their mentality - “to be with weapons.” But there is a federal law. For some reason it doesn't apply specifically to them. Why? Why do they love to attract attention so much?
Those people who come to central Russia have no idea about the principles of the culture of Russian society. It is not customary for us to talk loudly, disturbing others. You cannot behave frankly boorishly with a woman, show violence in any form... Yes, among Russians there are all sorts, maybe not better, but the energy of Caucasian men often does not allow them to stay within the bounds...
I myself have repeatedly witnessed the inappropriate behavior of children from the Caucasus in Moscow and St. Petersburg, how they behave outside the norm, and I know cases of what happens in relationships with Chechens who come “on vacation” to the cities of Mineralnye Vody. I know about the aggressive forms of behavior of Chechen entrepreneurs in the Stavropol Territory, where they are engaged in the annexation of land and the purchase of land. Many ethnic Russians are fleeing the Stavropol Territory, they believe that the authorities do not support them, and the methods of struggle that the temperamental Chechens display end in the use of weapons. The fact that they behave this way is also a cultural level. The state must speak honestly and openly about such problems.
It turns out that the residents of the Caucasus do not want to strive for an all-Russian mentality and do not want to think about integration into our society?
Of course not. In Chechen society there is no understanding of the events that took place, there is no idea that the Chechen war was a classic rebellion. Chechen youth have a 100% idea that they won the war against Russia.
When I was recruiting young people in Grozny for roles in the film “Alexandra,” we talked about this. Many of them said: “Wait, we’ll dot all the i’s.” We will burn your throats and unite with Turkey.” They told me: “Life with Russia is unnatural, unbearable, we will unite with Turkey anyway. You just don’t know what we really think about you, but this is how we think.”
Sokurov Alexander Nikolaevich begins his life's journey on June 14, 1951. Alexander’s father was a military man, and therefore the family constantly moved from one place to another, because there were quite a lot of business trips at that time.
The future director was born in the Irkutsk region, in the small village of Podorvikha, and went to school in Poland. The young man graduated from an educational institution in Turkmenistan. Life constantly threw him and his family to different parts of the planet, thanks to which he grew up to be a very sociable and versatile young man.
After graduating from school, Sokurov entered Gorky University to study as a historian. However, already during his first courses he was inexorably drawn to everything related to television. Gradually, he began to independently develop and advance in this area, and began working on small television films and programs that were broadcast on a local channel. At the same time, he did not give up his studies, and in 1974 the guy received a diploma in history.
Just a year later, Alexander Nikolaevich entered the directing department at VGIK in the workshop of the talented Zguridi A.M., who specialized in teaching students documentary directing and filming popular science films. Alexander found it easy and interesting to learn, he grasped everything “on the fly” and developed his creative potential more and more. However, he had very difficult relations with the leaders of Goskino and the administration of the institute. Many considered him an anti-Soviet person, whose works they tried not to recognize or notice. That is why Alexander decided to take the exams ahead of schedule and “go free swimming.” So, in 1979 he received a director's diploma.
Sokurov's first independent creative steps were doomed to failure - the political elite did not accept or understand the meaning of his paintings. He was even threatened with physical violence for his opinion, and many were perplexed why the young director could not leave the country, because he had a lot of opportunities for this. But, perhaps, only a person who does not know Alexander Sokurov’s nationality could think this way. This is a real Russian man who cannot betray his homeland, who is sure that nationality is not only belonging to a nationality, nation and language, it is also the faith of the fathers, it is something sacred that cannot be betrayed.
Fortunately, gradually a bright streak came in Alexander’s creative life. Acquaintance and friendship with like-minded directors bore fruit. He received many prestigious awards and prizes, the most important, perhaps, of all - the Russian State Prize. In 2004, he was also awarded the title of People's Artist of the Russian Federation.
Alexander is a rather secretive person when it comes to his personal life. He himself admits that his work has occupied and continues to occupy most of his time, and therefore there is not a single free minute left for his personal life. Unfortunately, the actor did not acquire a wife or children.
You teach in Kabardino-Balkaria, often visit the Caucasus, and see the situation with your own eyes. Can you explain the rejection of Caucasians who came to the Russian regions of the country?
Firstly, national mixing is not always acceptable, in my opinion. Secondly, there are significant mental differences in the nature of behavior in society. The conflict occurs at the everyday, national level. You will immediately notice that, for example, Chechens came to the cafe. You must understand that they may have weapons, and that they most likely have no idea where they can be used and where they cannot be used. They said that Kadyrov once said that this is their mentality - “to be with weapons.” But there is a federal law. For some reason it doesn't apply specifically to them. Why? Why do they love to attract attention so much?
Those people who come to central Russia have no idea about the principles of the culture of Russian society. It is not customary for us to talk loudly, disturbing others. You cannot behave frankly boorishly with a woman, show violence in any form... Yes, among Russians there are all sorts, maybe not better, but the energy of Caucasian men often does not allow them to stay within the bounds...
I myself have repeatedly witnessed the inappropriate behavior of children from the Caucasus in Moscow and St. Petersburg, how they behave outside the norm, and I know cases of what happens in relationships with Chechens who come “on vacation” to the cities of Mineralnye Vody. I know about the aggressive forms of behavior of Chechen entrepreneurs in the Stavropol Territory, where they are engaged in the annexation of land and the purchase of land. Many ethnic Russians are fleeing the Stavropol Territory, they believe that the authorities do not support them, and the methods of struggle that the temperamental Chechens display end in the use of weapons. The fact that they behave this way is also a cultural level. The state must speak honestly and openly about such problems.
It turns out that the residents of the Caucasus do not want to strive for an all-Russian mentality and do not want to think about integration into our society?
Of course not. In Chechen society there is no understanding of the events that took place, there is no idea that the Chechen war was a classic rebellion. Chechen youth have a 100% idea that they won the war against Russia.
When I was recruiting young people in Grozny for roles in the film “Alexandra,” we talked about this. Many of them said: “Wait, we’ll dot all the i’s.” We will burn your throats and unite with Turkey.” They told me: “Life with Russia is unnatural, unbearable, we will unite with Turkey anyway. You just don’t know what we really think about you, but this is how we think.”
Are they sure that the Turks will be happy with them?
The Turks are a strong, civilized people; they do not need this violence. The problem in the Caucasus is that a number of administrative decisions that developed between the federal center and the Caucasus led to the muffling of public opinion and political activity within the republics themselves. None of the Caucasian republics have developed opposition parties, there is almost no opposition press, television, or radio. There are errors in the very system of relations between law enforcement agencies and the local population. People walk like slaves, with their heads down, afraid to say a word. But these are people who could work for the common interests of Russia. Those who are willing to pay for participation in various adventures live well. All this together is the principle of the existence of the Caucasian republics as small sultanates, the Chechen Sultanate, for example. He has no prospects. In fact, it hits Russia itself.
What about human rights activists who have been convincing us for so many years that small but proud peoples live in the Caucasus?
Indeed, small and proud, probably... These are traditions. We also use such beautiful words in relation to ourselves when we talk about Russian spirituality and the Russian soul. Although we understand perfectly well that this is a strong exaggeration.
I tell my guys on the course that I will not accept or encourage works about how beautifully they sit in the saddle and wield a dagger. The prevailing stereotype is that Caucasian culture is a handsome guy with a thin wasp waist, he has a dagger, and underneath is a dashing hot horse. And another burka. Even in the nineteenth century this was doubtful. Many Caucasian tribes lived from plunder. Boys at the age of fourteen or fifteen were sent to special detachments, where they were trained to rob. This is how they lived. This has been written about in various sources. But now is a different time...
