"Behind the scenes"From George books and Natalia Jungvald-Khil'kevich
Moscow, Tsentrpoligraf, 2000
In life Gradsky using the entire palette of Russian language. I was about to film on the pasteboard when Sasha came. He came into the mounting, said something and swore terribly. Then he was gone. I was just puts his music under the image. The editor Ira Blogerman, very decent, educated and witty man, sitting, listening and blushing. Then he turns to me and says:
- George Emilevich, just do not know how these hands I now going to prepare the food?!
But he wrote amazing music and lyrics for this film.
I told him:
- Sasha, I need prayer!
She was not ready yet. He locked himself in a room and wrote it in the hotel for an hour. Incredibly hard-working and productive in the sense of creative people.
Unfortunately, the movie may not be the art of the same author. Between the director and his tvoreniiem is a huge number of people.
Great art can be considered works of music, literature, painting and sculpture.
This works should be involved living human hand. The artist of his hand, coal and paper. The musician, composer contact between the tool and the hand, arm and music paper. In this literature, the pen tip is displayed even something that is called the gift of God.
If the hand is not involved in the creative process, in my opinion, it can not be great art.
There is a legend that during a flood Handel sailed on the boat and saw the musical leaves that floated out of the basement waterlogged homes. He picked them up and saw that it was a brilliant music. He caught all the notes so the second time opened Bach. Maybe the Lord specially invented such a test, to restore us to Bach?
In the case of a movie like this is impossible. One hundred years on what we are doing will be funny to watch. Then the movie will be a smell, a sense of presence. Our films will look like curiosity to know in principle what the ancestors were engaged, and of course, as a document of the epoch. This document has been and remains the cinema.
The movie is not music, not painting, which is not terrible for a time. Cinema, alas, only a mass art. As a pop song. All sang then hit. Do not sing oblivion.
The texts of the songs were written really quickly. I was at this time in another city and Jungvald-Khil'kevich preparing to record and gave me topics for which it was necessary to speak in the film. It required, for example, a song about sin. The song is about hope. Song of gold. Song of Monte Cristo. And I wrote them.
It is possible that the theme came from the outside, and the poet responds to this event. In this case, I was given a specific task. The final song « Goodbye & raquo; I have already suggested to the director himself.
But the Jura-believes that he is the music itself. Ha-ha-ha. He, however, like all other directors, wild conceit in this regard. In fact, the filmmakers do not solve a damn thing, I think so. Composers give them cook popevki and options. And it all depends on how the composer skillfully able to paint these blocks. A business director - create these cubes frontally, horizontally, vertically. From this, believe me, nothing changes. The main thing is to own a cube was made professionally and competently. Profession director - mostly improvisation, it has nothing to do with mathematics. And the music - is mathematics, geometry and even trigonometry. If you look at the notes from a distance of twenty-five - thirty centimeters, then the score of a symphony orchestra can be taken as a geometric shape.
In the case of Andron Konchalovsky, which I wrote the music for the « Romance for Lovers », was one situation. The work of Yura - other. « Romance & raquo; - My first picture. Naturally, then, I knew next to nothing about the movie. Besides that Andron was already famous director, he did not understand anything in the musical films.
So we walked together through ignorance. And I remember, we had there fought great.
With the Jura it was already easier. He thought that, in principle, know how to make a musical movie, and I thought that I already know how to make musical movies. When we met, we just had to find common ground.
Jura started with me talking to complete idiocy. He said the following:
- Look, you do not misunderstand me. I would like to invite ...
And he began to enumerate: Makarevich, then Matetskiy, then called Dunayevsky. And the twelve names of composers, most diverse, who write all completely different.
I'm just stunned by this application.
- I'll hold in reserve. That is, at last, - continues Yuri. - I think, first of all I pereprobuyu, but if they are anything like the fact that I need to be able to do, then I too will come to you.
To which I replied:
- Only stupid director can keep in your « package & raquo; so different composers inviting them to speak on the subject of his painting. Not having music concept, you can jump.
In this he was no answer, he just laughed. In fact, I think it was the other. Khil'kevich loves to press all the Islands. He wanted to put pressure on the author. And knowing firsthand about me, he understood that I was not to push out. On the contrary, I will crush him. Therefore, he tried all who will yield to pressure. And when I realized that it is not profitable picture, he spat in the hearts and turned to me. And I think the result is good.
In principle, neither one thing nor another movie I do not like. Konchalovsky's film I like even less. My cinema - it « The Godfather & raquo;.
Here's the thing. I write music on the level of Nino Rota, and they did not shoot the film level Fellini, Spielberg, Kubrick, Lucas. Technically write music no worse than any other or Morricone Western superdorogoy composer, I can. But our directors so are not able to remove. For various reasons, and the talent here is innocent. In the West, a movie technically organized differently. And we are up to this level is not reached.
So we have different directors: those who, like Konchalovsky, trying to smother the music to equalize with his cinema, and others - such as Khil'kevich - which, on the contrary, give the music to sound in full force. These latter are well aware, no matter how well the music was playing, still will say: FILM-Yungvald Khil'kevich.
The relationship we have developed with Yura as in the novel. It is unclear, however, who have played the role of women, and who - men. But our relationship is very reminiscent of the novel, which was a tie (in the first film), then - love game and something like sexual intercourse, then - a long family life, and, finally, on the third picture we happened something like gap . Twenty years later, we simply did not agree. Yura was a concept that was not acceptable to me. As a result, our love affair stopped.
Although this painting I had written the wonderful things that he did not even hear. Four songs. He did not have time to hear them, because they thought that this picture should be not only my clothes, but also to refrain Dunayevsky, a reminder of the « Musketeers ». And for me it's like the three of us love. And I said, «NO».
I will not share with others the author of this picture. Even if it was a Verdi or Puccini. But Dunaevskii - not Verdi. However, I'm also not Verdi. And do not even Puccini.
Despite the fact that I do not like the picture, I never talk about it in an interview. On the contrary, I am outraged by the fact that Khilkevich scolded and criticized strongly.
- In vain - I tell them - criticize. That make themselves at least one movie that people look for many years and several times. And explain why on TV once, twice, or even three a year go « The Art of Living in Odessa », « The Prisoner of If Castle & raquo; and « The Three Musketeers & raquo;.
And let ponder Jura. About « Musketeers & raquo; I will not say it is the most popular in his painting. But let him ponder why « Prisoner & raquo; and « The Art of Living in Odessa & raquo; eritelskim enjoy such success?!
So that his destiny - to shoot musical movies. It is right that mounts the painting to the music. He - a cunning, he is the most cunning director. He realizes that Laura would get it anyway. Especially if it successfully connects all those who worked for him. The better he will provide the operator, the better it will look like himself. The better it will allocate an actor, better tell about the film, the better it will look like a director.
After all, he is the author of the only pictures.
By the way, Yuri actor loves and feeds them very well. So Khil'kevich one of the most cunning and clever directors. There is a way everywhere shouting "I am!", As it does Konchalovsky, who never talks about me as a person, in the literal sense, to make his film. Without music there, there would be no "Romance for Lovers».
This is probably all I wanted to say.
Gradskij outstanding person. I have worked with dozens of composers. For the "Art of Living in Odessa" I needed a ballad, philosophical musical parable. Also Gradsky, this one can not do it. This he proved still working on "Romance for Lovers" Konchalovsky. In "The Art of Living in Odessa" the last song - Requiem. Gradskij here surpassed himself. I do not understand why he did not perform the song at his concerts. He actually wrote me a whole pile of music blocks. But he selected and piled one coherent musical phrase I. When he saw it, he marveled at my ability.
My father, Emil Olgerdt, organized rehearsals with opera artists right in the apartment. And all members of the family all day were not to interfere. Very often I listened to the aria from morning till night to play surrender. Imagine: a clock keep quiet boy, whose head is full of fantasies. From early childhood, I knew by heart all the classic opera repertoire. Although my films often sounds classic, I prefer light music. From the spirit of contradiction I became an opera director. Instead, the cinema became a director of music.
I would like a little bit to think about the genre in which I work, and through which you know me. What is a musical film? It muzykalnyi film, film music, not a musical or opera to operetta. In my paintings people live normally, speak naturally and sing when sung. I, frankly, hard to stand when the household, but rhyming text melancholy pull the music. Of course, there are brilliant exceptions like "The Umbrellas of Cherbourg, but this is still an exception.
The musical comedy - it is clear that. A musical drama? The musical tragedy? Musical satire? ..
I think that film music, regardless of genre, characterized by the fact that the core of its plot development is the law of the development of a musical work, which features musical drama dictate the behavior of the actors, the length of the planning, installation character temporitme and color.
Of course, like any work of musical theater (opera, musical drama, operetta, ballet, etc.), musical film should have a special, specific to the genre of literary foundation. The complexity of this drama is that, as a specific "music", it must have the advantages of a short film script, I was not mistaken, it is - a short film. To prove this point, resort to purely arithmetical calculations. Perfect yardage like any, and the music of the film two thousand five hundred meters, or eight or nine sections, each with no more than ten minutes. Musical film can hold no more than ten full-length musical numbers, the average four-minute duration, then they will take approximately five parts. Thus, "the plot>, at best, remain three - five pieces.
In other words, during this time you need to have time to convince you to take the author's "playing field", to introduce the characters, and not just to introduce and make love.
What is a hit in the movie?
Experience tells me that the songs become popular only when viewers « Prizna by "character and, most importantly, believe in his experience. Otherwise, even the most successful, like "doomed" to success, the song fails.
All of my arguments do not apply to kinomyuziklam. Unlike the musical number in the musical film is required to stop the development of the story (as, indeed, any aria in the opera). If the music playing a movie usually only serves as background music in the movie my it is the main dish. In conjunction with musical numbers leitmotiv music and creates the specific musical drama, which is the core of the picture.
В этом и есть тонкость придуманного мной жанра....