The chic life of Viktor Sukhorukov-2: life, cinema, theater and a little personal

THE END. BEGINNING SM. IN THE NUMBER "MK" FROM 9 NOVEMBER

- So, where did we end yesterday? asks Viktor Ivanovich.

- On people's bad fantasies about you, which you yourself inflame with the unwillingness to talk about personal topics.

- Yes, I repeat: my position and existence give rise to bad fantasies. If you want to come up with something about me, come up with something, write it, but don’t be angry. I live alone. I have relatives in Orekhovo-Zuev, but I do not bother them. Even when I had the operation and sister Galya wanted to come to cook me soup, I said: "Don't, myself.".

Sitting with your back to the cemetery

- In Orekhovo-Zuev in the city center for several years now stands a monument to Viktor Sukhorukov. How do you feel when you walk past yourself? When do people drink beer next to you?

- I'm used to it. Many years ago, a businessman called me Berkausov: “I want to put a monument to you.” At first, I kicked back, refused - what monuments, I am still alive. But the authorities agreed on the idea, invited a sculptor. Moreover, I came up with my own pose, looking at the monument to our three great filmmakers near VGIK - Shpalikov, Shukshin and Tarkovsky. I decided to sit on a bench, so that people would sit down and drink beer, port wine, put children with ice cream. The only thing I asked the sculptor was to sit with my back to the cemetery. And he put me with his back to the Orekhov cemetery, and his face to Lenin.

When the monument was erected, I avoided this street, shy, and then became ironic. But a journalist, a colleague of yours, wrote in a local newspaper: “Did Viktor Ivanovich know, when he was put up with a monument, that there was a public toilet in this very place many years ago?” You got a monument, and there was a toilet. You think I was upset, no, I didn't even get involved. But as if after a distance to the author of this article said: Yes, we have a whole residential area Gagarinsky built on the Old Believer cemetery. And when they were digging it up, we boys ran there, looking for coins, crosses. So, it turns out, the residential area on the bones is not embarrassing, and the monument on the site of a public toilet is embarrassing

And if he hints at any trouble, I will note: my native Orekhovo-Zuevo has changed. This year, when I came to my family for the New Year, I saw that part of the forest with marshy soil was cut into the city and there was a forest park with paths, skis, playgrounds, fish ponds, and toilets, by the way. We went there every day.

- What about Moscow? You live and work here, not in your historical homeland.

- I believe that Sergei Sobyanin is the best mayor. He, trying to preserve age-old things and renewing them, composes a new Moscow. We'll never find a mayor like that again. I don’t need anything from him: I am well-off, a pensioner, a veteran of labor, I have orders – I have everything. Not a billionaire, but I live in wealth. I go to the subway and say for the first time: I dream of riding the subway all day, looking at new stations. The food here is a station in the spirit of Malevich, well, you can't take your eyes off. My favorite is Novoslobodskaya. Maybe because it reminds me of a child's toy, a kaleidoscope.

Refused to shoot Ryazanov, Alexei German

- You mentioned yesterday about the film “The Master and Margarita”, where director Vladimir Bortko offered you the role of Varenukha. Don’t you regret that it didn’t happen, even under the circumstances?

- You can only regret if you, refusing or not accepting, go into emptiness. When you go nowhere with nothing and no family. And I lived interestingly, I had other roles, I wrote a role in the theater, I acted in films. So what regrets? No, I'm not sorry.

What else is good about your question? You can't tell right away if you did the right thing or the wrong thing. I refused to star in “Citadel” by Mikhalkov, in a small episode – he was offended and, it seems, for life. Because then I asked him to come to Sunstroke — I was ignored. I'm not afraid to tell you that.

- What was the reason for the rejection? In fact, often refused?

- With all my great respect for the director (two of his films, Love Slave and Homeland, I’m reviewing, although I didn’t shoot there), I didn’t see anything for myself when I read the script. I thought, "What's playing here?" Nothing to play.” Refused to star in Ryazanov, Alexei German in “Khrustalev, the car!”. It's not whims, it's not whims, it's not stupid. No arrogance, God forbid! I live very modestly in cinema. If I have any successes, it is the success of the second plan and the award of the second plan - for best actor.

- How do you feel about awards?

- Great! I’ve often been told by filmmakers that the film will celebrate, we have to win such and such nominations, and I’ve said, “Go to the audience – this is the reward.” And when I said to a director, "The main thing is that people accept your story," he said, "I still want to get prizes." “And I want to, just don’t make it a goal.”.

I have my favorite roles to judge my range, my talent and what I am capable of. And there's a huge swath of movies and movie roles that I'm proud of -- they adorn me and delight the audience. And among them, imagine, a lot of random, that is, roles that I might not get. But the case helped: someone refused, someone got sick, did not come. So I was a firefighter in some of the stories that I was successful in.

- Like what?

— “Orlean” by Andrei Proshkin, “Own war” by Lesha Chadov — Volodya Ilyin fell ill there. In another, I replaced Roma Madianov. And Lungin's Island... I didn't tell you? What a wonderful story. Mamonov was preparing to shoot at Lungin in the film “The Island”. For the role of Filaret was looking for an actor. Mamonov said about me, and Lungin said: “Peter, fear God, what kind of Philaret he is – a bandit.” "Pasha, call him, you don't know him." And I'm being called to Mosfilm. Lungin says, “I don’t see you in this role, but Petya asks us to respect you.”.

I tried it, I was going to leave, but Lungin returned me, and I wrote down a monologue. And literally the next day, Lida Fedoseyev-Shukshina with a delegation that included Irina Skobtseva, some other actors, directors and I — only seven people — went to the locations of the filming of the film “They fought in the Motherland”. We stopped where the ship on which Shukshin died was. On the shore there was a bench where he and Burkov smoked side by side, drank.

When the ceremony with the prayer service was over, the priest Peter, who conducted it, asked: “Do you want to go to the monastery?” We are rebuilding it.” And on two old "Zhiguli" we went for sixty kilometers to the remote steppe. We come, and there is devastation, everything is shabby, some workers are kneading clay. And I see the skeleton of the bell tower - it is from the XIX century. Large, no windows, no doors, no floor, and frescoes from the walls escaped - all erased. I went to the center of the bell tower, decided to see how high. My phone rang: “You are approved for the role of Filaret.” Miracle! Trust me, I don't lie with a comma.

- And miracles like this often happen?

- I used to. It was a dream from youth. It's like I'm looking for my house: "Where's my Tower, where's my Tower?" That's what our neighborhood was called. And some old woman says to me, "What kind of tower is this?" You're in Leningrad. Half my life will pass and Peter Fomenko will make me a Leningrad citizen. And the second dream - iris hovered in the black air. I want to take him, extend my hand, and he's running away from me. The dream was so clear that when I woke up I wrote a poem.

And it will be many years. I'm in the hospital after surgery. The doctor comes into the room: “Stop lying around, get up, walk.” And I went down the hall for a walk. I go back to my room, and above the door is a huge picture of my iris. I shuddered, sweated, because I realized that this is my iris, which I once dreamed.

And blue iris flower Before my sleepy eyes, Voznik, hovered, and I couldn't. Grab him, tear him down. With a silent cry, whispering, I disturbed the airlessness. In the power of sleep I am all godless.

Well, it seemed, well, what's the big deal, and it's all made up. But it's very important.

- I suggest we return to reality. For a professional who knows his worth, is not offended by the role of a fireman?

- Well, somewhere deep, deep, under the liver, maybe hurtful. What's to think about it? Still, I look at the wrong thing, offended / not offended me or not immediately called... I refused because I was not interested. But often I would come and ask. I asked Ursuliak because I am interested in him as a director, especially after The Long Goodbye. So do not be offended – work hard, think about a good result, fight for reputation. And reputation is made up not only of your participation, effort, attitude and craft. But public opinion can also give you that reputation by thinking, "Why are clouds so black?"

Coffin, Horse, Cadillac

- Have you, a super professional, ever had a bummer on set when you felt like a beginner?

- I don't remember two times. There was such a thing recently on the set of the film “Stalin”: I have a dialogue with the character there, serious, conflicting in emotions, and everything falls down. I do not hold the text, the behavior does not add up, the intonation is kind of dead - there was a panic! It's not hysterical, but what I petrified, sat on a chair and froze, as if I wanted to turn off the world and all life. To wake up, breathe and enter the frame of a professional person.

- What role would you never take on?

- A dead man wouldn't play. Maybe it's a boring answer, but I don't want to play dead. I won't lie in the coffin. Let's get some more.

- Bad luck?

- No, you won't take it. In art, especially in our craft, there is no acceptance. If one of the artists speaks about Bulgakovism, about the devil - the pang of dog, because I live in the game, I play it. How can a game be a bad omen?

This is not a role, but rather an entourage, texture can stop me. There was a case: a good director Timur Alpatov, who shoots series, invited to the role in the film “Confrontation”, but I refused. Why? Because my hero, according to the script, is always driving. And I told the director I couldn't drive. This role was later played by Alexei Guskov.

- If I’m not confused, you were in the movie “Brother”? Or was the Cadillac standing there shaking on the platform?

- I drove it myself. Lesha Balabanov then told me that there would be automation in Cadillac, and I learned to press the stop pedal and the movement pedal. On November 10, my birthday, I drove this car in bad weather at the Mosfilm training ground. It started hard, slow, and the operator liked it. After a while, I even dispersed - turning there, here, braking, and the steering wheel kept not clamped, but fingers. And then the criminal elements imitated the way I held the steering wheel with my fingers spread out. But I haven't been driving since.

Later, I was offered roles where my character was supposed to drive, and despite the fact that the role was wonderful and the plots were interesting, I refused only because I was sitting in the car like an idiot, not dragged on a cable or on the platform.

I'm not riding a horse. Therefore, he refused to offer Druzhinina, she called me to her painting. I'll be like a bag of straw or shit in the saddle. By the way, I remembered: I refused to play a boxer in one movie: there was a beautiful script about the war. But I told the director that the owner of the horse and the horse are like a husband and wife, one whole. Otherwise, I'll be dressed up.

But I will notice when in the serial film Ivan the Terrible I was invited to the role of Malyuta Skuratov, immediately agreed, but warned that I am not friends with horses. So Alexei Andrianov so wanted me to play in his film, he did everything so that I did not sit on a horse. I played great, but without the horse.

Good thing it's not a sweet week

- Viktor Ivanych, another question about your wonderful solo performances? You are both the author and the director. You're a chic storyteller, and the lyrics are perfectly written: set, climax, denouement. Do not be offended by the question: someone is helping you?

- Friends (few of them) or colleagues come to see me and, like you, they say, "Who wrote to you?" "Nobody. You." They don't. And then I show them a leaflet (and I will show you) where I have one word in the column: “Oranges”, “Clown”, “Music”, “Doronina”. And behind these little stories, a lifetime. I have lived so long and so many things have happened to me that I do not need to write. I talk and play to myself. The fourth season of Happy Days is sold out! And to this day, I still have the excitement and the throbbing in my heart and the disbelief that this could have happened.

But the basis is true, stories from my life: in Happy Days I remember meetings with the great people of the era, and in Chic Life I play my own stories - how I grew, flourished, soared, fell. "Days" is a specific word. And "life" is common. Good thing it's not a sweet week.

- It's like your whole life. But something you didn't include in the play, left behind?

- I don’t know how I wanted to commit suicide as a child. Didn't tell you?

- Childhood suicide? Nope.

- Come on!!! I fought with my parents and decided to die. I took two pills of sleeping pills, and I thought it would be enough to die. Why are you offended? Because it didn't work out for me. And I imagined that when I died, they would cry without me, they couldn't live, they would die, and I would punish them. I took these pills and forgot about them. And then the guys called me to the movie, of course I went. I watch a movie and I don’t understand that I want to sleep like this, I just fall asleep, I fall off my chair. And then I went home and slept for a day.

And I realized that the child is so selfish that he lives outside the law, outside the rules. He is the center of the earth, the navel of it. It doesn't matter which family. Pampered screams, feet squabbling, lying on the ground like falling, and in simple families go into aggression, into basements, run away from home.

- I love hearing your stories. Is it from youth and not about settling scores with life?

- Like I used to be an actor. I passed the exams in Pike and GITIS, but I did not know where I would be taken. And then the senior students whispered to me that Vsevolod Porfirievich Ostalsky, who saw me on tours, said that he would definitely take me. But I still had to pass the exams, and I, imagine, wrote an essay for a “deuce”.

- Remember the subject?

- Two themes were: one - the image of Evgeny Onegin in the novel by Pushkin and the other - free: "The top I conquered." 27 guys took free, and I decided, since almost all about the “top” will write, original and write about Onegin. Well, he wrote that he was a scoundrel, a scoundrel. Tanka Larina loved him with all her soul, and he abandoned her, neglected her. While still at school, our teacher gave us the task to continue the unfinished novel “Eugene Onegin”. And I continued: Tatiana married the general, she had two children, but they looked like Onegin for some reason.

- Presenting the Commission's reaction..

- What a shock! They wanted to put a unit, but Ostalsky told them that he needed me, so: Give him a three. Got it. But the history and literature passed to the "five". I answered everything, but one teacher asked me: “What does Pushkin and Moliere have in common?” I even got scared and honestly confessed, “We didn’t go to school with Moliere.” And she said, "That's right." You will have this in your first year.”.

Don't be afraid of this couple

- Have you had a reassessment of people and relationships over the years?

I have a reassessment of the moment, based on the time, place and action of a person. If I loved you, but suddenly I recognize you or hear you, or see something different in relation to myself, I will regard you differently. It is not that you are the result of my life, you are the result of my actions.

- But does it not matter that you have been associated with a person for years, and in general with the years you should be more condescending, wiser?

- I can't.

- Does that mean you cannot forgive?

- How do you forgive? Memory must forgive, and it does not go away. A person should forgive when he is freed from trouble, from grief, when the wound heals. How can you forgive what you remember? But... You are friends, you know a person, you share your innermost things with him, you love him, in the end, and suddenly... A man suddenly crushes me with an act that I did not expect, that upset me, frightened me. I've known you forty years, but at that moment I changed my impression of you. And the older I get, the easier I do it. There is no need for forgiveness and nobility. There is no time for these compromises.

- Do you judge people too harshly?

- Maybe. But I don't deserve to change my attitude. Why should I put up with this if you don't tolerate me? If we talk about forgiveness and whether my attitude to someone or something changes, I will add: I begin to reward one with my gratitude, and I part with the other and do not regret anything. In recent years, I have broken up with a number of people whom I considered not only close, but also friends.

- But listen, you can be alone. Not scary?

- You won't. And if you are left alone in old age, it is not a big deal. In old age, being alone is common. We don't know when old age will come, that we've aged, first. And secondly, how does old age itself feel? Shine and ash. "Hello, I'm death!" "What kind of death is that?" Don't know. Or, "Hello, I'm old" - "What old age?" I do not know. It is a good thing not to know about old age and death, and therefore not to be afraid of this couple.

I'll tell you more, I'm beginning to tell myself that old age is the fifth season of the year that no one knows anything about -- no scientist. Moreover, it is the fifth season of the year individually within each, its own. And in your old age there will be no strangers, only you will feel it or not feel it, understand or do not understand, feel or do not feel it.

As you get older, your habits begin to disappear. You can't run a hundred meters, you can't eat chocolates because you're diabetic, and some illnesses signal what you can and can't do.

- Any signals?

- I can't feel it yet. I swear at my brain - my head lives apart from my body. Our mind lives in youth all our lives, and our feet are already stumbling, everything creaks, whines. Youth is in my head. There is no feeling of physical old age, only an admission that I am old. I'm sitting in front of you, I know I'm 75. But I don't live at that age; I'm not 75. We don't even accept that it's all over and a little left. How's that a little? No, I'm gonna be different, I think. You know, nature has punished us: our head doesn't live with anyone, it lives with something else. So when I talk about old age, it's all coquetry. There is also a protest in this - I am not old yet, I can still not catch up with me.

This is my greeting to Venechka Yerofeyev

Viktor Ivanovich, you have been writing poetry for a long time. No one writes poetry who does not love. I asked.

- Yeah, I did. I'm not writing for print, it's just my impulses. And if we talk about the personal, about my love, I will open a secret and say again: there was love, and there was a lot of love. Someday, when I turn into a flabby scrotum, maybe I'll talk about it. In the meantime, let it remain private, secret.

I want to hop on a carnival, on the knee foxtrot drum. And a distant mother to remember. And a close waist. It doesn't matter her leg or her skin. Only her mother would look like her. We'll swirl a little, square it, I'll be careful with her. I'll give her some hooligan stuff, and then I'll scream love all over the room. On the knee, let a friend drum, here's Witek Foxtrot carnivalite. And, perhaps, up to the very registry office, he hurls with a crepteshin from the dance.

I've been writing a poem for years. For many years it has been lying in the table, I will pull it out, write quatrains, again hide the notebook. Suddenly in the summer I realized I was finishing. Let me tell you a little secret – I was looking for a name. I will say this as a friend, this is my greeting to Venechka Yerofeyev. He has the work “Moscow – Petushki”, it is at the crossroads in Orekhovo-Zuevo. And suddenly I realized that I could talk about this railway in verse. And now I clean it, remove some repetitions, absurdities, but I am proud of what I created. I read to my sister - she liked it, and maybe I'll read to you a little. It will be called “124” – so many kilometers from Moscow to Petushkov.

You know, Marin, I'm in a very good mood. I love life, I love the weather. I like meeting people like you. I’ve been dreaming of a great life for so long that I’ve long been used to the way I live. I live very interestingly. And I’m not afraid to open up, to tell myself even bad things. 75 years... Well, then. You could also say eighty. Or twenty-five hundred.