Here Marina in the movie "Train station for two" cheerfully talks about the fact that she has two suitors, but she has not decided who to marry: "one earns better, but hits hard, the other earns less, but also drinks less." Joke. And if you think about it, maybe the white dress that she is finishing for the wedding will not be useful at all, because, in fact, she does not have anyone, and most importantly, there is no love.
Or Vika in the painting by Yu. Raisman's "Private Life". What lies behind her apparent recklessness and"passion to give advice to everyone around"? An absolutely suspended state, the utter uncertainty of life. She has already failed to enter the institute twice, lives in a strange city and, in general, in a strange apartment, because they have not yet been signed with Igor. Her own parents don't know anything about it, and if they do, they won't understand their daughter, because "dad is used to thinking in such categories — this is black, and this is white.".. So, "all problems, problems," Vika will say. However, he will say it with a smile. However, you can't blame her for being careless. Her gaiety is of a different nature, it's just that Vika is not one of those people who like to put their mental troubles on public display. She is always ready to help others, she is by nature a sensitive, responsive person — and there is a lot of evidence of this in the film — but she keeps her troubles to herself.
— Your heroines are really used to solving all their problems on their own, without shifting the burden of responsibility onto other people's shoulders. And this reveals their early maturity. But what about the heroes? It is curious that quite recently, Andrei Rostotsky, talking about his film peers — the peers of your heroines — complained that some of them lingered in their adolescence, and did not get rid of the completely inappropriate infantilism at their age. Is there probably some kind of characteristic trend here?
— Maybe so. I was just thinking, isn't it because of this, as you say, Igor's infantilism, the lack of male maturity of his character, that Vika from "Private Life" is suffering, forced to exist, as they say, between heaven and earth. After all, remember, Igor's father reproaches Igor for the fact that in his twenties it is not enough to be only the son of his wealthy parents.
Youth tends to live with the feeling that you don't seem to be living yet, but only preparing for life. And epiphany can be painful when you suddenly realize that a whole stage of life is behind you, and you didn't even notice. That's what happened to my new character Anna from the film "Telegram to You" directed by B. Konunov. In her youth, Anna showed great promise, wrote good poems, some of which are remembered by her classmates a dozen years later — those boys who were once in love with her. However, both poetry and falling in love are in the past. Poetry was replaced by prose. And now life is bursting at the seams: the family does not work out, the monotonous work of a telegram carrier is depressing. Where did it all go and when? And what to do next? How to restore the charm of youth and the freshness of perception of life? These are the questions Anna will have to answer.
— Tanya, at the very beginning of our conversation, we talked about what unites many of your heroines. However, your heroines are completely devoid of any schematics, faceless typicality, on the contrary, each of them has a bright, unique personality. And in this sense, they are completely different from each other. How do you manage to find something individually unique that can be inherent only to this and no other heroine?
— When working on a role, you always go from the essence of the image — you look at what character traits are the main defining ones for him. But in order for the character not to look like a scheme, you need to catch some characteristic signs that help to individualize the image. New customers at 1xBet can get a 100% welcome bonus up to $130. To activate it, click on "Registration" in the top right corner and enter
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