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I had to put a different picture. Trying to get back to it, sometimes made attempts scenario, but they did not reach the screen.Besides, the idea was not in the mainstream of Soviet cinema, and Soviet cinema at the time, and the entire world cinema, considered the main task of the development of character, a deep character study.And I also began to try to work out this problem, but right here, I probably was not as strong, and this gave me a lot of work, and, perhaps, I therefore made not one mistake. That's what was the main idea in the director's "donuts."Interestingly, at that time I did not consider this director's concept, keeping a secret as some political shameful secret, and not even the group said. No one, for example, suggested reading Jules Romains. Conversely, in the explication of "Pyshki" I worked out a all of the characters in great detail, and gave a very detailed description of each character.But in secret, so to speak, the task set. When I started talking with Eisenstein at the "Pyshki" Eisenstein immediately sketched me a bunch of literature, just taking off the shelf collection of daguerreotypes: hairstyles of the time, the costumes of those times, the politicians of the time, and so on and so forth, different monograph.It seemed that he had everything prepared in advance just in case. Gave me this to read: - Well, then, when you come, you tell me your director explication. But I did not dare speak to Sergei Mikhailovich, I'm going to do unanimistichesky option "Pyshki." When I spoke to Eisenstein about the production of "Pyshki", he asked me:"Well, what's your idea of вЂ‹вЂ‹directing?" I was mumbling something - about the coach, what, two, three. And I Eisenstein said, "Well, what is this idea of вЂ‹вЂ‹directing? So far, there have no directorial concept. Well, nothing, - he said - it also happens that the idea is not, and the picture is.I am in your place would not even download the film Sseom-de-i
and started with the diligence, and would have done the basic content of the fact that until the diligence, the Germans come to Rouen, and behavior of the inhabitants of Rouen. " And I just did the second half of the novella. I said, 'No, I'll do the second half. " - What are you asking me? All the same the other way around.Getting the picture, I really do not know anything <...>, and I still remember the feeling of burning shame that I felt every time the entrance to the pavilion. I just do not know where to begin and how to proceed. But I had a great team.
In the first place - Boris Volchek Izrailevich, he was more experienced than me, even before the "Pyshki" shot, and shot perfectly.I was delighted with the stuff he download the film Sseom-de-i
and showed me to "Pyshki" and was determined to work with the operator. I rely on it completely. The man is very high visual culture. Slow in general, but it is firmly aware of what he wants.He immediately gained enormous prestige in the group, and I cared about size, is on the directions of the diagonals of the mise en scene, and so on, and the rest of the iconic side I fully assume Volchek.