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Speaker 1: Welcome to Strictly Business Varieties podcast featuring conversations with industry

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Speaker 1: leaders about the business of entertainment. I'm Cynthia Littleton, Managing

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Speaker 1: editor of Television for Variety. My guest today in New

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Speaker 1: York is director timur bekmom Betoff. The Russian native is

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Speaker 1: known for movies such as Night Watch and Wanted, and

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Speaker 1: of course Abraham Lincoln Vampire Hunter. But he's also an

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Speaker 1: entrepreneur who is eagerly promoting a new filmmaking software for

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Speaker 1: what he calls screen Life. Features. In these movies, all

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Speaker 1: the action revolves around the screen activity of unseen characters.

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Speaker 1: Timore explains why he thinks this is a way of

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Speaker 1: the future for filmmaking, and he also offers his intriguing

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Speaker 1: thoughts on the new Cold War between the US and

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Speaker 1: his homeland. Welcome timur bekmm bed Off. Thank you so

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Speaker 1: much for stopping by here with us today. You for

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Speaker 1: inviting me. You are in town in part to talk

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Speaker 1: to people about your You have a new film technology

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Speaker 1: that you are trying to spread the word on and

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Speaker 1: train filmmakers to use, called screen Life, and it is

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Speaker 1: it is an effort to capture our sort of daily

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Speaker 1: lives as we live it on social media and multiple

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Speaker 1: screens and multiple devices. Tell me about it and how

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Speaker 1: you came to develop it. It's perfect. It's perfect presentation.

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Speaker 1: By the way, I think it's sent not technology. I

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Speaker 1: think it's more like a language and new film language

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Speaker 1: because because we we are recording screens, our computer screens

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Speaker 1: or our screens of our devices. Because today, in today's world,

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Speaker 1: most important events of our life happen happening not in

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Speaker 1: physical space but on screens, like we're falling in love,

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Speaker 1: losing friends, betraying sometimes uh, making money, losing money, and

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Speaker 1: most important for storytelling, we're making moral choices today and

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Speaker 1: it's happening on screen. And there's no way you can

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Speaker 1: capture this this uh, this events with the traditional film

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Speaker 1: camera because uh, it's it's just two kids sitting with

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Speaker 1: the iPhones in the in the in the cafeteria and

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Speaker 1: talking to each other without even looking to each other.

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Speaker 1: And it's very emotional, it could be very emotional, it

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Speaker 1: could be very dramatic, and the camera will just capture

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Speaker 1: boring two silhouettes again the window. Yes, but if you will,

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Speaker 1: if you'll, if you will uh catch their screens, you

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Speaker 1: will understand how dramatic. Maybe it's our man Juliet, Maybe

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Speaker 1: it's uh, I don't know, bony glide planning to to

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Speaker 1: to to to rob the bank. And even the robbing

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Speaker 1: the bank today is different like in today. And it's

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Speaker 1: very funny when we see when we see in the cinema,

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Speaker 1: when we see the movies about rubbing the bank today.

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Speaker 1: I don't know why people's filmmakers keep producing making movies

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Speaker 1: about the same thing, like a four guys and who's

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Speaker 1: with the rifles breaking the door and screaming give me cash.

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Speaker 1: It's absurd. It's a retro because there's no more cash.

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Speaker 1: Theists are done with zeros and ones. Yes, because it's

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Speaker 1: because it's just the stereotype, and it's just a lack

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Speaker 1: of lack of a sense of reality. And today's world,

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Speaker 1: the hacking the banks maybe two kids sitting in cafeteria

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Speaker 1: with the iPhones and and and sneaking into the bank

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Speaker 1: system to to to to move money from somewhere in

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Speaker 1: New Zealand. But how do you make that visually compelling out?

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Speaker 1: How it can make it visually compelling without screen life?

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Speaker 1: And and that's what we what we decided like five

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Speaker 1: years ago that we should focus on it because how

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Speaker 1: it's happened. I was on Skype with my partner, with

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Speaker 1: my colleague. Her name is Olga. She was in Russia.

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Speaker 1: I was in Los Angeles and during the Skype I

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Speaker 1: asked you to share her screen because Skype just released

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Speaker 1: the function share a screen, and she did it, and

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Speaker 1: she's found the button pushed and she did it, and

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Speaker 1: we discussed some poster of the movie. And then when

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Speaker 1: we finished, she forgot to unshare the screen, and for

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Speaker 1: a few minutes I saw what's happened on her screen.

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Speaker 1: How she because she didn't pay attention to think that

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Speaker 1: I don't see it anymore. And she sent messages to

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Speaker 1: her mom, bought some very intimate stuff and just there

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Speaker 1: was something personal, but we were still talking about some

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Speaker 1: business issues. But it's this moment I suddenly understood. Then

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Speaker 1: of course I said, sorry, sorry, I see a screen

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Speaker 1: you should you should share. But at this moment it

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Speaker 1: was short, but it's moment I understood that I was

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Speaker 1: inside her. And there's no tool in traditional filmmaking allowing

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Speaker 1: me to do to have the same effect of intimacy

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Speaker 1: of engagement or I saw and I saw every move

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Speaker 1: of her whatever mind you know, it's like it's like

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Speaker 1: a window into somebody's mind if you can see what

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Speaker 1: they do online. It's a good version of voiceover, you know,

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Speaker 1: like usually traditional filmmaking we have. He I was thinking

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Speaker 1: about how I will Maybe I will, I should send

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Speaker 1: him email, maybe not, maybe I should keep it secret.

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Speaker 1: This is what voice over doing. But in in in

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Speaker 1: screen life, I see how she tries to send she

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Speaker 1: types the text to send her friend. Then suddenly she

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Speaker 1: decided to to change your mind and deleted and send

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Speaker 1: something different. And I and and if I see it,

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Speaker 1: I totally understand what's happening inside the inside the character.

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Speaker 1: And and I decided that we should make a movies

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Speaker 1: we should make we should use this to make movies

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Speaker 1: about today's world and today's heroes. And the first the

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Speaker 1: first case, the first movie we made was Unfriended. It's

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Speaker 1: a Nelson Grieves. It's when he was my colleague assistant

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Speaker 1: at that time. And I asked him to write the script. Ah,

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Speaker 1: and he did because he was young enough to believe,

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Speaker 1: to believe my crazy idea. UH. And then I asked

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Speaker 1: my friend Leo Gabrieze to direct this movie. And uh,

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Speaker 1: and we made a movie called called Unfriended, and UM,

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Speaker 1: nobody believed that it's it's serious, honestly because I I

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Speaker 1: screened this movie for studios, for agencies, for distributers, and

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Speaker 1: people said, who will Nobody will go to see UH,

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Speaker 1: to stare on the computer screen in the cinema and

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Speaker 1: pay money. And and I was trying to explain that

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Speaker 1: the logic that we live on screens today, it's our

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Speaker 1: where our life is. And people said, yeah, maybe, but

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Speaker 1: maybe people doesn't stay so busy with this in the

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Speaker 1: in everyday life. Staring at the screen they don't want

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Speaker 1: to go to see this in the theater is not

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Speaker 1: entertaining enough. What how we can cut the trailer what

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Speaker 1: we're going to show. It's it's it's it's very logical,

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Speaker 1: it's very logical observations. But I think the logic is wrong.

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Speaker 1: It's logical because we because there is no because what's

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Speaker 1: happened after UH shows that I was right because every

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Speaker 1: movie we made, but we made seven movies since then,

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Speaker 1: seven screen life movies and one web web series called

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Speaker 1: It's released by BuzzFeed, and and every movie we made

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Speaker 1: and every festival, we we we we we showed the

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Speaker 1: movie We're getting the same price, which is audience a word.

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Speaker 1: And it's not not jury, not critics, but audience. It

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Speaker 1: shows me that that that the right It was the

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Speaker 1: right concept. Audience wants to have stories about the reality,

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Speaker 1: about the life that we live in. Yeah, and uh

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Speaker 1: and uh and it just a question. It was then

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Speaker 1: it was just a question for me how we can

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Speaker 1: make this movie because nobody made it before. It's a

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Speaker 1: totally new language. So you have no traditional live action

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Speaker 1: elements in the it's all screen. You see in the screen,

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Speaker 1: screen to screen, so you see the perspective of characters

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Speaker 1: comes through their screens. Yes, uh, we have we don't

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Speaker 1: have cameras. Of course, we have production designer because if

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Speaker 1: if I am front of computer in the room, somebody

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Speaker 1: should figure out the background. And and we need production designer.

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Speaker 1: But our production designer designer must design not only the

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Speaker 1: background behind the room where the character with the computer

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Speaker 1: uh we will place, but also to design the screen,

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Speaker 1: to design the folders, like what kind of folders, what

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Speaker 1: kind of images, what kind of logos on the screen,

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Speaker 1: what kind of And it's a it's a new it's

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Speaker 1: very new for for for for the business. Uh and uh.

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Speaker 1: And it's about everything that the whole language is different

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Speaker 1: because the sound is different. In screen life movies, it's

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Speaker 1: very different strategy you because in traditional movies, the screen

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Speaker 1: it's like a window into another world. And the sound

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Speaker 1: sound coming from the screen because of the reality we're

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Speaker 1: talking about, is on behind the screen, except maybe some

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Speaker 1: stereo movies when it's a little bit a little bit,

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Speaker 1: a few few feets in front of the screen. But

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Speaker 1: but in screenlight movies, the reality is front of the screen,

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Speaker 1: not behind the screen, because the character is sitting front

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Speaker 1: of the screen, and the screen in the cinema it

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Speaker 1: just a computer screen and and there's nothing behind the wall,

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Speaker 1: and the sound is around you, and we use for profile,

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Speaker 1: we used very very tricky atmos atmos sound to create

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Speaker 1: the environment to give you a sense of take sense

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Speaker 1: of that you are the character sitting in front of

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Speaker 1: the screen. Are these so you're distributing these movies around

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Speaker 1: the world? Are they profitable? Are you able to make

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Speaker 1: money off of them? Do you know what? I think

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Speaker 1: you should check because what I heard from the Universal

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Speaker 1: that The Unfriended First Unfriended was one of the twenty

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Speaker 1: twenty most profitable movies ever made in the history because

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Speaker 1: because it was because it was a million dollar budget

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Speaker 1: had made no, it made sixty four sixty five theatrically

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Speaker 1: and and uh and it's and there's no risk because

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Speaker 1: the way how we make this movie is very specific

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Speaker 1: because we spent we don't spend one million even we

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Speaker 1: spent I don't know, hundred thousand dollars to make to

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Speaker 1: do the to shoot it uh and shooting period is

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Speaker 1: uh ten days. Uh. And then you can cut, resemble it, cut,

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Speaker 1: see the see the what you have and then you

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Speaker 1: can continue to the production or you can stop, or

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Speaker 1: you can change. You know, it's it's it's slightly different

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Speaker 1: the risks. You don't need to commit hundred million dollars budget.

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Speaker 1: You're committing only hundred southand a little budget. And then

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Speaker 1: you can have we have a chance to to analyze

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Speaker 1: what you've got and then continue. And in terms of

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Speaker 1: you know, capturing this imagery, do you have is there

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Speaker 1: do you have some kind of as you say, a

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Speaker 1: technology or a language that is yes, it's what we

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Speaker 1: what we what we discovered immediately after unfriended during their

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Speaker 1: friend that there's no tools because cinema exists four hundreds year,

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Speaker 1: for hundreds of years and UH. And there's a lot

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Speaker 1: of tools like a tripods, cameras, lights and a lot

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Speaker 1: of stuff like lenses and but but for for screen

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Speaker 1: life movies, we don't have it because this business exists

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Speaker 1: only five years when we started. And the biggest problem

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Speaker 1: is when you're recording this screen of your character. You

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Speaker 1: recording five years ago ago, we recorded only the flat

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Speaker 1: screen flex just video and there was no way to

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Speaker 1: manipulate with this image because it was just flat baked

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Speaker 1: video of the screen. And and for for for me

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Speaker 1: as a director, I want to be able to change things.

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Speaker 1: I want to be able to change the timing, to

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Speaker 1: change the composition, to change the elements, and I couldn't.

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Speaker 1: Then I decided, what if it will make a new

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Speaker 1: recorder recording not the image, but recording the programming code

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Speaker 1: like the code UH computer generates to create the image.

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Speaker 1: Then if we're recording the code, then we can use

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Speaker 1: any element and change it. And you know, because it's

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Speaker 1: more it's more flexible this type of the file. And

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Speaker 1: we spent two and a half years now two and

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Speaker 1: we've got we received two patents invented the new recorder

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Speaker 1: allowing you to record UH your screencast as a as

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Speaker 1: a code with the consequences which are which are First

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Speaker 1: of all, I can target the movie like for example,

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Speaker 1: you will see you will watch one movie in New

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Speaker 1: York and if you will go, if you will fly

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Speaker 1: to l A, you will watch different movie because computer

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Speaker 1: can understand where you are and change the elements for example,

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Speaker 1: banners or something. I mean, I'm not talking about the

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Speaker 1: whole movie, but I can adjust and if if you

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Speaker 1: I'm the movie I'm watching, a movie you're watching will

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Speaker 1: be different movies because I can make a movie when

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Speaker 1: we will understand who's watching and adjust the the slightly,

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Speaker 1: just the elements to the story and the story. But

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Speaker 1: this is for somebody watching in a streaming or yes, yes,

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Speaker 1: of course there story different, not in cinema. So you

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Speaker 1: have patents, So do you have It's a great idea.

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Speaker 1: It could be even in a cinema because with like

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Speaker 1: mended reality, because if you will put the glass like

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Speaker 1: mended reality glasses, then everyone can can just different different meals.

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Speaker 1: They do it in sports right now, in sports right now.

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Speaker 1: So you have a couple of patents, Do you have

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Speaker 1: a kind of proprietary software to use this and or

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Speaker 1: is this is this a business for you. Are you

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Speaker 1: trying to license this to other filmmakers and other companies

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Speaker 1: around the world. Yes, it's what we do now we

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Speaker 1: uh in September, we will release it because now we're

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Speaker 1: testing ourselves and we're using to produce our movies. Uh

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Speaker 1: and uh and now we we will license from September

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Speaker 1: for a few months, we will licenses to different like colleagues,

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Speaker 1: whatever businesses uh. Uh and then uh from from December,

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Speaker 1: it will be free for everyone to use, like people

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Speaker 1: can just record themselves. We will release it for free

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Speaker 1: for millions of people. Because because I believe that about

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Speaker 1: in today's world, So what I said, because our most

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Speaker 1: important events of our life happening on screen, why we

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Speaker 1: take pictures, why we make photos, is putting it on

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Speaker 1: Instagram because it's not where we leave today, you know.

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Speaker 1: I mean, of course, I'm I'm sorry, I'm a little

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Speaker 1: bit more. I'm trying to radicalize the problem. But I'm

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Speaker 1: saying that, like if half of my life is on

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Speaker 1: screen today, that half of the images on in Instagram

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Speaker 1: should be screencasts. You know, it should be about how

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Speaker 1: I got a message from my girlfriend, or how I

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Speaker 1: learned that I lost a lot of money, because the

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Speaker 1: release of the movie was not successful, and it's a

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Speaker 1: very important events and and it's it's what I should

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Speaker 1: remember and it should share with my friends and uh,

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Speaker 1: and it's what we're trying to promote. Please pay attention

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Speaker 1: what's happening on your screens, Remember it and share with

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Speaker 1: with share with your friends, with your whatever enemies, if

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Speaker 1: you want to to to to pull somebody, it's it's

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Speaker 1: what what This is an interesting perspective on our visual

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Speaker 1: lives from from a director. But I can, uh, I can.

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Speaker 1: We can do one step forward, which is what's the mission?

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Speaker 1: Why we do it? Why we do this movie? Not

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Speaker 1: because we want to make a lot of money, it's not.

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Speaker 1: It's not the case their passion projects it is. It

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Speaker 1: is it is kind of what we intuitively, I feel

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Speaker 1: that it's important, and I try to understand why. Uh.

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Speaker 1: And one of the explanations for myself I found, as

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Speaker 1: we we leave, we're entering the different, different universe like

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Speaker 1: reality now. Because it's what I said, If we leave

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Speaker 1: on screens, if we if we sending messages each other

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Speaker 1: like I love you digitally as an SMS, it's happening

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Speaker 1: on screen, and it means we live in different reality

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Speaker 1: now with with entering different reality within the reality of

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Speaker 1: social networks and messengers and and like many browsers and games,

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Speaker 1: and it's a different reality. And we spend our life

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Speaker 1: in this world more and more. But we don't know.

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Speaker 1: We don't have a trust yet, you know, we never

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Speaker 1: because it's so new civilization. We all like human beings.

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Speaker 1: We don't have a trust yet. We don't know what

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Speaker 1: does it mean? Death? For for example, my friend died

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Speaker 1: two years ago, still sending me happy birthday messages and

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Speaker 1: and we don't know. I don't know how to react.

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Speaker 1: It's scary, you know, it's really scary. And and we

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Speaker 1: don't know what what what does mean family in internet?

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Speaker 1: Like if wife cannot excess access the information of her

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Speaker 1: husband or not or kids for example, like the movie

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Speaker 1: calls Searching we're releasing in August. It's a story about

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Speaker 1: the father uh suddenly discovered the world his daughter lived in, shocked,

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Speaker 1: And it's what every problem and and and and and

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Speaker 1: I and what we don't have this realization. What's the

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Speaker 1: mission for us now? How we can together create the

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Speaker 1: trust what this world is for us? And how we

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Speaker 1: should live in this world? And as we know there's

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Speaker 1: only one way to to to create this virtual document

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Speaker 1: or like a rules or let's called trust. Yeah, to

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Speaker 1: tell stories. It's how it's happened thousands years ago, when

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Speaker 1: when our ancestors told first fair tales and myths and legends,

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Speaker 1: and then novels and and Leo Tolstoy a route word peace.

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Speaker 1: It was the whole culture was about creating this trust

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Speaker 1: to like it, to create the rules how we should

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Speaker 1: behave and uh and and the screen life movies. It's

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Speaker 1: a way for us now to explore this world, to

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Speaker 1: learn who we are, to express ourselves, and to tell

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Speaker 1: stories about our lives and how they're very interesting. My

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Speaker 1: question for you now, if you're going to try to

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Speaker 1: license in September but give it away for free in December,

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Speaker 1: why would anybody pay you? Because there's a there's a

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Speaker 1: few there are a few versions of there's a professional.

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Speaker 1: When you have more tools, you can change things. You

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Speaker 1: can you can even re like you can record one website.

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Speaker 1: You can change the content, move things around. Oh, there

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Speaker 1: is a very simple recorder for for for broad audience. Interesting.

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Speaker 1: Do you do you have a sense do you think

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Speaker 1: you'll have some takers? Yes, I'm sure because we tested it.

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Speaker 1: We tested it and uh, we've got we've got an

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Speaker 1: unbelievable number. If you know what its means CTR click

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Speaker 1: through rate, it's a CULTI merry engagement. Now usually it's

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Speaker 1: a one percent. It's it's a good number, like one

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Speaker 1: percent of people clicking. We have FI average it could

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Speaker 1: be eighty. It means our our, our recording provokes people

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Speaker 1: to click because you see somebody's else life and and

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Speaker 1: you want to participate. You want to co co exist, coexist,

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Speaker 1: you know, you want to how to say this connect connect? Yeah,

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Speaker 1: you want to be inside somebody's else life and we

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Speaker 1: can we can provide it. I mean if when I

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Speaker 1: was when I was yes, when I was fourteen, if

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Speaker 1: somebody will give me this tool, I will talk to

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Speaker 1: my friends and girls and flirt and I will do

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Speaker 1: it because it's I'm recording my uh my life, recording

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Speaker 1: like thirty second one minute of my life and sharing

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Speaker 1: with with my friend. And my friend can enter my life.

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Speaker 1: Can you can explore my piece of my life. It's

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Speaker 1: something very uh game. It's a game changer, I think,

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Speaker 1: a right interesting. Now through your company, you have a

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Speaker 1: you have a Moscow based production company, baselofs ye. If

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Speaker 1: I said that, right, and you do your you do

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Speaker 1: a range of material and a lot of you know,

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Speaker 1: more traditional live action live action features, buzzle lifts exist

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Speaker 1: for twenty five years. It's how old we are. Uh

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Speaker 1: and uh, it's a tough time for independent filmmakers and distributors.

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Speaker 1: How are you guys faring in the new world order?

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Speaker 1: We're looking for? Easy answer is very very simple. We

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Speaker 1: are not. We're not ducing traditional stuff. We are because

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Speaker 1: it's a company driven by creators, not managers. It's why

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Speaker 1: every project we make we produce. Uh. It's it's something

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Speaker 1: new and unpredictable. Like I can give you some examples

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Speaker 1: of like we made a night Watch and they watched.

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Speaker 1: It was first fantasy movie in Russia. It was very

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Speaker 1: h new for Russia. And at the same time it

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Speaker 1: was very new, very unusual, very innovative for uh, for

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Speaker 1: the fantasy for for the American fantasy movies, because it

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Speaker 1: was first out rated. You know, I think it was

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Speaker 1: one of the first out rated edgy tonally graphic novel

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Speaker 1: type of the movies. And and also then we made

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Speaker 1: A nine with the Tim Burton, it's animation, animated movie

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Speaker 1: about for Edgy dark post epiccalyptic, uh uh cartoon. And

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Speaker 1: we made Hardcore Henry. It's a first person movie. Crazy movie,

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Speaker 1: very talented director Gianna Ruler. Short in Russia was released

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Speaker 1: by STS. We made now seven screen life movies. I

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Speaker 1: mean every every movie we we make, we're trying to

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Speaker 1: surprise ourselves. And it's not only about the esthetics. Usually

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Speaker 1: in my mind, usually business ideas provokes you to figure

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Speaker 1: out the new language, new new esthetic, and in opposite,

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Speaker 1: like if you need something like now, for example, I'm

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Speaker 1: working on the project, cooking the project, working developing the

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Speaker 1: project where the artificial intellect creates images and uh and

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Speaker 1: and it's very very exactly it's it's not it's it's

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Speaker 1: a very early stage, but it works. And I think

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Speaker 1: we tested it and I saw a computer generating images

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Speaker 1: not not um, I'm not talking about generating images. I mean, uh,

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Speaker 1: serialistic images. But what what a computer with think if

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Speaker 1: it was it's like like like for example, people said, oh,

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Speaker 1: there's a visionary director and I use this idea and

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Speaker 1: just developed the software. When it's a visionary, how is

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Speaker 1: it not director of visionaries software? Whatever, it's it's a

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Speaker 1: it's a it's an interesting it's because it's it's why

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Speaker 1: we don't have competitors. We can fail. We can fail

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Speaker 1: because sometimes sometimes idea could be not you cannot reach

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Speaker 1: your audience. But but but usually we we we have

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Speaker 1: a good result because it's a cost effective because there's

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Speaker 1: no there's no competitors yet in the world. We uh

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Speaker 1: in the project we producing and uh and it's exciting.

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Speaker 1: And distributors they like movies we make because we do

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Speaker 1: something new. Have you done anything in television content and

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Speaker 1: any TV series or only in Russia? We uh we

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Speaker 1: we produced the TV show it's quite it was this

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Speaker 1: was quite traditional. It was a really good story a

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Speaker 1: long time ago. And and now we produced web series.

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Speaker 1: It's released by by BuzzFeed. It's a project calls sorry,

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Speaker 1: it's a it's a web serious screen life, web serious

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Speaker 1: entertainment because the story of of presented in today's uh,

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Speaker 1: in today's reality. Like so like if you can imagine

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Speaker 1: that there was a there was a Instagram and Facebook

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Speaker 1: and and it looks like so the events the incredible

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Speaker 1: events of ninety six Martin Luther King, Rob Kennedy getting killed,

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Speaker 1: but as if they were today. Yeah, it's like fifty

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Speaker 1: years like the same week, but fifty years ago, and

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Speaker 1: it's every week we released, were releasing a new episode

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Speaker 1: about the same week fifty years ago, and very very

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Speaker 1: very exciting and very relatable because suddenly you understand the

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Speaker 1: history because it's because it's uh, it's very relatable. What

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00:27:39,920 --> 00:27:42,880
Speaker 1: is um? I think the Russian media market for even

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00:27:42,920 --> 00:27:45,879
Speaker 1: for a lot of US media firms, still seems very opaque.

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00:27:46,160 --> 00:27:48,720
Speaker 1: What do you find? Is it a vibrant market? Do

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Speaker 1: you is there are there buyers for TV content and

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00:27:51,040 --> 00:27:56,119
Speaker 1: digital content in Russia? Sponsorship? Is that? Uh? Is it

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00:27:56,200 --> 00:27:58,320
Speaker 1: as vibrant as it as it is here for for

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Speaker 1: digital content in Russians they think that it's impossible to

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Speaker 1: understand what Russia it means. It's like it's it's it's

408
00:28:08,480 --> 00:28:13,040
Speaker 1: in our mentality, you know, in our mentality. We we

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00:28:13,200 --> 00:28:17,880
Speaker 1: believe that nobody can understand us. I don't know, it's

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00:28:17,920 --> 00:28:20,560
Speaker 1: a bullshit probably, but it's what we it's what we

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Speaker 1: think that Russian soul we've always heard about, Yes, it's

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Speaker 1: something like Russian soul or because it's absurdity, it's idealistic,

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Speaker 1: it's uh, sometimes it's very bad organ you know, the

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Speaker 1: organized world. But sometimes it's unbelievably focused, like a war

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Speaker 1: like world What two was one of the examples. And

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Speaker 1: we think we're special. I mean, I don't like this concert,

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Speaker 1: but it's what what what? What's what people believe in.

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Speaker 1: But the same with the with the movies. Uh. For

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Speaker 1: many years during Soviet era, Russia had its own film industry,

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Speaker 1: very very solid, and it was one of the one

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Speaker 1: of the most profitable industries in Soviet Union. After saying

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00:29:12,560 --> 00:29:17,400
Speaker 1: I think product vodka production and uh and and then

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00:29:18,040 --> 00:29:21,880
Speaker 1: when Prettystroca happened, and and but yes, it was all

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00:29:22,040 --> 00:29:26,440
Speaker 1: state owned. It was all state controlled during Soviet time

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Speaker 1: and very well organized. It was like monopolized because it

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Speaker 1: was development, production, distribution. Everything was in one hands. And

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00:29:36,040 --> 00:29:39,000
Speaker 1: these were the movies that you probably saw it. Yes, yeah, yeah.

428
00:29:39,360 --> 00:29:40,800
Speaker 1: There was a two types of movies. There was a

429
00:29:41,520 --> 00:29:46,520
Speaker 1: Russian Soviet movies, Soviet Union movies, and some little bit

430
00:29:46,600 --> 00:29:50,360
Speaker 1: of Eastern European movies, and a lot of French and

431
00:29:50,440 --> 00:29:54,200
Speaker 1: Italian movies. I don't know why the communists they were

432
00:29:54,560 --> 00:29:59,120
Speaker 1: in love with with French and Italian Uh, like a

433
00:29:59,200 --> 00:30:05,000
Speaker 1: Buzzolini feeliny or like a French French directors, like like

434
00:30:05,320 --> 00:30:09,680
Speaker 1: comics is Fantamas was one of one of my uh kids,

435
00:30:11,440 --> 00:30:16,400
Speaker 1: huge events. And I have I have a conspiracy sory

436
00:30:16,600 --> 00:30:20,920
Speaker 1: y because I think they bought these movies and used this,

437
00:30:21,960 --> 00:30:26,760
Speaker 1: uh these cases to finance communist parties in Western world.

438
00:30:26,800 --> 00:30:31,920
Speaker 1: I mean it's a it's conspiracy theory. But but mostly

439
00:30:31,920 --> 00:30:36,040
Speaker 1: it was Soviet in then in nineties, suddenly the whole

440
00:30:36,120 --> 00:30:41,120
Speaker 1: industry collapsed and thousands of thousands of theaters like it

441
00:30:41,280 --> 00:30:43,320
Speaker 1: was the same as United like a twenty thousand screens

442
00:30:43,400 --> 00:30:47,760
Speaker 1: or thirty thousand screens. It disappeared in during like a

443
00:30:47,920 --> 00:30:54,040
Speaker 1: few years. And uh, and there was it was uh,

444
00:30:54,720 --> 00:30:58,040
Speaker 1: there was like a furnishing stores and in the theaters

445
00:30:58,920 --> 00:31:01,520
Speaker 1: and then all ninety there was no there was no

446
00:31:02,440 --> 00:31:06,960
Speaker 1: industry and uh you think because the state collapsed, so

447
00:31:07,040 --> 00:31:10,840
Speaker 1: that went away and then it was just chaos. There

448
00:31:10,920 --> 00:31:13,160
Speaker 1: was no Yeah, there was no money too. There was

449
00:31:13,240 --> 00:31:16,160
Speaker 1: no money to rebuild theaters because the theaters were old

450
00:31:16,240 --> 00:31:19,480
Speaker 1: fashioned and not Dolby. You know, it was like old

451
00:31:19,520 --> 00:31:24,520
Speaker 1: fashioned theaters mostly and uh and and and there and

452
00:31:24,880 --> 00:31:29,360
Speaker 1: uh somehow, no, there was no money to invest to

453
00:31:29,440 --> 00:31:33,840
Speaker 1: produce new movies, and American movies were not so so

454
00:31:34,520 --> 00:31:37,280
Speaker 1: they were okay and and v chs of destroy this

455
00:31:37,640 --> 00:31:41,440
Speaker 1: because there was every everyone had its VHS player and

456
00:31:41,520 --> 00:31:45,280
Speaker 1: could watch movies for free, and the pirate pirated movies

457
00:31:45,360 --> 00:31:48,880
Speaker 1: and uh. And then only the end of the nineties

458
00:31:49,320 --> 00:31:54,400
Speaker 1: there was the first theaters were resurrected started to come

459
00:31:54,400 --> 00:31:57,600
Speaker 1: back back, and uh and uh and then and for

460
00:31:57,840 --> 00:32:03,040
Speaker 1: next then we in two thousand four we released Night

461
00:32:03,120 --> 00:32:08,000
Speaker 1: Voich and it it became a hit, like a biggest

462
00:32:08,640 --> 00:32:11,640
Speaker 1: It put you on the map there and over here. Yes, yeah,

463
00:32:11,720 --> 00:32:14,520
Speaker 1: and and uh and I believe that there was only

464
00:32:14,600 --> 00:32:17,880
Speaker 1: one way for a filmmaker to to be recognized. It's

465
00:32:17,880 --> 00:32:22,120
Speaker 1: just to make to be successful in your own uh culture,

466
00:32:22,520 --> 00:32:24,680
Speaker 1: and then you can travel. I mean, that's what I

467
00:32:24,800 --> 00:32:32,720
Speaker 1: believe in. Then then for many years the Russian movies

468
00:32:32,800 --> 00:32:36,840
Speaker 1: were like a fifteen twenty percent of the market and

469
00:32:36,920 --> 00:32:40,720
Speaker 1: eight percent we're American movies because the old investors came

470
00:32:40,760 --> 00:32:43,760
Speaker 1: from the United States rebuild the theater's invest money and

471
00:32:44,080 --> 00:32:50,080
Speaker 1: and there was a there was enough products came from

472
00:32:50,560 --> 00:32:54,440
Speaker 1: US to to support the theaters, and and the whole

473
00:32:54,520 --> 00:32:59,160
Speaker 1: generation grew up watching American movies. And this is what

474
00:32:59,520 --> 00:33:03,680
Speaker 1: what's people think about movies in Russian. But then a

475
00:33:03,760 --> 00:33:08,920
Speaker 1: little by a little Russian two Russian filmmakers too of

476
00:33:09,000 --> 00:33:13,560
Speaker 1: the market. And and it was fifteen twenty up to

477
00:33:14,280 --> 00:33:16,960
Speaker 1: two years ago, like one two years ago, and now

478
00:33:17,240 --> 00:33:21,320
Speaker 1: it's like forty. And so there's financing, there is support

479
00:33:21,800 --> 00:33:27,680
Speaker 1: for Russian based Yes, first of all government supports because

480
00:33:27,720 --> 00:33:36,360
Speaker 1: we have subsidies and the government financing eight nine like

481
00:33:36,480 --> 00:33:44,080
Speaker 1: a major productions supporting every year and Minister of Cultures

482
00:33:44,440 --> 00:33:49,880
Speaker 1: supporting also some some projects and uh. And it's how

483
00:33:51,520 --> 00:33:55,680
Speaker 1: they try to re reboard the industry. And it was

484
00:33:55,800 --> 00:34:00,680
Speaker 1: not really successful until a few years ago, mean successful

485
00:34:00,720 --> 00:34:07,240
Speaker 1: but not there was nothing magical magical h But now

486
00:34:07,440 --> 00:34:16,080
Speaker 1: it's unbelievable, twist happened, Uh suddenly Uh last year, the

487
00:34:16,200 --> 00:34:22,000
Speaker 1: last two years Russian movies to the market. You move

488
00:34:22,120 --> 00:34:24,600
Speaker 1: between East and West frequently as a filmmaker and as

489
00:34:24,600 --> 00:34:27,760
Speaker 1: a businessman. It's obviously we are at a very heightened

490
00:34:27,840 --> 00:34:31,400
Speaker 1: time of tension between the countries. The Cold War seems

491
00:34:31,480 --> 00:34:34,320
Speaker 1: to be back in something maybe not so cold? What

492
00:34:34,520 --> 00:34:36,759
Speaker 1: is what is your person? That's very scary what you

493
00:34:36,920 --> 00:34:39,880
Speaker 1: just said, Well, maybe not so cold, because it's as

494
00:34:40,080 --> 00:34:42,160
Speaker 1: if it will be. If it's a cold, it's okay.

495
00:34:42,520 --> 00:34:45,799
Speaker 1: If it's a hot it's it's it's scary, let's hope,

496
00:34:45,880 --> 00:34:48,000
Speaker 1: let's hope not But what what is your perspective on

497
00:34:48,080 --> 00:34:50,120
Speaker 1: what is what is fueling this? It seems like we

498
00:34:50,200 --> 00:34:52,759
Speaker 1: do have a sort of fundamental class of cultures at

499
00:34:52,800 --> 00:34:58,920
Speaker 1: a time of nationalism for both countries. Uh. Yes, you

500
00:34:59,040 --> 00:35:02,400
Speaker 1: just answered your Christian yourself because there's no conflict. I

501
00:35:02,480 --> 00:35:05,600
Speaker 1: feel there's no conflict between countries, there is no conflict

502
00:35:05,680 --> 00:35:12,440
Speaker 1: between people. I think both countries divided, you know, in

503
00:35:12,560 --> 00:35:15,319
Speaker 1: both countries. That's true about this country. It's the same

504
00:35:15,360 --> 00:35:19,560
Speaker 1: in Russia the post both countries divided in the world, divided,

505
00:35:20,200 --> 00:35:24,680
Speaker 1: not geographically, not politically, not not between countries, not geo politically,

506
00:35:25,360 --> 00:35:33,640
Speaker 1: but inside societies. And every society like breed in England, Russians, yea,

507
00:35:33,840 --> 00:35:38,640
Speaker 1: and France and Germany, every society has a has a

508
00:35:38,840 --> 00:35:43,439
Speaker 1: has a divided in two different ideas. And I think

509
00:35:43,640 --> 00:35:45,839
Speaker 1: because I made movie calls night Watch, and I can

510
00:35:46,000 --> 00:35:49,800
Speaker 1: use the terminology of this fantasy movie. There is a

511
00:35:49,960 --> 00:35:53,400
Speaker 1: freedom and responsibility and and there are two big ideas

512
00:35:53,800 --> 00:35:59,480
Speaker 1: like either about freedom free choice or about safety and

513
00:35:59,640 --> 00:36:03,600
Speaker 1: response about and it's how the society, every society divided today.

514
00:36:04,200 --> 00:36:09,839
Speaker 1: And uh, and I think, and I think people who

515
00:36:09,920 --> 00:36:13,920
Speaker 1: believes in freedom and this and importance of freedom in

516
00:36:14,280 --> 00:36:17,040
Speaker 1: Russia or the United States, they understand each other perfectly,

517
00:36:17,719 --> 00:36:21,040
Speaker 1: but in the same way as the other their opponents.

518
00:36:21,120 --> 00:36:23,840
Speaker 1: They understand each other perfectly. And I don't see the

519
00:36:24,040 --> 00:36:30,239
Speaker 1: confrontation between societies. I see more like I think. I

520
00:36:30,320 --> 00:36:35,200
Speaker 1: think confrontation inside Russia or inside the United States, confrontation

521
00:36:35,239 --> 00:36:38,560
Speaker 1: between two ideologists much stronger than confrontation between two countries.

522
00:36:38,880 --> 00:36:40,839
Speaker 1: Thank you so much for stopping by. This has been

523
00:36:40,840 --> 00:36:47,320
Speaker 1: an interesting conversation. Thank you, Thank you very much. Thanks

524
00:36:47,360 --> 00:36:49,560
Speaker 1: for listening. To be sure to join us next week

525
00:36:49,640 --> 00:36:51,640
Speaker 1: for another episode of Strictly Business.