- Your new project is called "Kitchen". This word has a lot of meanings. What meaning do you put into it?
- It's just a scene. Neither more nor less, because in the process of rehearsing all the meanings of the word "Kitchen" came about naturally. Yes, kitchen is the place where people talk to each other more openly than anywhere else. Yes, everything has its "Kitchen" - a place where people plan something.

- Tell us something about Maxim Kurochkin, the playwright.
- I read some of his plays and I liked them, and what is more important, I felt our ways of thinking had something in common. I asked him honestly if he could write to order, which isn't a common thing in the theatre. He thought it over… and then we got down to work. I invited him, actors, artists - everyone who participated in the process of creation - to come up with ideas, because to create the magic of theatre we have to cooperate. And be responsible for that. It's not right when only one person - a director - works hard. Everybody should do his best. It's easier to work together and the result is more interesting. The play was being written along with the stage production. We helped Maxim in some way, asked him to make some changes. Of course, it was he who did the writing, but let's say - our love helped him.

- There are many actors in "Kitchen" who participated in "Woe From Wit". Did it happen by chance or is there a kind of team?
- The team was formed up by chance. Well, seriously, I didn't plan to invite absolutely everyone who had played in "Woe From Wit" in a new play. But why should I waste my time looking for anybody when there are people who understand me? We all are complicated people, I guess, it's not easy to deal with me either, but we managed to find the way to get along somehow. There's no such aim for me to create a stable team, although I'm happy they go on working with me. Maybe a team is something that forms itself. I know, everybody values the relations we have and values the play itself, which is great and very important.

- How did the idea to collaborate with Boris Grebentshikov, who wrote the soundtrack for the play, appeared?
- It appeared instantly: I felt it was a kind of material that fitted him absolutely, that his music had to sound in the play. Unfortunately, we couldn't use his music only, although it's wonderful and very pertinent.

- What are relations between Menshikov the actor and Menshikov the director like?
- If one worked with the other there would be some relations. The most neglected part by now is mine, because I did everything but worked on it. Anyway, I hope it'll be alright, because I've been in the play all the time. I was in a better position with "Woe From" Wit": I hoped Sergey Shnyrev would play Chatsky (it just happened so that he didn't, but I has rehearsed a role of Chatsky with him). And I didn't rehearse my role at all: someone would read my lines. But I want to believe everything will be okay.

- Would you like to direct a play you won't act in?
- Yes, I'd like it very much! Because I worry both as an actor and a director - and it's hard. I really wish to stage such a play and I hope to do it some day. On the other hand, I can't agree when they say, "Let's get Menshikov out of the play and see what's left". It's not right: Menshikov has created everything - and it's he whom we should dismiss!... But I have to be self-confident as a director and it's a long way. As John Osborn used to say, one should stage ten plays to become a director.

- Do you often manage to visit the theatre as a spectator?
- Not often. But I have a bad luck, I guess - I come and watch a performance and it seems to me that if I don't visit the theatre for a month or so I won't miss anything.

- In 1992 you acted together with Vanessa Redgrave in the play "When She Danced" in London. Would you like to repeat something of the kind?
- Why not? I have very good memories of that work. Especially since I acted in Russian, a total irresponsibility - you can say whatever you want, because no one understands a word anyway. It's always very interesting - to find yourself in a different country where the theatre has such a long tradition. I'd do it with pleasure once more although I won't take any direct steps for it.

- Do you believe critics?
- Unfortunately I don't. I know a lot of examples of them being insincere and biased. And I think such qualities have become a common thing with critics nowadays. That's why no one trusts them.

- But critics love you!
- Not at all! I have a great amount of newspapers, which say there have never been an actor worse than Menshikov.

- A star is always surrounded by legends and myths. Does it help you or not?
- At first it was amazing, then started to irritate, then - you're right - it became helpful, and now I just don't care. Not a single myth is something I've created. It's made up by someone's imagination, rather ill sometimes. But I don't pay attention to it anymore.

- Which one of characters is closer to you?
- Probably, everyone. I can only name those I liked playing the most: Caligula, the character from "Burnt By The Sun". I play little and choose the roles, which are close to me. Or contradict my nature. Caligula, for example… Although, maybe, there's Caligula inside each of us…

- Is it true Mikhalkov plans to shoot a sequel of "Burnt By The Sun"?
- Yes, and my character stays alive. As far as I know they start making preparations for the shooting.

- Oscar Wilde said that art points to reveal itself to people and to conceal the artist. Do you agree?
- I think I do. We go out on stage to reveal ourselves. A good artist should be honest (which doesn't mean that an honest artist will be a good one). If you're honest with people, with yourself, with God, a spectator trusts you.