***

"Cinema Do"
November 10, 2001

The year after the World War II ended, Stalin gave amnesty to the Russians who emigrated to the west and issued them Russian passports. He gave them an opportunity to join in the reconstruction of the Soviet Union. A Russian doctor Alexei decides to go back to his homeland with his young French wife Marie and his son Sergei. But for them it is so hard to live in the Soviet Union in Cold War.
"East-West" was directed by Regis Wargnier who has directed rapidly epic "Indochine" and "Une Femme Francaise". Sandrine Bonnaire ("Monsieur Hire") played the heroine of the film, Marie. And her husband Alexei was played by Oleg Menshikov, a prince called "Alain Delon of Russian cinema".

Oleg Menshikov: When… No, it wasn't hard, it was (laughing)… Because, again, I say, maybe because I knew… Something, probably, concurred inside of me, in my heart with what was written. That's why I… Vice versa, I enjoyed how… how we were doing it, and I could actually be saying it for quite a long time, because though it was in the same direction, but it was a bit differently. It wasn't hard. First of all, I keep silence there - almost (laughing).

KGB watches Marie because she is a foreigner and takes her liberty. One day Marie hears that a French actress will visit Kiev where she lives. Marie gives a letter to the actress. But thus exposes herself to greater danger. Marie desires liberty in the reality of disappointment. On the other hand, Alexei has to surrender to the Establishment of the Soviet Union to protect his family. Their love is getting cooler. Marie is deeply hurt.

***

"News Japan"
November 10, 2001

(Against the background of chronicle there's a narration about history of the USSR from the revolution till the end of World War II, then some words about EW, then images from the film)

Oleg Menshikov: In this case Regis was interested in love. And this… Actually, a political regime frightens with that very thing - a human turns into… well… non-human, let's say. In the situation were it was impossible for love to survive.
If shoot a political movie, you can shoot a more horrifying film, because we know facts more frightening. But what we will do in need, nobody can say. But I would like to be able to do the same thing as Alexei did. He has some confidence in his love…

***

"NHK TV Russian Language Course"
November 4 and 10, 2001

(Only Oleg Menshikov in frame, the questions are not heard.)

Oleg Menshikov: In fact, I, frankly speaking, have never wanted to be an artist; at least, it hasn't been my dream since my school years… Nothing of the kind. Just like all ordinary children, I went to the theatre as it was supposed - about 3-4 times a month - but nothing more. And then… Well, everything was decided, probably by chance, because once I came into the classroom where I studied, and there was a sheet of paper on my desk with the entrance rules to the theatre institute. I don't know who put it there - I still don't know that - but somebody has put it there. I read it and went to take exams to the theatre institute, and I was accepted at once. That's how it all started.
You know, there are many. There are many, but in the institute I played very many comedy parts. For some reason after I graduated I didn't perform much in comedies, and I regret it greatly, because I would be happy to perform in a comedy. But now in Moscow we are rehearsing Gogol's "Gamblers" and I think it will be a kind of funny story. Actually with Gogol I… I'm connected with… how to say? I didn't play… I played little by Gogol, but I believe he is the author who I feel very well. I love Dostoyevsky very much, and I would like to play something by Dostoyevsky. And I want very much to perform something from Shakespeare on stage.
And how else? That's why they are classic, because they are always… they are eternal. The thing is that… Yes, I like to experiment, because twice in my life we composed plays together with playwrights. It was a performance about Nizhinsky - this play was written especially for two artists, and the play… That play was written by Alexei Burykin. And in the present "Kitchen" - the play which is called "Kitchen" and which is now on in Moscow - was also written by a young playwright Maxim Kurochkin especially for the theatrical company I direct. That's why I like… In modern drama I like experiments.
Well, the most important, I think, happens at the start, when you read the part, and it must somehow - I don't know how - but hit you in the heart. Something, that you must understand, that must attract you in it, it must call for you, the part. And if this doesn't happen - with me - nothing will come of it. That's why the most important for me is to hear myself in this supposed part, and then… Then simply the professional work starts.

(Images from "The Barber of Siberia" - the parade at the Cathedral Square. The text off-screen: Nikita Mikhalkov has been on friendly terms with Oleg for a long time. He played an emperor and showed charisma on the screen. To the question "What kind of director is a good one in your opinion?" Oleg replied: "A person who knows more than I, who can impress and you can't help going along with him".)

Oleg Menshikov: Well, you know, the most important, as for any other cinematography, probably… there must be… yes, there must be an opportunity for new names to appear, I mean in directing, because cinema is determined by a director. And until there's an opportunity for new names to appear in Russian cinema directing, I think, cinema will not make a step forward. I don't know how to do it, but I think it must be so.

(Images from EW)

Oleg Menshikov: I was interested in the cast of this film, because… Like something unknown is always attractive, and as I didn't speak French, it was very interesting for me (laughing) what will come of it. So when I put it all together, I though it was worth risking.
Oh, you know, the most difficult was to master French lines and not let anyone down on the set - neither partners, nor Regis, etc. And the most pleasant… Well, I don't know… French has covered all the pleasantries of life (laughing) - studying French has overridden everything for me. The most pleasant… Perhaps, the most pleasant is that, you know when a year or two have passed and despite all the difficulties, sometimes I feel like coming back there. I think it pleases.
You know, two years have passed, I really forgot what exactly I wanted to express (laughing). But I think that the most important is what the whole film is about, it's love. Alexei's love for Marie.

(Images from EW - Alexei and Marie

Oleg Menshikov: Well, yes, yes, yes… It's what we were talking about yesterday - Boris Akunin now has published, or rather not published, but written a series named "Adventures of Erast Fandorine", and now the screening of these books starts. And one of them, the first screen version, will be produced by Nikita Mikhalkov, and I am to play Fandorine there. The shooting is to start this winter.
I wish you success in studying Russian. It's my first visit to Japan, I'm absolutely sure that my idea of Japan will coincide with what I'll see in this wonderful country. I really want it to be so, and I wish you patience and luck in studying Russian. (winks) Bye!

***

"Shin Mayonakano Oukoku"
November 14, 2001

In 1946, a Russian doctor Alexei who had emigrated to the west returns to his homeland with his French wife Marie.
But soon, they are settled under close surveillance by KGB.
The great French actress Sandrine Bonnaire and the great Russian actor Oleg Menshikov played together. Menshikov memorized French lines like music, and challenged to the shooting.

Oleg Menshikov: I think love can be created without a language. But I believe they helped me a lot, I mean Regis and the whole French group.
She [Sandrine Bonnaire] loves to work, and I think she loves this profession. In this case she was worried not only about herself as an actress - right? - but very much about the partner, about me, because if I don't say my lines, all her work will be…

Alexei hides his real intentions to protect his wife and son, and pretends to obey the Establishment.

Question: Would you do the same thing as Alexei did if you lived in those times?
Oleg Menshikov: Well, who can say… It was such a horrible time, that… It was horrible may be because a person was forced to act against his own conscience.

This is an epic romance telling about ten years of a married couple who were deprived liberty and hope.

Question: Everybody says you are mysterious.
Oleg Menshikov: Nothing of the kind, I find no mysteries (laughing) within myself. No, it's just… I never… I think that work is one thing, and life is the other. Life is more important than work.

***

"Cinema Paradise"
Presenter - Kosakai, guest- cinema critic Watanabe. October 27, 2001

(The presenter and the guest in studio)

Kosakai: Every time I meet you, you tell me about fantastic people you met. You met somebody great again, didn't you?
Watanabe: I met Oleg Menshikov, a Russian actor.
Kosakai: Uh-huh!
Watanabe: He starred in "The Barber of Siberia" and "Burnt by the Sun" and he is very popular among middle-aged women in Japan.
Kosakai: Then you don't understand his attraction in your age.
Watanabe: Thank you! (laughing) The film "East-West" has Japanese subtitle - "Harukanaru Sokoku"- it's a French film.
Kosakai: Yeah.
Watanabe: He doesn't speak French at all, but he played his part in French.
Kosakai: Oh!

(Oleg Menshikov is in frame, the questions are asked off-screen)

Watanabe: Do you still remember your lines or have you forgotten them all? I asked you this, because I think there are two actor types: those who put on the role and take it off when the shooting is over. And the second, those who put themselves deeply immersed in the role, so they can't get out of it.
Oleg Menshikov: God bless you! Never on earth! No, I don't remember anything. You know, I think there are much more of them - the actor types… Yes… But if we speak about these two, then the first one.

Watanabe: I think Russian actors seem to acquire "Stanislavski system", and they act like him - like in MXAT [The Art Theatre]. But you are not like that, are you?
Oleg Menshikov: In no case. First of all, I don't trust artists, I don't trust, who say that after shooting for about 4 hours they remain in the role, in the type. This is… Anyway, our profession implies acting. Acting, but not a disease. And if a person for 4 hours after shooting keeps being someone else, he can go to psychiatrist, actually. (laughing) Then, I think actually nobody knows quite well what Stanislavski system is. Anyway it's not a dogma, but rather a very powerful attempt to help an artist to cognize his own nature. In no way it is a rule. It is a clue.

(The presenter and the guest in studio)

Kosakai: "Stanislavski system" can't be separated from actors.
Watanabe: America adopted it, and it's a base of Actor's Studio. It's called "Method". I think it's a basis - to pursue human mentality and try to reproduce it. So, it's like getting right into the role. Like Robert De Niro.
Kosakai: Al Pacino, James Dean.
Watanabe: So I asked Oleg: "Are you too?" And he said; "I'm not".
Kosakai:Well, he said a good thing.
Watanabe: Yes, he did.
Kosakai: It's not a "dogma". It's only a clue.
Watanabe: He is a director at the same time.
Kosakai: I see.
Watanabe: I thought it was so hard for him - he came back to Russia to produce his performance when he had spare time during the shooting of "East-West" - he has crammed his head with French.
Kosakai: Wow, I think it was. It's so hard to switch over.
Watanabe: "I could do it, because I didn't get right into my role", he said.
Kosakai: Hm. Well, he is so great, really.
Watanabe: So handsome man.
Kosakai: Yes. Do you like handsome men?
Watanabe: Yes.
Kosakai: Do you think good looks are the most important for an actor?
Watanabe: Of course! (laughing)
Kosakai: All right. Thank you very much! (laughing)