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Conversation with director Kochanov # 003

I remember one story. For a stranger, it was a normally funny film, but the studio employees on the show almost fell under the chair from laughter. It turned out that they all “participate” in this film, and in the most incredible situations, right up to a fight in the kitchen. In general, animators quite often find "actors" among their relatives, friends and, of course, colleagues.

- You said “actors”, and I remembered that in the first Soviet cartoons, the first actors to be filmed were real actors, and then animator artists translated their movements into drawings. Does this technique apply now?

- Almost not. But it was by this method that I shot my new adventure film “The Secret of the Third Planet” according to the script of science fiction writer Kira Bulychev. Since the plot of the film is fantastic, it was necessary to more clearly separate the real from the fictional.

“So you cheated on the dolls?”

- Well, I do not! It’s just that for a short while I returned to where I started.

After all, before the puppet films, I worked for ten years in hand-drawn animation. And in our business, technology directly depends on the solution of a creative task. Here is the "Mittens", if it were done in hand-drawn animation, it would never have worked. There, the trick is to turn an ordinary mitten into a puppy.

- In general, what is the “trick”, which technique impresses you the most?

- If you immediately make a reservation that it was not me who invented it, then perhaps the most interesting thing for me is the paradox, the combination of the incompatible. The same old woman Shapoklyak in one of the episodes takes out the accordion of a crocodile Gena from his reticule, and besides, we know that there is still a lot of stuff and even Larisk's rat. And the accordion is five times larger than the bag itself! But who does not know what a woman’s handbag is and how much it can fit in everything! And in general, in my opinion, the main advantage of animation is the unpredictability of events. when even with a straightforward plot, the viewer does not know how the hero will behave further. One young physicist told me that for him, and in general for many of his colleagues, music and animation are of particular interest now. He said that even in a detective story he can relatively accurately calculate who the criminal is and how the action will turn. Neither with music nor with animation this number does not work.

- What, in your opinion, will happen with the animation further, despite the fact that the level of audience demands is rising, and even today children seem to grow up earlier than before?

- But we do not stand still.

If the viewer “presses” us, the elderly, with his intellect, and we still hold on, then such directors of the new formation as Yu. Norshtein, V. Ugarov, G. Sokolsky, A. Petrov, L. Nosyrev, all the more keep up with the new requests ...

The more I work, the older I get, the more clearly I feel that if a director has at least one film whose name is firmly connected with his name, this is a great creative victory. If there are two such films, this is happiness.

- And what movie do you consider the most important in your creative biography?

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