The idea for this film was developed by Anatoly Maximov and Konstantin Ernst, who already have many successful projects under their belt, such as "Viking," "Admiral," "Night Watch," and "Day Watch." Their works always represent significant contributions to the world of cinema.
After Konstantin Ernst became acquainted with the novel, he expressed a desire to adapt it for the screen. All project participants, including the director and actors, quickly responded to this idea. Initially, I had no intention of filming "In August of 1944," but as I became more involved in the project, I realized its importance and relevance. What started as a producer's concept became my personal endeavor.
What do you think is the main emotion conveyed in the film "August"?
I haven't thought about it in detail. The film has many emotions, and it is very emotional overall. Viewers do not perceive it as a detective story where they need to solve a mystery, but rather deeply engage with what is happening.
The film tells about war, the losses, and the sorrows associated with it. The characters live in conditions where the war has been going on for four years, yet they continue to fulfill their duties. The main task is to create a sense of presence in this world for the viewer, which we convey through time and real events.
If the viewer feels like a part of what is happening, then we have succeeded in conveying the necessary emotions and ideas. Otherwise, they are just observing shadows on the screen and forgetting about them.
The film is actively being shown in Russia and receiving positive reviews. In Kyrgyzstan, some viewers have already managed to see it, likely through unofficial sources, as it is not yet available legally.
How do you interact with actors in scenes that require deep and painful emotions?
Actors must be professionals to handle such tasks. However, like in an orchestra, it is important to create a unified sound that is subordinate to the overall theme and mood.
We have a wonderful team of actors, both in leading roles and in supporting ones. Even those playing minor roles approach their work with great seriousness. It is important that the screen features not random faces, but actors who are worked on by makeup artists and costume designers — we all interact.
The shooting process is lengthy, and it is important to maintain a consistent emotional state. Here, the director plays a key role in supporting the actors.
Is there a connection between the films "August" and "Love of the Soviet Union"?
Both films relate to the same time and generation; however, they are different. They share a common creative team: the same cinematographers and many actors.
Kirill Kuznetsov and Roman Vasilyev, who played the leading roles in "Love of the Soviet Union," represent themselves here in secondary but expressive roles. The films differ in tone and interaction with the audience, but both are made professionally and honestly.
What is more important to you in war cinema: the truthfulness of facts or the strength of human character?
Both aspects are important and interconnected. An interesting and serious story requires both truthful facts and strong characters. The hero is the heart of the work. Without a strong character, there can be no idea.
What do you think unites Russian and Kyrgyz cinema today?
I believe we are united by the audience. Recently, a week of Kyrgyz cinema took place in St. Petersburg, and it showed that we have a common audience living in the same historical context. We work for them, even if we are in different countries. Many Kyrgyz directors have studied in Russia and work with us. We are connected by many things — geography, history, and people.
If you had the opportunity to shoot a film in Kyrgyzstan, what would it be about?
In my opinion, you cannot just say, "I will shoot a film in Kyrgyzstan." Cinema is a complex and serious process that does not start with a simple idea. But if someday an idea arises based on reflection and an inner necessity, I will realize that I have the opportunity to implement it in Kyrgyzstan. I came to you without a visa and any formalities, and I am not the only one. I think many of our filmmakers feel that our countries are coming closer together and will definitely want to work together.
