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- "The opportunity to enter the Chinese market with your product is a very ambitious task"
"The opportunity to enter the Chinese market with your product is a very ambitious task"
Selling tickets to theaters using a passport is necessary where demand exceeds supply, content created by artificial intelligence should be labeled, and moviegoers should learn how to attract films in the summer. The Minister of Culture of the Russian Federation Olga Lyubimova told Izvestia about this on the eve of the New Year. She shared plans for the 250th anniversary of the Bolshoi Theater, commented on attempts to cancel Russian artists in Europe, appreciated the successful cooperation of Russian cinema with China, the interest of foreign countries in the new "Pinocchio", as well as the excitement around the "Cabal of Saints" with Tsiskaridze. About this and much more — in an exclusive interview with Olga Lyubimova "Izvestia".
"Pinocchio" is not a remake of a Soviet painting"
— There is such an official term — "year by year". If we take the end of 2024 and the end of 2025, where has the breakthrough occurred, where has the level of stability been achieved?
— In the absence of serious foreign films in cinemas, we are closely monitoring the development of domestic cinema. It is very important to us that there is enough of it. The industry is faced with the task of learning how to show films in the summer. It's cold in our country for most of the year, so it's hard for cinemas during these three months. As soon as the sun comes out, people rush not to the shopping malls where the cinemas are located, but to their grandparents in the village to sunbathe and swim.
But we know from experience, including the obvious one, that viewers will come to the most popular and sought-after films in the summer. We had such examples related to American cinema. And it is very important for us to learn how to make such films and position them correctly: from a marketing point of view, to come up with such moves so that a wide variety of audiences come not only in autumn, winter or during the New Year holidays. Right now, we have a battle coming for the viewer.
— You are saying this on the eve of three highly anticipated big premieres — Cheburashka, Prostokvashino and Pinocchio. Have you ever had a desire to hold on to something until the summer?
— We trust the producers and distributors. Previously, such battles raged inside the walls of the Russian Ministry of Culture, and with the help of current government resolutions and departmental orders, we solved these problems by finding some kind of compromise, but now everyone has learned to work together.
And we, in turn, understand that there should be a large repertoire for the New Year. We have regions where it is difficult to walk for long periods because of the cold weather, and you need to do something on long weekends. The cinema screening helps a lot. I've seen two of the three upcoming premieres, and I'm sure you can go to such paintings several times over the New Year holidays.
— It is a steady trend of recent times to turn to the classics. But this resource is finite.
— No, you can draw inspiration from the classics indefinitely, and the number of outstanding authors of our literature and cinema allows it. Another thing is that it is not necessary to do this always. Anticipating criticism, especially from those who have not yet seen the film, I will say: "Pinocchio" is not a remake of the Soviet picture.
Of course, we are now working very seriously with the authors, both with the poems of Yuri Entin and with the music of Alexei Rybnikov, who agreed to entrust us with his compositions and write a number of new ones. New pieces of music appear in the film, it is completely different. There was no idea that, for example, the People's Artist Svetlana Nemolyaeva would try to play Rina Zelenaya in the image of a tortoise Tortilla. It's impossible.
— Few people can replace Basov.
- of course. And Basov, and Etusha, and Sanaeva, and Bykov. These are absolutely fantastic artists. But when we see Victoria Isakova and Alexander Petrov, our fox Alice and Basilio the cat, when we are happy for Fyodor Bondarchuk, the real Karabas—Barabas, we understand that we have an established, vibrant, diverse and very interesting film community. There is no need to prove to the great masters who are alive or have already passed away that we are also good for something.
But if there is a reminder of a Soviet painting in a particular film based on a literary work, it warms the soul. Our children were raised on Pinocchio: even the guys who are 20 years old and those who are 15. A lot of parents in our country begin this acquaintance — and rightly so — with the Soviet classics. Therefore, of course, everyone will remember that picture.
"For the world cinema, Russia is an absolute unknown"
— One of the film events of the past year is "Red Silk". Not only from an artistic point of view, but also from the point of view of cooperation with China. What is the secret of this success and how can it be continued?
— For many years now, Chinese cinema has been the first in the world, with a huge number of distributors, film networks, and digital platforms. Every producer dreams of creating a picture that will be adequately presented at the Chinese box office. How does "Red Silk" differ from the two dozen films that were also purchased by Chinese distributors? The fact that it is both a Russian and a Chinese film is a co—production. That is why it was released not in a truncated format, but much wider.
The opportunity to enter the Chinese market with our audiovisual product is a very ambitious task for our producers, the Ministry of Culture, the Cinema Foundation and the Internet Development Institute. But after the grand premiere of "Red Silk" in Beijing, it was decided to continue working together with the largest Chinese film producer China Film Group. Black Silk is currently in production. These are the first examples of our collaboration.
— So this is the construction of some kind of foundation for a great future?
- yes. You see, for the world cinema, Russia is an absolute unknown. There was almost no filming here. You can recall a few American blockbusters where some kind of spy runs through Red Square. And we have fantastic nature and unique cultural heritage sites that no one has ever filmed: fortresses from Izborsk to the Far East, nature reserve museums, waterfalls, deserts, and the tropics. We have everything.
Therefore, we are interested not only in spending money on the international agenda, but also in making sure that the regions of our country become film sets and earn money. This is the motivation for the development of tourism. That was the case with The Hobbit, for example.
— Even Interstellar has attracted tourists to Iceland.
- of course. It is very interesting for people to come and see this space with their own eyes.
"We have never cancelled anyone"
— Does Pinocchio have a chance of success abroad? After all, this is an international story.
— Our colleagues from Art Pictures Group have already done serious work in this direction. Asian countries have traditionally been interested. And, what is very important for the creators, there is a clear understanding of the literary basis, I mean Carlo Collodi, and the aesthetics of Alexei Tolstoy, who translated and then adapted The Golden Key for the Soviet reader. This is a truly international project, and we are not confusing "Pinocchio" with a Russian folk tale. He doesn't live on a stove...
"... and he doesn't swing his elbows..."
— No, he is exactly the kind of Pinocchio that Papa Carlo created him. We don't invent other names. I mean Harlequin, Malvina, and Pierrot. The aesthetics of Italian theater and Commedia dell'arte are very close to us. As a country, we are rich in incredible craftsmen and have naturally coexisted with all international cultural processes — and we are not going to give up on this any further.
No matter what our cultural figures have been through over the past 3.5 years — with insults and loud terms of "cultural cancellation", we have never canceled anyone. There is an International ballet competition ahead on the stage of the Bolshoi Theater, and the strongest will win it. We are waiting for talented artists from Japan, Austria, and Germany.
— Especially since 2026 marks the 250th anniversary of the Bolshoi Theatre.
—That's right. And Maestro Gergiev's special attention will certainly be focused on this gala concert. We are used to holding international events. It's amazing that he will then show these talented artists on the stage of the Mariinsky Theatre. And here's the question: will these children, their parents and teachers focus on what is beneficial for politicians who earn money from it, or is it important for them to become laureates of the competition?
In recent years, the Tchaikovsky and Rachmaninoff competitions have been attended by jury members from France, Austria, and Italy, for whom the names of Pyotr Ilyich Tchaikovsky and Sergei Vasilyevich Rachmaninoff are much more important than the names of local politicians, who will be forgotten in a year and a half.
— Will the 250th anniversary of the Bolshoi Theatre be a large-scale international event? Who and what are we waiting for?
— On the eve of the anniversary, the opera "Iolanta" has already been added to the repertoire. It is very important for us that the Bolshoi Theatre actively tours. You can't imagine what it means for each region, the opera and ballet houses of Samara, Novosibirsk or Yekaterinburg, which also have their own legendary theaters, and the Bolshoi Theater tours. This is a sign of respect and proper attitude towards the audience, who can see the most striking productions.
This does not negate international activities. It is important to note that we only work where we are expected. We will not impose ourselves. The Bolshoi Theatre's tour from London to Milan in the Soviet years was an event that was expected all over the world. But the way is a spoon for dinner. If we're not expected at Covent Garden, the Comiche Opera, or the Comédie Francaise right now, then we don't need to.
At the same time, I can say with confidence that the only problem with the Mariinsky and Bolshoi theaters is that tickets are sold out instantly. For example, on Chinese websites — in 18 minutes. Then it becomes a separate, very touching topic in conversations when the country's leadership says that it is impossible to get tickets for Gergiev in China. The same thing happens with the Bolshoi Theatre's tours in the Persian Gulf countries and, of course, in the CIS, SCO, and BRICS countries. They are always waiting for us in Brazil, too, in Rio de Janeiro, at the theater of fantastic beauty.
— By the way, I'm curious. There is a lot of talk now that Armenia has become popular with Russian tourists because of the tours of Western stars. Do they come from other countries to tour the Bolshoi Theatre?
- yes. And it's incredibly touching. Fans of high art and bolshoi ballet come from countries where they cannot see it. If you can't hear our best orchestras in Salzburg, then they'll go to Alma Ata or Tashkent. In this sense, they are real rock stars. Performances by Ildar Abdrazakov, and even with Maestro Muti in Tokyo, still attract people from all over the world, as well as his performance at the Milan Opera.
It's great that people who love art pay little attention to those who don't understand anything about it, but are trying to shout something for the sake of likes on social networks. This is a completely different listener and viewer. You will see this queue all over the world.
"We are looking with interest at the Moscow experience of selling tickets by passport"
— You mentioned the high demand for theaters. At the same time, there is a problem of resellers.
— Yes, there is such a problem. And it is important to pay attention to it, because reputational risks fall on the management of theaters. The viewer is not an IT specialist: he may not understand that he got to the reseller's website. And when a person goes online to buy a ticket for their favorite artist, and sees the price of 135 thousand rubles, it becomes a cause for scandal.
We are looking with interest at Moscow's experience of selling tickets by passport. This turned out to be a necessary measure from the point of view of security and sales control. There is already such a practice in the Bolshoi Theater: for obvious reasons, it began with The Nutcracker. Do you remember what happened? This year, there were no more disturbances and queues.
— By the way, yes.
— Previously, the Ministry of Culture of the Russian Federation was inundated with complaints. Do you remember those queues when grandmothers were fighting with some guys in tracksuits, calling the police? It's, frankly, a shame. There shouldn't be such queues. Especially in terrible weather, it looked terrible.
— Will it become a ubiquitous system?
— This is necessary where the demand is so much higher than the supply that the theater can make. We know that there are several such performances at the BDT in St. Petersburg, there are a couple of titles, and I think there will be more at the Chekhov Moscow Art Theater due to the popularity and sharp increase in ticket prices.
At this point, the theater loses everything. On the one hand, his reputation — it turns out that he offends people. On the other hand, it generates revenue, because it honestly sells tickets at a completely reasonable price, and then they sell on some websites at a monstrous and unaffordable cost.
— Who will make the decision on this type of sales — the theater or the ministry?
— We have very professional management. The director of the theater knows his halls and popular performances very well. There are legendary productions that are traditionally in demand. I can't imagine Lenkom without Juno and Maybe. A theater of Moscow subordination, but nevertheless. I remember the demand for "Juno and Avos" in my childhood...
Actors Konstantin Khabensky as Moliere (in the foreground) and Maxim Nikolaev (Nikolai Tsiskaridze) as King Louis the Great of France during the press screening of Yuri Kvyatkovsky's play "The Cabal of Saints"
— It was impossible!
— People literally killed themselves to see Nikolai Karachentsov or Alexander Abdulov. And now "Juno and Maybe" is a classic musical that you can safely get to. Everything is regulated naturally.
But there are high-profile premieres. The Moscow Art Theater named after Chekhov has become such a "Cabal of saints." People lined up to watch Nikolai Tsiskaridze, who appeared on stage for the first time in a dramatic role alongside Konstantin Khabensky. The excitement is fantastic!
Let those who honestly bought tickets sit in this hall, and not just bought them back on the first day and resold them. Such people deprive a huge number of viewers who love the theater of the opportunity to get into it.
"I liked the initiative to label content created using AI"
— Artificial intelligence is becoming the ground for the formation of a new layer of culture. We recently discussed the story of neuro-Snow Maiden: on the one hand, high—level creativity, on the other, a conflict with copyright. Is this a challenge? Is regulation necessary?
— Covid has reconciled us all in this situation. Cultural figures didn't like the digital space very much until they faced the need. When we suggested making online broadcasts of performances, everyone cited the example of Tovstonogov, who said that the viewer of the recording would have the feeling that he was watching a play in the 101st row. But Tovstonogov did not know that it was possible to shoot with a steadicam, there were not 16 cameras and a GoPro — a huge number of devices simply did not exist then. And now people are watching the broadcast in cinemas on the other side of the globe of our vast country and applauding, seeing what Sergei Makovetsky is going through.
We are not afraid of digitalization. I liked the initiative to label content created using artificial intelligence so that the viewer understands this and copyrights are respected.
Actor Alexey Batalov as Georgy Ivanov (Goga) in the melodrama "Moscow does not believe in tears"
— But you can't ruin such attempts either.
- of course. People are just starting to take steps in this area. The ice is slippery, there will be a million more questions.: what is a digital copy of a masterpiece, does it have value, is it possible to possess a virtual Aivazovsky? There are a lot of ethical dilemmas. Can I play an artist? Is it possible to play Batalov? Is it possible to play Nikulin?
I know why there is no sequel to the legendary film "Moscow does not believe in tears." Alexey Batalov said, "Kill Gosha right away in the script. I'm not going to act—I don't act like that anymore." It is necessary to approach the issue of recreating the image of a person with the help of technology very carefully and take into account the opinion of his relatives.
— Isn't there a fear that digital characters will one day become stronger than live artists?
- no. I believe in the miracle of human talent and God's gift more than in robotics. Although they'll probably argue with me.
"A museum worker is a smart, handsome, ambitious person with a planning horizon"
— We talked a lot about theater, cinema, artificial intelligence. And what happens to museums? Is the isolation in exhibition activities over?
— As soon as you said the word "museums", my eyes lit up with joy and pride. I admire the look of 71 federal museums and 3.5 thousand regional ones. Incredible projects are emerging.
We have always tried to be hospitable and friendly. The Morozov collection? "To France." Shchukinskaya? — Let's show you. Faberge eggs? — You're welcome! We'll take the avant—garde to South Korea - if you love it, we'll share it! This is our national peculiarity. The same thing is happening now with our friendly countries: the CIS, SCO, BRICS, where there are additional security guarantees from the leadership of the states that we will not have to save our collections later, they will not be stolen.
Fantastic exhibitions are taking place in China today — the Tretyakov Gallery, the Russian Museum, and the Hermitage. There is a huge interest in the Persian Gulf countries. The dialogue has not been interrupted and will continue.
— The museum business has undergone very serious changes. There are enough specialists.
— I am very glad that the young guys are coming. I recently visited the Russian Museum at an exhibition of the avant-garde. Alla Yurievna Manilova brought me a man who looked more like my son or his friends. I said hello, but my eyes are looking for a guide. It turned out that it was him — a young man of about 25, with an incredible Russian language and sparkling eyes.
Our youth is incredibly happy. But salaries are also rising, working conditions are improving, and interesting projects are emerging. If museum workers used to be ascetics, today a museum worker is an intelligent, handsome, ambitious person with a planning horizon. He has a lot to dream about.
— December 31st is not only New Year's Eve, but also your birthday. What do you dream about? And have you ever received just one gift?
— I was very much loved at home. My parents, even when it was very difficult with money, would come up with a birthday surprise in the morning, and in the evening I would find something under the tree. The Ministry of Culture of the Russian Federation is responsible for the endless celebration and impressions. When you do this professionally, on New Year's Eve, if you have the opportunity, you want, and I try, just to be with your family and cook homemade food. I don't have a cover band and I don't have a chef. I want family warmth and joy.
Переведено сервисом «Яндекс Переводчик»
