Interview with a Man-Pyre

THD: Thanks for joining me for coffee, Andrei.  

AK: It’s my pleasure. 

THD: So, where did you first learn film theory?

AK: I wish I could answer: what film theory? All I know I learned in the streets! But no, I learned it at the university. To make it more nerdy, I was reading something about Heidegger for my philosophy seminar and I came across a reference to film theory that completely changed how I saw cinema as a medium, so I started paying attention and before long, got into experimental filmmaking, which led to commercials, which in the 90s was a royal road to writing and directing movies.

THD: And where would you say we currently are in that ever-developing continuum?

AK: I like to think I’m still learning. The Beginner’s Mind of it all, you know?

THD: What was the film scene like in Russia when you were there?

AK: After the end of the Soviet Union, the film industry all but collapsed. There was hardly any production, movie theaters were shutting down. Kind of like here during the pandemic. But it fostered a more independent DIY spirit among my generation. And eventually, the film industry recovered, people returned to movie theaters. Again, kind of like where we are now in the post-Covid Hollywood. So, based on my past experience, I’m optimistic about the future. 

THD: A Russian optimist. What will they think of next. How have you had to adjust to making American films?  Both stylistically and production wise.

AK: I first visited the US in 1999, which some see now as the Hollywood’s Best Year Ever. I remember going to see American Beauty and it was full house, and the trailers they played were for Being John Malkovich and Fight Club. My mind was blown. Here were very sophisticated movies, the type that back home would be relegated to the festival circuit, that were made for massive audiences and had huge cultural impact. That prompted a big reset in how I thought about writing and directing. I think I’m still adjusting!

THD:  What’s been the hardest thing to adjust to since relocating to Hollywood?

AK: Liquid measures, man! Still don’t know what FL. OZ. on a water bottle is supposed to mean. Can you help? 

THD:I wish I could.  I have trouble making coffee in the morning. I guess my question is how is filmmaking different from what you’re used to?

AK: Well, in Russian filmmaking, and Russian life for that matter, optimism is a luxury.  Not a given.

THD: Tell me about it.  What is your opinion of the current slate of Hollywood films?

AK: This summer we are finally seeing some turnaround after the dire years of superhero glut, streaming wars, pandemic, and labor strife. There’s a very impressive mix of offerings at the theaters right now: some franchises, but also originals, genre movies and indie drama. Also, it looks like Gen Z is discovering moviegoing (duh!) making the recovery potentially sustainable in the long term.

THD: You sound like a corporate movie studio mouthpiece.  Either that or you’re close to closing a deal.

AK: Everybody is close to closing a deal.  We just don’t know how close. It’s interesting that today Curry Barker, the writer-director of Obsession, said something along the lines of Gen Z being tired of all the slop. Hear, hear!

THD: How has the Hollywood system evolved recently, taking into consideration streaming and verticals?

AK: It’s true, the Hollywood ecosystem has expanded lately. Occasionally, things look ugly, but when the dust settles, the hope is that there will be a place for everyone and viewers will benefit from more choice. Of course by that time a new medium will evolve, like we are already seeing with AI, and throw everything into flux again. Let me quote a joke from Soviet times: The Russian economy is currently in a transition between two transitions. Doesn’t it describe Hollywood at both its best and its worst?

THD: While we’re there, can you give a brief prediction on everyone’s fear?  That of A.I. taking over Hollywood.

AK: I believe it’s structurally impossible. Not that some won’t try. Creative production just doesn’t work the way tech bros imagine.   Already some major filmmakers are embracing it as a tool only to be used by choice.  George Lucas recently said he views artificial intelligence as an inevitable part of the future of cinema.  Like fake butter on popcorn, I suppose.

THD: Recently, two very low budget films have taken over all the big Hollywood films.  How did this happen?

AK: You’re right! The two of this summer’s most talked about indie blockbusters, Obsession and Backrooms, came from YouTubers, and may serve as a case in point. Hollywood can be very apt at adapting visual idioms from other media. Remember the so-called MTV-style movies in the 90s? Or more recently, how some blockbusters espoused a “documentary aesthetics” straight out of reality TV? It’s ironic that we see the industry welcoming YouTubers even as YouTubers themselves seek to go Hollywood. We can expect more where Obsession and Backrooms came from. I guess the more, the merrier.

THD: Let’s hope so.  Last time I heard that phrase, I accidently ended up being a pallbearer at a Hollywood orgy.  It’s crazy out here, don’t ask. 

AK: To each his own. 

THD: Indeed. What are the differences in themes of movies between American and Russian films?

AK: What a great question, Steven! I have thought about it for a long time and I do have a theory about that. In the Old World, and Russia is no exception the way North America is, people are very aware of history that as we say “overdetermines” your life, not necessarily in a welcome way. So what we see in European and Asian storytelling are more passive protagonists and less tendency to genre filmmaking with active heroes who pursue and usually achieve their goals. That’s just not a life experience for many folks around the world, so their cultural DNA and mythology are different, and so are their movies.

THD: Interesting.  And seeing how more and more Americans feel in control of their financial destinies, perhaps we should adapt to the European definition of a protagonist hero.

AK: Interesting idea.  It would certainly save budget for unnecessary and costly special effects.

THD: Has there ever been a shared market and development process between Hollywood and Russia?

AK: Yes, for a brief moment in the early 2010s. I actually took part in some projects that combined funds and development from Russia and Hollywood. One such movie I was lucky to work on was American Heist, with Hayden Christensen and Adrian Brody. My own debut feature Lady of Csejte (released as The Blood Queen in the US) also fits the profile of an international co-production. We shot it in Romania with Russian, British and local talent, but developed and posted it here in LA. However, since then our cultures have increasingly diverged. Now I cannot imagine anything like that happening for the time being.

THD: Would you like that to change?  Mixing the finest of American cultures and history?   Sort of a Détente back to the way it was. 

AK: It will change, it always does, the question is how long will it last before changing back again. Like a roller coaster. Did you know in Europe they call roller coasters Russian Mountains, but in Russia they are called American Mountains?

THD: What kind of films would you make if given, let’s say, $5million per film?

AK: This is a great budget bracket for a more edgy independent drama or an elevated genre film. At the moment, I’m contemplating a horror movie for exactly this budget, actually. So where do I sign, Steven?

THD: I’ll take you to the secret room nobody knows about.  Once they tell me where it is. In light of Larry Elllison threatening to take Paramount out of state, what has the ownership of Hollywood film studios by billionaires done to the integrity of movies?

AK: Unfortunately, I struggle to imagine any positive outcome here. Think of Fox after it was acquired by Disney. Have you seen many Fox movies lately? Or any? This is what happens no matter what they promise. In search of efficiency, they use monopolistic power to limit options for filmmakers, and ultimately our choice as consumers.

THD: Do you ever anticipate something like the audience voting to determine the type of film they want to see produced? 

AK: As moviegoers, we vote with our wallets. Support the cinema you want more of by going to theaters! 

THD: How important are Hollywood film awards to the international market?

AK: Very important. Especially now that the Academy expanded its voting base to include more international members, resulting in more cosmopolitan nominations of late. It used to be that you started cheering when your country’s movie was nominated in the best international category. But now any category can be international, look at Parasite. People around the world love to see their sensibilities recognized like that. Hollywood is a global industry, no doubt about that. 

THD: Finally some good news.

AK: No doubt! 

THD: Can you tell us a little about the films you are currently developing, without giving away the game?

AK: Just like every filmmaker we know, present company included, I juggle several projects at any given moment. Next in my pipeline is a historical spy thriller about Leon Trotsky, who spend a few weeks in exile in New York before returning to Russia to make a revolution in 1917. As well, I’m very excited to be developing a documentary about a certain comedy legend, if you know you know! Ask me again next year and I hope there will be new projects because these will be on their way.

THD: I think I may know the comedian.  Very talented, very nice interesting person.  Though I heard he’s nuts.

AK: Aren’t we all?

THD: Indeed so. Thank you for your time today.  I wish you nothing but great success in Hollywood, America!  My instinct tells me we need someone like you here.

AK: I’m all in.  I love America and Americans.  They make the best stories and are the best audiences.