Actress Chulpan Khamatova having visited Diana Arbenina in a programme "Last Hero" on OUR Radio, told readers NSN about your dream come true and the great joys of little people.
Diana Arbenina:- First, a very strange, childish question: do you like music?
Chulpan Khamatova:- Of course, I can’t live without her. It's more than air.
Diana Arbenina:- I just don’t associate you with a music lover, that’s the thing...
Chulpan Khamatova:- And you always offend me so much when you say: “Do you know what Jeff Buckley is? Come on?!"
No, well, if we talk about notes and words, I associate you with words more, not with a note, but with a word.
I'm probably not a real music lover, but at the same time I have a passion for music. For me, all musicians are gods. As soon as a person sings, picks up a guitar, sits down at an instrument, anyone - that’s it, for me it’s God. For example, I have some earthly responsibilities, I’m performing a play, and all this time I’m somehow stomping on the ground, and there are people who fly. Here you are - in flight! Therefore, if you look into your eyes for a long time, you immediately become envious. And all my musician friends are on a slightly different plane for me - respect, adoration, love, necessity. To be honest, I don’t really have music education, but I know the notes. They put me at the piano when I was, I think, 7 or 8 years old, and in the third lesson I got a fever, I got sick, and we never went back to it.
Guys, look, what a cool scheme for those who are now 15 years old: don’t you want to do something? You just need to place the thermometer on the battery! To raise the temperature. But now let's move from music to theater. Your parents, for example, your mother, did she know that you would be an actress?
Even I didn’t know that I would become an actress. I am such a coward, I never read poetry in class, I was afraid of everything. But the camp where I was taken at Kazan University, it was called “Kvant,” helped me a lot. There were guys there who did not join subculture groups. It was the end of the 80s. If you didn’t fit in and didn’t become a gopnik, then you were such a scum of society. Everyone made fun of you. And someone collected this garbage into the camp. And I ended up in this camp, there was a different life, absolute freedom. There were hippies there who had been at the camp for years. They all had fenki up to their shoulders, dirty hairdresses, long hair. Everyone wore “hairatniki”, these special headbands. Their name comes from English word"hair". By the way, I had a normal hairstyle then... And then lice came to me, and I had to cut my hair short.
- Where did rock start for you?
I remember that I found records from my parents Rolling Stones and the Beatles, at about 9 years old, and it was a feeling of some kind of discovery. It feels like I lived in a world where this music didn’t exist at all. And then, apparently, it did come with “Kvant”, because Grebenshchikov was already sung there with all his might.
- And there was “Kvant”, and you came there and began to develop in this?
I fell into this trend of other children, other teenagers. I stopped paying attention to the fact that they were making fun of me. The fact is that if you were alone, and everyone walked in pairs (in Kazan, relationships were started with the phrase “let’s walk”), the attitude towards you was dismissive. And no one “walked” with me. But I didn’t want to look like all these gopniks, dress like them, so I always wore something that I came up with myself. After “Quantum” I took my dad’s jeans (I don’t know where he got them from and I’ll never know, he’s unlikely to remember), they were bell-bottoms straight from the 70s, blue, just real jeans. I altered it, tore it, and so began to go to school. Perestroika began, my friends from Kvant and I went to endless festivals, we thought the same, we liked the same music. From time to time I brought records of the same Grebenshchikov or even the innocent Beatles to school for the blue lights. And there everyone danced to " Tender May" When I put on, say, the Beatles, everyone sat down and waited, and I danced alone.
It turns out that you became an actress despite the fact that you had a completely different path? How did this transition to a completely different state and quality happen?
I understood that when I watch films or plays, something similar to a miracle happens to me. I must say that I am very susceptible to hypnosis, and apparently it was some kind of total hypnosis. I understood that there was some kind of magic hidden in this profession. I thought that I had no right to approach this world. “But still, why don’t I try,” I thought. And at the same time, she calmly entered a financial institute. And then, at one fine moment, for some reason I was hooked by the phrase “unfulfilled dream.” Imagine you have a dream, but you already understand that it is unfulfilled. And I became so scared that I decided to try in order not to tell myself later that I had a dream and it was unfulfilled. I thought that, of course, they would tell me: “Listen, get out of here,” and suddenly, when the commission read something, I heard: “Yes, yes, we are taking you.”
- Don’t you remember what you read?
I read Oleg Dahl. We ended up with a book at home with his diaries and poems. I read one poem, and only many years later I realized that there were two different works on different pages, which merged into one for me. Here is the beginning, here is the logical continuation. And they took me and I became an artist, and it was a completely different world, cooler than “Quanta” and everything else.
- So you’re impressionable?
Yes, that's why I really care about my characters. This is my plus. I don’t know what kind of actress I am in the professional sense of the word, but as a person, I’m very impressionable. And apparently, this is somehow translated into my attitude towards the heroines I play.
- Do you have more tears or joy?
IN Lately tears.
- How do you manage not to lose your composure?
You know, when life beats you up and beats you so much, at some point you simply understand that this is how it is. So what can you do here? And “control yourself.”
- You need to have the strength, the roots for this...
And the roots are there, in childhood. Parents, books, teachers, friends, music, art, in general, as such. You can only kill me. I recently realized that it is already impossible to break me, that it will no longer be possible to offend anyone, no matter how hard someone tries.
- Yes, speaking of perseverance... We have one mutual friend, Sonya Pyatnitsa...
Yes, Sonya Pyatnitsa is a ward of the Gift of Life foundation. She was at one concert where you performed, sat in a mask, listened, and then came home and began to learn the song “South Pole” by heart. At some point, everyone was already telling me that Sonya Pyatnitsa was raving about this song. I was just about to go to your concert. “It’s Friday, and you will take the rap instead of me,” I say to Sonya. She was very happy, and we came with her, she sang with you, even took off her mask.
Then the volunteers ordered a limousine for her, and she left the concert like a real star... And then everything turned bad, Sonya began to get sick even more. The moment has come when the child no longer wants to fight, in general he is tired of everything, he wants to leave and to be left behind. He doesn't want to eat, drink, or talk to his parents. Sonya Friday was leaving, and Doctor Misha Maschan called me and said: “Listen, can we arrange for Diana to come to the hospital for a visit?” And I called you, and you came to her. You talked about something. You left, and Sonya said: “I want a cutlet.” But there were no cutlets! Her mother ran out shouting: “Sonya wants a cutlet!” The entire department began making cutlets for Sonya... After your visit, she began to recover. And you told her that if she recovered, she would come to the concert. The doctor said that everything was so bad that the girl was unlikely to make it to the performance, but in the end she not only came, but also sang, though not “South Pole”, but “Asphalt”.
- Yes, we agreed that she would sing “Asphalt”...
This is a miracle! And how happy I was because I sang with you! And how everyone then destroyed me on social networks for this...
I still want to ask you a question about the fund. Should actors do charity work or not? I remember once knocking on your door on the 25th floor, and you were smoking into the pipe and telling me that this needed to be done, and I told you, no, an actor should only be on stage, remember that?
Times are difficult both for the charitable sector and in general, because of the crisis. We can only rely on caring people. Who feel in themselves, in their adult uncles and aunties, responsibility for their own children, others’ children, it doesn’t matter, for the defenseless who need help. Therefore, we have a short number 6162, and if you have the opportunity to transfer any amount to this number, it will be of great help, because today we have no one else to rely on. The state is not able to provide assistance to the required extent, big companies cut all their charitable budgets. To date, the fund has helped more than 30 thousand children, and this is a lot, considering that oncology is the most expensive treatment, and some treatments cost, for example, $800,000 per child per operation, for example, in America. But I hope that with our joint efforts, with our eyes closed, we will go through this stage together, and there will come white stripe. As Yura Shevchuk says, “life is a vest”...
“Night Snipers,” whose concert in Kazan was canceled due to “politics,” finally reached Tatarstan
Diana Arbenina and her “Night Snipers” played the day before in Kazan for an audience they could not reach for about six months. Last fall, a rock woman suddenly fell into disgrace for her concerts in Ukraine and speeches that were considered extremely unpatriotic in her homeland. But today the hype has subsided, so the BUSINESS Online correspondent was happy to wax nostalgic about the group’s main hits, since they are already more than ten years old.
"TYUMEN PARENTAL COMMITTEE" AND ALL "PROGRESSIVE HUMANITY"
Diana Arbenina I finally made it to Kazan on the second try. Let us remind you that BUSINESS Online wrote about the cancellation of her band’s concert in September amid noisy talk that whole line domestic artists took an anti-patriotic position in relation to the events in Ukraine. The “corpus delicti” charged by Arbenina was based on her minute-long speech during a summer Kyiv concert, replicated by local media: “For me it was extremely important, extremely important - to come to you. Because I still love Ukraine, I love the Ukrainian people, I know them. I know him not from newspapers and magazines, not from the political situation. I know the people who live here. And I believe them...I am for us not to be separated and our peoples not to quarrel. I would like, no one asked me to do this, but it seems to me that it would be right in the face of the Almighty... to ask forgiveness for my colleagues, for those people who play rock and roll and who for some reason are still with you “They haven’t supported us in this terrible time for Ukraine.”
Since then, the domestic rock and roll community has only split even more, take, for example, the one who played this week in the “Yellow Jacket” Alexandra F. Sklyara. Arbenina’s words, in which “crime” can only be found if you really want it, came back to haunt you in the fall, when most of the concerts in support of the singer’s just-released solo electric album “Boy on the Ball” were canceled. By the way, one of the famous Kazan promoters, in a conversation with BUSINESS Online, was then seriously worried about the future prospects of the artist, since, according to him, she does not play at corporate events, and accordingly, she is active concert activity- the only serious source of income.
And so in the spring the “Snipers” made a new attempt to “conquer Kazan” and other Russian cities. Much more successful this time. Moreover, the group’s management admitted in one of the interviews that no one had any special negotiations with anyone, just tour schedule a certain settlement was included and then the reaction of the authorities was monitored. In fact, it did not happen, although in some places public activists advocated for the cancellation of the Night Snipers performance. For example, thanks to this, an organization called the Tyumen Regional Parents Committee became widely known.
SOMEONE'S IDIOTISM AND “31ST SPRING”
As you know, law enforcement agencies have a practice where they send “plainclothes officers” to concerts of potentially unreliable artists in order to understand on the spot the scale of the danger to state foundations. Surely there were such people yesterday at Pyramid. If so, then they were disappointed: no yellow-black outfits and bright political statements. I was surprised at first a large number of adult female audience, and only then the simplest guess came to mind that time flies so quickly, and Arbenina and Svetlana Surganova created “Night Snipers” back in 1993. Yes, by the way, no pickets or other banner bearers in front of concert hall was not received by the BUSINESS Online correspondent. At first it seemed that there wouldn’t be much of an audience, but by the time the artists took the stage in the Pyramid, about 80-85% of the seats were occupied - a normal result.
The leader of the “Night Snipers” appeared on stage looking like a rock woman and wearing a T-shirt in honor of the British Muse she revered. Arbenina played the song “Don’t Cry”, and then a couple of songs from the new album “Boy on the Ball”: “Adrenaline” and “Brahms”. Meanwhile, the public, of course, demanded the main hits. And even when the singer at the beginning of the evening said that the reason for her non-arrival in Kazan in the fall was someone’s idiocy, they were already demanding “31st spring” from the audience.
By the way, the audience in the hall was quite different from what you might see at a classic rock concert. Still Arbenina last years She was quite present in the “TV box” in various guises, such as the show “Two Stars”, and participated as a mentor in one of the seasons of the Ukrainian “Voice”. It seemed that part of the audience at yesterday's event came from there. How else to explain the appearance of young ladies in evening dresses at the Night Snipers concert?
CATASTROPHICALLY COME TO ME
The frontwoman was having a blast, flirting with a young man from the bar, who had bared his torso in a fit of musical passion, and tried on his T-shirt. She collected notes from the audience, promising to sing songs exclusively upon request, although she only partially fulfilled this promise. “Night Snipers” lifted the audience out of their seats only during the encores, but nevertheless, an atmosphere of love and kindness reigned in the hall. Arbenina admitted that Kazan for her is “first of all, the homeland of Chulpan Khamatova.” Declaring my love for famous actress and a benefactor, the leader of the “Snipers” sang the song “Come to Me,” Khamatova starred in the video of the same name.
Despite all the efforts of the musicians to imagine new material it became clear that it was almost impossible to re-sing or replay the old songs from the times of the collaboration of the Arbenin-Surganov duet with something else. The famous rock anthems from the landmark albums of the beginning of the century “Rubezh” and “Tsunami” went with a bang. It's hard to believe that Surganova's violin has not been heard on the group's recordings for 12 seconds extra years. It seems that, having reunited, the “Night Snipers” could gather not four-fifths of the hall of the Kazan “Pyramid”, but would lay claim to sports palaces. In the meantime, we can only be glad that we can hear live the best song about separation from love, with which nothing can be done, “Catastrophically.” Or the wonderful lines that surprised me many years ago: “There is no world except those to whom I am accustomed and with whom I don’t have to strain my tongue. And just live nearby and feel like you’re alive.” Perhaps, no one in Russian rock has spoken so simply, even banally, but with utmost precision about the real meaning of life.
Actress Chulpan Khamatova having visited Diana Arbenina in a programme "Last Hero" on OUR Radio, told readers NSN about your dream come true and the great joys of little people.
Diana Arbenina:- First, a very strange, childish question: do you like music?
Chulpan Khamatova:- Of course, I can’t live without her. It's more than air.
Diana Arbenina:- I just don’t associate you with a music lover, that’s the thing...
Chulpan Khamatova:- And you always offend me so much when you say: “Do you know what Jeff Buckley is? Come on?!"
No, well, if we talk about notes and words, I associate you with words more, not with a note, but with a word.
I'm probably not a real music lover, but at the same time I have a passion for music. For me, all musicians are gods. As soon as a person sings, picks up a guitar, sits down at an instrument, anyone - that’s all, for me this is God. For example, I have some earthly responsibilities, I’m performing a play, and all this time I’m somehow stomping on the ground, and there are people who fly. Here you are - in flight! Therefore, if you look into your eyes for a long time, you immediately become envious. And all my musician friends are on a slightly different plane for me - respect, adoration, love, necessity. To be honest, I don’t really have a musical education, but I know the notes. I was put at the piano when I was, I think, 7 or 8 years old, and in the third lesson I got a fever, I got sick, and we never went back to it.
Guys, look, what a cool scheme for those who are now 15 years old: don’t you want to do something? You just need to place the thermometer on the battery! To raise the temperature. But now let's move from music to theater. Your parents, for example, your mother, did she know that you would be an actress?
Even I didn’t know that I would become an actress. I am such a coward, I never read poetry in class, I was afraid of everything. But the camp where I was taken at Kazan University, it was called “Kvant,” helped me a lot. There were guys there who did not join subculture groups. It was the end of the 80s. If you didn’t fit in and didn’t become a gopnik, then you were such a scum of society. Everyone made fun of you. And someone collected this garbage into the camp. And I ended up in this camp, there was a different life, absolute freedom. There were hippies there who had been at the camp for years. They all had shoulder-length haircuts, dirty haircuts, and long hair. Everyone wore “hairatniki”, these special headbands. Their name comes from the English word “hair”. By the way, I had a normal hairstyle then... And then lice came to me, and I had to cut my hair short.
- Where did rock start for you?
I remember finding Rolling Stones and Beatles records at my parents’ house when I was 9 years old, and it was a feeling of some kind of discovery. It feels like I lived in a world where this music didn’t exist at all. And then, apparently, it did come with “Kvant,” because Grebenshchikov was already sung there with all his might.
- And there was “Kvant”, and you came there and began to develop in this?
I fell into this trend of other children, other teenagers. I stopped paying attention to the fact that they were making fun of me. The fact is that if you were alone, and everyone walked in pairs (in Kazan, relationships were started with the phrase “let’s walk”), the attitude towards you was dismissive. And no one “walked” with me. But I didn’t want to look like all these gopniks, dress like them, so I always wore something that I came up with myself. After “Kvant” I took my dad’s jeans (I don’t know where he got them from and I’ll never know, he’s unlikely to remember), they were bell-bottoms straight from the 70s, blue, just real jeans. I altered it, tore it, and so began to go to school. Perestroika began, my friends from Kvant and I went to endless festivals, we thought the same, we liked the same music. From time to time I brought records of the same Grebenshchikov or even the innocent Beatles to school for the blue lights. And there everyone danced to “Tender May.” When I put on, say, the Beatles, everyone sat down and waited, and I danced alone.
It turns out that you became an actress despite the fact that you had a completely different path? How did this transition to a completely different state and quality happen?
I understood that when I watch films or plays, something similar to a miracle happens to me. I must say that I am very susceptible to hypnosis, and apparently it was some kind of total hypnosis. I understood that there was some kind of magic hidden in this profession. I thought that I had no right to approach this world. “But still, why don’t I try,” I thought. And at the same time, she calmly entered a financial institute. And then, at one fine moment, for some reason I was hooked by the phrase “unfulfilled dream.” Imagine you have a dream, but you already understand that it is unfulfilled. And I became so scared that I decided to try in order not to tell myself later that I had a dream and it was unfulfilled. I thought that, of course, they would tell me: “Listen, get out of here,” and suddenly, when the commission read something, I heard: “Yes, yes, we are taking you.”
- Don’t you remember what you read?
I read Oleg Dahl. We ended up with a book at home with his diaries and poems. I read one poem, and only many years later I realized that these were two different works on different pages, which for me merged into one. Here is the beginning, here is the logical continuation. And they took me and I became an artist, and it was a completely different world, cooler than “Quanta” and everything else.
- So you’re impressionable?
Yes, that's why I really care about my characters. This is my plus. I don’t know what kind of actress I am in the professional sense of the word, but as a person, I’m very impressionable. And apparently, this is somehow translated into my attitude towards the heroines I play.
- Do you have more tears or joy?
Lately there have been tears.
- How do you manage not to lose your composure?
You know, when life beats you up and beats you so much, at some point you simply understand that this is how it is. So what can you do here? And “control yourself.”
- You need to have the strength, the roots for this...
And the roots are there, in childhood. Parents, books, teachers, friends, music, art, in general, as such. You can only kill me. I recently realized that it is already impossible to break me, that it will no longer be possible to offend anyone, no matter how hard someone tries.
- Yes, speaking of perseverance... We have one mutual friend, Sonya Pyatnitsa...
Yes, Sonya Pyatnitsa is a ward of the Gift of Life foundation. She was at one concert where you performed, sat in a mask, listened, and then came home and began to learn the song “South Pole” by heart. At some point, everyone was already telling me that Sonya Pyatnitsa was raving about this song. I was just about to go to your concert. “It’s Friday, and you will take the rap instead of me,” I say to Sonya. She was very happy, and we came with her, she sang with you, even took off her mask.
Then the volunteers ordered a limousine for her, and she left the concert like a real star... And then everything turned bad, Sonya began to get sick even more. The moment has come when the child no longer wants to fight, in general he is tired of everything, he wants to leave and to be left behind. He doesn't want to eat, drink, or talk to his parents. Sonya Friday was leaving, and Doctor Misha Maschan called me and said: “Listen, can we arrange for Diana to come to the hospital for a visit?” And I called you, and you came to her. You talked about something. You left, and Sonya said: “I want a cutlet.” But there were no cutlets! Her mother ran out shouting: “Sonya wants a cutlet!” The entire department began making cutlets for Sonya... After your visit, she began to recover. And you told her that if she recovered, she would come to the concert. The doctor said that everything was so bad that the girl was unlikely to make it to the performance, but in the end she not only came, but also sang, though not “South Pole”, but “Asphalt”.
- Yes, we agreed that she would sing “Asphalt”...
This is a miracle! And how happy I was because I sang with you! And how everyone then destroyed me on social networks for this...
I still want to ask you a question about the fund. Should actors do charity work or not? I remember once knocking on your door on the 25th floor, and you were smoking into the pipe and telling me that this needed to be done, and I told you, no, an actor should only be on stage, remember that?
Times are difficult both for the charitable sector and in general, because of the crisis. We can only rely on caring people. Who feel in themselves, in their adult uncles and aunties, responsibility for their own children, others’ children, it doesn’t matter, for the defenseless who need help. Therefore, we have a short number 6162, and if you have the opportunity to transfer any amount to this number, it will be of great help, because today we have no one else to rely on. The state is not able to provide assistance to the required extent; large companies have curtailed all their charitable budgets. To date, the fund has helped more than 30 thousand children, and this is a lot, considering that oncology is the most expensive treatment, and some treatments cost, for example, $800,000 per child per operation, for example, in America. But I hope that with our joint efforts, with our eyes closed, we will go through this stage together, and a white streak will come. As Yura Shevchuk says, “life is a vest”...
The presentation of the Night Snipers video for the song “Come to Me” from the release “4” (2012) took place on October 18 at the Sovremennik Theater.
Invited to the presentation famous artists, cultural and artistic figures.
The shooting of the video took place in December 2012, the premiere was planned for February 2013. And now we meet the video in October 2013 - with the presentation and screening of that same video.
Director Alla Sigalova, cameraman Marat Adelshin, words by Diana Arbenina. Starring Chulpan Khamatova.
The theatrical mystery into which the viewer is immersed is, rather, individualization and the metaphysical world of images. You can feel the handwriting of Marat Adelshin in the video (once Natalya Podolskaya starred in his video for the song “Firebird”, and Alexander Marshal and Victoria Daineko in “I Dreamed”). The highlight, of course, was that Alla Sigalova, for whom this video was her first as a director, made her invaluable contribution.
The lyrics of the song were published in Diana Arbenina’s book “Auto-da-fe” (M.: Astrel, 2012) under the title “Come to me (I like to look at you).” The song itself is a manifesto of self-sufficiency in the release “4” (2012) by Night Snipers. Diana spoke about this composition while working on the video (film about the film): “If we talk about self-sufficiency, then this song is the most self-sufficient in the album. And it requires visualization.” Now the song has found new life in the video clip.
In recent years, it has become fashionable to gravitate towards the theme “that you are sick not with me”, just look at the scripts newest clips. Let’s say, for the song “Take My Hand” (2013), with the words “I don’t want to lose you.” Starring Natalya Chistyakova-Ionova. Directed by Maxim Fadeev, words and music also by M. Fadeev. A similar scenario is in the video for the song “There is no dearer to you” (Music - D. Klimashenko, lyrics - D. Klimashenko, A, Arikh). Directed by M. Ibragimova. Performed by Alsou. Climax: “And we are not friends, we are not enemies, just an evening of tired love.” Shots of characters running one after another up a flight of stairs, broken mirrors, overturned tablecloths, then scenes of reconciliation and hugs.
It seems that the same shots with a flight of stairs, mirrors, tables, windows, and scenes of hugs also appear in Alla Sigalova’s work for the song “Come to Me.” A man and a woman merge in an embrace. This final scene. The main difference between the video is, of course, the choreography. The impetuous plasticity of a purely dramatic actress, the law of poetic matter.
Before the presentation of the video, I ask Irina Khakamada a question about what she thinks about the semantic echoes of Tsvetaeva’s lines “I like that you are not sick with me” and Arbenin’s “I like to look at you.” Irina Khakamada: “ Smart women They always talk about the same thing." So, perhaps, we should talk about traditions. Precise and clear.
My questions to Alla Sigalova, who is making her debut as a music video director. She admitted that working on the video was filled with vivid sensations.
– In the song, in my opinion, there are brilliant words: “There’s not enough dust on the moon to count my wrinkles.” Did they find some kind of display in the clip?
– After all, we are talking about the author’s experience of his age. The song "Come to Me" from her central problem“There’s not enough dust on the moon to count my wrinkles. Come to me quickly." Why soon? There is motivation: after all, “We happened to each other.” That is, “something happened” not at a young age.
– It seems to me that these are not the main lines. Our heroines are Chulpan and Diana Arbenina.
– Do you think the verse “Come to me” is real? literary work?
– Diana does not pretend to be literature, she is not Tolstoy or Kafka, she sings.
Well, what can I say? Kafka also did not pretend to be a writer, and did not consider himself great. It doesn't matter who is applying. After all, there are lines, and they live. For Arbenina, “I like to look at you,” for Tsvetaeva, “I like that you are not sick with me.” They have been published. They sound from the stage.
The presentation of “Come to Me” began with the dance of Chulpan Khamatova on the stage of the Sovremennik Theater. In complete darkness and without musical accompaniment. Initial muteness of explosive movements. In a dress from Elena Makashova. Then, standing on one knee with a guitar, Diana Arbenina performed “Come to Me.”
Here is Diana Arbenina talking about working on the video.
– We filmed this a year ago. And the video was ready, in my opinion, in the spring. Was it winter, or early spring. And I resisted, saying that this needs to be completed, it should be a different installation, and so on. Time passed and I grew up.
Alla Sigalova explained why the processing took so long.
– I made a compromise. I removed some things.
Elena Makashova clarified.
It depends what? I removed it.
- No, wait. Here I must say that when I called Allochka, I asked - please remove the video. And she told me, I actually never did this. To which I replied, do it then. And we started doing it. It was the kind of art that I can call not a video clip for one season. It seems to me that this will remain forever, you can be proud of it, because it is real work.
Chulpan asked Diana a question.
– This is what interests me. You're writing a song. You create it. It is dedicated to specific people. Some specific emotions. To your specific feeling. Then you sing it for many years. Please tell me, during the time you sing it, do your objects get modified or changed?
– Because when I play about love, and I start in one state, and then I can quarrel with my partner, or somehow become disappointed in him, then I, as an actress, need other people who somehow stimulate me.
-Are you outside? Yes?
– When you play, you play to the world. I sing to myself.
– I also play for myself. So I have to remember these feelings. And you can remember them only by feeling them inside today. And today you went to a concert, and the song that was a year ago, five years ago, ten years ago is dedicated to a specific person. Is it modified later? Due to time?
- No. It is not dedicated to a specific person.
– That is, you write them to yourself. “Come to me” itself.
– I don’t write songs to address. Something must happen for the first thing to appear, with which a thought begins. I start writing, and by and large, whoever inspired it is not so important as the result. As for feelings, I am in a permanent state of falling in love, and I do not get out of this state. And at concerts I don’t look into the audience.
– I never look either.
Chulpan Khamatova turned to Alla Sigalova.
-Are you looking?
- Yes. I'm always interested in the hall.
– So you dance and at the same time look at the hall?
– If there is communication with the audience, then I want to see faces.
– What if they are on the phone, as we like to do?
– Oh, I adore this viewer! Until he drops the phone and faints.
Diana asks to speak.
- Can I say. I recently had an acoustic concert in Nizhny Novgorod. And I liked playing. Such a wonderful audience. My daughter was with me. And I ask, Martisha, where were you sitting? They answer me that they were sitting on the seventh row. And behind them sat three girls who were discussing bags and so on, and never looked at the stage; when you said that now I will sing “Moscow Military Waltz” dedicated to Bulat Okudzhava, they were distracted, and one of them said: “So that I know who he is.” It's a shame for the country, guys.
Chulpan encouragingly:
- After all, someone came today. So be happy.
– Do we have a genre crisis? Is that why we are together?
Arbenina took the guitar and sang “Moscow Military Waltz.”
Afterwards Elena Makashova asked to speak. They handed her the microphone. And Chulpan announced that the author of the dress she is currently wearing is Elena Makashova.
– Arbenina is brilliant. Chulpan is brilliant. But, my dear Alla, how you did everything, how you looped everything, how you placed accents, how you cut everything, inserted sparks. Allah made you a genius. Simply brilliant. Well, what could she do the first time? I'm shocked.
Chulpan read Arbenina’s poem “Death decorates the Christmas tree with a photograph of mom and dad.” The conversation was about the magazine “Snob”, and about the production “ Poor Lisa", about the Gift of Life foundation.
Arbenina continued to perform her songs, prefacing:
– Now I’ll sing Nikolaevich’s favorite song, since we’re talking about “Snob” here. “May we be lucky” sounded.
Then there was new song“Waves”, followed by the final composition “Architect” from the double release “Acoustics” (2013).