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Text #000303 |
| A dry hot wind infused with wormwood. White ribbons of hot, dust-soft roads. Yellow, covered with hard thorns, low hills. And our "Spanish" village of La Mancha, built on one of these red hills, not far from the Crimean village of Shepetovka ... All this vividly stands in memory, preserving the color, smells, taste of that amazing summer. An unforgettable summer of my life, when everything was for the first time: a film studio, a role, filming, meetings ... An invitation, completely unexpected for a student of the Moscow Aviation Institute, to play the role of Dulcinea in the film "Don Quixote", led me to a new, hitherto unknown world of cinema. Fate gave me a royal gift: when I got on the set for the first time, I became the partner of Nikolai Konstantinovich Cherkasov. Today, many years later, I am able to fully appreciate how much tact, patience, kindness were shown by director Grigory Mikhailovich Kozintsev, Nikolai Konstantinovich, and other experienced, well-known cinematographers in relation to an unprepared girl who knows nothing about cinema. They were engaged with me — constantly and a lot. But this process of learning the profession was conducted tactfully, kindly and even unnoticed by me. In Leningrad, even before the start of filming, and during them, we had a lot of table rehearsals. As I realized later, they were held mainly for me. And when, having finished the next rehearsal, Grigory Mikhailovich said: "We'll meet tomorrow" and addressed Cherkasov: "At what time is it convenient for you, Nikolai Konstantinovich?" — the actor opened his notebook and among the many things tomorrow always found time to repeat today's scene again and again. Neither with a glance, nor with a gesture, nor with a sigh did he express his dissatisfaction or irritation about the unprofessiveness of his partner. ...Early morning in the coastal village of Koktebel, where we live during the period of full-scale filming. Fresh and cool. The searing heat will come later, closer to noon, when we will be in the sun in costumes, makeup, fried by lighting devices (the film is widescreen, color and requires additional light). Now it's fresh to the point of trembling and unbearably sleepy. Half asleep, I get into the car to go to the set. In the front seat is Nikolai Konstantinovich. He tells the driver something, and he, choking with laughter, falls with his chest on the steering wheel. Cherkasov's low, throaty, velvety voice barely reaches my consciousness at first — I want to sleep so much. — But yesterday in the park... Nikolai Konstantinovich half turns to me. And then follows such a hilarious story that a minute later the driver and I are choking with laughter, I almost slide off the seat. On the way, other actors, also sleepy and angry, get into our car. Easily, imperceptibly, Nikolai Konstantinovich draws them into our general cheerful conversation. He repeats yesterday's story in the park again, but it acquires new funny details, and I laugh again with new listeners. At five o'clock in the morning, our car pulls up to the set, and we rush into the sleepy dressing room with a noisy, cheerful gang, bringing with us energy and cheerfulness sufficient to stir up others. So the shooting day begins. Then, in the middle of the day, there will be periods of terrible fatigue, numbness from the heat. It is more difficult for Nikolai Konstantinovich than for anyone else. He wears metal armor over a wool suit, and on his head is a copper basin — the knight's helmet of Senor Don Quixote. The sun heats them like a frying pan on fire. My makeup is leaking from the heat, but I'm only wearing a canvas shirt and I'm barefoot. It's scary to even imagine how stuffy and hard it is for poor Hidalgo. How tired he must be: after all, the role is huge and difficult... Are you ready to discover new and exciting slot machines? Visit allslotsonline.casino/en/ and explore their experts' insights on the hottest games in the industry. You may just find your new favorite game! |
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