"WE MUST MAKE OUR OWN MOVIE"

Our compatriot Oleg Mirza-agha oglu Safaraliyev is a Soviet, Russian and Azerbaijani film director, screenwriter and producer. He graduated from the Faculty of History of the Azerbaijan Teachers’ Institute. For ten years, he has taught history at Salyan Public School No.1. Over the years, the decision to devote oneself to directing has matured. He later took directing lessons at the All-Union State Institute of Cinematography in the studio of Sergei Solovyov. After graduation in 1988, Oleg was invited to Mosfilm, where he filmed Live Broadcast (Прямаятрансляция). Later, he stayed in Russia for permanent residence. Oleg has worked as the general producer of the film company "Eurasia-Film" for ten years. He also worked in Baku. In 1991, at the Russian Drama Theater, he staged the play The Family Circle, which had a great recognition. In 2006, he finished the film Farewell, the Southern City (Əlvida, cənub şəhəri) in Azerbaijanfilm, which was successfully shown at the biggest film festivals in Berlin, Montreal, Istanbul, Haifa, and Rio de Janeiro...

In his interview with R+, the director talked about his work, remembered an instructive parable and reflected on the hero of today...

Filmography

1987: Murad / Sad based on Peter Weiss’s play Marat / Sad was a graduation work of the graduate of VGIK as a scriptwriter and director. 1989: Live Broadcast (Mosfilm), as director. 1996: President and His Woman, as producer, Grand Prix of the Honfleur International Film Festival (France), the main prize of "Kinoshock-96", and also the Russian "Nika". 1999-2001: The Trial Case, TV series (RTR and TVC). 2006: Farewell, the Southern City, co-production of Azerbaijan and Russia, as director. Three national cinematographic awards of Azerbaijan in 2006 - "Gyzyl Chyrag", award for the best script, best male performance, best film. The ARRI Award at the third IFF "Eurasia" in Almaty, the audience award at the 5^th Moscow Premiere Festival (2007). TV Series Widows, Cave of Fear.

Oleg, you graduated from the Teachers’ Institute in Baku, and after a while from VGIK. Why did you choose the cinema?

Do you think that creativity can be chosen? Either you have it or not. Ever. You have options in less subtle matters, where you need to have brains. Say, when you have to choose between a teacher and a doctor. But when you have to pledge your heart, you are powerless. Creativity is a verdict of the Supreme Court, without appeal. Even an amnesty is impossible.

 You studied in Sergei Solovyov’s studio, who has always managed to impress with imaginative delights. According to your films, it's hard to guess that Soloviev is your mentor. What did he teach you?

I do not think I should be like him. There were seven people in the first VGIK studio of Sergei Alexandrovich. Everyone was already thirty years old, all with higher education. And, of course, all with their own ideas about what cinema should be like. Why do we need another seven identical Solovyov’s lookalikes? The main thing he taught us was honest and demanding attitude toward our craft. And "that there is no safe play, that there is no safe play...", as the poet said. Because only huge emotional expenses can slightly bring your work closer to the criteria of art. Just a little bit.

Then who can you call your teachers?

You know, I am perhaps a Zen Buddhist in this matter. There is a wise statement: "If you meet the Buddha, kill him!" It is a matter of not acknowledging the authority of mentors and gurus. Of course, killing means not physical elimination but the Buddha in yourself. Firstly, there is no one and nothing in art to teach. The sooner a person understands this, the better Secondly, the cult of mentors is especially harmful in creativity - sooner or later it leads to big disappointments. Eventually, the teacher begins to create a cult of personality and makes disciples hostage to his own ambitions and complexes. Creativity is a free unconscious flight. You have probably heard this wise Caucasian parable about a chicken that flew faster and higher than everyone else?

No, tell me, please.

In ancient times, a hen could fly better than the rest of the birds. Once the birds came together and asked the hen to teach them the secrets of her craftsmanship. Sort of a seminar on advanced training, you know. The hen agreed and thought: where should I start training? While she was thinking, she forgot how to fly.

So, creativity for you is a free flight?

I think so, as one movie hero said. Of course, there are films that really influenced me, especially in my younger years. First of all, these are Wajda’s Ashes and Diamonds and Le salaire de la peur by Clouzot.

In your first film, Live Broadcast, you explore a conflict between a creative personality and society. Socialist society suppresses and even, like in your film, kills a creative personality. But the interests of society are above the interests of an individual. Is it possible then to resolve the contradiction between an individual and society?

Oh, what questions! We will now get into the jungle of historical materialism, and you will lose me there. In short, of course, there is a conflict of interest. Next, it is necessary to distinguish between a person-functionary and a person-creator. Freedom of creativity is the main condition for creativity. Neither the state, nor the party can drive the artist’s hand.

Remember how many tons of ideological nonsense was written. Where are all these poems, plays, songs about Lenin and Stalin? Yet disappears in the blink of an eye, as soon as the power and the winds change. Which theater today will stage Shatrov's plays on Lenin? Only a drama circle in a mental hospital. But if he would write, for example, a play about his love for his wife, who turned out to be a KGB agent and reported him or left him for Berezovsky - that would be a bestseller. Yet another Greek tragedy… Or, Mayakovsky. His poem about Lenin today is of no use to anyone but his Cloud in Pants will remain for ages. So, in one case we have a contracted piece of something but a desire to please in the other case, which is the freedom of creativity. In short, there is no contradiction. Only the choice of the artist does matter, he decides what ideals to serve himself. Do not you remember Pushkin: "Servant of the people or servant of power, Is it not all the same thing?" But please, let's go back to the cinema.

In modern cinema, much depends on technology. Is it true that the share of creativity in the cinema decreases?

Of course, this is a complex form of art closely associated with technical progress. But, thank God, the dramatic art, role of the personalities of directors and actors is always in the heart of this art. This far outweighs the computer tricks for made up for simple-minded viewers. Fighting with the Avatar is difficult but is necessary.

What issues can and should be raised in the cinema?

Different. The simplest and most painful. That is why the cinema exists. There are great films about love and death penalty, about the righteous persons and scoundrels, even about animals. This does not abolish certain ethical or religious restrictions.

So, there are forbidden topics?

Of course, but each creative person defines them for himself.

What is your creative credo?

Well, this question is coming directly from the Twelve Chairs. "Your political credo?" - "Always!" My answer is the same: "ALWAYS!".

The road, as stated in the famous legendary film, should lead to a temple. And where should the cinema lead?

Anywhere. The cinema is not a locomotive. I wish the movie caused pain. To feel the pain of the heart or even a toothache after watching a movie. When the former residents of Baku write to me from Canada or Israel that they were crying after watching my film (I will not name which one), while the actors did not even mention this fact in their interviews because someone did not like my film In Baku, then I begin to believe that I have made something worthwhile. Although I would be only happy if one could explain why this movie causes such irritation.

You work both in Russian and Azerbaijani cinema. What do you think the national cinema is missing in order to reach the international level?

The question is rather painful and sharp. I certainly do not know a recipe for a festival film. Yes, it probably does not exist. I can rely only on my experience. Ten years ago, I filmed a low-budget film requested by the Ministry of Culture. It represented Azerbaijan in two dozen prestigious film festivals. Viewers are always interested to look beyond the horizon, learn something new for themselves. This is the high rating of ethnic cinema. I think that identity is the defining criterion. We must make our own cinema and not use the foreign patterns. The answer is as obvious as banal.

It is generally accepted that TV series are not a high art. You, however, refer to this genre quite often (Angel on Duty-2, Savva Morozov, Women and Other Troubles)...

What does high or low art mean? Lynch’s Twin Peaks or Lioznova’s 12 Moments of Spring, is not this art? I can name many highly artistic series. The point here is not in the budget but in the way you treat your work. Aristotle said that even a shoemaker could become great if he treats his work creatively. Try not to lower the bar, that's all. However, the more demanding the director, the more often he sits without work.

As you know, Mikhail Yuryevich Lermontov is the author of the concept of "the hero of our time." Who is the hero of our time?

Well, today Pechorin would look like an alien almost. If you look for literary analogies, now it's the time of Ostap Bender and Svejk. They founded a company and sell Chinese goods.

The films about dogs are rarely made these days. What about your project "Ka-De-Bo", which periodically appears in the press?

This is my independent project, which I have been making for fifteen years... In three sessions every five years. This is the story of a journalistic investigation about the fate of a fighting dog, which is told using flashbacks. Heroes remember the events of a decade ago and at the same time everyone plays himself both then and now. No makeup and deception. We have completed filming the first hour and a half of the film.

Is the ending close?

Who knows? We are all hostages to our plans.