Как получить работу в кино. Часть 4

На берегу Каховского водохранилища (г.Никополь, Украина) летом 2014 года проходили съемки фильма «Милый Ханс, дорогой Петр» (автор сценария и режиссер-постановщик Александр Миндадзе). Кинокомпании, занятые производством проекта: «Студия «Пассажир» (Россия), Ma. Ja. De Gmbh (Германия), Сота Синема Групп (Украина), AI Film Production (Великобритания).

Синопсис: Это сугубо личная, полная переживаний история советского рабочего Петра и немецкого инженера Ханса, прибывшего в командировку в СССР перед войной для производства высокоточной оптики с использованием немецких технологий на советском заводе. Бригада из Германии работает вместе с русскими специалистами и напоминает хорошо отлаженный механизм. Во время ответственной варки нового стекла Ханс совершает ошибку. Ее последствия разрушительны: взрыв печи, человеческие жертвы и следствие, которое начинают советские спецслужбы. Отныне для него опасность представляет напарник Петр – единственный свидетель его действий у печи. Ханс оказывается в неожиданной зависимости от Петра, повязанный с ним страхом разоблачения. Но ведь и Петр едва ли не сильнее еще зависит от Ханса: если тайное станет явным, само присутствие Петра у печи означает для него обвинение во вредительстве в духе времени и неминуемый расстрел. Словом, они связаны одной цепью.

стеклоНа заводе снимали целый месяц. В помещении бывшей столовой построили декорацию «комната немцев», воссоздали интерьер 30-х годов: поклеили соответствующие обои, пошили тяжелые бархатные шторы, купили мебель.

Художник-постановщик Кирилл Шувалов создал эскиз к сценарию, по которому бригада декораторов за две недели воссоздали комнату и интерьер. На улице построили конструкция «американская ночь», дающая возможность снимать днем сценарную ночь.

Сначала выбрали материалы, из которых создавалась обстановка в комнате немцев: стены, обои, шпаклевка, панели, линолеум. Сложности возникали с кривизной стен, потолков, пола, падением температуры. Почти вся мебель: буфет, зеркало, диван, стулья привезена из Киева, из реквизиторского склада. Здесь на месте мягкую мебель обивали соответствующей фактурной тканью. Настоящий немецкий патефон дал на время съемок музыкальный редактор картины. Обеденный сервиз привезен из Москвы. Шторы и скатерть выбирались по цветовому решению интерьера и шились на заказ. Раритетное немецкое пианино 20-х гг купили в Днепропетровске. Обеденный стол привезен из Закарпатья, часть картин взяли в краеведческом музее города Никополя в аренду, часть картин предоставил местный художник из своей коллекции. В заводской столовой повара приготовили 10 л картофельного супа. По сценарию актеры обедают за столом, а потом включают музыку и Грета (актриса Биргит Минихмайр) танцует. Драматическую сцену снимали в декорации при температуре +30. Актерам и всей съемочной группе было не просто. Воздух не успевал охлаждаться от большого количества осветительных приборов.

комнатаХудожник по костюмам встречалась с актерами в Берлине, делала примерки костюмов и создавала художественные образы, согласно характерам, прописанным в сценарии. Часть костюмов привезли из Москвы, часть – с кино-склада в Берлине. Обувь шили по заказу в Санкт-Петербурге.Как видите, подготовка серьезная. Зритель погрузится в эпоху 30-гг годов и все усилия, затраченные при съемке фильма, окажутся не напрасными.

По сценарию, герои – Ханс и Петр трудятся на одном предприятии на стекловаренном производстве. Результат их труда – стекло. Стекло – основной продукт, главный персонаж. Как вы понимаете, его на съемочной площадке было очень много. Когда снимали первые эпизоды фильма стекло лежало под ногами в виде необтесанных глыб, камней, крошек. Люди из массовки, которые изображали рабочих завода, возили его в тачках, сыпали в печь, сгребали лопатами в кучу и разбивали стеклянные глыбы топорами. Мы все настолько привыкли к стеклу, как к заводской пыли, что никто не задавался вопросами – как оно здесь появилось, и откуда его привезли в таком количестве? Каменный уголь покупали, знаю. В количестве 5 тонн для топки печей. А стекло «прижилось» как-то сразу, как элемент интерьера.

сценаПечь внутри и снаружи:)

печь 31

DSC04620 DSC04639

Мы закончили съемки в заводском цеху, отработали локации на территории завода и перешли в другой павильон, переоборудованный под лабораторию. Там стекло появилось вновь, но не в «сыром» виде, а в виде готового изделия. Его подвозили ящиками на грузовых машинах. Каждая партия стеклышек была аккуратно упакована и подписана. Стеклышки были разнообразной формы и разного цвета.

— Где вы взяли столько стекла? – я не скрывала своего удивления и задала вопрос помощнику режиссера по реквизиту.

— Мы его из России привезли. В Московской области есть уникальное по своей мощности предприятие — «Лыткаринский завод оптического стекла», выпускающее более 200 марок цветного и бесцветного стекла, что нужно для фильма. Договорились с директором и забрали у них весь брак.

В одном из складских помещений ЮТИСТа бригада декораторов построила объект «белая лаборатория». Он так значился в сценарии и описывался как белое помещение с белой мебелью и ненатурально белым светом. За пять дней до начала съемок новый построенный объект стали осваивать, т.е. выкрасили стены, столы, полки, шкафы, светильники, настольные лампы, выдвижные ящички столов – все в белый цвет. Осветители установили прожекторы, лампы со специальными световыми фильтрами таким образом, чтоб белым искусственным светом было залито все помещение. По сценарию Ханс (немецкий инженер, главный герой) гонится за Вилли (его немецкий товарищ) и попадает в лабораторию. Там работают только женщины, все они одеты в белые халаты и выглядят абсолютно одинаково. Ханс идет вдоль мирно работающих женщин и замечает на плече одной из них знак, оставленный Вилли. Дальше рассказывать не буду, чтоб сохранить интригу :-)

Итак, лабораторию построили, требовалось найти сорок женщин похожей комплекции, желающих изображать работниц лаборатории.

С женщинами оказалось проще, чем с мужчинами. Они приходили сами, приводили своих подруг, отпрашивались с работы, по двенадцать часов готовы были сидеть на жаре, лишь бы попасть в кино. Сорок одновозрастных дам похожей комплекции найти не удалось. Как оказалось позже, из всех сорока женщин в кадр попали лишь… четыре спины. Но обо всем по порядку.

Массовку всегда отбирали тщательно: лица без макияжа и татуажа, волосы натурального цвета, руки без маникюра. Объект «белая лаборатория» по календарному графику был где-то в середине периода, и к этому времени женщины в фильме уже снимались как рабочие завода у печей и в вагоне паровоза. В Никополе о съемках знали, поэтому прозвонку по анкетам «не хотели бы вы завтра сняться в кино?» я закончила быстро. Мой звонок женщины воспринимали как приглашение голливудского режиссера сняться в главной роли фильма «Красотка». Не меньше. Костюмеры каждой женщине подобрали халат и туфли. Обычные белые больничные халаты выстирали в крепком отваре черного чая для придания желтого оттенка ткани, характерного довоенному времени. Волосы предполагалось повязать косынкой, так что в этот кадр попали все желающие.

лаб1111В назначенный день я встретила женщин у проходной завода, оформила временные пропуска и привела к месту съемок. Не разбалованные вниманием, они терпеливо ждали приглашения в кадр, спрашивали разрешения на звонки по телефону и фотографирования, выполняли все указания режиссера и оператора и вели себя очень дисциплинировано. Я гордилась нашими украинскими женщинами, особенно когда слышала осторожные хвалебные отзывы от московской администрации.

Полдня мы репетировали. Женщины учились правильно держать в руках стекла, измерять оптику, делать отметки, протирать ватой стекла и складывать их стопкой. Быть естественными в движениях. Они должны были проникнуться однообразием монотонной работы, которую выполняют изо дня в день. Она им надоела до такой степени, что разговаривать между собой даже желания нет, руки работают автоматически. Слышен только стук стекла о деревянную поверхность стола, скрип карандаша и шуршание бумаги.

Когда с движениями разобрались, костюмы переодели, косынки повязали и рассадили женщин по обе стороны длинного стола, стали измерять расстояние, которое пройдет главный герой, пока не увидит отметку на плече одной из них. Репетировали сначала со статистом, потом с Якобом Диллем (Ханс). К вечеру определились, где должен останавливаться главный герой и кто из женщин может гордиться своим «избранным» плечом.

тетки11 лабо11 лаб-11лаборатория1В итоге, сцену в лаборатории снимали три дня. То поправки по гриму, то резкие тени на лице, то пересвет, то еще какая-то ерунда. Три дня по утрам я встречала на проходной сорок женщин, провожала в костюмерную, их переодевали, заплетали и возвращали на съемочную площадку. Там они уже привычными движениями работали со стеклами, мастерски упаковывая их в бумагу и делая пометки. Что из отснятого материала попадет в фильм? Увидим на экране ;-)

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  165. The new Zune browser is surprisingly good, but not as good as the iPod’s. It works well, but isn’t as fast as Safari, and has a clunkier interface. If you occasionally plan on using the web browser that’s not an issue, but if you’re planning to browse the web alot from your PMP then the iPod’s larger screen and better browser may be important.

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  167. Great website. A lot of useful info here. I’m sending it to some friends ans also sharing in delicious. And naturally, thanks for your sweat!

  168. The new Zune browser is surprisingly good, but not as good as the iPod’s. It works well, but isn’t as fast as Safari, and has a clunkier interface. If you occasionally plan on using the web browser that’s not an issue, but if you’re planning to browse the web alot from your PMP then the iPod’s larger screen and better browser may be important.

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