- The fifth season of the series “Policeman from Rublevka” has been released. Alisa Rybkina has been featured in the project since the third season. Has your character changed during this time?

- In the fifth season, the genre of the series has basically changed. If earlier the comedy was combined with drama, the audience laughed, then cried (exactly the same changes took place with the characters), then the fifth season is easy, purely comedic.

In previous seasons, my heroine had a lot of problems. Alice looked like a sort of wolf cub, she put on a mask and tried to seem like some kind of cool girl. In the fifth season, all the characters became "easier", and my Alice, too (although she continues to crack rude cynical jokes). She no longer worries about her difficult past - she tries, at least. Previously, Rybkina was against everyone, and everyone was against her, and this season she was finally accepted into the family.

- Some viewers write on social networks that, in their opinion, in the fifth season your heroine did not pay so much attention as if they had relegated her to the background ...

“I have not seen such comments.” At least in their social networks. We have a main character, a story revolves around him. There are many of us, just a little bit of us all. I can’t say that in other seasons I was more. Previously, the focus was on my personal life, on the trauma and tragedy of my character. Maybe that's why the viewer thought so. Now the dramatic story is gone, but another has begun. Alice now teaches young cadets. She is the only police officer who takes this seriously, she wants to really teach them something.

- Just the other day, another film was released with your participation - “Number One”. There you also played a police officer. How are these two heroines fundamentally different?

- They are different for everyone - they have different characters, a life background. When I realized that my heroine in the film "Number One" will also wear an officer uniform, I set a goal - to maximally separate these characters. For me, as an actress, it’s important not to repeat myself. It turned out that it’s not so difficult: Alice and Marina are completely different from each other, they speak different languages.

- Could you imagine yourself in police uniform in life?

- I think no. I really love my profession, the opportunity to try on a billion different images for myself - this is the main thrill of my work. I'm not sure I would have lasted as a policeman, doctor or anyone else.

- You have been studying music for many years, playing the violin, and the piano. Do you continue to develop these skills?

- No, I don’t sit in the evenings, I don’t play. But if you need to play the role of a violinist somewhere, I will take the instrument, work out and play it again.

I graduated from music school in the class of violin and piano, but also play the double bass. Both the violin and the double bass have already been used many times in cinema and in theater projects.

I never took music seriously, I do not see myself in it: what I do is enough. But, it seems to me, it is important for the artist to expand his range: to engage in sports, dancing, vocals, playing musical instruments.

  • © Shot from the film "Number One" (2020)

- Would you like to find practical application of your vocal, dancing skills? To star in a musical?

- Of course, I would gladly star in a musical, spend time rehearsing, training. If I were offered a dance musical, I would be especially happy: I gave ballet for many years.

- In addition to Russian films, you also starred in the 2001 British film Crime and Punishment. Is this one of your first roles? ..

- Yes, it was 19 years ago, I was 13. At that time I played in the St. Petersburg Children's Musical Theater “Looking Glass”. Adult artists serve there, but some roles are played by children. At one of the acting classes, they came to us from Lenfilm. For the series of Dmitry Svetozarov "By the name of Baron" they needed a girl who looked like the main character. I was approved and entered into the filing cabinet of a film studio. Thanks to this, I got to audition for the British project directed by Julian Jarrold. By the way, not so long ago his series about the Queen of Great Britain - “The Crown” was released.

In Crime and Punishment, I had a small episode of a singing beggar with Raskolnikov. For the sake of filming, almost half of St. Petersburg was blocked, around a bunch of wagons, everything is serious ... I already opened my mouth: what a fairy tale I am in! On that very first day of shooting, I fell in love with a movie. Since then, every year I had some kind of shooting.

- Did you speak English at age 13?

- No. I was a singing beggar who sang in Russian!

- By the way, about translations. You worked a lot in dubbing. What attracts you to this process?

- I haven’t been dubbing for a long time. I was engaged in this when I moved to Moscow - about seven years ago. I realized that with acting I didn’t succeed right away, and I needed a backup option. In St. Petersburg, I had experience in dubbing, and, having moved to Moscow, I took the discs with my recordings to all the studios. They began to take me.

I worked for almost days, went from studio to studio. She voiced not only feature films and series, but also programs about nature, food and much more for Discovery, Travel Channel and others. It was my earnings.

Then, when acting projects began to take shape, I began to abandon dubbing: it is impossible to combine with filming. But I liked the process ... you close the door, nobody sees you. Only you, the character, exist, trying to find a voice.

There were series in which I voiced several characters in a row with completely different voices. I have a good range, it was interesting to come up with different, different voices. Very well turned out boys, say, 12 years old.

- And what was difficult in this work?

- In fact, it is most difficult for me to voice myself. In dubbing, you immediately make the character voice, you do not need to adapt to anything. And when you’re voicing yourself, you look and think: “Well, how will I do it better now? I said so well there! "

It is difficult to repeat what was said at the time of filming, emotionally and with all the emotions.

- Where did the idea of ​​your Moscow Shorts project come from?

- The idea belongs to Alex Nastoy, co-founder of the festival. In America and Europe, monthly short-film festivals are very common, but in Russia this was not.

Alex told me about his idea, asked what I think. I thought for two days and say: "Yes, let's try to do it in Russia." For two months, since March 2018, we thought over everything, came up with it. And in June we already had the first open show.

  • © Alena Andrushchenko

Moscow Shorts began as a small project, designed for a small number of spectators. But without our special efforts, everything began to develop and grow. Now every month, 600 people come to us, always sold out. And most importantly, all this is free for viewers. This is now such a rarity!

Viewers like the content that we show them: these are high-quality short films from around the world (we have an international festival). There are already your viewers who come to us constantly. And every time new ones appear at the shows. We have a friendly atmosphere, after each show we have a discussion. Spectators are provided with microphones, they ask questions. Our lecturer also tells something about the movie. I call our festival “Meeting Place”.

- Do you send a lot of work?

- Yes many. A month comes an average of one hundred works from around the world. We watch them together with the team, I personally watch everything.

- Can you single out any trends that are typical for short films today? Common topics, plots, popular tricks? ..

- In fact, themes and genres are very diverse, with little repetition.

In a short film, the main idea should be precisely formulated. It’s easier to tell a story in full meter than in a short one, where it needs to be squeezed up to ten or at most 30 minutes, but so that the viewer understands it. If the thought is not presented accurately, the film falls apart. Five minutes later, you understand: something is not right. Therefore, only six to seven works out of a hundred come out on the screen.

What we watch is often lacking in quality. A lot of tapes do not pass selection due to problems with the operator part, with light, sound. And the question is not even the cost of production.

Sometimes a twenty-minute Indian movie with a tiny budget and action in one room turns out to be quite good. The creators did not try to jump above their heads, they did it qualitatively within their budget, and most importantly, they conveyed the main idea.