|
|
|
|
|
VADIM YUSOV RGC |
Born: 20 April 1929, Klavdino, Leningrad province, USSR, as Vadim Ivanovich Yusov [Вадим Иванович Юсов].
Education: VGIK, Moscow [graduated in 1954].
Career: Worked in a metal factory in Moscow [1947-49]. Was chief doph at Mosfilm from 1957-99.
Appeared in the doc's 'Posle Tarkovskogo/After Tarkovsky' [2003, Peter Shepotinnik; ph: Boris Chertkov, Denis Alarkon, a.o.; 59m] & 'Rerberg i Tarkovskiy. Obratnaya storona Stalkera/Rerberg and Tarkovsky. The Reverse Side of 'Stalker'' [2008, Igor Maiboroda; ph: Pavel Lebeshev, Sergei Kozlov, Uri Klimenko, Vadim Alisov, a.o.; 140m].
Awards: People's Artist of the USSR [1979]; Lenin Prize [1980] for 'Karl Marks. Molodye gody'; Venice FF 'Golden Osella' [1988] & 'Nika' Award nom [1989] for 'Chyornyj monakh'; 'Nika' Award [1991] for 'Pasport'; 'Nika' Award [1992] for 'Prorva'; 'Triumph' Award [1994] for the 'Encouragement of the Achievements in Art and Literature'; Special Prize of the President of Russia [2002]; Manaki Brothers International Film Camera Festival 'Life Achievement Award' [2004].
About Andrei Tarkovsky: 'We didn't know each other at school. I had already been working at the Mosfilm studio for a while when he was preparing his diploma film and asked me to work with him. He told me he had watched several films I had photographed and that he would like to work with me on the film 'The Steamroller and the Violin' which was based upon a stage play. At that time I was just finishing my apprenticeship and was beginning to work as an independent cameraman. [...] When we were doing 'Ivan's Childhood' he was young, he had no experience, he didn't know much about the role of the cameraman, the set designer, and also of the director. But I was never his teacher. During the filming of 'Andrei Rublev' we worked together, we searched and studied together. By then we already had certain experience - for us this was an especially interesting time. We searched for truth... I am a cameraman, a technician, thus I can say: "This can be done, I can undertake this assignment." But Tarkovsky frequently could not understand the limitations and this ignorance made him bold - he thought things would be easy to do and he could have very daring ideas, he could invent anything, in total freedom. Namely, thinking up images [visions, imaginary scenes] - this is exactly how we shot. We didn't invent anything, no new film technique, but we did frequently create a kind of new expression. […] It's difficult for me to say which of Tarkovsky's films I like most. Those, however, which I photographed are a unique experience of my life. While studying at the VGIK I only had an illusion of taking part in artistic creation. Thanks to his films I became a real cameraman and I understood what true creation was.'
|
"Ivanovo detstvo" |
About 'The Mirror': 'I refused to photograph 'The Mirror'. There were several reasons. Firstly, I worked so much and for so long mainly with Tarkovsky. When the cameraman and the director work together for too long, the cameraman can sometimes feel he is under too strong a pressure from the director, on his own territory, and this isn't good for the film. Working together on one film for a very long time is particularly detrimental to mutual relationships. Pressure and possessiveness lead to weariness. […] Another reason to give up working on 'The Mirror' was my lack of understanding of this screenplay's concept. Of course the screenplay and the film are two different things, but already at the level of the screenplay I saw something important there which I couldn't understand and couldn't accept. […] On top of that the theme of the screenplay contained biographical elements from Tarkovsky's life. I felt the personal expression of the director could turn against the film and against me. I felt that during the preparatory stages Tarkovsky wanted to eliminate my ideas completely, my manner of perception, that he would want to direct only his vision. I thought that would be disadvantageous to me. And the third reason: when the production started, Tarkovsky's life underwent a profound change - the influence of his wife Larissa became too strong. In this situation Tarkovsky went along with the new family life, eliminating the influence of his old acquaintances. That's why I thought I could not do that film.' [From interview with Hiroshi Takahashi in 'The Superior Ritz Cinema', 1992.]
FILMS & TELEVISION |
|
1956 |
Обыкновенный человек/Obyknovennyi celovek/An Ordinary Man/A Common Man [Aleksandr Stolbov] b&w; cph: Konstantin Brovin |
|
|
1957 |
Страницы рассказа/Stranitsy iz rasskazu/Pages from a Story/Destiny of a Man [Boris Kryzhanovsky & Mikhail Tereshchenko] b&w; short/?m; cph: Vladimir Boganov & Nikolai Vlasov |
|
|
1958 |
Тревожная ночь/Trevozhnaya noch'/Alarming Night [Tatiana Berezantseva] tvm |
|
|
1959 |
Лейли и Меджнун/Leili i Medjnun/Leila and Majnun [Tatiana Berezantseva & Gafar Valamat-Zadeh] c; ballet film/77m |
|
|
1960 |
Каток и скрипка/Katok i skripka/The Steamroller and the Violin/Violin and Roller [Andrei Tarkovsky] c; short/50m; prod VGIK |
|
|
1961 |
Иваново детство/Ivanovo detstvo/Ivan's Childhood/My Name Is Ivan/The Youngest Spy [Andrei Tarkovsky (replaced Eduard Abalov)] b&w |
|
|
1963 |
Я шагаю по Москве/Ya shagayu po Moskve/I Step Through Moscow/Meet Me in Moscow/I Walk Around Moscow [Georgi Danelia] b&w |
|
|
1964 |
Андрей Рублёв/Страсти по Андрею/Andrei Rublyov/Andrei Rublev/St. Andrei Passion [Andrei Tarkovsky] ss/b&w-c; 165m, 183m & 205m; filmed 1964-65; general release USSR in December 1971; director's version in 1988; restored in 2003 (superv by doph Anatoli Petritsky & V. Yusov) |
|
|
1968 |
Не горюй!/Ne goryuj/Don't Grieve/Cheer Up!/Do Not Worry! [Georgi Danelia] c |
|
|
||
|
1971 |
Солярис/Solyaris/Solaris [Andrei Tarkovsky] ss/b&w-c; 165m; sfx ph: V. Sevostyanov; released 1973 |
|
|
1972 |
Совсем пропащий/Sovsem propashchij/The Adventures of Huckleberry Finn/Hopelessly Lost [Georgi Danelia] ss/c |
|
|
1973 |
Зеркало/Zerkalo/The Mirror [Andrei Tarkovsky] b&w-c; ph: Georgi Rerberg; V. Yusov refused to shoot this film (see note above) |
|
|
1974 |
Они сражались за Родину/Oni srazhalis za rodinu/They Fought for Their Country [Sergei Bondarchuk] ss/c; 137m |
|
|
1977 |
Юлия Вревская/Yuliya Vrevskaya/Julia Vrevskaya [Nikola Korabov] c; 139m |
|
|
1979 |
Карл Маркс. Молодые годы/Karl Marks. Molodye gody/Karl Marx: The Young Years/Karl Marx: The Early Years [Lev Kulidzhanov] 7-part tv-series |
|
|
1981 |
Красные колокола. Ф. 1-й: Мексика в огне/Krasnye kolokola [, film pervyj - Meksika v ogne]/Mexico in Flames/Red Bells Part I - Mexico on Fire [Sergei Bondarchuk] 35mm, ss & ss70/c; 135m |
|
|
1981 |
Красные колокола. Ф. 2-й: Я видел рождение нового мира/Krasnye kolokola [, film vtoroy - Ya videl rozhdeniye novogo mira]/Red Bells Part II - I Saw the Birth of the New World [Sergei Bondarchuk] 35mm, ss & ss70/c; 273m |
|
|
1985 |
Борис Годунов/Boris Godunov [Sergei Bondarchuk] c; 141m |
|
|
1987 |
Чёрный монах/Chyornyj monakh/The Black Monk [Ivan Dykhovichniy] b&w-c |
|
|
1990 |
Домик у околицы/Domik u okolitsy/The House at the Edge of the Village [Lev Kulidzhanov] b&w; finished, but unreleased; later shown on tv |
|
|
1990 |
Паспорт/Pasport/The Passport [Georgi Danelia] c; cph: Sergei Sidorov |
|
|
1991 |
Анна от 6 до 18/Anna: Ot shesti do vosemnadtsati/Anna: From Six Till Eighteen [Nikita Mikhalkov] b&w-c; doc/100m; cph: Pavel Lebeshev, Vadim Alisov & Elizbar Karavayev; filmed 1980-91; released 1993 |
|
|
1992 |
Прорва/Prorva/Moscow Parade [Ivan Dykhovichniy] c |
|
|
1992 |
Take Me Home [Tim Neat] ? |
|
|
1993 |
Вспоминая Чехова/Vspominaya Chekhova/Remembering Chekov [Nikita Mikhalkov] unfinished |
|
|
1994 |
Из настоящего/Out of the Present [Andrei Ujica] b&w-c; doc/96m; space ph by cosmonaut Sergei Krikalev (May 1991-March 1992) |
|
|
1997 |
Подстрочник/Word for Word/One's Own Voice [Oleg Dorman] 15-part (14x 26 + 1x 43m) doc tv-series/b&w-c; cph: O. Dorman & Rodion Varshavsky; Liliana Lungina's autobiographical monologue was filmed during 7 days in February; released 2008 |
|
|
1998 |
Что сказал покойник/Chto skazal pokojnik/What Has the Deceased Said [Igor Maslennikov] 10-part tv-series (2000); cph: Vladimir Ilyin |
|
|
2001 |
Копейка/Kopeyka/The Kopeck [Ivan Dykhovichniy] c; cph: Aleksandr Ilkhovsky & Vladimir Mezhekov; + small part |
|
|
2001 |
Деньги/Money [Ivan Dykhovichniy] 30-part (x 52m) tv-series (2002) |
|
|
2001 |
The Lost Secret of Catherine the Great/Le secret perdu de Cathérine la Grande [Peter Woditsch] tv-doc/b&w-c/52m & 64m/DigiBeta; cph: Hans Sonnefeld, Frans Leys & Pierre Gordower |
|
|
2008 |
Большой вальс/Олимпия/Bolshoy Vals/The Great Waltz/Olympia [Vladimir Menchov] unfinished |
|
|
2009 |
Апельсиновый сок/Apelsinoviy sok/Orange Juice [Andrei Proshkin] c |
|
MISCELLANEOUS |
|
1954 |
Опасные тропы/Opasnye tropy/Dangerous Trails [Aleksandr & Yevgeni Alekseyev] c.asst; ph: Boris Volchek & Levan Paatashvili |
|
1955 |
Попрыгунья/Poprygunya/The Grasshopper [Samson Samsonov] c.asst; ph: Fyodor Dobronravov & Vladimir Monakhov |
|
1975 |
Чисто английское убийство/Chisto anglijskoye ubijstvo/A Very English Murder [Samson Samsonov; 2-part tvm] co-scrpl; ph: Arkadi Chapayev & Yevgeni Guslinsky |
|
1989 |
Vent de galerne [Bernard Favre] c; visual adv battle scenes; ph: Jean-François Gondre |