— In one of your interviews you said that you had been inspired to write the screenplay by the Soviet drama film "Flights in Dreams and Reality". If you analyse it this way: until then only men had the right for a "crisis" in their life, and women — had not! First women give birth to children, then raise grandchildren, and in general they have to take over the household. And somehow there has never been this kind of agenda. How did you get this idea?
— We didn't think about it at all, we didn't think about statements, we just wrote the script. When you write a script, you don't think, "I'm putting messages like this in here, it'll be all about the mid-life crisis of a woman, etc." We just took some situations from real life and translated them into cinematic language, that's all. And "Flights in Dreams and Reality" is only my inspiration, Nezlobin
(the producer) and Krasilnikova(the scriptwriter) were not inspired by it, they had some other references. And I, being a little more well-read and experienced, having lived a little longer than they have, I managed to draw my flashbacks from the past. "Flights in Dreams" is a very cool drama, with very little so-called action. It's about a man before his 40th birthday, who suddenly comes to thinking about what his life is all about. When he's just looking out the window as it's raining, just driving his car, just watching some passer-by walking. At that moment, when he's just looking at something — you realize that here he is at that moment of reflection. And there are moments like that in our show, too: the heroine is watching a man fall in the street, as she rides the subway, as she smokes on the balcony, as she runs after her daughter to the kindergarten. Such moments are likely to involve you into reflection: "She must be going through some kind of mid-life crisis right now."
— Have you experienced this crisis yourself?
— No. It's not like we lie down on the sofa and get over it — it doesn't happen that way, we kind of get over it all on our feet, yeah. And then, when we begin to chat suddenly with friends about it, we realize that it's probably all been through — like the flu, a sore throat. It seems to me that a woman in action, who is swamped with household problems and thousands of events a day — there is no time to feel anxious. Men meet this age a little more painfully and switch from "not a boy, but a husband", and then already "from an incapacitated guy" to the fact that I am now "an old man ". That is, for them, it happens, first of all, abruptly. And for a woman it is different. There is always such a paradox: when I see myself in the mirror and accept this feedback that I'm no longer a young princess, the tricks and stratagems begin to get my face and body back at any cost, and so on. And it's always funny, comical, and very emotional.
— And then, what happens afterwards? Does any humility, any acceptance come?
— What kind of humility, acceptance of what?
— The fact that you look like this.
— How do I look?! It's normal, it's natural, that's how I look. I've never had such a problem, you know, when you're lying there, and you lift up your leg, look at it and say, "Well, my knee's a little wrinkled, yeah, it hasn't been like that before." And it wasn't like: "Oh, my God, something's got to be done about it, pull it all the way up!" The thing is that the problems are different now, and the libido is also different, and the brains are not the same — why should I go back to what I had yesterday? Everything happens on the inside, age is on the inside. For instance, I run as much as I did when I was young, that is, I lead a physically active life, I don't feel any limitations in my body yet, I don't feel any pain. I mean, I guess when I do, that's when I think, "Something's wrong." I don't have any particular problem with the way I look either, because I don't chase men anymore, I don't hunt, I look like a mother. And I'm quite comfortable with that.