Ingeborga Dapkunaite: “No one will teach a person to be an actor. Coloring from Ingeborga Dapkunaite: the star acted as a colorist Hair dye advertised by Ingeborga reviews

Energetic, taut, laughing, she instantly charges with energy and optimism of those around her. He jokes with waiters, gracefully accepts compliments from visitors to the cafe where we met for an interview. Her day is scheduled by the minute, but she is one of those people who know how to fully live here and now: Ingeborga listens attentively to her interlocutor and sincerely enjoys communication. At the same time, in a conversation with her, the feeling that she is about to flutter and fly away does not leave: she feels some kind of internal spring, a perpetual motion machine that does not allow her to stop. She is extremely in demand in the theater and cinema around the world, filmed in Hollywood, England, Russia, her native Lithuania. Among her film credits in recent years are Empress Alexandra Feodorovna in Gregory R, ​​Mrs. Hudson in the series Sherlock Holmes, the Keeper of Dreams in the mini-series Heavenly Judgment. In the theater, she played with John Malkovich in the opera-drama "Giacomo Variations", appeared on the stages of London and Manchester in the cult performance about female sexuality "The Vagina Monologues", in which at different times, among others, Meryl Streep, Cate Blanchett, Jane Fonda, Susan Sarandon, worked with Kevin Spacey in a production of The Cloaca at London's Old Vic Theatre. Now on the stage of the Moscow Theater of Nations there is a play "Jeanne" with her participation, and in December the premiere of "The Idiot" based on Dostoevsky's novel will take place there. And this is not an exhaustive list of her merits, which Ingeborga Dapkunaite speaks of casually, by the way.

There's a kind of effortless elegance to her look and manner - it's no coincidence that beauty brand L'Oréal Paris has chosen her as their beauty ambassador. Ingeborga Dapkunaite diligently protects her life and the life of her family from prying eyes, invariably avoiding answering personal questions with a beaming smile. She was married to the Lithuanian actor Arunas Sakalauskas, then to the British theater director Simon Stokes, her current husband is a restaurateur and lawyer Dmitry Yampolsky. That's all that is known to the general public. And everyone who is not included in the circle of her relatives and friends does not need to know more.

MC: You have just finished filming Alexei Uchitel's Matilda, where you play Maria Feodorovna. How do you like the role of Empress Dowager?

Ingeborga Dapkunaite: Wonderful. This is not the first queen in my filmography. And queens are always great to play. I have a small role in Matidda, but the picture itself is large-scale, and this is a whole year of life. It rarely happens that a movie takes so long to shoot if it's not a series. The teacher is a perfectionist, he put together an absolutely perfect cast, we had incredible actors: Lars Eidinger, Zhenya Mironov, Galina Tyunina, Grigory Dobrygin, Danila Kozlovsky, and many others.

MC: How do you think a Western woman differs from a Russian one?

ID: Well, this is a difficult question, then you need to talk about how countries differ.

MC: But still. Especially since you live both in the West and in Russia, and you probably feel such nuances.

ID: I think now the speed of information and the ability to read and see what is happening everywhere, levels out the difference. If we talk about emancipation and other serious issues, in cities there is no longer that rigid division that existed several decades ago: a woman is at home with children, and a man earns money. Now many men also take care of the house, children and the kitchen. Although at the same time in all countries they say that there are still far fewer women in leadership positions and they earn less. But that too must change.

MC: In which direction?

ID: The women's, of course.

MC: Do you manage to spend time at home with your schedule? Cooking, for example?

ID: Well, I somehow live ... I don’t always eat in cafes. And I don't always live in hotels. Home is home.

MC: How do you distribute time between the cities where you live?

ID: Each time it depends on the work I do, where I do it.

MC: Last year, for example?

ID: Oh, to remember where I was thrown. I was a lot in St. Petersburg, where the shooting of "Matilda" took place; in Moscow - starred in the American TV series Insomnia; in London starred in a small project. To be honest, everywhere.

MC: Do you have a role model - in life, in the profession? The person you admire.

ID: I admire many. I like many. In some people, I like what unites me with them, in others, on the contrary, qualities that are opposite and unusual for me. It's the same with cinema - I watch almost everything except horror films. I am a good viewer.

MC: Grateful?

ID: Yes. I just understand that any film or performance, even if there are rough edges, was created with difficulty, that people made efforts. Although there are, of course, absolutely mediocre things, but, fortunately, I rarely come across such things.

MC: Do you manage to turn off professional perception and be only a spectator?

Ingeborga Dapkunaite: When everything is fine, I forget everything and become just a spectator. And when something is not quite good, then I begin to notice: there is not enough here, there is too much, and this needs to be done differently.

MC: Is there anything in the acting profession that you don't already know?

ID: I don't know much. There is always what is called the riddle of talent. When I watch actors like Zhenya Mironov, this is talent, and you can’t get away from it. Talent can make mistakes, but this is the essence of the artist - to seek, try, make mistakes.

MC: But what do you teach your students at the Moscow Film School? What is the most important thing in the acting profession they need to know?

ID: We can give them some skills, but they have to learn on their own. No one will teach a person to be an actor. It's impossible. No one will hammer knowledge into your head with a hammer.

ID: I don't have time for this. Maybe it is necessary, who knows, but I just didn’t get my hands on it. Now I can’t answer all business and friendly text messages and messages that I receive: cinema, theater, the Moscow Film School, where I am the curator of the acting department ... And all this is not one message a day, as you understand. And also the Vera Foundation and a play with deaf-blind people, which I co-produced. Where is instagram or facebook.

MC: What is this performance?

ID: The play "The Touched", which was made by the Foundation for the Support of the Deaf-Blind "Connection" and the Theater of Nations. This is the first production in Russia, in which both deaf-blind and sighted-hearing actors are simultaneously involved. And this is important: after all, we practically live in different worlds and do not intersect. At first we played for an audience of friends, because we did not know what would come of it, but it turned out that it was also interesting for the theater audience.

MC: What do you do at the Vera Foundation?

Ingeborga Dapkunaite: I have been on the Foundation's Board of Trustees for nine years. I need to definitely tell you what a hospice is - we recently conducted a research, and it turned out that people do not quite understand what it is, they think that this is some kind of dark, scary place. But in fact, the opposite is true - this is a place that does not look like a hospital, where a person who cannot be cured spends his last days. When a child is in intensive care, the main problem is that relatives cannot get to him - you can imagine what happens to the child and to the parents. And relatives can stay in the hospice 24 hours a day without any restrictions. In addition, we have a large field service. The Vera Foundation does a lot of educational work: we arrange seminars, train specialists - the country still has a modest experience in palliative medicine, that is, medicine that works with people who cannot be cured. We are also building the first children's charity hospice in Moscow.

MC: What is it like to communicate with a person, especially a child, knowing that he will die soon? Difficult, perhaps?

ID: No. We all will die. I believe that any period of our life is all life. And why should the last two months be worse than the rest? And why would knowing that I'm going to die in two months make my life worse? We don't want to think about it, but there is one unshakable, undeniable fact: we are all going to die.

MC: What gives you work in the Vera Foundation?

ID: Everything, probably ... It needs to be done. If I don't, who will.

MC: You are the beauty ambassador for L’Oréal Paris, advertising the Age Expert line and Excellence hair dye. So what is female beauty? How does it express itself and how does it change with age?

ID: I am deeply convinced that beauty always comes from within. No wonder they say that we age the way we lived. Everything starts showing up on your face. If you were evil, you have evil wrinkles. And look at funny people - they have funny wrinkles. And it's great that there are L "Oréal Paris brand products that help a woman look good regardless of age. We still live in the 21st century, we won't chop wood with an ax, although sometimes it's nice.

MC: You come across as an open person. Where is the boundary of personal space for you? Where do you not allow strangers?

ID: Home. As you probably understood, I am reluctant to tell where and how I live. I'm not alone. The reason for our conversation with you is my profession. And this does not mean that relatives and friends who live with me also want to be public people. I see no reason to talk about my relationship with my mother, because this is only mine.

PHOTO personastars.com

Have you ever had beauty curiosities?

Back in Soviet times, at a rehearsal for a play in Chicago, I confessed to my American colleagues that instead of a hair mask I put on mayonnaise. In Moscow, air conditioning was bad. Another time, the Americans learned from me that styling gel can be replaced with linseed jelly. The whole make-up shop came running, wrote down the recipe: “We will do this too! It's better for the hair."

Do you remember what your first cosmetic product was?

I was given Lancôme mascara for 19 years. It was chic! For the first time having applied eyelashes, I simply could not recognize myself in the mirror. And recently I tested the False Lash Papillon mascara, L’Oréal Paris. She is the best! L’Oréal Paris also has good eyeliners and Super Liner Blackbuster.