For us, Pyryev was a legend. They talked a lot about him. Fire temperament, a stormy man Walking around the studio, like Peter I, stick in front; and with this stick he points out: to fix it here, to clean it, to hang portraits of Eisenstein, Pudovkin, Dovzhenko here. New blocks, workshops, pavilions, dining rooms were built. From the "pimped" and "shed" studio literally before our eyes turned into the now familiar to us "Mosfilm". The work at the studio was re-built. Creative conferences were organized, the final competitions for the best film, the best director and cameraman work of the year were held. Mosfilm was led by a person who knew his job perfectly, independent, since he had a profession and a talent behind him. The studio was his home, cinema was his home. And there was no indifference. Neither to work, nor to people who did this work. If he believed in a man, in his talent, then he “fought” for him to the end. At that time, the directors came to Mosfilm, then young: Chukhrai, Ordynsky, Alov and Naumov, Rybakov and many others. They came and got the production. Big, serious work. Received thanks to Ivan Alexandrovich. He accepted them, believed in them and was not mistaken. Given the general mistrust of the young, this was a big risk. Pyryev was not afraid to take risks, he loved experiments. And won a lot of victories.
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Pyryev tried to persuade all newly arrived directors to shoot comedies. But most were strong-willed people and wanted to make only lyric-epic films. I, as a weak-willed person, agreed to stage a comedy. I agreed out of fear, literally from under the “Pyryevsky” stick. I came to Mosfilm from a documentary studio. Together with Gurov, he staged a film-review “Spring Voices” - about the amateur performances of vocational school students. Pyryev often went into the group, looked, advised. On the set, he kept an eye on me, and at the end of the work he suggested making a comedy. I refused. He gave the script - "Carnival Night." I saw something in me that I did not see in myself then. The scenario “Carnival Night” did not want to be launched into production. Too de primitive, nihilistic. Ivan Alexandrovich defended the script. An order has been preserved to launch the painting into production under Pyryev’s personal responsibility. The picture was released, was a success, and the order “under personal responsibility” was forgotten. And for 15 years now I have been making comedies and for this I am grateful to Ivan Alexandrovich.
For Pyryev, director of Mosfilm, there was only one evaluative criterion for the film - its artistic quality. During filming, he meticulously delved into all the little things. Each suiiot watched with the directors material. Advised, argued. If it was necessary to introduce a new artist, then they started shooting anew, even if a lot was shot. Pyryev’s opinion was respected. His advice was true. In Carnival Night, I was forced to retake the last 800 meters. I took off and then did not regret it. But then, as now, it was necessary to carry out the plan. And the plan was being implemented. But at the same time, Ivan Alexandrovich was not concerned about the number of meters taken. He well understood that cinema cannot be turned into industrial production. If the film does not leave even a grain of what art serves in the souls of the audience, then it is simply not needed.
It was difficult for Pyryev to change his opinion. He argued, insisted. He was and biased, but rarely made a big mistake. It was bad for those whom he considered unsuitable for cinema. I did not like people indifferent, faceless. He respected those who had and were able to defend their own opinions, and did not bend meekly under his will.
The actress Karpinskaya was invited by me to the film “Girl without an Address”. Ivan Alexandrovich was against it. I insisted. The actress was approved. Pyryev did not talk to me for a year. But then, at the art council, when they took the picture, he approved the actress's game. The same story happened with Golubkina in the Hussar Ballad. But in this case, Ivan Alexandrovich already accepted the actress on the “material”, approved her play, and later always paid attention to her creative fate.
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