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After his first film roles, one critic wrote: “Filip Trifonov is a very interesting phenomenon lately. A modest and apparently ineffective actor, whose “ordinary” performance you have to watch to see that he really plays with talent, without flirting with the public, without being afraid to appear funny and pathetic when necessary … “
After “The boy is gone”, Filip Trifonov has two more meetings with Georgi Mishev: in “Counting the wild rabbits” and “Do not go”. His role in the first is small and does not provide opportunities for who knows what acting performances. He is the young assistant of Itsko Finci, the clerk, chief enumerator of the wild long-eared creature.
Filip Trifonov remembers this movie most with his break at VITIZ. Eduard Zahariev promised that they would shoot the movie quickly, but the work dragged on for months, the director was known for his slow shooting. And “for unexcused absences” he expelled Trifonov from the institute, he had to graduate with the next class.
The film’s cameraman Venets Dimitrov told me that during the shoot he and Itsko Finci were an incredibly funny couple, and Philip was constantly offering all kinds of ideas.
This feature in
creative nature
by Trifonov –
Constantly offering your own stuff will impress some writers and directors, but will anger and irritate others.
Iliya Kostov, scriptwriter of “Madame Bovary of Sliven”, told me that while filming the movie, Fipo constantly wanted to change his lines because he couldn’t say a word exactly.
Kostov firmly refused and then Trifonov began slipping notes under the hotel room door with his own version of the comments.
The screenwriter did not take advantage of any of Tryphon’s suggestions, arguing that this way a track from another movie could fit into a frame.
In “Madame Bovary of Sliven” he plays an actor, who in the theater plays “Balkan Spy”. And when your character explodes, he doesn’t fall, but while standing, he only slightly nods his head. The director of his play gets into a fight and the main character (Trifonov) explains that he is simply playing an “aestheticized death.”
Filip Trifonov does not like to give interviews, he prefers to write the answers. Here is the letter I received when I asked him about his impressions and memories of this movie.
The shooting of “Madame Bovary of Sliven” coincided with the expulsion of Comrade Todor Zhivkov from Pravets. The atmosphere in and around the set can be compared to “extremely creative and enjoyable.”
Director Emil Tsanev, widely adapted as a person and creator, allowed me to correct the script to “pull” the role towards me. This pleasant creative climate was carried over into our spare time and everything that surrounded the film seemed unique. The play “Balkan Spy” at the Sliven Theater, which was included in the film, made me laugh more than any other performance in Sofia at the time.
Sliven’s peaches were bigger and sweeter than peaches. There I saw a blind lawyer on the level of the legendary Ray Charles. For the first and last time in the city of blue stones I read a confidential document for official use marked “Top Secret”. In it, Comrade Todor Zhivkov explained to Comrade Mikhail Gorbachev the “maneuver” by which he would return the 13 billion taken from the West.
The maneuver, codenamed M-13, pictured a Bulgarian scientist extracting real gasoline from drinking water. Two weeks before Todor Zhivkov was dumped, Gorbachev’s nearby television and today’s millionaires interviewed the “inventor” in the foreground, showing us his eyes, which did not lie.
We heard about the making of the film “The Expulsion of Comrade Todor Zhivkov from Pravets” on the hotel radio. We were very happy and did not believe our ears. But the plain truth came out. For me, “Madame Bovary of Sliven” is truly an unforgettable film.
When writing the script for “Nameless Orchestra”, Stanislav Stratiev refers exactly to the four actors for the main roles: Velko Kanev, Filip Trifonov, Pavel Poppandov and Georgi Mamalev. I don’t know if the author knew of Fipo’s passion for wanting a change in his lines, but his character is taciturn.
And yet during filming they are taken from most of them. Why? “Because they didn’t suit me,” Trifonov explained. “I only have two left.” I still remember one to this day: “Oh, Siktir! I wouldn’t play for her for ten days under the window, if it weren’t for Lisa Minnelli … “
In Adio, Rio
Philip Trifonov
replaces Todor Kolev
Todor and his light finger were not easy to photograph. In this film with director Ivan Andonov they do not reach a common opinion on how the main character should interpret his role. Kolev wants to play slowly, with pauses after almost every word.
“If you play like this, a 3 minute scene will be 8 minutes! And I hate such a temporitum, “Andonov does not give up.
On the third day he was replaced and after a casting, Filip Trifonov was chosen. At first he had doubts that Philip would play the role, wrote screenwriter Marko Stoychev (Mormarev’s brother) in his diary after the film ended. – Philip is not only a talented actor and loved by the public. It has a strong presence on the screen and managed to give the paper its own color … “
There is a corpse all the time in Adio, Rio. It appears at home or in the trunk of the car of each of the characters, who has committed an obscene act, has allowed himself to compromise, or has hurt someone. One type of corpse is the symbol, the measure of our consciousness.
He began filming with Filip Trifonov and immediately announced that he did not agree with the corpse turning up for better and for worse, but only for committing great evils. “What a terrible crime it is if someone changes dollars,” argued the actor. However, neither the screenwriter nor the director accepted his corrections, declaring that “in this way he falls very under the roof of a guilty conscience.” Even years later, he repeated that the film had only lost because of its unacceptable proposals. However, in the final episode, Ivan Andonov almost fell into hysteria. With great difficulty, the make-up artist cooks a little latex, which is placed on the palm of the corpse, and in this latex there is the small hole through which the blood must exit. Andonov wants to emphasize this flowing blood and arch. Stoev (Trifonov’s hero to experience catharsis: if consciousness is alive, then there is still hope for the people. The team is warned that the bleeding device can withstand only a double, there will be no second. Filip Trifonov takes off his patch in the hole, the blood flows, but shortly after the actor puts the sticker again.
“Why, Fipo, why, boy?” Andonov yelled. – Should there be a pause, an accent?
“Well, I decided it shouldn’t bleed.” I love him, Philip replies with all the innocence in the world.
They try to re-film the episode, but nothing happens. In this case, Fipo really imposes his idea. But when he saw the movie, then-Cinematographer Lyudmil Staykov exclaimed, “This movie is like champagne!”
Filipobiography or
for the lines of the film by actor Trifonov
On May 4, 2017 at “City Mark Art Center” (former cinema “Levski”) in Sofia friends celebrated the 70th anniversary of Philip Trifonov.
The “Kasketite” Orchestra welcomed him with a song written by Vicho Balabanov:
The years are passing
They run, there is no way.
and who, let’s say,
set foot on them?
Not one and two
but it will bear them,
And Fipo turned 70!
The water is flowing
and the sun burns,
but Fipo remains
still a child!
The song was sung to the melody of the hit song “Farewell, Sofia” (“I’m going to Lom, in a horse-drawn carriage”).
And the “Caps” orchestra was composed of: Filip Trifonov – double bass, Kateto Euro – flute, Vicho Balabanov – guitar chef, Kalin Arsov – piano, Mario Vassilev – violin. Voice: Silvia Vargova and Matei Stoyanov.
Then the jubilee read his “Filipobiografía”.
Something like an autobiography written almost in the style of Branislav Nusic:
I am known as a defender (this is my word, I made it up myself) of cult lines mainly in Bulgarian cinema.
My parents were
active fighters
vs …
of smoking
and in all the firefighting movies I got unrivaled roles. Starting with “Gunpowder Primer”, “Burning, Burning Fire”, “Live Dangerously”, “Life on Demand”, “Protect Small Animals from Fire”.
It was the first title, then the censorship cut it down and the film won a comedy award in Prague, and it was intended for drama.
I found the remains of a burned letter. In it, an American film director named Wayne Wall apologizes to me in plain text for casting Harvey Keitel for the lead role in “Smoke” or “Smoke.” He promised to take me instead of Arnold Schwarzenegger in his next movie, New York Fire.
I was born on May 4, which is International Firefighters Day, and that’s why I got these roles.
Arnie was also born on May 4, but turned down the role in “Fire in New York” because the main character had to burn out completely.
I was born on
two direct from
National Assembly
and I grew up on the street that connected the old zoo to the National Theater. And due to the proximity of the zoo to the National Assembly, I was given all the roles of deputies in Bulgarian cinema. So I want to apologize to many of my colleagues.
One of the roles is in “Echelons”, where I played young Todor Zhivkov. I enthusiastically assumed this role, because according to the script, he walked through the corridors of the National Assembly and taught to the other deputies.
But the censors did not approve of the episode and cut it. And so the film lost many of its qualities, and it resonated with me that I kept my voice for other cult roles.
I never waited for an Oscar to thank my mother and father for giving me birth at the right time and place.
But the truth is that a drink with a little alcohol, which was once prosecuted by the Highway Law, is to blame for my career in film and theater. It’s about the painter. Due to the proximity of Slavyanska Street to the zoo and the theater institute, instead of the stage of the National Theater, I found a place in the zoo branch – the Youth Theater.
There, in the children’s thriller “Omniscient Rabbit,” I recreated the image of a bunny eating soup. And no one noticed that there was painter in the bowl instead of soup. This helped me 13 years later in a unique way to recreate the ’70s cult line on “The Boy Goes Away.”
“A God
of 6 stotinki “
And about the cult line of the 80s in the movie “Nameless Orchestra” – “Oh Siktir! I will play under your windows for ten days! If it weren’t for Lisa Minnelli” I was accused of saying it while intoxicated. And the truth is that I used boza with higher alcohol content.
Other abilities claim that I have spoken the cult line of the last decade of the last century in German, with a translator. But the translator went crazy during the translation, and this line gained popularity only as the title of the movie “Lost in Translation”.
In 1990-1992, I specialized in the relocation of theater furniture in Germany. In my spare time I did not make cult remarks, but gave lectures to imaginary students on the subject: “Strength of character and moral and volitional qualities necessary for the actor to work with the director during the rehearsal process in film and theater.”
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