Private Project

The Blooper

The production designer Kostya’s workday snowballed since the early morning. The studio’s Accounting Department informed him that he was fined. Shocked by the fact, Kostya goes to see the producer, to sort it all out.

  • Sergey Tselikov
    Director
  • Aglaya Solovyova
    Writer
  • Sergey Tselikov
    Writer
  • Sergey Tselikov
    Producer
  • Valentin Samokhin
    Key Cast
    "Production Designer"
  • Leonid Dzyunik
    Key Cast
    "Producer"
  • Svetlana Nemolyaeva
    Key Cast
    "Actress"
  • Aleksandr Shpagin
    Key Cast
    "Director"
    Sluzhebnyy Roman (USSR, 1977)
  • Boris Teterkin
    Key Cast
    "Intern"
  • Project Title (Original Language):
    Киноляп
  • Project Type:
    Feature, Short
  • Genres:
    Comedy, Film about Filmmaking
  • Runtime:
    13 minutes 3 seconds
  • Completion Date:
    March 11, 2021
  • Production Budget:
    5,000 USD
  • Country of Origin:
    Russian Federation
  • Country of Filming:
    Russian Federation
  • Language:
    Russian
  • Shooting Format:
    Arri Alexa Mini
  • Aspect Ratio:
    2.35:1
  • Film Color:
    Color
  • First-time Filmmaker:
    No
  • Student Project:
    No
Distribution Information
  • Leto Studio
    Distributor
    Country: Russian Federation
    Rights: All Rights
Director Biography - Sergey Tselikov

Sergei Tselikov, a Russian director, screenwriter, producer. He was born in 1984. From 2002 to 2007 he studied to be a navigator at the Maritime Academy. He served at sea. In 2008 he entered the Directing Department of VGIK. He shot several short films, which won prizes at Russian and international film festivals.

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Director Statement

The Blooper is a one-shot short film. A continuous thirteen-minute take required top-level coordination from the entire film crew. And although the film itself was shot in less than a quarter of an hour, it took us about a week to prepare and rehearse it. It was an interesting challenge for me. My previous film was shot in a clip-like manner, so I wanted to expand my experience, work with complex mise-en-scenes, and see if I could keep the viewer's attention by means of intra-frame editing. During the filming shift, we had six takes, three of which we managed not to screw up.