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(subtitles by Niffiwan)

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At the first stage of his work,
the director created a screenplay

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which consists of a series of pencil
sketches of various scenes from the film.

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These drawings serve as the outlines for images
done in the "living painting" technique,

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also called "paint-on-glass", which Aleksandr Petrov
considers an ideal medium for auteur cinema.

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So what are the distinguishing
traits of this unique method?

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The frames of the film "My Love",
like the frames of the four previous
animated films, are painted on glass.

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Brushes are needed only for
the final touch-ups.

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Slow-drying oil paint that allows
light to pass through is used.

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The glass panels are located on two levels.

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The first is for backgrounds,
and the second is for characters.

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Then each scene is filmed frame-by-frame,

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formerly with a film camera,
now with a digital still camera.

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When the film or still images are
projected at 24 frames per second,

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the result is the continous motion
which we, the viewers, see on the screen.

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To be frank, computers really help.

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They take off the stress
which is always there when you work on film

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because when you work on film, you don't
know if the scene turned out right,

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if the exposure was right, if the
animation itself turned out as you wanted...

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You see this only after a week or two;

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when the film is developed and the
positive printed, you watch it in a theatre
and think "Ok, it came out as I planned"

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or you watch it and think, "Disaster! Everything's bad!",
go back and completely redo the entire work.

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After beginning the work in 2003, as usual
together with his cinematographer,

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after a year the director realized
that he was falling behind schedule.

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For modern digital technology, the help of
experienced programmers was needed,

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while the scope of the work required
the help of other painters.

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Ater all, one second of screen time
consists of 20 paintings.

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it follows that for one minute,
one must make 1200 paintings.

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And for the full length of 26 minutes,
about 35,000 paintings.

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To help, we called for my colleagues,
with which I had worked or studied before.

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along with young artists who didn't know a thing
about animation, but did want to try it out.

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So they tried, got attracted to cinema,
and so we got a group...

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of artists, painters,
computer-people and animators;

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in other words, the kind of team with
whose help the film finally got done.

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Tatyana Pavlovich helped me with the text.

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We discussed, sorted, and chose phrases;
she basically was invited to work on the dialogues.

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Mikhail Tumelya came after a year.

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I asked him to be the second director.

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He also worked on the screenplay a lot.

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We put each scene "through its paces",
as he liked to put it.

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We would choose a block of material,
setting aside 1-3 days

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in order to play out this material,
and make it internally interesting.

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to make it dynamic, or the opposite;
plastic, smooth...

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and only after this would I move on
to drawing the characters...

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or rather, not the characters but the scenes,
and delegating tasks to other artists.

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Heaven's colour, colour blue,

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Since my youth have I loved you.

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In that youth, you seemed to me
shade of changes that could be.