High Res Stills From Russian Fantasy Epic Wolfhound!

WOLFHOUND OF THE GREY DOG CLAN

SYNOPSIS

He was doomed to die, but survives to avenge the annihilation of his clan. The last survivor from the tribe of the Grey Dogs becomes a mighty warrior and takes the name Wolfhound. Narrowly escaping death in the subterranean mines, Wolfhound sets off on a quest with his companion, the Earthbound Bat. He is determined to wreak vengeance on the Cannibal, who annihilated the abode of the Grey Dogs. Wolfhound finally reaches the castle where his arch enemy lives and savagely disposes of the Cannibal. He releases two prisoners from the dungeons, the sage Tilorn and bondmaid Niilit. With Wolfhound they come to the town of Galirad, which is torn apart by strife. Hoping to save the town from destruction, the ruler of Galirad gives the hand of his daughter Elen to the young warrior Vinitar, who vows to defend Galirad. The young princess is faced by a long journey to the lands of her future husband. She asks Wolfhound to be her bodyguard on this dangerous trek. Agreeing to serve the princess, Wolfhound finds himself caught up in a whirlwind of mysterious events that reveal the true aim of their journey...

The scale of the project for Wolfhound of the Grey Dog Clan (later referred to as Wolfhound) is unprecedented in post-Soviet cinema. No previous movie in the fantasy genre has been made in Russia, and certainly nothing based on national culture and history. Wolfhound marks not only the first 'Slavic fantasy' in Russian film production, but also the introduction of a new kind of positive hero. The film meets the demands of Russian moviegoers already eager to watch films made in Russia. This tendency responds to the development of Russian cinema as a whole, to moviegoers who prefer to seek answers to some questions in familiar moral coordinates.
In 2003 the company Central Partnership obtained the rights to produce a full-length film based on Maria Semyonova's novel Wolfhound, published by Azbuka, and also the rights to screen the remaining three novels in the series. Maria Semyonova is the author of several Russian bestsellers with a combined printing of 1 million, 800 thousand copies. The contribution made by her first novel Wolfhound to the total print run is 1 million 200 thousand copies, an unrivalled record for Russian fantasy.
First attempts to screen Wolfhound were undertaken by the NTV-Profit company, which obtained rights for the televised version of the novel. Dzhanik Faiziev was invited to direct the film, but work was halted due to a lack of funding.
When Central Partnership had to choose a director for the first full-length screen adaptation of Wolfhound they thought immediately of Nikolai Lebedev, whose last film Zvezda (The Star) revealed his directing talents in a new light. High artistic standards of direction, visual effects and the use of computer graphics in Zvezda proved Nikolai Lebedev's ability to make a high-budget film. After brief discussion it was decided that the director himself would write the screenplay. This took about a year to complete.
The budget for Wolfhound was reviewed several times, since most studios were ill-prepared to shoot a film with a complex production process: they lacked sets, costumes and props. Preparations for shooting had to start from scratch, and a whole new type of cinematography was created. The total budget for the movie came to 7.5 million dollars, which makes Wolfhound the most expensive Russian project to date.
Filming began in June 2004 with six weeks in Slovakia. During this time several new movie sets were built in Moscow – the ancient town of Galirad (with an area of 5 sq. km.), the sanctum, the inner chambers of the Cannibal's castle and the crossing over the Prepona. In September filming was resumed at Mosfilm and finally completed in December 2004. The post-production period, including work on visual effects, took about a year. The premiere of the film is slated for December 2005.

ABOUT THE FILM'S CREATORS

Ruben Dishdishyan (producer)
Born on March 15, 1959 in Kazan. In 1981 graduated from the Yerevan Polytechnic Institute construction faculty. In 1996 he founded and headed the Central Partnership Company. Among his projects as producer: Uzhin v Chetyre Ruki (Supper for Four Hands, TV, 2000), Shik (The Suit, 2003), Trio (Trio, 2003), Rodina Zhdyot (In the Service of My Country (TV, 2003), Na Bezymyannoj Vysote (At a Nameless Height (TV, 2004), Boj s Tenju (Shadowboxing, 2005).

Nikolai Lebedev (director/screenplay writer)
Born November 16, 1966. In 1991 graduated from Moscow State University faculty of journalism, and in 1993 from the screenplay and film faculty of VGIK (V. A. Utilov's master class). Worked as author and anchor man in programs for Moldavian television. Co-author of several novels in the detective-crime genre. Laureate of the Russian Federation State Prize for the film Zvezda (The Star, 2002). Filmography: Zmeiny istochnik (Source of Serpents, 1997), Poklonnik (The Admirer, 1999), Zvezda (The Star, 2002), Effekt Irisa (The Iris Effect, 2003).

Valery Martynov (chief of photography)
Born May 9, 1957 in Poltava, (Ukraine). In 1979 graduated from the cine photography department of VGIK (A. Galperin and A. Kharitonov's master class). Worked at the Lenfilm movie studios. Since 1990 has completed many projects for French television. Among his films: Moj Boyevoj Rashchyot (My Battle Crew, 1987), Muzh i Doch Tamary Aleksandrovny (Tamara Alexandrovna's Husband and Daughter, 1988), Osobennosti Natsionalnoj Rybalki (Peculiarities of National Fishing, 1998), Syostry (Sisters, 2001), Pisma k Elze (Elza's Letters, 2002), Bulvarny Pereplyot (Cheap Fiction, 2003).

Irek Hartowicz (chief of photography)
Born on January 10, 1951 in Warsaw (Poland). This is his second joint project with Nikolai Lebedev after the film ExLife (2003). Among his films: Mars (1996), Looking for Lola (1997), Lured Innocence (1997), The Diamond Hunters (2001), Artificial Intelligence: AI (second unit) (2001), The Iris Effect ( 2003).

Alexei Rybnikov (composer)
Born on July 17, 1945 in Moscow. Studied at the Moscow Conservatoire Central Music School for Talented Children from 1956 to 1962. In 1967 graduated from A. I. Khachaturyan's composition class at the Tchaikovsky Moscow Conservatoire, and in 1969 from postgraduate studies led by the composer. From 1969 to 1975 taught at the Moscow Conservatoire in the composition faculty. In 1989 over 10 million recordings of Alexei Rybnikov's music were sold. He was made People's Artist of Russia (2000) and Honoured Artist of the Russian Federation (1989), and is a laureate of international and public awards. In 1969 Alexei Rybnikov joined the Union of Composers and in 1979 the Union of Cinematographers and the Russian Presidential Council on Culture and Art. Among Alexei Rybnikov's work for theatre is the opera The Star and the Death of Joachin Mureta (1977), Juno and Avos (1972) and Liturgy of the Possessed (1992). His filmography includes Priklyucheniya Buratino (The Adventures of Buratino, 1975), Tot Samyj Myunkhgauzen (That Munchhausen, 1979), Utoli Moja Pechali (Relieve My Sorrows, 1989) and Zvezda (The Star, 2002).

Lyudmila Kusakova (production designer)
Born on May 2, 1935. Graduated from the art faculty of VGIK (O. Pimenov's master class) in 1962 and now works at a Mosfilm studio. Honoured Cultural Worker of the RSFSR (1974). Honoured Artist of Russia (1995). Winner of the Nika Prize for the film Baryshnya-krestyanka (Lady Peasant, 1996). Laureate of the USSR State Prize for the film Lenin v Parizhe (Lenin in Paris, 1982) and Russian Federation State Prize for the film Zvezda (The Star, 2002). Her work includes the film Aibolit-66 (Oh How It Hurts-66, 1966), Neveroyatnyje Priklyucheniya Italyantsev v Rossii (The Extraordinary Adventures of Italians in Russia, 1973), Obykhovennoye Chudo (An Ordinary Miracle, 1978), Pokrovskiye Vorota (Pokrov Gates, 1982), Zvezda (The Star, 2002) and Vsadnik Po Imeni Smert’ (Horseman Named Death, 2004).

Marat Kim (art director)
Born on July 22, 1959. Graduated from the Lenin Moscow State Pedagogical Institute philology faculty and the Polygraphy Institute art faculty. Designer for the detective film Pantera. Ispytatelny Srok (Panther. Probation Period, 2000), illustrator of over 50 books (including Artemy Troitsky's Rock in the Soviet Union for Sovyetsky Pisatel, Art and Ardis (USA). Illustrator for Andrei Konchalovsky's film Odyssey. Shooting sheet artist for more than 200 TV advertisements and the films V Sozvezdii Byka (In the Constellation of Taurus, ) Kamenskaya (2000-2003), Vse, Chto Ty Lyubish (Everything You Love, 2001), etc.
Awarded a first-class diploma by the All-Union Book Art Contest (1990). Twice awarded the Merit Award and Bronze Award of the Worldwide Calendar Contest held by the US Association for Calendar Producers.

Vladimir Leshchinsky (visual effects supervisor)
Born on January 22, 1968. In 1989 graduated from Moscow State University, faculty of computer mathematics and cybernetics. From 1996 executive producer and a founder of the Dr PICTURE studio. Many times laureate of the PIXEL Prize, also IMAGINA (Monaco). Instrumental in creating advertisements, computer games and video clips. Among his film work: Utomlyonnye Solntsem (Burnt by the Sun (1994), Po Tu Storonu Volkov (On the Other Side of the Wolves (2002), Russkiye v Gorode Angelov (Russians in the Town of Angels (2002), Nochnoj Dozor (Night Watch (2003).

ACTORS

Alexander Bukharov (Wolfhound)
Born in 1975 in Labinsk. In 1994 honors graduate from the Irkutsk Drama College. In 1998 graduated from VGIK (Yevgeny Kindinov and Mikhail Lobanov's master class). While studying he acted in diploma work by directing faculty graduates (Vladimir Khotinenko's master class). Since 1998 actor at Armen Dzhigarkhanyan's Moscow Drama Theatre. Work for theatre: The Government Inspector (1998); The Heart Is Not Stone (2000); Day of Madness, or the Marriage of Figaro (2001); Three Sisters (2002), etc. Filmography: Dal'nobojshchiki (Long-Range Gunners, 2001), Lvinaja Dolya (The Lion's Share, 2001), Doroga (The Road, 2002), Gangster Files, etc.

Oksana Akinshina (Princess Elen)
Born on April 19, 1987. Lives in St Petersburg.
Filmography: Syostry (Sisters, 2001), Lilya 4-ever (2002, Sweden-Denmark), V Dvizhenii (In Movement, 2002), Kamenskaya-3 (2003), Bourne Supremacy (2004).

Igor Petrenko (Luchezar)
Born on August 23, 1977. In 2000 graduated from the M. S. Shchepkin Drama College (V. Korshunov's master class) and was accepted by the Maly Theatre. Laureate of the Constellation Prize for the best debut performance (2002, Zvezda). Awarded the Russian Nika Prize as Discovery of the Year (2003, Zvezda). Among his films: Moskovskije Okna (Moscow Windows, 2001), Villisy. Nevesty (2002), Zvezda (The Star, 2002), Karmen (Carmen, 2003), Voditel dlya Very (Driver for Vera, 2004).

Alexander Domogarov (Cannibal)
Born on July 12, 1963. In 1984 graduated from the M. S. Shchepkin Drama College (V. Korshunov's master class). At different times performed at the Maly Theatre and Soviet Army Theatre, and since 1995 has worked in the Mossoviet theatre company. Honoured Artist of Russia (2002). Work for theatre: My Poor Marat; Dear Friend; Nijinsky, Divine Mad Clown, etc. Among his films: Assa (1987), Vizit Damy (The Vizit, 1989), Gardemariny III (Naval Cadets-3, 1992), Koroleva Margo (Queen Margot, 1996), Ogniem i miechem (With Fire and Sword, 1999, Poland), Banditskij Peterburg (Bandits' St Petersburg, 2000).

Natalya Varlei (Mother Kendarat)
Born on June 22, 1947 in Constanta (Romania). In 1965 graduated from the State College of Circus and Variety Art, department of acrobats. Graduated from the B. V. Shchukin Drama College (Y. Katin-Yartsev's course) in 1971. Graduated from the poetry faculty of the Literary Institute (1994). Performed as a tightrope walker at the Moscow State Circus until 1967. From 1971 to 1978 acted at the K. Stanislavsky Drama Theatre. Honoured Artist of Russia (1989). Among her films: Kavkazskaya plennitsa, ili Novye priklyucheniya Shurika (Prisoner of the Caucasus, or Shurik's New Adventures (1966), Viy (Viy or Spirit of Evil, 1967), Zoloto ( The Gold, 1969), Beg (The Flight (1970), Tri Dnya v Moskve (Three Days in Moscow (1974), Oshibki Yunosti (Mistakes of Youth (1978).

Yuozas Budraitis (Dungorm)
Born on October 6, 1940 in Lithuania. In 1968 graduated from Vilnius University, faculty of law. From 1976 to 1978 studied in Moscow at the Higher Courses for Screenwriters and Directors. People's Artist of the Lithuanian SSR (1982). Among his films: Nikto ne Hotel Umirat (Nobody Wants To Die (1965), Shchit i Mech (The Sword and the Shield (1968), Sluzhili Dva Tovarishcha (Two Comrades Were Serving (1968), Legenda o Tile (The Legend About Thiel (1976), Opasnyj vozrast (A Dangerous Age (1981), Russkij bunt (Captain’s Daughter (2000).

Andrei Rudensky (Tilorn)
Born on January 26, 1959 in Sverdlovsk. Without graduating from the Sverdlovsk Architectural Institute he transferred to the second year course at the M. S. Shchepkin Drama College (V. Korshunov's master class). From 1989 to 1993 worked in the Novy Drama Theatre. Among his films: Zhizn Klima Samgina (The Life of Klim Samgin (1986), Ostanovka po Trebovaniju (Request Stop (2000), Povelitel lush (Lord of the Puddles (2002), Drugaya zhizn (Another Life (2003).

Artyom Semakin (Evrikh)
Born on July 12, 1980 in Chelyabinsk. Graduated from the B. V. Shchukin Drama College (Y. V. Shlykov's course) in 2001. Among his films: Prostye Istiny (Simple Truths 1-2 (1999), Down House (2000), Zvezda (The Star (2002), Vsadnik Po Imeni Smert (Horseman Named Death (2004).

Yevgenia Sviridova (Niilit)
Second-year student at the B. V. Shchukin Drama College. The role of Niilit is the actress's film debut.

NIKOLAI LEBEDEV. DIRECTOR AND SCREENWRITER
Working on the screenplay for the American movie ExLife, I suddenly realized I must take a break and read something for relaxation. A friend recommended Maria Semyonova's Wolfhound. Then by chance I met the publisher and a rumour started that I was interested in using the material. There was a call from the Central Partnership Company, they suggested I make a screen adaptation of the novel. I wrote the screenplay myself – in the end there were more than twenty versions. Between ourselves, I managed to read a few other screenplays based on Wolfhound, written by excellent screenwriters for other directors. Each one would make a separate film quite distinct from any other. When I met with Maria Semyonova she had lots of questions about the screenplay, sometimes she could be very cutting. But our discussions went on for ages and I think we were allies by the time we parted. That's why any objection, any confused question can be countered by a specific explanation for changes in the action or characters. Some changes were not through any will of mine but dictated by the laws of screen drama. My own feeling for the material was a big plus, naturally.
I know that many fans of Maria Semyonova's novel are troubled by the issue of 'deviation from the text'. I understand their consternation, but there's nothing I can do about it. When all's said and done, movies and literature are different art forms. The film is not an illustration of the book, it's a fantasy on a theme suggested by the book. We threw out a number of different characters and episodes for the sake of retaining what's most important – a sense of the fascination and inner power of the story. A bad film based on a good book is no use to anyone. We need a good film, too. Even if it differs from the book. And it never happened that the release of a film cancelled out the book. It continues to live, you can still read and re-read it. So calm down, you guys!
For me Wolfhound is an enthralling story, romantic and full of adventure, human interest and fantasy. It represents the possibility of making a film-epos from original material, a new cinematographic image of the positive Russian hero. The positive nature of the central character is not by any means due to his being absolutely right in all he does. Most importantly, he understands the difference between good and evil, so he consciously moves towards good as a result of twists in the plot and his various struggles. Both the hero and audience must undergo a catharsis. The best young actors in our country auditioned for the character of Wolfhound, the well-known and so far unknown, and Alexander Bukharov was best of all in the role.
I don't want the leading characters and their problems to be taken straight from the book, they should be loved and perceived as real, live people. The greatest thrill for me is when you generate such tension that the audience forget their cartons of popcorn.

LYUDMILA KUSAKOVA, PRODUCTION DESIGNER on the construction of Galirad
Did you have experience in building large towns?
This was my third. I built Paris with the director Sergei Yutkevich for Lenin in Paris, and old Moscow for Karen Shakhnazarov's Horseman Named Death. Of course I have a feeling for town planning, but each city has its own special features. Galirad had to be built of wood, bustling and with elements of fantasy, but not like something out of a fairy tale.
What artistic decision formed the basis for the town?
The set for Galirad recreates the appearance of pagan, pre-Christian Russia. Our work on the town's appearance was based on Maria Semyonova's book, on specialist literature and archaeological finds. But Wolfhound is a fantasy and we used elements of more recent and earlier history, everything that could give the feeling this was outside everyday life.
What materials did you use for construction?
Natural logs. There were several trips to villages where we dismantled houses and schools built of old logs. These materials lend both warmth and atmosphere to the town.
What was the most difficult part of construction?
The sense of real life, the streets had to live. If you like, I built the interior of a town. So there are numerous narrow lanes, gaps between buildings, passages. The town gives me the impression of complex living quarters rather than open space.
Did the director give you precise tasks?
We worked a lot together, visited Slovakia, Montenegro, Bulgaria, Czechoslovakia, Karelia and the outskirts of Vyborg looking for a location. And we made a joint decision that it must be Slovakia, it was closer to what we had in mind.

MARAT KIM, ART DIRECTOR
How did you begin work on Wolfhound?
I was invited to devise the shooting sheet for Wolfhound, I sketched out the projected film frame after frame. Then the GSK Company where I was art director devised the logotype for the opening credits and the printing process to accompany the film's release. When work was still in progress Nikolai Lebedev asked me to plan the armoury requisites too, although this was something new for me. Quite simply, I knew the screenplay almost word for word and took part in many discussions with Lebedev and production designer Lyudmila Kusakova about the characteristic features for each tribe inhabiting the Wolfhound's territory.
What goals did you set yourself in creating the armoury?
The Wolves, Galidarians, Kharyukians and other peoples needed different kinds of weapons that reflected their life style and everyday existence, and suited the costumes. We defined a prototype for each tribe: the inhabitants of Galirad were Slavs, and so on. And the design of swords, pikes, bows had to be imaginary. When our armourers, the first-rate masters Anatoly Kruglov and Leonid Bass said a weapon couldn't have existed then, the director would ask: 'Excuse me, when was THEN? Name one precise date or century!' But we based the Galidarians' armoury on Slav weapons – swords with hand guards curved downwards, elongated blades, guttiform shields. The Cannibal's warriors have Norman weapons – straight hand guards crossways to the blade and round shields. We had great fun making everything for the wild Kharyukians. Their weapons are primitive, skewed, shaggy and rather comical, like the denizens of the dense forest themselves.
Also the weapons have their own laws of construction. A sword, for example, must be balanced, the blade aligned with the orb, the end of the hilt, or it's difficult to work with.
The stuntmen made their own demands: that the swords must have replicas in case of breakage, simplified copies for stunts, telescopic blades and axe handles, i.e. the front section must retract inside, and shields must shatter under the impact of a blow.
Did the production designer make any suggestions?
Lyudmila Kusakova was worried how the weapons would look in the frame. Cinema has its own rules and often a real, sharpened, gleaming sword can look like a cheap plastic imitation onscreen. Lyudmila Kusakova and our armourers already encountered such problems in their previous film, Poisons or the World History of Poisoning. Karen Shakhnazarov devised an excellent solution, by the way. I made a special visit to the Mosfilm Museum to see these impressive, crooked, slightly rusty, yet lifelike and 'genuine' weapons. With Tolya, Leonid and the assistant props director I studied many historical originals. I repeat, this was not copying but remaking the original. And I wanted simplicity, antiquity. 'As long as it doesn't look like a souvenir,' Lyudmila Kusakova kept repeating.
Does the Wolfhound's sword have any special features?
That was a separate task. According to legend this sword was forged by one of our hero's ancestors. The sword had to be easily recognizable and stand out from the others. After a long search I eventually decided to look at it through the eyes of the mythical blacksmith. The blade has a shank joined to the haft. What if the haft is made from twigs woven round the sword like a plait? This was a characteristic feature of the Wolfhound's Venn tribe (I've been a fan of Maria Semyonova's since her first book came out). Towards the end of the haft the twigs spread out like a tree and clasp the end in the form of a hammer. The hand guard evolved in the same way – with the crescent curved downwards according to Slavic custom. We ended up with a most unusual object and chinks of light shine through when the sword is seen in silhouette. It's recognizable from a distance and archaic rather than primitive. Just what we needed.
How did you actually make the weapons?
One by one I moulded all the hilts shown in the foreground, in close-up, in plasticine so a cast could be made. In the end we produced a large number of weapons. For each tribe we had to fashion a gentleman's set of arms: swords, knives, bows, arrows, quivers, pikes, axes, shields and scabbards. There were five tribes, plus individual weapons for Kanaon, Ertan, the hired assassin. And replicas as well, and telescopic armaments! I hope our massive efforts haven't gone to waste. We'll find out when we see it on the screen.

VISUAL EFFECTS
One of the most important elements of Wolfhound is the use of visual effects devised using the latest advances in the field of computer technology. The Moscow studio Dr Picture was invited to work on the visual aspect of the movie. Dr Picture participated in the making of films such as Burnt by the Sun, On the Other Side of the Wolves, White Gold and Night Watch. A special feature of work on Wolfhound was organization of the technological chain of visual effects production in line with international practice. Like their colleagues abroad, the Dr Picture specialists began work on the film early, when the screenplay was still being written. This allowed them to discuss in advance with the director the possibilities offered by visual technology, and what could be used for this film. In the production process of each visual effect for Wolfhound several different people took part and each of them had a precise area of expertise – the animator, artist, render and so on. It was this organization of the work process that allowed us to achieve a result worthy of the original idea in a short time. Some 60 specialists from all over the CIS worked on the visual effects for Wolfhound – a record number for contemporary Russian filmmaking.
Among tasks completed by the studio were the pre-visual scenes composed of complex production elements (computer modelling of the future scene with the position of the camera and its movement), retouching and alteration of the background scene, and also re-working of the three-dimensional character, the Earthbound Bat.
The image of the wild beast that accompanies the Wolfhound everywhere represents the synthesis of a real animal with computer animation. Dr Picture specialists accomplished a unique task in creating the virtual double of the Cambodian bat that took part in the shooting of Wolfhound. The animated Earthbound Bat, like its real prototype, will have natural marking that preserves the real gradations of colour, and will also react emotionally to events. It took two months to devise this character using the Canadian program SOFTIMAGE/XSI, a pioneer in the field of three-dimensional animation. Leading Hollywood studios also used this program to create visual effects in the films Harry Potter 3, Van Helsing, The Hulk, The Matrix Reloaded, and many others. In the process of work on the Earthbound Bat the animators needed a thorough understanding of the animal's anatomy and peculiarities of its behaviour. An unusual feature of work on this character was that a fruit bat lives its life upside-down, so it was necessary to place the model on the monitor in the same position. For the first time in Russian filmmaking a three-dimensional character has been developed to such a high standard that it stands equal to the real animal on the screen.

WOLFHOUND OF THE GREY DOG CLAN