Director of rooms MELOVIN’a: performance artist in Lisbon was in jeopardy

Постановщик номера MELOVIN’а: выступление артиста в Лиссабоне было под угрозой срыва

Director of rooms and MELOVIN’ (real name Konstantin Bocharov) at Eurovision in Lisbon became a well-known Ukrainian choreographer Konstantin Tomilchenko. He invented a move with a Grand piano, which on the stage of the competition and appeared the representative of Ukraine. By the way, the hoisting mechanism and the tool carried to Lisbon from Kiev. The production of costly decorations, and all expenses for the trip to Eurovision, took on the channel STB.

Konstantin Tomilchenko in an exclusive interview with the “FACTS” told about the difficulties and unexpected situations that accompanied the speech MELOVIN’.

Постановщик номера MELOVIN’а: выступление артиста в Лиссабоне было под угрозой срыва

*Konstantin Tomilchenko

For MELOVIN’and 17-th place at “Eurovision” — it is still a victory, — said Konstantin Tomilchenko. — It is done! Kostya have withstood the tension that accompanied his statement not only on the competition, but here, in Ukraine. He sang in Lisbon dignified and charismatic. Clearly, he was a character who stood out from the rest of the participants.

See also: the results of the voting MELOVIN won the Eurovision song contest 7th place

— What place did you expected?

I thought that the coast will be included in the top ten. Judging by the audience voting, the “seven” is an objective reflection of how liked his room. With regard to the professional jury, I don’t know on what basis they gave points. It is clear, voted for what the audience and judges… Maybe they had a little development in the vocals. One thing is for certain — the jury never coincides with the opinion of the audience.

Say, the victory of the Israelite largely due to her active promotion of the competition.

— From the point of view of public relations and how to present the viewer of the artist, then the Israelis, of course, was the best. Now this promotion becomes one of the deciding factors in such contests.

— Whose was the idea of staging MELOVIN’huh?

She belongs to Costa. We only it is “painted”, transformed, tried to make a more scenically interesting. But fundamentally nothing changed. I listen to the Bones, knowing that he feels and sees. I had to do was not to spoil the room.

See also: MELOVIN tried to joke “bite” leading “Eurovision-2018”

— MELOVIN very effectively appeared out of the piano!

— The piano was my idea. We wanted to relate the story of the staging with the music. If you remember the room MELOVIN’and at the national selection, the piano was there in the end. We wanted to make a complete story. MELOVIN out of the tool, and then burned in their passion for music. This show, which was something mystical. Kostya wanted theatrics on stage. And it turned out. We were pleased with the room. Although the rest of the picture that was supposed to get, saw.

— You mean the number of fire?

— Not only. By the way, the Portuguese contractors flatly refused to do fire high, referring to safety. Although we have calculated everything to the millimeter. We had an incredible effort to fire all the same needed power. Nevertheless, the fire on the steps was not enough for the perception of room so we added it flames in the background.

This time on “Eurovision” were enough players who were out without any productions.

— Production is fairly expensive. It’s all in the budget. Someone just didn’t want to invest money, but there were those who overdid it with the production. As, for example, Finland. They had a spinning wheel, installation. Malta has screens, pyrotechnics, dancers. Behind all this it was hard to hear the song. Here, the representative of Israel was nice “video clip” picture. But the singer is an interesting character, instead of watching.

— How do you like the statement by the representative of Belarus Nikita Alexeev?

— Unfortunately, he was very excited and it was a fatal mistake. His number for “Eurovision” it seemed to me a bit heavy. Viewers of “Eurovision” does not want to ask questions about the production. They just need a “chip” that will be associated with the song. The Europeans in this format do not want to bother. Or, otherwise, should be a clear message, as it was at Jamala.

Read also: the Failure on “Eurovision” representative of Belarus commented on his producer

— Whose room did you like?

— The Swede was light, sleek, stylish room. The shots I liked Bulgaria. As for the Danes, they are so strong song that I would not make the statement at all. It was enough on stage singing “the Vikings” with glowing eyes. As for Cyprus, for me it was the secondary room. Yes, the singer is sexy, beautiful, harmonious, but without innovation. If I hadn’t known performances Beyonce, my delight would have been greater. But, admittedly, Cyprus was “delicious”.

— You did put the winning numbers Jamala. I felt the difference in approaches to the organization of the contest in Sweden and Portugal?

— I realized that on “the Eurovision” it is necessary to go with the storyboard room, as it was with Jamala. This means that the Directors of the competition already knew how it will look production party schedule. This simplifies the work of operators. In the case of MELOVIN’om we did, and it was difficult to achieve the desired angles. The Director doesn’t really delve into the essence of the room. But this is a TV contest, where the song is perceived through the camera. Initially, we believed that in Lisbon will work traditionally, Swedish or German team of Directors and operators. It turned out that it is a Portuguese filmmakers who often shot political show. People used to remove static cameras. On the other hand, when we went with Jamala, where it was more difficult to change something. Here we in the end got what he wanted.

— How much did you have rehearsals?

— Only two half an hour and twenty minutes. Too little! It was more like the runs, when to change something that was simply impossible. In the first uncut version numbers MELOVIN’and that the Portuguese were doing with the extras, and then sent us the Bones generally were not seen on the stage 40 seconds! Although we have clearly written what you want. When we arrived, it began to change everything in a hurry. It was about the first frame when MELOVIN “grows” out of the piano. It was our “thing.”

You were lucky with the scenery?

Yes. The piano and the lifting mechanism is made by the STB. Ten days before the start of the contest it all went to Lisbon, and work in Kiev with the scenery we did not have time. Rehearsing with “wheels”, in Lisbon. But Kostya did, and this is another big plus as an artist.

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