JAG convention interview with Jen Henderson (7/29/01)

Talking with Actor Alex Kuznetsov

            At its very best, great theater is inspirational.  In the case of Alex Kuznetsov it was nothing short of life changing.  Had he not seen "Crime and Punishment" at Taganka Theater during his final year of studies at the Moscow Aviation Institute, he might well have continued on his path toward becoming an electronics engineer.

               Born Aleksandr Kuznetsov (kooz-NET-sof) in Petrovka village and raised in Moscow, the 41-year-old award-winning actor may be most familiar to American audiences from his appearances in the feature films "The Peacemaker," "Space Cowboys," and "Agent Red."  More recently he may be recognized from his guest roles on the hit CBS television series "JAG."

            JAGzine:   How did you initially get a part on "JAG?"  What about the subsequent appearances you made on the show, did you have to audition or did they ask for you specifically?
            Alex:  My first part on "JAG" was on the episode “Cowboys and Cossacks," which aired on 4/11/1997.  I auditioned for it and immediately got a callback, during which I read for the producers of the show.  A few days later I was on the set of Mimi Leder's “The Peacemaker" when I got a phone call from my agent.  He said that the "JAG" producers liked me and they wanted to see me again that day to meet with executive producer Donald P. Bellisario, who hadn't attended the first producers’ session.  But it was a long working day at the Universal studio where I was shooting "The Peacemaker" and I was almost sick from having smoked two packs of cigarettes on the set as a character, so I did not make it over to Paramount.   I got the part anyway, and I was not surprised.   I'd had a good feeling about it.

               I was also hired as a Russian technical advisor for that episode, which later that year received an Emmy for Best Costumes.  By Russian technical advisor I mean that I make certain everything about Russia on the show is authentic and believable:  the uniforms, civilian clothes, props, signs, the accents. And I also teach Americans to speak Russian if their part requires it.  For three years I worked on the show mainly as a Russian technical advisor, and also had a few little roles not related to the first character I played .

               After "Cowboys and Cossacks" aired I heard that everybody in the production crew liked my character a lot and that they wanted to bring him back someday.   In June 2000, Melissa Skoff, “JAG’s” casting director, called me up and said that there were two episodes with Russian characters in pre-production (she did not know if there was any part for me yet - she hadn’t read the script yet), but she assured me that I would be working as a Russian technical advisor.  In a week she called me again and after a brief greeting she said, ” Here is Don!”

               Don,  "Hi, you’ve got the part without any questions.  It is a great one, you're gonna love it.  I wanted to ask you if you are available and willing to work on these two episodes also as a Russian technical advisor." For a few seconds I was dumbfounded, but managed to squeeze out of myself, "It will be my honor."           

               Don, "Thanks.  I am glad to hear that.  Welcome aboard. Here is Melissa."

Melissa picked up the phone only to say, “I will call you later,” and then hung up.  For about a week after that call I didn’t know what kind of part I had been offered or what it was about.  So, to answer your question straightforwardly and honestly: No, I only had to audition once. I wish it could happen to me in my American career more often.

            J:  Of the episodes of "JAG" that you have done to date, do you have a particular favorite? What is your most memorable moment from working on the show?

            A:  I think my favorites are the first and the last ones.  The first because I loved the script; I loved the character; I loved the story.  And also because it was the first major character I'd played in my American career, as well as my first major TV experience in the States.  It was fascinating to be a part of the show.
               My most memorable moments? "Cowboys and Cossacks."  My first day on the set, everybody was so busy that almost nobody noticed me.  I was one of the hundreds of people that they see regularly on the set throughout the season.  After my first take, however, almost everyone in the crew came up to me and expressed their best wishes and congratulations.  David James Elliott was astounded, “How can you do that?  Not only do you memorize all this tech stuff and deliver it but you can actually act in a totally foreign language?”  In one of the most recent episodes we did together he joked, “I got it.  If you don’t want to be outplayed by anyone, never act with kids, animals and Russians”.
               Another memorable moment was my first production meeting on the episodes "To Russia with Love" and "Gypsy Eyes."  I was invited as a Russian technical advisor, and it was very exciting to be a part of the creative team.  You shoot the movie sitting at the conference table, envisioning every scene with all the possible details: camera angles, costumes, props, set designs, etc.  We got another Emmy for best costumes for "Gypsy Eyes."

            J:  Your father served in the Soviet Navy Air Forces.   Does he find it ironic that you've been tapped several times now to play a military man yourself?  Have you ever asked him for advice on how to play such a character?
            A:  I did not talk about those particular characters, but he told me a lot of stories from his past.  Some day I want to do a movie based on his stories.

            J:  You are a well-known actor back home in Russia.  Are you frequently recognized on the street when you are there?  Do you experience the same level of recognition when you are in America?

            A:  The movie that made me famous in Russia was my seventh one, "Jack Vosmerkin-American," a musical comedy in which my character was a guy who was born in Russia but who grew up in the States.  He later comes back to Russia, to his native village to grow tobacco for cigar production.   Before it came out I was just working and leading a pretty simple life.  After the movie was released, first in theaters and then aired on TV a half-year later, I woke up to find myself famous.  Laughs and jokes followed me as a shadow everywhere.

               Most of the Russian community in the U.S. still recognizes me from my earlier movies, plus they also know me because I am hosting a few shows on Russian TV channels in Los Angeles. And August 17, the City of West Hollywood (greater Los Angeles) will hold a huge Russian street festival and I will be hosting that as well.

               I got my first American recognition after my episode of “Beverly Hills, 90210” aired.  The next day I had a delegation knocking at my door, and every teenage girl in my apartment building got my signed picture.  I even had a little press conference with these girls and their schoolmates.  After "JAG" I had a few people recognize me in the stores, and once even got out of a citation from a parking control officer who recognized me from the show.  But to reach the same level of recognition among the American audience as among Russian, I need to do some more work.

            J:  For those fans of yours who don't get the chance to tell you in person how much they enjoy your performances, do you have an official fan club or mailing address to which they can send you a note of admiration or perhaps request an autographed picture of you?

A:  Recently I created my own web site http://www.filmxing.com/  There I have my biography, pictures, some film references, and my resume; and in the near future there will also be my demo reel and voice samples.   I also want this site to be the ultimate resource for U.S.- based Russian talent, and through it provide exposure for my Russian fellow-actors, artists, and other creative people whom I dearly love and whose work I highly value and respect.  There is a schedule of events, which you can look up if you want to see my work and that of my colleagues, and there is also a fan registration form for those who want to get updated information about my creative life.

            J:  What was the first piece of fan mail you ever received and how did it make you feel?
            A:  I got my first fan letters after “Cowboys and Cossacks” aired.  I received a couple dozen, and it was a huge surprise that a majority of them were not from a Russian-speaking but American audience.  I did not expect it at all.  I was surprised that those people had done some research and found a way to contact me through the Screen Actors Guild.   I was enormously impressed and flattered that they did so.   To me it means that I can find my audience in America despite the fact that I am a foreigner.

In the "Dukes of Hazzard" movie of the week, based on the famous TV show, I played Igor the Terrible, the head of the L.A. Russian mafia.   After shooting the first scene, most of the crew was imitating my lines with my voice and intonation, “Hot stuff! Hot!”  It was a great feedback right on the spot.  After this movie aired I got a few funny letters from Russians in New York and Chicago with an invitation to stop by if I'm ever around.

            J:   What upcoming projects do you have that your fans should keep an eye out for?  Can you tell us a bit about them?

            A:  In Russia we have a superstition.  It is bad luck to talk about future projects if you want them to succeed.  I am sure if any of these projects find their way to the screens, the fans will find the information on my web site.

            J:  The tremendous popularity of "JAG" is evident in the number of fan web sites and internet clubs dedicated to it, as well as by high attendance levels at the first JAGnik convention.   Is this kind of love for a television show purely an American phenomenon, or have you experienced this level of fandom in other parts of the world during your travels?
            A:  I have a lot of friends in Europe who were happy to see me in "JAG," or any other show or film for that matter.  But I think it is purely an American fascination with stardom, with the making and following of its stars.  Europe is much more relaxed in that respect.  In a sense, they are tired of their own history and cultural pressure, so they are not so open.  However, younger generations are much more receptive to new images and new stars.

               The "Alaska Kid" mini series, a European/American production, gave me credit in a non-Russian-speaking European market.  I do have a lot of fans among the Russian-speaking community.  All of them are from my Russian films though.

            J:  You split your time between Los Angeles and Moscow, working and living in
both cities. What do you enjoy most about each city?  And least?

            A:  Moscow is still a home to me.  There are a lot more people there who know me well: my friends, people I grew up with, fellow actors, directors etc.   My generation rules the political and business life there right now.   Some of them treat me as a celebrity, some pity me because they think I left Russia to live in America in the peak of my career and had to start all over again.  They think if I had stayed in Russia I would have achieved much more.  It may be true but I feel that if I hadn't left Russia then, I would have ended up in a nut house.  As long as I can remember, I always felt there was something wrong with the government, with the politicians and politics there.  Probably that is why when I first left Russia in 1989 to make a movie in Europe, I saw a way of life that made so much more sense to me.  I felt so much freedom and had so many opportunities, which opened my eyes to the entire world. 

               I was probably the first Russian actor who started to work outside the Soviet Union in foreign productions, and who was paid in hard currency.  Surprisingly to myself, when I made my decision to stay in the U.S. in 1991 my drive wasn't money.   I was making a very good living in Russia, starring in two international projects at that time.  One of them, "The Ice Runner," an American film shot in Russia in which I had a co-starring part, brought me to the U.S. for looping.  I came here with a small bag and an intention to do my job and go back to Moscow.  But . . . I am an adventurous person.  I love challenges.  I need to explore the unknown and experience new worlds.  And I had seriously changed the course of my life several times before.
               In addition, I strongly believe in reincarnation and I feel almost certain that my previous lives were not lived in Russia.  I was born in Vladivostok, a huge port on the Pacific Ocean, in the Far East of Russia
close to China and Japan. That's probably why somewhere in my sub-conscience I feel so very attached to Eastern cultures.  When I came to L.A. and went for the first time to Santa Monica Beach, I saw and smelled the vastness of the Pacific and my heart clicked.  The first thing I did, I jumped into the ocean.  That day was pretty windy and the water was eye-popping cold, but I felt warm inside, and some kind of "Home - Sweet - Home" sensation came to me.
               Looking back at my acting career I once again receive the confirmation that EVERYTHING IS CONNECTED.  A Russian fable movie I once starred in was about starting life over and over again in search of one's dream.  Years later I realized how much it influenced my life.  My seventh movie where I played an American also created some lucky fate.  While doing this movie I did not have any idea or sense that I
would one day end up in America.  Most of my Russian fans are making a lot of jokes about that.
               Plus, of course, I love the climate and nature in California.  I don't miss that freezing-your-butt-off or rainy-mud weather in Moscow at all.  I enjoy wearing shorts most of the year.  The less clothes the better.  Here in California there are a lot more opportunities to enjoy sports, the great outdoors, free travel and various lifestyles for every taste.

J:  The American media frequently points out the vast differences between Russia and the United States as far as their economies, politics, and lifestyles.  Having made your home in both countries, can you point out some things you have found that people from each country actually have in common?
            A:  Ouch.  That’s the question of a lifetime.   First of all, America and Russia are big countries.  So, both are characterized with a similar sense of a large nation with its hospitality, generosity and openness.  People are very friendly and will treat foreigners as their best friends.  But, an actor’s job is to seek out the differences, not similarities.

            J:   American society is notorious for its obsession with the physical appearances of its actors and actresses.   Is there a fixation with the "perfect" body in Russia as well?

            A:  Not at all.  Russians are dying out like dinosaurs, and the general majority of the people are still very depressed.  Very few of them are really health-conscious, lead a healthy life style or enjoy sports.  The acting profession is not so competitive there as it is here in Hollywood.  I think the American, or rather Hollywood, obsession with physical appearances is more about competition and marketing.  It is a special kind of business activity, which is so intrinsic to Hollywood.

            J:   How has the acting industry back home changed in your lifetime?  Are there differences in it since the fall of communism?
            A:  With the fall of Communist Russia and its old state machine and its laws, everything from ethics to culture and so forth had to go through a certain period of devaluation.  Everything and everybody was lost: all the criteria for good and bad, a sense of nationality, what is Russian and what is not.  It was a pretty big mess.  Russian filmmaking went through that desperate period as well.  All of a sudden all professional filmmakers found themselves without jobs.  There was only black market money available, and it ruled.  No good scripts, no professionals in front of or behind the camera, no originality; only bad, cheap imitations of bad, cheap U.S. films.  I saw it coming in 1991 when I left.

               Now, 10 years later, things have hardly changed.  Only more TV shows that are ridiculous second-hand replicas of their American “twin-brothers.”  Most of the films and TV shows are about Moscow’s criminal life and they are financed by the black market economy.  For more than a decade the film business in Russia has been the best money-laundering machine. 

               Also, it’s very important to keep in mind that there is not a single well-developed distribution and movie theater system in Russia, not to mention serious copyright problems.

            J:  You've been working in the United States for 10 years now.  During that time have you ever felt pressured to Americanize your name or make yourself "less Russian" in order to get employment?  Or have you found that the reverse holds true, and that you are most often sought after because of your Russian background?
            A:  Fortunately or unfortunately my last name does not make too much difference.
What is crucial here is my language and accent.  It is my best friend and my worst enemy.  Having English as my second language limits my characters' range, so there is a lot of work to be done to get rid of my accent.

            J:  Do you feel confined by playing mainly Russian characters when working in America?  Do you think that you are being stereotyped, or do you feel grateful for any performance opportunity that you receive no matter what the part may be?

            A:  My drama professor once told one of my schoolmates who objected to playing only certain types of characters, “People give you a job for what THEY see in you first.  It is your job to expand their horizon and yours.”  That’s what I’ve been doing all my life.

               Hollywood still up to this day gives a very lop-sided portrayal of Russian characters, showing them most of the time as mafia thugs, gangsters, criminals, and stupid politicians.   In short, all of them are BAD guys that deserve to die to make everybody’s life better. 

               Commander Kretchiak in “Cowboys and Cossacks” was my first part in my Hollywood career where I portrayed a character with his particular point-of-view, his truth, passion, complexities and sense of what is right and what is wrong.  Simply put, it was a real 3D character, not just a caricature.  I think of it as my first success as a dramatic actor in the United States, and I am enormously thankful to Donald Bellisario for that.

            J:   You've performed on stage, television, and in feature films.   Do you have a preference between these different types of acting experiences, and why?

            A:  I love all of them.  Stage is great because it is the only place for experimentation.  You have time to investigate, do your research, to try different approaches, styles, forms, and rhythms.

               In TV the most precious thing is time.  You have to deliver your lines and there is absolutely no time for mistakes, rehearsals, looking for inspiration, or perfecting your character.  Every word in the script is nailed. Today you've got your part and tomorrow you are already on the set shooting.  No time and need for a deep character research or portrayal. TV characters are our friends from everyday life.  There are no revelations; consistency is the most valuable asset.

               Film gives you more time and opportunities as a creative person.  You still have some time to talk to the director, to do some research, to try different approaches and little tricks to get your character where you want it to be.  Film is for big artists, and there you have a larger canvas to paint on.

               So, if you understand the differences between stage, television, and film acting, and are aware of the specifics, like to deepen your knowledge, and perfect your techniques and skills, then a combination of these three experiences is the best.

            J:  As a drama teacher, you prepare your students for working in the theatrical, television, and film industries.  When you were a student at the Boris Schukin Theatrical University, did you receive training there in all three areas?  Do you draw upon that training for the classes you now teach, or are your classes based more upon the experiences you've had since you graduated?
            A:  Unfortunately, the Boris Schukin Theatrical University did not have any specific classes or courses dedicated to TV or film techniques.  It was pure theater.  It is a great theater school, one of the best in my opinion, but surprisingly they don't teach film or TV acting.  Moreover, students were not allowed to do any movies or TV, which were considered a major distraction from the learning process.  I did my first movie when I was a sophomore and I was excused only because I was the best student and my professor made an exception. 

               So, I had to learn everything about acting in movies from watching them, observing other actors' work, and from my own personal experience in front of the camera.  I don't believe in frozen, rigid rules.  I don't create idols.  My rule is: everything is relative and dynamic, especially in the arts or in any creative, self-expressing activity.  Everything in art is ephemeral.  What seemed to be the absolute truth yesterday, today might be totally obsolete.  Time and genius create their own rules, forms, philosophy, images, and characters.
               As far as my own classes, I would not use the word "teaching;" I would prefer to call it an exchange of ideas, experiences, and skills.  So, when I am in class I am trying to foster a positive, creative atmosphere and build a foundation that will let the students' talents flourish and grow.  My professor used to say, "My goal as a teacher is not to make you read a certain number of books.  I know it is useless. But to ply you with knowledge, open your mind for a taste of some achievements and standards of knowledge, and give you certain tools to accumulate it in the after-graduation life." This is very important; to get the true taste for information and to cultivate constant love for exploring life in all its forms, collecting your observations and perfecting your skills.
               Another very important statement I heard as a student, "We can not teach you to become an actor, we can only help you become an actor."  It is a pretty controversial statement but I think deep down it is very true.  You cannot just say, "Get up every morning at 7am, study Stanislavski or Meisner, rehearse for two hours a day and you'll become a star."  A teacher can pass their knowledge on to you only to a certain degree.  After that it is only you, your memories, imagination, and creativity.  Find your own truth through pain, moments of depression and the feeling of being totally lost.  Find your own order and harmony in this mess we call life.  Don't accept everything as absolute truth.  Digest everything that you know, have seen, and experienced, and express YOURSELF.

            J:  You've been practicing yoga for nearly 30 years now.  On your website, you mention that you use it when working with your students.  What benefits do they gain from this?

            A:  First of all, yoga is a tremendous help in very simple things like getting your breathing
under control if you become too nervous.   It raises your awareness of the space around you, relaxing your muscles, releasing stress, and generating energy if you're tired.  Yoga also gives you an understanding of your body, its components, and the relationship between your body and the entire world around you. When you practice yoga you are able to concentrate your attention and train all these aspects and components of your life.  On the one hand, you are able to deeply experience a situation, and on the other hand you are able to step outside of it and analyze it.
               And that is a second major point.  Acting is the ability to focus your and your audience's attention and energy on the particular features of a character at a certain time.  They should see/feel only what you want them to.  You are painting your character in a physical, emotional, philosophical and imaginary world in the space of a certain period of time.  In order to be able to do it, you should understand the ingredients and tools you operate with.

               I think in this life where everything is so ephemeral, it is a necessity to have a bigger picture or understanding of your life and its processes, which yoga can help you gain.  You just express yourself. How you do it is a matter of choice, and choice comes from freedom. You have to free your body and consciousness to be able to choose what the best components are to portray a character: no attachments, no traps, and no clichés.  Acting is an ability and willingness to lose and forget oneself in order to find a very true essence of self.

               As my teacher used to say: "Some people put masks on to hide; we put masks on to open up and explore ourselves."

            J:   Would you ever be interested in working on the other side of the stage/camera as a producer or director?
            A:  Oh, yes. I'm getting ready for that.  I’ve got a digital studio now and am learning the craft from every angle.  I want to write, direct and produce.  I am working on some projects, and currently building a group of people I want to work with.

            J:   What do you think are your greatest strengths as a performer?
            A:  Versatility.  I think I have an international appearance, and I am very flexible in the emotional, directorial, and physical ways.  "Alaska Kid" gave me incredible physical experience from working in the mountains in the snow, doing a lot of fighting and horseback riding.

               Also, I have successfully worked in comedy, musicals and drama.  And now I am working a lot as a voice-over actor and narrator.  Every movie filmed in Russia had to be dubbed so I have a huge amount of experience working with my voice.

J:  What has been your most challenging role to date?  Do you have a "dream" role that you would love to have the opportunity to perform someday?
            A:  The second movie that I did in Russia was based on Russian folklore.  I played Ivan-the-Fool, the main character of all Russian fairy tales.  I was puzzled by how to create a believable character.  Not just a clichéd caricature and a very naïve simpleton, but also a very smart guy in his own way as he’s the one who embodies the national wisdom.  So, I thought of him as a child trapped in the adult body, “Forrest Gump a la Russ.”  This is one of my favorite movies I’ve done so far.

               Another one was my first English-speaking part in the TV series “Alaska Kid.”  It was a double cream cake: to act in English and to portray a crazy, greedy son of a gun, a real BAD guy and a quintessential villain.  I had never played bad guys before that part came along.

               There was another type of challenge I had once to survive: in a Russian war action movie I almost got burnt to death.

               My dream part would be playing someone like Tony Soprano.  I love this show: the idea, writing, directing, and acting are fabulous.  Russian immigration: that's a whole world to explore.

            J: Which colleagues of yours in the entertainment industry do you most admire and whom would you most like to work with in the future?

            A:  Oh, there are so many of them.  If I listed them all here it would be a book of many volumes.  Acting and working is about sharing, and there are so many people in the industry I feel I can share with.
               DONALD P. BELLISARIO: Obviously the top priority.  And the entire "JAG" film crew is an absolute pleasure to work with.
               DAVID JAMES ELLIOTT and CATHERINE BELL: I found a very good emotional partnership with them.  I love working with them and do respect their immensely intense work very much, and the sense of humor they are able to keep on the set.  It is incredible fun to work with David and Catherine, and there is so much to learn from them.
               MELISSA SKOFF: One of the best casting directors I know.  She also teaches an acting/cold reading class and I am often there as a "Stanislavski expert."
               NYPD BLUE PRODUCTIONS: I think I have established a pretty good relationship with them.
               CLINT EASTWOOD: I would certainly love to work again with him.  Working on "Space Cowboys" with him was a cornerstone experience; he is a real master.  Once on the set I was reading a Michael Chekhov book and he came up to me and expressed his admiration for him.  He had taken Michael Chekhov classes and a few times during lunch he found time to share his memories.  I was so excited to hear his fascination with Chekhov's techniques and teachings.
               DOLPH LUNDGREN: He is a very interesting thinker and we found our fascination in Eastern cultures mutual.  When we were working on the "Agent Red" set together, Dolph and I realized that we practice the same karate style called "Kyokunshinkai."  My first-degree black belt and his third had a good time working out together a few times while shooting.
               MIMI LEDER: I just love her; she's a wonderful director and a very creative person.  It seems to me we've made a good team together.  "Peacemaker" and "The Beast" are on the list of projects we've done together so far, but something else is cooking.

            J:  You often hear actors say they have paid their dues before they became successful in their careers.  How did you support yourself and your family between acting jobs when you first started out?
            A:  In Russia I did not get to do anything else besides acting.  I did my first movie, a co-starring part, when I was a sophomore.  Since then I was doing two or three starring parts a year in addition to working in a Repertoire Theater.

               When I came to the U.S. I worked as a bartender, waiter, stockbroker, and had my own computer business.  But mostly because I could barely speak English; and I needed some time to improve my language skills.

            J:  When you first began working in American films and television shows, was it difficult for you to work in English?  Did you ever have to recite dialogue, which you actually had no understanding of what you were saying?
            A:  It was very difficult.  I mentioned that above.  But working without understanding - NO, never. Acting is about working with subtext.  You should know what you are communicating.

            J:  On your website you cited the Beatles as being an influence in choosing to study English as a youngster.  So the question has to be asked, what is your favorite Beatles song?
            A:  "Let It Be."

            J:  Do you have a favorite traditional Russian food?

            A:  Blini (pancakes) with caviar.

            J:  What is a typical day like for you?

            A:  There is a Russian saying; "We are given only one life, so it is very
important to get enough sleep."  It is a joke, but seriously, I spend my days perfecting my skills and marketing myself.  As Stanislavsky used to say: "An actor's talent is a lot of sweat and homework.”