Renowned Ukrainian film director and producer Alexei Komarovsky, in an interview with the Wave RBC.UA publication, put the final touch on several hotly debated questions in domestic cinema: from the place of million-follower bloggers in the frame to the nature of 'nepotism' at castings. Over the past few years, Komarovsky has managed to experience the film industry from virtually every angle — from directing work to evaluating grant applications under the 'Tysyachovesna' program. It is precisely this dual experience, he says, that allows him to look at the recurring pool of actors in Ukrainian films without the usual irritation and to seek systemic rather than conspiratorial explanations.
Blogger vs. Actor: The 95% Rule
Asked directly whom a producer would choose for the lead role — a professional actor or a blogger with a million-follower audience — Komarovsky suggested reframing the task: if a professional and a media personality both apply for a journalist position, the publication would base its decision on the task and the genre. In cinema, he assesses, in 95% of cases, especially in lead roles, the choice falls on the professional. The exception is 3–5% of projects where the very concept is built around a specific media personality. As a classic example, the director cited Eminem in the film '8 Mile': he was not a film actor, but the movie relied heavily on his biography and close environment. 'A professional actor in the lead role is the rule. A media personality is the exception, and there must be a specific reason for it,' Komarovsky summed up. At the same time, he noted that today there are also professional actors with million-follower audiences on social media, but the number of subscribers will never replace fit for the role and craft skills.
The 'Train of Movie Stars': Why the Same Pool of Actors
In response to the question of why a limited circle of people regularly appears in Ukrainian films and series, Komarovsky used the metaphor of a 'train of movie stars': it has a hundred seats, while hundreds of thousands want to board. A certain group of actors rides from station A to station B for years or even decades, as long as the audience wants to see them and producers invite them to new projects. Then someone gets off, another takes their seat — and the train moves on. It is precisely the limited and temporary nature of these seats, the director believes, that creates the very phenomenon of a movie star. He emphasized that this is not a Ukrainian specificity: Leonardo DiCaprio, Anne Hathaway, Timothée Chalamet, Zendaya, Emma Stone and others also constantly appear in major global projects. 'There are new talents, and they are constantly being sought out. But it is impossible to find a talented person and urgently create a film around them. Films are not made for actors — they are made for the audience,' Komarovsky added, reminding that even a very talented actor may wait a long time for their character.
Castings and the Myth of Nepotism
Asked about the transparency of castings and the presence of nepotism, the director answered that a film casting is not a state tender, so the terms 'transparency' and 'nepotism' are not entirely appropriate here. The creative team is assembled in accordance with the vision of the director and the producer: one announces an open casting across the country, another invites ten specific actors, a third writes a role for one person — these are different creative methods. Komarovsky himself plans an open national casting for his new film 'First Time,' but he does not consider it right to insist that this should be the only acceptable format. As for acquaintances, the director acknowledged their existence but called this not nepotism but creative trust: Scorsese has worked with DiCaprio and De Niro for decades, Woody Allen repeatedly filmed Scarlett Johansson, Tim Burton — Johnny Depp, Christopher Nolan — Michael Caine. 'If a director knows an actor's capabilities, their temperament, and sees them in the next character, then it is natural,' he explained.
Risk in Wartime Conditions and Grant Expertise
Komarovsky separately addressed the topic of risk in contemporary Ukrainian film production. In his words, today risk accompanies any project: taking a well-known actor is one risk, an unknown one is another. In his upcoming film 'First Time,' the director intends to use many new faces, especially among young actors, and new names will inevitably appear — 'it is just that for each person talent, role, and moment must align.' Komarovsky shared his experience as an expert on the 'Tysyachovesna' grant program in the same interview, noting that evaluating applications requires a systemic view of the project, not just the director's name. To conclude the conversation, he emphasized that for Ukrainian cinema in wartime conditions, sustained state support is critically important, without which castings, production, and distribution cannot be built into a long-term strategy.
