Biography
At the end of the last month of spring 1970, future producer Ilya Viktorovich Bachurin was born into a Moscow family of engineers. He studied at a regular school, and after graduating he entered the Russian Institute of Foreign Languages at the Faculty of Pedagogy. Ilya also has an economic education, which he received at the Academy of Management, as well as in the UK. Ilya served in the army, in the signal troops, where he mastered Morse code well.
Ilya Bachurin, whose biography contains many interesting facts, became interested in producing, and in 1993 organized M. Jackson’s first concert in Russia. Two years later, he opened the radio Station 2000, where modern electronic music is played. In 2000, he headed the directorate of Channel One. Since that time, so-called paid clips have disappeared on ORT, and quite successful programs have appeared. He was fascinated by production activities, so Bachurin founded the “Star Factory” project. At the age of thirty-one, Ilya becomes editor-in-chief of the MTV Channel (Russia). With his arrival, the channel was transformed. He also produced the ceremony of handing over the Olympic flag in Vancouver.
Ilya Bachurin works, as he himself says, twenty hours a day, the rest of the time he spends at home with his girlfriend.
Childhood and youth
Ilya and brother Evgeniy were born in Moscow into a family of future engineers, and at that time students of the Moscow Aviation Institute. The boy studied at a school where a number of subjects were taught in English, devoted time to sports and aircraft modeling, and attended a music school where he studied violin and piano. To continue his education, he chose a prestigious institute of foreign languages, seeing himself as a teacher in the future.
Ilya Bachurin in the army
From his student days, Ilya was drafted into the army. After two years of service in the signal troops in civilian life, the guy was met by another country; the Soviet Union no longer existed.
Bachurin realized that his studies could wait, but in the current situation it was preferable to earn money. He joined the new formation of businessmen emerging in Russia. But even then Ilya understood that he wanted to do business not only for the sake of money, but that the business should bring pleasure.
"Glavkino"
Ilya Bachurin has been working at Glavkino since 2008. Together with other founders, he produced a leader in the Russian film industry. Thus, a complex was built, which is the base for the production of domestic films and TV series. Here Ilya created a project, thanks to which you can find young screenwriters and improve their skills.
Today Glavkino cooperates with Hollywood screenwriters with extensive experience. And all this was done in order to raise Russian cinema to a high level. For Ilya, this is a very important question, since he believes that there are not enough good authors in Russian cinema.
Business and creativity
In the nineties, rightly called the dashing years, Russia turned into a platform for making money in all possible ways, legal and not so. The first generations of businessmen understood little about the workings of the capitalist economic machine. This fate did not spare Bachurin either.
Ilya and his partners came up with an idea - maybe they should aim for something bigger. This “bigger” became a world star: the guys set out to organize a concert in Moscow. Young entrepreneurs invested a fortune in the project - $4 million. And they were miserably lost.
Ilya Bachurin organized the first concert of Michael Jackson in Russia
The idea of Jackson's show failed - the concert did not pay off. Muscovites, preoccupied with much more pressing problems, did not want to pay a lot of money even for a star of such a scale. But Bachurin himself admits in an interview that he is still impressed by the personality of the king of pop.
Such a major fiasco did not bother the future producer. Ilya decided that you need to be well versed in what you want to do in life, and he went to study. Bachurin received an economic education at the Academy of Management and improved his qualifications in the UK. In 1994, Ilya Bachurin began working at the largest Russian sports and entertainment complex, Luzhniki.
The next page in the biography was radio. Ilya, together with his partner, organized the first radio station broadcasting dance and alternative electronic music, called “Station 106.8 FM”, later called “Station 2000”. The radio station gave impetus to the development of DJing in Russia and introduced listeners to the genres of trance, hardcore, and jungle. The first program director of the “Station” was Evgeny Rudin (), Bachurin was the general director.
In 2000, Ilya switched to television, accepting an offer, and headed the music directorate of Channel One. Bachurin’s arrival at the “first button” was marked by the appearance of new programs, the most famous of which was “Star Factory”. Then Bachurin worked as editor-in-chief and head of music development for the MTV channel, which was gaining popularity among young people. This work was remembered by a team of talented and passionate people.
To prepare for the 2014 Olympics in Sochi, Bachurin was appointed vice-president of the organizing committee. As Ilya said in an interview, this job is a dream. In 2008, Bachurin together with founded the Russian Hollywood - the film and television association Glavkino. The company's interests include the production, preparation and distribution of film products. Ilya does not consider what he is doing now as a way to make money, since, according to him, 98% of cinema is unprofitable.
Filmography
Ilya Bachurin distinguished himself in cinema as a producer. He produced seven films. His works include documentaries, short films, and dramas. Ilya took part in the work on the films “Iconoscope” (2011), “August. Eighth" (2012), as well as "Pilaf" (2013). Now he is working on the creation of the following films: “Water of Life” (2015), “Four Seasons” (2015), “Army, I Love You” (2016), “Helicopter Pilots” (2016).
Ilya Bachurin hopes that these films will not disappoint the viewer, because he collaborates with documentary director V. Mansky, who is famous for his high professionalism.
Personal life
Today, almost everyone connected with television talks about Bachurin’s personal life. Now Ilya’s beloved woman is Ravshana Kurkova, they even live together. And recently, journalists noticed a wedding ring on her finger. Ilya proposed to her, but the wedding date has not yet been set. Bachurin believes that there is no need to rush.
Before this, Ilya Bachurin was a bachelor for some time. His ex-wife, with whom the producer has two daughters, is raising the children herself. The marriage lasted twelve years.
Now Ilya’s personal life is fine. He prefers long-term relationships, the producer falls in love for a long time, and never cheats on his woman. This is confirmed by his twelve-year marriage with the artist. This is Ilya Bachurin, children love him and periodically spend time with him.
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Ilya Bachurin is considered an inveterate fashionista. He has a lot of closets with clothes, but does not like strict style. He is a sincere and gentle person, possesses the art of oratory. His tastes don't match the tastes of many people.
Bachurin lives in Sochi, in Grand Polyana. Every day he rides a motorcycle to work. He doesn’t have much free time, but on Sunday mornings he rides around Moscow on a Ducati. Likes to listen to good music.
We can say that Ilya is a happy person today. He has a good, and most importantly, favorite job, and his personal life is fine.
Today, at social events, Ilya can be found with his beloved girlfriend Ravshana. The couple seems to be happy.
All of Ilya Bachurin’s activities are aimed at increasing the level of Russian film production. He believes that in Russia there are few professionals in the film industry, so viewers are reluctant to watch domestic films. There are talents, there are ideas, but often there is no way to process these ideas into the final product, since there is no knowledge that is needed to translate good ideas into reality, and there are not enough technologies that meet world standards. It was with the aim of improving the quality of Soviet cinema that Glavkino was created.
Ilya Bachurin
Discussing whether there is a crisis or not is completely pointless. Of course, there is, and it is not in sensations, but in numbers. Russian films at the box office account for no more than 10-12% of the total (editor's note: in France, for example, about 40% percent).
At the same time, there are statistics confirming the correctness of the chosen direction to support market leading companies and the emergence of positive trends. So, in 2011 the state spent about 4 billion rubles to support cinema. Of these, 1.7 billion (approximately 40 percent) were received by leading companies. At the box office, the films of these companies collected more than 60% of the box office of all Russian films. Small paintings supported through the Ministry of Culture collected about 10%. The proportion is as follows: 40% of the leaders’ money gives 10% of the box office, and 60% of the money spent on support channels other than leaders gives about 2% of the box office. Let's practice further: leaders are 7 times more effective and supporting their paintings brings real, tangible results!
Further. All discussions about the ways of developing cinema inevitably come up against the problem of the viewer - the viewer does not watch our films. Based on some quantitative parameters, we can talk about the existence of the film industry and even its development, because the state really seriously helps film producers, giving them the opportunity to make films. So what is next? A filmmaker produces films, the bulk of which do not make it to the screens simply because they are not able to attract an audience. In my opinion, all the talk about “we make wonderful films, but distributors and distributors don’t take them” is from the evil one. There are very few decent films coming out, and they are not as successful as they should be. Viewers respond by boycotting Russian cinema, and in a fair fight with “Western” films we are losing. This is reality.
We can say that the economy of the Russian film industry is undermined by Internet piracy, but it undermines it in a similar percentage of Russian and Western films that we have at the box office.
Of course, there is a problem with the reliability of data on cinema income from film rentals. But which film is the easiest to hide revenue from? A distributor that brings dozens of Western films to market a year will obviously monitor the box office receipts of each of them less carefully. But there are much fewer Russian films being released, and it is still easier to reduce the percentage of losses from the dishonesty of distributors. The vectors of film exhibition and film production have always interacted in complex ways, but the contradictions between them are not the main cause of the systemic crisis.
Distributors, of course, have a somewhat biased attitude towards Russian cinema, but it is formed by many years of experience. These people risk their money, so when the choice arises of which film to put on the release schedule - another American film or, for example, Andrei Zvyagintsev's "Elena", then the choice is made in favor of American cinema, be it a third-rate melodrama or an action movie, because these are the ones the tapes will most likely be watched. No matter how high we call on distributors to evaluate our films, they will be based on specific benefits. Changing the attitude of film distribution towards Russian cinema can only be done through positive experience, and this is a rather lengthy process.
Time dictates other demands. Competitive cinema today is, first of all, a spectacle made in the same distribution coordinates as “Western” films. We need breakthrough big films. Let them not be “masterpieces”, but simply good, plot-driven commercial films, but of such a scale that the viewer does not have the question of “whether to watch or not to watch?”
There are industries in Russia where we are still strong, due to the fact that commercial interest in them was renewed earlier than in cinema. But in film production the situation is complicated. There is no buzz around Russian cinema, because the films released are often uninteresting and have no resonance. The industry lives so-so...
At the same time, Fyodor Bondarchuk’s Kino City project can serve as an excellent example of the industry’s recovery. It can really help in overcoming the crisis! About 300 cinema halls should appear in small towns. In the provinces, people are not so spoiled by “Western” cinema, and besides, they may find domestic films more interesting and understandable. Unfortunately, in small towns in the Russian outback, people do not have the opportunity to watch films at all. In fact, the constitutional right of equal access to cultural achievements is not being implemented and this is a serious reproach to the state.
The Cinema City project, in my opinion, is very necessary and timely, and it is important that it be completed. I would like the project to contribute to the realization of people’s right to go to the cinema, watch a film and not be cut off from the achievements of culture, of which cinema is a part, and a very important part.
Now let’s imagine - a gigantic network of cinema halls has been deployed, many people have the opportunity to watch wonderful films - both Western and Russian. Let's assume that in the regions Russian cinema will be shown a little better than in large cities, nevertheless, the problem will still be the same - a low share of Russian cinema at the box office. Let it be to a lesser extent, for example, 20%, and not 10%, as in the capital regions. But I would consider even such a presence of Russian cinema at the box office to be flawed and inconsistent with our creative potential, creative ambitions and capabilities!
Russia is rich in talent, but in the field of film production, alas, it is not rich in professionals. I am confident that the great cinema that existed in the USSR can be revived, provided that a truly strong professional layer appears in the industry. There are “brains”, there are talents, but often there is no way to process cool creative ideas into a specific final product. There is no knowledge and practical skills that are needed to bring these plans to life; there is a lack of technologies adequate to world standards.
Glavkino is currently implementing a large infrastructure project - the construction of the first world-class Russian film studio, which will allow our cinema to take another step forward. We want to give Russian manufacturers the opportunity not to think about technologies that have long become a reality all over the world, but to simply use them. We hope that we will be able to offer a set of technological services that today simply should be available to any film producer.
Not only “masters” should come to these pavilions, but also those young people who are currently studying at VGIK and other creative universities and who, as a rule, study elsewhere. There are now many opportunities for education, and not only in Russia, the world has become more open.
A very large number of young people, despite the commercial failure of the Russian film industry, are still interested in cinema. People are not afraid that they will waste their time and energy, they believe in themselves and believe that they can handle it. In my opinion, this is the only correct and constructive position! I really hope that the film industry will be able to accept these people and give them not only an education, but also the opportunity to work.
The international film school “Generation Campus” is by no means a one-time project for Glavkino. We have already worked with the campus and with the script lab. From the moment of its launch, Glavkino, in addition to production, will also be involved in educational programs. We will have a permanent school, a campus and a large summer educational program. We plan to start work around the beginning of spring, and in parallel with other tasks, the task of launching the school will be solved. Of course, we shouldn’t expect that we will employ everyone and make everyone great directors/cameramen. But, at least from the point of view of obtaining information and undergoing internship at a film studio, we will be able to formulate serious proposals.
It is clear that serious systemic changes are needed in many areas, but first of all, talented people must appear who can make modern Big Cinema, “mega-cinema”. It is with them that the Russian film industry will grow!
We are at a point where a concerted effort is required to bring about systemic change and reform in the film industry. The development strategy for the film industry as a whole is discussed and developed at the Russian Cinema 2020 forum. And on the basis of this strategy, clear programs can be created for various government bodies, within the framework of which support and assistance will be provided. But this is precisely assistance, not management of film industry processes. The film industry must independently take the steps that will allow it to overcome the crisis!
