How Uglovnikov Brought 26-Year-Old Actor Popov to the Lead Role of a Pilot 0 39

In the military comedy "There’s Only MiG," which has been released in Russian theaters, actor Daniil Popov (26) was entrusted with the lead role for the first time — along with the responsibility for a story where airplanes, overloads, and love exist at the same altitude.

— The film "There’s Only MiG" is hitting the big screens. This is your first lead role. Tell us about the work.

— There were a lot of emotions both during the shooting and after. The story wouldn’t let go, and the warmth from the entire crew lingered for a long time. Huge thanks to the "Voenfilm" studio: real airplanes, equipment, weapons, uniforms, and the entire atmosphere fully immersed us in the process. There’s no need to make anything up — you really live in this reality.

We did colossal work: gathering material, analyzing every detail of the events — who, what, where, and why. The cast is very experienced; all my partners are masters. I was lucky to be around people from whom I could learn every day. You absorb every movement, word, intonation, and observe how they work with the text, come up with gags, jokes, and nuances. When the shooting ended and I returned to November Moscow, I felt a sense of longing: for the atmosphere, the team, the rhythm. I wanted to go back.

— How did you get the lead role?

— It’s a very funny story. A friend of mine flew in, and we spent a week wandering around Moscow. On the last day, just before his departure, Alexander Alexandrovich Zhigalikin called me. He asked if I was free and could come to the studio to audition.

I quickly explained to my friend how to get to the airport and left. Already in the car, I received the text of the scene and the script. I quickly memorized the main points, skimmed the beginning to understand the essence, and arrived at the studio.

We worked in the rehearsal hall with Alexander Alexandrovich, filmed a version of the audition, then showed it to Igor Stanislavovich Uglovnikov, received feedback, and filmed another version. The next day, we had paired auditions with the approved actors. Only the actor for the lead role had not been confirmed.

I felt like I was on shaky ground: every step I took made me fear I would fall through. After the first day, I read the script to the end and understood how I wanted to be in this film. The story is tender, touching, heroic, and funny. It was very important for me not to make a mistake. Alexander Alexandrovich set a high pace: there was no other chance, only forward. It’s exciting, but incredibly inspiring.

— How did you work on your character?

— I read biographies of Soviet pilots: Pokryshkin, Kozhedub. I watched films about pilots of that time. I wanted to understand what these people were made of — fighter pilots constantly working at the edge of physical capabilities, sometimes almost without sleep. For the heroic comedy, we took references from Leonid Gaidai's films, something from Shurik, but carefully, without copying.

— There is a love story in the film. What will the audience see?

— It’s just like in the real life of pilots. Constant flights, tasks, debriefings — there’s almost no time for love. When I read Pokryshkin's biography, I was struck by how rarely he saw his beloved. Polivanov is the same: he is all about service, but his need for love is genuine.

— What is more important for the hero — the mission or love?

— First of all, it’s airplanes, and girls come later. But gradually, Polivanov changes, begins to see the value of other things, notices what is happening around him. He becomes deeper, more multifaceted, and matures.

— Who did you particularly enjoy working with?

— I was incredibly lucky: there were masters on set. I especially remember the scenes with Vladimir Adolfovich Ilyin. We invented intonations, rehearsed nuances, and created biographical details. For example, we decided that Polivanov used to box, and that gives him inner confidence. Sometimes after a scene was shot, we thought: "Oh, we should have added that detail." It was a bit regrettable because the things turned out to be very juicy.

— Were there any conflicts during the shooting?

— Not a single one. Everything was very family-like: care, respect, support. In the evenings, we gathered at home — cooked, talked, played, and sang with a guitar. The atmosphere was warm and friendly.