One of the most blessed moments of MORZE FISH enlightening activities was the decision of broadcasting the mystic film THE RITUAL LIFE ONTOLOGY. We were taking risks since it's influential effect and consequences were unpredictable. What else can you expect from the intrusion of the unconscious into the reality?



    Yantsen:   The RITUAL LIFE ONTOLOGY was released in 1992. What was going on at the time in Izhevsk?

    Envil:   Adrenalin in our blood, trippers strolling about the streeets, the unveiling of Gagarin's movement, the affiliated tomb of Malevitch....



    Yantsen:   Could something of the kind appear in some other place?

    Envil:   I can say quite frankly and with all the pesponcibility that it couldn't. The reason is that Izhevsk is the city of mutants. A certain purposeful and fruitful mutation has happened over here. I've been to quite a few contries with the film and due to it's music and influence people find themselves enchanted without knowing Russian.



    Yantsen:   Did you personally or something around you change while shooting the film?

    Envil:   The only thing I can recall is the sense of a great excitement which accompanied us during the work. Maybe what you're speaking about is that life has become more radical than art.
    Alexander:   As a matter of fact our feelings were inexpressible. The same happens to you while painting a canvas or writing a poem. This delight that results in the want is an inner more and more and them you just can't stop.



    Yantsen:   Does the film have any connections with the contemporary rave culture witch is formally considered to be the most progressive one?

    Envil:   Actually i'm not an expert in modern youth cultures. There has been nothing adrenalin secreting. Maybe I'm just getting older. I'm 60 you know......

    Yantsen:   You appeared as an actor in the film. Could you describe your impressions?

    Envil:   I mostly like being a choreographer. A pregnant woman was dancing under my supervision. Her daces were really good. The film didn't come easy. We didn't make any takes. For example, somebody had boiled the potatoes without salt and I had to eat them without butter in the episode POTATO-EATERS. There was a lot of blood when we were shaving a guy in another episode. His sculp had been bleeding for a long time.



    Yantsen:   How does one get inspired with an artistic idea in Izhevsk? People involved in arts don't seem to realize the city's actual influence.

    Alexander:   Usually it's impossible to say if this idea is brilliant or just wrethed. Only time determines this. Sometimes you can get ashamed of what you've concidered worthwile. So people shouldn't ponder a lot, they should simply live.



    Yantsen:   The film has been shown in many contries. This is like a nestling which leaves one day or another. Has your one returned, settled and kept aprouting?

    Envil:   We owe everything we have now not to the film, but to our life. There have been several people who have presentiments. For instance, Pasha Aksionov's Paintings were understood after 10 years since they had been created.

    Yantsen:   Does the film refer to the past and the future?

    Alexander:   It can be expressed by a sound, it's like circles from a stone throw into the water. And the film is a conseptual work of art. It can't be described as someone's stream of cousciousness transpered to the tape.

    Human-like animalism, transformation of physical appearance , pure perception, intuitive cognition, spells of absurdity, secret attraction of the Divine Substance - these are the subject of narration in the program masterpice of Izhevsk ritual cinema. MORZE FISH threv the light upon the faces of the people directly connected with the film. They are ENVIL KASIMOV and ALEXANDER YUMINOFF.