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Elena Vaytsekhovskaya's interview with Aleksandr Samarin for ria.ru
EV: After the Europeans in Minsk, where you finished less than 2 points behind the two times world champion Fernandes I had a hard time not thinking you missed a chance to win. And if it wasn't for the mistake in the 4F in the SP...
AS: Well, it's a what if. Of course I thought about it a couple of times after the competition. But the overall result was good. I learned a new quad - that's good. I was able to make it to the team to represent the country in Japan - that's good. Yes, there were errors and mistakes. But it's all part of the job that my team and I are now working on. The what ifs... it's just wrong. I lost, hence I should had worked harder.
EV: Rafael Arutyunian when commenting on your skate said in his point of view integrating a 4F and a 4Lutz in the SP is wrong. The combination of these two jumps changes the programme to the worst. It's a catastrophe for any skater. Can you comment?
AS: I could agree in general. Because both flip and Lutz are hard jumps that demand the top concentration. Besides I had just learned the flip that season.
EV: And immediately integrated it into your SP. Why?
AS: To make it casual. I had to start sometime, right? Yes, I made mistakes in these jumps that season. But now I know how to land them, how to approach these elements, how to make the programme right, how long do I need there.. The main hardship is that Lutz and toeloop are a one thing, while Lutz and flip is something different. The in between these jumps has to be taken down till the tiniest steps. It's something you learn with an experience.
EV: But there is a belief the SP is the programme that allows no mistakes. Wouldn't it be smarter attempting the jumps that are easier to integrate, easier to execute and allow a better control, which, at the end of the day, will guarantee a result?
AS: I want to be the best. In order to achieve it I have to do things the others don't. Even last season not many competitors attempted a 4Lutz and a 4flip in a competition. Many removed these jumps.
EV: Even Nathan Chen took if off his SP.
AS: Well, his team and their ways, our team and our ways.
EV: Do you want to show the world you can do things Chen can't?
AS: I want to show what I can do. My coach Sokolovskaya and I are slowly approaching the goal.
EV: Who was the choreographer to integrate the 4F and the 4Lz in your SP?
AS: Denkova/Staviskii. They choreographed for me last season and the first attempt was quite successful.
EV: When the ice dancers choreograph for the singles - does it create a conflict between the technical content and their idea?
AS: Maksim and Albena always asked how am I comfortable approaching this or that element, which direction I'd rather turn. And they went on from there. My LP was by Nikolai Morozov who is also very interesting to work with. He is such a creative person. A master of the blade. He just gets on the ice, does a couple of steps and it's a masterpiece. It seems he puts no effort and while you are trying to repeat his steps you feel like death in the middle of the step sequence.
EV: How come with your gorgeous 4Lz and 4F you don't attempt a 4S, that is not considered the hardest jump?
AS: The toe jumps were always easier for me than the edge jumps.
EV: I.e. you are not too fond of Salchow?
AS: I don't really have that like/dislike of the element. There are jumps that require less effort and less concentration, there are jumps that require more. We are working on the 4S, just that it's not yet in a state to land in a competition. In the previous seasons I simply didn't have time to learn these elements. I was either recovering from the injuries or some other stuff happen. I do have time now and trust me, we are not playing around.
EV: What have changed in your preparations this season? Do you still work with Leonid Raitsin?
AS: Not as closely as last season. A year ago I was injured and the recovery too a very long time - I simply didn't have time to go to Raitsin on the other side of Moscow. He is a great specialist and absolutely gave me a boost learning the new jumping elements. Working with him I understood what kind of work has to be done and am doing it now. Besides 3 times a week I spent 2.5-3 hours with Ramil Medhiev working on choreography.
EV: Ballet classes?
AS: Ballet, on the floor, contemporary, we work on the flexibility, which is tough. Ramil has me dancing pieces of his dances and is attempting to give me some acting lessons. He puts so much in me and he is very demanding. It's a huge work for me. Am not a 15y.o. anymore.
EV: Is 21 too old?
AS: No, just that the body changes every year. Keeping the flexibility is becoming harder.
EV: When did you learn a rippon jump?
AS: Not so long ago. I wasn't able to land those previously.
EV: Was it scary to attempt?
AS: Unusual. A different body position in the air, the new feelings. You jump up and first a bit lost in space - hence there is a bit of a fear. But now am happy I can develop in that direction as well.
EV: In the last season you briefly worked on the same ice with Nathan Chen. What did it give you?
AS: It was very educational. First I really wanted to see how the world champion is training. And there was a competition - Chen and I were going into the same competition and I wanted to show myself. I loved the way Nathan approaches the work. I learned a lot from him.
EV: For example?
AS: The practice for him is not a work that you have to set yourself in some special way. It doesn't matter whether the coach is on the ice - if Nathan is on the ice - he works. It's hard for everyone without the coach. Me, an adult athlete, I don't need to be taught to work alone, you don't have to make me work, but when Svetlana Vladimirovna goes somewhere I sometimes catch myself thinking I'd like someone to give me a push. That week that Chen spent in TSKA changed a lot in my approach. Nathan spends most of the time working alone. And a great respect for making it.
EV: Are there too many people in Sokolovskaya's group? Do you have a feeling it's too busy? They take the ice time, the coach's attention?
AS: No, I don't think so. I don't share the ice with too many people. It used to be more. It's not important though. I just have to do my job and follow my plan. Then my coach's attention will be on me.
EV: Are you upset one of your GP events is in Moscow?
AS: Why should I be?
EV: I thought you were not too fond of a `Megasport' arena.
AS: Well, yeah, I had a bad experience at the Europeans. It happens. I never participated the GP in Moscow - so far it was only France and China. But skating home is the best. Even if you just take something simple as the flight - I don't need it, I don't have to adjust to a different time zone. It's much nicer competing that way. Taking the Europeans - Minsk, which is not Russia, but the atmosphere was so nice, I still recall it fondly.
EV: How do you really take the atmosphere of the competitions? To put it differently - not every kid in the kindergarten wants to climb on a chair and sing a song. You make an impression of a true introvert. For such people it seems making the contact with the audience is the hardest task.
AS: First you don't get the audience at all - just think of the certain elements in your programme and disconnect from the world. But it's not always a good thing - you have to work with the audience as well.
EV: One well known coach once said that if you get too much into the character and work for the audience and attempt a quad in that character you will probably land on your behind.
AS: Why so harsh?
EV: Because it's the sport. If you lose concentration you will be punished.
AS: But no one said you have to stop controlling your moves. Yet you do have to work with the audience. It's the way our sports is. When you get the audience's feedback, the judges' it really helps skating. Not even mentioning the audience might influence the second mark. Just that we are not taught that. The ability to communicate with the crowd comes with an experience, after competing enough. Though we try working on that during the practices as well.
EV: How can you work on that in front of the empty seats?
AS: You can look in your coach's eyes or someone who is standing near the border. Just to try smiling to them during the programme - it is sometimes an effort. Every programme has a part that is for the audience, for the judges and to catch a breath between the elements. It's hard working on that. But when it happens it feels so good.
EV: After your last year's skate at the Europeans you became one of the top Russian skaters. Of course it changes from one competition to the other, but do you feel an additional pressure being the European silver medalist?
AS: I had enough pressure before as well. Sometimes too much. When you come to a competition it all just lands on you heavily - you want to represent your country the best way, not to let your coach down, to show all you can do. On one hand it really helps to concentrate, on the other it really bothers. Especially when you are not really experienced.
EV: Whose praise is the most desired?
AS: The coach's and the family. But I'd rather not be praised at all.
EV: Why?
AS: When you are praised too much you lose the concentration. Everything is nice but there should be limits. A carrot and a stick.
EV: After the Europeans in Minsk, where you finished less than 2 points behind the two times world champion Fernandes I had a hard time not thinking you missed a chance to win. And if it wasn't for the mistake in the 4F in the SP...
AS: Well, it's a what if. Of course I thought about it a couple of times after the competition. But the overall result was good. I learned a new quad - that's good. I was able to make it to the team to represent the country in Japan - that's good. Yes, there were errors and mistakes. But it's all part of the job that my team and I are now working on. The what ifs... it's just wrong. I lost, hence I should had worked harder.
EV: Rafael Arutyunian when commenting on your skate said in his point of view integrating a 4F and a 4Lutz in the SP is wrong. The combination of these two jumps changes the programme to the worst. It's a catastrophe for any skater. Can you comment?
AS: I could agree in general. Because both flip and Lutz are hard jumps that demand the top concentration. Besides I had just learned the flip that season.
EV: And immediately integrated it into your SP. Why?
AS: To make it casual. I had to start sometime, right? Yes, I made mistakes in these jumps that season. But now I know how to land them, how to approach these elements, how to make the programme right, how long do I need there.. The main hardship is that Lutz and toeloop are a one thing, while Lutz and flip is something different. The in between these jumps has to be taken down till the tiniest steps. It's something you learn with an experience.
EV: But there is a belief the SP is the programme that allows no mistakes. Wouldn't it be smarter attempting the jumps that are easier to integrate, easier to execute and allow a better control, which, at the end of the day, will guarantee a result?
AS: I want to be the best. In order to achieve it I have to do things the others don't. Even last season not many competitors attempted a 4Lutz and a 4flip in a competition. Many removed these jumps.
EV: Even Nathan Chen took if off his SP.
AS: Well, his team and their ways, our team and our ways.
EV: Do you want to show the world you can do things Chen can't?
AS: I want to show what I can do. My coach Sokolovskaya and I are slowly approaching the goal.
EV: Who was the choreographer to integrate the 4F and the 4Lz in your SP?
AS: Denkova/Staviskii. They choreographed for me last season and the first attempt was quite successful.
EV: When the ice dancers choreograph for the singles - does it create a conflict between the technical content and their idea?
AS: Maksim and Albena always asked how am I comfortable approaching this or that element, which direction I'd rather turn. And they went on from there. My LP was by Nikolai Morozov who is also very interesting to work with. He is such a creative person. A master of the blade. He just gets on the ice, does a couple of steps and it's a masterpiece. It seems he puts no effort and while you are trying to repeat his steps you feel like death in the middle of the step sequence.
EV: How come with your gorgeous 4Lz and 4F you don't attempt a 4S, that is not considered the hardest jump?
AS: The toe jumps were always easier for me than the edge jumps.
EV: I.e. you are not too fond of Salchow?
AS: I don't really have that like/dislike of the element. There are jumps that require less effort and less concentration, there are jumps that require more. We are working on the 4S, just that it's not yet in a state to land in a competition. In the previous seasons I simply didn't have time to learn these elements. I was either recovering from the injuries or some other stuff happen. I do have time now and trust me, we are not playing around.
EV: What have changed in your preparations this season? Do you still work with Leonid Raitsin?
AS: Not as closely as last season. A year ago I was injured and the recovery too a very long time - I simply didn't have time to go to Raitsin on the other side of Moscow. He is a great specialist and absolutely gave me a boost learning the new jumping elements. Working with him I understood what kind of work has to be done and am doing it now. Besides 3 times a week I spent 2.5-3 hours with Ramil Medhiev working on choreography.
EV: Ballet classes?
AS: Ballet, on the floor, contemporary, we work on the flexibility, which is tough. Ramil has me dancing pieces of his dances and is attempting to give me some acting lessons. He puts so much in me and he is very demanding. It's a huge work for me. Am not a 15y.o. anymore.
EV: Is 21 too old?
AS: No, just that the body changes every year. Keeping the flexibility is becoming harder.
EV: When did you learn a rippon jump?
AS: Not so long ago. I wasn't able to land those previously.
EV: Was it scary to attempt?
AS: Unusual. A different body position in the air, the new feelings. You jump up and first a bit lost in space - hence there is a bit of a fear. But now am happy I can develop in that direction as well.
EV: In the last season you briefly worked on the same ice with Nathan Chen. What did it give you?
AS: It was very educational. First I really wanted to see how the world champion is training. And there was a competition - Chen and I were going into the same competition and I wanted to show myself. I loved the way Nathan approaches the work. I learned a lot from him.
EV: For example?
AS: The practice for him is not a work that you have to set yourself in some special way. It doesn't matter whether the coach is on the ice - if Nathan is on the ice - he works. It's hard for everyone without the coach. Me, an adult athlete, I don't need to be taught to work alone, you don't have to make me work, but when Svetlana Vladimirovna goes somewhere I sometimes catch myself thinking I'd like someone to give me a push. That week that Chen spent in TSKA changed a lot in my approach. Nathan spends most of the time working alone. And a great respect for making it.
EV: Are there too many people in Sokolovskaya's group? Do you have a feeling it's too busy? They take the ice time, the coach's attention?
AS: No, I don't think so. I don't share the ice with too many people. It used to be more. It's not important though. I just have to do my job and follow my plan. Then my coach's attention will be on me.
EV: Are you upset one of your GP events is in Moscow?
AS: Why should I be?
EV: I thought you were not too fond of a `Megasport' arena.
AS: Well, yeah, I had a bad experience at the Europeans. It happens. I never participated the GP in Moscow - so far it was only France and China. But skating home is the best. Even if you just take something simple as the flight - I don't need it, I don't have to adjust to a different time zone. It's much nicer competing that way. Taking the Europeans - Minsk, which is not Russia, but the atmosphere was so nice, I still recall it fondly.
EV: How do you really take the atmosphere of the competitions? To put it differently - not every kid in the kindergarten wants to climb on a chair and sing a song. You make an impression of a true introvert. For such people it seems making the contact with the audience is the hardest task.
AS: First you don't get the audience at all - just think of the certain elements in your programme and disconnect from the world. But it's not always a good thing - you have to work with the audience as well.
EV: One well known coach once said that if you get too much into the character and work for the audience and attempt a quad in that character you will probably land on your behind.
AS: Why so harsh?
EV: Because it's the sport. If you lose concentration you will be punished.
AS: But no one said you have to stop controlling your moves. Yet you do have to work with the audience. It's the way our sports is. When you get the audience's feedback, the judges' it really helps skating. Not even mentioning the audience might influence the second mark. Just that we are not taught that. The ability to communicate with the crowd comes with an experience, after competing enough. Though we try working on that during the practices as well.
EV: How can you work on that in front of the empty seats?
AS: You can look in your coach's eyes or someone who is standing near the border. Just to try smiling to them during the programme - it is sometimes an effort. Every programme has a part that is for the audience, for the judges and to catch a breath between the elements. It's hard working on that. But when it happens it feels so good.
EV: After your last year's skate at the Europeans you became one of the top Russian skaters. Of course it changes from one competition to the other, but do you feel an additional pressure being the European silver medalist?
AS: I had enough pressure before as well. Sometimes too much. When you come to a competition it all just lands on you heavily - you want to represent your country the best way, not to let your coach down, to show all you can do. On one hand it really helps to concentrate, on the other it really bothers. Especially when you are not really experienced.
EV: Whose praise is the most desired?
AS: The coach's and the family. But I'd rather not be praised at all.
EV: Why?
AS: When you are praised too much you lose the concentration. Everything is nice but there should be limits. A carrot and a stick.
