I watched the first two episodes yesterday, so I can only judge based on them for now. :)

Regarding the films, Bulgakov himself was strongly against adaptations, only in favor of theatrical productions.

Well, in Mikhail Afanasyevich's time, the possibilities of cinema were several orders of magnitude lower, so anyone would have been against it.

In the role of Woland, I could only imagine Yancovsky, but he wasn't available.

There was also Mgaloblishvili (who played Cagliostro), although I probably agree that Yancovsky was the best fit in terms of type. But that's not the point. To play the three most difficult roles well - Yeshua, Woland, and the Master - in my opinion, you need to be half crazy. That's why the first two in the film didn't appeal to me as much as the others (and Basik is also too old for Woland, as is Lavrov for Pilate).

I've reread the book many times, each time finding something new. And I realized that it's impossible to make a film. Everything will be different, it's written too well.

And Woland knows! :D On the one hand, yes, in the book everyone sees something different and gets upset when the images don't match. On the other hand, Bortko, in my opinion, did almost perfectly with "The Dog's Heart." It's clear that the new task is hundreds of times more difficult, but who knows, maybe someday they will make a film that is as brilliant as the book - which each viewer will see in their own way? :confused:

As for the soundtracks, Woland's theme immediately reminded me of two others on the same devilish theme - from "The Omen" and Kurekhin's masterpiece from "The Master and Margarita." Kornelyuk is a clever guy! :cool: