Nikolay Yeriomin's Trademarks

Nikolay Yeriomin's trademarks (repeated motifs, similarities, style elements) include:
 * Multilinguality
 * Main titles and end credits are usually designed by Yeriomin himself, weird, long and/or contain in-jokes, easter eggs etc. They also often tend to include lengthy "special thanks" sections.
 * Sudden Actors - a special category in the end credits (partially homage to Sam Raimi's Fake Shemps) which includes last minute decision substitutes, stand-ins, ADR etc. appreciating them as a kind of actors. Also works as a spoiler prevention in some cases and has other meanings.
 * Askold Tutylopydirskiy - recurring unseen character featured in the majority of works.
 * Films are usually integrated in his own system of parallel/alternate universes, named "Communal Universes" and therefore there are many recurring fictional (at times - fictionalized real) characters, places, brands and events which can differ in details depending on a variant of the universe.
 * J. Stolen - an ironical name in the credits, which signifies usage of public domain and other sources which not obligatory require credit. In some cases a character, an in-joke or a credit for anonymous author.
 * Narrator
 * Epigraph
 * Scenes of homeliness or cosiness, often long-awaited by characters.
 * Film within a film, screen within a screen
 * Actors portraying multiple roles.
 * Appearance in cameo in most of his movies (most of which are uncredited). Larger roles are usually uncredited too, to emphasize that director work still prevails.
 * Post-credits scene.
 * Characters credited in titles and credits as crew members and/or actors which symbolizes fictionalization of filming process itself as an alternate universe for the main plot.
 * Goofs and mistakes (especially continuity) that occur in the process of filming are explained somehow or played with to achieve comic or surreal effect.
 * Extensive use of surrealism - at least one surreal moment or scene even in more serious and realistic works.
 * Often dedicates his films to persons who died recently.
 * Re-cyclying of props, sets (and set decorations) and costumes (sometimes even filmed sequences) from one production to another. Often because of simultaneous production of more then two projects at once.
 * Often references a lot of movies and series (or at least a few; some of them can be quite obscure), especially genre and cult ones. References can range from subtle to obvious. Often openly quotes a list of films which inspired his certain productions one way or another.
 * Often references urban legends and Internet folklore.
 * If the film does not take place in Ukraine there will be at least some reference to it.
 * Long hair - sports one himself and his films often have characters with it.
 * Video game references.
 * Scene in which song corresponds nearly shot-to-shot to what is going on when it plays.
 * Elements of neo-noir, psycho-noir, neo-grindhouse, slasher (neo-giallo) and body horror genres.
 * Often participates in any possible aspect of his production, which frequently results in him working on several jobs.
 * Nearly always (starting with their first roles/jobs) casts or gives a crew job to his best friends Mikhail Bondarev, Yaroslav Kozak and Mikhail Pervushin ("special thanks", at the very least). Has many other more or less regular cast and crew members, but these three are the most frequent. Similar situation is with Kate Zhuchenko whom he considers his "muse".
 * Scripts for the movies/productions used as props.
 * Improvised weapons and tools used by characters. Perhaps reflects the fact that Yeriomin himself tends to improvise both scenes and filmmaking techniques, using what is available.
 * Someone or something reflected in a kettle or tea pot.
 * Often includes cameos (or casts in bigger roles) of other directors/filmmakers, singers, crew members, film critics and/or people who are somehow connected to the plot or themes of the film.
 * Creative use of stock footage, both his own and public domain/creative commons material.
 * Often uses or mentions buckets in his movies.
 * Highly eclectic editing style, which often makes use of close-ups, unusual transitions and single-frame inserts.
 * Often includes characters with scars and/or serious injuries or mutilations.
 * Features both real and fictional strange books, magazines and newspapers in his movies. Literature is often referenced as well.
 * A shot in which two characters look at each other trying to understand and/or compare their mutual reaction on something.
 * Dreams featured either as separate sequences or in other ways. Often bases scenes and whole screenplays on his own dreams, as well.
 * Deconstruction of "Chekhov's gun" method - things and events that are heavily featured and implied to have some significance turn out to be useless and irrelevant to the plot.
 * Often shows or references paintings in his movies (his father, Boris Yeriomin is a painter himself). Also features drawing and animation at times.