[000:00:00;00] expensive, and money in this sense is such a completely expressive tool, or something, yes, that is, if you want the picture to be interesting, you have to somehow correctly, well, at the same time, economically, optimized, and with money to organize it, well, including with money, when the film was film and still developed, in laboratories, i said that money is sodium sulfate, this is a substance that, in fact, is one of the substances that carried out this developing process, yes, it is sulfate sodium, without it the same as cameras, there can’t be a movie without a camera, without sodium sulfate, but it can’t be, because we can’t develop film, that’s money, money is the most expressive means, well, you just

need them, well, you also need to love them. if you love cinema, you must somehow love money, because without it you can’t build this cinema, that is, the aphorism is like this: love cinema, love money, well, it probably sounds, it’s understandable, somehow vulgar or something, yes, but this , but it ’s pragmatic, practical, yes, not pragmatic, it’s just creative and even a little mystical, there’s a lot of mysticism in money, soviet people don’t, well, we started from soviet times, that’s why? i’m also delving into it, although i don’t think much about the past and definitely don’t live by it, but when perestroika happened, then , in fact, soviet people first encountered money, because in the soviet union it had some kind of conditional, if you will virtual

or some other character, that is, the soviet people did not have, there were no skills, there was no sense of money, and then it hit them with such a blow, as a rule, for the vast majority of our compatriots, they were not to this ready, this is one of the reasons that those, well, problems are meaningless for so many of our fellow citizens, when suddenly money showed itself in all its glory, you had to be able to manage it, but no one taught you. no one promised that it would be like this, okay, we’ll talk about money later, but about soviet cinema, i still would like to maybe talk a little too, and do you have any favorite soviet directors, soviet films , worldwide statistically and 100 films, 10, according to optimistic estimates

20, are noteworthy, successful, wonderful, sometimes, yes, everything else is a waste, as in america, china, the union in russia, and these 10-20% over the 30, say, last years of the existence of the soviet union, it turned out to be 150 films in the soviet union were produced per year, respectively, this is quite a large number, this golden collection, the bad ones are not remembered and rightly so, these wonderful, of course, films that were created in soviet times, well, who did you name? for me torkovsky, i liked the early films guessing, because they had this energy of the day of the movie, and even when , it’s not just about short films, well, operations , say, and so on, this is this, this was also important to me, danels and, of course, classics, pudovkina from einstein and dovzhenko,

where there are three. large estates, well, yes, but this is already so much more professional, look, let’s say, torkovsky is not only a wonderful director, soviet, russian, russian, but also a world-class one, everyone recognizes him, yes, let’s say, in my opinion, orizano’s film , gaidaa's films and shukshin's films remain so in our country, they did not receive such wide world recognition, and why did this happen, national humor is national humor, why italian national humor, because this already has something to do with marketing for such things related to the soviet union was not concerned with this, which in general was a mistake on his part, because there was an ideological struggle, and hollywood used its trump cards 100%, ours somehow seemed to either somehow or did not feel that such a task could

be solved, i don’t know, but such attitudes on so that our films were sold everywhere, they didn’t exist, yes, there was sovexport of films, it was often exchanged, simply for ideological reasons. worked in all significant territories, but it was more of an exercise that did not have business content , or something, yes, and those who consider it important to earn as much money as possible, yes, they try to create plots, stories that travel, as they say now in cinema, yes, which can be interesting, if not to the whole world, then his soviet cinema worked for its audience, although there were, of course, isolated ones, well, in addition to torkovsky and bonddarchuk, sergei fedorovich should be named, of course , because the cranes fly in their time, and

naturally there were such isolated cases, but there was no system, moscow does not believe in tears, moscow does not believe in tears believes they sounded like our paintings. but, but there was no system, coronavirus again, do we need a coronavirus vaccine? market relations, choosing yogurt on the market, whether there are problems before our eyes, and how to deal with them, the program to live healthy, answers all questions, tomorrow is first. rum. kostra, a product of the stellar group. looking back, i see that i lived a very good life. boris klyuev is an actor who could safely say that life was good. and we looked at him, everything, oh, klyuev is coming, klyuev

is coming, so handsome, so charming, roles in tv series, films and theaters that one can only dream of. almost died of love. and suddenly, a terrible blow of fate, at the very top. success, the disease gradually took over him, but he still remained a courageous man to the end. upon learning of the fatal diagnosis, he called us to the dacha, we were going to a funny report with barin, that’s what klyuev called himself as a joke . it turned out that this was the final confession, which, as is the case with extremely positive people, also turned out to be ironic, albeit more poignant. it seems that you have lost everything in this place, and then suddenly it turns out that you won, unknown details, results... exclusive with dmitry borisov premiere on saturday on the first. we continue the conversation, this is a podcast about the lives of wonderful people and

our guest is producer sergei silyanov. as a producer this is how you assess the effectiveness of soviet cinema, i understand censorship and ideologues there, everything is clear, but soviet cinema, after all, its achievements were due to the fact that there was some kind of, well, at least somewhat reasonable system, or despite all this? many films that we consider classics in the sense of art, soviet film art, they were made , of course, in opposition to systems, the director is generally a reactive creature, oh you are so, but i’m the opposite, there’s something even a little childish in this, but that's right, that's gives energy, all the directors, everyone you and i named, and several more who were not named, all the names, actually appeared in the country during the thaw period, several years

before and after, especially after, the summer fell again, and not a single name anymore, except nikita mikhalkov, who a little, he went into the army, returned, and also made a bright debut, everyone else, here they were, well, it was partly the military generation, even those who did not fight directly , due to age or for other reasons, but they survived it all, lived, maybe it gave them something, well, probably, some part of their life experience , internal energy, was probably somehow connected with this experience, that’s all, then it all stopped, but they continued, they already have they conquered some... height, some positions, some authority, they continued , like this, to somehow fight the state cinema, the system, remaining, of course, still within

certain limits, the system was powerful , that’s actually the answer to your question, that is , yes, it happened inside the system, and for some reason no one could afford it. then, but it was possible to somehow speak out against it, meaning opposition, including aesthetic , because something too, from... the category of fine arts was also not not welcomed by the system, here are their names, we are all interested in history soviet cinema and just watches soviet films , which are included in this very golden hundred, they are all from there, everything that later became under the system , no one remains in the people’s memory, but personally, for your growing up, these films had

meaning or... they weren’t watched then, well, i didn’t watch them, i watched them, i watched all sorts of movies , of course, all sorts of different things, everything that was shown in cinemas, i watched almost everything, no, well, of course, not everything, because it was clear that it wasn’t worth watching, it wasn’t worth it, it wasn’t worth it, but everything, everything that was in sight, i looked at, of course, and it probably had some significance, but before chaplin, i repeat, i don’t, i don’t, i don’t, i don’t...’ i didn’t connect with this wonderful type of activity, i was just a spectator and a spectator, here you can also add that, for example, guide, who is now number one of all soviet directors, and for a wide audience, for a wide viewer, he, of course, rises above everyone like a mont blanc, very beloved, popular, still, well, better than his film,

of course, and he... because that the system scared him, he first made two films that were somehow, well, let’s say, ordinary, and he was somewhere in the second film, something seemed to someone, the authorities, the portcom, i don’t know, musfilm, something was wrong somewhere, him, well, to put it mildly, they were upset and said, that’s it, you don’t make films anymore. after some time, pyrev, in my opinion, who was then the director of mosfilm, well, decided to help him and give him the opportunity to make another short film, gaidai decided that comedies were safe, and he came up with comedies and began filming them, and continued further, this one, well, just a funny incident, although for gaidai it was never funny, that’s what they call a fright, i took the right road, i was amazed. shukshin, when i

wrote a book about him, because look, shukshin’s first film, there’s a guy who lives where kuravlev is, where bella akhmadulina plays, he was generally successful and was put into the category of comedy, shukshin was terribly indignant and wrote articles that i didn’t make a comedy at all, then shukshin begins to make actually auteur films , which few people know, he is directing the film your son and brother, then his third film strange people, these two films seemed to have failed at the box office, and well, there is vasily belov’s memory of how they went together to a cinema in vologda just to see how the public will react to strange people, in my opinion, shukshinsky’s film is generally the best, just the pinnacle and shukshin bitterly notes that people are leaving, so he draws a very important conclusion for himself, as he later wrote, that tie yourself in a knot, but not shout in an empty hall, and he makes a sharp turn and returns to this kind of folk cinema, to the comedy, he removes the stoves of the bench, and moreover, when he filmed kalina krasnaya, then in the application... there was also a comedy first, this is only then kalina krasnaya

became another film, that is, for him here this problem of box office success, but success among the general public, it was very important, he did not have such a position that the public is a fool and doesn’t understand, i’m making an arthouse, i ’m making an elite movie, that is, this is the strategy, but let's say, i remember when torkovsky appeared, well, i can say so, i remember the first film stalker, which i saw, yes, because everything that happened before i didn’t see, and the people left with the mirror, apparently the people too left, but torkovsky is unlikely to have cared much, well, maybe not i know, but at least he didn’t change himself, based on this conjuncture or on the audience’s preferences, here you can see that these two people, who were students in the same group, and at roma, and in ovgik in the fifties, like since there’s a thaw, they’ve gone in such different ways, well, yes, so people go in different ways, it’s good that they go. in different ways, and this has everything, as if we’re already moving from

soviet cinema to russian cinema, yes, from your point of view, the phenomenon of russian cinema, i read somewhere that you say that russian cinema began, well, here are the features , national fishing, brother, checkpoint, well , in principle, russian cinema, it continued the traditions of the soviet, it was denied, it did not notice, this is how the soviet relates, russian... cinema , that’s the question, indeed, i believe that russian cinema began with three films, the peculiarities of the national hunt, don’t go fishing, hunting, of course, yes, the first hunt, thief chukhraya. and balabanov’s brother, yeah, why, i think so, because that these films just broke with the complexes that many directors had, who moved from soviet cinema to russian cinema, who were playing out, well

, there are several of them, first, to do, to finally film something that was forbidden, now it’s impossible, now we. yeah, all this also did not remain in the people’s memory, the second thing is to deal with the soviet regime, now it’s possible , let’s deal with it, and a large number, quite a large number of films, but they were made about this, well, about the past with somehow not so much artistic as public fervour. this too, well, it seems to me, not entirely, yes, anyway, it was a dialogue with the past, with the soviet union, yes, among them there were quite decent films, but, but it was all there again, well, there were still

people just trying to implement plans that they could not succeed in, they were not allowed, here is the script, well, let’s try, and then these are all the great names, they all had the same problem, these are the ones we partially named, these are children of the thaw, as they say, we all have them there was a big problem, they were in conditions of complete freedom, and then there was absolutely complete, total freedom, creative and not only creative, yes, they didn’t know how to deal with it, they were used to working in other conditions, the so-called isopov, there and so further, somehow speak out so that... and they had their own audience, by the way, to say, he and torkovsky also raised their audience, the engineering and technical intelligentsia, teachers, doctors, slowly, collecting films, the number of tickets sold reached 3 million was not enough for the soviet union, but in general it was a lot, and today this figure, for example, is absolutely worthy, but this is so, a little to

the side, now everyone was looking back a little, to one degree or another, it was a dialogue with the past, with the soviet... power, some showdowns of some kind, including purely artistic ones, i couldn’t do that, but now i’ll do it like this, the time was different, life was actually already different, these three films really looked and were something already born of new life, so i single them out, that’s where russian cinema began, today there, well they remember, probably to a slightly lesser extent, the peculiarities of the national hunt, well, they probably also not only remember, brother, the film brother is still alive, let’s talk a little more about modern cinema, from your point of view, today , what

is happening in our cinema, the film industry is developing very actively, and it seems to me that the viewer is not biased. can’t help but notice this, because there are also large, professionally done large projects, and this is what i mention them later, that until some point this was impossible, due to the lack of sufficient market volume and competence and money there, they are very expensive and even 7 years ago, it was an almost unsolvable task, well, everything somehow, including state support, in this sense, here is the internal , self-awareness of me as an industrial person, it is positive, but the other wing , i’ll say this is a visionary cinema, but the other wing is the author’s, it has now encountered

difficulties, because with additional ones, but it has always existed in a difficult way, because budgets... since it, as a rule, did not return false money to it, even despite, say, state support, therefore i could not afford, as a rule, large budgets, well, quite large by the standards of auteur cinema, but i am the producer of a film by boris khlebnikov in the rhythm , yes, i think that this is one of the most beautiful films of the last one it collected in moscow, it had 43% of all the theatrical box office collections in moscow. that is, well , it is clear that, unfortunately, viewers of auteur films are concentrated mainly in large cities, this is also demotivating, of course, when you have training camps. well, modest woman , listen to me, do you hear, margarita ivanovna,

do you hear, i hear, we will be hospitalized in order to save your life, will we? no, mom, we won’t, we can’t, so, move away from here into the corridor, dim, let’s get on the blankets, yes, of course, guys, take your hands off, she won’t go anywhere, come up again, you’ll get a scoreboard, and despite everything equally, he showed a serious result among auteur cinema, but i don’t know yet what it will be like tomorrow, but here it is it feels like the director of auteur cinema, in auteur cinema it is the directors who are the initiators, the engines, the creators of all that, there is a producer, an assistant.

unlike spectator cinema, where he is more likely a producer, in fact he is the main one, we continue, this is a podcast about the life of the wonderful, my guest is a wonderful producer, screenwriter, director, sergei silyanov, if we talk about modern scripts, about screenwriters, yes, this is how you see this situation, what is it about today, this is what scenarios are being brought today, what is it about? but it doesn’t matter what the script is about? it’s important how it’s worked, well, how they’re worked, they’re poorly worked, we can’t solve this problem, there is progress, there’s been progress in recent years, but it’s not enough, 1,500 scripts come in a year, that’s what it’s like like that, yes, well, yes, well, quite a lot 1500, efficiency - zero, there are scripts where the screenwriter is interesting, he will say that he is interesting, so it seems... the script did not work out, but something like that there is some kind of grip, something, something catches us,

then we get to know each other, try to somehow, yes, develop the relationship is professional, but this is a better situation in tv series, in the cinema for the cinema. in different films, it is still very vulnerable , and well, during this time, film producers have gained their own competence in the development of scripts in development, so-called editing, of course, this all helps a lot, somehow working with groups of screenwriters, with teams in such script rooms is also some kind of... then it also brings more to the series, but not only what, that is...' some competencies we have acquired,

as i already said, so this allows this the problem, somehow minimized a little, but it still remains , because of course, look, we have wonderful modern literature, yes, you can name, well, quite a lot of very good books, a very small percentage of these books are filmed, you may remember that films are made based on their books, but in general modern literature is much richer, more interesting, more diverse, why can’t there be such friendship between modern literature and modern cinema? well, i won’t judge literature, but the producers are very they closely follow the entire literary process, probably not, it’s difficult, there are still a lot of books.

well, for, but they keep their finger on the pulse, and they can’t find anything, material so that it would qualify for a film adaptation, for various reasons, they can’t find it, we’re looking, we like it, we really need all this, we’re there ready to tear it out of our hands, but we don’t find it, what, what are you missing, this is what, what you need , what you need to write about, so that you become interested, about this movie, what’s important, how good, well, wait, well, a novel already written according to its own laws, here the novel should not sign up for the possibility of film adaptation, well, look, first of all, this division of cinema into spectator, author’s, well, it also explains something, because let’s assume it’s a fairly strong thing, with strong characters , there is psychological truth and relevance there, it costs such, well... relatively large-scale, it costs, say , 300-400 million rubles, such a movie, the viewer

is not interested in it, the film will be good, it will collect 50 million rubles, of which... they will take it cinemas, distributors, production costs, producers will be at a loss of 350 million rubles. the film will be good, because the director is good, all that, the producers, in general , well, how they will do it, and god forbid, it will still not be very successful, well, no one guarantees, i’m proceeding from a positive development of events , that the film turned out, yes, well , that’s such a loss. the main answer to the question is purely author’s stories, that’s where the author’s story is, this is a question more likely for directors, because it’s a little unnatural by definition that i, as a producer, yes it happens, well, those 3 minutes silence, it happens, but this is not a system, in theory the author’s system is what the author brings to you , you look at the author, at the director, but the director often writes themselves or very

actively participates, directors of auteur cinema, writing scripts - that’s theirs. the product comes and shows you, you look at the director, yes, the director has an excellent text , yes, well, they discussed something there, of course , they moved forward, it still needs joint refinement, as a rule, well, okay, move on, if the director doesn’t bring it such books that are within a reasonable budget, yes, which is feasible for the creation of auteur cinema, today in russia and so on , so they are also there, apparently somehow they find it, or they find something, again, either too expensive, maybe, well, there are no such examples, well, yes , we, as for author’s cinema, as you know, are doing great, we are trying, and to broadcast , to writers, writers, some of our wishes, rules and according to which, at your discretion,

if you want your book to get more chances for film adaptation , then... somehow pay attention to such, such, such, such and such moments, well, this work has just begun, perhaps it will bear fruit, or rather , i am 100% sure that it will bear fruit, well , the question is when, how many, in america a huge number, a large percentage, of films are based on literary works , well, american, as a rule, or english-speaking. let’s say, but not only, because there are writers there, they somehow long ago mastered this art of combining literary and film interests, i don’t know, well, okay, thank you very much, this was a podcast about the lives of wonderful i’m with you, its leading writer alexey varlamov, my guest was producer sergey

silyanov. this is a podcast 20 years later and i and its host konstantin mikhailov and today my guest is the man-epoch, and 20 years later, and 30 years later, and 40 years later, and 50 years later, people's artist of the rsf, alexander mikhailov, he my father, dad, hello, hello! son, hello, hello, hello, one of the main people in my life, one of the most important people in my life, after my mother, tell me, you didn’t intend to be an actor at all, you i went to sea as an electrician, as far as i remember, no, i was at first an apprentice mechanic , yeah, i went to brazil, the japanese okhotsk, the berengo sea, the czech ocean, the bay of brestoll, our fishing fleet became very powerful, i found

the whaling fleet, i found crab fleet. so very powerful, so we went there, we went there, there i had an overload , a transport vessel, carrying installations, these are refrigeration units, and we came there, and there was srt, bmrt, this is an average fishing trawl, large, fishing, they caught fish then reloaded onto our ship, fish, she froze, and then we went from there from brestol, southern sakhalensk, petropavchatsky, kholmsk, nakhodka vladivostok, then the deviation then back through the trimorian ocean we went there again to the lovlya area, a motor mechanic started, came to the ship after a craft school and stood up, trembling all over vlis, made his way to the captain of the ship, diesel-electric ship yaroslavl, a large ship, and i threaten, he says, you need it, why are you so

worried, what did you want from me, and i say, take it? i’m going to the ship, i can’t live without the sea, well, without a pause he says: clink you’ll become a minder, i say, with pleasure, that’s where my other life began, and how the sea ended for you, it ended - it ended dramatically, i ’m trying to talk about it a little, but still, in a nutshell, we can do it, we had been working for 2 years already, then i moved from the engine room to the electrical shop, i became an electrician, the central control room of the cpu, i considered myself intellectuals, we already wore gloves, this is not in the engine room, the injectors were cleaned there from morning to evening, four through eight, and this was already considered the intelligentsia, yeah, and there was... there was a disaster in the pokhodsk sea, they were returning there, already loaded with fish , they got caught in icing, there was a very big storm, in the sea of ​​okhotsk, a lot of guys died,

then it turned upside down on its keels, with the bottom four, in my opinion, srt, this the average ravan trawler, where the crew has 18, 20 people, is when the match gets icy. that the wave is about to sweep the entire deck onto the deck, freezes, freezes, it needs to be done right away, and the whole crew goes out onto the ice chip, the so-called, everything cutting, piercing, axes, a crowbar there, and the captain takes the helm, the engine room is sserts ship, the chief mechanic, two people are driving the engine room, and the whole crew is standing on a chip of ice, we were beaten well in kotsky, but contact was lost, and we still returned, connections was not there, they also seemed to think that we would not return, when we returned, i went down

, i saw my mother standing on the pier, she never saw me off, never met me, because she really trusted my independence, how she treated me so calmly, but standing here, i go down the stairs, hug her, look, hide fresh hair, that's all, she hides her white hair. decided my fate, she simply said: that’s it, it’s all sea or, i’ve written off to the shore, well, i think that time will pass, i’ll return to the guys again, passions will subside, i’ll start sailing the seas and oceans again, but the unexpected happened, i ended up on a diploma performance of the theater institute, everyone became sick of the theater and sick of the theater, this was anton pavlovich, ivanov, it was the first release, an accelerated release, and dr. lvov played one of the main roles , played by valera priyomakhov, who later became

my very close friend, of course a guy went into that world of amazing talent, here he is with this manner of some kind of inflamed subtle nervous system, he is such a nervous guy, and i was sitting then, i even remember the fourth row, seventeenth place, i saw this guy and i was shocked by him, just shocked, it was so strong... the welcome that i came, then not home, i went, but went to the shore of the amur bay and said goodbye to the pacific ocean, but i still love the sea , after so many years, i now already 78, 79, here i am returning to the beginning, to the source, these are amazing things, listen, from the world of theater you got into the world of cinema, if my memory serves me right, you will find it in battle, the first film was, no, i wish it was - a film was, this is stronger than me, and valya malyavina was then, vanya gavrilyuk, ukrainian, before kapelyaan, efim zakharovich, an average picture, but still it is

a very dear picture to me, i understand that before love and the dove there were very powerful works you, like men, snake catchers, come, very strong work, yes this is one from the first film by valera lonsky, the kingdom of heaven is amazing, he kind of gave me a role where he left such a blue hero, so to speak, this one, he gave meat, meat in the image, a piece of takogon guy, and i remember that yes, jean prakharenko is there, yes , yes, she is a beauty, and i remember that in the final, when they hit you once, you fell, they hit you a second time, you fell, yes, the third time, and you get up like that. i’m coming, you say, and now, i ’ll kill you, and now i’ll kill you, he says, well, let’s agree, we’ll agree on the blow, that was such a good one, it was,

of course, it was happiness, valera, there was an amazing episode there, we didn’t get some scene with my father, there was a dialogue with my father, a conversation, and the scene didn’t work out, i was nervous, and valera was walking around something in the pavilion, i was nervous, i sat somewhere in a nook, huddled. and began to sing to myself an age-old song , just for myself, out of nervousness, sometimes i still have this habit, i know a lot of russian folk songs. and so i started drinking, and suddenly, when valerka jumps up like a kite, here, here’s the solution, here is the solution to the scene, here it is, i say, what is this song needed, it should unite you, this is an artist, ondeyno an artist, the man had talent, and we started with the fact that my father and i quietly

sing an age-old song , this is a lipavek one, there is a song outside the window... you and my dad fell in love, but it’s clear that it’s not in vain, i see that you’ve fallen, he says, you’ve taken the bait, it’s okay, it’s good, he says, it’s good, she, come on, some kind, she gave birth to this accident, this accident gave birth, she gave birth to this song, it is clear that there are always spectators identify... over the years, letters began to arrive with a request to adopt, because the hero pavel zubov, the father,

he adopted three children. and there some kind of global problem broke out, it was very much written by children, children wrote by children, i remember a girl wrote to me, well, probably, she hadn’t even gone to school yet, she wrote a scribble in letters like this, uncle pasha, not uncle sasha, but uncle pasha to the film pavel zubov, uncle pasha, thanks for the movie guys, my dad looked at your picture yesterday and bought me a chocolate bar, hurray , this is this, hurray, i will save you, as i read, there were a lot of such letters, or a married couple wrote there, we said we separated , well, it happened in life, it’s not easy, and we watched the movie “men” in different cinemas at different times, and then accidentally met in the park, there was such a pause, some kind of... then, we hugged each other, now we live happily, thank you for the picture, guys , how great, yes, amazing, it united a lot of families, amazing, that’s probably great... the mission

of real art, to influence fate, to help people, and now i i understand what you are talking about, what could really happen now by and large, what is missing is precisely this kind of warmth, there is not enough cordiality, soul, there is not enough soul, and a film that would heal the souls of people, would make them better, i haven’t seen this for a long time, and the men were made by spark babich, spark babich, yes, it’s also a complicated story, i refused twice, did you refuse, did you refuse? and i’m thinking about something, an invented plot, a plot pulled from thin air, etc., and then they introduce me to the author, boom, the author, he wrote his own destiny, that’s how gurkin wrote about his, which means, love, and naked about his adno villagers, like that , this wrote this story, and it’s true that he was very nervous when the premiere was, he says, well, why are they disgracing me so much, i say , what’s wrong, he says, i didn’t take the dog to murmansk, and he was worried about this, i

i say, well, this is a movie. there was something there, some kind of atmospheric thing that was added there, and of course he treated this picture so lovingly, well, in general, everyone was very nervous and gurkin didn’t worry that some new jokes appeared, no, he just enjoyed it with pleasure he even told him there at volodya’s something didn’t work out, some kind of scene and gurkin was called volodya, gurkin is so unique, he’s thin, but very nervous, attentive to everything, very bashful, very bashful, kind of shy and not very active, he’s clumsy, very much, and he keeps saying: no, that’s how it should be, do it, do it, i don’t know what to write, i wrote everything, that’s what you want, do it, i say, okay, refuse, only the tova is waiting, comrade abandoned

the all-important mission, down with comrade trotsky, no, i came to stop the retreat, how much time do we have, no more than an hour, you can leave along the river, remaining to die, death is not the main thing, what is more important is how to die, trodsky, tomorrow after the program time, i look back, i see that i lived a lot. very good life. boris klyuev is an actor who could safely say that life was good. and we looked at him, oh, klyuev is coming, klyuev is coming, so handsome, so charming. roles in the series. cinema and theater, which one can only dream of, almost died of love, suddenly a terrible blow of fate itself the pinnacle of success, the disease gradually took over him, he still remained a courageous man to the end, having learned about the fatal diagnosis, he called us to the dacha

, we went to a funny report with barin, that’s what klyuev called himself as a joke, it turned out that it was the final confession, which, as happens with extremely positive people, also came out ironic, even though they got it about... it seems like you lost everything in this place, and then suddenly it turns out that you won, unknown details, the results of boris klyuev’s life, summed up by him ourselves, exclusive with dmitry borisov, premiere, on saturday on the first, we continue with the people's artist of the rsf with my father alexander mikhailov, i am often asked, and... who should be the son of a famous actor, and i don’t know what to answer, because if i lived two lives, somewhere in a parallel reality i would not be the son of a famous actor, i would say, well, yes , this is probably better, but i don’t know which one, because i lived one life, and that

my father acted in film and was in the theater, this is a given, you often took me to filming, i remember for the first time, i think i was on the set of some kind of film about pilots, yes, yes, right? they are waiting for me on the ground, they are waiting for me on the ground, yes , yes, yes, and you told me: “here, the cameraman is the most respected profession on a film set, even better than the director, and even more respected is the person who drove the cart, well you somehow remembered it interestingly, your words were, yes, he says, he knows from what moment to what point you need to drive and where to stop, and how to drive, what is the way of everything, and the most independent person is the operator after all, because he generally doesn’t care, well, the director, yes, he has his own vision, but the cameraman is an artist, he himself, and my father told me, be a cameraman, son, in no case an actor, because the actor depends on it, but i didn’t want to, for you to be an actor, to be an actor, by the way, you entered without - even i didn’t know

about it when i entered tabakov, yes, i accidentally, yes by chance, by chance, and why, it’s interesting, how by chance, you studied with bezrukov, seryozha, yes, yes, seryozha, with dasha yurskaya, i studied with scholz, by chance, i remembered something that our a mutual friend with you, boris vasilyevich cherbakov, yes, yes, he said that, even more likely , his wife, tatyana bronzova, said that on june 25 the first round at the studimhat school, for tobakov’s course, yeah, i remembered, because on june 24 it’s my birthday, yes, yes, yes, i remembered, it somehow went away, and on june 24 i had a good rest, with my friends who came from riga, i even forgot, it’s my birthday, i woke up in a friend’s apartment, our friends are there that's all, that means, stepping over the bodies, i got to the kitchen, saw there the remainder of a white liquid,

i planted half a glass, and then my sharpness, which means it improved, colors appeared, my hearing somehow cleared up, and my brain, which remembered that today is a set, and... not to come to me, is amazing, and i went, visible, i, i had some kind of high black boots, black pants, a black shirt and a partupe, for some reason, they asked me to dance, i danced the dance that i danced then, yes, but you were , excuse me, the world champion, russia, russia , champion of russia, yes, champion of russia, yes, you had the upper brek, yes, the upper brek, there in style, electric boogie, paping, there’s a robot, the robot is brilliant, this is this, this is this fixation, i was amazing, of course, but you made yourself, you did, i remember, you kept performing in front of the mirror, what a mirror, i have mirrors there wasn’t, a shafoner, a shafoner, well

, varnished, i was irradiated in front of a transparent door, vk, and you said so, stop