“it’s still made of iron, it still stands, how do you feel about it in general? i treat him very well with great interest, i think that he is an extremely talented writer, an amazing actor, least of all for me a director, “don’t like his films? well, i do, but it seems to me that the artistic expressiveness of his stories, some kind of understanding of the soul, but he has an understanding of the russian in everything.” this kind of russian soul, but lyubedya is a writer, an amazing actor, then a director, well, actually, such people determine time the whole, who else do you think defined the time in which you grew up, matured, matured, of the writers, it was probably bitov, it was trifonov too, yeah, but with a liar after all. and of the directors,

of the film directors whose films seemed to you , of course , alexei german was always under the enormous influence and even for some time considered himself his student, although the way of my, so to speak, making cinema, it was different from his, he in principle it was difficult to repeat, it seems to me that klimov and shipitka are a very good director. these are some kind of iron ones films, as shukshin said, he said, iron books, i would say, iron films that did not live in a relative world, as if everything is allowed, everything is allowed, here is the world of the thaw, and they already lived in a world of rigidity in the world, you are on this side, and i’m on that side, this is it, for some reason it worried me, just as it worried me. herman, who simply

created a world, not a mood, he did not create a musical theme, he sculpted some kind of special world with great tension inside, and torkovsky, torkovsky was in that world, in old, although for many years i was the president of the torkovsky festival in ivanovo, the mirror and... yes, i even remember how torkovsky, young with konchalovsky, came to nikrasov and showed him the script by andrei rublev, the two of them wrote it, they went to victor, we called him vika, always vika, two such young handsome men came to viktor platonovich nikrasov, who lived with us at that time, i was probably 12-14 years old, they, apparently, were studying at vgik then, well, just some. two

celestials came and there they locked themselves in the room, they kicked me out, and i fell to the crack tried to hear something, but no one was a man of a completely different era, and i don’t think he understood the ruble, but what, what did they want to hear from him, why would he, is it written well, i wonder if he understands what it’s about they want to say, but it seems to me that this was completely outside of his aesthetics, because they didn’t appear anymore, they were unrelated...

the neorealists said that donskoy was their teacher, and mark donskoy, about whom no one knows at all knows and doesn’t remember here, for me, i don’t know, maybe ziguvertov, no, perhaps.

well, who are the illusions, there are a lot of left-wing intelligentsia, incredibly many, yeah, all festivals are left-wing festivals, now all festivals are former mauists, old ones, tratzkyists, all this is simple, why are these phenomena of iranian cinema, because this is such marxist approach or there - kyrgyz cinema, or perceived? russia was like a concentration camp and, so to speak, they saw that people themselves were ugly, that people were dressed ugly, and this was repulsive, so to speak, this politicized perception, it seems to me that they began to perceive our cinema there and

to look at widely, oddly enough, in the nineties, i found myself, so to speak, a child of this interest, maria vladimirovna. so how should we work with european politicians now? do you work with european politicians? the minsk agreements gave ukraine more time, this is a cruel calculation, it really just put an end to all these very illusions. now france and the european union are also participants in the war. yes, without being a belligerent, they are participants.

or agree, i don't know private screening with alexander gordon, so do you like the film, absolutely original?

in general, i got into cinema, dear friends, we continue, this is the podcast life of the remarkable, my guest is the director, screenwriter, pavel lungin, and how did you graduate from osipl, philfak, and what happened next? well, i suffered, i wasn’t really adapted to this life, i couldn’t find a job, for some reason i was kicked out of some research institute. he was such a sociologist with specific social research, that’s why i tried to work in a newspaper, i didn’t know myself, you know, i was of course torn by a terribly desire to live, this energy that then crawled out of me and is still crawling out, it

just burst me then, i wanted to live, drink, love, go out with mind, i don’t know, it was something like that, it was a very interesting, very energetic, active time. that's why someone calls it a time of stagnation, what kind of stagnation is there? no, it was not stagnation, of course, that is, how can i say, it may have been a time of great stagnation, but i was in some kind of test tube during this time of stagnation there was such a thin layer at the top of the aquarium in which ciliates and slippers were benzinated, and i was one of one of these microorganisms, then i began to write a script, well, like my father writes, and i began, that is, you just followed in the footsteps father, well, in general, yes, although - we practically never worked with him - together, i didn’t seem to devote myself to his work, well, i don’t know, in any other way... and after i wrote quite a lot, not very good

scripts, i realized that what i see is somehow different, what i write was completely different, and you were happy with the films that once upon a time, i took pseudonyms, i shot names, then i gave up and spat on it, and somehow, when perestroika began in 1989, at the very first crack it happened that i... snuck around, i already had a script then, i started writing me somehow, yes , i’m actually a child of perestroika, of course i worked for some reason, i didn’t end up in masim at first screenwriter at the studio and there i sat in the reception room of the studio director, i don’t know, probably for a whole month and he still didn’t accept me, you know, it was something that you couldn’t enter, you couldn’t say it was absolutely something like that. society and which you still see in your face , in your facial expression, even in what came out of you, and i

saw people dragging a box of cognac there, for example, right to him there, and the doors swung open, i sat and sat , i remember, at some point i just couldn’t do it anymore, i opened the door, went in and saw a red-faced man at a large empty polished table. who saw me for some reason, there was an onion cut from a glass, he threw it into the box in a completely professional way, it was a different time, the time had changed a lot, as soon as at masfilm, maybe there was a different atmosphere, the time had changed a lot as soon as perestroika began time, and you remember it with gratitude, i am very, of course, when artists began,

life is a new freedom, perceived by many people as a danger, a curse, how

difficult is it to be free at all, and you made your first film about this? yes, me it seems that it was, so to speak, a meeting of two people who were absolutely torn apart, they were different, the taxi driver, this wonderful actor, zaichenko and mamonov, they were perfect, they seemed... they couldn’t do it with each other, but they couldn’t do it together, this is their kind of friendship, love, hate, it turned out to me to be very typical of our time. critics who say that these are two different sides of the russian soul, well, i don’t know whether the soul has a side at all or not, or how many sides the soul has, i’m not sure, or how many sides there are to the soul, well, yes, it seems to me it's at the same time eternal, you know, i couldn’t repeat such a success with taxiblus, because taxiblus was built on some

archetypal images, and it was understandable everywhere in the world, both in france and in america, and you got it? a big prize and at the cannes film festival i received a prize, i received a prize for best director, it was my debut film, i had never directed anything, so it was such a big success, and few directors can boast of this, our directors can boast of this , well, you see, to be honest , as i was a non-professional, so they stayed, i sort of decide every film anew, now you’re already a professional, you know how to write a book, no, no, you don’t know either, so i think that a western writer knows how to write a book, here he is, he’s somehow mastered , and it would seem that after this success i had to replicate it and develop it further, well , somehow stay at this archetypal level, and again i again made films about russia, which were somehow, well,

probably less understandable , maybe less interesting, but this is an interesting point, your evolution, but what? we chose, we will definitely talk about it, but first i want to ask about mamonov, how did he even appear in yours, in your life, in your work, absolutely by accident, you know, i have one, since it was such a time of perestroika and i had to do everything differently, i don’t need famous actors, because they are known, i need to find some person from there and from life, and i remember that, in my opinion, it was... in winter new year '89, apparently i turned on the tv and saw they were congratulating new year, some interviews, but there was a mixture of timidity and fury in him, and i just realized that this was a man of freedom, and i found him, met him, we talked to him, in

general, as a result, i persuaded him to act in films, and you know, there is such an interesting detail that brings you together... it struck some kind of spark, and you were friends? no, he had no friends, this man with his skin removed, with his nerves exposed, he was in a state of either searching or resentment or some kind of internal experience, for example, he could not live in a hotel, people it was destroyed, communication destroyed it, when

we were filming the king in suuzdar, then... it so happened that after taxi blues there was no money here, and i, excuse me for such a selfish question, the prize at the kansk festival, it was monetary, no, no , it doesn’t give, i don’t know, more distribution, they buy the film in other countries, not for me, i didn’t understand anything at all then, that is , someone else made money from your film, of course, i

didn’t make anything from it, well, that’s right, maybe, because you have to pay for the entrance ticket, but... todorovsky, and i somehow lived here and there and started filming with french money in moscow, i was filming in russian. they gave it to me, it was considered such a film, then there was a huge interest in russia, they all played for me, lunapark there, i remember, the whole city was covered

with posters, yes, and mamon went his own way, in general it’s interesting, the son of ginkas yanovskaya wrote a play , she was called a bald brunette, such modern perestroika art, and he asked me to show her to the mammoth, i brought them together. and mamonov began to play in the theater with great success, which means i moved, here money appeared, and the director is such an egoistic creature, where you know, like birds, where they pour on the windowsill, written, then she flies, and i flew here and i came across an island, dear friends, we continue, this is a podcast, the life of the wonderful. my guest is the director, screenwriter, pavel lungin, the island, because the script is not yours, yes, the script, the script, but as it was, first the idea, then the script, or not, i

came across this script, which was very much altered in the process of work , i didn’t put my name, because i usually, because that the idea was not mine, but there was a lot of reinvention there, it was such a bucolic story, that’s how to say, here’s the story, the scenery was preserved there, they burned it 2 years ago, yeah, and it was some guy who was filming with us he was a worker , in my opinion, he already showed it as

a place of interest, worth, and you filmed the island for a long time, and i was filming everything for 3 months, that is , it was autumn, from two to 3 months, it was almost winter, yes we finished, we finished when it was snowing, but in general there was a lot of interesting things, there was no frost, sea. it didn’t freeze, although we were filming almost until december, well, the days there are very short , practically at all there, well, somehow we were filming, god knows why then a flock of such small dolphins swam in, beluga whales are called, you know, they are white on them, suddenly there were like pieces of ice on the sea, so we went at the end and the camera had already been removed, i couldn’t even film it, i would have filmed it of course, but it was there. happy time island, hard and happy time, and did you expect this to be such a success, no, of course not, i think 50 people everyone will look, if i give birth to him, no one

will marry me, who needs me with a child, but no one will take you anyway, it’s written in the family, there will be a child here, consolation. all your life you will curse yourself that you killed an innocent child, but how do you know, you are not an old man, or maybe i myself killed a man, okay, get up from your knees, on your knees, you need to pray to god, that before should i stand?

i think so, but still it’s strange, although they were non-religious people, in general i lived a non-religious life, but the gospel was in yours house, an iron book, of course , well, it’s interesting that you, being in general, well , rather a secular person, seem to be invading this territory with your film and it is logical to assume that church people can treat this with, at best, suspicion, distrust, and yet this film was received primarily, in my opinion, precisely among the orthodox. among the believers who really liked it all, we didn’t ask anyone for a blessing, we didn’t show this script to anyone, and uh, in my opinion, rather, ordinary people liked him and then the church somehow came, because i’m not sure what, but the patriarch really liked it, and patriarch alexy, in my opinion, alexy, he called us, talked to us, yes, he gave us

some certificates -that. and you look again, you will be surprised , maybe, i remember, i incredibly liked yankovsky in this film, the way he plays metropolitan philip, that’s how much dignity, how much nobility, how much restraint, and mamonova, with all that i understand, that he is a brilliant actor, but he, but he is so transforms into ivan, which is just creepy, that’s too much for me, i had a feeling from this film that

here, according to the poet’s word, they were ending. art and the soil and fate breathe, and such soil is like that, not the best soil breathes, and fate , you know, mamonov is generally an archaic person, he somehow, that’s why when i was photographing the island, i felt in him , that he is generally medieval, he is some kind of person, maybe 15, that’s how he was brought here, yes, that’s why he couldn’t live, that’s why he didn’t know where to put himself, and he was all made up of some kind of... muscles like ropes were not visible, but it was clear that you know, that's how, what is called a vein, he was absolutely today from medieval attacks of rage and kind of distrust, that is , as if organically it was for him to play ivan, at first he didn’t even really want to, because after the island, after wild success, grandmothers kiss his hands in the subway, you know, in front of him there hands seem to flop, and he’s a little he...

the actor flew, felt himself, but somehow if only there was pure love of glory in him , well, of course, he’s a real cuckoo, he threw everyone out of the nest, it’s me, me, he’s a pure cuckoo, but he himself, we talked about it, he was very funny, he wanted to do a performance like that , even a company that would be called i, i, that’s something, a person who tells everyone, i did this, this is me, this. i , i came up with it, i can be an actor without this quality, yankovsky, yankovsky didn’t have it, no, they are completely antipodean, i remember, yankovsky arrived at the hotel, in suzdol, the beginning of filming, the next day, suddenly mamonov came, and i feel he’s drunk, he’s worried , he’s drunk, it’s not good at all, and he came, we ’re sitting at the table there, in a local

restaurant in the dining room...

who will think that this is his dying role, you know, we thought a lot , but how to play a saint in general, the saint is silent, for me there was an image, then... menacing, he is everywhere, he speaks, grimaces, and prays, cries, he is above, below, on the side, and in the middle of it, like a column , the saint stands looking at him with those tormenting eyes and doesn’t say anything, he was silent to me the whole movie, and this makes an amazing impression, yes... do not forsake me, your servant, holy of god, metropolitan, father, who will pray for me, why does it always stand in our way,

there is no way, send me away, sinner, sir, lord, sir, the last judgment , what, what, sir, the last judgment, has arrived, philippushka. you arrived, the lord heard me, he gave a sign , bring laura, wait, basmanov, wait, maybe you’ll have to bow at his feet, but it turns out that for mamonov , the film set was not limited to the film set, but he continued to play already beyond its borders, i read somewhere that when he was on the island, yes, that is, his... there the antagonist was job, yes, whom dyuzhev played, and dyuzhev said in some interview that he tried with mamonov establish some kind of human communication and absolutely hit a blank wall, then, well, i read that when the filming ended, mamuna

said, now you and i can become friends and communicate normally, but before i couldn’t, because since we the film is like enemies, but so different, then behind the set i’m with you i won’t communicate either, and what you’re saying about yankovsky is very similar, but that’s it. life is wonderful, my guest was a wonderful director, screenwriter, wonderful interlocutor, sincere person, pavel semyonovich lungin. thank you, i was also very interested.

hello, this is a podcast. psyche and we continue to open the boxes of our souls to look for various hidden problems there so that they don’t exist. today with clinical psychologist nikita yanochkin we will talk about a topic that concerns us not only in the middle winter, but literally every holiday. today we will talk about loneliness during the holiday. our heroine today, veronica menvelieva, came from just such a story. veronica, hello, i just found out that this is not the first time you’ve been spending the new year alone, yes, i ’ve been spending the new year alone for the second year in a row, in fact, it was such a transformational

period, when i was celebrating the new year alone, i thought about the fact that i’m celebrating alone, i won’t tell anyone, i’ll celebrate this holiday alone. and let it be here alone with yourself, that is, you were forced to celebrate the new year alone, well, yes, it was forced , this is how the circumstances developed, but of course i wanted in companies, since i am a communicative, active, creative person, of course i wanted all this in the circle of new year paraphernalia with fireworks, champagne , with tangerines, but i met you alone , but it was forced and you ended up feeling sad, but to be honest, yes i was sad, and maybe i wouldn’t have been sad if there hadn’t been... fireworks, huge tables, well, it really was , to be completely honest, then of course it’s more sad than fun, but in the morning,

and in the morning it was even worse than on new year’s, because there was no feeling of a holiday, everyone was going out for a walk, everyone was in this high spirits, and somehow i wanted to close down even more. with one and spend this time purely, i generally descended to such an emotional, internal level, i consciously descended into the emotional and internal bottom of myself, let’s call it that. and today, when you come to us, you say, i think maybe i should celebrate the new year alone? why not, and what

was cool, or could be cool in in order to celebrate the new year or march 8th alone, it was cool to understand that actually celebrating the holidays alone is not bad, there are a lot of benefits for yourself, because sometimes your fortunes fall on certain days, let it be march 8th or a new one year, celebrating the holiday alone, sometimes it’s even very cool. in my case, i needed to be alone, if i had then found myself in some company, maybe, not quite internally, i would have lived this moment the way i should have lived it, i think that that this is so. nikita, why do we need some important dates, not important because for us personally, the birthday of our child or a grandmother’s anniversary, but also to celebrate such social holidays according to some established scenario according to some

stereotype, and if if we don’t fit into it, it’s as if there’s something wrong with us. well , firstly, i would like to draw attention to what veronica says about this period when she celebrated the new year, yes, as a period of experience, parting with a young man, so i would like to clarify that this were you going through a difficult experience, did you just break up, or was it a long time ago? it was a long time ago, but these were difficult experiences , that is, at that time - in the new year they were difficult experiences, yes, we were together for quite a long time, 3.5 years, and well , for a year or two i let go, yeah, that's it i would like to emphasize that experts say that the level of psycho-emotional stress during separation is in... second place after death, that is, this is a difficult

experience, especially if at the beginning, in that she wanted privacy, that she was not ready for all these noisy events, for this unbridled fun that usually accompanies the new year, this is generally quite normal, the only thing i would like to recommend to people is if , find themselves in situations of such stress and separation. still, at the beginning of your journey, do not isolate yourself, still look for some kind of support, family, friends, just, if the experiences are very difficult, they are accompanied there, maybe by some thoughts beyond so negative, yes, a person can’t cope on his own, then of course it’s better to have people nearby who somehow supported them, cried together, so... don’t talk, just be close to the person, that will be

enough, as for social stereotypes associated with such large-scale holidays as the new year, they really do exist, people ask each other, yes, where will you celebrate, with whom, have you already decided there, and so on, of course, some people who are forced , let's say, celebrate the new year alone there for some reason. they may have fear, shame - that they are forced to celebrate it alone, so i think that this is a product of, so to speak, stereotypes, here is a person who celebrates the new year alone, he is not at all flawed, but what if this is a free choice , let’s say, to retire, then there are no problems at all, and in the end you can be proud of it. yes, you can make a whole social story out of this, you can, you can,

but when all the headlines on social networks, posts and stores, paraphernalia are all teeming with holiday, you have advertising inside too, yes usually, all new year’s advertising is always done in the family circle, everyone writes: you are in a pre-new year’s mood, with whom are you celebrating the new year, and you have already decorated the christmas tree , and everyone seems to dictate such positive, so to speak, emotions, but you don’t have them, and you think, but i didn’t dress up the container, and i’m not in the new year’s mood, i actually, i even decided, exactly that year, not to even tell anyone that i was celebrating it alone, so that...

related to new year's eve - this is some kind of childish, infantile story which for me is generally not very appropriate for an adult mature person, okay , how can you believe in miracles, i’ll explain, i’ll explain , after all, an adult doesn’t wait so much. how much i myself am a miracle for someone , that is, when i don’t expect someone to come and make me happy, that means they’ll give me a holiday, and if this doesn’t happen, here i am lying there, crying into my pillow, this is what i’m like unhappy, but this is the position of a victim, no one

loves me, i’m so good, all this is childishness, still immaturity, which means that if you want... it’s really like that to receive a miracle, to see a miracle , they need to become for other people, then, in general , well, it will really happen, i mean right now people who, in a broad sense , are burdened by loneliness, let’s say, there is one thing situationally, the new year is like that it happened there due to some circumstances, but a person celebrates alone, but another thing is when he often encounters this state of loneliness and suffers from it, is burdened by it. so i would suggest that such a person should not cry into his pillow, but conduct introspection, that is , reflect on why it turns out that i lonely, how do i show up in relation to people, yes, that i am, that everyone is shying away from me , that everyone has left me, that no one needs me, because if we are talking, let’s say about

a smart person, an interesting person, a person who loves , yes, which...

and which, for some reason , were deprived, and i think that if a person follows this path, that is, becomes love, then he will not end up with people, he is a problem of loneliness, she will simply leave him once and for all, he is still a lonely person, if you don’t go into some details, this is a person who is closed in on himself, this is a system that takes away and... not gives, if a person is giving, he is doomed in a good sense to be surrounded by people and need him, well, look, there are situations when a girl is lonely, at this moment, as veronica was, she is alone, new year, new year holidays, as follows from stereotypes that are quite actively formed by advertising, postcards, i don’t know,

social networks, fairy tales, whatever, this is such a family holiday, she understands what do you have her parents. far away, i understand correctly , but i broke up with my boyfriend, and my girlfriends , perhaps with families, some with husbands, with children, some with parents, and somehow not very cleverly, but call, can i come with you of course, they won’t refuse a meeting in the new year , most likely they will say, of course, come, but you will understand that they have their own family, their own jokes, some conversations, some topics in which you are not immediately involved and if you don’t wedge in, you will of course feel a little awkward. i would feel that way, that is she is alone in this situation, not because she has opposed herself to the world, that she is some kind of egoist, how she is closed in on herself, but it happened, and she needs to somehow survive this... night, you know, that’s how she , how she had to survive this night, when in general nothing could be fixed

, no one really wanted to ask, but there were no companies in which i would feel cozy, comfortable, either, this is moving from my hometown to moscow, studying, for 2 years i met alone, but i can say that the second year... i purposefully didn’t , well, i didn’t want to go to any company, i wanted to meet alone, i needed to experience these states, i decided that for myself, that’s all, and i even liked myself like that, but i’m sitting lonely, that means this is where life goes, fireworks, here i am suffering, yes, this was your image, then perhaps you didn’t really want to infect other people with your mood, that’s all. people, they have the ability to convey their emotional mood, and i am the kind of person who conveys the mood, it’s true, if i sit down, i smile and

say: hello, there, i maintain an easy conversation and so on, when i’m positive, then it’s one story, when i’m inside myself, well, no matter how i feel this, this feeling of a holiday, i didn’t want to create it, i have a question for our expert, whether it seems to me or not that veronica.

so, strategy one, which means we are talking to ourselves, these are all inventions, these are all stereotypes, this night is no different from others, except for the roar outside the windows, and i, an adult who decides for himself, want i see a blue light on the first one, i want it, i go to bed at 10 pm, i want it, i open the champagne in one person, i want it. my choice, and if i want such a holiday , there is me, as in the famous joke about

psychologists, but now i’m proud of it, i’m proud to allow it, and or i’ll watch some tv series, then today we’ll eat dumplings at night, why don’t i cook it for myself , as i want, if i don’t want any holiday, i don’t do it if i want people not to wonder where i am, what i’m there, or what they didn’t want to do.