under any government, they are forced to prove that the choice was made correctly and that the uk has become better off, has the uk become better off, a question for me with three question marks, i think that both the uk and the european union ultimately lost from this, but i i say this with pleasure, because i am glad that our geopolitical opponents are making mistakes and losing, in any case, this is definitely not a success story. absolutely, and

absolutely the uk in terms of, if want, influence on world affairs, has now been lost rather than gained, because the only trump card, to use the same terminology that is tired, remains in the hands of british politicians, is their endless loyalty to the united states and, in many ways, looking ahead in the line of the united states of america for anglo-saxon dominance in the world, but this trump card is clearly not at all... enough to please voters, and i think that if someday there is a change of power in great britain, this will in no way will not contribute to the restoration of british positions in the international arena, because they are confrontational because because of this they absolutely do not meet the dictates of the modern moment, that’s my feeling, no matter what happens in europe now, it will not contribute to their restoration of their role in world stage, these are the centuries of european dominance.

good night, see you tomorrow, hello, everyone, on the first channel of the podcast everyone wants to fly, and i, the host of this podcast, leonid yakubovich. today, friends my, you and i will not fly anywhere, we are in the debriefing area, we will talk today with the people who created an amazing film called air, the director of the film is alexey german, hello, the performer of one of the main roles, elena lyadova. hello, brothers, what can i say, unlike all the other films i have seen, as far as i understand, the premiere will take place.

it is released on january 18, you surprised me with this: i was somewhat wary when i started watching the film, because i thought that it will be another action movie with shooters, bullets, burning in the cockpit, with wild screams and so on, you somehow moved away from this and showed, perhaps, perhaps the most difficult part of this life on earth. lening blockade, girl pilots and girl technicians must show dedication, courage and self-sacrifice, not only the ice girls, but also the technicians, they need to give birth, braid their hair, and they are here, masha, why do you need war, you lived richly, what do you mean, why, how many?

is dying, why are you sending the girls, they are not ready yet, i would give them time to mastering, i will receive an order. i can’t survive, i’m going into the clouds , the seventeenth, what do you dream about, how i dance, like the road, at any cost, why didn’t i kill the german, well , i go out on stage alone, zhenya, you need love, you could fall in love with me, everything is fine , we attack. attack, but to love the homeland, it’s death to go, what’s more important, the homeland or the person, homeland, isn’t that the case with you, girls, we whitewashed the germans

, i shot down, you shot down, don’t you believe in us at all, or do you feel sorry for me? please, my little one, please, fly, fly, fly, fly, airplane, fly, look how neat they fly, so it’s not all in vain, let’s fly somewhere and disappear. lena, i have a question for you: how did you feel in the cockpit during all these evolutions? despite the fact that this is all generally safe, this is filming , in general it was not really still scary, the cabin was closed, it was shaking so that there were no cracks

, everything was sealed, they closed it with screws, raised it to a height of probably meters 9-8, in general about the russians at that time, well, in my opinion it’s wonderful, that is, they all empathized, looked without actually breathing, but very the film was received emotionally and after the screening

the halls were full when they asked questions, that is, it seems to me very well, that is , very well, don’t you think that behind all... the events that have occurred since 1945, there were a huge number of them quantity, the topic of the great patriotic war is somewhat erased from memory, but you took up this, why? well, for me it doesn’t get erased, for me it exists emotionally, i remember my deceased grandfather, my whole family fought, and my grandmother and my little mother crossed the front line, hid from... the germans, that is, this lives in me, and empathy lives, and self-identification with the country, with the family, with the common destiny, it is in me, and i just often think about it, so for me this

is absolutely such a crystal, emotional, important component of life, there were three female regiments, 586, 587, the eighth: fighter aircraft, bomber and light night bombers, you chose 586, this is a regiment of female fighter pilots who worked on yak-1b machines, then there was the yak-3, yak 7, but why is this fighter regiment used as the basis for the plot of the film, well, you know, well, first of all, it happened.

i heard it in one of the interviews. as you said, that someone, one of the pilots suggested this story to you, or no, no, no, no, not one of the pilots, they suggested it to me, we thought for a very long time how to make not, not just a film where photorealistic air battles, where there is physics, where there is gravity, but also how to make the film as if emotional, so that it, so that it does not let go of the viewer, and at the same time it is not empty, only when...

as close to the original as possible, and it was like a whole, whole life that we lived, i was completely dumbfounded by your preparatory period, how long did it last? well, for quite a long time, i think that we were preparing for probably a year and a half, well, we first started preparing in a small group, there were about seven or eight people there, we started looking for planes flying on the wing, we started to come up with filming technology... details, we began to design how we would build these airplane models,

we looked at a lot of russian regions about where we would film, we were looking for actors for a long time, because in our film, in addition to wonderful actresses known throughout the country, academy cadets are also starring in the film, precisely because we we needed people with poise and understanding that... some kind of discipline with faces, you know, like, it always frightens me very much in war films when women appear who have recently cheated themselves, so to speak, of everything that can be inflated with teeth whiter than white and the skin somehow incredibly smooth, it seems to me that this is, well, not very not very not very good, and then we looked all over the country for small artists. for one of the main roles we found the wonderful kristina lobshina in omsk,

that’s why there was a long, long, long preparation, i mean, by words, i was completely dumbfounded by what you built, i’m not convinced that somewhere in the world there is something similar, this screen is the size of a four-story building, as far as i'm concerned yes. plus, all this apparatus that rotates the plane, we did a certain amount of engineering, that is, a rather complex structure, invented specifically for the film, lifted and the plane weighing a ton, and this is our simplest gimbal to a height and then spun and twisted, twisted, twisted, twisted, twisted, at that moment, and so to speak, there arose, let’s say... the authenticity of the artists’ feelings and emotions, plus

all these maneuvers were synchronized with the projection on the screen, so when the plane went into a maneuver, then accordingly we tilted the plane strongly so that there was physics , the position of the body in the cockpit, that is, for us , the physics of flight was one physics ; photorealism was one of the tasks that we set right away, but this also had to be combined with the fact that... they happen, yes , it was a whole, whole thing, we had a lot of attempts, we filmed real ones from real airplanes, naturally, in different regions of russia in different weather conditions, from different cameras, in order to get the feeling of flying on the screen, we had emergency landings, icing, well, actually, all the joys, i can imagine how you felt during these evolutions, but in this sense... the director helped, there was no need to invent anything, fantasize, make

any efforts that were not required, in general it helped seriously , when your wing is on fire, everything is screwed up, oil in your face, and also smoke, there are fires, yes, of course, but there were moments when i think those who were sitting in the cockpit didn’t like you very much, but...

henkel's girl was inside, she didn't go in there for various reasons, and of course we filled it with smoke, there was a fire, well, it was kind of whole. it’s a whole matter marya vladimirovna, so how should we work with european politicians now? do you work with european politicians? the minsk agreements gave ukraine more time.

every time the same question: how do they fall for all this or agree, i don’t know, snob gin, a product of the stellor group. we are now, dear friends, present on a podcast, everyone wants to fly, which is on channel one, and we are talking about the film air, which fortunately i saw, and you will see on january 18, i assure you, you need to watch this film, and i i envy in advance those who have not seen it yet, because you will get the mood, the sensations that i have already experienced, today

we have here, the director of the film is alexey german , who plays one of the main roles, elena. lyadova, yes, we continue, but it’s just hard physical work, where you were filming, i understand the sensations, especially when it shakes, pumps, twists, turns, gradually psychophysically, you find yourself in that situation, you can see it in your eyes, it's not played, i saw how the shoulder moved, i understood where your hand was, but the reflex movements of the head, i was convinced that you were in the cabin, we had a load that could go on, i imagined, well , consultants, we roughly understood what the heaviest thing in my life i had lifted, oh , what a pity, what, what you didn’t have a spark for someone to lift you into the air, oh, what a pity the book might not work very well, we considered the option of flying to exactly that,

yes, yes, it was the artists, it was the artists that were imprisoned, we studied. experience, we came to the conclusion that there are more production disadvantages, why? because when we were filming this story, i can set an actor on fire, for example, blow smoke, blow oil, this, this, this, this is important, plus, so to speak, i can spin the actor, let’s say without... at a fairly high speed, it seems to me that he has pressure there were 200 when he came out, but he held on very courageously, but he had a moment that seemed like his eyes would burst, and at the same time i understand that i can lower this structure, the artist can rest, and we can repeat this again same story, the most

difficult thing was probably to make all these air battles photorealistic, so... is that graphics are more expensive than filming high-quality aircraft models, than filming real airplanes, and so on, not only that, unfortunately, graphics... not always, even in very expensive american films with budgets of 100 million , sometimes you look and think, well, this is a cartoon, damn

it, you can see it, and so to speak, in fact, we came up with a rather interesting technology, in our country, when there are air battles, we first have former air force pilots , that's all, everything was done on yaks 52, yeah, that's it maximum speed, so to speak , in line with the behavior of the pilots of the great patriotic war, then in their place we inserted 3d models of airplanes one on one, so that there would be no feeling when the plane was walking on rails, it’s not walking on rails, but it’s as if it exists there is turbulence, there is , as it were, inertia, there is. the tangible weight of the plane, it’s almost impossible to catch, but the problem with many films, including, unfortunately, ours, when computer

graphics are made, is that latently we don’t feel the weight, and accordingly, so we went in this way, this is a very multi-component picture, plus, when we had bombings, we launched the yag 52, which then a little bit...

which you took, well, i had moments, and not just that i was afraid, but you know, sometimes you come to filming, you’re flooded or something else, and sometimes you feel like you ’re running out of strength when you’re pushing it? you know, we chose the most idiotically difficult way to shoot this picture, we recreated all the costumes, again lena

okopnaya, the costume designer too, she we first we created threads, then yarn, from this yarn we made fabric, from this fabric using those technologies, we restored tunics one by one, we sewed flight suits. or there was a remake left, this remake is visible, and this remake, well, of course, a remake, and therefore,

when all this, well , it was very, very difficult at times, then of course, then of course i kept cursing everything, of course, you know, i immediately want shoot a picture somewhere, you know, in the warmth, so to speak, no, no, without leaving, without traveling far, on the one hand, on the other hand, the challenge is big. in this, of course, there was such a good drive, to make, try, make a film when you don’t have, you know, with us you often watch, our war films are modern, and you quietly swear when in what’s conventionally called at the end of forty-one appear in fashion or american pilots, who even then , well, of course, a jacket that didn’t exist then, or an airplane of the wrong modification, or i... recently watched a film about some fictitious blue soviet secret airplane, or when you , when you you see, it means they are completely disgruntled.

inexpensive, but nevertheless, to choose the most monstrously difficult decision, then we choose, but which leads to - so that the person does not feel false, we chose this monstrously difficult decision, at some moments, of course, we repented of it , we thought, okay, well, why do we need to build so many models, would we have drawn them with a computer, no, we didn’t, for various reasons, we built the models correctly, we did everything correctly, say, it’s ready, right? i

think movies only show love affairs stories in war films are about a guy's love for weapons, in gangster films, about guys' love for thefts, things are really rubbish, but the new wave brought love for cinema, without love there are no films, he is a child of the cinema, he himself says that he grew up in the cinema museum in paris, he knows the role of viewing in old films.

we are now on the first channel in the podcast, everyone wants to fly in the debriefing area, we have the director of the film air alexey german, i am the performer of one of the main roles elena lyadova, and i am the presenter leonid yakubovich, the preparatory period was about 3 years, right? how we started working before the script, during the script, i think that if we accumulated everything for 2 years, probably, and the construction of this entire huge set, well, that would be, well, that, well, we designed it in advance for a very long time, so this is interesting, in fact, we

set up a workshop to create a model. we placed it at the very edge, turned it around specifically so that it would not be visible, placed it at the farthest edge of the airfield, which means that then we put it on the aircraft production stream then we spent a very long time fine-tuning them, technological holes, hatches, texture , airflow, scratches on the screw, and it was like an endless, endless, endless

story. so that conventionally - there were screws from that time, so that the screws that were sometimes used to fasten something were not visible, and to this day i see two or three screws in the picture that i missed, i understand that no one sees, i understand that they are small, small samariz, only i know that they are there, but every time i reproach myself that i passed and

that is, an amazing artist on the film, this is lena okopnaya, in fact, both the costume designer and the production designer, well , they really did, they did a colossal job. in all the details , in everything, from the creation of a reliable trench, and a reliable costume, and all the dirt of what really happened, ending with the creation, the creation of a rather large airfield, you are right, because one way or another the eye glides over the little things and ... these little truths create the overall truth of this whole story, and it’s obvious, well, i can do that for you to say that in fact there are many secrets that we tried to understand, we thought a lot, when you make a model of an airplane,

when you build it, it is clear that a centimeter, a centimeter, everything is where it is needed and so on, the question is how to paint an airplane, we we know that the plane is wooden, partly, not all, but partly wooden. partly fabric, partly, we know that, well, yes, percale, yes, yes, yes, well percale, yes, of course, but we did the research, we painted the plane matte, matte paint and gloss and semi-gloss, and it turned out that gloss and semi-gloss, just if you paint it, give a greater feeling of weight and naturalness, although there is more of a feeling that it was like that, that is , simply even from the point of view of the amount of varnish, the choice of paint,

it does not build your truth in the frame, documentary, filming had not started, alexey alekseevich was in the background in this sense, and lena created such a detailed atmosphere, she directly lived it, the whole film, in fact, it was imbued with the desire not to lie about everything, that’s what alexey alekseevich told about that that he built airplanes, didn’t want graphics, lena created them. threads, fabrics and we, as artists, were simply witnesses to the fact that some special, it is, of course, artistic, fictional, well, some kind of especially artistically fictional, truthful, documentary world is being created,

it was difficult for us to lie there, you just know , it’s amazing how much the topic you touched on hurts me, well, not only am i... crazy, i’m in love with the sky once and for all, that’s for sure, but when we were filming a film about the girls of the 588th regiment, but this the biplane of the legendary aircraft designer nikolai polikarpov was not intended for combat, an open cockpit without armored backs, with a low-power engine, no matter what they called it, a corn mill, a whatnot, who would have thought that it would be indispensable in battle? its disadvantages will turn into an advantage, i flew on it for three days, as you know, the maximum number of combat sorties per shift was about 18, about twenty, i was completely exhausted on the sixth,

in the summer, open cockpit, oncoming jet from engine, from the propeller, i was freezing, and at -25, and the lack of sleep on you, all this shook me so much, you so perfectly conveyed this feeling of human existence in inhuman conditions that i just got a lump in my stomach throat, thank you very much,

because i believed it, but you also took on incredible work, you started filming in the winter, lena won’t let you assemble it, we wanted to make an ice airfield, since the film is connected with the blockade of leningrad with the dear life. including, and we built a sleigh, which means we prepared for the road of life , developed heating points, which means there was a huge decoration... work developed an airfield and this year the ice did not freeze at all, then we built our airfield on the shore and monstrous storms began in winter, all our planes were blown away, and we built the runway, it was flooded, not only do we have not only yaks, but in the film, in addition to mr. shmitov, we have 2, there are pieces of 2. there is an i16 and a huge three-ton model - that means the ila

2 had its wings torn off in the wind and the guys were lying there, 10 people just piled on and 10 people held the wing, because later we would not have restored this plane, we had shift cancellations, i remember, in my opinion, lena arrived, arrived without hands, we were flooded, and we ran along the logs into the gulf of finland. walks around, grabs the cameras, literally , right before our eyes they dismantle the tent with the monitors, run, the water comes right in a minute, there in one of the stills that i saw, there are stills from the filming period, when you shouted very loudly, stop, it’s filmed, the shift is over , joyful, cheerful faces of frostbitten people who wandering through the snow.

colleagues, thank you all, but today the shooting is over , it was, friends, lunch is announced, and at the same time their eyes are shining, from this i concluded that the relationship in the group was probably wonderful, everyone just wanted to star in this film , but it seems to me that everyone somehow partially understood that they were some kind of link, color in some very important matter, and despite the cold, some possibly uncomfortable conditions, well, as for actors, it was important, for the film to take place, it was important for everyone, for us, well... it's all over , now you've exhaled, the sound has been mixed, it's probably

all done, everything is ready for the premiere, well, almost, we still have some small, very small work left, is it possible to open the crack a little bit, what's ahead, well, we now, so to speak, it seems that with the first channel they should start one big film based on konstantinavich’s wonderful idea, i have not yet given the command. watch this film, because god knows,

it’s worth it, once again, we are on the first channel in the podcast, everyone wants to fly with director of the film air alexei german with one of the main performers elena lyadova brothers, thank you very much for coming secondly, and firstly for giving me the opportunity to spend a very good time there for almost one and a half years then an hour, i watched it with pleasure, well, maybe because for me i repeat once again, like for you, the sore subject of war, plus everything that happens to the air in general, i enjoyed it and i sincerely i'm telling you guys, thank you, i'm here sits here, i think i'll watch it again, all the best, thank you very much for being with us, everyone on the podcast wants to fly, i

hope that you get exactly the same pleasure as i do from watching the film air, although any the recommendations in all likelihood are not worth a penny, but nevertheless i recommend that you go to the cinema. this is the podcast burn with fire and i, its host denis gorelov. today we are talking about the military cinema of the soviet union and its successor, the russian federation. as for war films, it was the absolute know-how of our cinema , may not always be fully realized , but completely natural, since - frankly speaking, our people knew much more about war than all other peoples, more or less commensurate with us, about military affairs,

they only had an idea three nationalities, the germans, japanese and yugoslavs, but also... the germans and japanese, as the losing side, could not afford to speak out in any way about the heroism of their armies, they had to apologize to the whole planet to show how their guilt is unredeemable by any thus, ours turned out to be the only cinematography that fully and adequately speaks about the hard times of war, over the decades... of military cinematography, we have made 22-23 truly outstanding classic films about the war, most of them i will name during the podcast , many may think that 23 is not a very large number, but for comparison i will say that

there are at most five decent polish films about the war , five german ones, too, and the americans have not made a single decent film about the second world, more or less the first 20 minutes of the rescue of private ryan showed what the landing in normandy was like, but spielberg was simply afraid that all sorts of pregnant spectators would start giving birth in horror right in the hall, each shot was cut off by 2-3 seconds, snatching everything is the most shocking, so i ruined my own picture, it’s even impossible to talk about it seriously, in some ancient years... i put together a rather funny periodization of war cinema, which, in my opinion, is completely corresponds to the period of trends and styles of culture and art - in ancient centuries. ah, the first part is war cinematography

from the time of the war immediately after it, it most closely corresponds to the fundamental classicism of the 17th and 18th centuries. good and evil are very clearly outlined from the first frames, good is majestic, courageous, heroic, to the last degree of extremes. as for evil, the bearers of evil are always short, lanky, short-sighted and sometimes one-eyed, they always wear german helmets with horns, they look extremely unpresentable. in these paintings from the very started by last names, as it should be in classicism, it was clear who the positive hero was, the negative one, the positive divisional commander was called ognev, the negative divisional commander was called glotov, as for the surnames of the german occupiers, a variety of inventions were invented in this regard, in addition, mandatory in films the period of classicism was that heroes never die, if

they are bearers of absolute goodness and absolute truth, then in any case they should remain alive, they can only be wounded, thus picturesquely bandaged head with a bent or hanging his hand on a bent garter, the heroes always in the finale made some pathetic speech directly into the frame, this is what nikolai kryuchkov said in the immortal garrison, and mark bernes in two fighters, and vladimir druzhnikov in konstantin zaslonov and ivan pereverziev in the film ivan nikulin is a russian sailor, something like... “whoever comes to us with a sword will die by the sword, that’s where the russian land stood and will stand.” words by alexander nevsky, folk music. and all these films, of course, looked quite tiresome, there were rare cases when especially gifted screenwriters were able to saturate completely

random event connections with excellent dialogues. in particular, this happened with the film according to the script. the romance is that a boy and a girl, holding hands, run along the embankment and kiss overlooking the sunset. classical romanticism

implies constant disappointment with the current reality on the part of the sad nobleman, who periodically flies into the distance with his imagination, into some idealistic worlds, imagines a wonderful life that absolutely does not fit with... reality, ends very badly, either becomes an alcoholic, or commits suicide, or dies out from cough, and approximately in this direction the heroes of films of the late fifties acted in almost all of the sixties, and these films were necessarily about very young people, and it was guaranteed that all his heroes would die in the finale, and even from the very beginning it was often clear that they were not residents. the very first romantic film in history was andrzej wajda's canal, in which

a chain of heroes of the warsaw uprising walked through the ruins of warsaw, a voice behind the scenes warned, all these heroes will die by the end of the film, you see the last hours of their lives, and approximately in this degree the rest of our heroes of our cinema existed, necessarily carried away again in what - that dreams were flashbacks to a former peaceful life, which of course was idealized, but it was all very similar to romantic escapes into idealistic dreams, this was of course in the film, the chronicle of a pipeking bomber, in clean ponds, in the film talankino's triumph, finally... in the best version, in the last picture of a romantic movie, the azori are elements here, flashbacks to

peaceful life there, memories of beautiful men were in color against the backdrop of a black and white war, of course, this total sacrifice was very much in demand at international film festivals, which at that very moment switched to pacifist cinema. 4 years later, the main prize of the venice golden lion festival went to andrei torkovsky with the film ivan’s childhood; there were

films that were slightly less significant winners festivals, finally ozori here the elements in the seventy-second year were nominated for an oscar, although they lost to buneeli’s film for the modest charm of bruzhia, all this was truly in demand in cannes. festivals, for example, our film zhavornak participated in the sixty-fifth year about how in germany and during the war, on the anniversary of the beginning of the war, he escapes from a concentration camp along with a training tank, the crew, the film, of course, was the forerunner of our modern film t- 34, but was much more honest, in the middle of the film the crew understood perfectly well that they're not residents, so...