and the plane is also the hero of the film in its own way, so in the connection with the plane, in my opinion, there are insufficiently told stories about women fighters. and the fact that history was written so simply is probably why we took it on. in one of the interviews i heard you say that someone. did one of the pilots tell you this story or not, no, not from the pilots, they suggested it to me, we thought for a very long time how to make not, not just a film where there are photorealistic air battles, where there is physics, where there is gravity, but also how make a film like emotional, so that he, so that he would not let the viewer go, and at the same time it was not empty, only when we found the story, when we on... and

technology, that’s when we agreed very slowly, we started working, it took us a long time to restore, and airplanes were built because we don’t have any living yak 1bs, we have one that was modified at that time, now, in my opinion, another one has been restored, and we built 12 yak 1bs, because we created airfields, created this regiment with as close to the original as possible. and this 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 about a year and a half, we were preparing, 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 coming up with filming technology already in details, we began...

to design how we would build these aircraft models, many regions of russia were looked at regarding where we would be to film, we were looking for actors for a long time, because in our film, in addition to, therefore , wonderful actresses known throughout the country, academy cadets are also acting in the film, precisely because we needed people with bearing with the understanding that, as it were, discipline with. .. faces, you know, how would i, it always frightens me very much in films about war, when women appear who have recently cheated themselves, so to speak, of everything that can be cheated, whose teeth are whiter than white, and their skin is somehow incredible sweetness, it seems to me that this well, not very, not very, not very good, and then we looked all over the country for artists for small roles, for one of the main roles. we found the wonderful

kristina lshina in omsk, that’s all, so there was a long, long, long preparation, i mean, by words, i was completely dumbfounded, this is so that they set it up, 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 am concerned, plus all this... the apparatus that rotates the plane, we have done a certain amount of engineering, that is quite complex , a design invented specifically for the film, it lifted and a plane weighing a ton, and this is our simplest gimbal to a height and then it spun and twisted, twisted, twisted, twisted, twisted, at that moment, and so to speak, it arose, let’s say , the authenticity of feelings - the artists

have 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 a physics of the position of the body in the cockpit, that is, for us, the physics of flight was one physics and photorealism was one of the tasks that we set right away, well, this also had to be combined with what was happening on the screen, but it was. the whole thing, we had a lot of attempts, we filmed real ones from real planes, of course, 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 in fact, all the joys, i imagine how you felt yourself 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 really helped when your wing is on fire, it was. that we could make turbulent planes shake quite strongly when it seemed to us that there was no, with lena this never happened under any circumstances lena always , well, when it seemed to us that there was some kind of tune, i say, we shake the plane, that’s actually the same physics, it's overload, it's it’s like it’s quite difficult to manage, but well, we tried to build a story like this about uh about the efforts of concentration, in

general, well, we had a lot of technology, we had a whole scene of a fire, a henkel bomber inside it. went there for various reasons and of course we filled it with smoke, there was a fire, but the whole thing, well, it’s like a whole, whole thing, now you and i, dear friends, are present on the podcast, everyone wants to fly, what’s on the first channel, and we’re talking we are talking about the film air, which fortunately i saw, and you will see on january 18, i assure you, this film you have to watch it, 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 girman, the performer of one of the main roles, elena lyadova, yes, we continue , but it’s just hard physical labor, where

you were filming, i understand the feeling, especially when it shakes, pumps, twists, turns gradually... it may not work very well, we considered the option - by flying on - that’s exactly yes, yes, exactly artists, exactly artists plant, studied, studied the experience, came to the conclusion that there were more production disadvantages,

why, because when we filmed this story, i could set the actor on fire. for example , blow smoke, blow smoke oil, this , this, this, this, this is important, plus, so to speak, i can spin the artist, let’s say, without a hand, at a fairly high speed, it seems to me that his pressure was 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 understood that i could lower my eyes.

you know, and i spent several years of my life and analysis on the history of aerial filming there, i came to an amazing result, which is that graphics are more expensive than filming high-quality aircraft models, than filming real airplanes, and so on, not enough the fact that, unfortunately , the graphics, and not always... even in very expensive american films with budgets of 100 million, sometimes you watch and think, well, this is a cartoon, damn it, yeah, that’s visible, and so to speak, in fact, we came up with a rather interesting technology, when we

there are air battles, then first we have pilots who were former air force, that’s all, it all took place on yaks 52, yeah. at 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 one on one. airplanes, so that there is no sensation when the plane is walking on rails , it’s not walking on rails, yes, it’s as if there is , ah, there is turbulence, there is, as it were, inertia, there is a sensory weight of the plane, it’s almost impossible to catch, but the problem with many films is including, unfortunately, ours, when computer graphics are made, latently we don’t feel the weight, but... and accordingly, we went this way, in this way, this is a very multi-component picture, plus when we

had bombings, we launched ya 52, which was then slightly modified by computer, but when filming is going on and the actors are conditionally in the trench or somewhere else, a real plane passes low over you, yeah, then you...

you sometimes think that your strength is running out, when you push it, you know we chose the most idiotically difficult shoot, you were flooded there or something else, and the way to shoot this picture, we recreated all the costumes, again lena okopnaya, the costume designer too, first we created threads, then yarn, from this yarn we made

fabric, from this fabric using those technologies, we restored tunics one-on-one, we sewed flight suits, but about the same weight as they were, because they were quite heavy and not very satisfying, but what ’s wrong with the selection? it was, and you know minimally, unfortunately, this is the legacy. wonderful soviet cinema , say, the film torpedo bomber, yes, nothing of this remains, because in troubled times it all disappeared somewhere, somewhere, and therefore some few remained, or a remake remained, this remake is visible, and this a remake, well, of course, a remake, and therefore , when all this, well, it was very, very difficult at times, then...

a monstrously difficult decision, then we choose, but which leads to the fact that the person does not feel false, we chose this a monstrously difficult decision, at some moments, of course, we repented of it. 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, did everything correctly, now on the first channel in the podcast everyone wants to fly, in the debriefing area we have a director

film air alexey german, i perform one of the main roles elena. well, i, the presenter, leonid yakubovich, the preparatory period was about 3 years, yes, and where did you tell this, no, well we, well, how to count, from the date, as it were, how we started working, before the script, during the script, i think that if we accumulate everything for 2 and a half 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, this is interesting, in fact, we set up a workshop for creating models of yakov and mister shmitov models, and this story took a year, because it was several prototypes were unsuccessful, because when we first started recreating the yak, the first

the plane was made with a mistake, it was simply shorter, and so that it would not be visible, they placed the farthest edge of the airfield, which means that then we put the production of aircraft on stream, then we spent a very long time fine-tuning them, technological holes, hatches, texture, airflow, scratches on on the screw, and it was like an endless , endless, endless story, so to speak - there were screws from that time, so that the screws that were sometimes used to fasten something were not visible, and i still see in the picture has two or three screws,

which i missed, i understand that no one sees them, i understand that they are small, small, self-defeating, only i know. that they are there, but every time i reproach myself that i passed by and didn’t notice, it was a very difficult story, how to simulate the acceleration of the plane so that it would take off, because since we were filming in winter, the runway got wet, we we it, we leveled it at night, the plane accelerated, slid, that is, there was a long story, we placed the engines, we...

and a reliable suit, and in all its dirt and 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 can be seen, well, i can tell you that there really is a lot. secrets that we, 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 the plane, 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, pirkak, 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, gives a greater feeling of weight and naturalness, although there is more of a feeling that it was like that, that is, just even in terms of the amount of varnish, the choice paint, choosing the degree of glossiness, not glossiness, and so on, it depends on the feeling authenticity, there were a lot of options. in airplane helmets, just a huge research work, well, can i put in my 3 cents, in fact, well, in the filming of other films, of course, the director is always important and the main one, and...

you know, it’s surprising how much the topic you touched on is in me , it hurts, 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, however, this biplane of the legendary aircraft designer nikolai polikarpov was not intended for combat action, an open cockpit without armored backs , with a low-power engine, no matter how they called it a maize machine and a tomato, who would have thought that it would turn out to be indispensable in battle, and its disadvantages would turn into an advantage, i flew on it for three days, as you know, the maximum the number of combat sorties per shift was about 18 to 20, i was completely exhausted on the sixth, in the summer, open cockpit, oncoming jet from the engine. from the propeller, i was freezing, and at -25 and the lack of communication of any kind at all, and the mechanics about

technique, with bare hands in gloves you can’t do anything with the engine, it means to fly in, jump out of the cockpit, take a sip of tea right away, in the transition period, when there is abyss, when there is nothing to sit on, well, i was so stunned. with my feelings, so that i understand that they are all heroes of the soviet union, every single one of them, so when i looked at you, it all stirred up in me so much, you thus perfectly conveyed this feeling of human existence in inhuman conditions, that i just have a lump in my throat, this thank you very much, because i believed it, but you also burdened yourself with incredible work, you started filming in the winter, lena won’t let you collect it. we wanted to make an ice airfield, since the film is connected with the blockade of leningrad , including the road of life, and we built a sled,

which means we prepared for the road of life, developed heating points, which means there was a huge set work, developed an airfield and this year there is no ice got up at all, we then built our airdrome on the shore and began. in winter there are monstrous storms, ours are all the planes were blown away, and we built a runway, it was flooded, not only do we not only have yaks, but in the film, in addition to mr. shmitov, we have 2, there are pieces-2, there is also an i16, and a huge three-ton model, which means ila -2 in the wind, his wing was torn off. and the guys were lying there, 10 people just piled on, 10 people each held the wing, because we wouldn’t have restored this plane later, we had shift cancellations, i remember,

in my opinion, lena arrived without hands, we were flooded, and we were running along lagam, it’s coming to the gulf of finland, they grabbed the cameras literally, right before our eyes they dismantled the tent with monitors, ran, the water was just in a minute. i walked there in one of the frames that i saw, footage of the filming period, when you shouted very loudly: stop, it’s filmed, the shift is over, the joyful cheerful faces of frostbitten people wandering through a snowy field. colleagues, thank you all, but today the shooting is over, it was announced, friends.

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, it’s been brought together the sound is probably all done, everything is ready for the premiere, well, almost, there are still some small, very small works left, is it possible to slightly open the crack that lies ahead, well , now we are, so to speak, with the first one.

our conversation, without lying, i can say that i am filled with the desire to wish everyone to 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 the director of the film air alexei german with one of the main performers elena ilyadova, brother, thank you very much for

that they came, secondly, and firstly, for the fact that you gave me the opportunity to spend very good, almost an hour and a half with something there, i watched it with pleasure, well, maybe because for me , i repeat once again, like the war is a sore subject for you, plus everything that happens to the air, in general, i enjoyed it and i sincerely tell you guys, thank you, i, here he is sitting here, i'll probably watch it again, all the best, thank you very much for being with us on the podcast everyone wants to fly, i hope that you will get exactly the same pleasure as i do from watching the film air, although any recommendations in all likelihood are not worth a penny, but nevertheless i recommend that you go to the cinema.

hello, i’m still dmitry bak , we will now have the next episode of a literary podcast, let them not talk, let them read, in our episodes, of course, we talk, we talk a lot, but only so that you, our respected interlocutors, read as much as possible so that your...

this is how it usually happens in our podcast, let's start lisa, hello, we'll be on the same page as we are in life, straight from the path to the profession, very often in your biography, in the official, not in the official , it is emphasized that you are an art critic, this is so , no one no doubt, but art history or art history, i don’t even know which is correct, art history after all, yes, although i head the department of art history. i must tell you at the emhat studios school, art-knowledge, for you this is the love of painting, graphics, sculpture, architecture, this is science and research, this a set of some skills in order to do something in life, what is it? well, it’s all together , well, in my opinion, love, you cannot become a professional in any field, including art history, if you don’t love what you do, i don’t see the difference here

in biology and even... not only a zoologist should not love ciliates, but even a botanist is not obliged to love flowers, i don’t know , it seems to me that no, that is, you may not love the profession that you are engaged in, not a profession, but an object, an object, well, as it were with me there is a passion in art, that is i like something, i don’t like something , yeah, but usually when i voice them , they tell me, well, how’s the director of the pushkin museum, well, i don’t like picasso, i have some things that i like i really like it, there are architects there whom i love very much or there are artists there whom i love very much, like... gonar or the same matis, but there are things that i don’t like, that’s normal, but in general for me the history of art is this is a conscious choice made by an adult in adulthood, a choice largely in spite of my youthful choice, that is, it’s not 17

years old, or 17 years old, 17 years old, just everyone expected me to enroll in the history of art, but i didn’t do it, i went to a completely different age, a test of life, and then that’s it... art, well, you know, aleksandrevich ivanov’s father said one very important phrase, he was a teacher at the academy of arts in st. petersburg, and he said that you should study art as late as possible, preferably after thirty, because only then do you begin to understand at least something, yeah , and i honestly admit, i was convinced of his rightness from personal experience, despite the fact that i actually grew up in an environment, my mother is an art critic, horror, my daughter, that’s why at the age of 17 everyone thought that you should yes, everyone thought that i would forgive, but i didn’t want this at all, please tell me, so i’ll cling again to this thought about picasso, whom i’m very...

thing, well, not only, i’m in front of it, well , i haven’t seen the auvenion specifically, but i ’ve seen guernica, and i, when i came to the reina sofia museum in madrid, and i saw her, well, yes, it made a strong impression on me, and there is, of course, for example, what does a strong impression mean, but i don’t love, when i love - what kind of impression is it, when i love, it’s not some kind of internal experience , first of all, yes, that is, this is what i would like to return to endlessly, but this was just a confession. recognition of greatness, yes, well, there are actually several such examples, for example, everyone really loves gian lonenza bernini, he makes me indifferent, because i love boroka very much, i endlessly love both the era and the artists, but bernini somehow doesn't touch any strings in me

soul, too rational, or something, i tried to formulate this for myself, well, for example, there is a standard line of development of sculpture, yes, if we mean sculpture after the middle ages, michelangelo, raden moore, and from this, from this line. as if i always brought them together, i’m not a professional , of course, but i brought picasso and moore together, nevertheless, yes, the desire to see the volume, to see the contour, to free from meat, relatively speaking , what is in this, yes, but i am moore moore seen several times in different forms, i saw it

drawings, and my first acquaintance with moore took place at a fairly adult age , i was probably about 25 years old there when i first saw moore’s work, as they say, and not a casting, exactly what he did with his hands, uh, on me. made some kind of colossal impression , i began to wonder who he was , i realized that this was probably a gap in my education, and after that i started digging, when i got to the tate, there were three halls in the tate, mura, yes -yes, yes, i know and i love it too, i understood why, why it disembodies material for sculpture, it is dangerous, look, dzhekomti disembodied the sculpture with the help, he removed everything, you know,

flattening cupid turns a dense mass of material into an airy mass and he does this not with the help of some kind of konshtyuk, as for example bernini would have done, and he does this simply due to the fact that he strictly observes the volume, color , but we have already gone straight over, we have gone over, which

can be endlessly recited, but what do you like from pushkin? i love everything about pushkin, you love everything , everyone says: there is no truth on earth, but the truth no and higher, for me all this is clear, like a simple scale, i was born with a love of art, well, it doesn’t matter, i love it, but no, i love pushkin from any point, now i have a favorite, for the last 3 years my favorite poem is called ispindemonti, well, ispendemonti inexpensively i appreciate loud rights, from which more than one person ’s head is spinning and it’s a little grief for me that the gods sweetly refused me.

this is exactly what alexander sergeevich pushkin did, this is the man who united everything with everyone and ancient russia, and the pride of antiquity, cherished traditions, yes, as another said, not a less great russian poet, yes, yes, and therefore absolute modernity, and pushkin, and him , well, it’s as if it’s impossible to cancel the sun, you may not love, nothing can be canceled at all, we understand, here’s alexander, sergeevich, this is very a precise and very understandable definition of the sun of russian poetry, known to us all since childhood, i would say more broadly. the sun of russian culture, he formulated

the russian person, formulated it in literary language, he gave more than just a literary language, i just want to shut up, this is dostoevsky speaking pushkin’s speech that pushkin is the most russian , relatively speaking, he is russian as such, and pushkin himself, pushkin himself being an abesinian, himself, yes, the very figure of pushkin is the embodiment of what a russian person is, i recently found myself here in the kaleidoscope of the captain's daughter, the fact is that a very good friend of mine invited me to vologda to the premiere of the local theater at the premiere of the local theater, we watched them the captain's daughter, which means before we went to the theater we went to the local museum and there was an exhibition there orenburg down shawl unexpectedly, i even know from which museum and everything would be fine, but exactly 3 days after this event i went to orenburg to open an exhibition which , that is, the circle has closed for me in orenburg, i am a captain’s daughter, yes... while i was driving back from vologda, the ticket was very

unsuccessful, daytime train, while we were traveling , i re-read it there in 2 hours, when i was reading it, i thought, listen, even if he had written the captain’s daughter in your history, but i think so and barberry godunov and about there you take any of his things already enough dude, yes, the station warden, oh, you just don’t need anything else, he has an absolutely fantastic language, of course

, there are secrets that have no statute of limitations. german. from monday after the program time. but. it was said later that pushkin’s stories are somehow bare, that is, there are no decorations, everything is straight to the point, you know, i once had a story, i was with a friend, it means we were sitting in a bar, we were sitting in a bar and after such in saliere, the dramatic denouement

of one of the love stories, then we discussed that all men are assholes, and during the discussion we began to discuss the evolution of the main character. it’s like a love story was born, but lovelace is all this, or lovelace like yes, well, lavaz in russian, transcriptions, then well, our beloved jinostina, here’s me on this when we reached the city of seven-love jinostina, you’ve heard this a long time ago, dear our friends, how can you not love, too, everyone for 16 years

considered pride in anticipation, we reached the point of pride in warning, then i thought, it’s interesting that alexandrevich read pride warnings because the plot? it was, or rather it was, but it worked more like situations without a tv, i just don’t have furniture, i’m a bookish child, i read voraciously,

i’m a bookish child, i grew up in history , i read everything, i read quickly, i have to have books at home for this, yes, i had books at home, i was also enrolled in all the district libraries, which gave me books to take home. plus at some point i signed up for the central children's library on oktyabrskaya, yeah, i read everything, i'm nice, it's just that, well, it's clear that there was a lot of people there telemensky set of a soviet schoolchild, and kananda, agatha christie, defoe, dumas, kaveren, main rit, which means fenimer cooper, that’s all, but besides this, since all this literature, as a rule, is written in generally quite simple language, and is readable very quickly, i read belkin’s stories for the first time, i was probably 12 years old

. before this episode, yes, annegin, in the opinion of many, judge decisively there is the most important thing at the end of the first chapter, holy is love, village , idleness of fields, i am devoted to you with my soul i am always glad to notice the difference between anegin and me, this, i read it several times and at some point i realized that it was easier for me to learn it, i learned it now, because i haven’t re-read it for a long time, probably three years, because for me reading it is not reading on the subway, i can’t read, this is also an absolute text, yes, just absolute. no more needed, this is completely a text, quite interesting, i read an interview with chirac, who translated it into french, yeah, and he told me how difficult it was for him to maintain the aneguen language when translating into french verse, yes, this size, or size, and the strafu and the size of the strafu are 14 lines of aba, but that’s all.