do you remember anything, well, at least i remember , i remember the first 13 stanzas, before the stanza we all learned a little, something and how it will not happen, so education, before this stanza, danegin, in the opinion of many, decide, the most important thing is in the end first chapter yes, holy love village idleness in the 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 i learned it now, since i haven’t re-read it for a long time, for three years now, maybe. because for me reading it is not reading on the subway, i can’t read, it ’s absolutely the same text, yes, just absolutely, nothing else is needed either, it’s absolutely a text, quite curious, i read an interview with chirac, who translated it into french , uh-huh, and he told me how difficult it was for him to keep the aneguen verse when translating into french, but this size is the size or size, and the strafu and the size of the strafu are 14 lines abba, but that’s all. it was

difficult, second story, i actually recommend doing it, a few years ago a new translation by evgeny anegin into english was published, and stephen fry read it. even if you don’t speak english, you know the russian text, listening to how stephen fry and evgenia anegina read, it’s just another recommendation to you, an incredible amazing pleasure and he, unlike most people who read anegina, is very understands well.

i tell him, old man, stevenson wrote chukovsky marshak, well, in general, yes, you read in the original, but i read what chukovsky translated, when you just look on the black arrow , sokrovich island, chukovsky’s translation, i still couldn’t understand why i was having such difficulty getting through everything else, by the way, i still can’t read dickins, but dickins has an absolutely amazing quality, he, if we throw out all these crazy things of his...

very briefly, very clearly, well, it’s clear, it ’s like pushkin turgenev, or dostoevsky turgenev, dostoevsky describes, i always have the only film adaptation that i really like, this is the film adaptation of the first parts of an idiot with raw materials, well, of course, because pyryev caught the most important thing in dostoevsky, dostoevsky describes the world around him not with the help, but with plasticity and so on, but he describes with characters, that is, you read, you read there about prince myshkin, you understand. well, wise philologists wrote volumes and volumes of works in order to formulate all this, and elizaveta likhacheva understood this herself, being an art critic with a great understanding of literature, well, now in the middle of our program, as usually happens, there is an author’s section, you of course remember that we are doing one of three things, either we show an old book, or we comment on some quotation from prose. or

we read and comment on a poem , but today it is an old book, and we play fair, i, as a museum worker, under no circumstances ever bring museum objects here, of which there are many in the collection of our museum... our own library, no matter how they look , here i have a book by polon grigoriev, which has its own history, here are hundreds of thousands, but i’m just bringing books here from the cover, as we see, this is a poem by apollon grigoriev, but here there is an important note on the title, this is the cover, and i have the title page in my hands, it says here that alexander blok collected and provided notes, this is an important story, this 1916 move for the block is also very dramatic and important, well, everything is important here, and the publisher, who is nikrasov’s nephew, this is also a wonderful name, but the most important thing is that in the history of the perception of different authors there are different

periods, well, for example, shakespeare was great after his death, and then in the 18th century, at the end of the seventeenth, he disappeared, because he did not belong to classicism fit in, here's the romance again open. “if we parted, whether we will meet again and where and how we will meet again, then god knows, but i ’m out of the habit of knowing, and i began to dream...” it’s great to know and not know, does it really matter, the future is inexorably strict, like as a rule, we parted a long time ago, and knowing that, i know too much, the belief is that knowledge is a misfortune that comes true, we grow old very quickly in our

fast century, so on the night of the sentence the condemned sits, forever, here there is the coinage of a shakespearean sonnet, and here there is this is the one...

the second one is not something tsvetaev came up with, in the end, in in the middle of the 19th century, many universities, european cities, european cities, started with gleptotheks, that is, copies. famous sculptures made for educational purposes, tsvetaev is not making a glyptotek, he goes to klein, they are building a museum whose architecture itself is an illustration of the history of art, not only do you enter through the greco-roman portico, you go up, which means you enter egyptian lobby,

which is made in egyptian style, you go to a pink staircase, you have a greek courtyard on your left side, on your right side italian courtyard, this is the logic that you have on the left side. greek antiquity, and classicism, and the corner of the prophenon, and it was not a trivial task to push the corner of the prophenon into life- size, which means in a building in berlin, and on the right side. you have a courtyard of high italian revival, and there every object, in every cast, stands for a reason, for example , the portal in the italian courtyard led into the hall of the middle ages, that is, the logic is clear, then like even the most incredible, about which there is little now who remembers, on the frieze above the main staircase there are two inscriptions in greek, the first reads like this: the best of all, the desire for beauty, i will reproduce in translation, because greek is not my language. the second sounds like this: and consoling a person from all troubles

is art, i didn’t know this either, forgive me for my ignorance, in my opinion this is very important, this formulates tsvetaev’s concept in relation to the museum, and what a museum is, and naturally that this museum, which is conceived as a library, already at the stage of its opening grows into the egyptian collection, which the tsar buys and transfers it to the museum...

unexpectedly, the council of ministers decides to rename the museum of fine arts and give it the name of alexander sergenvich pushkin, but this is really the thirty- seventh year, moreover, in our port. on the left side, not on the colonnade, but when you go up to the portico, on the left side there hangs an excerpt from the decree , why exactly pushkin, there were a lot of strange things there, when his brother suddenly decided to unexpectedly celebrate the centenary of the death of alexander sergenvich to pushkin, the round date of birth was somehow not visible, so the collected works were published, yes, several, because i have a book at home that my great-grandfather bought, this is such a thick volume that i read as a child, with the spine already torn off long ago

, but which my mother read, then i read , now here are our dear interlocutors, you can’t talk about texts that you didn’t hold in your hands, only saw or heard, yes, we recognize books in conversation, and books , which were published, well, this is the beginning of the 20th century, the very beginning, no, this particular book that i’m talking about now is a book that was published in the thirty-seventh year for the centenary, but i just know more about which one, here it is with cramped... with a profile portrait on the cover and i read little tragedies there, i read evgeny negin there, i read gypsies there, the only thing i didn’t read was not there, i read pushkin’s fairy tales in the wrong place, yeah, pushkin’s fairy tales, well, probably before just, i just read it before, significantly, yes, to i learned green oak lukomur by heart thanks to the efforts of my grandmother at the age of 5, and it was just the hit of the season, which means they put it on a high chair, girl, tell me.

he thought that i had fallen asleep, i would endure everything in my sleep , or he thought that i thought, that he thought, i ’m dreaming, i’ve been running around with this psycho-creation for 50 years, then i looked at the original, but it’s just worse, worse, but listen, well...

elizabeth retland was the daughter of philip sidney, one of the greatest poets before the shakespearean era, earl of retland, one detail convinced me of the possibility of a version, there was no shakespeare, we understand all this, yes, shakespeare was like a phenomenon, as if there was a person whose grave is in starford on ewan, did he write all this yes, that’s another

question, what shakespeare was is no one’s convening yes, shakespeare has plays and dances. i’ll ask about the plans of the pushkin museum, i mean the state museum of fine arts named after pushkin, of course, many of them were declared quite a long time ago, and the pushkin museum is generally famous for all sorts of parallel projects, there is a club for young art critics, for example, and many other museums are private colleagues. including texts about art, we have quite a large volume of books, here i have a question, to what extent is the house of the text in the form in which it was conceived necessary for the museum, it seems to me that this idea is half-thought out, under-formulated,

if you like , which means we’ll calmly formulate, now even now we ’re actually doing this. this is an important aspect of our activity, you see what’s the matter, returning to the first question about art critics, for most people art critics are people who, for some reason unknown criteria are determined, this is good, this is bad, this artist is a genius, the vasaris look and say, but this artist is not, and this is not entirely true, just like literature they do not determine what is good, what is bad, the quality of the text can to determine after reading it, i was at one time interested in fan fiction, i even wrote an article about it...

maybe not in the form in which it was originally invented, but for the home of a text, primarily an art historical text, a text about art, this is not always the same, yes, of course, of course, here are the best texts, the texts about art are very good , you know, from goeth, from marx, oddly enough, from marx yes, but goeth’s are simply wonderful, goeth has one brilliant quote, it sounds like this if you have ever been to italy, especially in rome, you can never again be completely... private, this is how you can formulate a person’s need for art, being a poet, this is another formula from likhacheva, because goethe titan, color theory, yes, he made a contribution in absolutely everything, the goeths - this is unconditional, if alexander sergeevich pushkin in russia, the goethes in germany,

yes, of course, but he, we sometimes forget about this, he is amazingly lyrical. like any soviet child, for me the german language is the language of the enemy, after all, i was brought up on soviet films about the great patriotic war, and of course i was always interested in what poetry sounds like in german, so i asked, my daughter learned german language, i asked her to read schiller to me, i was always interested in listening to it in the original, it’s an incredibly beautiful language, i didn’t expect it, to be honest, wonderful language, i must say that i am also not... about literature and today we had a wonderful guest, or rather a guest, i sincerely thank the director of the state museum of fine

arts named after alexander sergeevich pushkin, elizaveta stanislovna likhacheva for today's conversation, thank you see you, lisa, you, our respected interlocutors, i, as always , enthusiastically and clearly pronounce my motto, read with pleasure, dear friends. hello, dear friends, this is the podcast life of the remarkable, i am with you, its host, writer alexey varlamov, my guest is a wonderful film director, screenwriter, pavel semyonovich lungin. thank you very much for taking the time. to come to us, it is a great honor for me to talk with you about your work, about your films, but you know, i would like to start with such a topic, which may be

somewhat unexpected for you, the fact is that we have a common almater, faculty of philology, moscow university. i know that in your interviews, well, if i understand correctly, you said that in general, no big role this education that you received did not play a role in your life, but nevertheless you studied at... such a special department at the philological department, a department that was called structural and applied linguistics, and where linguistics is combined with mathematics, it worked out in my life so that when i entered the philology department, we were immediately sent to work on potatoes , there was a second year with us, the second year were just oseplyans, these are the same ones who studied in the same department where you are, they were terribly smart guys, i'm terrible i’m happy that for me the university began in these potato beds with their conversations. your perception of these student years, you can still say something about this in lectures and seminars, so my question is, here is your feeling, your memory, communication with them, it was, by god, no worse than

telling how did you even get there? i would really, really like to study at the faculty of philology now, and there would be absolutely nothing to do at acipla, this department of structural applied linguistics really, because well, you know, this it was fashionable. then apparently it was the case and my parents sent me and somehow persuaded me to go there, because it seemed to them that there was more scientific freedom there, well, in general, i think that these years were rather mediocre for me, because i didn’t read so many books that i would have read it at the faculty of philology, but i never became a mathematician either, your father is a film screenwriter, and is your mother famous?

volodya voinovich visited us a lot, but don’t you remember shukshin? shukshin never existed. you know, here's a very interesting point, the matter is that when i was writing the biography of shokshin, i

came across in the memoirs of viktor platonovich nikrasov, that he brought shukshin to your house, they were generally very friendly, nekrasov and shukshin, and shukshin read the gospel for the first time in your house, and after reading the gospel, vasily makarych said: "iron book." this kind of russian soul, but lyubedya is a writer, an amazing actor, then

a director, well, actually, such people define.

i don’t think he understood the ruble, but what, what did they want to hear from him, why would they is it written well, i wonder if he understands what they want to say, but it seems to me that it was completely outside his aesthetics, because they didn’t appear again, they walked around a lot, he and nikrasov were very friends , in general, somehow, you know, i’m completely...

the youth were offered to meet akhmatova, i dodged because the poems were very good, then in new york with brodsky, and so did i, it seems to me that this some open up, well, until apollo demands poets to the sacred sacrifice, it’s somehow me, it’s different perceived, but torkovsky, in fact , did a colossal thing for russian art, of course, he translated. in the language of cinema, the concept of the soul, so the whole world was shocked, is still shocked by these possibilities, for me the mirror, of course, is ivanovo’s childhood, later films seem less interesting to me, but andrei rublev, naturally, maybe the mirror is somehow strangely larger everything, don’t you think that after all, soviet cinema is much less

known in the world than it is... i don’t know, no, well, maybe that cinema, tamsenstein, of course, it has become a fact world culture, i’m talking specifically about the cinema of the sixties, seventies, well, who knows what about the cinema of the sixties, except for some great, so to speak, italian, french films, directors, what do we know besides bergmann, fellini, antonion, and what you already have a lot left, bertolucha, even, but you know, we were too green,

we didn’t have people. who raised it, it was still a very censored movie, i don’t know, i don’t understand, i also don’t fully understand, as if...

perception, it seems to me that ours began there perceive and watch cinema widely , oddly enough, in the nineties i found myself , so to speak, a child of this interest, and how are you going to do it so that you get everything from it, let's go, where on the road, i'll tell you, let's go, oh , oh, why are you looking at the folder, swearing, just don’t get attached to him, it’s dangerous, the reputation of the clinic and mine personally are very important, i need all his diagrams specifically, where he hid it, where he transferred it, vadim will be there for a long time, if you can agree, i 'll do whatever you want for you, maybe will you take me into account

at least a little bit, i won’t live by your rules, that’s enough , something i don’t like is that you perceive me as a business, container, new series, first of all, a child, he’s more important than money, dear friends, we continue , this is the podcast life of the remarkable, my guest is the director, screenwriter, pavel lungin, how did you get into cinema in the first place, you graduated from osipol, philological faculty, and what happened next, well, i suffered, i wasn’t very suitable to this life, i couldn’t find a job, for some reason i was kicked out of some kind of research institute - xsi there was such a sociological institute, specifically for social research, then i tried to work in a newspaper, i didn’t know myself, you know, i was of course torn by a terrible desire to live, this

energy that then crawled out of me and is still crawling out, it i was just bursting then, i wanted to live, drink, love , go crazy, 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? no, it was not stagnation, of course, then there is how to say, it may have been a time of great stagnation, but i was in some kind of test tube in 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 started writing a script, well, sort of... my father writes, and i started, you just followed in your father’s footsteps, 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,

somehow differently, but after i wrote quite there are a lot of not very good scripts, i realized that what i see is somehow different, what i write was completely... snuck, i already had a script back then, i was in the first slot it so happened that i started writing, somehow, yes, i’m generally a child of perestroika, of course, i worked, for some reason i didn’t get to maslim at first, like scripts with... and there i sat in the reception room of the studio director , i don’t know, probably a whole month, and he still didn’t receive me, you know, it was something that you couldn’t enter, you couldn’t say, it was absolutely some kind of hierarchical

society, and which you still see in your face, in your facial expression, even in what came out of you, and i saw how people drag a box of cognac there, for example, right to it there, and the doors swung open, i kept sitting and sitting , i remember, at some point i just couldn’t do it anymore, i opened the door, went in and saw behind... the front man at a large empty polished table, who saw me, he had something... then the onion was lying in a chopped glass, he somehow threw it into a drawer a completely professional gesture, it was a different time, the time has changed a lot, as soon as there was a different atmosphere at masfilm, the time has changed a lot, as soon as the perestroika period began, and do you remember it with gratitude? i’m with great, of course, when the artists

began, when all this began, it may be, there was a lot, maybe there was something wrong, you know, but it was the broth in which life lived, and how did the idea for this film taxi come about ? script, yes, i came up with some kind of story that somehow the image was similar when it started, all my films before that, they weren’t about me, they were. thaw 2, and it was such a fun time,

because - every day exhibitions opened, every day you could go somewhere in some basement to watch some incredible bad thing, everyone wanted, you know, everyone wanted and it was all wild , and to watch a torkovsky film or some modern or semi-modern western film there, you could go god knows where across all of moscow. 3 hours and there to fight, breaking down the doors, a rock band appeared , i don’t even know how it happened, you know, it’s like on a train, you’re going on the subway in the subway, then suddenly the light, the doors opened, you have it, you thought it was forever, but it turned out , that the doors opened for a short time, but then it was possible to jump out, and at the same time, i felt even then that this was a perestroika. not everything is included, that many people are afraid, that this new

life, this new freedom, is perceived by many people as a danger, a curse, like, well, it’s difficult to be free in general, and you made your first film about this, yes , it seems to me that it was, so to speak, a meeting of two people who were absolutely blown away, they were different, the taxi driver, this wonderful... zaichenko and mamonov, they are perfect, they are like each other they can’t live without a friend, but they can’t do it together, this is their kind of friendship, love, hate, it seemed to me very typical of our time, and you agree with those critics who say that these are two different sides of the russian soul, well i don't know whether there is a soul or not, or how much side, i’m not sure, or how many sides per soul, well... yes, it seems to me that at the same time it’s eternal, you know, i

couldn’t repeat such a success with taxiblues, because taxiblus was built on some archetypal images, and it was understood everywhere in the world, both in france and in america, and you received a big prize, yes 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 nothing, that’s why it was such a big success, and few directors can do this, our directors can these... have something to brag about, well , you see, to be honest , i still am not a professional, i seem to decide every film anew, now you are already a professional, do 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 somehow mastered it, and it would seem that after this success i had to replicate it and further develop it, well, somehow way, ah... stay on this archetypal level, and i

again made films about russia, which were somehow, well, probably less understandable, maybe less interesting, and this is an interesting point, your evolution, yes, what topics did you take up, we will definitely talk about it, but first i want to ask about mamonov, how did he even appear in your life, in your work , by accident, absolutely, you know, i have this , since it was such a time ... perestroika, everything had to be done differently, i don’t need famous actors, because they are known, i need to find some person from there . from life, and i remember that i, in my opinion, it was new in winter 1989, apparently, i turned on the tv and saw they were congratulating me on the new year, some interviews already on january 1, i saw mamonov, who was then known as the leader of sound, i don’t really like

rock, i didn’t listen to mamonov then , but i saw this exhausted smell, his face was so strange, his voice was so penetrating... and his voice was a mixture of timidity and frenzy 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 and persuaded him to act in film, and you know, there is such an interesting detail that brings you together, well, firstly, you are two native muscovites, yes, he is from the indigenous row, you are from the arbat, but his mother is a translator, i looked it up on the internet from norwegian , yes? it’s difficult, easy, but in general they say that it was very difficult to work with him, you know, for some reason it was very difficult for me, but he really quit and didn’t drink, in general it’s very interesting, of course, that every time we met with him, this struck

some kind of spark, and you were friends, no, he had no friends, this is a man with his skin removed, with naked... nerves, he was in a state of either searching or resentment or some kind of internal experience, he, for example, could not live in a hotel, people destroyed him, communication destroyed him, when we filmed the king, in susdar, then - we rented him a separate house, a separate apartment, because living with everyone in a hotel, you know, even i understand him too, well, it turned out that you... rented from taxi blues, it’s there, well, the nineties , let’s say , yes, then you didn’t film him for a long time, he will only appear in the film, which became, well, probably your most famous film, in the film island, yes, and when you conceived the island, you already knew that there would be mammon there, well, you know, it just

so happened that after taxi blues there was no money here , and i, excuse me for such a selfish question, the prize at the kants festival is monetary, no? no, it doesn’t give , i don’t know, more distribution there, they buy the film in other countries, well, not for me, i didn’t understand anything at all then, that is , someone else made money on your film, of course, i i didn’t earn anything from this film, but that ’s right, maybe because you have to pay for the entrance ticket, but this is an entrance ticket to some major league, it turned out that i could work in france then and lived somehow between moscow and paris

and her mamonov, i brought them together, and mamonov began to play in the theater with great success, which means i moved, money appeared here, and the director is such a selfish creature, where you know, like birds, where millet is poured onto the windowsill, then she arrives.