played, i think that this is such a breakthrough for her, of course, of course, very talented, emotional , really living everything, and accepting the story of her heroine as her personal drama, that is , she was really required to have the same courage as her heroine, and from nastya it was required courage to survive all these inhuman conditions that filming sometimes took place, i met one interview when i was still forty, so... and there you say, among other things, that i would really like to star in a real war movie, that's how so they fought for their homeland , there weren’t so many military films, yes, but there were a lot of them in june forty-one, but there is lieutenant burov, and the podolsk cadets themselves, captain starchak, well, all this is a small role, ivanburrov has a central role, but it’s still like this, if you imagine, then this is of course very little, because for some reason everyone says that you have many military roles. says:

no, uh, if you don’t take general capel, but still there is a civil war, so there weren’t so many military men, but i’m waiting, i hope, in next year there will be the next work and the moment of truth, yes, interesting work, this is the film that you have been waiting for, military i think that yes, of course, definitely air, because working with alexei germann of course was a dream, i didn’t expect it, i didn’t know , they just invited me to audition, but then they didn’t call me. i thought, probably not, and so i thought with despair, well, there was an opportunity, unfortunately , probably not, then they called and approved it, i was endlessly happy, because it’s a completely unique acting experience to work with such a director, everyone, each working with a new director is an experience, and despite the fact that you have already tried a lot, nevertheless, every time it’s like the first time, every time it’s...

those stories and tamantsev, captain alyukhin, pancakes, they have - their own destiny in the frame, there is the past in which they are still living, there is the present, and what is possible, probably, is some kind of assumption of their future, but this is their, so to speak, background for each of them, this is very serious accent, in addition to complex staged scenes, again, and this is high-tech, again cinema, because...

stamansky, of course, is impressive, simply because of the very difficult filming that was involved and the character of this hero, and what he experiences, his story with his mother. and action, which is high, of course , but here is this emphasis, in addition to everything else , on the technological level, people, people, people, and my hero, captain alyokhin, who, as it turned out, is not doing well, and solving the problem that he has to give birth internally. this inner world of the hero is very, very important, i’m glad that it was this is emphasized, as in the film air , people, war - these are people, specific people , each individual person, heroes, yes, heroes, but behind each hero is his family,

parents, children, his comrades, in the end, behind each of them, my hero in the film has a very serious problem, because at one time he... could, as the father of the heroine of this zhenya belova, tell the truth, he remained silent, and not perfection, imperfection, the father of this girl , zhenya belova, he was able to say write, for this he was was shot in a repressive manner, but my hero could not do this, despite the fact that there are two completely unique pilots, and my hero is, indeed, a very good pilot. but something is called, as they say, stepping on the throat of his own song, somewhere he was silent, when they burned a village there, burned there, when he begins to remember from the past, what happened in the revolutionary years, what yes , they turned a blind eye to a lot, were silent, silent, but then he says a powerful phrase, because for him the word is an order, and he

fulfills the order, and he is just ready to die for his homeland, he dies for his homeland, but we are fighting for the best in us, also very...

this is a terrible thing, of course, you know , you wouldn’t wish it on your own child, this is a serious test, of course , you need to look at the presence of talent, if you have talent, then i’ll help, what diagnosis do you have, well, now it’s still intermediate, he’s interested, and i see, i see empathy, let’s say in styop for the sake of a sense of empathy, just masha, an amazing dreamer, i i think that if the director, even the producer is a screenwriter, it’s even very good.

there is something special, i will take a closer look, if there is talent, if there are abilities, dad, the head of the course, will help, if there is talent, and will take me to work, especially since my father worked with me, after all, he is mine... the first most important teacher, then oleg pavlovich tobakov became involved, but the most important teacher who taught me literally from the age of eight, even earlier, was my father, bezrukov, god bless him, my father, who taught me everything about the craft, but even he he said, i remember his words, my dad even tells me about it every time

reminds me, he even reminded me on the anniversary , he says, if i hadn’t seen in you that you can empathize, i realized that i needed to work further, then... i began to work towards entering the mkhat studio school and then all the independent work at the studio school, my father treated me like a director, so all my work was done professionally as a director, and i carried out the will of my father’s director. then oleg pavlovich tabakov, who believed in me, took me to the theater from the third year, i was already in the snuffbox of knowledge and further, further, further, further, but my father believed in me from the very beginning, so i also understand that when i believe in my children, when i see this, then i will connect, we continue the conversation with sergei bezrukov, with you host of the creative industry podcast, elena. and roman harmanov, with what the theater approached ten-year-olds, i think that firstly, it is

its audience, because theater without an audience is impossible, we can have one of the most accessible theaters for spectators in moscow, because it is literally 15 minutes from taganka to kuzminki, and from kuzminki you walk a minute and a half, i was completing the construction of a theater accessible to everyone, literally and figuratively, because we were the first to introduce it. audio commentary in the theater for people who are blind or visually impaired, there is, of course , a ticker, there are special screens for people who are deaf and mute and for people with mobility impairments, there is an elevator, there are ramps and there is a place to place it in the hall, which can also be very important, not all theaters could afford to accommodate a wheelchair user, i was with you on the nameless star, sasha sazon staged a very... interesting work in my opinion, and moreover, this is precisely the same

acting experience that an artist receives thanks to a guest director, what i came up with for them, because i i also work in different genres so as not to get tired, drama , i have phantasmogoria, i have a karauki performance, for example, energetic people, when the audience sings along with the artists, hits of the seventies, sashka ruchekov staged here, by the way, i invite dogs in the manger , very interesting job. driving with magnificent acting work, because it is very important for me that the director dies in the artist, as konstantin sergeevich stanislavsky bequeathed, the director must die in the artist, not the director, here i am the director, the artist, in fact, the poor guy there doesn’t know how it all works justify, and we come, yes , it’s the director’s work, but no, the director is still in the second place, certainly an unexpected production, an unexpected interpretation of the decision, but still, in the end, the actor comes out and you have to be with the actors. so each director brings his own, what you took with you to your theater from your mentors

, from your teachers, i think that this is exactly the family relationship, if oleg pavlovich was always a father figure for us in tabakerka , dad, and in the provincial language they also call me the provincial dad, here are the artists - the same children, the same children who need to be taken care of, need to be thought about, literally passed by there... on the phone in worries, literally didn’t pay attention, that’s all, that’s a sleepless night, that feeling that no one cares about me looked at me, they looked at me, that means something has changed, the attitude has changed , that means there will be no more roles, that means everything is not needed, they didn’t give me a certificate, let’s say, my god, i didn’t get a certificate, but for the actor , attention, if suddenly something is wrong, this is a blow, this very serious. emotional blow, so this is attention, care, always at the right moments, it is very important

to come up and say kind words, a year and a half ago, i think, i came to avgig, i ended up quite by accident, sergei bezrukov was running around the first floor, worried that all applicants who are worthy, they somehow fit into this quota, which is always there, and it was clear that it was simple, well, just a pain and well, well, you have to do something about it. theater schools, but we work in one team, these are all my artists, these are, yes, my guys, my guys, i, of course, i

work with the guys in mkhatovsk, but i say, we have an advantage, we already we are preparing to be film artists, to play in the theater in the cinema, this is what i took, selected all over the country, i looked through 4.00 applicants, moreover, when i missed moscow, i still have... that by city and we weigh and with on tour, at the same time i’m also saying, i ’ve arrived in the evening for a performance, can i still put it together in advance, let’s say i sent out an announcement that i...

therefore, the artist of the moscow provincial theater - this can already be said, so to speak, our common school of residence sincerely and for real, that ’s why i was ready on the one hand, a year ago when vich called and said: shouldn’t you take a course in vgik? i don’t think for long, i’m fast, quick on my feet to get up, i said, okay, i scored, but there’s still a possibility. and i'm glad that thanks to the sponsors and support, because all my kids study for free. i met somewhere with you that the most important thing now is, in fact at all times, this is the only thing that remains for us in general, the present, is sincerity. now, i think that this is something that, thank god, we have not adopted since the nineties. this is, in fact, the person who

asks, he doesn’t care about your problems, and he’s waiting for you to say, smile, that’s all. i ’m not connecting, we sincerely don’t care, this sincerity remains when after all, how are you, well, that means you need to help, if it’s not quite good, then you need to help, just as in response you are waiting for your friends to say, what, that’s it, come on, that’s it, let’s start working, dear friends, with us today was the people's artist of the russian federation, artistic director of the moscow provincial theater, sergei bezrukov, thank you, you were with the creative industry podcast on channel one, its host. kiper, producer clipmaker and roman karmanov, general director of the presidential fund for cultural initiatives and media manager. we say goodbye to you, goodbye, thank you.

hello, dear friends. this is the podcast life of the wonderful, i am hosting it with you. thank you very much for taking the time to come to us, it is a great honor for me and a great joy to talk with you about your work, about your films, but you know, i would like to start with this topic, which may be somewhat unexpected for you, the fact is, that you and i have a common alma mator, faculty of philology at moscow university, i know that you are in your interviews, well, if i’m correct. i understand, they said that in general, no this education you received did not play a big role in your life, but nevertheless you studied in such a special department at the faculty of philology, a department called structural applied linguistics, and there belinguistics is combined with mathematics, in my life it turned out like this, that when i entered the philology department, we were immediately sent to

study potatoes, there was a second year with us, the second year were just oseplyans, these are the same ones who studied at the same thing.

lungina, this is a translator, yes, no less great, and maybe even more, liliana translator, everyone knows that we recognized the baby and carlson in her translation, that is , your house was really amazing, if i understand, well, the house was very interesting, the house was open, and it was... left over from my grandfather, an old one moscow apartment, 100 m, even more, they were used to gathering friends and living. we often had people there and in general there was a place, so to speak, for a meeting, one of these moscow intellectual houses, something that is difficult to explain now, well,

viktor platonovich nikrasov always stayed with us, a whole circle of writers, directors, probably who else you remember, except nekrasov, i remember everyone, i remember tindrikov, i remember fazil iskadder, volodya vainovich, we have a lot. uh, i was there, but don’t you remember shukshin? shukshin, it never happened. you know, here’s a very interesting point, the fact is that when i was writing shukshin’s biography, 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 for the first time in in your home i read the gospel, and after reading gospel, vasily makarovich said: "iron book." it's still made of iron. it still stands, how in general, is this how you feel about the car? i treat him very well, with great interest, i think that he is an extremely talented writer,

an amazing actor, and least of all a director for me. do i like his films? well, i like it, but it seems to me that the artistic expressiveness of his stories, some kind of understanding of the soul, but in everything he has an understanding of the russian soul, this kind of russian soul, but... but for me this is a writer, an amazing actor, then a director, well, in general , these are the people who define the whole time, who else do you think defined the time in which you grew up, matured, matured, among writers, it was probably bitov, it was trifonov too, yeah, but still a solzhenist, and among the directors, among the film directors, whose films?

iron films, as shukshin said , iron book, i would say iron films, which did not live in a relative world, as if everything was allowed, everything was permissible, here is the world of the thaw, they already lived in the world of rigidity in world, you are on this side, and i am on that side, this is it, for some reason this worried me, just as herman worried me, who simply created... a world, not a mood, he did not create a musical theme, he sculpted some special world with great

tension inside, and torkovsky, tarkovsky was in that world, in the old one, although for many years i was the president of the tarkovsky festival in ivanova in plyos, a mirror yes, and yes, i even remember how torkovsky. locked myself in the room, they kicked me out, and i fell to the crack trying to hear something, but i couldn’t there was a man from a completely different era, they think

that he understood the ruble, but what, what did they want to hear from him, why did he need it, is it written well, i wonder if he understands what they want to say, but it seems to me that it was completely outside of his aesthetics, because they didn’t appear again, i don’t remember, i went to a lot of sleepers, he and nikrasov were very friends, i actually somehow, you know, they offered to introduce me to me in my youth with akhmatova, i dodged because the poems were very good, then in new york with brodsky, and i too, it seems to me that this is some kind of revelation, well, until apollo demands this to the sacred sacrifice, it means that somehow i perceived it differently, but torkovsky essentially did a colossal thing for russian art, of course, he translated the concept of “

torkovsky into the language of cinema, who else is known in the world? no one, and why is this happening, that’s what you think? it’s very difficult to understand, somehow these films are not included in rotation, although the italian neorealists said that donskoy was their teacher, and mark donskoy, about whom in general no one knows or remembers here, for me, i don’t know, maybe ziguvertova, no, perhaps, i don’t know, no, well, maybe that movie,

tamsenstein, i understand. it has become a fact of 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 except bergmann, fellini, antonion, and what you have left is already quite a lot, bertalucha even, you know, we were green, we didn’t have people who raised -

that people themselves are ugly, that people are dressed ugly, and this was repulsive, so to speak , this politicized perception, it seems to me that there they began to perceive our cinema and watch it widely, oddly enough, in the nineties i ended up, so to speak , the child of this is interest, and how are you going to make sure that you get everything

from it, let's go? i'll tell you where on the way , 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 come to an agreement, i will do whatever you want for you, maybe you will take me into account at least a little, i will not live by your rules, that’s enough, something doesn’t suit me do you like that you treat me as a business? container, new series , tomorrow after the program time, a child, he is more important than money, what else am i, either a brotherhood of stern male revolutionaries based on love and devotion to whom my soul could finally rest, or i am looking for a religious sect that preaches love.

the love of people for each other, at all costs, love. edechka loved himself very much, it was even sometimes simply charming, because he went through all sorts of veronica. i have a broader outlook than any soviet writer, and this has made me wiser and greater, for example, a patriot of my own country. as a writer, he is a writer of his own. in your supposedly autobiographical things, what percentage is fact? in search of love on friday on the first, dear friends, we continue, this is the podcast life

of the wonderful. and the director is visiting me, screenwriter, pavel lungin. how did you get into cinema in the first place? so you graduated from osipol, philological faculty, and what happened next? well, i suffered , i wasn’t, i wasn’t really suited to 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 a there is stagnation here, 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 began to dance, i was one of one of these microorganisms. then i started writing a script, well, it seems my father writes, and i started, that is, we just followed in my father’s footsteps, well, in general, yes, although he and i practically never worked together, i didn’t seem to devote myself to his work, well i don't know, in a different way somehow, but after i wrote quite a few not very good scripts, i realized that what i see is like... in a different way, what i write is completely it was different, and you were happy with the films that i made i took pseudonyms, i took off my name, 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, i was like yes, i’m actually a child of perestroika, of course. people drag a box of cognac, for example, straight to him there, and the doors swung open, i sat and sat, and i remember, at some point i simply couldn’t do it anymore, i opened the door, went in there, saw a man

behind krasnolydtseva a large empty polished table, who, when he saw me , had something onion lying around, cut from a glass, he just threw it into a drawer somehow...

i just wrote about some inventor, i have some children’s films, but i never wrote about myself, because it seemed to me that i did not belong to this official world at all, and as soon as this kind of erosion of the thaw-thaw-2 began, and it was such a fun time, because - every day exhibitions opened, every day you could go somewhere to some basement to watch some incredibly bad, everyone wanted... everyone wanted and it was all wild and in order to watch a torkovsky film or some modern or semi-modern western film there, you could drive god knows where through the whole of moscow for 3 hours and there they would fight

and break in the doors uh rock bands i don’t even know how it happened, you know how on a train you’re going on the subway in the subway then suddenly the light of the doors opened.

how many sides of the soul, well, yes, it seems to me that it is at the same time eternal, you know, i couldn’t repeat this taxi success, because taxi blues 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, and at the kakansky 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 do this, our directors can boast of this, well

, you see, to be honest, even though i was not a professional, i still am, i sort of decide every film anew, and here you are 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 somehow mastered it, and it would seem that after this success i had to replicate it and further. develop, well, somehow, but remain on this archetypal level, and i again made films about russia, which were already 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 let's talk, but first i want to ask about mamonov, how did he arise in the first place, in yours, in your life, in your work, by accident, absolutely. i have one, because it

was a time of perestroika and 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, i think it was the winter of the new year of 1989, apparently i turned on the tv and saw they were congratulating happy new year, some interviews, already on... 1 january 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 face, exhausted by smell, so strange, such a stuttering voice, this mixture of timidity and frenzy in him, and i just realized that this is 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, which brings you closer together, well, firstly, we have two native muscovites, and he’s from the native near vysarat, but his mother is a translator , i looked on the internet from the norwegian language, she is familiar to sonya, they were acquainted with your mother, with my mother, who also translated since it was a long time to work with him, you know, for some reason it’s easy for me, but in general they say , that it was very difficult with him, but he really stopped and didn’t drink. in general, it’s very interesting, of course, that every time we met with him, it struck some kind of spark, and were you friends? no, he had no friends, he was a man with his skin removed, his nerves exposed, he was in himself 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...

and then for a long time you did not film him, he will only appear in the film , which became, well , probably your most famous film, in the film island, yes, when? prize at the cannes festival, is it monetary? no, no, it doesn’t give, i don’t know, more distribution there, they buy the film in other countries, but not for me, i didn’t understand anything at all then, that is, money on your film someone else made money, of course, i didn’t earn anything from this, well, that’s right , maybe because you have to

pay for the entrance ticket, but this is the entrance ticket to some major league, it turned out that i could work in france then he lived somehow. between moscow and paris, and the french gave me money, not much, however, they have a system of assistance, cinema, oriental cinema was called then, well, in general, everyone then worked with the french ministry of culture, and my mother, and todorovsky, and i somehow lived here and there i started renting with french money.

dear friends, we continue, this is the podcast life of the remarkable, my guest is the director, screenwriter, pavel lungin, the island, because the script is not yours, yes, the script, the script, but how it was, first the idea, then the script or or not, me , i came across this script, which was very much altered in

the process of work, i did not put my name on it, because i usually do, because the idea was not mine, but there was a lot ... reinvented, it was such a bookish story, that’s how say, here's the story that was on small, on a lake, in a forest, surrounded, it was a completely different type, a different type of story, introduce this sea there, introduce the shore there, this water, this constant wind, it was all completely, i somehow changed it i saw, and... it’s interesting, by the way, that this set of ours was preserved there for a long time, they burned it two years ago, yeah, and it was there by some guy who was filming with us, he was a worker, so... to my mind, he already showed it as a place of interest, yes, it’s worth it, and you filmed the island for a long time, and i

’ve been 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, yes, in general there was a lot of interesting things, there were no frosts, the sea did not freeze, although we filmed almost until december, well there the days were very short, practically in general there , well, somehow they were filming, the devil knows why, then a flock of these small dolphins swam in, whales, beluga whales, you know, they, of course, have white on them, suddenly they look like pieces of ice on the sea , so, ah... we went at the end and the camera had already been removed, i couldn’t even take it off, i would have taken it off this, of course, but it was a very happy time on the island, a difficult happy time, and you expected it to be such a success, no, of course not, i think 50 people will watch everything, if i give birth to him, no one will marry me whoever needs me and the child will take you,

no one will take you anyway, it’s written in your family. there will be a child here, a consolation, you will curse yourself all your life 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 my knees to god i need to pray that you’re standing in front of me, because the island is, of course , it really was something fantastic, it seems to me that the whole of russia watched this film, that’s how... how you managed to film it, it’s just some kind of miracle... then, i don’t know, i don’t know, somehow , well, by chance, such things, they are not thought through,

it’s somehow included in the combination of stars, forces, mamonov, the amazing cameraman andryush zhogolov and of course, this religious component, yes, she is so strong, there was also a consultant there, as i read somewhere, yes, well, he was such a very church-going man. monk, yes, who came to us , yes, well, young, very kind, very good, who was already familiar with petius, before that, in my opinion, he was entrusted with caring, as they say, all sorts of rock musicians and other people , father kuzma was wonderful, absolutely, we call him back sometimes, so i know, i wanted to ask you such a personal question, pavel, you were born on july 12, i looked at the year forty-nine, july 12 is the day.

and yet this film was accepted before in total, in my opinion, it was precisely among the orthodox, among the believing people who really liked it all, we didn’t ask anyone for a blessing, we didn’t show this script to anyone, and in my opinion, it was more likely that ordinary people liked it, then the church already somehow she came, because i’m not sure what, but the patriarch really liked it, and patriarch alexei, in my opinion, alexei the second. he called us, talked to us, yes, he gave us some certificates of gratitude, it was

some kind of bright period, you know, i have several films, i made them at a high note, the wedding was filmed on some enormous energy of love, the island filmed on the enormous energy of love, and the film about ivan the terrible was filmed, apparently no longer on the energy of love, it seems to me that it is quite difficult to watch. it’s hard to watch, yes, the tsar, yes , i just remember my feelings, and you look again, you will be surprised, maybe i remember, i incredibly liked yankovsky in this film, that’s how he plays metropolitan philip, that’s how much dignity , how much nobility, how much restraint, and mamonova, despite all the fact that i understand that he a brilliant actor, but he, but he transforms into ivan in such a way that it’s just creepy, so... such not the best soil

breathes, and the fate is terrible, you know, mamonov is generally an archaic person, somehow , i when i was filming the island, i felt in it that it was generally medieval, he was some kind of person, maybe 15, who was brought here, yes, that’s why he couldn’t live, that’s why. he didn’t know what to do with himself, and he was all made up of some kind of muscles, like ropes, you couldn’t see them, but you can see that you know, that’s how, as they say, he was absolutely medieval with medieval attacks of rage and distrust, that is, it was as if it was natural for him to play ivan, at first he didn’t even really want to, because after the island, after the wild success, he got money in the subway. you see, hands are flopping in front of him, as if, and he’s a little bit, he’s like an actor,