then be more mature, they provoke you , and you do it and you see that you don’t care about everything at all, what can they do for a passport, but you did nothing, you see , you don’t care at all, now we’ll figure it out, alladi, this man is capable of a lot , this is a very dishonest person, he knows how to put pressure on what hurts the most, you know something, yes i know, i know that they need you, not me, not tanya, but you, so the best thing is that you don’t go there now , it’s better if you go, everyone would be happy there, like me...

hello, let’s go through then, otherwise we it's like a stage here. and where are you going? please, go there, it will be your turn, did you grab the roots? what didn't he tell you? well , it’s okay, he’ll tell you later. stay here, don't let anyone in, please.

what did they take? or passport, tatyana petrovna ivleva, is suspected of committing actions under articles 221 and 223 of the uzbek criminal code. acquisition, storage,

transportation of drugs, gave an explanation and signature without leaving the handwriting, you recognize this medicine, it belongs to me, and these are 37 ampoules of five cubic centimeters, and there were 40, they started, therefore. how you talk, and as you would like, the law has been broken , a crime has been committed, it’s mine, it’s all mine , noble, uh-huh, you think they won’t do anything to you, maybe, but you won’t help her, uh-huh, she’ll follow suit.

to leave with the participant, only the actions will be group , the term is longer, i scared, so what next , go to moscow, they will contact you there, probably some proposals will be put forward, if you accept them, i think, in three days tatyana petrovna will be in moscow, but in the meantime fridman will take her to the same hotel, if you want to the same room, i will arrest her i won’t, and i give the officer my word, to question him either. before your moscow decisions, what decisions, i don’t know that, i ask, everything is in your hands, negotiate in moscow, you are detaining her to keep me on a leash, yes, i’m afraid i’ll upset you, i would go and bow, nothing, the crown would ... she didn’t fall, but

then you won’t let her go, she’ll sit, and i ’ll run around on a leash, so i’ll kill her, this is a method for those who are afraid for their own skin. like an excuse, i’m not for myself, i’m for her sake, and i, viktor mikhailovich, have to live on two puffs it remains, they told everything so convincingly , they gave the officer’s word, now they’ll call mikhalych at his leg, because wearing a collar all your life seems to be such a useful thing, well, without it, we won’t understand each other, let me help, come on. .. come on, what are you going to write, vladimir semyonovich , no one will believe the truth, self-incrimination, the motive is clear, you want to help a loved one, but i have a confession that is inappropriate and supported by operational information and material evidence,

but what about you? do you even understand that you are you doing? okay, prison, you can survive, well , it’s an abomination, everyone will turn away, even those closest to you, to turn away means they didn’t love you, suddenly you can’t turn away. aivleva, she’ll be sitting , let her go right now, remember how i let pushkin’s bird out into the wild, people let birds out of cages in order to

become freer themselves, try, volodya, here, volodya, here, here, here, “here, that's it, that 's it, you have nothing on him, volodya, he has nothing on you, he has nothing on you, this is on the street, i obey, everything is fine, everything ok, like this, hmm. shabby fucker as he is, here you go, get ready, clown,

lenya, you are a man. volodya , forgive me, please , excuse me, please, please, what questions, dear , come on, no, attention, meeting, flight number 89, flight number 89. deciding regular flight on the route tashkent

moscow, estimated time of arrival at domadedovo airport 22:30, now we ask you to bring the front part of the backrest into a vertical position and get ready. that's it, for a successful pill, that's it. the main thing is done, now it’s written for her, in they are flying to america, it’s day of management, why, i’ll show up the papers, i’ll take it, i have everything with me .

so girl, where, where, in a foreign land, i religiously observe, the custom of ancient times, here. i found it, try it, he writes, you can

perform in the circus with friedman, yeah, management, come on now. silya, and only whispered, thank you for being alive, and

my patience ran out, i’m alive , i switched to you with death, she’s been circling around me for a long time, she’s only drunk on hoarseness, and i know what ’s false and what’s holy, i understood it all - for a long time, my path is one, only one, guys, for me choice about happiness.

hello, this is a podcast of witnesses from einstein, my name is natalya ryabchikova, i am a film historian , together with my colleague stanislav didinsky , we talk about who and how created classic, famous, little-known, forgotten soviet and russian films, and today our program is not quite an ordinary, not quite an ordinary podcast, because today we have a living person as a film archive, we will talk about the film “it’s hard to be a god” by alekseyevich.

where yura directed and played the main role of khrustalev the machine, khrustalev the machine, yes, but then, when we were making a movie, it seemed to me that our film was even more complex from the point of view of audience perception, for example, my wife, she adores herman’s films, because she is an artist, i generally believe that he made feature films using documentary means, for this he he had special operators, fedosov. with whom i worked for many years, and not without my participation , yuri viktorovich

klimenko joined this team, who shot almost, well, more than half of this picture, some things i understood, some things i didn’t understand, we are very we quarreled because we had different views, well, as an actor who must experience doing something on camera, we had different ideas about how it was experienced, but was there soviet science fiction, or rather, were there soviet films?

the story doesn’t match, which means rumata, who seems to want to change the life of this planet , it doesn’t work out, it doesn’t work out, not because he can’t, but because he ca n’t change people, he can’t convince them, he can’t do it either everything works out, why at all, oh, since we're already talking, i can tell you i can say that it’s my merit that for many years i tried to persuade herman to call the film it’s hard to be a god, and herman himself is a very jealous person.

in addition, the gray castles here led to the idea of ​​​​the beginning of a revival, and three dozen scientists were thrown here, but there was no revival here, there was a reaction to something that almost never happened, well, yeah, uh, i wanted to return to the question about the actors, about how editing also

gives us the opportunity to see, discern the acting, or does it not? this is just when we talk about the beginning of the science fiction of space flight on the soviet screen, then it all started in silent cinema, even before soviet cinema it was small, it was cinema, there was a flight to the moon, yes, but if we talk about this bringing some kind of progress, an attempt to change the world, then after all, when tolstoy writes about the elite, and then partazan makes a film adaptation, but they also don’t really talk about it.

to approach this topic, in fact, in the two thousandths, there was such a phrase: if they triumph, if they triumph, if the grays triumph, then the blacks come to power, in fact, this is for all time of the entire civilization, if there are some distortions in history and we understand something that is being done wrong, then this is only a harbinger of what may happen next, well, the whole history of mankind is like this, and when the book came out, it’s difficult to be with god, you read it was back then, i read it - either in the eighth or in the ninth grade, i can honestly tell you that i was not delighted, it was my mother who kind of forced me to read the book, she and my dad

understood more about it, but i read it like a wizard of the emerald city, well, to be honest, it passed many years, when i generally understood the meaning, and, as it were, all the allegories and all the secrets, that is, i began to understand the strugatskys, because they are science fiction writers only because they managed to write from... in something that could not be directly written about , these books would not have been published, they would have been banned, so i was not the smartest schoolchild, already in my student years i already understood more, well , i can honestly tell you that i am catching up on some things today, despite my age, because this work, it's like it, it's on in the russian language, but it is not russian, it is generally about human civilization, this is what these two talented authors wrote about. all my life and without hesitation, i can say that in the sixties there was always a question of whether a book would be published or a book would not be published, they are such inventors, they, they are science fiction writers who,

well, this is not because i want to say now, but i i think that star wars and the mass of american products on this topic arose due to the fact that strugatsky was, i remind you that this is a podcast of witnesses from einstein, where we, film historians, talk about who and how created russian films, both famous, popular, cult, and unknown or simply forgotten. unfortunately, today we have a podcast dedicated to the film it’s hard to be a god, and we’re talking about it with leonid yarmolnik, well, that is, space became like some form of escopism, and at some point, yes, where the soviet intelligentsia avoided earthly problems with which it could do nothing, probably, perhaps, but in general some kind of basic a set of films about... i repeat once again that to the only thing that has to do with space is that

for me it’s an acting creative space, it’s working with herman, it was like flying into space for me, you really want to, but you don’t know anything, you don’t understand anything and you don’t know what to do. when you came to herman ’s site, and who he suggested you be, that’s what the task was, there were still some references, if it wasn’t space. what is this, who are you? he is an earthy director, he is a very everyday director, he is very truthful, he has no problems, no prettiness, and so on and so forth then rumata, he was sent there as a stranger, but the whole point of the whole work is that there on that planet with strangers he became one of his own, and those earthlings who and i still became strangers for those who, who he’s watching us now and listening... and the most important change is that in the book rumata returns to earth, but in german’s book rumata

remains on that planet, because he doesn’t want to return to earth to his colleagues and to what’s going on there, in this incredible philosophy and incredible heroism, and boris allowed this to be done, he told herman allowed the book to be used freely, that is, you know how it happens, as if based on motives, but... when i was filming with herman, my colleagues, you can’t imagine how envious everyone was of me, quite famous artists, i just remembered that at linfilm we they were filming in one pavilion, in another pavilion bortko was filming the idiot vova moshkov, every time we crossed paths, we walked.

he says: alexey erovich, why ermolnik, why ermolnik, let me at least voice it, but it was a joke, in which there is only a grain of joke, because i don’t care they were jealous, what can i say, i was jealous of myself, and despite the fact that it was long and difficult, i’m still going to ask peresilt how much this whole suit weighed, well, they’re probably lighter now, they were probably heavier before what also connects me with space is that my whole suit... mats, it weighed 28 kg, everything was not made of plastic, everything was natural, metal, and alekseyovich also liked to pour water on him before the shot, and it became about 40 kilograms, while he asked me to jump into the saddle horses, he somehow connected, i say this with love, he somehow connected with these kind of middle ages, and saddles were on horses with a back in those days, i have these spurs in the front behind, all this

the whole suit weighs almost... 40 kg and he wanted me to fly into it like a cowboy , it’s not like that at all, well, a slave would become or a ladder would be set up and a man would climb and sit down. we spent several days and i mean , the cars are still being watered all the time as if it’s raining it’s going on and i can’t say it on the air how slippery it is, i kept slipping i couldn’t slide, right at that time yuri viktorovich klimenko was filming terribly. every time i accelerated to jump there, he turned away from the camera, so the czech stuntmen also turned away from the camera, but i still achieved my goal, i shook my leg so that i flew over the horse to the other side, but by the way, not always you were there in heavy armor when you said that rumata remains in the end, we understand this approximately, well , subconsciously, when we first see him on the screen, that moment when you

wake up yes... which connects times and eras and this becomes a lei motive, let's see, thank you,

eh? what again? to what extent is this really the feeling of ourselves, of this earthling somewhere out there in space, i don’t know, of the writers, to what extent is this the feeling of herman as a director, that we are somewhere here, and we seem to live in this world, but in fact we are playing caravan, we are somewhere, maybe our head is at the same time we would like to be somewhere else, and we are torn. do

you think such a thought was present? well, probably, but this is natural, because for us anyway, when we want to convey something and for something to happen, it comes not even from the same period of time, but in general, it may be what we are talking about they told us, this could be what we dream about, this could be what we have experienced, and in order to explain the essence, in this case, on the basis of this literary work, we connect everything absolutely. but since this movie must sooner or later be shown to the viewer, you are still looking for the key that it’s not just you you will understand, but the viewer will feel and read it, will notice, in our opinion, german, well , in fact, the strugatskys themselves felt perhaps a little misunderstood by the readers, viewers, because german is a very complex director, and in order to understand the philosophy and context of the strugatskys’ works, well, in general, you need to read all of them, well,

most of them, in order to understand the idea of ​​progress. well , roughly speaking, you need to learn to understand their language, of course, and they are very specific authors, when you read several works of the strugatskys, they are all written. different, but in your own language, it’s like you have to have an internal adapter, a translator, when i read as a schoolboy, for me it was one language, and then 15-20 years later it was a completely different language, and you spoke before our beginnings notes that during the filming you wanted to bring a film, well, more action , so to speak, but to slightly reduce the level of mumble-hot through the horse, this is this is not quite this, nothing is there, no, i really and we were arguing, i wanted this was filmed. for there to be action, that's not even what i wanted to show off there, as if yes, with stuntmen , so that it would be beautiful, the artists are always on this patka, this action, it would decorate this picture and attract, perhaps, more young people

to watch it, it didn’t matter to herman, it was important to him there were mountains of corpses, and the process of how it all became corpses interests him less, he couldn’t fight beautifully, he could have fought, as you know, he says in today’s language, like two drunks can fight in a gateway or in an entrance, that’s all it must be so dirty and clumsy, because in fact in life this is how everything always happens, in the movies they often engage in decoration, people fly, this, but this is also, of course, all these bruce lees, but when one blow is enough for a person not to exist, but there this fight goes on for 15 minutes, it’s already some kind of choreography. haven’t you had such arguments with herman, well, let ’s think about the viewer,

maybe something will be incomprehensible to him, let’s make the speech of the characters more clear, well, as if the actor’s lines were accurate, was there such a moment, when did he think about the audience in general, how this film was received in the end? well, today i can say that herman also said the following phrase: he was probably exaggerating, but i believed him, he says, until i dream the scene, i can’t film it, we rehearsed for weeks, sometimes months, we’ve been doing it for a very long time because of this they filmed endlessly, he got irritated, he really was the most complex process of how he came to the moment of shooting and what he liked, if he didn’t like something, he on the set could be 300-350 a person, right down to helicopters and something else, and if... he wasn’t ready to shoot today, he could find fault, call katya shabkaets, a brilliant artist, for now, say, and this is somewhere in the twenty-fifth row, some kind of extras, he says where did you get these shitty buttons, found fault with these buttons

, arranged it, says everything, i won’t take it off, he left, but over the years i realized that it’s not about the buttons, but the point is that he hasn’t decided how yet filming the scene, it’s very similar, by the way, to felline’s work, he said in an interview at the beginning of filming that for him... it’s impossible that i heard it from german at the wrong time, but it’s just to entertain now, he’s alekseirovich, he had no complexes and when we talked about something so global about cinema, he says, well, you watched filinev’s films films, he says, these long shots, when they are long, long, long, long, i don’t even know anymore,

watching a book, watching a good movie is work, and those people who know how and love to do it, they are smart, because that the modern way of communicating information is so simplified, and all this is all the time crackling, crackling, crackling, and i am convinced that in this

chatter people do not understand everything and do not feel everything, well, they started filming the film in the late nineties, they filmed it for what eight years, we filmed almost 6 to or 7 years, then there was a long break later. there was a sound too, but the sound also lasted for several years . this never happens. well, herman once again, we are already talking about this today, i don’t know how much we need to talk about it when herman was making a movie. he is the most hated person for him there was a sound engineer with this fishing rod and he didn’t listen to the sound at all, he always just looked at the picture, this means video control, we pronounced the text, so he drove all the time so that nothing would interfere with these microphones and so he made a movie when the dubbing started, he didn’t look at the screen in the tone of the studio , he was lying on the sofa, turned to the wall , listening only to what, well, in any case , that’s how i pronounce it, and he didn’t put it together like in...

you can, here he consisted of two, he first shot the picture , then he made a sound, then it all came together, and if you look at the chronology that is now being published about the creation of the film, then the rough editing was completed, it seems, in the thirteenth, but several years passed, only then did the example take place after herman’s death. in the thirteenth year, we already showed the picture at the rome film festival, alekseyevich did not appear earlier, and the film was finished, naturally, mainly by sveta cormalita, the widow, some kind

of assistance, naturally, the light called little lyosha, as i say, he also participated, helped mom, then through for some time lyosha, little lyosha , had the feeling that he, too, was making this quartina, here we had a little conflict with him, but it had already been done, well, i can honestly tell you that... well, 90-95% of what was done, it was done under herman, they just worked in a different rhythm, not because they are so slow, but because they are so thorough. how was the film received at the rome festival then, what was people’s reaction? the reception was wonderful, they looked at me wonderfully when we took the painting to paris, this painting, once again i repeat, she is difficult to perceive, she is probably like this, well, i don’t want to offend, this is not a lot of people.

didn’t leave, some viewer came , who understood that he was going to see whom, naturally, the film’s distribution fate, like no, no, at those shows that i was at, it would have been none, but the picture entered, i so, who it will also remind you that only a participant in the events, the film was included in the 100 best films of the world since times. but he was a man who was, as it were

, prepared by the soviets for his career growth, let's just say, yes, one film was closed, the second closed, so he’s been aging there for several years, he’s ready, in principle, to shoot for a long time, but looking back , let’s say, at the time of long filming, at the time of dubbing for an equally long career, to the extent that he felt like, i don’t know, an unrecognized director, a deprived director, a director, really not for everyone, or he... torkovsky believed that his viewer was a mass viewer, how would he react there to the reaction of people to the already completed alekseyovich did not have these complexes, we have already touched on the fact that his audience worries or no, no, he actually made a movie that should have been seen by those people who understand, whose taste he trusts, and who will join this -

and all his life he existed in conflict with anyone, you want, that’s if so boldly to say, he could be in conflict with len film, he could be in conflict with the regional committee, he could be in conflict with the kremlin, and this is what made him a german, this charged him. well, there is a second person in my life, i kind of did too, when i worked in a theater group after chukinsky school, that’s what petrovich lyubimov was like, as soon as nothing was allowed.

now it’s hard to look at being a god, but what is it? this is social criticism, these are radical artistic statements, how should we treat the film today, and how to interpret it, how in general, maybe you will explain to your grandchildren or are explaining now what this movie is about, because well, it’s too early for mine, they still well, in a few years, yes, because 3 hours is enough of such a spectacle overflowing with everyday details, sometimes very impartial. so, but how is this, that is , it’s like you really need to let it pass through yourself, better of course in a cinema hall, and not on a small screen, because a lot will be lost, but still, well, if my grandchildren have teachers like that who decide , that the whole class there or the whole course needs to show that picture, then i will be happy,

because you really need to watch a movie in the cinema hall next to you, because when you watch in the hall next to you, then you are insured. because you don't have something you will understand or you won’t feel it, because there is the breath of the audience, and if you are distracted or don’t understand something, then the person sitting next to you and the breath of the hall in general helps you, how to understand everything , feel everything, and i think that it is difficult to watch, being a god, yourself in fact, in three words, i hope no one considers this stupid, you need to watch this movie, you need to feel, understand and draw a conclusion in order not to step on the same rake. if it’s quite simple as they’ve already said that this is generally the history of mankind, and different people, some are striving for power, some for

money, gold and so on and so on, someone dies for love, someone. wants to save peoples and civilizations, and of course, this can be done, only very strong, very talented people can cope with this, and of course, one must strive to be such people, so this is basically, well, this is the old truth, yes, that history develops in a spiral, in a spiral and always a lot of similar things. but i really wouldn’t want this spiral, this ring to look like this in 20, 30, 40, 50 years, but people have very bad memory, i’m now talking more about the history of events that either move humanity forward, or, on the contrary

, strive to destroy humanity, the topic is relatively almost almost today’s, so today i think that this is... then, what we are talking about now in connection with herman’s painting is even more important and topical. i was lucky because i spent most of my life with alexey german. i got, well, firstly, over the years, i acted for 14 years, but over the years i realized, i could never even imagine that one day herman will be interested in me, but over the years i realized that he will always be. in their most wonderful films, these were always artists, well, how can i say, comedians, this is roland bykov, this is yuri vladimirovich nikulin, this is andrei mironov, and when it came to me, he still didn’t connect it, and then he

makes tragedians out of jesters and he does it, because , probably, artists with such charisma , provocative...

at some point - when i asked him, that’s why i, why, well, it’s so surprising, he says: well, i saw you on tv, you gave someone vodka, and i liked it, literally, he mocked me all the time that i was such an easy artist, but he is on purpose, he is generally such a provocateur, an irritant, and as soon as you start to get angry or prove something, he is interested in this most of all, because in this moment you are real, you need to be able to watch movies, this is the same education of taste, culture. like many other things, if a person was taught to read books by his parents, he forced him, today it’s even more difficult, yes, everything is in

computers, in these iphones, and this is not immersion, this is generally so chuk-chuk-chuk-chuk-chuk, we need to force children to read books, we need to show them good movies, and if we are already talking today, then more russian cinema, soviet cinema, and this is me... against showing american classics cinema, but first of all, what has grown here on this earth, well, we actually talk about this as part of our podcast in every episode, and let me remind you that this was a podcast of izzenshtein’s witnesses, and i am its host stanislav dizinsky, my colleague natalya ryabchikova, and as part of this podcast we talk about russian cinema about why, in general , it’s worth watching it today and how to enjoy it, and today our guest is the epic yarmolnik, thank you very much for coming and telling all the interesting things about all the best, goodbye,

hello, this is the podcast life of wonderful people i am you, its host, writer alexey varlamov.

about his fate, there was quite a lot of gloomy, heavy, sad things there, well, let’s remember at least the feast during the plague, the poem the bronze horseman, pages of the pugachev uprising in the captain’s daughter, and even many pushkin's poems, for example, the famous one written on one of his birthdays , a wasted gift, a random gift, life, why were you given to me, pushkin had a lot of sad things and yet, a cheerful, light name, the block is absolutely right here, but why is this so ?