when, when and every time, every time to accept, accept what you cannot accept , the death of boys, girls, this is the hardest test for him, as for a regiment commander, to see the death of young people completely, well, tell me and i won’t anticipate, i i advise you to watch it, i was actually waiting for this film, because surprisingly, i found myself on the set of this film by accident, to see the augmented reality, that is... the special effects, the technology is unique and i am glad that in this we are actually ahead of the curve, when we are proud of what technology it's hard to brag it seems like they were ahead of us a long time ago, but it turned out, it turned out that in principle it is possible to get ahead, it turns out that we made this huge led, that is, it is the height of a four-story building, you are 35 by 12 m, and there are ceiling screens, suspended screens, drive-up screens.

looks completely unique, the barrel is real, when in the attack my hero makes five, five rotations, the barrel was shot, and it’s real , yes, when alexey asked, he said, sergey, how much can you withstand, i say, well , it’s clear that a person, which is claustrophobic, and you are there, impossible, yes, and you this is where you find yourself in a real plane, universal, when, when you are buckled in, when everything is absolutely real, if you have claustrophobia, it’s better not to get on there and... or let’s say there’s something wrong with your pressure, when you spin or five spins, he asked me how long you could stand it , i understood that the girls were spinning, it was difficult for them, i think, as long as you say, alexey, i’ll spin for as long, they experienced the same overload, of course, because when playing on chromakey, well, an actor can act, that's it the pressure is as if, you know, i don’t know, they can draw a red face on him , there’s a difference in her, all this will still be visible when you’re hanging upside down... the blood rushes into everything

absolutely real in you, this rotation and that, that in your eyes and face, and that in the cabin, yes, everything is absolutely natural, real, unfinished, it ’s all true, and this of course adds the effect of presence. we have never had anything like this before, of course, he was a genius in his fanaticism, a cynical politician, a man who put the idea of ​​communism, above human happiness and even life, i bow to peter the great, ivan ii and ivan iv the terrible, vladimirovich’s greatest merit, he saved this inheritance, lenin wanted to allow the lease of our country, kamchatka, for example, to be leased to the americans, moreover , he further developed this, we must learn to trade culturally, solve problems culturally, confiscating all property from everyone was not a very right idea, in my opinion. lenin's chervonets, gold, became the most powerful currency in europe, and the woman received. 21 privileges, to say

that lenin was a supporter of family values, well, it’s definitely impossible, one of the first, just lenin’s decrees, facilitating divorces, but i read einstein, and he said, people like lenin renew the conscience of humanity, he was not a humanist fought for the happiness of working people, putting a very large number of working people, at the same time, i think, no one in our country, outside the country, will deny that this is a great figure, a man who... changed everything, premiere, tomorrow on first, modern man , genetics has already been absolutely proven, was born in africa, and then from there he began his journey around the world, language originated in africa, the first tool of labor, our thinking originated there, sapushkina fights between ethiopia and eritrea, pushkin is such cultural bridge between russia and africa.

africa on thursday on the first. we continue the creative industry podcast and today we have sergei bezrukov in our studio. you know what i

really wanted to ask when i watched this film, it’s very atypical for us, for the children who grew up during the soviet years, for us always. previously, these were heroes who uncompromisingly rushed on the plane , heroically, and they were, they were all steel, but here, and here we see on the screen a man who flies and is afraid, he is scared, the fact is that real emotions, and romance , here , i remember the words of alexey, he said that war is about faces, when we say faces, it means people, no, just a detachment, a doctor, they destroyed the doctor, so they are all as one... they are all different and this all people, with their passions, their experiences , with their fears, this is very important, war is people, people, faces, and this is exactly what alexey emphasizes, people are faces, so here we see just real people, with their own

experiences, the commander is just internal to him there, there is a terrible world , what he cannot agree with, he has to, because the order does not take a step back, and - still a very young girl, for the first time, what is it like to shoot at an enemy, a german, when you can’t, when my hero gives you responsibility, responsibility, you have to take this step, i take responsibility for you, this scene is of course scary, but the hero understands that i take this sin on myself, i take myself on so that you do, you must become a soldier, you must become a warrior, you must become a pilot, because if not you, then you. this is war , how does it feel psychologically to take yourself, yes , you girls are just like that, it’s none of her business, but there is a little love, love, yes, the feeling can be that very life, because for the hero there is an order, there is a duty, his

love, let’s say , with the heroine karoslennaya lyadovoy, these are two aces, two commanders, the woman was killed and he is the commander. shelf, these are two people who have known each other for a long time, who love each other, but i remembered how you were an asshole when you were young, when you were landing, remember? years soon, again, the corpses will rot, let’s return everything back, he yells , i can’t live without you, honestly, maybe we’ll take the child from here at home, now there are a lot of them left , if things don’t work out for us, come on, tell your guys, please, so that they they weren’t treated with girls, okay, the second army is surrounded,

our offensive was blown away, this is the feeling when they don’t have that very life, a peaceful life. in real life, here’s a terrible phrase , when we got into a fight over the fact that you’re letting the girls out, they haven’t learned to fly yet, and i’m just coming out of the operating room, a young guy , a pilot, has just died, i say, why should i get married? there are more of your girls than these boys, there are neither boys nor girls here, you once dreamed that we would have boys, girls, now we have them there is a... scary phrase: now we have a family, we have girls, we have boys, these are two loving people who are at war and then he says: i dreamed about you, this is some kind of tenderness, quite severe tenderness, because

there is no time for sentimentality, there is no time for sentimentality , there are problems, there are problems, the engine is not the same , the engine is not ready yet, the plane is not yet, the planes are not yet the same, the enemy is... ahead, because of this there is death, and yet this tenderness that we do not allow ourselves so much, this tenderness, then further, well, i won’t say, because there is even a situation in which. so i want to say thank you to everyone for the courage that they showed, but

this, this is not a film, this is real filming of the real conditions in which this film was filmed, so we see it on the screen, but the girls are filming there, like this, how they endured it all, such sporting conditions, but i think that this just added the effect of presence, because in general alexey’s handwriting, the absolute truth, is all in the frame lives. parallel, not just a separate scene , no, everything lives, the whole airfield lives, it lives its own life, there was a guard there or there, i don’t know, a tank was brought up, refueling, this is a separate life, moreover, i want to say, the directors of photography , among them there are two women, in this movie, yes, there were three cameramen, one in the air, here are two, because they survived everything, the film was shot before the pandemic, then the pandemic hit, then after.

there's a movie there, that's how they fought for their homeland, there weren't that many military people paintings, yes, but there were them, in general, in june forty

-first, yes, there is lieutenant burov, in fact, podolsk cadets, captain starchak, all this is a small role, ivan burov, the central role, but still it is, so, if you imagine , then this is of course very little, because for some reason everyone says that you have many military roles, i say, no, if you don’t take general capel, but still there are citizens there. unfortunately, probably not, then they called and approved it, i was endlessly happy, because

this is a completely unique acting experience to work with such a director, everyone, every work with a new director is an experience, and despite the fact that you may have acted a lot already, nevertheless, every time it’s like the first time, every time it’s a feeling of delight and such good acting excitement , a new director, especially a director like... alexey, here’s the next work, yes, the film is large-scale, it’s a project of the cinema directorate, and it’s a famous project, famous, because it’s still a famous novel by bogomolov - in august forty-four, the moment of truth, and of course, despite the fact that there were absolutely amazing film adaptations, uh, the a44 film with excellent performances, evgeny mironov, zhenya, played amazingly.

something that i didn’t see in that film, because i also love it very much, like many of us are fans of this book, that film, the story of the personal drama of the captain’s hero. because his family drama there is very serious, and just at the moments of truth in this version of the cinema directorate, there is a great emphasis on human stories, and the taman residents, captain alyukhin, blinov, they have their own destiny in frame, there is the past in which they are still living, there is the present and what is possible,

probably, some kind of assumption of their future, but this... this is their, so to speak, background for each of them, this is a very serious emphasis , in addition to complex scenes again, and this is again a high-tech movie, since modern cinema, then of course this is just talking about blockbusters, of course this is the moment of truth just after the history of air, just the moment of truth such a blockbuster is certainly, i hope it will come out next year, that's it such a serious story, but the fact that the accent is like in the film...

that’s how they are with each other, who they are, and i’m glad that nikita kologrev, who has now certainly become a star, will he be there? was also there, and he played tomantsev, and this role, of course, is one of the most interesting in his creative biography, because he is unusual there, this is serious work, and his image of tomansky, of course, is impressive, just because of the very difficult filming , which were both in the character of this hero and what he experiences, his story with his mother, because, let's say in that work on august 4, there is nothing there, there is a military man there.

emphasis, 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 with air, because at one time he, as the father of the heroine, could not tell this zhenya belova the truth, he remained silent, and the imperfection of the plane, the imperfection , the father of this girl, zhenya belova, he was able to say to write, because of this he 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 he is called something, as they say, stepping on the throat of his own song, somewhere he was silent, when there... let's talk about the best in us, man, about man, man sergei without a hand, what honesty, constantly, of course, you see your children in the film industry, further, i do not promise, on the one hand, one cannot talk about that no, i will never allow it, because we see magnificent dynasties, the wonderful

yankovsky dynasty, when we look at the wonderful amazing work of vanya yankovsky, and i... i also knew each other, i acted with my grandfather, with oleg ivanovich, i know him very well it turns out with a dynasty, i also acted together with liza yankovskaya, and to be honest, i’m pleased with that, i’m glad that generations and actors are magnificent and even the younger generation has inherited this talent, well, somewhere you said in an interview that this is a terrible profession, this is scary, of course you know, you wouldn’t wish this on your own child, this is serious. tests, of course, you need to look at the presence of talent, if you have talent, then i will help, what is your diagnosis, well, now for now, now in the interim, he is interested, and i see, i see.

we know such a moment, let’s say, or vasya, vasya has a very interesting character, he is a leo according to the horoscope, he is still more than two years old, but his character is a sense of rhythm, he drums, the music, his hearing is wonderful, i don’t know how they play, how he also starts everything, well, everyone plays in childhood, performances are already staged in childhood, but all the same, i notice that 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 my first most important teacher, then oleg pavlovich tobakov got involved, but the most important teacher who taught me literally from the age of eight, even earlier, is my father, without a sound, god bless him, dad, who taught me everything , craft, but even he said, i i remember his words ba... every time he even reminds me about this, even on my anniversary he reminded me, he says: if i hadn’t seen in you that you could empathize, i realized that i had to work further, then he became me work towards admission to the mkhat studio schools and then all the work independently at the studio school, my father did with me as a director, so all my work was done professionally as a director, and i carried out the will of the director of my father, and then oleg pavlovich tabakov got involved, believed in me, the theater took me already... third year i was already in the snuff box famous, 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 kiper and roman harmanov. what did i approach the ten-year-olds with in the theater, i think, firstly. our audience, because theater without spectators is impossible, we can have one of the most accessible theaters in moscow for spectators, because it is literally 15 minutes from taganka to kuzminki, and from kuzminki you leave on foot for a minute and a half, i was completing the construction of a theater accessible to everyone in the literal and figurative sense of the words, because we were the first to introduce typho-commenting in the theater for people who are blind, visually impaired, of course i have. creeping line, there are special screens for deaf and mute people and for people with disabilities in the musculoskeletal system, there is an elevator, there are

ramps and there is a place where to place it in the hall, which is also very important, not all theaters i could afford to accommodate another wheelchair user, i was with you on an unnamed star, sasha sazona put on a very interesting work for us in my opinion, and moreover, this is exactly the same experience. acting, which the artist receives thanks to guest directors, what i came up with for them, because i also work in different genres so as not to get tired, drama, i have phantasmogoria, i have a krauki performance, for example, energetic people, when the audience sings with the artists, hits of the seventies, sashka ruchekov staged, with us, by the way, i invite dogs in the manger , a very interesting job, driving with great acting, because it is very important for me that after all... 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 , strictly speaking, is poor there, doesn’t know how

to justify all this, and we come, yes, the director’s work, but no, the director is still in the second place, of course, 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 teachers, i think that this is exactly the family relationship, if oleg pavlovich was in the snuff box for us always a dear father , dad, and in guber language they also call me guber dad, here are the children, the same children who need to be taken care of, need to be thought about, literally he passed by there on the phone in worries, literally did not pay attention. that's all, that's a sleepless night, that's i have a feeling that they didn’t look at me, they looked at me, it means something has changed, the attitude has changed, it means it won’t happen anymore, it means it’s still not needed, they didn’t give me permission.

theatrical, but we work in the same team, these are all my artists, that’s right, that is, they are all actors from other schools , my guys, my guys, of course, i work with the guys in mkhatovsk, but i say, we have an advantage , we are already preparing to be film actors, to play in the theater and cinema. this is the urine sampled, sampled throughout the country, i looked at 4.0 applicants, moreover, when i missed moscow, i also traveled to cities and towns on tours, at the same time i also say, i came to see a performance in the evening, can i still collect it in advance, let’s say i sent out an announcement that i would like to see the applicants and

they organized it for me, the countries, so uniting all the artists , specially looked at the guys from all over me , after all, under the guidance of the moscow art theater, i already worked with my artists as a teacher, therefore , as an artist of the moscow provincial theater, this can already be said to be our common school. the experience is sincere and real, that ’s why i was ready on the one hand, a year ago when vich called and said: shouldn’t i take you on a course at vgik? i don’t think for long, i’m quick on my feet to get up, i said, okay, i scored, but there is still such an opportunity, and i’m glad that thanks to the sponsors and support, because all the guys

learn from me. free of charge, 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 haven’t adopted from the nineties, fine , this is it, fine, in fact, the person who asks how you are, doesn’t care about your problems, and he’s waiting for you you’ll say, fine, and he’ll smile, that’s it, i’m not getting involved , with us it’s sincerely all the same, 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 wait for your friends to say, what, that’s it, come on, that’s it, let’s start working, dear friends, today we had with us the people 's artist of the russian federation, artistic director of the moscow provincial theater, sergei bezrukov, thank you, we had with you the creative industry podcast on channel one, its hosts elena kiper, producer clipmaker, and roman karmanov, general director

of the presidential fund. we say goodbye to you, goodbye, thank you, hello, this is a podcast of witnesses from einstein and its leading film historians, natalya ryabchikova and stanislav didinsky, we talk about who created it and how. watched the cult ones, famous, little-known, forgotten soviet films, this is a school of filmgoers , where we reveal the secrets of film archives and tell why watch soviet cinema now, how to better understand it, how to find new meanings in it and get the most out of it, and today we will talk about films that were created and watched during the great patriotic war. stanislav, where did it all start, how

did we... from below, including among filmmakers, the idea of ​​​​creating, well, in general , economically, expediently justified a film product that can be made in the current conditions, which are developing quickly, yes , because after all, filming a film, as we know, is usually a very long process, especially a feature film, you need to approve the script, you need to approve the actors, build the scenery, and so on, in general, it can take six months, a year or even more, and kemetographers. after thinking, they decide that they need to shoot short films as quickly as possible and release them on the screen as soon as possible, so that, well, in addition to newsreels, which went on so endlessly, about how preparations are going on for the front, and

today we will also talk about this separately about front-line cameramen, this is a separate interesting topic that continues to be researched in our time, we don’t know everything about the biographies, but then in june of the forty -first year, and the decision was made with the initiative -

in fact, combat film collections were not the first war films that came out on the screen, because before they all started collecting them into full-length films, but these same ones collections, one short film was released, which was incredibly important, it came out in july of forty-one, chipaev is with us, this is an example of how cinema, well, as a certain phenomenon, and of our life, it takes popular heroes, in particular here they took. chpaev in the film of the early thirties, as we know, died at the end of the film, but he died in such a way that it was not clear, because he swam in and did not swim out, but here we are told unequivocally, chipaev is alive and chipaev is with us, bullshit, not

you'll take it. come on, vasily ivanovich, come on, come on, quicker! finally, vasil ivanovich, we’ve been waiting for you here, we thought you might never swim out, well , just like the chabaevs, you won’t swim out, it seems to me that thanks to this short film,

the canons of socialist realism on the soviet screen are being broken, because we are seeing truly mass cinema, well in which, as it were, two universes, two multiverses collide or merge into one, why they took chipaya in the first place, why this could be done, this... looks like in the tv series sherlock, sherlock dies and then returns. we're not that much we know about how audiences actually watched movies in the thirties, but we know that the boys ran to watch chipaev dozens of times, because there was a rumor that somewhere in some cinema, chipaev still floated out, this the desire, yes, for him to swim out, it comes true after 7 years, and it’s good that boris babochkin is returning as chipaev, and the director is different. the director here is vladimir petrov, who made peter the great, and the first film was made by the vasilyev brothers, in the same way any characters from the thirties appear in military film collections years, for example, maxim performed by boris cherkov, only they come back from other

directors, it’s so interesting how directors take their favorite character, who was invented and embodied by their other colleagues, and they take it for themselves, it turns out. yes, czechoslovakia, poland, where there is also an anti-fascist struggle, the underground is like in this combat film collection number 9, there are scenes from what is happening at the front, but in many ways, of course, on the one hand, it is simplified, the poster style begins to reign on screen, and is no longer here palutons, everything here is quite clear , transparent, others are built into this, there are our good enemies, there are bad enemies, there are no further gray areas, well, at least in the first years of forty years... then it starts to be a little different be perceived

, but what else is on the screens: you woke up on the morning of june 23 and looked at what was playing in the cinemas, the film alexander nevsky immediately returned to the screens, which was directed by sergei ezenstein, one of our favorite heroes, in fact, in the year thirty-eight , filmed at a time when german aggression was growing, in a plot that is absolutely about ancient russia and the middle ages. nevertheless , there are references to the knights, these same levonskys, and the film is shot, and then the molotov-rebentrop pact is concluded, and germany no longer becomes an enemy, but a kind of ally. the film is removed from the screens, esenstein makes an opera in the big theater based on wagner, but in june '41 the film instantly returns to the screens and gets a real second life, because this image... of nevsky, and especially the ending the film, it turns out, is incredibly in tune.

go tell everyone in foreign lands that russia is alive, let them come to visit us without fear, but if anyone comes to us with a sword, they will die from the sword. this is what the russian land stands for and will continue to stand for. interesting.

sergei gerasimov finished filming the film adaptation of lermontov on june 21, 1941, and on june 22 they were supposed to show it ready, of course this did not happen, the film was sent by plane to moscow, the negative, the plane was shot down, they had to take a positive, a positive copy, and then make it from it so the so-called countertype, that is, the second negative, and from this negative make a new one. that is, the film could have been lost altogether

, in fact, many leningrad films disappeared, those that were shot in the twenties, because after the evacuation, partial destruction of the film, some things were buried, for example, yes, well, so as not incendiary bombs hit, because it needs to be remembered that at this time the film is still extremely flammable, and if a spark gets there, everything could just burn out, so in moscow they buried films in the courtyard in a boom, like it is believed that a refugee was buried.

to the olympic biathlon team of our country, why did you stop by singing, but you’re bored, let’s darken the house. you will find students , and the headline loser athlete has found a champion in the taiga, you will enter a sports school, then, if you are lucky, you will go to the olympics, and everything will be fine, than

these fishermen will break him, i don’t want to go to your olympics, i want to kill vitya, you have a little pity, take a piss. you still can’t bring it back, game, let’s do it, training four times a week, three running, one rotting, then i’m in, i mean, well, let’s kill him together, fakes, a thriller built on the collision of two realities, two people , there is an attack and love, and most importantly , ethnography, which of them is the hero, a boy or an adult, is also a big question, and the initiation rite that takes place there, this story could have happened to anyone, next saturday on the first. let me remind you that this is a podcast of witnesses from einstein, where we, film historians natalya ryabchikova and stanislav didinsky, talk about who and how created and watched classic, famous, little-known, forgotten soviet films. in addition to the people who were involved in feature films, there were people who made newsreels,

in fact, who filmed combat, front-line cameramen, and then this was collected in film magazines, which were shown before each show, in fact, here is your news.

which gives hope, well, here it must be said that firstly, military operators, they appear before the start of the great patriotic war, in the spring of forty-one they form such a small brigade of three people, in my opinion, which should be with the active army and this is some kind of pre-replacement of front-line operators, then it is clear that in june 1941, many filmmakers were either drafted to the front or sent to

slezary’s militia, and teachers, artists and steelworkers joined fighter squads, workers ’ battalions.

this film, the defeat of the nazi troops near moscow, was personally controlled by stalin, he was the main viewer of soviet cinema in the thirties , he looked through almost everything that was done in soviet studios, edited the scripts, changed titles, removed directors and so on, and this film... despite the fact that in the future he had other more worries, he moved away from, say, frequent viewing of films, and he actually edited this film, for example, he removed this voice-over text that was too verbose , even here it was noticeable that we hear the bravura music, watch, actually see these shots more than they tell us anything, and this, of course, was one of the reasons why this film was so successful, so popular, its... .not

written, and the main thing is that we know today about it, this is what they filmed there in absolutely difficult conditions, a shortage of everything, firewood, lighting, one of the main masterpieces of those years of soviet cinematography, ivan the terrible. well, yes, this is, of course, the biggest project, as they would say now, of the centrally united film studios, because it was launched even before the war in the winter of forty-one and... in the summer of forty-one, it was not very clear whether it was necessary to continue making a film about ivan.