but in general it has become easier to propagandize, yes , yes, yes, that’s exactly what i’m talking about, that this is a powerful tool, all these modern technological fakes, on the one hand , are a powerful tool, on the other hand, there is, perhaps , a naive hope in me that it precisely because of its accessibility and now prevalence, it will develop some kind of immunity, that not every photo should be immediately believed, even if it evokes an emotional response, because it is far from a fact that this photo is true. well, that is, life in the era of victorious artificial intelligence requires empathy, motivation, critical thinking , so as not to become not only a victim of propaganda , but in everyday life, so that we are not convinced to buy something that we do not want to buy, that is, a person of the future, living next to neural networks, he is so critical, meaningful, empathic , that’s right, yes, yes, including because he seems to be very interested in the development of all these human beings. qualities that you

just listed, he has more time, because some routine tasks, he can entrust everything that i have deep faith, just like many of my colleagues, that in first of all, it is necessary to automate there , if necessary, with the help of neural networks, if not , by other means, everything boring, routine, repetitive, leave time for developing in yourself these unique human properties that you just listed, so i think that yes...

in all sorts of products that we are already accustomed to using, and the digital world around us, whatever one may say, is already part of our life, well, for everyone, if only because here is a smartphone, an application in a smartphone is all numbers, now of course you you can screw something like this here with a neural network, sometimes it’s even already there, but these are still one-time, some kind of targeted implementations, it seems to me that there’s a massive penetration of all these smart people...

they were just looking at it, the neural network allows it, if it’s there part of the operating system, to solve a problem that happens regularly in my life, i need to find it, i know that vasya threw me a sign in one of the messengers last week, damn, i don’t remember what it was called, i i remember it was vasya last time last week i posted a sign in one of the instant messengers, actually for a modern machine learning system.

a special case, that is, here’s a story about the fact that you will have tips when writing letters that will automatically pop up when it’s a routine letter, where you have to politely say no, but unfortunately you can’t write, how do people still run away , when you simply answer in response to such a cart, in a word, no, that’s it, that’s the point, so you should write at least a paragraph, but it’s a pity to waste your time on this paragraph, answering a template, but he knows that this is a template, so it’s somehow bad, so let it be... a unique response paragraph, which we have nothing to do with, let the russians not do this, so all this is at the level of that familiar digital environment, that we don’t need to buy some new super-expensive computer or a super-expensive smartphone, that we need to install some kind of program, no, this is all little by little in this very digital environment in which we live, it will be implemented in different places, suddenly it turns out, what are you doing here you start talking to a pike, which, at your command, can do a lot of things, well...

if you sum up your forecast by compressing it, as some neural networks do, into a short thesis, a lot of routine operations will go away for the neural citizens. emotional intelligence, social intelligence, the ability to feel, the ability to interact with other people, and maybe next year the keyword will be some kind of psychology or empathy, maybe great, i think we’ll move somewhere there. thank you very much, thank you

great to those who watched and listened to us. 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 and a great joy to talk with you about your work, about your films, but you know, i would like to start with... a topic that may be somewhat unexpected for you, the fact is that you and i have a common alba mator, philological faculty of the moscow university, i know that in your interviews, well, if i understand correctly , you said that in general this education that you received did not play any big role in your life, but nevertheless you studied

in such a special department at the faculty of philology , a department called structural and applied linguistics, and where linguistics is combined with mathematics, and in my life it turned out that when i entered the philological department, we were immediately sent to potato farming, there was a second year with us, the second year were just oseplyans , here are those the ones who studied in the same department as you, they were terribly smart guys, so i ’m terribly happy that for me the university began in these potato beds, their conversations, communication with them, it was, by golly , no worse than lectures and seminars, so my question is, what is your feeling, your memory, your perception? these student years, can you still tell us something about it, how did you even get there? i would really, really like to study at the faculty of philology now, and i had absolutely nothing to do at acipla, this department of structural applied linguistics really, because you

know, it was fashionable then, apparently, 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 those years were rather mediocre for me, because i didn’t read a lot of books that i would have read at the faculty of philology, and i never became a mathematician too, your father is a film screenwriter, and your mother is no less famous, and maybe to be even more, liliana lungena, this is a translator, yes, a great translator, everyone knows that the baby and carlson.

with great interest, i believe that he is an extremely talented writer, an amazing actor , least of all a director for me, i don’t like his films, well, i like them, but... it seems to me that the artistic expressiveness of his stories, some kind of understanding of the soul, but he has an understanding of the russian soul in everything , this kind of russian soul, but he’s a writer, an amazing actor, then a director, well, actually, such people define time whole, who else do you think defined the time in which you grew up, matured, matured, among the writers? it was probably bitov, it was trifonov too, yeah, well, with

alzhenits after all, but among the directors, here among the film directors, whose films seemed to you , of course, under the enormous influence of m was always alexey german and even for some time considered himself his student, although my way of making cinema, so to speak, was different from his. in principle, it was difficult to repeat, it seems to me that the director is klimov shipitka, a very good director, here’s some kind of iron films, as he said, he said, an iron book, i would say iron films, which did not live in a relative world, as if everything was allowed, everything was permitted, here is the world of the thaw, they already lived in a world of rigidity in the world...

he was president of the tarkovsky festival in ivanovo, there is a mirror in the wheel, and yes, i even remember how young torkovsky and konchalovsky came to nikrasov and showed him andrei rublev’s script, the two of them wrote it, they wrote it for victor, we called him vika, always vika to viktor platonovich nikrasov, who lived with us then two such young people came. handsome, i was probably 12-14 years old, they were apparently

studying at vgik then, well, just some two celestial beings came, there they locked themselves in the room, they kicked me out, and i fell to the crack trying to hear something, but no one was a man of a completely different era, and i don’t think he understood the ruble, but what, what did they want to hear from him, why would you, is it well written, i wonder if he understands what they want? to say, it seems to me that it was completely outside his aesthetics, because they didn’t appear again, i don’t remember, i went to a lot of shpaliks, he and nikrasov were very friends, i actually somehow, you know, when i was very young, they offered to introduce me to akhmatova, i said no, because the poems were very good, then in new york with brodsky. and i too, it seems to me that some things are opening up, well, until

apollo demands the sacred sacrifices of the poets, somehow i perceived it differently, but torkovsky essentially 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 still shocked. these possibilities, for me the mirror, of course, and ivanovo’s childhood, later films, seem less interesting to me, but andrei rublev, naturally, maybe the mirror is somehow strange most of all, don’t you think that after all, soviet cinema in the world is much more less known than it deserves, it still remains our phenomenon, well, yes, they know torkovsky in the world, but who else, no one, and why does this happen, what do you think? it seems very difficult to understand, somehow these films are not included in the rotation, although italian

neorealists said that donskoy was their teacher, and mark donskoy, about whom no one knows or remembers here at all, for me, i don’t know, maybe ziguvertova, no, perhaps i don’t know, no, well, maybe that movie esenstein , understandable, but it has become a fact of world culture, i’m talking specifically about the cinema of the sixties, seventies, well, who knows.

it is still not fully understood, it seems to me that europe rather saw there, well, who are illusions, a lot of left-wing intelligentsia, incredibly many, all festivals are left-wing festivals, now all festivals are former maouists, old ones, tratzkyists, all this is simple, why are these phenomena of iranian cinema, because it is...

to say, a child of this interest. dear friends, i found myself in the nineties, so 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? so you graduated from osipal, philfak, and what happened next? well, i suffered, i was not very adapted to this life, i could not find a job, for some reason. kicked out of some research institute, and ksi was such a sociological institute, specific 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 came out of me and is still coming 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 is there? no that's not there was 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 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, that is, you just followed in your father’s footsteps, well, in general, yes, although - we practically never worked with him - together, i no matter how he devoted himself, his creativity, well, i don’t know, somehow differently, but after i i wrote quite a lot of not very good

scripts, i realized that what i see is somehow different, what i write was completely... and there i was sitting in the reception room of the studio director, i don’t know, probably for a whole month, and he still didn’t accept me, you know, it was something that you couldn’t enter, you couldn’t tell, it was absolutely some kind of hierarchical society, and which you could still see by the face, by the facial expression, even by what

came out of you, and i saw people dragging a box of cognac, for example, right to him there, and the doors swung open, i sat and sat , i remember, at some point i just couldn’t do it anymore, i opened the door, went in and saw a red-faced man at a large empty polished table, who, when he saw me, for some reason the onion lay cut from a glass, he swept it into the box with some completely professional gesture, it was... a different time, time changed a lot, as soon as on masfil, maybe there was a different atmosphere, time changed a lot as soon as perestroika began , and you remember him with gratitude. i’m with a huge, 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 was somehow similar, you know, when it started, all my films before that, they weren’t about me, they were. the thaw was two, and it was such a fun time, because exhibitions opened every day, every day you could go somewhere in some basement to watch some

incredible thing, everyone wanted, you know, everyone wanted and it was all wild, and to watch a torkovsky film there or some modern or semi-modern western film you could i had to go god knows where through all of moscow. 3 hours and there was fighting , breaking down the doors, a rock band appeared , i don’t even know how it happened, you know, like on a train, you’re going on the subway in the subway, then suddenly the light, the doors opened, you have it, they thought , which is forever, but it turned out that the doors they 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 at all, 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 apart, they were different, the taxi driver, this wonderful one. zaichenko and mamonov, they are perfect, they are like they couldn’t live without each other, but they can’t do it together, this is their friendship, love, hate, it turned out to me to be 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 side at all or not, or how many sides, i’m not sure, or how many sides there are for souls, well... yes, it seems to me that this is at the same time eternal, you know, i don’t give a taxi managed to repeat such a success because the taxibus was built on some archetypal images, and it was understandable

everywhere in the world, both in france and in america, and you received a big prize, yes, at the kakan 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 like some great success, and few directors can do this, our directors can do this... after this success i had to replicate it and develop it further, well , somehow ah... stay at this archetypal level, and i again i made films about russia that were already, 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 arise in your life, in your work , by chance, absolutely, you know, i have one, because it was such a time... 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 think it was in the winter of the new year of 1989, apparently i turned on the tv and saw they were congratulating happy new year with some interviews already on january 1st, i saw mamonov, who was then