more, more, more, since today we are talking about space one way or another, yes, well , there was a flight there was korolev and gagarin flew into space, i also flew into my space, because herman became my korolev, space is what what we dream of in any profession, that is, what seems unattainable to us, there comes a time when we still succeed, we get closer to it, that’s why, but this is space, it’s still so universal. herman in order to express some ideas that excited then in the sixties, and how german was worried then in the sixties and eighties, when he had a second attempt to approach this topic, actually in the two thousand, there was such a phrase: if they triumph, if the grays triumph, then they come to power. blacks, in fact, this is for

all time, for 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 can happen next, well, the whole history of mankind is like this, and when the book came out, it’s hard to be with god, you read it was then in these days, i read it either in the eighth or in the ninth grade, i can honestly tell you that i was not delighted, this mother kind of forced me to read the book. he and dad understood more about this, but i read it as a wizard of the emerald city, well , to be honest, and many years passed when i gained a general understanding of the meaning and, as it were, all the allegories, all the secrecy, that is, i began to understand the strugatskys, because they science fiction writers only because they managed to write about things that could not be directly written about, these books would not have been published, would have been banned, so i was not the smartest schoolchild, already...

which, well, this is not because i want to say now, but i think that star wars and the mass of american product on this topic arose from - because they were strugatskys. 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 domestic films, both famous, popular, cult, and unknown or simply. forgotten, to

unfortunately, today we have a podcast dedicated to the film “it’s hard to be a god,” and we are talking about it with leonid yarmolnik. well, that is, space became like some form of scopism, and at some point, yes, where the soviet intelligentsia avoided earthly problems with which they could do nothing, probably, perhaps, but in general some kind of basic set of films about space you had before, well , a reference, but today they call it, in general, as if it’s not related to this, well, i repeat once again that it has to do with space. attitude is only that this is an acting creative space for me, this is 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 on the set, who did he offer you to be , this was the task set, there were still some references, if this is not space, then what is it, who are you, he is an earthly director, he is a very everyday director, he is very truthful, he has no problems, no beauty. further and so on

and 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 strangers... became those earthlings who and i are still for those who are watching us now listening, and most importantly the change is that in the book rumata returns to earth, and herman’s rumata remain on that planet, because he does not want to return to earth to his colleagues and to what is happening there, this is an incredible philosophy and incredible heroism. and boris allowed this to be done, he allowed herman to dispose of the book freely, then there is, you know, as it happens, as if based on motives , but it’s not based on motives, but he changed the ending, which, perhaps, is the meaning of what herman did in this picture and what i tried to embody, you have no idea, how

everyone envied me when i was filming with herman, my colleagues, quite famous artists, i now remembered that on film we filmed in one pavilion, in another pavilion the board... filmed an idiot, and vova moshkov, every time we crossed paths, we went to our dirty pavilion, and they, that means, to dostoevsky, and vova, playing ragozhin, he threw away, that means, his sheepskin coat , knelt down, walked towards him, german says: “alexey erovich, why the ermolnik, why the ermolnik, let me at least voice it, but it was a joke in which.” only part of the joke, because everyone was jealous of me , 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, probably now they it’s already easier, they were probably heavier before, what still connects me with the cosmos is that i have

rumata’s entire costume, it weighed 28 kg, everything was not made of plastic, everything was natural, metal, and alekseyovich also liked to pour water on it before the shot. and it became approximately 40 kilograms , while he asked me to jump into the saddle of a horse, he somehow connected, i said this with love, he somehow connected with these some kind of middle ages, and the saddles were on horses with back in those days, i have these spurs in the front and back, the whole suit weighs almost 40 kg and he wanted me to fly like a cowboy in this, it’s not like that at all well, he became a slave or...

he shook his leg so that i flew over the horse to the other side. well , by the way, you weren’t always 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 and jazz starts playing , but here’s the way it’s filmed, the way it’s all built, it’s clear that this person is already there inside, so we have this fragment.

for me this is some kind of eternal music, which connects times and eras, and this becomes a motive, let's see , thank you, and... again, what

if we return to the moment when an idea is born, and for the strugatskys, this earthling is somewhere out there in space. to what extent is this really the feeling of, i don’t know , the writers themselves, to what extent is it herman’s feeling as a director that we are here somewhere, and we seem to live in this world, but in reality we are playing... “caravan, we are somewhere , maybe we would like to be somewhere else with our heads at the same time, and we are torn, that’s how much you it seems that such a thought was present, well , probably, but this is natural, because with us anyway, when we want to convey something and for something to happen, it comes not even from one period of time, but in general, it could be what we were told about, it could be what we dream about, it could be what we experienced and..." 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 the key, which is that not only you will understand it, but the viewer will feel it and read it, see it, in your opinion, german, and in fact the strugatskys themselves felt maybe a little misunderstood by the readers, viewers, because german is a very complex director, and to figure it out in... sofia and the context of the works of the strugatskys, well , in general, you need to read all of them, well , most of them, in order to understand the idea of ​​progressorism, which, well, roughly speaking, you need to learn to understand their language, of course, and how they are very specific authors, when you read several works by the strugatskys, they were all written in a different language, but in their 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... after 15-20 years, this it was a completely different language, and you said before we started recording that

during the filming you wanted to bring a film, well, more action, so to speak, yes, to slightly reduce the level of horseplay, this is not quite this, nothing, no , i really and we were arguing, i wanted it it was filmed so that there would be action, it’s not even because i wanted to show off there, as it were , with stuntmen, so that it would be beautiful, the artists are always... on this stage, this action, it would decorate this picture and attract, maybe there are more young people to watch this , german, it didn’t matter, it was important for him that there were mountains of corpses, and the process of how it all became corpses interests him less, you couldn’t fight beautifully, you could fight like, well, if to speak in today's language, how can two drunk people fight in in the gateway or in the entrance, everything should 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 brussels, but when one blow is enough for a person to disappear, and there this battle is going on 15 minutes already this is a kind of choreography, yes, yes, choreography , yes, they beat, they beat, that’s all, i remember how much i loved watching, well, there is no truth in this, but there is action that people want. watch, enjoy, and have you ever 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 perfect, was there such a moment when he thought about the audience in general, the audience in general, how this film was received, well , today i can say, herman also said such a phrase, he was probably exaggerating, but i believed him, he says, until i dream the scene, i can’t do it. film, we rehearsed for weeks, sometimes months, we for a very long time because of this they filmed endlessly, he was irritated

, he really was the most complex process of how he came to the moment of filming and what he liked, if he didn’t like something, he on the set could be 3350 people, up to helicopters and something else, and if he was not ready to shoot today, he could find fault with calling katya shabkaets, a brilliant artist, to show and tell, and this is somewhere in his twenties. there are some extras nearby, they say, where did you get these shitty buttons, found fault with these buttons, arranged it, they say, that’s it, no i left to shoot, but over the years i realized that this is not a matter of buttons, but the fact is that he has not yet decided how to shoot the scene, it is very similar, by the way, to working in fellini, he said in an interview, in at the beginning of filming, what is a philly for him, this is the main director, a realist, if you combine all this, it turns out very logically, of course, 8 and a half, impossible at the wrong time. heard, but this is to entertain now, he, alexey erovich, he had no complexes, when we

talked about something so global about cinema, he he says, well, you, you watched felinev ’s films, he says, these long shots, when it’s long, when it’s long, long, long, i don’t even know anymore, that’s what he says, i don’t even know who anymore it was federica who came up with it or me, that’s what it was, that is, he did it like that. i appropriated this, because of course, at first federik had it, we shot all the pieces in very long pieces, a can of film went per frame, yes, we need to remind you that we started filming at the beginning...

how many new viewers will appear who will want to see the picture, but i i can immediately say that reading a good book or watching a good movie is work, and those people who know how and love to do it, they are smart, because the modern way of communicating information is so easy, and it all crackles and crackles all the time, crackles, and i became convinced that in this chatter people do not understand everything and do not feel everything, well, the film began to be shot in the late nineties. we filmed for about 7-8 years, we filmed for almost 6.5 or 7 years, then there was a long break, then there was dubbing too, so the dubbing also lasted for some 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, the most hated

person for him was the sound engineer with this fishing rod, and he didn’t listen at all sound, in general, he only looked at the picture, this always means... video control, we were pronouncing the text, so he ran these microphones all the time so that nothing would interfere, and so he made a movie, when the sound started, he didn’t look on the screen in the tone studio, he was lying on the sofa turned to walls listened only to what, well, at least that’s how i pronounce it, and he didn’t put it together, like in the movies, you have to hit the lips, you have to hit some kind of gesture, and he came up with something - the way he would like to combine it with the screen

- he was there, he didn’t leave, some viewer came , who understood that he was going to see whom, naturally, the film’s distribution fate seemed to be none, but the picture entered, i so, who else will remind you, only a participant in the events, the picture was included in the 100 best films in the world since lumiere, that’s why it’s there, maybe my

grandchildren will remember about it, that my grandfather acted in it, but the film has absolutely its own destiny, but i’m happy that i have this job... i have it , i’ll show off, i’ll say now, well, i’m in a good team , in this team nikulin, mironov, bykov, and how german himself generally felt about his directorial destiny, so he often said in interviews that for him khrustalev’s failure in cannes was an absolute surprise, but he was a person who was, as it were, prepared soviet with his career growth, let's say, yes, one the film was closed, the second one was closed, so it sits there. for a career , to what extent he felt himself, i don’t know, an unrecognized director, a deprived director, a director, really not for everyone, or he , like torkovsky, believed that his viewer

was a mass viewer, how would he react there to the reaction of people to the already completed one, with alekseyevich there were no such complexes, we have already touched on what worries his audience, no, no, he actually made a movie that they had to watch. those people who understand, who have taste, whom he trusts, and whoever joins this one, it didn’t matter to him, he was filming, we already talked about this slowly and carefully, because he and he existed all his life in conflict, with anyone you want, so to put it so boldly, 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 that’s what made him a german, that charged him, but there is a second person in my life, like me too, when i

worked in a theater group after the chukin school, petrovich lyubimov was the same, as soon as nothing was allowed, they interfered, then it was the most powerful, the most, these are people, this is something from the soviet union, this is something... how should we treat the film today, yes, how to interpret it, how , how, in general , maybe, you will explain to your grandchildren or are explaining now what this movie is about, because well, it’s still too early for them, they will 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 it, that is, it’s like you really need to let it pass through yourself, it’s better, of course, in cinema hall, and not on the small screen, because a lot will be lost. but still , well, if my grandchildren have such teachers who decide that the whole class there or the whole course needs to be shown that picture, then i will be happy, because you really need to watch a movie in the cinema hall so that it’s nearby, because when you are watching in the hall next to you, then you are insured against the fact that you will not understand or feel something , because there is the breath of the hall, and if you are distracted or do not understand something, then those sitting next to you and the breath of the hall in general will . helps uh how to understand everything, feel everything, and i think it’s hard to watch to be a god,

in fact, in three words, i hope no one considers this stupid, but this movie needs to be watched, you need to feel, understand and draw conclusions in order not to attack the same rake, if at all... strong, very talented people, and of course, you need to 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 everything is very similar, but i really wouldn’t want it to this spiral, this ring, was similar to this one 20, 30, 40, 50 years later, but ... people have a bad memory, i’m now talking more about the history of events that either move humanity forward or vice versa , strive to destroy humanity. the topic is relatively almost today’s, so today, i think that this is what we are talking about now in connection with herman’s painting, it is even more important and topical. i'm lucky because i have most of my life. went with alexey german, but i got in - well, first of all, uh, i’m with years, i acted for 14 years, but over the years

i realized, i could never even imagine that herman would one day be interested in me, but over the years i realized that he always shot in the most wonderful films, they 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, then he made him look like a buffoon.

you were taught, he hated it when an artist plays, an artist must live in the frame, that is , your reaction should be, in this case, me playing room, you still had to react like leni irmolnik, while we had differences with him in terms of a man’s attitude to those events that, sometimes, when we were already drinking beer, he said, in general he says, you’re playing, you you play me in my youth, this... yes, yes, he absolutely, at the same time he let it slip, this work is so dear to him and he has been nurturing it for so many years, surely you, as experts, know that it began in the year sixty-eight because due to events it was closed, then in the eighties, here 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, did you

give vodka to someone? and i liked it, literally, he mocked me all the time that i was such an 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 most interested in this, 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, his parents forced him, today it’s even more difficult, yes, everything is in computers, in these iphones. this is not immersion, it’s generally like 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 that’s not me against showing the classics of american cinema, but first of all, what grew here on this earth,

well... we actually talk about this as part of our podcast in every episode, yes, i let me remind you that this was a podcast of isenshtein’s witnesses, and i, hosts stanislav didinsky, my colleague natalya ryabchikova, and within the framework of this podcast we talk about russian cinema about why, in general , it is worth watching it today and how you get pleasure from it, and today our guest is yarmolnik, thank you very much for coming and telling us a lot of interesting projects, all the best, goodbye, hello everyone, this is a podcast of memories 20 years later, in which i, the host konstantin mikhailov and my celebrity guests will discuss 2005 year this time, what songs were at the peak of the charts, what television project started on channel one, today

i’m visiting... yulia savicheva, a beautiful girl, a talented singer, participant in the tv project star factory 2 and the eurovision song contest 2004, well, plus in in 2005, a series was released there with the participation of her song, don’t be born beautiful, and i called it don’t be born godzilla, whatever they called her, to be honest, whoever called her, and konstantin burdaev , aka kostya grim, hello kostyanich, yes the lead singer take the group, but the lead singer of the group is brothers. make-up, i remember in 2005, you took part in maxidrom 2005, well , i took part in maxidrom, we took part in the film and you can’t give birth to a baby, in fact, too, we had everything in common then, but what did you do in this film, and we in this film they sang the song heart in one of the series there and i didn’t know, but i was sitting on the piano, i was so young, still hairy - he played a soulful sang this song, that was the case, yes, listen, the serial story is

very, very profitable thing. we recently met with jenny fiklist from the end film, how his team sang it after he sang a song for the tv series soldiers, television is a great power, a great power, especially when... this song for the series, yulia’s song, i remember myself, i was addicted to it, well, thank you, but on the one hand, and the series , yes, of course, every day, and it eats into the head, but the song itself still matters, what it is, because all sorts of remakes and remixes are still being made on it, young people are drawn to it, which is surprising, i didn’t think that there would be such a continuation of the banquet, it’s on a song, if love lives in the heart, and she became. what another, well, there is also a song high, of course, with which i started on my long journey, it is also one of my main songs, but if everything lives on

love - this is something separate, this is some kind of separate planet that it seems to me that it will outlive all of us, tell me, for the song the wind, you shot the video on a limp key, because you are standing there in front of a theater, or a big one... and high up, interestingly, no one has called it that before, no, about the wind, why did i think it was a freudian mistake, because we here recently we were talking with manaki, with the singer momi, we were just remembering that moment at the factory when you sang with her, call me, call me, sun or wine, the wind is just the wind, yeah, we remember that it was , well, almost you’re not like that, you’re still quite a girl compared to a child, of course you’re a child, well, you’re great in your voice, but here you go. in terms of freedom of communication , perhaps with the public, mona, of course, was already more experienced, well, of course, how did you feel, you had something, oh, i actually remember that factory period, and for me on the one hand it

’s difficult, even extreme, on the other hand it’s so interesting, and that’s where my growing up took place, my growing up in front of everyone, in front of the whole country, yeah, it saved me, maybe my youth was just like that, even childishness and rose-colored glasses on eyes , that helped, for me you immediately when you appeared , i was like, oh, avril lavigne of ours, you know, then it was fashionable, and for some reason i then fell in love with truly alternative music, some kind of turning point happened after the song high. everything, away we go, well, plus, my hair is naturally straight , well, there really is a similarity in my face, even my child, anya, when he sees avril lavigne’s video, oh, mom, she says, let’s go,

there really is some kind of similarity, i i know that the girl is so whole, that is, if you are engaged in creativity, you only have creativity, did you not like anyone at the factory purely as a boy? well, he was such a perskhalava, a sweet , charming man who went around kissing everyone, i know, listen, he was so broad, so hospitable, well, i understand pogruda, well, i had a boyfriend for that period, who was waiting for me, he was jealous, i don’t know whether he was jealous or not, blond with blue eyes, he wrote me letters, gave me toys, well, my 2005 is a takeoff, this is when no one an unknown group from the city of samara , namely the group of the grim brothers, this does not happen often in show business, because in show business many have reasons for being famous, that is, we did not participate in any non-television project anywhere, we there were just

simple guys who wrote songs themselves arranged, just such a local samara selfmate, then suddenly in 2005 we get this opportunity and become famous throughout the russian-speaking world, how did it happen? so who did you send the song to? listen, we didn’t send song clips to anyone, in fact, at one fine moment they came to lena burlakov, who at that time was already a little, well , a little out of business, i would even say, well, that is, it’s somehow like this this is a coincidence, this is always luck, of course, but we wrote there are so many good songs that they have already begun to overflow this critical cup, it all began to spill out, roughly speaking, it splashed out where it needed to be at a certain moment, here it is... it

was necessary to get to russian, it was necessary to get to europe plus, it was necessary to get on mus tv, in general, on mtv, but in general , they would have gone there directly on their own, no, not on their own, another person brought it there, alena mikhailova, you see, that is, it’s not , this is of course a strength on the one hand, that you made the material yourself, yes. of course , of course, it had to be shown, then there was no internet,

then there was no internet, then people were needed as guides who would simply deliver this material correctly to a wide audience, and this happened to us, let’s just say, thank you very much lena, very much thanks to alena mikhailova, these people just helped us do this, that’s when we really released our first album and began, well, yes, then bethlemania began, this one in relation to the grim brothers, i certainly remember. you had a hard time going through this period, let’s just say, but because - when you are unknown to anyone , a simple guy from the samara outback, yes , suddenly you, any person who suddenly receives such strong attention to his person, he is not psychologically ready for this, anyone, so i had to deal with it somehow cope, thank god i managed, i’m sitting here, you see, and how it was expressed, well, you start to think that you’re probably better than the rest, and... you see some of your colleagues,

you look down on them, you think, wow , yes, yes, they told me later, people from that era told me, my colleagues they said, i remember, you did this, this , that, i say, this can’t be like that, it ’s not me, it’s not me, well, i’m so ashamed, i had a star fever, yes, yes, barge haulers , by the way, you said very clearly: that there was no internet, now it’s easier, because barge haulers, he’s only consulting now, it’s not easier now, i would say so, it’s not, now it’s easier for the artist, let’s put it this way , well, i wouldn’t say, because in modern show business, you probably need that person who will tell you, show you, this is basically the fact that lenya is not a musician, he is not a musician, but in part, for example, yulia has max fodeev, yes , there was once a max fodeev, he is a musician, he is an arranger, he is a composer, in the modern world there are many people, for example, with me i know guys from the young group dobro, yes. let’s say, now there’s a fashionable group, they also

do everything themselves, now the internet has allowed them to do everything themselves, shoot videos, if you have some kind of taste, at least there, as they say, a rudimentary sense of taste and zeal, then you can do all the best so don’t worry, you don’t need a producer , so listen, i’m not talking about that at all, you ’re saying, here i am without a producer, how is it like this, no, i didn’t say that, i didn’t mean anything, that’s right, listen, yes calm down, look, i wanted to, i wanted to. what can i say, it’s not that i’m without a producer , god, no, we worked together for so many years, if it weren’t for maxim fodeev, then perhaps no one would have known about such yulia savicheva, and especially with such - hits with such grandiose songs, but of course he’s mine teacher, music teacher and still remains one, we still communicate , you see, i just want to understand a lot myself and be able to move to... a new level, roughly speaking, yes, when you are in

a production center, you are a lot of things in general you don’t study, you don’t understand much , you don’t know, you just go out on stage and sing , i tell you, come there, come here, yes, you have to look good, love your job, in fact, and make people happy, you don’t understand everything else, this of course depresses me, this is the fourth year now.

they don’t understand a lot of things, and i just tell them . they are incredibly talented, well, very young, specifically i say that they need to be completed, remade, well, in general, partly yes, partly. asking burlokov, why exactly asking burlakova, so young, you don’t remember at all, this is my favorite film, of course, along the way. this is a podcast 20 years later, today we are talking about 2005, my name is konstantin mikhailov, my guests are yulia savicheva and konstantin burdaev. i like that you communicate, i’m generally sitting like this, watching like this, i just imagined you like this,

domino, yes, yes, yes, the former, how - batted his eyelashes, it so happened that, well, yes, naturally some kind of chart-breaking hit was needed , as they call it, and the song of the eyelashes became the kind of song that, yes, drew attention, here she is, she’s so bright, the first one appeared later, although there was only one album, yes, yes, one for the same album, then the eyelashes appeared, everything fluttered, it began, it began, who wrote it, well, we have always been composers and authors of our songs , you and borya, listen, what happened to boris, how is he?

well, now there are options for a high rise, but the low one has returned again , now again seriously, now everything has returned again, those 2003-2005 ones are starting to come back, which means that there

were these miniskirts, miniskirts that were more like a belt -the hag's beanbags, now it's all over again, and the hag's and wide trousers. most people are still like this, now fashion has gone, they pull their pants up to their chests, this is how they still walk , young people, i, this is the eighties, like this , no, this is the nineties, this is this one the bolognas there are oversized, this is just the nineties, but apparently now, by the way, this is such a phenomenon or a phenomenon. whatever , this is what people like to be nostalgic for, 20 years pass, 20 years pass, and people feel nostalgic, this cyclicality, it, it is reflected in fashion, look, then all sorts of slr cameras became fashionable, and everyone decided that he is a photographer, yes, everyone bought a camera, but did not buy to take photographs,

bought a provo, but did not buy to drive, the same thing, yes, my wife still has a slr the camera is big, yes, buy that too then. many girls then wanted to do some kind of creative work, but the easiest way was to buy a dslr and go take pictures . by the way, she took a lot of pictures there, she once took pictures of me, and she took pictures of you, yes, yes, she was a fan of the group brothers grim, she didn’t she immediately became my wife, so she went to a concert, took pictures of me, and then became my wife, that’s the story, she sent photos, you’re like that, i married a fan, well, this is a common topic, and you, and you got married, got married to a fan, so it turns out that it’s yours, your husband, no, my husband? an alternative musician initially , while i was at the factory, i heard his band, where he sings, growls, one might say, it was he who married a fan, everything is clear, and so, probably, even this can be interpreted, so i heard all this action,

his voice and...