and crossed the front line, hid from the germans, that is, this lives in me, and empathy lives, and self-identification with the country, with the family, with the common destiny, it is in me, and i just often think about it, so for me it is absolutely such a crystal emotional important component of life, there were three female regiments 586. the sixth 587 588 fighter, bomber and light night bombers, you chose 586, this is a regiment of female fighter pilots who worked on yak-1b machines, then there was the yak-3, yak 7, but why this is the fighter regiment used as the basis for the plot of the film? well, you know, well, firstly

, this is how the script turned out, secondly, we had wonderful pictures about night witches, we all know it, we’ve seen it all, thirdly, the yak itself is a legendary plane, absolutely, and an airplane also in his own way the hero of the film, so in my opinion there is not enough story in connecting the plane.

where are the photorealistic aerial battles, where is there physics, where is there gravity, and how to make a film as if emotional, so that it doesn’t let go of the viewer, and at the same time it it wasn’t empty, only when we found the history, when we found the technology, then we agreed very slowly, we started working, it took us a long time to restore, build planes, because we don’t have any living yak-1bs. we have one, which with alterations, at that time, now, in my opinion , another one has been restored, and we built 12b, because we recreated the airfields, created this regiment, very close to the original, as far as possible, and it was like the whole, whole life that we lived, i was completely dumbfounded your preparatory period, how long did it last, well, quite a long time, i think that... yes, probably one and a half, we

were preparing, well, we first began to prepare in a small group, there were about seven or eight people there, we began to look for planes flying on a wing, we began to come up with a technology for filming in detail, we began to design how we would build these models of airplanes, we looked at a lot of regions of russia regarding where we would film, we were looking for artists for a long time, because what do we have in the film...

i mean, by words, i was completely dumbfounded, this is what you built, i’m not convinced that something like this exists anywhere in the world, this screen is the size of a four-story building , as far as i can, yes, plus to everything this whole apparatus that rotates the plane, we did a certain amount of engineering, that is , a rather complex structure, invented specifically for the film, lifted and the plane.

a ton, this is our simplest gimble to a height and then spun, twisted, twisted, twisted, twisted, twisted, into this moment... so to speak, there arose, let's say, the authenticity of the artists' feelings and emotions, plus all these maneuvers were synchronized with the projection on the screen, so when the plane went into a maneuver, then accordingly we tilted the plane strongly so that there was physics the position of the body in the cockpit, that is, for us, the physics of flight was one of physics and photorealism was one of the tasks that we set immediately. but it still had to be combined with what was happening on the screen, yes, it was a whole, whole thing, we had a lot of attempts, we filmed real ones from real planes, of course , in different regions of russia in different weather conditions, from different cameras, in order to get

the feeling of flight on the screen, we had emergency landings, icing, well, in fact, everything, all the joys, i imagine how how did you feel during these evolutions? yes, in this sense the director helped, there was no need to invent anything, fantasize, make any efforts that were not required, in general it helped seriously, when your wing is on fire, everything is screwed together, oil in the face, and also smoke, there are fascists , of course, there were moments when i think you’re not very...

we are now, dear friends, present on the podcast, everyone wants to fly, what’s on the first channel, and we say about the film air, which fortunately i saw , and you will see on january 18, i assure you, this film is a must see, and i envy in advance those who

have not seen it yet, because you will get the mood, the sensations that i have already experienced , today we have here, the director of the film alexey german and the performer. i'm waiting for you to be in the cockpit, well, that's us we rehearsed, we had consultants, we had consultants, we roughly understood what kind of load it could take, i imagined that i had lifted the heaviest thing in my life, oh, what a pity that you didn’t have a spark to help you someone lifted

the air, oh, you know, it might not work very well, we considered the option of flying to exactly, yes, yes, exactly the artists, exactly. to imprison artists, studied, studied experience, came to the conclusion that there are more disadvantages in production, why? because when we were filming this story, i could set it on fire actor, for example, but blow smoke oil , blow smoke oil, this, this, this, this, this is important, plus, so to speak, i can twist the artist into holding on, but he had a moment that it seems that his eyes will burst, and at the same time i understand that i can lower this structure when he came out, but he is a very courageous

artist, he can rest, and we can repeat the same story again, the most difficult thing was probably to make sure that all these air battles were . photorealistic so that there is no feeling of computer graphics. we have, we have a lot, including in the material and filming real planes.

the air force, that's all, that was all done on the yak 52 , yeah, at maximum speed, so to speak, in line with the behavior of the pilots of the great patriotic war, then in their place, one on one, we inserted 3d models of aircraft, so that there was no feeling when the plane walks on rails, he doesn’t walk on rails, yes, it’s as if there is, there is turbulence, it’s as if there’s...

he rushes at you, and at the same time something explodes, and this gives some kind of authenticity,

and if this is an amazing thing that discovered for myself, simply from the point of view of economics, production, that launching real airplanes is many times cheaper than drawing the same thing, just many times cheaper, i understand that this is a profession, but nevertheless, you have never regretted taking up this , i’m now... come on, you know, we chose the most idiotically difficult way to shoot this

picture, we recreated all the costumes, again lena okopnaya, the costume designer too, she, we first created the threads, then the yarn, from this yarn we made, fabric, from this fabric using those technologies, we restored gymnasts one-on-one, we... flight suits were about the same weight as they were, because they were quite heavy and not very comfortable, excuse me, but what wasn’t included in the selection? you know, minimally, unfortunately, this is the legacy of the wonderful soviet cinema, for example the film torpedo bombers, but nothing of this remains, because in troubled times it all disappeared somewhere and... therefore , some few or a remake remains, this remake is visible, and this remake,

well, of course, i was directing, and therefore, when all this, well, it was very, very difficult at times, then of course, then of course i cursed everything, of course everything, you know, i immediately want to shoot a picture somewhere, you know, in the warmth, so to speak, not not without leaving, without going far with one. you watch our modern war films and you quietly swear when, in what’s conventionally called at the end of forty -one, they appear in fashionable or american pilots, which back then, well, kurt, of course, jackets that didn’t exist then, or airplanes of the wrong modification, or i looked, looked recently there was a film about some

fictitious blue soviet secret plane, or when you, when you see... that means, absolutely disgruntled pilots who stand - stand in front of - in front of their superiors, or when you see how from, when you see these poorly, poorly made cardboard, falling apart three models, from which they make an airfield and it’s all a shame, but we wanted to make sure that we weren’t ashamed and those who were watching weren’t ashamed, and accordingly, if there was an option to choose the most not necessarily expensive, but no less, to choose the most monstrously difficult decision, then we, but which leads to the fact that a person does not feel false, we chose this monstrously difficult decision, at some moments, of course, we repented of it, we thought, okay, why should we to build so many models, would we have drawn them with a computer, no, we didn’t, for various

reasons, we built the models correctly, did everything correctly. we are now on the first channel in the podcast, everyone wants to fly in the debriefing area, we have the director of the film air alexey german, i am the performer of one of the main roles, elena lyadova, and me, the presenter, leonid yakubovich, the preparatory period was about 3 years, yes, you told us somewhere, no, well, we, well, how to count? from the date, as it were, how we started working before the script, during the script, i think that if we accumulate everything, probably, and the construction of this entire huge set, well, that would be, well, that, well, we designed it in advance for a very long time , this is interesting, this is, in fact, we created

a workshop for creating models, models yakov and mr. shmitov, this is this... history took a year, because there were several prototypes that were unsuccessful, because when we first started recreating the yakta, the first plane was made with a mistake, it was just shorter, ilena okupnaya is the artist of the picture, she saw it, then we called this plane good, and we we placed it ourselves, we turned it around on purpose so that it would not be visible, we installed it ourselves.

starting from the creation of a reliable trench, and a reliable costume, and in general its dirt of what really happened, ending with the creation of... one way or another, the eye glides over the little things and these little truths create the general truth of this whole story. and this is obvious, well, i can tell you that in fact there are many secrets that we tried to understand, we thought a lot, when you make

a model of an airplane, when you build it, it is clear that centimeter centimeter, everything is where it is needed and so on further, the question is how to paint an airplane, we know that the airplane is partially wooden, not all, but partially wooden, partially fabric, partially, we know that, well, yes, percale, yes, yes, yes, well... yes, i see, but we did the research, we painted the plane matte, matte paint and gloss and semi-gloss, and it turned out that gloss and semi-gloss, just if you paint it, gives a greater feeling of weight and naturalness, although there is more of a feeling of what it was like , that is, just even in terms of the amount of varnish, the choice of paint, the choice, the choice of the degree of glossiness, not glossiness then depends.

the whole film is in fact imbued with the desire not to lie about everything, that’s what alexey alekseevich said about how he built airplanes, didn’t want graphics, lena created threads, fabrics, and we were like artists. just witnesses of the creation of some special, well, of course , artistic, fictional, well, some especially artistically fictional, truthful

documentary world, it was difficult for us to lie there, it’s just, you know, it’s amazing how much the theme that you touched , it hurts, well, not only am i crazy, i ’m in love with the sky once and for all, that’s for sure, when we were filming a film about the girls of the 588th regiment, however, this biplane, the legendary aircraft designer nikolai polikarpov, was not intended for combat operations, open a cabin without armored backs, with a low-power engine, no matter what they called it, a whatnot, who would have thought that it would turn out to be indispensable in battle, its disadvantages would turn into an advantage, i flew on it for three days. as you know, the maximum number of sorties per shift they had was about 18, about twenty. i was completely exhausted on the sixth,

in the summer, open cockpit, oncoming jet from the engine, from the propeller, i was freezing, and at -25, and the lack of any communication at all and a walkie-talkie about the mechanics about those...

not only do we have not only yaks, but in the film, in addition to mr. shmitov, we have 2, there is a piece of 2, there is an i16 and a huge

three-ton model - which means the ila-2 had its wing torn off in the wind and the guys were lying there 10 people just piled on, 10 people each held the wing, because we wouldn’t have restored this plane later, we had shifts cancelled, i remember, i think, lena arrived, arrived without hands, we were flooded, and we were running along the logs, comes to the gulf of finland, they literally grabbed the cameras, the tent right before our eyes... they dismantled the monitors, they were running, the water came right within a minute, there in one of the stills that i saw, there are stills from the filming period when you shouted very loudly, stop, it’s filmed, the shift is over, joyful, cheerful faces of frostbitten people wandering through a snowy field, everyone

thank you, but today the filming is over, it was epic, friends, lunch is announced, lunch is ready , and at the same time their eyes are all shining, from this i concluded that the relationship in the group was probably wonderful, everyone just wanted to star in this movie, and... to me it seems that everyone somehow partially understood that they were some kind of part of the paint in some very important matter, and despite the cold, some possibly uncomfortable conditions, well , as for the actors, it was important for the film to take place, it it was important for everyone, for us , what is ahead, well, we are now... so to speak,

it seems that with the first channel we should start, according to the wonderful idea of ​​​​konstantin ivanovich, one big film, i have not yet given the command, what can i say? , so, that's why it's me, i don't know, but i honestly i can say that i finished the air with such a degree of fatigue that, among other things, i would just like to lie down, well, because there is a lot of hard work, a lot of hard work. “i want to tell you that from our entire conversation, without lying, i can say that i am filled with the desire to wish everyone to watch this film, because god knows, it’s worth it, once again, we are on the first channel in the podcast, everyone wants to fly together with the director of the film air alexei german with one of the main performers elena lyadova, brother.

thank you very much for coming, secondly, and firstly, for giving me the opportunity to spend a very good almost an hour and a half there, i enjoyed watching it, well, maybe because for me, i repeat once again, like for you, the war is a sore subject, plus everything that happens to the air, in general, i enjoyed it and i do it sincerely. i’m telling you guys, thank you, i have it sitting here, i’ll probably watch it again, all the best, thank you very much for being there with us, in the podcast everyone wants to fly, i hope that you will get exactly the same pleasure as i did from watching the film air, although any recommendations in all likelihood are not worth a penny, but nevertheless i recommend that you go to movie.

hello, dear tv viewers, you are incredibly lucky. today my guest is a person who is celebrating a milestone anniversary this year. leonid yarmolnik, leonid's seventieth birthday. it’s very very nice to see you, sergei osokin is helping us, he knows the instrument that, by the way, you used in childhood i also mastered it, i know that you are a distinguished aquardian player here, i have a podcast of the melody of my life, we have known each other for many years, and i just want our dear tv viewer to know a little more about you and so that it is not somehow callous, but it was friendly,

i have music, but well, what about... let's start, to be honest, i was very surprised, for some reason i knew that your childhood was spent in lviv, but your place of birth is much further east, significantly, significantly, this... region, this is a village that still exists, it used to be called grodekova, now it’s called border guards, it’s literally 2 km from the chinese border, and since after the war it was very fashionable, young people all entered military school, my dad entered, he was given a lieutenant, then with my pregnant mother, they were sent to the far east , that’s where they walked on foot to the maternity hospital, that’s where i was born, that’s who i am... i had my first contact with the song for 4 years already

, a significant gap was resolved, of course, if you run for beer, then you’ll run for beer, that’s all we have, accepting questions the first song i sang was this it was in the early sixties that we already had a stove in our house in lvov. and uh, before the new year on a stool, i always wanted to do something to attract the attention of my family, i still had this in me somehow from childhood: no, look at me, i, i, i’m here i’ll entertain you, the most popular song, which was repeated many times, was the buchenval alarm, and i learned this song by heart, and i sang it on a stool, this, well, remember this song, let’s go back 65 years, that’s what. ..

bell ringing, bell ringing, it is ringing all over the planet, and so it is, there is something in the ether, people of the world for a minute, yes there, take care of the world above me, take care of the world, take care, take care, take care, this is it, now i must definitely tell the tv viewers that it’s only possible to sing like that at night, you know , yes, we just sang the song in a different key, it’s okay, i’m frankly

surprised, but you actually have a wider range than me, i can somehow- then on three notes yes, they say profession, even for a long time, this one song, this association with childhood. with childhood, of course, how long did you live in the far east, a year and a half, in my opinion, that is, there was already school, no, no, then we moved to ukraine, then my dad was transferred to the carpathian military district, that’s how my formation was, all my school years - this is lvov, this is already in lvov for your nose, this, this is the first time in the second grade i assembled with metal and i was so nimble that... there was such a thing, they slept with a thick long wire incorrectly, yes, that's it can you imagine, this is how it should be assembled metal, so that the end of this wire would hit my nose, and that is, not like that, no, like that, yes, it got into my nose, that was the first, second,

in my opinion, in the fifth or sixth grade - i saved money the money he won gambling, there was a game like this, like this, but this bat was made of lead. and we put the change on the ground, whoever throws it closest to this line, then we turn it over, these bent ones, i won so much that i bought a bicycle for 5 rubles, despite the fact that there was no eaglet, and i bought a swallow bicycle, you know, yes with this one, it was on this bike that i went to see my mother, my sister, my aunt, and she lived in a yard where there was a terribly steep descent to her entrance, and i was so dashing. then, in short , while i was driving, the brakes failed, i drove into a wall, i had about a month, this point is this, it was one line, then i got this belmand bend, yes , a bend, yes, yes, yes, there , this, this was my

childhood, that even as a child i really loved showing pantamimes, i adored, naturally, ingebarov and copied and showed what he shows, by the way, before entering the shchukin school, when i had already arrived in moscow, i met ingebarov and wanted him to take me to his theater, and it was just his seventy-first year, he was given a theater just at the russian concert , they gave me opportunities, so... and he said, well, if you don’t get into shchukinskoye, come, he told me, so, but i entered shchukinskoye, and after shchukinsky taganka, taganka, naturally, yes, taganka, taganka, that’s it film roles they are already you were already a taganka artist or while you were student, no, when i was a student, the first films there were such that i had very small episodes, in my opinion, the film was called your rights, autumn appeal, well, some little things, little things, little things. we all wanted to act, we lived

in the same dorm with sashka abdulov, he was a year older, he was in his second year, i was in my first, so, well, we ran around the mass film, looked into every door, yes, yes, this, this, by the way, a photograph of a brilliant photographer, a master, it was valera who photographed the carpenters, this is what i photographed from uala surikovo, this there was a picture of two arrows, wow, two arrows, and sashka, in my opinion, was filmed by rom balayan, lady magbet, look. i somehow don’t even want to focus on a pronounced film career or theater, this together is the most bomb for me, you are the first person, i know, the absolute first discoverer of the eighties, i don’t know, this is due to the fact that lyubimov left, taganka, yes, you were the first to say, you know, that i will work on my own, this moment yes... i would not romanticize this

period, the fact is that yuri petrovich lyubimov i didn’t leave the theater, but left my homeland, then i was deprived of citizenship, this is all known to everyone, the management in the theater changed, which was not very interested in me, aksyukha was already seven months pregnant at that time, this is my wife here. i didn’t have any fear, i went nowhere, in fact, at the same time i had to think about how to prepare for childbirth, then where to live, and how to live, and something else, well, somehow, probably, uh, i was never a member of the cinematographers’ union, nor - i didn’t have this certificate of the all-russian theater society, and somehow i was like that, i was such a cowboy that no one needed anything, you know, absolutely free. artist, well, somehow everything worked out, there was some work on television, some

work in cinema, but if you’ve already started talking about cinema, then probably the beginning of my film biography is kind of present, it was in the seventy-eighth year that i starred in detective, in 1978 i filmed in that same munchausen, the detective is very dear to me, i periodically forget the name of this film, for some reason, probably the main part... living in the post-soviet space remembers the moment where lenya is standing on a motorcycle, well, just like i don’t remember, vadik zakharchenko is sitting, he keeps saying: don’t growl, all this is happening against the backdrop of the house where i was born and raised , here is this arch, yaovsky boulevard, building 2, under bell lane, here is a man with a jackhammer and a woman with a gun, wait, these women with a jackhammer they stood all over the country. i want to upset you now, you know where this scene was filmed, it was right in front of this house

what, no, it was filmed in smolensk , that’s all, and where then, well, in the detective footage of my house there is definitely a house, this is a house, it probably looks like the cold summer of 1953, pokrovsky gates, i’m behind my house, in general all this was filmed in smolensk, everything that was connected with a motorcycle, and there was a policeman who came up, it was the director of this film, the wonderful director vladimir foykin, whom i call my cross... the father in cinema, because he was the first to decide to act, to film a person with such a person in cinema, and then there was zakharov, your birthday is in winter, and i want, since we have known each other for a very long time, i know that lenya, to put it mildly, does not like mass holidays, especially in his honor, so i always congratulated him, or he is on the slope skiing, or he’s traveling with his family, i want to give you a little new year’s gift, your birthday is in the winter, so these are the years we ’ve been taking tagankas, this is eduard hill, this is

a little winter song near the forest on the edge, here in in honor of your birthday, come on only at the same time, at the edge of the forest, winter lived in a hut, she salted snowballs in a birch tub, spun yarn, and wove canvases. there was ice on the ice and there were masty trees above the river, the ceiling was icy. here it’s creaky behind the shasha wall, tarry and when you step over the threshold, there’s ini everywhere, and from the windows the threshold is blue, hey, happy birthday, i owe you a thank you, dear, i can imagine, i just thought that - those who are watching

us now, yes, on the tv screen, i think the boys wanted to hide somewhere, apparently drunk, yes, ermulin ordered a song, yes, no, that’s absolutely in a sober impulse. but i honestly want to tell you this, and i have repeatedly, i will not forget, when i had my daughter, little violet, very little, and lena had a swimming pool, it was an incredibly hot summer, and lena already had a swimming pool, he dials and says : “come to me, let the child spend time,” and i hung around luni’s house all day long, we played billiards, discussed some plans, and belol. explain correctly, it was so long ago that only i had a pool, a pool at the dacha, no guessing, this will be the honest truth, you only had a swimming pool, that’s once, then we had a lot of trips, and even you and i had fun, but that wasn’t that long ago, some 10-15 years ago we

had a couples’ conference, in italy, yes , it was very funny, we organized it there, made fun of it. our administrator, yes, in general, everything was fun, friends, i’m glad that you are still with us on the air of the melody of my life podcast, leonid yarmolnik, who said that he was 70, some simply erroneous manifestations of age, here he is , young, smiling villager, i interrupted you a little, there were a lot of movies, i...

as a comedian, there is always absolutely serious cinema, such a tribute to my parents, and after that i want to say that you followed this line very well both as a producer and as an actor, barak was a landmark film, because in 2000 we received a state prize for this film, and the most important thing we received before the state prize, we received a silver leopard in locarno, which is very happy for our domestic cinema. great, i love this picture very much, i took it a wonderful cameraman, yuri viktorovich klimenko, valera ogorodnikov was the director, unfortunately, valery is no longer there, in general this picture would not have happened if losenko, anatoly grigorievich, had not supported this idea, and we have been friends with him for many years, unfortunately,

anatoly grigorievich is no longer there either, but there is his wonderful daughter, maryana anatolyevna, who is halfway across the country. such from a comedy, i always say that for many years i played such episodes, either abnormal or criminals, and these are already such roles, well then, here i am with pride i say, i'll tell you myself. leonid dials me and says: valera, listen, out of friendship, your song is needed in a movie, we desperately need a knife for a song, there’s no money, i say, like there’s no money, he says, well, you won’t believe it, todorovsky and i, that’s it, that’s it picture, but you'll like the theme, boogie on the bones, that's how it was originally,