restrained constantly, restrain , restrain, restrain, there is a phrase that in war there are neither boys nor girls, why should i feel sorry for the girls more than my boys, the guys are all dying, in the coming days you will be engaged in combat training, studying guidelines in area, after that you will begin to carry out combat missions to ensure the transport route; when you enter the lake, there will simply be no losses, there will be losses, but we will not retreat. leningrad is under siege, children, women, and elderly people are being evacuated from the city, the city needs supplies and food, girl pilots and girl technicians must show training, courage and self-sacrifice, just don’t cry, otherwise i really don’t like it when people cry, let the guys die, and... the german

is faster and that the engine is imperfect and what does the designer expect, when will our engines be built, because the oil leaks, when, when, every time, every time , accept, accept what you cannot accept , the death of guys, girls, this is the hardest test for him, as for commander, regiment, see the death of the young at all, well, tell me and i won’t anticipate, i advise you to watch it. i was actually waiting for this film, because it’s amazing, it ended up on the set of this film by accident, to see augmented reality, that is , special effects, the technology is unique and i’m glad that in this we actually got ahead, when we’re proud of something, it’s hard to brag about technology, as they say, we’ve already we were ahead a long time ago, but it turned out, it turned out that in principle it is possible to get ahead and it turns out that we made this a huge screen, that is. height

four-story building 35 by 12 m, with ceiling screens, suspended screens, drive-up screens, real fighters in this fighter, a real fighter that rises to the height of just this four-story building in real combination with computer graphics, but there is no lame key here, nothing is drawn here , this is a complete feeling of a real battle, and the angle of attack is here... everything, with landings, with smoke, that is, it is impossible to imagine that this shooting is impossible, because this is an absolutely real battle, that is, it is not clear where the camera is, the reflection light, reflection of the sky, that is, this is not computer graphics, graphics are drawn , moreover, it turned out to be cheaper to produce, because thanks to this technology, a completely unique technology that we tested, and alexey german, one might say, is a pioneer in this matter, turned out to be cheaper than drawing graphics, because drawing.

that’s all, it would take years, and it would probably not be as similar as thanks to these technologies it looks in the frame, it looks completely unique, the barrel is real, when in attack, my hero makes five - five rotations of the barrel, i shoot 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 who has claustrophobia is impossible, yes, and you’re in this . you’re just in a real plane, when you’re strapped in, when everything is absolutely real , if you’re claustrophobic, it’s better not to get on there, or let’s say there’s something wrong with your pressure, when you’re spinning or five rotations, he asked me how long can you stand it? i understood that the girls were spinning, it was difficult for them, i think, as much as you say, alexey, they will continue to do so much, of course, because when playing on chromakey, well, an actor can act, it’s like pressure, you know.

i don’t know, they can draw him a red face, she has a difference, all this will still be visible when you are hanging upside down, the blood rushes in, everything is absolutely real, you have this rotation and what is in your eyes and face , and the fact that in the cockpit, yes, everything is absolutely natural, real, unfinished, that’s all true, and this of course adds the effect of presence, we haven’t had anything like this before , of course, when i appeared, there was a lot for a lot... against, i really wanted to dance anegin, they did everything on purpose so that i wouldn’t perform it, for him they assigned him to dance not the prince in the swan lake, but the evil genius, and managed to develop his part in such a way that people admired the evil genius. the bolshoi theater is home, this is my skin, i was constantly tempted to betray, the speed of knocking is faster than the speed of sound, everyone is knocking. i promoted the mafia in the dining room 2

years, a gang worked there, a real one, what kolya experienced as an artist is something that rarely happens to anyone . earth, wow, this is serious, they clearly reached it, stop, sharina, they wanted to get a bow from me, they can kill me, well, it’s unlikely that they will succeed, for the anniversary of nikolai tsyskaridze, on saturday on the first, my train always moves forward, fortunately to the light, 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 in the soviet years , for us, on the screen these were always heroes who uncompromisingly rushed heroically on the plane and they were, they were all steel,

but here, and here we see on the screen a man who flies and is afraid, he it’s scary, the thing is that yes, here i am... i remember alexei’s words, he said that war is about faces, when we say faces, it means they are people, there are no just joys, sparkles and here they are all as one for selection , they are all different and they are all people, with their passions, their experiences, with with their fears, this is very important, war is people, people, faces, and this is what alexey emphasizes, people are faces, so here we see just real people. with his experiences, commander, but his inner one is just there, there is a terrible world there, something he cannot agree with, he has to, because the order is not a step back, a very young girl, and for the first time, what is it like to shoot at an enemy, a german when you can't, when

my hero takes responsibility, responsibility, you have to take this step, i’m talking about a horse, this is the moment , there is a duty, his love, let’s say, with the heroine of the carp lyadova, these are two aces, two commanders, the female has been killed, and he is a regiment commander, 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 in

your youth, when you were going to land, remember, soon, the corpses will rot again. “let ’s bring 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 don’t let them bully my girls, okay,

let’s fly, 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, a terrible phrase , now we have a family, we have girls, we have boys, these are two loving people who are at war and then say: i dreamed about you, this one here some kind of tenderness, such a rather stern tenderness. because there are no sentiments, no sentiments, there are problems, there are problems, the engine is not the same, and the engine is not ready yet, the planes are not yet, the planes are not yet the same, the enemy is ahead of us, because of this there is death, and yet this here is the tenderness that we don’t allow ourselves so much,

this tenderness, then further, well, i won’t say, because there is a further situation in which the film has collected all the difficulties that the film may encounter from its reception. when the whole group practically held them with their hands, because the cables broke , and it was necessary to hold the planes, this, of course , was truly a serious test for the picture, in general for everyone who worked on it, so i would like to say thank you to everyone for the courage that they showed it, but it’s not like it’s a film, it’s real filming of the real conditions in which this film was filmed, so we see it on the screen, but there the girls are filming, how it was, how they endured it all. spartan conditions, but i i think that this just added the effect of presence, because in general

alexei’s handwriting, the absolute truth in the frame , everything lives in parallel, not just a separate scene, no, everything lives, the whole airfield lives, he lives his own life, there is a guard there, there is a divorce there, i don’t know, the tank was brought up, refueling, this is a separate life, moreover, i want to say, the directors of photography. star, this is a very resourceful artist, anastasia tolyzina, she, i have seen her in other roles, she

has already played in many places, i think that for her this is such a breakthrough, of course, of course , very talented, emotional , really living everything, and accepting the story of her heroine as her personal drama, that is , she really needed that same courage, both from her heroine and from nastya, it took courage to survive all these... inhuman conditions that filming sometimes took place, i met one interview when i was still forty, and there you say, among other things, that i would really like to act in a real war movie, that's how so they fought for their homeland , there weren’t so many military pictures, yes, but there were a lot of them in june forty-one, but there is lieutenant burov, and, in fact, podolsk cadets, captain starchak, well, this is a small role, ivan bugrov- then a central role, but still this... and so, if you imagine, then this is of course very little, because for some reason everyone

says that you have many military roles, and they say, no, if you don’t take general capel , but still there is a civil war, so there weren’t that many military, but i’m waiting, i hope there will be a next work next year and the moment of truth, yes, interesting work, this is the film you have been waiting for, military, i think yes, of course, definitely air, because working... with alexei german was a dream, i didn’t expect it, i didn’t know, they just invited me to audition, but then they didn’t call, i thought, probably not, and so i thought in despair , well, there was an opportunity, unfortunately , probably not, then they called and approved it, i ’ll be glad endlessly, because this is a completely unique acting experience to work with such a director, everyone, every work with a new director is an experience,

truths and of course, despite the fact that there were absolutely amazing film adaptations, the film a4 with a magnificent performance, evgeny mironov, captain nalegkin played an amazing role, this is one of such iconic roles in his biography and of course, he also played, they say, i was lucky that captain alekhine plays, of course, of course, there are possible comparisons ahead, but i... would still advise not to compare, these are different projects - because the moment of truth is of course

modern cinema, modern scale of filming , and what was most important for me was , perhaps, what i didn’t see in that film, despite the fact that i also love it very much, like many of us fans of this very book of that film , the story of the personal drama of the hero captain alyukhin, because there his family drama is very serious and... just at the moments of truth of this version of the cinema directorate, there is a great emphasis on human stories and the taman people, captain alyukhin blinov, they have its own destiny... in the frame there is that past, in which they still live, there is the present, and what is possible, probably some kind of assumption of their future, but this is their, so to speak, background, each of them has a very serious emphasis on this, in addition to the complexly staged scenes, again, and this is high-tech, again cinema, since

modern cinema, then of course, this is just talking about blockbusters, of course, this is the moment of truth... following the history of air , just the moment of truth, such a blockbuster, of course, i hope , will be released next year, this is just such a serious story, but the fact that the emphasis, like air in a film, is the emphasis on a person, in addition to that very military detective story, which we already know in principle how it will end, what is important for us now is who these people are, and this is this relationship between captain alyokhin, the main one in this group, contra. who has now certainly become a star, and he will be there too, and he played tomansov, and this role, of course, is one of such interesting ones in his creative biography to be, because he is unusual there, this is a serious

work and his image is tomansov, of course it’s simply impressive based on the complex filming that took place. by the character of this hero and what he experiences, his story with his mother, because, let’s say, in the work of that august 44, there is nothing of this, there is a military detective, very powerful, superbly played, but here this accent, in addition everything else and action, which is at a high , of course technological level, people, people, people, and my hero, captain alyokhin, who... as it turned out, not everything is fine, and solving the problem that he has to chew internally, this the inner world of the hero is very, very important, i’m glad that this is precisely what the emphasis is on, as in the film the air, people, war are people, specific people, each individual person, heroes, yes, heroes, but behind each

hero stands 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, like the father of the heroine, this zhenya belova, could not tell the truth, he remained silent, and imperfection from the plane, imperfection, the father of as, this girl, zhenya belova, he was able to say to write, for 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 something is called, as they say, stepping on the throat of his own song, somewhere he was silent when they burned a village there, burned there, when he begins to remember from the past, what happened during the revolutionary years, that yes, they closed their eyes a lot, were silent, silent, but then says a powerful

phrase, because for him the word is an order, and he carries out the order, he is just ready to die for...

inherited this talent, well, somewhere you said in an interview that this is a terrible profession, of course, here you know, it’s your own child you don’t want it, this is a serious test , of course, you need to look at the presence of talent, if you have talent, then i’ll help, what diagnosis do you have, well, now it’s intermediate, he’s interested, and i see, i see empathy, let’s say, step dance has a sense of empathy, just... an amazing fantasy, and i think that if director, even producer, screenwriter, even, even very well, despite the fact that she will have the texture of anya, and this texture will, of course, be very beautiful.

i was taught literally from the age of eight , even earlier, this is my father, without hands , god bless him, my dad, who taught me everything, the craft, but even he spoke, i remember

his words, my dad even reminds me of this every time he even reminded me on my anniversary, he said, if i hadn’t seen in you that you could empathize, i realized that i needed to work further, then he began to work for me before entering the mkhat studio school, and then my father did all the independent work at the studio school. as a director, so all my work was professionally directed, and i carried out the will of my father’s director, and then oleg pavlovich got involved, tabakov, who believed in me, took me to the theater from the third year, i was already in the famous snuffbox, and on, on, on, on, but my father believed in me from the very beginning, so i also look and understand that when i believe in my children, when i see this, then i'll connect. we continue the conversation with sergei bezrukov, with you, the host of the creative industry podcast, elena kiper and roman harmanov, with what the theater approached

its tenth anniversary, i think that firstly, it is its audience, because a theater without an audience is impossible, we can to be 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 one and a half minutes, i s... in the theater for people who are blind, visually impaired, there is, of course, a ticker, there are special screens for people, the deaf and mute, 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 can also be very important, not all of these...

you installed sasha ruchekov from the seventies with us, by the way, i invite dogs to the canopy, very interesting work, driving with excellent acting, because it is very important for me that the director dies in the artist, as konstantin sergeevich stanislavsky bequeathed, the director must die in the artist, not the director, so i am a director, artist, as a matter of fact, they do n’t know how to justify it all, and we come , yes, it’s the director’s work, but no, the director is still in the second place - certainly an unexpected production, an unexpected interpretation of the decision, but still in the end it’s the actor who comes out and you have to to be together with the actors, so each director brings his own, that

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 always for us in tabakerka dear father, dad, and me in gubersky they also call him the governor's pope, and here's the artist. the same children, the same children who need to be taken care of, need to be thought about, literally passed by there, on the phone in worries, literally didn’t pay attention, this is all a sleepless night, this is the feeling that they didn’t look at me, at they looked at me, it means something has changed, the attitude has changed, it means there will be no more roles, it means everything is not needed, they didn’t give me a certificate, let’s say, my god, i didn’t get a certificate, but... for an actor, attention, if suddenly something... that's not right, it's a blow, it's a very serious blow, emotional blow, so this is attention, care is required at the right

moment... it is very important to come up and say kind words, a year and a half ago, i think, i came to avgig, i got there quite by accident, sergei bezrukov was running around the first floor, worried about , that not all applicants who are worthy, they somehow fit into this quota, which is always there, and it was clear that it was just, well, just a pain, and well, well , something needs to be done about it, in a geekto, what appeared again, thank you, vich, it’s not enough... thank you very much for offering me, i you can say, matured, of course , because i worked in the theater already in the provincial one, as a director-teacher, they are all different, all theater schools, different, i am a mkhatovets, karina andolenko, also graduated from the mkhat, all the other guys who graduated there, someone graduated from yaroslavskaya, who else where, for example, anton khabarov, shchebkinskoye graduated, that is , they are all actors from other theater schools, but we work in the same team, these are all my

actors, that’s right... guys, my guys , of course, i work with the guys exactly according to mkhatovsk, but i say , we have an advantage, we are already preparing to be film artists, to play in the theater in the cinema, this is what i took all over the country, i looked at 4,000 applicants, moreover, when i missed moscow, i also traveled around cities and villages with tours, at the same time i also say: i’ve arrived in the evening for a performance, can i still organize it in advance, for example, i sent out an announcement that i would like to see more applicants, and they organized it for me, let’s say in yekaterinburg i was organized at a film studio , i was organized show there in arkhangelsk, we were with the echo festival of a large children's festival, we also organized a show and i seemed to be happy and specially looking at the guys from all over the country, so... uniting

all the artists under the aegis of the mkhatovskaya, i was already working with his artists as a teacher, therefore an artist of the moscow provincial theater - this is, so to speak, our general school of living sincerely and truly, that’s why i was ready on the one hand, a year ago, when vladirovich called, he said: and not dial whether you have a course in vgic, i don’t think for long, i’m fast, fast. on the leg on the rise, he said, okay, i scored, but there is still such an opportunity, and i am glad that thanks to the sponsors and support, because all the guys study with me for free, i met somewhere with you that the most important thing now is - yes , in fact, at all times, this is the only thing that remains with us in general, the present - this is sincerity, now i think that this is something that, thank god, we have not adopted from the nineties, how are you i'm fine, here that's fine,

actually.

what kind of writer is dostoevsky for me? unfortunately, no matter which of his works i take up, upon completion of reading, as a reader i experience complete devastation, i lose all desire to take out paper for writing. i think this is happening because he is simply too tough for me. i have no experience of being in exile, no frightening experience of being sentenced to death and then miraculously saved moments before execution. i am not yet ready to write such a detailed analysis of human nature works like the karamazov brothers or demons. this is what the japanese writer shusaku enda, a multiple nominee for the nobel prize in literature, wrote in his essay on dostoevsky. hello, today we are gathering our thoughts about the influence of fyodor mikhailovich dostoevsky on world literature and culture in the 20th century. ekaterina evgenievna dmitrieva,

corresponding member of the russian. academy of sciences, head of the department of russian classical literature, institute of world literature. hello, i am cordially pleased to welcome you, corresponding member of the russian academy. genius but a giant, and he says that this is a unique situation, since in national literatures, at least european ones, there is either one person or one book, well , for the british it’s shakespeare, for the spaniards it’s don quixote and so on, here in

there are three giants of russian literature in one century, as yuri pavlovich says, dostoevsky, tolstoy is half of chekhov, because chekhov is a playwright on a global scale, how much are you ready to agree with this assessment? well, probably, if we talk about, we’ll start with the director, please forgiveness, no, no, that’s just it, i’m violating , we have a hierarchical structure, thank you, well, if we talk about the world taboo or about ranks, about the hierarchy that has been established in the modern world view of russian literature, then this is so, undoubtedly, but this hierarchy, it still does not quite coincide with our internal russian ideas and things, because

those you named, evgenievna, and how you reacted to this, well, i would say a little further that the situation is so complicated, because there is an internal point from an external point of view , from an internal point of view, of course, pushkin, first of all, well, then they follow him, well, as a person who studies gogol, of course it’s not a shame that nikolai vasilyevich fell for this to both, that is, from our point of view vision. yes pushkin, but the problem with pushkin is that in general for europe it’s more of a name, they believe us that he is a really great poet, but he is not really perceived, i just taught in french for some time, in one of the french universities, tried

something with students who don’t speak russian doesn’t work out to watch pushkin, and i know that when grigoryevich edkin was leaving, here is our famous dostoevsky of the 20th century, but is it possible, can we say, or will this be all- journalism and journalistic assertion that world culture, certainly world literature of the 20th century, is unimaginable without dostoevsky. the first part of the question and the second at once, if you allow me, that dostoevsky, in general , belongs, as is often said, to the 20th century, much more than to the 19th, i would say that the culture of the 20th century grows out of dostoevsky, it is simply the main root, to a very large

extent. dostoevsky is a unique figure, primarily because he is a very unformatted, very irregular, and therefore amazingly effective classic.

of course, this, this is proust, who in general

was completely shocked, and the pre-daist surrealists, who are generally unthinkable without dostoevsky, just as we cannot imagine expressionism without him, but maybe already, rather not french, but german, yes, in the twenty-second year max ernst paints his famous canvas, meeting friends, the canvas depicts the circle of androbriton, and here are the surrealists, young surrealists, and two classics there for...

based on this experience of working with french students, we examined, in my opinion, the lower ones , generally offended by one of dostoevsky’s novels and that they all read me in french, not in english, no, no, they read , they were french, our classes are in french, i understood, but i mean that they are not in english. and no, no, no, they read in french, although that’s another matter, your question absolutely fair, because for many cultures there could be a language of intermediaries, first of all, the intermediary language was french , well, let’s say for the chinese the intermediary language was english, for the first there was only a translation, for 15 of them no, only 16 16 translations, say crimes punishment exists in chinese and i just want and what ’s wrong with the students for being french and what struck me is that it would seem, well, this is prose, why is it so poorly translated, why do some

pieces just fall out, but nevertheless, well, this is how it is actually this is big, big problem, very interesting , yeah, and by and large, dostoevsky entered western cultural consciousness with the publication of a book in 1886 called the underground spirit, yes , this book, this is a translation by galperin kaminsky, this... this translator is such a fairly famous emigrant from the russian empire and charles maurice, this is a very interesting composition, because in essence it is a symbiosis of two very different texts by dostoevsky, cut from shredded and connected by the wind of his head, and what is called the story of the mistress the end of the forties, notes from papa, monstrously translated, very subjectively arranged. a year after the release of 87 of the most powerful reading shocks

, nitsche reads it in his year, and it becomes one of life, he enters into a deep internal dialogue with dostoevsky, largely under the influence of this reading, he formulates for himself basic concepts: resentment, even the blond beast in part, the future superman. and so on , and what he will call begins - the struggle of dionysus against the crucified one, and nidshi, this one the book is very strange, curious, mangled, and so on. gives a paradigm for the perception of dostoevsky, it determines his place in western culture, they begin to translate it into other languages, spanish, italian, and so on, it becomes the main, main intermediary book. today we gathered our thoughts about the influence of dostoevsky’s work on the culture of the 20th century,

ekaterina evgenievna dmitrieva, vadim vladimirovich polonsky, i’m vladimir ligoido, we continue, i somehow don’t remember whether we were talking with andreemets. and he says that well, it’s clear that, so to speak, a phrase in an interview, he says: dostoevsky is an american writer, but in the sense that, in general, all american literature of the 20th century is literature that also grew out of dostoevsky, permeated with dostoevsky with his own reading, if i i understood him correctly, he still links it with religious themes in many ways, and then of course the interpretation of the authors, that’s how far one can agree with this, i would say that without the underground complex and without the whole set in general.

yes, for me this is the greatest, most successful an idiot’s interpretation, a cinematic interpretation , at least it’s his film, yeah, and what seems significant to me is that it’s a very japanese story, of course, he adapts it to japanese realities, and his myshkin returns from captivity after the second world war, that’s we are talking now about the film idiot kuras, about the film of 5 years, fifty-one, but there is... an important moment, myshkin’s arrival in ragozhin’s house, they have japanese names for the characters, i call grief prototi, no less direct like that say yes to parallel a very important dialogue takes place, a certain sound is heard that is made there by certain

sacrifices at the home altar, so he says that his mother is praying , asking, asking? in god, then he says: no, after which they exchange samulets, well , substitution, replacing the situation with the exchange of crosses, yes, and then they visit their mother at the altar, and the mother treats them to some kind of food from the altar, brought sacrificial food, exchanging amulets, they share in this sacred situation with...