to look at what should appear from what needs to appear, instead of sawing files there about how terrible this story is in general, that my god, four generations are milling around - there in one kitchen, it’s not interesting. i like the positive approach of the logotherapist, existential psychologist svetlana shtokareva, who helped our heroine oksana, as it seems to me, solve her not very simple and easy problem. situation, it was a psychic podcast. hello dear friends, this is a podcast life is wonderful, i am with you, its host, writer alexey varlamov, my guest is a wonderful film director, screenwriter, pavel semyonovich. 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 this topic, which may be somewhat unexpected for you, the fact is, that you and i have a common almater, the faculty of philology of moscow university, yeah, i know that you in your interviews, well, if i i understand correctly, they 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 philology department, a department that was called structural and applied linguistics, and there linguistics is combined with mathematics, in my life it turned out that when i entered the philology department, we were immediately sent to work on potatoes, along with we were the second year, the second year were just the oseplyans, these are the same ones who studied in the same department where you are, this there were terribly smart guys, so i’m terribly happy that for me the university began on these potato...

business, and my parents sent me, somehow , you know, it was fashionable then, apparently they persuaded me to go there, because it seemed to them that there is more scientific freedom there, well, in general, i think that these years were rather mediocre for me, because i didn’t read so many books that i would have read at the philological faculty, and i never became a mathematician either, your father is a film screenwriter ,

well, your mother knows, no less, but maybe even more, liliana lungina , this is a translator, yes, a great translator , everyone knows that we recognized the baby and carlson in her translation, that is, your house was really amazing, if i understand, well, the house was very interesting, the house was open, and it was an old moscow apartment left over from my grandfather, 100 m, even more, and...

i remember iskadder, he visited us a lot, but don’t you remember shukshin? shukshin never existed. you know, here’s a very interesting point, the fact is that when i wrote the biography of shokshin, i i came across in the memoirs of viktor platonovich nekrasov that he brought shukshin to your house, they were generally very friendly, nekrasov and shukshin, and shukshin read the gospel for the first time in your house, and after reading the gospel, vasily. he said, it’s an iron book, it’s still iron, it’s still standing, how in general is this how you feel about the book? i treat him very well with great interest, i believe that he is an extremely talented writer, an amazing actor, least of all a director for me. don't like his films? well, i like it, but it seems to me that the artistic expressiveness of his stories gives us some kind of insight into the soul.

in everything there is an understanding of the russian soul , this kind of russian, but for me a writer, an amazing actor, then... even for some time i considered myself his student, although the way of my, so to speak, making cinema, it was different from his , in principle , it was difficult to repeat, it seems to me that klimov is a very good director, hiss, they

have some kind of iron films, as he said, he said, an iron book, i would say iron films

, they wrote, they went to victor, we called him vika, that's it always, vika, vika, two such young handsome men came to viktor platonovich nikrastov, who was living with us then, i was probably 12-14 years old, they apparently studied 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. of course, he translated the concept of the soul into the language of cinema, so the whole world was shocked and is still shocked by these possibilities, for me a mirror, of course, and ivanovo childhood

, later films seem less interesting to me, but andrei rublev, of course, maybe the mirror is somehow strange most of all, don’t you think that after all, in the world soviet cinema is much...

we didn’t have people who raised it, it was still a very censored movie still, i don’t know, i don’t understand either.

this is a politicized perception, it seems to me that there they began to perceive our cinema and watch it widely, oddly enough, in the nineties i found myself, so to speak, a child of this interest, dear friends, we continue, this is a podcast about the life of wonderful people, in my away director, screenwriter, pavel lungin, what do you think? in general, it got into the cinema, so you graduated from osipol, philphage, and what happened next? well , i suffered, i wasn’t really adapted to

this life, i couldn’t find a job, for some reason i was kicked out of some research institute. ixi was like that sociologically, here are specific social studies, 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 crawled out of me and is still... still crawling out, she i was simply 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, therefore, someone calls it a time of stagnation, what something stagnated, no, it was not 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, in this time of stagnation, i was so thin...

after that as i've written quite a few not-so-good scripts, i realized that what i see is somehow different, what i i’m writing, it was completely different, and you were happy with the films that were made, no, never, alone, i took pseudonyms, i took off my name, then i gave up and spat on it, and somehow, when perestroika began in 1989 at the very first crack it so happened that i snuck in, i already had a script then, i started writing, somehow i

, yes, i’m generally a child of perestroika, of course, i worked, for some reason i didn’t get to masim first as a screenwriter , to the studio, and there i sat in the reception area, the director of the studio, i don’t know, probably for a whole month, and he still didn’t tell me accepted, you know, it was something that you couldn’t enter, you couldn’t tell, it was absolutely some kind of hierarchical society that... i still see from your face, from your facial expression, even from the fact that you came out, and i saw how people were dragging a box of cognac there, 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 there i saw a red-faced man behind a large empty polished table, who saw... me at there was something onion lying cut from a glass, he brushed it into the drawer with some

completely professional gesture, it was a different time, the time had changed a lot, as soon as masfilm could have had a different atmosphere, the time had changed a lot as soon as perestroika began time, and you remember it with gratitude, i am very, of course, when the artists began, when all this began, it may have been there ... there may be a lot that was wrong, you understand, but it was the broth in which life lived how did the idea for this film come about? taxiblus, how are you, that is, did you write the script first? yes, yes, i came up with some kind of story that was somehow similar, you know, when the film began, all my films before that, they seemed not to be about me, they were still such entertaining films, i couldn’t step over this censor, that is, an internal censor of sorts, yes, i wrote about gaidar, i wrote about

kharlampiev, about the inventor samba, i just wrote about some inventor, i have some... children's films, but i never not i wrote about myself because it seemed to me that i didn’t belong to this official world at all, and as soon as this kind of erosion of the thaw began, thaw two, and it was such a fun time, because every day exhibitions opened, every day you could go somewhere to some basement to watch something incredible, everyone wanted, you know, everyone wanted and it was all wild and just to see. there was a torkovsky film or some modern or semi-modern western film, you could drive god knows where through the whole of moscow for 3 hours and there a rock band appeared, banging on the doors, i don’t even know how it happened , you know, like on a train you go on the subway in

the subway, then suddenly the light of the doors opened , you thought it was forever, but it turned out that 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 actor, zaichenko and mamonov, they are absolutely, it’s as if they can’t live without each other, but they can’t do it together, that’s their kind of friendship, love, hatred, it seemed to me

very typical of our time, and you i agree with those critics who say that these are two times... sides of the russian soul, well, i don’t know whether the soul has a side at all or not, or how many sides, i’m not sure, there are several sides to the soul, well, yes , it seems to me that this is at the same time eternal, you know, i couldn’t repeat taxiblues such a success, because taxiblues 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 at the cannes film festival.

replicate and further develop, well, somehow in a way , i had to stay at this archetypal level after this success, and i again made films about russia, which were already somehow, 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, for me...

this is a man of freedom, and i found him, met him, we talked to him, in general, as a result, i persuaded him to act in films, and you know, there is such an interesting...

i met it, it struck some kind of spark, and you were you friends? no, he had no friends, he was a man with his skin removed, his nerves exposed, he was in a state of either searching or resentment or some kind of internal experience, he, for example, could not live in a hotel, people were destroying him, communication it was destroyed when we rented the tsar, in suzdar, then... we rented him a separate house, a separate apartment, because to live on his own in a hotel, you see, even i understand him too, well, it turned out that you

rented it in the taxi blues, it’s there, well, the nineties, let’s say, yes, then for a long time you were not filmed, he will only appear in the film , which became, well, probably your most famous film, in the film island, yes, when you conceived the island, you already knew that there would be mammon there, well... you know, i it just so happened that after taxi blues there was no money here, and i, excuse me for asking such a selfish question, the prize at the cannes film festival, it’s monetary, no, no, it doesn’t give , i don’t know, a bigger release, they buy the film in other countries , well, not for me, i didn’t understand anything at all then, uh, that is, the money is on yours someone else made money from the film, of course, i didn’t earn anything from this film, but that ’s right, maybe because for the entrance ticket... you have to pay, but it’s an entrance ticket to some kind of major league, it turned out that i could work in france then and lived somehow between moscow and paris, and the french gave

me a little money, however, they have a system of assistance, cinema, oriental cinema then it was called, well, in general, everyone then worked with the french ministry of culture and my mother and... todorovsky, and i somehow lived here and there i started filming with french money in moscow, i was filming in russian , they gave it to me, it was considered such a film, then there was a huge interest in russia, they were all shown to me, the lonopark, there i remember, the whole city was sealed posters, yes, but mamunov went his own way, in general it’s interesting. the son of ginkas yanovskaya wrote a play, it was called bald brunette, such modern perestroika art, and he asked me to show it

to mamonov, i brought them together, and mamonov began to play in the theater with great success, and i mean i moved, money appeared here, and the director is such an egoistic creature, where you know, like birds, where they pour millet onto the windowsill. then it flies, and i flew here, and i came across an island. dear friends, we continue, this is the podcast life of the remarkable, my guest is the director and screenwriter pavel lungin. island, because the script is not yours, yes, the script, the script, but as it was, first the idea, then the script, no, i came across this script, which was very much altered. procession of work, i did not put my name, because i usually, because that the idea was not mine, but a lot was reinvented there, it was such a bookish

story, that’s how to say it, here’s a story that took place on a small lake, in a forest, surrounded, it was a completely different type, a different type of story, enter there is the sea, bring in the shore there, this water, this... and i’ve been filming everything for 3 months, that is, it was autumn, and from two to 3 months, it was almost winter, yes, we’re done, we’re done, when it snows i walked, and in general there was a lot of

interesting things. well it was a very happy time, island, difficult and happy time, and you expected that this would be such a success, no, of course not, i thought 50 people would watch everything, if i give birth to him, no one will marry me, who needs me with a child, and you and no one will take it, it’s written in the family , there will be a child here,

somehow the church has already come, because i’m not sure what, but the patriarch really liked it, and patriarch alexy, in my opinion, alexy the second, he called us , communicated with us, yes, he gave us some certificates of gratitude, it was some kind of bright period, you know, i made several films on a high note, a wedding was shot like this, on some enormous energy of love, an island on some enormous energy of love, but... the film about ivan the terrible

was apparently no longer shot on the energy of love, it seems to me it’s quite hard to watch, it’s hard to watch, yes, tsar, yes, i just remember my feelings, and you look again, you will be surprised, maybe i remember, i incredibly liked yankovsky in this film, the way he plays the metropolitan philippa, that’s how much dignity, how much nobility, how much restraint, and... with all that i understand that he is a brilliant actor, but he, but he transforms into ivan in such a way, yes, that it’s just creepy, get over me, i had a feeling from this film that here, according to the poet’s words, art ends and soil and fate breathe, and such soil is like this, not the best soil breathes, and fate is terrible, you know, mamonov is generally an archaic person, he somehow has, so i when here

i was photographing the island, i felt... that he was generally medieval, he was some kind of person, maybe 15, who was brought here, yes, that’s why he couldn’t live, that’s why he didn’t know what to do with himself, and he was all made up of, as it were... some kind of muscles, like ropes, such not it was visible, but it was clear that you know, that’s how , what’s called the vein, he was absolutely medieval with medieval attacks of rage and distrust, that is, no matter how organically it was for him to play ivan, at first he didn’t even really want to, because after the island, after wild success, grandmothers kiss his hands in the subway, you know, in front of him there his hands are flopping, as if he too is a little... he’s like an actor - he flew, he felt himself, but somehow there was ambition, vanity in him, well, of course, he’s a little cockatiel, a real one, he threw everyone out of the nest, that’s

me, i am, he is a pure cuckoo, but he himself, we talked about this, he laughed very much, he wanted to do a performance, even one that would be called i, i, that’s what, the person who tells everyone this. ..

and there, in my opinion, it’s amazing that you’ll think that this is his dying role, you know, they thought a lot about how to play a saint in general, the saint is silent, for me there was an image, that ivan the terrible , he is everywhere, he speaks, grimaces and prays,

he cries from above from below, from the side, and in the middle of this, like a column, stands a saint looking at him with these painful eyes and... and nothing doesn’t speak, the whole film was silent for me, it makes an amazing impression, yes, whoever hates me from god, do not leave me, your servant, swept away by god, metropolitan, father, who will pray for me, why is it always on...

wait, basmanov , wait, maybe you ’ll have to bow at his feet. but it turns out that as if for mamonov the film set was not limited to the film set, but he continued to play outside it, i read somewhere that when he was on the island, yes, that is, his antagonist there was job, yes, whom dyuzhev played, and dyuzhev said in some interview that he tried to establish some kind of human communication with mamonov and absolutely ran into a blank wall, then, well, i read that when the filming of the film ended, now you and i. we can make friends and talk normally, but before i couldn’t, because since we’re in a movie, it’s like enemies, but they are so different, then i won’t communicate with you outside the platform either, and what you say about yankovsky is very similar, but i want to go with you here to the dining rooms in

the restaurant, i also want to get into your soul, he has already come as ivan the terrible, he has already, but in this i want to love you, these were already some kind of iron pincers that should. it was the podcast life of the remarkable. my guest was a wonderful director, screenwriter, wonderful conversationalist, sincere person, pavel semenovich lungin. thanks, me too it was very interesting. we are glad to welcome you to the podcast

deception of substances and its host, editor-in-chief of komsomolskaya pravda olesya nosova and i am an endocrinologist zuhra pavlova. today we will talk, an important topic, very interesting, about obesity that we get from fruits. and in fact, this is also one of those topics that lies on the surface, but which does not reach everyone, as they say. this fall we learned the chic word zhezhirovka. it was said here. way to gain fat, prepare for winter, yeah,

prepare for winter, in fact , bears gain most of their weight, despite the fact that they are such ferocious, terrible predators and so on, they gain most of their weight from fat, or rather, they gain it from berries, fruits, and so on, and not from that what would you think, absolutely, i’ll deviate a little now, we once went to donbai on the glacier , we were stopped at the border. they said that you can’t go along that path, because there is a bear eating raspberries, the bear is busy with a very important matter, he needs to go through a fattening, uh-huh, and being distracted was somehow life-threatening, this is really so, for some reason - it doesn’t occur to most people that fruit is a sweetness, what if it’s somehow connected with fat, because when we eat lard, well, probably there is reason for people to assume that... lard, fat also accumulates fat, and

fruits and berries are sugar, some kind of fat, this is sugar, plus they themselves are low in calories, but if you look at it, the calorie content is there, i don’t know what the calorie content of apples is, well, in my opinion, it seems to me, 50-60 kilocalories, approximately depending on the size, but what is very important here is what will happen later in the body of a person or a bear when you eat these apples, and it is also very important how many of these apples you eat, and also... which is really very important, but how does a change in appetite occur when eating apples or other fruits, but more on that a little later, but for now i’ll also tell you how, as an example, a patient once came to me and said: doctor, i’ve lost weight so well, i ’ve been on a watermelon diet, and my eyes are burning, the person is very happy, i say how much they lost, she says. i say: you know,

let us now do a study on body composition analysis, and you will see what you have lost, in relation to this lady it was especially significant, because i had bioimpedance before, that is, the results of her body composition before, here after her diet, and i knew what we would see, but talking about it first, when a person came on such a rise, is not very good. reasonable, it’s better to show so that objective data is visible, well, actually, what we they saw that there was a sufficient loss of muscle mass, and adipose tissue had increased, and i began to explain to her that a watermelon or any other fruit diet, a mono-diet, it involves the intake of only a specific component, yes, well, in particular, watermelon, this is a lot of water , this... this is fructose and, of course, dietary fiber, which

, by the way, is useful regarding dietary fiber, but there is not very much of it, after all, but there really is not very much of it, naturally, when a person consumes sweet water and a little fiber, then it accumulates fat tissue, it couldn’t be any other way, but muscle tissue will be lost all this time, because protein is not supplied at all, and the need for it is every minute, not to mention every day, every minute. exists in the body, and the body, considering the situation as stressful, because a very important, most important macronutrient has stopped coming, it will use up muscle mass. losing muscle mass is very bad, it’s just such a process that i would call pathological, well, in general it’s old age, of course, yes, it’s old age, this is sarcopine, this is when fat accumulates and muscle mass is lost , nature, so to speak, prepares us for leaving, that is , our body distills muscle tissue, say, from the legs

there, from large muscles, into the muscle tissue that it needs more important, it's heartfelt, no? but in all our vessels there is a layer of muscle, all vessels expand, contract , vitally, the lungs, which are constantly working, in general, we cannot lose muscle tissue anywhere, and we do not need to lose it at all.

when i explained to this lady that she was fat tissue saved up, because when she wants to eat, and she only has watermelon, she only ate watermelon, and she spent muscle tissue, because all this time cells were being built, some were being destroyed, hormones were being built, and all hormones have a protein component, well, practically, other important substances, enzymes, and so on and so forth were built, so the need for protein was not... there was no protein, yes, and there was no protein supply, so muscle mass was actively destroyed, not only when we change consciously, we understand that we want it this way, us some idea or some circumstances, the body at such a subconscious level does not perceive

the situation as controllable, it simply focuses on what it is doing, on what is happening, assessing it based on the fact, and if... suddenly it stops when a vital macronutrient, protein, comes in, then this is stress , and where there is stress we have a lot of cortisol, and where the level of cortisol increases, there we have increased fat formation, and fat formation with an increased need for cortisol is abdominal, that is, in the stomach, then have us from some kind of imaginary well-being on the scales, but the weight has decreased by more than five kilograms, we got into big troubles, some are easy... can be neutralized, and some can lead to significant side effects, what are you talking about? -do you want to ask? yes, yes, since her fat has increased, it means her volume has not gone away, because fat is more loose than muscle, that is , despite the fact that her number on the scale has decreased, her clothing size probably has not decreased so much, you know,

if it were longer and man it would initially be more, yes, but there is approximately 55 kg, then... it’s not very noticeable, moreover, in this crust in the watermelon itself, in the very pulp there are substances that contribute to such a diuretic effect, of course some kind of swelling , yes, the fluid content has decreased in general , which is also very bad, of course, that is, it seems to her that everything is fine, and the figure, here it looks somehow on land, but in fact the situation has only worsened . therefore, such mono-diets are not about health at all, for sure also, when a person, well, starves for a long time, there is therapeutic fasting, we will not touch on it now, but in general, when we are on some kind of, well, a little extreme rails, then this is not at all about health, it is probably more. ..