listen, it seems to me to be engaged , in general i think that art should be anonymous, the producer is not a public figure, thank god, i am, and the director is not very public, just of course, this is a controversial issue, well, okay, i think that it this art should be anonymous, that’s how it is because we don’t know who created the fayom portraits there, they are getting worse, watch every single film and somehow imagine that they don’t have one author, you won’t have this this.

yes, yes, of course, seryozha, unusual, very such a character, and then we sat on the beach, in a cafe, drinking beer, i think, i don’t remember, it was during the day, it was sunny, it was a day, i told him, let’s make a movie together, but there won’t be any money, it’s like... he just said: come on, that’s it. why did you say to make a film together, what exactly did you mean? but because i didn’t take him as an artist, but as a person who, well, is with me. in fact, it seems to me that bodrov’s secret is that he plays even the most negative role, well positively, roughly speaking, yes, and you begin to love this person, trust him, you get there.

or am i wrong? i also have this feeling, well, well, well, okay, how do you explain this? i don’t know, he probably didn’t get along somehow, nevertheless, in chemistry with the selectors of major festivals, but for him it was important for balabanov, well, he wanted to, yes, yes, it wasn’t important to me, well , somehow i wanted, in a simple way, he somehow appreciated it in his own way. this attention, despite the fact that at the same time he didn’t value it at all and, as it were, sat there, didn’t like any events going somewhere, he didn’t really like giving interviews, if the interviewing journalist managed to somehow come into contact with him, he was ready, this was instant chemistry, again, well, it seems to me, an example of just such chemistry this film, which is called an afterword,

and even to strengthen and emphasize them in order to further frame these wonderful people a little, somehow this energy disappears with age, and cinema is energy, i always said that after 50 films it's not worth taking off. i took off the stoker after 50 and was blown away already, people make movies in different ways, there are people who make movies just out of thin air, and i from myself, if he thought that a person

was good, then he was as open as possible with him, friendly and so on, but this rarely happened, so yes, the merit of the authors is indisputable that they somehow... somehow found him, managed to charm him, get him talking, i ’m actually here, so i understand that what i, of course, we are also doing as best we can, so, what is this called memory, or something, balabanova, yes, and i, of course, respect everyone, with some, with some even respectfully, yes, he does similar work. we continue the conversation, this is the life of the wonderful podcast, our guest is producer sergei selyanov. i must say that i practically didn’t know him, the only time he invited me to the premiere, not the premiere, but he was at this screening of the film morphine, yes,

since i wrote a biography of bulgakov, maybe they told him, i don’t know how , but anyway, here i was on morphine and i found myself having very strange feelings when i watched this movie because... what, well, let's say, morphe was based not only on this story, but also in general on the notes of a young doctor by bulgakov, in principle, the notes of a young doctor, from my point of view, this book is very bright, a very joyful book, yes, this is a book about how a person overcomes all the hardships, adversities of life, this is a book about victory, not about defeat, so to speak, the book is lighter than dark, this is my perception, the film is so, well, creepy, and yet i really liked it, here i had a feeling that it wasn’t,

but for me it’s of course so very expensive memory, morphie, well, really yes, this is a script by seryozha bodrova, but it was shot by seryozha badrova, according to blugakov, but it was shot and meaningful in its own way, it was new, but it’s interesting that, in principle , he shot most of the films from his own scripts , but in some cases, yes, he took other people’s scripts, and you had something to do with all these things, well, that is, you told him, i had something to do with it after. he is not the right word, he simply erased himself from life, he wanted to die, this is not a figure of speech in the case of balabanov, this is probably difficult for people believe, but he was really worried that he was somehow alive, he wanted to die

, he would just be happy if he just died in two or three days, but what about him, well , that’s how it is, just work, what - maybe somehow , maybe others on... maybe something else , maybe, but we definitely don’t know how to do it, and he , of course, didn’t want to do anything, well, there’s a so-called flow, well, the script comes to the studio , i watched them, first of all, from the point of view that lyosha, that is , he himself did not want to write any scripts, nothing, uh-huh, here’s a script for blind man’s buff, yes, i tell him to film a comedy, he read it and says, well, yes... so let’s all the roles be played by very famous actors, this already says: yes, come on, and he filmed blind man’s buff , everything , yes, well, and yet this state did not go away, well, in general, in a sense, it did not go away until the end of my life, well, there was just such a period, it just happened again, well,

valery matsakanov’s script didn’t work for me it hurts, i read it, i say, but melodrama is weak for you, that is, different genres so that. yes, that's me too, i didn’t calculate it either , it’s just, well, yes, to some extent, maybe i thought something about it, i don’t remember, i don’t think, yeah, it’s just a script, which is good, by the way, there is a certain percentage there are quite a few viewers, probably not very small, who consider balabanov’s best film, it doesn’t hurt me, yeah, because it’s a melodrama, because it’s a feeling, because it really doesn’t seem very similar to golobanov’s other films, like we are here already discussed, seryozhin’s morphine, that is, seryozhin’s script, he well, maybe it’s this, i don’t like these speculations, but i started talking, i’ll say, maybe it was part of this... like such a duty to a friend, comrade, perhaps,

it seems to me, just a little bit, it was present there , that here is the script of sergei bodrov, here it is on the screen, here is another theme that has always attracted me and even somehow intrigued me, this is the yakut theme in his work, in his fate, yes, this film, a tragic story with filmori with the death of the actress,

yakutia as a scientist, and as a fiction writer too i wrote several stories, and i gave it to lyosha , i said, look, it seems like some kind of interesting thing, well, i read the fuse, as they say, and really wanted to do it, and that’s how the film kachigar was born, no, that’s how the film river was born, yes, which tragic, very strong actress, tunoboeva died, naturally we stopped then balabanov, at

the request of dmitriev, the head of the government department , at the request, even he really loved balabanov lyosha edited this one from the material that was shot such a film, which in my opinion has everything equals such a separate meaning is artistic, but of course it is not a film. in the stoker, the main role, here again

, what to look for, some rational explanations, well , since lyosha really traveled, working as an assistant director at the sverdlovsk film studio at that time, in its documentary department, he really traveled all over yakutia, the urals, of course, siberia, that’s all, that is , for him it was not just such and such an exotic thing that suddenly... it won’t feel him, won’t walk with his feet, won’t talk, and if we talk about the last

film, i also wanted what to say about it, in the sense of what needs to be said about it, and what would you like to say about it, a film that is prophetic about itself, well, yes, well, well, then it’s not about cinema at all there’s no point in talking at all, maybe i think there’s no point , at least for professional people, art historians, film critics, film experts... and so on, yes, but i’m not, not one, not the second, not the third, i’m a producer, and the viewer, here is a film, i get some kind of emotion from it, some... energy, something it happens in me, at least at the moment of viewing, but it’s good when after , yes, after the taste, the so-called everything else, i try to preserve more sensual than rational in myself, that’s why i don’t get tired of making movies from the age of 14, i don’t get tired of communicating at all, i don’t burn out or anything, this is definitely not about me, because it

happens on these subtle energies that i like, there are no ideas for cinema, especially because that if you want to say something, it’s better to say it, but if make a movie, then it’s better to make a movie, then if it’s big, then everyone will find their own philosophy there, but it should be broad, you know, that is, there shouldn’t be anything specific, if it’s specific, it’s boring and stupid, you hear, but this what kind of song is that? hello, this is a psychic podcast in which we continue to deal with the most typical, most painful, most striking requests

of our viewers, but today we will experiment with the format. and let’s look at three fairly popular queries with which people come to psychologists, with two at once psychologists, but without heroes, and these two psychologists represent different approaches, different concepts, we will to some extent contrast them and discuss what strategies could be, obviously there is not one, maybe not even two, today in our podcast is already known. to our viewers artur timofeev, clinical psychologist, candidate of psychological sciences. hello arthur. hello everybody. and daria pankratova, analytical psychologist. today i asked my colleagues to present those areas that are not the only ones for them, but as i understand it, some of my favorites. yes. arthur will speak from the perspective of cognitive behavioral therapy.

daria will introduce us to the paradigm and concept of jungian analysis. let us then briefly introduce your direction in a nutshell. cognitive psychology, it began quite a long time ago, but takes its origins, well, most likely even from the works of pavlov, yes, our well-known, brilliant physiologist, at least he had two directly key discoveries for cognitive psychology, he proved the structure conditioned reflex, yes, on these ruthless.

that due to the second signaling system it is possible to interact with the first, that is, words influence feelings, influence our sensations , well, for example, if we are talking about the experience of anxiety, these are sensations, but through words we can influence how a person feels , on what kind of anxiety he experiences or how it passes. further behavioral therapy, it developed in the works of our western colleagues. and behaviorism arose earlier, that is , this is a movement that studies behavior, not only of humans, but also of animals, and somewhere in the fifties and sixties of the last century, behaviorism merged with cognitive psychologists, with cognitive models, and some kind of merger began to form, cognitive behavioral therapy,

now we are talking about such a more advanced, and humanistic version of behavioral therapy, which probably takes into account some of the person’s experiences, and naturally, or does it all come down to a reflex? no, no, no, naturally, the model is now much more complex than it was then, but nevertheless, there is some commonality, for example, the idea of that through cognitions, that is, through our thoughts, which are expressed in words, we can influence emotions and correct our own behavior.

one of the most typical and you simply teach the client not to think about anything, but simply not to be afraid, at the level of some reflexes, at the level of some reactions, partly yes, rather reworking those anxious thoughts that visit the client during and boarding a plane, during the flight, in thoughts of a healthier, more reasonable nature and naturally this reduces anxiety if the client will teach...

him photography, and this is a deep psychological approach, yes, a school, a psychotherapeutic model, it takes its origins, in the twenty-second year, jung presented it, and as a model, after his such a protracted professional, on the one hand, crisis. on the other hand, a very productive creative period, where he actually created it, and you mentioned freud, it all started after their breakup in

1914, and he, that is, created his own direction, while still basing some things, of course, on the concept psychoanalysis, and analytical psychology is a psychodynamic approach, that is, an approach that looks at the psyche as something that develops in dynamics, and this approach will be interested in hidden motives, hidden conflicts, childhood traumas, this is also yes, and in general what happens in deep unconscious level, and this is jung’s model of personality, well , one of the variants of the image, in his case, the personality is actually divided, if simply put, into three. personal happiness everything that concerns the individual and his consciousness, yes, there will be an ego, a person, but correctly a person, in fact

portray it, because a person is like a mask, yes, actually from latin , translated from latin - this is a mask, it is a kind of construct that protects the image of me, here it seems to me that cbt therapy has no questions, yes you with this upper part, where the ego person is, you work normally, right? everything that is within the framework of consciousness, yes, and partly unconsciously, the most interesting thing begins here, here, where we have anime and uh, yeah, animus, the self appears, the shadow and in general some kind of utter world, some kind of utter mystery, uh-huh, yes, actually, this is the conscious personal, then comes the unconscious personal, then after that there is the collective unconscious, in fact you... this is a construct in the personality, which , you know, is located on the border of the personal unconscious and the collective

unconscious, everything that is under it is the same collective unconscious that jung, well, how can i say, discovered, suggested that we work with it, with this concept, freud worked before the personal unconscious, so in fact, there their breakup happened, and now a person comes to you:

there are many things in aerophobia before a flight, but most likely, some kind of traumatic experience that is unconscious, it may be very early, it may be, and the person does not remember it, this could be a pre-verbal story, that is, before he even began to speak, and it is impossible to remember this, yes, and it is even possible, it could be a trauma that happened in general in the perinatal period, for example, even during pregnancy, yes, when he was in the womb, yes, yes. then, for example, i don’t know, my mother was going through some very strong stress, she had experiences in general, well, yes, on the verge of life and death, her feelings, yes, that is, for her it was like that, or perhaps very traumatic childbirth, well, that is, in a deep approach we would look, that is, we would diagnose how a person defends himself, yes, what kind of

defense is this, huh? in psychodynamic approaches there is a system of seven basic defense mechanisms, psychoanalysis is called character, in analytical psychology it is called complexes, this is like a way to protect yourself from unpleasant experiences, in the case of phobias, well, there is always a question about fear, and such basic fear, this is a certain type, and this character complex with... which we would have already worked on arthur, well well, you don’t go that deep, yes, you don’t work for 3 years, you, well, i don’t know how short-term, cognitive therapy is one of the fastest therapies in terms of implementation, by and large, in many ways now, when we are trying to achieve efficiency in working with client, we are forced to use synthetic methods, that is, this is some synthesis of different techniques, now synthetic

approaches, in principle, in my opinion, they are...

snake, if we have such a situation, then it will most likely be local, and i wouldn’t, for example, at the dacha along the path and crawled and began to consider it within the framework of something systemic, that is, aerophobia, which spilled over into a phobia of snakes, and if a person was not afraid before, well, let’s say, spiders, but now suddenly he began to be afraid of spiders , after his aerophobia passed, naturally, and no spider has bitten him in exotic...

well, depending on the task, yes, because the same jung, he said, said that when a person comes for analysis, you work as his shadow for 3 years, and he says until you process the shadow, there are no particular archetypes for you, well, that is, only in the attention of the therapist, perhaps, that is, you need to figure it out, integrate, he called it integrating your shadow, that is, your

unconscious personal parts. then, for example, you can deepen the client there if he has, well, a request for greater depth, jung generally called this some kind of spiritual work. he proposed this level as a kind of spiritual search for western man, in fact, that western man lacks this, but that’s why he has such an instinct, and he offered such a model, but he also said that this is not for everyone, that is, the majority is at the shadow level and there are some symbols there, of course we take archetypes in the work, yes, but this is more of an analyst, well, yes, yes...

the general ones are shown, well, for example, the image of a wheel, the concept of a wheel, as something round , as a symbol, yes, well, like some symbols, yes, this is really what is in all modern cultures, even among the papuans, you know what, let’s move on to life , good, because it’s very beautiful , very interesting, exciting, we’re talking about the theoretical part, but we’ll try to apply your approaches, of course, and i would like you to show each of you the best, or even the brightest, of your approaches to a specific situations, the situation is not easy, and many will recognize, middle-aged people will recognize themselves in this situation, let's discuss it:

a young man is 40 years old, has a wife, this is a good job, and nothing makes him happy, or rather, as he says, he has stopped making him happy for about four years now. he wants to give up everything, he wants to somehow put it all on pause, in his anamnesis, as he describes his situation, there is disappointment in the fact that there are no children, he and his wife wanted a child, all his friends have children, he has a child no, in his request he does not directly connect his lack of joy only with the fact that there is no child, rather he describes this as one of the circumstances his life. so joyless, and he describes his situation, his feelings as a dead end: i walk in circles, and i’m at a dead end, it’s annoying that i do the same thing, it’s annoying that i feel like i have to

, that i’m not confident in myself, and it’s difficult for me to get close to people; my wife and i often feel guilty, yes, that is, what are the key words we have , that it’s a dead end, i feel guilty. about the fact that the guilt is true, or are we talking about the fact that the guilt is false, that is, or imposed, for example, for example, that is, true guilt is really when the problem is located within our area of ​​​​responsibility, we took on this responsibility and we

, unfortunately, did not cope with this responsibility, then yes, then, for example, there was a promotion at work, you seemed to want it, because there was more money, and the position was good, office you will have yours, and then you realize that you are not taking it out. for example, taking a step back is already very difficult psychologically, you just start to devour yourself with this guilt that you can’t cope, yeah, then a psychologist can really make this situation better crystal clear, give a person options, for example, well, that is, he can remain within the framework of this position, but then it will be some kind of conscious sacrifice, and what will he eat then?

because it touches some of his deep things, deep, i mean beliefs, there, for example, the self-esteem level, maybe even the semantic level, yes, that’s where i work.

most technical ones are verbal techniques, that is, they are still part of a conversation, for example, in cbt homework is often used, what kind of homework could this particular person have? to the client? for example, start entering a diary of your own thoughts, not feelings, just thoughts that arise, well, for example, in the workplace, if we are talking about work, as about this conflict zone, for example, what is there , i don’t have time, yes, maybe be, or i don’t want to go to the meeting, such thoughts? yes, among these thoughts there will certainly be those thoughts

that are key, that will help and unravel this tangle to show exactly what values ​​he has, for example, how tired i am, but i can’t give up, it seems i’m not with this i’m coping, but if i step back, okay, he wrote these thoughts, what’s next, yeah, then we ’ll use these thoughts, well, some field to search for problems. to concretize this problem, and we will solve the problem itself in a dialogue within the session, well, for example, reformulate his beliefs, if we find it well, his thoughts, i do n’t have time again, what is your task to reformulate this thought, if i can’t keep up with this thought, then in itself it is not very destructive, but a cognitive psychologist is more likely will get to the bottom of more... for example , yes, for more generalizing ones, then we will

say, yes, on the basis of what this belief arose, for example, on the basis of the fact that i stopped keeping up, then this is a clear violation of logic, yes, this is not some kind of dysfunctional belief, i have stopped keeping up and i am a loser , but such over-communication is happening, you need to uncouple this link, firstly, break this link, any person can fail to keep up. the fact that he failed at work does not automatically make him a failure, those losers can succeed, but not cease to be losers, and today i am proud of this, for example, but our task is to make his life comfortable, so that he comes to some conclusion for himself, for example, even decides that the job is not for him it’s worth it and it’s worth moving to a lower position in order to save your own. comfort, one’s own well-being, this can also be the case, and this

can also be the meaning of life, yes, to live not driven, in some kind of comfort, for example, because if he is not driven, is in comfort, then he comes home, not driven, but alive, and he can give more love, more comfort, more warm, pleasant feelings to his loved ones, and this is also very important, all this is here now, huh? naturally, we work within actual experiences, in a fairly short period of time, in a fairly short period of time. daria, uh-huh, uh-huh, our client, let me remind you, yes, uh-huh, he feels guilty, he is looking for the meaning of life without finding it, he doesn’t find it, he runs in circles, drives himself even more into such an unpleasant state, realizing that he is running in a circle to be burdened by absence child, uh-huh, well, this is the ideal client - a jungian analyst or analytical psychologist, but let me explain why: he is 40 years old,

this is a mid-life crisis, yumg, among other things, one of his famous ideas is that he divided life into two halves, the first half of life is the second half of life, and to put it simply, he said, well, translate this into simple language, then the first half of life is in order to get confused, the second half of life is in order to unravel, that’s right, and a person actually stands between that's exactly it.

inside, but i would invite him to see this too, of course i would collect his anamnesis, yes, that is, what is the history of his early childhood, what happened in his life, what defenses does he have, yes, what actually protects him from such a deep movement to himself, would make them more flexible, and in the process,

that is, you could discover something, relatively speaking, in his early childhood, at the age of 3 or 5 years, that sprouted. i planted sprouts of these seeds under the snow of life, yes, which then suddenly sprouted by the age of 40, i didn’t really want it, but they made their way, but it would have helped me more quickly to see his situation as a whole, what kind of person he is, and to actually deal with his feelings of guilt, what else was there, well, you would have discovered that the roots of his feelings of guilt as a forty-year-old today lie in his early childhood, i don’t know there relations with parents, what? are you going to pretend that this didn’t happen, or what? no, why are we doing this, i agree in this sense with arthur, that there are certain things that bother us, we also need to deal with them, guilt, for example, there is self-doubt, in the psychodynamic yes approach in the model, i would determine what kind of character or ego defense this is, and from

this, from this concept, i already understood what resources he has, what he can rely on, strengths that can be shown.

first channel, let’s give examples when you would still send a client to each other, yeah, or some situation or some character. arthur, who would you like to share or what with daria, for example, indeed, there are clients for whom metaphors and images are much easier. work through such a channel at that time. like cognitive psychology, it’s still more about words, concepts, yeah, and indeed, if this channel, words, concepts, behavior, thoughts, are something difficult for a person, it’s much easier for him to turn to something metaphorical , then of course, daria will handle this much

better, daria, in what situation would you send your client to arthur, but, for example, if a person comes with some kind of i...

to find a good bad self, then you are some kind split personality, dispersion, self i would say to individuals, dismemberment is

when mom is only bad or dad is only good or i’m only bad, in general , to collect this complete picture, and for this, for this you need to accordingly go into this experience - which, well, did not allow a person to separate there is something there that means going into an experience. her relationship was structured later, as it is structured now based on this picture of the family, but what i heard was as if, well, the façade holds up, people there don’t really have feelings, and most likely it’s mine a hypothesis, because you indicated these are impossibilities.

we see that the girl needs to work in general with the manifestation of her own anger, to understand what aggression is, aggression, in my opinion, translated from ancient greek, if i’m not mistaken, is a movement forward, two words, that is, aggression, a movement forward, that it’s not scary, but, well, accordingly, we would do this in therapy, yes, we would learn to withstand it, then the moment would come, definitely, when it would rise...

yes, an anamnesis would be collected, but still would focus on how our heroine feels about herself in relation to her mother now, and what thoughts she has about herself, that is, we would, for example, begin to work with the image of herself with those thoughts that she has in relation to yourself, with those thoughts and attitudes that you have in relation to your mother, and accordingly.