and invented his music and retells it in words again, and then there was schnittky’s music, yes, which, yes, and schonberg, who was offended that he invented dodacaphony, and thomasman ironically bequeathed to attribute that this schnittberg invented it, so what, schunberg invented it , he is a great musician, and i am a great author, so, but i still settled on proust, because there is in this seven-ton, huge epic, simply called in search of lost time.

in order to better describe the music in words, let's first translate adrian frankovsky, this book is 34 years old, here in the verdurin salon, it’s happening, this evening at madame verdurin’s, as soon as the young pianist struck a few chords and stretched out one high note for two bars, svan suddenly saw that his last name was svan, and he saw how because of...

his woman, whom he despaired of ever seeing again, and he meets her there, yes, through this musical phrase, this is the story, now nikolai lyubimov, the same phrase from this sanata of the non-existent the composer's translation of beloved sounds like this, but here a few minutes later, after the young pianist began to play at the verdurins', after a high note that lasted for two whole bars, swann suddenly saw how, from...

from behind a long sound, stretched out like a sounding curtain hiding the secret of birth, a cherished , rustling, isolated musical phrase flutters out and moves towards him, and he recognized this airy and fragrant favorite of his at that very moment, it was so unusual, full of such a unique, such a special charm that for svan it was as if meeting with a woman in the living room of friends. which once enchanted him on the street, with which he never expected to meet again, these are the fragrant masterpieces of the non-existent composer vintel, the great french novelist proust and two wonderful translators. this is music that can be understood, because music cannot be retold, right? no, no, you can’t, it doesn’t mean anything, i’ll hear this quote now, uh, which

... you just read it wonderfully, uh, you can say, in general, there are a lot of meanings here , a lot of meanings, because music is often always visual, you always listen. music, close your eyes, you can definitely immediately draw any picture for yourself, any picture or not, i think any, any, because the music itself will lead you, try it, remember how we once met you in ryazan some kind of business trip and something about rachmaninov’s anniversary, but again some speeches, well, usually sergei vasilyevich is great, and we all talked to each other, one of us asked, i don’t remember who, remember there, well, the second concert, a little i was behind in pace, but overall it’s clear, and what’s behind this, what worlds, what , what worlds arise, you remember the film, moscow

doesn’t believe in tears, of course, well, there the first second episode is interrupted by such an alarm clock ringing, this tired heroine falls asleep - the one who studies, there, at a party , a student, she works, and suddenly wakes up as a director, a director of a large enterprise, where they are reporting to her over the intercom why subcontractors are experiencing interruptions, well, something like that happened to you, yes, well, by that time i was the director of the philharmonic and i believed that you after all, we were still an economist and a candidate of economic sciences, i found the topic of my dissertation, the development of the institutional form of economic relations.

in general, i was also happy to be there as a stagehand , some other kind of part-time jobs right there in one place , because well, in general, it helped the philharmonic to live - this is such a multidisciplinary organization and concerts of classical music and modern then the stage was at the philharmonic i i i managed to communicate this is the turn of the millennium and i managed to communicate with many outstanding contemporary musicians and yarats there. i had great pleasure, by the way, this year, for example, schnittka’s anniversary, 90 years old, and this was the same 2001, when the only philharmonic society in the world in saratov, we named schnittka, and i really liked it, we did such programs that

would be of interest to young people, children about how to listen to classical music, that in general it is good to listen, just like reading good books, you definitely need to listen well. for a while, for a while, i can't say that it was a very long time ago, in general i dreamed about it at night, well, less now, but in general it’s some kind of game, or i didn’t learn a lesson, since i didn’t learn a lesson.

here i have in my hands a little book that i love very much, here are many instruments that are kept in the museum of music, here is the kusli, then there is a saratov harmonica, this is not it , it is an accordion, here is a saratov harmonica, which is distinguished by the fact that it has bells, yes , which you can call, i can’t find it now, there is a button there, but this instrument, a synthesizer, is one of first, soviet. synthesizers ans stands for alexander nikolaevich scriabin, master evgeniy murzin, and if you and i remember again the film the diamond arm, solaris by andrei torkovsky, then this is the musical sound there, there are no computers yet, so it’s possible,

these are physicists, there are also keys, like old tape recorders, this, this was collected by a physicist from those same oscilloscopes and other physical instruments, if he lived in the world. yes, you know how it works, it's a large metal plate on which an image is extruded, a drawing is extruded. that is, there is a graphic equivalent of music gravitationalists inserted into special poses, well, like a music box, only much more complicated and it moves, this drawing sounds, by the way, we did several experiments, we took it in this way, it works, it works absolutely, we took works artists, transferred them to this iron sheet, and we heard how the artwork sounded, well , this is an idea - a sin of the ancients.

what we think is not just la-la-la, yes, this is not sound, but this is something more , including an image, of course, of course, this is beautiful and not by chance scriabin, this is the very synthesis of art that scriabin is talking about, this is light music, this is also a synthesis, he also had synesthesia , he saw the sound, and actually, i don’t know if it’s true, but they write that he died so stupidly, this is a personal tragedy for me, well, just from an accidental infection, that’s his last.

8 years for 365 - how many issues is that? well

, well, there are some breaks in the summer, but how many minutes does it take? it's coming 4 5 6 minutes, yes, it’s very difficult, it’s a targeted, concentrated story , a short story that has a beginning, development, uh , an end, well, in general, yes, due to the fact that you and i don’t have much time, but you know, quit i don’t want to at all, because because it’s important for for the institution for the museum in the car yes for the museum it ’s important because because people even if you haven’t been to the museum listen one two three well maybe you’ll want to come see something and find out something more either at home later or when you get out of the wheel something there are so many interesting things to see there, i remember by the way there was an exhibition about sound reconnaissance during the war, for example here.

and they warned about raids, well, in general, this is what it is, that is, sound is an absolute synthesis , get over it, let’s go back to sort of wrap up this whole plot, we ’re talking about the fact that let them not talk, let them read, we talk , of course, as always, but we are talking about the fact that we should not chat, but read, perceive art, and let’s return to this issue of the connection between literature and music, here modern man.

leaves in its place, by the way, we just recently had an exhibition dedicated to the centenary of russian jazz, it was already 2 years ago, last year, just recently, this is what... records on bones, on bones are x-rays, suddenly, someone doesn’t know , it would be, then there were flexible records on which the first, the first songs were recorded, that is, this is a whole world, a modern person, in general it seems to me, that is, not only rachmaninov schnittke, but no, yes, no, of course, but in general modern people listen to any

music, but sometimes i manage to listen , i listen... that's it, i listen to the singer zivvert, yes, well, i listen, yes, i listen, that doesn't mean that i'm, uh, a fan, but you know, there's something there -then, it seems to me, we must understand, since we are professionally engaged in this topic, the topic of music, the topic of heritage, because after some time, it will become or not, it will be lit, that means.

in your program, it seems to me that it should be especially said that when you are with a book, then when you read, different, different thoughts come all the time, completely, i’m telling you this, as a non-professional writer, yes, that when you are with a book, when you read, and

there is a certain plot, some thoughts, but at that moment, for example, parallels come to me, for example, with the topic... which i am dealing with, how deep this is, our dear interlocutors, that is, it was necessary to call a musician and the director of the general largest music museum in russia in order to understand what i did not quite understand, because, well, a professional, of course he reads wrong, he reads, thinking that he tomorrow he will write in a review what he will tell the student, and to me there is no need to write for reviews, i immediately have an association.

i’m just saying, read with pleasure, like mikhail bryzgalov, this is the podcast life of the remarkable, i’m its

host, writer alexey varlamov, our guest is a wonderful producer. hello, sergei mikhailovich, and today we will talk about director alexei balabanov, who directed the film brother and many other wonderful films, but now i would also like to see the trailer for a documentary film that was recently filmed about alexey balabanov, who is called alexey balabanov afterword, this brother’s theme , it appeared there for the first time, but i didn’t think about it, i didn’t take him as an artist, but as a person who, well, together with me, heroes appeared, all at once brother brother arose, i first

talked to the people who were sitting in these pits, they told me such terrible stories, now people think that we are completely frostbitten, i wanted to make a black film like this, where all the famous, famous artists, moron, got me, the thing is that i i serve in the army. yourself, it’s simple, in fact, just learn the words, i wished that it would rain, then you

will understand everything, only in the sky, so we watched the trailer of this film, and i understand that you have already talked about alexei balabanov many times, well we all left the soviet union anyway, but we all left anyway. from soviet culture, from the soviet environment, we are still soviet people, whether we want it or not, we like it, we don’t like it, all this, that’s how it seems to you, it had an influence on balabanov, or in fact, that’s what i i say , it doesn’t matter, i don’t often talk about balabanov, oh well , that means, well, as a part, lavanov made films of himself, which means that the public part of his life passed in the soviet union, in this sense, the question, the answer, that is, is obvious , well , of course, including that experience, the one

he talks about in the trailer and he as a military translator, i went to the south, ethiopia, yemen and so on, and yes, he started his first. some significant significance for those who love balabanu’s films, want to somehow be in them

to understand more deeply, for example, i really love balabanov’s films, i really want to understand them more deeply, and he very often baffles me, because the feeling is that one film does not exactly deny the other, but at least imagine that the same person made so many, yet quite different films.

we met at the higher directing courses, since we were placed in the same so-called block on the sixteenth floor of the yuka dormitory, well, naturally, we immediately started talking about cinema, we immediately realized that we were in in a sense, on the same wavelength in relation to cinema, and it was exactly the year eighty-seven, and we just, of course, talked endlessly about cinema, about all sorts of ideas and so on, and just...

such an opportunity, he made it, invited me, naturally, to the first viewing, where german actually was, well, this type of hot advice, advice, something like that, the first viewing, i went with bated breath, because it was very close to me, it seems yes , a person, and a becket is not a gift, it’s some kind of abstruse thing, absurdity, absurdity, yes, and how to translate this into a movie, and in general i was afraid that i would now... that i would watch it all and i would have to say something, oh well, say it, and most importantly, something might collapse, disappointment? yes, when i finished watching, i realized that lyosha is an outstanding director, well , in general, we continued our life together, from when did you begin such more professional communication and you became the producer of his films, the first such

joint one. although all the liberty was in what i included there, including the story about that the same hero, who was written by the same gamson, and there was such a structure where the novel and the story were combined, they were actually confused by this, basically it was, well, everything was according to gamson, the norwegians said, yes, okay , we will probably participate, we went to see our son, the heir to the rights, and it turned out that 2 days before the visit

to... our norwegian representative, an american producer came to see his son and bought the rights from him, well, that’s all, that’s the story collapsed for the second time, i didn’t have a film studio yet, but i shot happy days herman’s workshop, which means his next film was a castle, there we also wrote a script together based on the caucasus, yes, and then, when i finally opened my studio, what does he call...

how did they influence him somehow? did they interfere or accept unconditionally everything he did? we talked, you know, for the producer, this is a producer-director, even different - the best form of communication is a dialogue between the producer and the director, and the dialogue is exactly like this at an almost wordless level, but this is precisely at the level at the script stage or further? also, well, all the time , of course, you haven’t been on the set , there is no set, i don’t go, well, or rather, sometimes i’m just on a courtesy visit to those with whom i work, after all, getting back to the film brother, but here look, a person films according to the standard, films according to kavkin, that is , such a kind of intellectual cinema with a western direction, how after these films

does the idea of ​​a brother suddenly appear? it just happens, like a person wakes up, someone like, so, oh, what a thought came into my head, some idea, something was behind it, through the magic crystal, something was dawning there, right? look, i’m thinking here, here , there’s something about this, yes, why not, and well, that’s it, it’s about, well , it just happens, in this , it seems to me, there’s no need to look for the artist, his complex path , its contradictory development , all this is not about us, well, like a dog who is looking for grass, which she needs there today for some dog reasons, all this is by touch, all this is very sensual, all this is not enough rational, and this somehow this is how it works, in my opinion, there is art, whatever you call it, creativity, creativity, something flew into my head and

settled there, i wrote the script very quickly, simply because there were a lot of different disparate ideas , what do you want, don’t you have a headache pill? was familiar, well, in general, somehow everything should have turned out this way, it’s important for me that it was, there were heroes, heroes appeared, everything arose at once, brother brother, okay, look, it means brother is filming, success, everything is clear, but the film

brother-2 is not only a continuation of the film brother, yes, this is a different film, well, this is a different film, but that’s the task, in fact , they said with one voice, when, with one voice, there was no calculation in this, in fact, even when the film was being filmed, brother, we said so about the fact that he went to moscow, and what next? well, lyosha said, well , next is moscow, and then america, so it was said in advance, but not in advance, we

kind of assumed, well, lyosha assumed yes, that there would be two films, one about moscow, the other about america, then he decided that it was boring for a long time, and he combined them into one, but because it seems to me that many people who accepted the film brother, they did not accept the film brother-2, every person is also free, because as a viewer, he is definitely free, every person, and you, as a producer, you calculate the audience’s reaction, roughly speaking , there are two types of films, author’s and spectator’s, yes, and the border between them is conditional, but it is quite clear, nevertheless, so on and so forth, and the goal setting in the two cases is different, naturally. wants auteur films to be watched by millions, well, we understand that this is very, very unlikely, and there the motivation is goal-setting, there is something else , to make a strong movie by a strong director

who is capable of creating a cinematic work, i won’t deal with skill, there are simply films in which cinema, the substance of cinema, is much less than here in auteur cinema. that it doesn’t stop them from being successful, popular, etc., etc. there are films from the point of view of filmmakers that are simply terrible, by profession, for some reason, which, nevertheless , we understand and accept all this. when you if you’re making a movie for audiences, then, of course, it’s not just about money, it’s something like, well, if you set the task of making a movie for audiences, then there must be viewers, otherwise you haven’t solved it. and in the case of spectator cinema, of course, there is more rationality. gets involved in the work, this is a very good statement from one famous american producer who says that an american director makes a movie and thinks about how to make it so...