and it should and should be like that, but it’s just when after that the burden is lifted 200 yes, then it seems to me that it’s not necessary to consider, listen, engage, it seems to me, so i generally think that art should be anonymous, but the producer is not public figure, thank god, i am and the director is not very public, it’s just, of course, this is a controversial issue, well, okay, i think that it should be anonymous, this is art, that’s how it is because we don’t know who the fayom portraits are there

i tell them: let’s make a movie together, just there will be no money, he somehow just simply 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, of course, it seems to me that bodrov’s secret lies. the fact that

he plays even the most negative role, well , positively, roughly speaking, yes, and you begin to love this person, trust him, you fall under his charm, this is just such a trick, this is art, that's what you can't separate from glory those lords on the composed elements , here it’s all together, it’s an image, try to make it out, such a killer like... from which you become numb with sympathy, some kind of empathy, with everything, with all of this, and this author’s statement, it all the more implies such, well, like the creation of images that are absolutely full-blooded, that is , internally contradictory, as if, in general, it premiered at the cannes festival, then it toured the festival in 1980, then we stopped following, well, that’s it -still indirectly, as it were, emphasizes that nevertheless a less original work, but because they are festivals... understandably,

he is interested in auteur cinema. but regarding the question about festivals, i still have the feeling that balabanovo’s films did not receive enough international prizes, or am i wrong? i also have this feeling. well, well, well, okay, how do you explain this? i don’t know, maybe he somehow didn’t get along well with the selectors of major festivals. was it important for him, for balabanov? well, he wanted, yes, yes, it would not be important.

and even strengthen and emphasize them in order to further frame these wonderful people a little, somehow energy disappears with age, and cinema is energy, i always said that after 50 you shouldn’t make films , well, i made a stoker after 50 , people have given up in different ways. they make movies, there are people

who make movies out of thin air, and i made them out of thin air, he thought he was a good person. i, of course, appreciate everyone who, with some respect, with some even respect, yes, is doing similar work, we continue conversation, this is a podcast about the life of wonderful people, our guest is producer sergei selyanov.

i must say that i practically didn’t know him, the only time he invited me to a non-premiere, not a premiere, but he was at this screening of the film morphine, yes, because i wrote a biography. maybe they told him, i don’t know how, but in any case , i was on morphine and i caught myself with very strange feelings when i watched this film, because, well, let’s say, morphie was based not only on this story, but in general according to the notes of a young man doctor bulgakovsky, in principle, notes from a young doctor, from my point of view, this book is a very bright, very joyful book, yes, this book is about how a person overcomes all the hardships, adversities of life, this is a book about victory, not about defeat, so say.

then of course he gave the impression, as you said, of a completely fair man , absolutely free, he really was a man who was walking down the street, looked in, came here, for me this is of course such a very dear memory, morphine, well, really, yes, this is the script seryozha badrova, but shot by seryozha bodrova based on blugakov, but shot and meaningful in his own way, he is balanov, well, it’s interesting that, in principle, he shot most of the films from his own scripts, but in some cases , yes...

there in a day two or three he would just die, but what are we, well, as soon as work , something can somehow, because for others there may be something else, but we definitely don’t know how to do this, and he’s okay, of course, i didn’t want to do it, well , if that’s what we call a stream, well, the script comes to the studio, i watched them, too, first of all, from the point of view that lyosha, that is, he himself, did not want to write any scripts or anything, yeah. here’s a script for blind man’s buff, yes, i’ll tell him to make a comedy for you , he read it, says, well, yes, so let’s play all the roles with very famous actors, this already says: yes, come on, and he filmed blind man’s buff,

that’s it, 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 just again. well, valery matsakanov script doesn’t hurt me, i i read, i say, but melodrama is weak for you , that is, in different genres to work on, yes, me too, i didn’t figure it out either, just , well, yes, to some extent, maybe i thought something about it , i don’t remember, i don’t think, uh -huh, it’s just the script, which is good, by the way, there is a certain percentage of the audience, quite such, probably not very small, who consider the best film to be

, i’ll say, perhaps it was also part of something like this for a long time in front of a friend, comrade, i don’t like these speculations, but i began to say, perhaps, it seems to me, this is a little bit... there was present that, here is the script by sergei bodrov, here it is on the screen. here is another topic that has always attracted me to balabanov and even somehow intrigued me, these are... honest, interesting ideas, they are always valuable and...