but that i am engaged in documentary cinematography, it worries me very much , i read that when you were working on the script, you had business trips to siberia, almost the same berezovskoye field, and that same beryozovoye field, where fewer people were exiled, that is in general, these were such rich places, and places that were steeped in history in many ways, but what did you and valentin yezhov take away from these? well, you see, we can say that

siberia is to some extent my homeland, because surikov, yeah, he was eggy a cossack, and he’s from krasnoyarsk, so i’m still thinking about writing a script, if you were a child, i think that in general there’s one phrase in the film, uh, that was born on its own, there, naturally, when vitaly solomin’s hero brings his son.

of course there is little good, but it’s better not to find it anyway, this is the feeling, perhaps, of the homeland, that’s why the word dear, it was the main thing, with yezhov it was interesting and easy to write about these...

there is a film that everything happens there in russia, but not about relatives, you see, very often now i see television specials pictures where it is unclear who, although they speak russian, are not native, ukraine will be in nato, they want ukraine to be a member of nato, so that ukraine is not just not russia, but that it is anti-russia, it was clear that. there was a coup in the state,

there was no power in the country, such a good situation was created in which decisions could be made in accordance with the will of the people. aksyonov stood here and said, guys, we need to block off all strategically important objects. we sent a letter to the leadership of the russian federation, we understood that we we won’t be able to control the situation ourselves. we need our troops to arrive faster. already russian transfer of crimea to ukraine is a historical oversight that was corrected by a referendum, more than 96% supported reunification with russia, we are in russia, guys, on the tenth anniversary of the reunification of crimea with russia, crimea, as it was, premiere, tomorrow, after the program time , a symphony opened up to me. five

russian empires, when the russian state, emerging from oblivion, achieved power and prosperity, and then fell into the abyss of oblivion, after death. pitch darkness, we are resurrected again and move along the paths of improvement. i, along with the whole country , rejoiced, finally, ours have gone, we are breaking. it was a blinding flash, a spiritual explosion that turned me, a prose writer, into a poet. in blood, in smoke, in fires, amid the whistle of bullets, russia attacks, regaining its place in history. premiere, alexander prokhanov. confession. on monday on the first. you're watching the einstein witness podcast and we have a special guest today. we continue to talk with andrei sergeevich konchalovsky. where did pavel kadochnikov's character -

the eternal grandfather - come from? well, i think that this is the eternal grandfather in general, in principle, this is an archetype, like the eternal jew, this is the archetype of a person. nikita and he says: you don’t want to take me off, i say, oh, my god, what a... face, yes, well, of course, definitely, and he left, passes there, i, yarvy, where is he, there, find him, again two weeks pass, the door opens again , he looks, kadochnikov, you don’t want to film

me, i say, yes, yes, where would you be, and he says, but i don’t care, i would like to film, right here i was wondering, maybe he really will play the eternal grandfather, it turned out that he became. with an absolutely dear creature in this in this picture, i ruined her, i ruined, i ruined this land, because they will flood, her village , these graves, they will flood everything, i couldn’t resist, the weakling yes...

they won’t exile, there are so many topics here at once, yes, in general, a wonderful artist okhlupin, wonderful , he had a very strange, powerful character, and he brought this scale, in general this scale, i often think about it, you know, scale doesn’t work if you inflate, that’s how it is a frog can only burst, the scale arises from - some mysterious, mysterious gravitational fields associated with the behavior of the character, here is the behavior of the character, the behavior of a person, his size is visible, you see, from this point of view,

this great mystery is how to achieve this , what davzhenko said, and... standing on the ground and touching the clouds with your head, and my question, yes, about two families, what caught my eye was that these two siberian families are like that, well, i don’t know , almost mantecas and capulets, who are at enmity with each other, they envy each other, they despise each other, they love each other, but there is a girl who falls in love with a young man, a young man who falls in love with this girl from different families, well , everyone is at enmity... the family is supposed to do this, how is it in the family in any case there are scandals of enmity, but this is one family, in this it is very, it is very important that all relatives, when i say relatives, this is some kind of, this is a generic concept, this is a tribe, you know, this is a native family, this family is

called a cultural community, in a cultural society there can be big conflicts, people they can kill each other, but it’s their own people, that ’s interesting. a concept that seems to me quite difficult to perceive, here are the balabans, all your own, this is very interesting, how deeply did you fill it? siberian script with personal details from your personal biography, because in your memoirs you write about the fact that the eternal grandfather embodied the features of your own grandfather, the scene when the hero solomin kneels in front of the gate, this is a scene that was almost repeated with yours mother, rode around choking, no, generally alone one of the greatest russian poets was on his knees there. pavel vasiliev, in general, in order to make a good film, you need the same amount

of effort as to make a bad one, because you have to write a script, look for artists, then between scenes, then edit, the same effort, it’s easier to make a good one right away, the same effort, you know , uh, when you edit, you know, it’s not for nothing that the owl let everyone into his filming and no one into editing, because at that moment - as fellinius said, the film looks into your eyes, and this is an exciting moment, and you want to understand whether you succeeded or not, or maybe it didn’t work out, so when i was editing the seberiad, it was a moment of binge drinking, there is no real alcohol, i mean binge drinking works like a binge, well, yes, you just fly there in the morning and think, well ... what’s there, well , how, how, it’s hard to understand, in general, of course

, it turned out, it seems to me that this is about relatives, and how long did the editing last, if you were filming, probably, two years, and there’s a sister, the seventh, i don’t remember how long it was, the thing is that the film was supposed to have two episodes, it turned out four, when everything worked out, then of course... i wanted to return to the story about siberia, when you watch the film, it seems that there are two places of action in siberia: yelan, where

these changes of generations take place, these are the events that reach him in waves , war , revolution and so on, and moscow, and as if everything between them doesn’t respect anything anymore, there is a war, black and white, and tanks are coming, and the young hero can say his own when he came out and pulled out, yes, pulled out.. .the second hero is wounded, no, there is a war there, you know, after all, it’s impossible to explain such things when you write, then throw away what you consider unnecessary, it turns out whether it worked out or not , no one knows until you put it together, because uh, you see, uh, all structures are random if they are made without thinking, without on such

a... scale, then it’s accidental, you strive for it, but it may not work out, just about the scale we have a fragment where elani receives the news that the tsar has been overthrown, and how magnificently, it seems to me, it was played out by solomin and andreichenko, especially solomin, let's let's look at a piece, come on, dad, the russian people are standing on their hind legs, where are you going? they threw it off, listen, the people are rioting, take an ax and chop, well now, this, well now,

well now, well now. now we will press you to the nail, that’s enough, now cha, our top will be, how many of us are you? and before that they just had a love scene, but you see, again i look, these are conflicts within one nation, they are different than conflicts between nations, this is a very interesting process, i

think about this quite often, so great...

because, i’ll tell you, any film that very clearly expresses the national spirit becomes, as a rule, international, accepted, bicycle thieves, an absolute masterpiece, and it will always be an international success, i don’t know, a scandal in clochemerly , some french comedy

, we were friends, i visited him in america, he visited us at home, he flew in, i even have a page from his script, the godfather with his remarks, he looked at the picture in the canals, and said, come , and he arrived, he had a yacht, he’s on a yacht, he generally loved it like that, a cigar like that could be like that in general. and i came to him there on this yacht, he says: i don’t mind, puffing on a cigar, sharing the golden branch with me, but the fact is that a year or a year and a half before that i was in america and was visiting him for a year , probably not, less, and

he took me by the arm, and we walk, and he says so confidentially, i... andrei sergenevich, in cannes you showed a different version than the one that was in the soviet union, but here regarding the issue of editing, it was shorter because now still, of course, well, sort of. you have a picture, it seems you shot a big picture,

i say, yes, he says, but how to look, and how to look, i don’t know how to look, the picture hasn’t been accepted yet, i put two cassettes, uh, yumatic in my pants , just like that, one here, one here, i went to france , what customs could have stopped at all, so the cassettes were in my pants, i brought two cassettes there, 4 hours, even more, and i remember as now, he gathered some five or six jury members and they looked at the picture, i went along the champs elysees, then they came out right on the corner, they were standing on the corner, and he saw me and said come here.

and the kansky festival says: we are taking the picture of the siberian, ermash, the chairman of the committee , says, listen, take your picture to cannes, i go, i say, yes, he says, yes, how, how did they take it, they, they didn’t saw how they took it, yeah, i say, i don’t know, damn it , what to do now, yes, well, i’ll have to give, but he...

look at yourself now, what’s important to consider in it, what would the eternal grandfather do today? i think that in general art is like said lev nikolaevich, tolstoy of the message of feelings, if the feeling has not cooled down, this or that work evokes a feeling, it will be looked at, as a rule, fashionable things die. yes, but will there always be siberiad? if he worries, he will, and if he doesn’t worry, he will die. this is normal,

the film lives only because there is an audience. no viewer, no film. well, that is, everything depends on the viewer, of course, everything depends on the viewer. and it was a podcast of esenstein's witnesses. all episodes of our podcast can be seen on the website of the first channel 1tv.ru. i i hope that our podcast today in the film seberiad, those new, new facts that its director andrei konchalovsky told us about this, will help you while watching this film. thank you bye. goodbye. dear friends, the creative

industry podcast is on the air, with you its host elena kiper, producer, music video director and roman karmanov, general director of the presidential fund for cultural initiatives, visiting us today, a true people's artist, composer, author of a huge number of hits that we have in blood in genetic. well, you have to move at my age , for example, if i don’t move, i ’ll just sit and watch the first channel, but how to move, what does it mean to move,

well, move or walk, my mother tells me... her it was when i was 85, i think it was 86, she says, if i don’t walk for an hour, i don’t feel well, so i can walk, which means she didn’t do all sorts of exercises there, and i’m doing exercises, i know that you’re waking up and do exercises lying down, 35 minutes, no, well, just lie there, you just need to pull your heels, like this with the left, here it is here with the heel there , no, well, the whole leg goes like this, uh-huh, uh- huh, like this, like this and that is, so that here it moves too, here is the pelvis and this is from yoga for me this is lenya derbinev my poet like this he said, but you definitely need to do this, well , then a few exercises, well , it takes me about 35 minutes to do this, it’s a pity, of course , it’s a waste of time, but you have to eat from yoga, which means you sit on the floor, one leg here, then the other

, this hand is taken. by the thumb, and you bend all over, like that, somewhere in there side, then head up, like this down, up, head in this position, and the whole body is twisted 20 times, then the other leg, in the other direction you do it too, i can’t do it, unfortunately, except for physiology, if we speak about the psychological state, but for longevity, these are your rules. well, i don’t know, i don’t really do anything, maybe it’s some kind of genetics, you know, here too, it’s hard to say that alexander sergeevich, somewhere i met that in your youth they called you iron shurik, why iron, well, maybe i worked like an iron robot, like an iron woodcutter, now

we’re doing it. every day from morning to night , from morning to night, as much as possible, it brought me pleasure, not that i forced myself, and now i’m without work, i don’t even know what i would do, it wouldn’t be interesting for me to live , just for, as i always say, my work is oxygen for me, that is , this is the recipe, you need to work with pleasure, profession, professions, you still work every day from 9 to 13, you have a working day. yes, that is, now you don’t take any breaks , any rest, and you work and don’t, and then i have lunch, i had lunch, well, an hour, during lunch, breakfast, dinner, i allow myself to read, because i don’t have time for anything... then read, and while i’m eating, i mean, i’ve already read something, read there, read, you still have to do something like that, but what do you like to read, what do you have, well, it’s different,

sometimes like... in childhood, but i still had to read it again, then there are some other versions, where it was all written from, maybe it’s not necessarily necessary, but before work it’s better to read it and get in the mood, and what kind of musical is this, but the musical, the tale of tsar saltan, had five performances in the russian theater.

you look, maybe one song remains there, it’s up to the people to decide, i had a case, it means the film was like this, when you tell the audience, say, who watched the film brave shirak, such silence is very quiet, no one will say anything, then no one i didn’t watch it, i said, there were two songs, one you probably know, wizard misunderstandings, yes, everyone knows the wizard, and... here i copied the script, when we were working, there were two songs: lyrical and wizard, he says, this is the lyric, it will be a hit, wizard - no one needs this at all, it ’s the other way around , you see, how it turns out, and by the way, i don’t remember this film well, because it was released in 1976, and i was born in 1977, so well, in general, but we know the song, alexander sergeevich, it turns out that now your work is a fairy tale about tsar soltan

too. do we have a chance to hear these new ones? the songs are not in the musical. well, somewhere on the air, so that someone will fulfill it, there is hope for this, but how will fate decide it? are there any performers that you would be pleased to see, well, even in my musical, which moza staged, and there she has an artist, that’s who she worked with, and there is an interesting singer, performer, by the way his... name is anton and his last name is zatsepin, what an unexpected, what an unexpected coincidence, interesting, and he is a wonderful singer, he sang and performed several songs there, by the way, anton in my

opinion, the factory of stars became famous thanks to the first channel, but they say that this is like a son, no, this is not a son at all, but he has the same last name, but it coincided, and somehow i always thought that this was yours relative, right? this is all you need to do with the vocalists, this is the clavier, this is all the equipment , it takes a lot of time, you write the score, but how, i always do it, i myself made the scores for all the songs, that is, it means you

hear perfectly, that is you had absolutely no problems with your hearing at all, then usually musicians have a slight hearing deformation, but you hear everything, any note, any orchestra, everything still. you create it yourself, well, of course, you’re sitting at the computer , the royal is in another room, it’s been around for 20 years and it ’s already upset, but i don’t even play on it, because there’s this midi keyboard, there are any instruments, pianos, everything, everything , whatever, i don’t have time to go to another room to play, there’s just no time to play at all, i just need to compose and work, so you say that in the morning you you work, then books, this has always been the case, because creativity seems to be chaos, so you have it in temporary slots, when i was studying, i studied at the conservatory, where my teacher was evgenia

grigorievich bruselovsky from the leningrad conservatory, but not st. petersburg, then it was still called from leningradskaya, he studied with glozunovo, so he is a wonderful composer, and the most important thing is that he is still a good teacher. so he told me then, when i once came in my first year, i still say, i say, evgeniych, yesterday i worked until 3 o’clock , i was sitting there, and he said, he didn’t call me sasha, but shura, shura, you ’re ruining your health, what do you think, we need to wait for some kind of inspiration, inspiration is coming, when you work, it will come, so i just, for example, work from 9 to 1, then lunch, then i go somewhere, i still have to publish it.

and tomorrow you can’t compose anything, it will still be such a sinusoid, welcome, city of kirov, vyadka, kirov, vyatka, of course, kirov, let’s go, let’s go, the time has come, milking, it’s true that brown cows give chocolate milk, no, it’s not true, let’s try to make a bird, the simplest figure in dankov’s toy, it turns out to be some kind of penguin, it was a harsh, dangerous predator. from the catelic location your personal record is 9 seconds 15 m faster than the elevator. all winter mushrooms grow on trees, this is chaga , the asexual form of the mowed tinder fungus, they might not have said it, as if someone

doubted it, the life of their own, the premiere, tomorrow on the first, the events on the kiev maidan and the crimean spring are already 10 years old, on the first channel action-packed series: get her across the maidan. the people want kurasan from the parisian coffee shops, so you need to create the illusion of rebellion, a rebellion of going west. european values ​​were presented as an alternative to corruption. an american appears. the americans , on the one hand, constantly put pressure on yanukovych ’s entourage to threaten sanctions if he suppressed the so-called peaceful protest, on the other hand, they encouraged these peaceful demonstrators in every possible way , began to flirt with the nazis, they will bury you, as for tymoshenko, yanukovych resuscitated her as politics, she created a martyr eagle, which they then rolled out onto the maidan, they were around. weddings, people walked peacefully until

there was blood, we see that when berkut is on fire and cannot offer resistance , even without stable weapons, the ukrainian government is guilty, of course, and i, including as the head of government, am responsible for this not from myself, not from anyone, not filming, premiere, big story, maidan, tomorrow on the first, this is a creative industry podcast, in the studio roman karmanov, general director of the presidential fund for cultural initiatives, elena kiper, producer and music video director, our guest is alexander sergeevich zatsepin. alexander sergeevich, in the old days you yourself literally assembled the equipment for your studio, with your own hands, literally, you had one of the most powerful studios in russia, in moscow in general, because then no one had anything, anywhere, how the process has changed now. how very different it is from the fact that now, of course, everything

has changed, because everything can be bought, uh, that is, the process looks different already, it’s no longer writing notes on the lid of a grand piano, it’s already computers, everything is a computer, i played something like that, if i need it, i have the notes, of course, they need to be edited, they are wrong, it always turns out there are errors somewhere , some kind of, it’s necessary to waste time, edit anyway, but not without writing out every note, this is already... easier, so i took some kind of chord, i immediately have a chord, notes, all these are there, otherwise i would write every note there, this is the time spend, that is, you use the most modern technologies, of course, of course, everything, all programs now there are such people, wonderful ones, there is no feeling that there could be less soul in this, less soul, somehow lamp-like, souls, souls you put out when you compose, composed, this is the most important thing, now i’m still... important, self-criticism is important,

i did it, i composed it, and it seems , well, it’s great, it turned out well, i recorded it, 4 days have passed, there are 4-5 days, you turn on and listen from the outside, not not a performer, but to listen from the outside, do nothing, listen, oh, it’s not like that here, it’s bad here, it needs a front, but the chorus is bad, throw it away altogether you need everything, then yes or... you throw it away or finish it or something turns out like this, so, because without this you just give it away like that, well, it’s unknown what it will be, it will never be a hit, but it can a hit is born, like, for example , there is only a mick, it just appeared in my head , this melody all at once, i went to the piano, played it, wrote down the notes just in case , it worked out, but it doesn’t always work out that way.

there were already such, he says: just tell me, if you are writing fish, then please don’t write, do some of your own, because that it distracts me, there are words like this, dear, dear, dear, beloved, with all the emphasis mine, from these words, but then he generally refused, and he asked me to sing 10 verses with mine, sing me 10 verses with yours in a sad, sad voice, here he is to me, i to him. he sang three verses , then edited it, made him 10 or 12, he

says: you know, i work, how i turn on the tape recorder, walk around the room, listen to music and write poetry, that’s how he wrote, so he did everything very musically, all the caesuras that are in music yes, he did everything in poetry, but in general these are long-term creative alliances, but you’ve been working with derbyanev, how it all happened, it often happened like this, so, well, here i am... i’ll tell you one example, a singer came to me , i played some kind of melody, from a melody, which means we decided what key to do where, lower, higher, how convenient for the voice, that is, first of all...

he helped a lot, then we wrote, did this arrangement, then the singer came, sang this song, sang and needed i had to sit, i had to sit, mix all these channels, i brought it to the cinema, if i’m reading, then i’m bringing it, he just brought it, well, we’ve already talked about the song, he listened to it, just like on a tape recorder he just played, or himself on... there a little bit or with poetry, he, just like an island of bad luck, came to him, the song was not, because it was planned, it was not in the script at all. island of bad luck.

all covered with greenery, absolutely all, the island is unlucky. there is an island of bad luck in the ocean, there is an island in the ocean, all covered with greenery, absolutely all, unhappy people live there, savages , terrible on the face, kind inside, terrible on the face , kind inside, unhappy people live there, savages, derbenev brought this to me, he says: listen, show me, maybe he’ll take it, and guess took, of course, mironov did it well, just yes... after him no one could do that, and if these songs had not appeared in films, they would have had a chance to appear on the air, they could have come to the radio, there , let’s say, in those days there was this good morning program, and in the evening, the evening program there the program, but there the whole problem was, yeah,

so the poems, so, this, this is very difficult for us, it won’t work, it’s from the film, i say, this is you, it doesn’t concern you, you didn’t order it. well, it doesn’t seem to be a big deal, but at least the advice passed, everything was looked at, everything was handed in as a record, the cover was already ready, at that moment it was necessary to send something somewhere else up to the komzamol there or somewhere i didn’t i know and the letter came from there.