would be against it, but the plane was not ready for such a long flight, he insisted that some improvements be made, nevertheless, the man insisted, in 20, in september of the twenty- sixth year, they took off on this plane with an attempt to cross the ocean, something happened tragedy, on takeoff, something happened to the engine, the plane crashed, fell into the enemy, there were two pilots, they managed to jump out, but... both mechanics died, and this was widely advertised in the press, a person probably has a different maybe this led to sad consequences, he would never managed to do anything like that again, but you need to know sikorsky, despite this, on may 21 , 1927, a then little-known pilot, charles linberg, made the first transatlantic flight in history in a single- engine aircraft, he... new york - he was flying

to paris, it seemed, well, one could assume that this same linberg rubbed sekorsky’s nose in the face, however, surprisingly, they met in 1927, sikorsky, how to say, didn’t exactly become despondent from that that it was not on his plane that the perfect first flight, but nevertheless he decided to leave it for... the period of construction of this kind of aircraft, moved his company closer to the water and began building hydroplanes, at that time it was completely new, and nevertheless in the twenty-seventh year he created the amphibious aircraft c -34, then from 36 and s-38. these seaplanes began to enjoy incredible popularity. they were used for quite a long time. he was released. several

dozen copies, practically went into production, it was good because you could sit down anywhere, anytime, though only on the water, it didn’t have a long arm , it didn’t hold long distances, but nevertheless it was very convenient, there was no need for a runway, the plane landed easily on the water, two floats allowed him to hold on in a rather serious wave, burning bush, tomorrow on the first , the podcast is back on the air, everyone wants to fly, i am its host, we are talking today about a great man, of course, and igor sekortsky, who in his life has made quite a significant advance in the world, naturally, history, theory of creation.

helicopters and airplanes, but everything , as is easy to understand, comes to a limit, after all, they had a limited range, restrictions on takeoff and landing were only water, but nevertheless , in june of twenty-nine , sekorsky’s company became part of, well, it was, let’s say , bought at the root of the powerful union aircraft and transport corporation, began working in this company, or for this company, in the twenty-third year he began, in the thirty-ninth year sekorsky’s company developed about 15 types of aircraft, which were financed here this very american company. the greatest commercial success was, you know, what kind of aircraft, the amphibian s-38 and s-42. here in front of you is the development of a drawing of the s-42, this is already.

that someday he would do the business that he had always dreamed of, and he dreamed of helicopters, by that time, by the year thirty-eight, there was already a fairly stable theory of helicopter engineering, the aerodynamics of machines and designs, more or less already approaching the fact that it was probably possible to start construction, together with linberg, with whom they became friends, in spite of everything, quite firmly, they sent... to germany, where linberg, who

was more interested in what was happening in germany from a political point of view, and he was quite... too, but he built transverse helicopters , now i i’ll explain to you what this is, it means a transverse diagram, this is a helicopter that has a beam here, one screw spins here, another screw spins here, this is a saos diagram, in this case i’m holding in

my hands a kamovo helicopter, which always builds helicopters here such a saos scheme, where two screws rotate in different directions. and sekorsky dreamed of building a helicopter with one propeller of the same design, where on a helicopter, here it is shown, one propeller works, like this, he wanted to build a machine like this, in the thirty-eighth year he began to develop a new aircraft, a helicopter with one screw. on september 14, 1939, the first experimental helicopter vs-300 took off, albeit tethered, but it had one peculiarity: it spun wonderfully in place, it flew backwards, sideways, up, down, the only thing he couldn’t do was fly forward, for a still unknown reason, they sat down safely, naturally the inventor himself was behind the handle, then the helicopter was brought

to life in 1940, the first flight was made without a prop, and it flew forward quite dashingly. back anywhere, and made quite a serious impression on those present, here i must say, another turn in his fate, the military department became interested in his developments. in 1942, the world's first production helicopter, the r-4, was created, a batch was purchased, a contract was concluded with the military department, the helicopter began to be mass-produced, it was used for transporting the wounded, mainly for transporting goods, it had not yet participated widely in battle until the helicopter found this use. in the forty -third year, the aircraft designer founded his own airline company, sekorsky aerocraft began

mass-producing helicopters of various modifications, well, for example, during the years of the second world war, that is, from the thirties... it produced 420 s-47, s-48 and s-49, huge quantity. here in front of you is the s-19 chekso, this is the very same vehicle that went quite seriously to syria and has already begun to be tested by the army for transporting the wounded and transporting cargo. it was mainly used for this. there was a special suspension , as you can see, it was possible to lift it on cables, which had never been done before, but it was possible to lift quite serious loads, two pilots, a cabin placed at the top, and sikorsky’s favorite scheme of a helicopter with one rotor, here’s a helicopter, quite a curious, uh, helicopter

with special two - look carefully, these are the suspensions that allowed the car to land on water too. i must tell you that the money, which slowly but surely accumulated in the company, made it possible for sekorsky to finally formalize the marriage; his second wife, to his great happiness, was a woman endlessly

in love with igor, of course, understanding that she married a man who was passionate about an idea that... slowly but surely would one day conquer the world, she completely surrendered to her husband’s idea, they lived for a long time happy life, they had children , but i repeat, maybe this marriage, this marriage, this wedding, allowed sekorsky to live a long time happily in a wonderful family life, many of us who knew sekorsky at that time noted what kind of life they had was good, truly friendly, truly what is called a family, which many people dream of, this gave sekorsky the opportunity, here naturally his wife welcomed this, not to do anything other than his favorite thing, he spent time from morning to night in the company,

since the late forties, the aircraft designer began to develop heavy machines, well, for example, the s-55 heavy transport helicopters and the absolutely amazing s-60 helicopter were developed. after many years, this design became almost the only one. which lifted such weights in the air. in 1954, the last s-58 helicopter was created. well, in the fifty-seventh year , already aged, sekorsky retired, becoming an honorary consultant of sekorsky aerocraft. and finally, i started doing what i love . he played music, he played golf, and amazed the guests he always did. because he knocked out a candle flame from 10 meters away with a pistol shot, until the end of his life he was like

a child, incredibly interested. unfortunately, in the seventy-second year he died, leaving as a souvenir for posterity the name of a great inventor, a great ascetic, a man who gave the world what is commonly called a helicopter, he was not alone, he was not... alone, of course, and i want to here to tell you this, everything that we told you today suggests that no matter who, where, what is engaged, the idea cannot be stopped, it is always born without the desire of certain people or groups, regardless of the political situation in the country, and regardless of anything, the idea, science still moves forward, we will continue this. talking about people who glorified our country, we will

talk about great aircraft designers, creators of amazing, incredible, grandiose, ingenious aircraft. we will talk to you about ilyushin, about yakovlev, about tupolev, about misishchev, we will talk to you about the shopkeeper, about polikarpov, about petlyakov, and of course, we will talk to you about the great mila and the great kamov. about people on helicopters that our country still flies. it must be said that without these people, nothing like this would ever have been created, not because others could not, but god gave us outstanding aircraft designers, of whom our fatherland is rightfully proud. we will definitely meet with you with a story about them, because we really want people to come who will continue them. business, and there are an incredible number of talented people in our country, we

i really want them to continue the work of the great ones who gave us hope and dreams. all the best, there was a hint with you, everyone wants to fly and i am its leader, leonid yakubovich. hello, this is the einstein witness podcast, and we are hosted by film historians, natalya ryabchikova and stanislav dedinsky. we talk about who made cult, classic, forgotten, and unknown soviet films and how. today we have a special program, a special guest, we are talking with andrei sergeevich konchalovsky about the film sibiriada, which turns 45.

ivan the terrible was born in the script with an inscription from einstein in verse in english to my mother, we will definitely talk about this later, but first we wanted to talk about... siberiada, not even siberiada, about the continent of giants, because in principle, siberiada could already to celebrate not the forty-fifth anniversary, the fiftieth anniversary, was this film conceived long before it was ultimately released? all i know about myself is that i was actually supposed to film the cherry orchard with the italians,

then my good friend... agreed to play in the film, in general, they had already announced what we would do, and there was a festival, on the eve of the festival sizov invited me, the director of the film studio mosvi said: “listen, we want to give you a state order for the twenty-fourth congress of the komsomol about oil workers, i say, a state order about the oil workers, yes, he says , there’s a lot of money there, you can write whatever script you want, in general, well, now we have to go to the congress, for me everything turned upside down, because i immediately began to think, my god, the big picture, very big , epic, well, quali izhov and so on, in general we agreed,

the festival has started, brigida is coming, all in anticipation, now... we will announce, i tell her, you know, i’m thinking that i won’t shoot the cherry orchard, because i have such a big other job, it’s at this time she took off her boot, these italian boots, that's how she took it off, that's how she threw it at me, luckily it didn't hit my head, i ducked down, in general i was in great despair, and but i realized that such an offer...

was completely different kind of a picture that told about the history of the earth, so when we started the sebreiad, the idea was that i with him to some kind of convention, it all went away, rolled so far that it turned out to be four episodes, you know, four films, with me... as they say, something completely different came out, something completely different came out, that is, the script itself led you or you and yezhov once thought seriously, here we will have this here , here we will have this, here is the climax, as they write in textbooks now, no, you know, i ’ve been telling my students for a long time, don’t write a script using gps, gps in general - this is a terrible

thing, because people stop knowing the way. right, left, you have arrived, but in general you need to write without gps, in fact, i never used it, just logically i wanted to know the roots of the roots, the roots of the roots, and from here a structure arose, and we knew that it would be about the discovery of oil, but nevertheless, and lebanon paatashvili, cameraman of the film , recalls that she initially thought about...

in many ways - i would say the geopolitical situation of russia in the soviet union at that time, so it turned out this way, i remember shpalikov also started with us, we always called someone company for three, as he says, but something all fell off later, in the company is it better to always write a script with your friends than alone, because very often you write screenplays together, three of you, that’s how it happens, interaction, how is it? valya was an amazing person, absolutely, he was easy, like mozart, he had a phenomenal

sense of form, and he, as a rule, lay and grunted his newspapers there, read, i say, come on, now i’m telling you there, how it will be, it will be, he says, great, good, this is there, and this is there, i say, and then this is it for me then, he stop, here we need a stage here. to finish, i say, how to finish, i just started, he’s about to, you’ll see, he was always right, he had an amazing sense of dramatic form, he’ll be stubborn, he’ll die, but which one?

artemyev’s wonderful music, i think it looked, looked good, and there were no lengths of notes, another question is, what do you know, the material is compressed...

for some reason he arrived at about 2:00 in the morning, but we they listened to evangelis, of course, very wonderful music, and he understood everything, and he did no worse, maybe even better, his this topic is wonderful. in general, he was one of the greatest melodists of the 20th century, i think , just how the idea arose with this final colossal explosion, this epic music, which sets the absolute scale of this entire story, how it even happens in the director’s head, it’s impossible to say, this is a layering of the various kinds of circumstances, starting from who was chosen as an actor, then to... then how it was filmed, then what works, what doesn’t work, then how to put it together in a sequence of images, it turns out

whether all this comes to some kind of culmination or does not come out, it is this layering, structure, construction, it is similar to music, at the same time it is like architecture, there is such a concept as architectonics, architectonics is a form. which goes, as it were, against gravity , i would say this, all the great publications, they will never fall, because it is correctly constructed, the same piece of music, you know, rachmanin had a famous story, when he played rachmanin’s third concerto, played, success incredible, the hall exploded, and... and he comes into the wings, goes to his place, angry, and his wife tells him that you, seryozha, look, he says, that’s it, i’m done, i blurred the climax,

she says, well, the audience, look what ’s going on, with listener, says, no , what difference does it make, the architectonics have been torn off, but this is an internal thing, you know, the climax is complex, in this sense cinema, since it is an art that develops... musical form, in my opinion, here we are with andrei torkovsky they always argued about this, because he was an architect, and i there was a musician, he studied in architecture, and i in time requires a sense of time, i studied at the conservatory, and i said, time is very important for development, and he said scaling, sculpture in time.

in many ways they are asked by the documentary footage , selected, as far as i understand, by pelishan, but how did you find each other, how did the idea come about, but i didn’t know , they told me, i didn’t know, they told me pelishan is a talented guy, i’m generally a rude person, he kind of took me in, at first he flinched like a hedgehog, but he did a wonderful job, you know, i i'll tell you, a documentary image. incomparably always with an artistic gain, because a documentary image is always the absolute truth, everything that is shot in feature cinema is not accidental, it is calculated, the directors try to tell the story, the cameramen try to film, they teach composition and other things that happen in documentary

films... it happens, here you are watch how war documentaries are made, as a rule, the cameraman lies behind some stone or behind some damaged tank, always filming people going into the attack from behind, uh-huh, no one films a galloping pashka, there is pavel korchagin or on a horse in the face, everything is in the back, why, because there... bullets are flying, in this sense, this is the feeling of truth , it amazes me so much with documentary films that i do documentary cinematography, it excites 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 were exiled, that

is, in general these were places of such souls. which was born on its own there , naturally, when the hero of vitaly solomin brings his son, such a soviet, just a boy, he says, here is your homeland, son, they are standing on a huge absolutely cliff, we filmed nabi, here is your homeland, son, good , of course, not enough, but it’s

still better. well, here is your homeland, son, of course there is little good, but it’s still better not to find it, 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 people, that is, when i say, these, this these are the people who can be considered our own , russian people, you know, rozany has a wonderful phrase: a russian person will look at another with a sharp eye, everything is clear, and no words are needed.

why am i saying this, these are these heroes who largely came from platonov, who, of course, wrote about these people, about the lapdogs, about some sunny madmen, and sometimes very rude, sometimes very cruel, but at the same time what, in principle, probably in my best films, i probably strived to make films about relatives, here is a film where everything happens there in russia , but not about relatives, you see, very often now i see television ones, especially films where it is unclear who, although they speak russian, but not relatives, the burning bush, tomorrow is first.

you are watching the podcast of witnesses from einstein, we have a special guest today, we continue to talk with andrei sergeevich. where did the character of pavel kadochnikov, 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 an archetype of a person, on the one hand, on the other hand on the other hand, i actually wanted this wonderful jarve, who played lear, for this role, what a crazy person, but for me. he came, opened the door, walked in and looked into the kadochniks, and he was filming, i think, with nikita, he says, you don’t want to film me, i say, oh, my god, what a face, yes, well, of course,

definitely, and he left, passes there, i, yar , where he is, find him there, again two weeks pass, the door opens again, looks like... kadochnikov, you don’t want to take me off, i say, yes, yes, wherever you are , and he says, oh i don’t care, i would like to act in this film, i got screwed here, or maybe he will really play the eternal grandfather, it turned out that he became an absolutely dear creature in this film, i ruined it, i ruined it, i ruined this land, because they will flood, her village, these graves, they will flood everything, i couldn’t resist

, i gave in, because i had to hold on tightly with my teeth, my teeth, it’s a shame, oh, how embarrassing , oh, i brought this scale, in general this scale, i often think about it , you know, the scale doesn’t work if you inflate, that’s how that one is the frog can only burst, the scale

arises from some mysterious, mysterious gravitational fields associated with the character’s behavior, that’s the behavior.

tribal, this is a tribe, you know, a native clan, this clan - this is called a cultural community, in a cultural society there can be big conflicts, people can kill each other, but these are their own, this is an interesting concept, which it seems to me is quite difficult to feel, here balabanov, all your own, this is very interesting, how deeply did you fill the script?

pavel vasiliev, generally in order to remove a good film, it takes the same amount of effort to make a bad one, because you have to write a script, look for artists, then between scenes, then... when i was editing siberiad, it was a moment

of binge drinking, there is no real alcohol, i mean binge work drunk, well, yes, you just fly there in the morning and think, well, what’s there , how is it, it’s difficult to understand, in general, of course it worked out, it seems to me that this is about relatives, how long did the editing last, if so? you were filming for probably two years, yes, seventy-six, seven, i don’t remember, for a long time, the fact is that the film was supposed to be two episodes, it turned out to be four, when everything came together, then of course the picture did not come out, you know, in the soviet union, making a film was in this sense the director and...

well now, well now, now we let's press it to the nail, that's enough, now we 'll have the upper hand, how long have you been strangling us? how much

they crushed you, and before that they just had a love scene, but you see, again i ’m looking, these are conflicts within one nation, they are different than conflicts between nations, this is a very interesting process, i see i think about this quite often, the great poet rasul gamzatov, he said: “i am in dagestan, an avar, in the soviet union, i am a dagestan, in the world i am russian.”

nevertheless, he filmed the english, they always looked false, also if the british film russians, this is complete nonsense, but at the same time in cannes, a film made by a russian director receives the grand prix, it’s precisely because he, i’ll tell you, any film that very clearly expresses the national spirit becomes, as a rule, becomes... international and accepted among the kidnappers bicycles, an absolute masterpiece, and it will always be an international success, i don’t know , a scandal in clochemerly, some kind of french comedy that is absolutely french, but they will always be understandable to another person and

these are interesting, interesting because they have their own national characteristics, well anyway. yes, we just happened to be next to her at the table at a reception of some kind, she said: well, it was i who gave you the grand prix, i say, yes, she says, i was the president of the jury and it cannot be given to russia, because it is a superpower, america and russia need a european film,

then shlendor and koplo were there, then she said: “i will leave the jury and hold a press conference in siberia.” i didn’t know at all, it was she and then they approved this big special prize of the jury, they somehow i didn’t know any of this, naturally, then it was funny, because copolo and i were friends, i visited him in america, he visited at our house, 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 came, he had a yacht, he was on a yacht, he generally loved it like that, a cigar like that, could, like that in general, and i came to him there on this yacht, he says, i don’t mind,

puffing on cigars, sharing the golden branch with me, with you, but the fact is that... a year or a year and a half before that i was in america and visited him for a year, probably no, less, and he took me by the arm, and we walked, and he said so confidentially: i’m going to cannes, they promised me a palm branch, i say as promised, he says, they said if i came, there would be palm wind, so he was driving already understanding that there would be palm wind, and... when i came to him then on the yacht, said: “i don’t mind, yes, so, i think, well, thank god, the burning bush,” tomorrow on the first day. i remind you that this is a podcast of lizenshtein's witness, and today we are talking with

lenshtein's real witness, andrei sergeevich kachelovsky. andrei sergeevich, in cannes you showed a different version than the one that was in the soviet union. yumatic in his pants, like this, one here, one here, went to france, they just could have stopped customs altogether, that’s why. the cassettes were in my pants, i brought two there cassettes, 4 hours, even more, and i remember

now, he gathered some five or six jury members and they looked at the picture, i walked along the champs elysees, then they came out right on the corner, stood on the corner, and he he saw me, he said: come here, he says, so, we ’re taking the picture, but we need to cut it, i say how much, and they say: ermash, the chairman of the committee, says, listen, take your picture in the can, i, i

say , yes, ho, yes, how, how did they take it, they, they didn’t see her, how did they take it, i say, i don’t know, damn it, what to do now, yes, well, we’ll have to give it, but we didn’t see the politburo, yes, we have to show it, and then it was funny. story, someone in the politburo looked at the picture and said that the secretary of the regional committee has a wart on his left cheek, they say it needs to be re-shot, because kashigin also has a wart on his left side, and it turns out that it’s him, that it’s something that needs to be moved , i’m telling you how to reshoot it, this is his brother, and if now you were telling our viewers, let’s say, why watch yourself next to each other now, what is important to consider in it, what would did you work today? eternal childhood, i think that in general art, as lev nikolaevich said, tolstoy from the message of feelings, if

the feeling has not cooled down, this or that work evokes feelings, people will watch it, uh , fashionable things, as a rule, die, yes, but siberiad will always be, i don’t know, in your opinion, maybe? until today, if he worries , he will, if, and if he doesn’t worry , he will die, that’s normal, the film lives only because there is a viewer, there is no viewer, there is no film, well, that is, everything depends on the viewer, of course, everything depends on viewer, andrey sergeevich, thank you very much for this conversation, thank you for your films, thank you for sibiriada, and this 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 hope that our podcast today, the film sibiriyada, those

new, new facts that its director, andrei konchalovsky, told us about this, will help you while watching this film. thank you for goodbye, goodbye. hello, the program time in the studio ekaterina andreeva is on the air, briefly about the main thing. general pain, 9 days since terrorists attacked crocus cityhall. a memorial service at the site of the tragedy, a minute of silence and a concert by a symphony orchestra under the direction.