with young people who come knowing absolutely nothing, but apart from the wild desire to be an artist, yes, but you constantly communicate with young people, you still understand this rhythm, which is no longer yours, but it is today there, yes, this music, these movies, you can say this, you haven’t read this, you haven’t watched that, and they say, but you haven’t read this and haven’t watched that, and i understand, yes, yes, i don’t really know their world, and i don’t really i know, and for me now, if i want to be with them and... i don’t want to be like them, but in order to, after all, the path of a teacher is some kind of steps towards each other, and we must take them together, young people, students who want to be actors there, and i, who remember how they taught then, yes, i live there -my life, but maybe i don’t know something anymore, maybe i can’t hear something anymore, and i still want to avoid becoming ossified, this is also a way, pedagogy is also a way not... as it should, in the evening they can come and

look, in fact, and maybe it’s very simple, but nevertheless it constantly, how to say, keeps you in some kind of tone and doesn’t turn into this anymore, i know how, i measured everything out, and so on, well, tell me, this is still such a pretty difficult moment. as i understand it, in creative professions, in theater universities , but not only in the mkha studio school, it still arises when some time passes, two courses or three courses, and teachers, and the course master, yes, in at some point he realizes that nothing will come of this person. no, i can’t say that i, once i was very categorical in this sense, but exactly these are my mistakes as... a teacher, because

very often people who didn’t understand anything, didn’t think and couldn’t in the first, second year, suddenly jumped out in the third, and people who started well, they suddenly withered to fourth year and so on, this is absolutely, someone , someone actually ended up in the wrong place, for example , here - the studio didn’t work out there at school, went to gitis, something happened, for example, this is such an individual moment, zhen, you’re an artist - you’ve been in theater for almost 14 years. tell me, please, are you the artistic director of the theatre, are you a collector of talent, or do you rather prefer, or did you prefer until some point, the construction of an author’s theatre? i would like to say that i am a nurturer of talents, because well, if you understand a sub-gatherer of talents, this is all the best that there is, which means, like oleg palch, he was a collector of talents , absolutely, but this is a wonderful, well, such a merchant approach, it seems to me.

all alone, as a rule, there, but alexander tairov, but nevertheless there were operettas, and tragedies and musicals, and dramas, and so on and so on, so something like this. in mariupol, a unique historical landmark, an ancient mound, is allegedly being destroyed. there was an attempt to accuse us of almost looking for some kind of gold there, no one was digging the mound, it was green in the grass. andryushenko is again putting an owl on the globe, no one knows for sure whether he even has a real audience, the russian auto industry yak.

i believe in science, i believe that the main development of society will be vector, vector of science, victor of science, premiere on wednesday at the first, graffiti in sao paulo is everywhere, it’s true that you can choose any place in the city and draw whatever you want, if you start drawing at some police station, then of course it will come to you. they'll put you in prison, but they'll give you a big fine. what kind of men are here in brazil, very attentive and caring, it is clear that sometimes someone’s husband can go to the left, our blood is hot, but we have our own woman, she is always alone. i see that you mostly have women working here. we just

want the women's coffee business to develop along with the men's coffee business equally. brazil, coffee is simply bliss. the lives of others. premiere. next sunday is on first. we continue the theater podcast, our guests are evgeniy pitsarev and alexander uusulyak. your wonderful project cabaret. i read, zhenya, somewhere you said in some interview, i think, that you are generally wary of entering other people’s territories, uh, in the sense that you do what you do best, and then, where you doubt that it will be best, that it will be better. you don’t risk going there, that’s the story of the cabaret, yes, because that, well, this is like material that has generally had quite a success, and on a worldwide scale, so you, as a person who agreed to do this, and

agreed to do it in a drama theater, you had some kind of fear that there will be comparisons with bob phos, well, everything connected with this, for some reason it’s difficult to say that all this is already... in the past and since now i no longer have any fear, i don’t remember whether there was fear, there was vitalich mironov’s proposal, there was my surprise and some sincere misunderstanding of how it all happened, and then his cunning, and maybe very insincere move at the same time, when i said, well, after bob fos, well, after everything, he says, yes , better than you, no one will do this, there is no person who, i something like that... in myself or puffed up or something and how to say , somehow i thought that they believed in me, sometimes the artistic director also needs, how to say, for someone to breathe air into him too, and not just me telling everyone, that means here, but if some picture had not arisen, if some decision had not arisen, then of course

you should not enter such territory, but it seemed to me that something connected in my head, it was completely different from bob fosse, and my inner story, it, how to say, it was different, it won’t even rip, but just somehow different, so i it wasn’t scary anymore, i had a great team, i had sasha next to me and it seems to me that somehow we were not let’s do it differently, not like boba fosse, we just did our own the performance had its own concept, that’s why it worked out, some are, i wanted to say in captivity, but not in captivity, under great impression, and don’t want anything else, for example, yes, well, there is a standard for them, and it’s very difficult, how can i say, here we are...

played in a play that, in fact, speaking, it is also to some extent a standard, well, of course, of course, and of course , even believe it, he says, i’m afraid i won’t like it, but i really want to like it, which means, and i really like your theater there and so on and so forth, so i understand people who did not like the cobar and who are waiting for other rankings, the other, who are waiting for liza minelli, you understand, but liza minelli, here’s alexandra ursula. here is sasha, i was just about to ask about this, liza minelli, my love, yes, i love her very much, i was at her concert, and are you willing, or are you so, no, well, here, you know, what kind of thoughts are there, firstly , it’s good, well, it’s like a great story,

great material, but to be honest , for some reason i always never thought about it at that moment, but for me the deciding factor is really zhenya, whom i call evgeniy sanovich. at 4 years old and he says: sanya, such things need to be done here, evgeniy sanovich, i’m sure i can do it, you can, i just ask you, don’t be in pain.

god, i am happy that we are each located there and so on, but here, fame united us, fate was completely unexpected, but it seems to me, for a long time and god willing, don’t get sick , not only in may, let’s not get sick. performances, you have experience in musicals, well, of course you have experience in cinema and tv series, the only thing where you haven’t tried yourself yet is in opera, as i understand it, but this is how i understand it, it’s difficult, everything is ahead, he believes me, yes, i believe, because i want to reveal the secret that when we just started rehearsing the cabaret, there were a couple of arias there that sasha simply couldn’t reach, now

that’s all, from the three named movies, drama, musical, that’s it. is there any one of these three that falls on you, as an actress, as a person, better, in the musical you felt organically, yes, but i’ll tell you this, here you don’t need to separate all this , here you need to mix everything into one. because for me this is the most important probably the most important thing in the arts is music, for me it’s music, i’m unfortunately not a musician, i unfortunately don’t have the full ability, yes, but i really love music, and music is a very accessible art, except ears don’t need anything when you work in a drama theater, but for me it’s very important what kind of music is in the play, and sometimes... through this i, as a dramatic artist, can express myself,

when you have the opportunity to say something to music - there are even more possibilities, and singing something along with music is even more opportunities, so i would give everything my gratitude to the music, amazing, amazing, zhen, well, you ’ve been working in opera for 10 years, tell me, technologically it’s more difficult than in drama, yes for you? i’m a fairly structured person, so it’s not difficult for me, i understand that there are directors for whom this will be quite difficult, but staging an opera, staging a musical, for example, they are of course closer to each other than a dramatic performance, according to the methodology, yes, yes, yes, yes, but in the theater dramatic, it’s still good when you know, of course, everything, both the scenery and costumes are already there. some, but when the performance is born together with the artists and today this scene can be solved in this way

, in opera there is no such possibility, in opera, of course, you work with a large group, and you have to come up with the whole performance a year before the start of rehearsal, the problem is that in a year you can come up with another performance, but it has already been commissioned, staged there , and in terms of scenery, costumes , etc., and some kind of musical solution, everything this is done in advance, as in a musical, too , there is... specifically today this point on this stage, today this point, well, that is , the musical, the opera theater to a greater extent has signs of such an industry, yes - probably, yes, probably

... in a way that, for example, i’m already used to the fact that i get more done, for some reason, i don’t know why this happens, although it happens in musical theater, in musicals, to the fact that everything is systematic, fast, i’m for i’ve been doing the play for a month and a half, i started rehearsing zoya’s apartment, i also planned everything, suddenly i asked myself the question, where am i going, why am i in a hurry, especially since some

interesting process began, artists began to bring a lot of ideas, proposals, and so on, i think, why... definitely in april we have to release it, but why can’t we in may, there in june, and so on, and because i understood that this opportunity, of course, also gives the repertory theater, well, the fact that you are an artist, and the fact that i am an actor, yes, and the fact that i’m an artist, and this, of course, is also a big plus, because we not only strive for premiere of something there, we are still living some kind of life, we are living some kind of creative life of this performance, so for me this is also important, sometimes it is important these... frameworks to adhere to them and, so to speak, to be mobilized in this sense, and sometimes linger a little and a little, if there is such an opportunity to immerse yourself in this, as it were. french president emmanuel macron says he is ready to send troops and take direct part in the russian-ukrainian conflict. russia cannot and should not win this war. 2.0

man prepares as an advance party. on a certain section of the front , places have already been determined. he said “ destabilization, russia destabilizes and interferes with me, we are squeezing him out of africa, free resources, one uranium is worth nothing, and 16 uranium deposits in ukraine. macron, in the most global sense, is not a free figure. they created a party for him, they put him in prison throne. the main component of macron's dna is narcissism, he wants to remain in history, to be equal to napoleon, all quite dangerous. he allowed the possibility of placement french nuclear weapons on the territory of other countries." the statements of the gali rooster are dictated by us instructions, the polish-german tank brigade fully supports the french maneuvers, is going to enter ukraine. macron is getting ready for a campaign , has eaten the doll of the heir tutti, tomorrow is on the first day. anatoly konstantinovich, mario,

give it to me as a wife, you can give it to me, it’s a good idea to collect a dowry with your dad, we have it here. embroidered shirts, so very beautiful, an amazing one has been preserved in the vologda province the ceremony of dressing up, the bride was placed on a table decorated with a rich tablecloth, and her friends helped her put on her wedding attire, who came to us, well, who, who was young, brought out our beauty, well, the groom, to be at the wedding, went, quarreled, believed , quarreled, believed. we are getting married next sunday at the first one about success, so i would like to clarify, you are the director of the theater, naturally, in addition to creative success, which is certainly the main thing, there is still commercial success, without

which in general it is quite difficult for the theater to live, when choosing a material, where is this balance, yes... do you feel it somehow, do you somehow build it? well, of course, but what would we do without it? of course, it’s another matter that nothing can be a fact - that it will certainly be success, or that nothing will be it. maybe, but somewhere, somehow, so to speak, it’s worth laying down some kind of straw for yourself, although it’s not, it’s not, if the performance doesn’t work out, then no star

will save it, you know, that's how to say, we released this season, young director, igor teplov, made a wonderful performance , space, in general, why it is also wonderful, because it was based on a modern play, which was just written, and by alexei zhitkovsky and of course. always in our branch of the pushkin theater there are often performances based on modern plays, because it’s terribly dangerous, especially ours, especially the pro-russian hinterland, even if it’s comedic, but still problematic and so on, uh, letting us in on the big stage, i still - how to say, i convinced the director that this should be done on main stage, that this should be done in a certain genre, uh, which , it seems to me, he masters and... is developing in this, but of course, i said, go persuade victoria isakova to play there for you - there’s already a lot acting

, filming a lot and so on, so i went into such a risky project and the play turned out wonderful, i think, but if it hadn’t worked out, victoria isaac, forgive me, would not have saved him, you know, but it seems to me that the play worked out , but of course, of course, if you take the modern play, problem play, and so on. but still, it is better that in this problem there is some other person, so to speak, who will make you listen about this problem, know about this problem, and so on. here comes a play that is received with a bang by critics and the professional community, yes, there is good press and so on, but the public does not perceive it at all, that is, life in these social networks absolutely destroys it, this performance, and the professional community. just compliments, that's where, where move, continue to play persistently , you need to continue playing for some time , of course, but uh, you need to understand exactly, and i

talk with directors, for example, or with artists who are involved in such performances, or i, i also had such experiences , for example, i understand, i keep saying that this is a very important experience for us, this is a very important performance for us, but unfortunately, the life of this performance cannot be that long. but often it happens on the contrary, it seems that you understand, so i came to the theater, when i first came to the theater, the play was being produced mousetrap, and it seemed to me that it was a performance of a mousetrap, well, some very average, some kind of detective story, some kind of classic english scenery and so on, it seemed to me that something was needed somewhere, somehow, and i thought , oh well, season 2 will happen on its own, and this mash trap is going on here just, well , it seems to me, just like in london. it could be going on every day, there’s a mousetrap going on in london, it’s going on and people are watching, it doesn’t need any stars, but people are watching this plot, wondering who the killer is and so on, it turns out there’s a theater and

it can also have such a function, quite the same, as you might say, sometimes there are such absolutely incredible ones, i’m not saying that this is a bad performance, it’s a wonderful performance of its kind, but i can’t say that it has moved theatrical art somewhere, i i can’t say that there was any critic, there was criticism. and this, as one director said, you all want desserts, red caviar , and sometimes you need to have it, and i understand that really, how to say, and this is also some kind of artistic management experience, as someone said that theater not valued presence may be unpleasant for artists.

and you see that it definitely did not receive such audience success as we would like, at the same time you feel like the artists who are involved in this performance, yes, that this is a successful creative work and which really brought you joy, it was not useless, so your position is rather, as zhenya said, to continue playing, understanding that this is a finite story, that this will not become a performance for 10 years, or when you see... an extinct hall and maybe not even a completely sold hall and some not very energetic applause, you'd better refuse, i don't mean you, not you personally, here's an actor,

an actor... having become a corpse, but i think that a critic is also a person, and the viewer is also a critic, if it's not tight in the hall , something does not mean in the play, but what was the situation with turandot, yes, but it was so quite provocative, but it was sluggish, it was not a situation, that there was a rotten hall, which , how to say, somehow didn't go there or anything.

problems, he certainly checked something for himself later, in many ways, it seems to me, turondot became some kind of starting point, where he made some, well, i won’t name names, but i know a lot of famous directors who came to turandot and were like: wow, wow, why are you smiling? why is he smiling?

while the cossack was there, we also went a long way so that evgeniy sandovich had the opportunity to carry on this relay race, of course, because the theater i remember i came to is, in general, not at all similar to what he has now us, it’s just heaven and earth, so of course the audience is different, differently, the public has been brought up differently, as it were, but second-handers, you understand, if at that time i had been fully the artistic

director and director of the theater... but then i was, how to say, and was the director of the theater, who, in fact, owned everything in in the theater i was involved in everything in the theater , in fact, he told me just go put on good performances, how can i say, don’t meddle in the whole life of the theater and so on, that is, what kind of posters, what kind of marketing, how are tickets sold, who do we invite, what are there and so further and so on, so i could only say horror and look at kostya, well, how can i say, well, it’s nothing for the director to decide. announced to me that we were now playing the last two performances, we weren’t playing anything else, well , in fact, the artists there were also not ready for such a reaction, viktor verzhbitskin, a wonderful artist, who later worked a lot with kostya and - how to say, produced many wonderful performances, he simply said, i won’t go on stage anymore, i ’m not ready for such a reaction from the public, i’m not ready to play, introduce anyone there, and so on, well, he had this first reaction too

, my dears, i am... very grateful that you came just the two of you, thank you, it was extremely important for me that you came just the two of you, i think that this conversation, i hope, he dispelled some non-existent, in my opinion, completely erroneous opinions that the director and actor and artist are an endless conflict, in any case, your example shows that this is endless trust, which gives rise to a great creative result, i wish you good luck. thank you very much, thank you very much, thank you, it was theater podcast and i and its host anton getman, our guests were the artistic director of the moscow pushkin drama theater evgeny piserev and the incredible actress of the pushkin theater alexandra urshulyak.

hello, dear friends, this is the life of the remarkable podcast, i’m with you, its host, writer alexey varlamov, my guest is a wonderful theater and film actress, irina. aleksimova. hello irina. thank you for coming, hello alexey, thank you very much for the invitation. irina, you played you play many wonderful roles in the theater, in cinema, and in life. tell me, please, honestly, honestly, what is acting? this is a calling, destiny, curse, profession, all together, something else. why am i asking, because i watched one of your interviews, at the very end of this interview you talked about not becoming an actor. do you really think so? i really think so, whenever there is an opportunity, i urge everyone not to go into this profession, despite the fact that i absolutely love this profession, in general, all my time is devoted to it, despite the fact that i simultaneously work there as a theater director, nevertheless, we

will definitely talk about it, anyway, as if in my feeling, i am of course an artist, an actress, but what’s the difference with this i have always been worried about an artist, an actress, an artist - this is such a very artist on the screens or on the stage , acting life was not visible, it is very difficult, it is very complex, it is very unstable, very dependent, therefore... i always urge people not to believe in this brilliance so artificial, but how to think that this is really a very difficult profession, i don’t encourage men to go into this profession, because it is still very feminine, and for women it is

a much more difficult profession than any other female one, because it requires a lot of strength, both moral and physical, and incredible endurance, and if men don’t go into the profession, who will play then? it will be a total disaster, because almost 90% of the world's repertoire from the ancient greeks to the present day are roles written for men. by the way, when does it happen admission to theater universities , the ratio of boys and girls is taken into account there, i don’t know how it is still taken into account now, in my opinion , at the time when i entered, of course, there were much fewer girls recruited than boys, but what about you in general are you happy with your fate in the profession? well, i can’t say that i’m not happy, because god loves me, after all, everything that happens to me, and where i am today, i probably should be happy, but to say that

i’m 100% happy , this is also wrong, because i didn’t play a lot in cinema, in the theater i was much more lucky with this, i still am and much more interesting, varied and complex.

a system of existence, a different way of life, if in the cinema the movement of some eyebrows or eyelashes, a cover can already say something, then in the theater you can do it 54 times and no one will notice, it’s clear that you need to work, exist in different ways, then after all, cinema is a race over a very short distance, it is impossible to repeat this in the theater, and you still need to drag it all through from the beginning to the very end, and then in the end, it’s still on...

to see you, but this is apparently my omission, so it’s just a little easier for me to talk about the movie with you now, because is it true what they say that you were offered to play in a small faith? but that didn’t happen, yes, it’s true , and i was approved, and i myself refused , do you regret it, i regretted it the first time when the film came out, because at that time i was filming another film at lenfilm in the film tower by the famous director viktor ivanovich trigubovich, and that is me because of this film, she refused to act in the small faith, and as if the tower was not such a success, that is, it went practically unnoticed. despite the wonderful actors who worked there,

and little faith was an insane success, and of course i regretted it, i didn’t watch this film for a very long time, well, i was offended by the feeling that i had made a mistake, but then, when i watched this film, you you know, i realized that it’s really true and these are not just words, everything that is done is done for the better, because with me in the role of little faith, this film would not have had such... success, i am different, and i would not have been able to play the way the villain natasha played, do you know her? yes , of course, we know each other, we even studied with her at the same time, she was a graduate of the studikha school, just when vera was little, she was in her fourth year, and i was in my first, interesting, but i must say, that i specifically watched the tower, which i had not seen before, and i really liked this film, i just really liked it, and your acting. there's something there incomparable, you are completely different there

with a tail - romantic, on the other hand tough, in general a cool film, and it is such a deep film, but about this hypocrisy that was then in life, this is the desire to come out, yes, to win, it ’s hypocrisy in general, it’s impossible to do it, and it seems to me that you have a really wonderful role there, and it’s really a terrible shame that this film went unnoticed, but this film was made in the tradition of such good soviet cinema. and there’s nothing wrong with that, as if there’s nothing wrong with that, but it’s just that this is the year eighty-six, a little faith appeared, it was some kind of absolutely yes for everyone a breath of freedom, suddenly an explosion, naked scenes there and so on, it is clear that i in no way want to offend my colleagues who they filmed in little vera, they all worked wonderfully there, but it was simply impossible to compare the two films, little vera was very fashionable and loud, yes, of course, we all remember that, but

then you starred in a film that, in my opinion, also sounded great in the limit, you have there even if it’s a small role, it ’s so expressive, so bright , so memorable, and of course there’s a cool film with young mashkov, with young mironov, you studied with them, as i understand it, yes, these are my classmates and we were together then were filming and it was a film by denis ivagneev, it’s wonderful and seryozha kozlova was the cameraman, i remember. but my role there was greatly reduced, because at the time of filming i was very pregnant, as my teacher olek pavlovich tabakov said, so, well, for now i was approved until the moment when there was filming, they could only film me like this, so there i was practically in the same scene, and in parallel your theatrical career developed, this is already the nineties in parallel, yes, this is the ninety-third year of filming the limits, the ninety-third year, and you are in what served in the theater? in the artistic bamkhat with oleg nikolaivich iflem. has there already

been a split? yes, the split occurred in eighty-seven, i think, eighty-eight, eighty-seven. i’m ashamed of not knowing exactly this date, but i don’t remember now. again, what i read in on the internet, yes, what i looked at from some reference materials, in addition to the fact that you were engaged in acting, you also began to be involved in social activities. do you mean at the time of my dismissal from the artistic that you created a trade union there or? a trade union was created there , in which you played some role, oleg nikolaevich efremov, he was an innovator, and he always came up with something in the theater, he wanted the theater to live, for the theater to seethe, there were many wonderful young people in the theater artists, he came up with what was needed create a trade union of mkhat actors, yeah, because at that time i was filming quite a lot, both in america and in france, wherever i was, thanks to oleg nikolaevich efremov, the repertoire was adjusted just for me so that i was on the set.

some incredible charisma, charm, and talent of this man followed him. yes, of course, oleg nikolaevich, he said, an art theater trade union was created, naturally, i was the chairman. i took all my friends into this group, as it’s called, provkom, andrey panin, sergey veksler, vera voronkova, there and so on and so on, mikhail efremov, yeah, so we created such a trade union, but what was the goal of the trade unions, i have no idea what the goal of this trade union was, but we had to do something do, at that time there were very, well, such

incorrect acting contracts, because this was the nineties, all artists had contracts for 3 months, that is. the contract was not even for a year and we began to be indignant against these contradictions, so you began to download rights, we began to download trade union rights and it ended all because they told us that either we close our mouths or they don’t renew the contract with us, they said who, the management of the theater, well, as a result, of course, we are all young, we are all strong, we said, how does it mean they will close, no , we won’t shut our mouths, and they didn’t extend the contract with us at all to our editors, on this, in my opinion, on january 7 or 8, 2

you will be able to draw up an identikit, but you will make it and we will look, calm, calm, police, calm, taxi under cover, premiere, tomorrow after the program time, i arrived in the soviet union, i was nineteen years old, and i had no stronger desire than

the desire to be russian, well, this is my school, how were you able to learn our russian language, your russian language? the time for teleconferences has clearly come, we extend our hand to you, we don’t have sex, we honestly drove all over america and he drove himself all the way, such a tomboyish guy, where did you earn your millions, birch is birch, that’s right, what will you say when you find yourself in front of him, my father, he was russian, knew his name by heart, poet, guns, i don’t i thought that i...

we are coming to you, professor, on this matter, i interrupted, i interrupted, you can say whatever comes to their mind, anything, anything, you are painfully oppressing me, dad, what kind of me do you think? dad, my god, i’m only now beginning to understand what can come out of our ball, and now we understand what kind of shining nonsense this is , why, i’m worse than people, well, i was married, i don’t care about azina, an innocent girl, okay that i woke up, take everything and divide it, as i thought. the famous film adaptation of the story the heart of a dog on saturday on the first, he is also dancing, dancing, dear friends, we continue, this is the life of the wonderful podcast,

i am with you, its leading writer alexei varlamov, my guest is the wonderful actress irina apeksimova, it turns out that in your life there were two of these... the babakovs are not efremov personally studied, but it was as if efremov was his leader. probably these are people who, you know, this didn’t happen consciously, no one taught me anything. well, tabakov naturally taught acting, and you studied from tabakov, yes, i studied from tabakov and he taught us very

seriously, for which i am incredibly grateful to him, because he was very tough in the learning process, his motto is that he must be responsible for every student that he lets out from under his wing, that this artist will be able to earn his own piece of bread and butter and the fact that... it seems that yes, it is clear that when we were studying, it was all very offensive and it was not clear why, for what, but now i

understand that you need to learn this way, because this is the only way you can enter this profession, that is, what we started with today we are talking about this terrible, humiliating, but such a beloved profession, acting, if you have a very serious school built into it, on the other hand, do you have such a fairly rich westerner? i was at the audition when i was approved as a gadaru, it was very funny, because well , this can’t happen, because this

can never happen, well, yes, and naturally, i was filming, and what was the name of the film, the film was called these funny russians, and the film, as far as i understand, didn’t work out, but it doesn’t matter, i had such an experience in my life and i talked directly with godard, you know, somehow managed to change my own? acting school, i think i didn’t succeed with him, because it was a completely different experience and, as it were, an incredible reverence for such an authority, naturally i just went by touch, plus, of course, the difficulties of translation and everything else, but there was this experience, there was experience with the american hollywood director philip noyce, there was experience with the german director, that is, well, somehow something somewhere on this is still very different from working with... no, it's absolutely, it 's different in the same way that each director is different from each other, that is, in this sense, can we say that cinema is a more

international thing than theater? well, yes , probably, of course, as far as i understand, you eventually created your own theatrical agency ? yes, when i was kicked out of the art theater, there was nothing left for me, you were terribly offended, come on, your life is over, i think for two years i could not drive past the passage of the art theater, that is, the current kamergersky, one great... russian writer had the same feeling as mikhail afanasvich bulgakov towards mkhat, yes, he also swore that he would not step foot on mkhat, after maliere’s play was filmed, i must say, he broke his promise, even though it was me unites with mikhail afanasevich, i could n’t even turn my head towards the art theater, it was incredibly offensively painful, judging in general because of this i created my own theater company, i didn’t know how to do anything except how to go on stage as an artist, well i still talk to him. this means such an entrepreneurial social streak, then a trade union, then an agency , parents, god oleg pavlovich tabakov, with the suggestion

of efremov, and apparently something was instilled in me because apparently you see how life turns out, then some kind of trade union history, or a theater company, then it brought me to the whole the administrative resource of the lord’s way is not confessable, maybe i shouldn’t have become an actress, i should have immediately gone somewhere, i don’t know, plekhanovsky. institute, well, i’m talking nonsense now, of course, but i’ll immediately become something manager, i think my dad would be happy, after all, of your film roles, which ones do you value most? well, it seems to me that the only role that i played was the cage, despite the fact that the film was shot in such not very successful years for russian cinema, and it failed in many ways, because in my opinion... partners who could have been invited,

but why do you think it failed? it seems to me that he is underestimated, well, i’ll tell you myself, i’m very sober about what i do, and i watched this film, for some moments i felt like, no, i’m not ashamed , it’s insulting, because yes, i know how it was filmed, and i understand that it could have been much more interesting, much better filmed , much... well, by all accounts , it wasn’t scary for you, i watched this film, it’s like flying over the cuckoo’s nest, only it’s even scarier, because it’s not a men’s mental hospital, but a women’s one, yes, so it’s completely creepy , you weren’t scared at all, how interesting i have this question, and this film was specially written for you did you do the role or were you found for this role? i asked to see sergei beloshnikov, we

crossed paths somewhere. and this is the only time in my life, i don’t remember how the script had already come to me, when i asked him to take me for this role, because i really wanted to play something in a movie, filming took place, despite the fact that they were, well, probably quite physically heavy, i was just some kind of happiness, but how long did it take to remove it? no, very briefly, it was a very short, very fairly condensed process. and of course in in many ways, we didn’t have the opportunity, like in good cinema, to shoot 2-3 minutes of useful time a day in feature cinema, and we shot, probably at that time, it was crazy, 8-9 minutes, now they say they shoot 20 a day, but then it was very difficult, because there was no opportunity to take a double, to try, to do something differently, well, these are purely financial

issues, yes, this is purely financial. you also played such a quite interesting, bright role there, that’s the feeling you got from this series, i remember that it’s wonderful, i had the most a vivid impression of the wonderful work of sergei bezruk - amazing, very subtle, very precise work. i remember that someone , it’s been quite a long time since i watched this series, i really liked some of the actors, someone was not convincing for me in some way, but again the whole film was held together without hands and that’s the main thing , he really worked there excellently, i have a very good colleague, she worked at moscow university, she is an expert on yesenin, she wrote a book, a very good book, she,

when this film was just launched, and it was, and now i’ve also watched several episodes and it’s just really impossible to tear yourself away, there really is this, they hit it, and this is exactly how it’s all some kind of magic due to the armless guy, he really plays very well, and well, everyone else the acting ensemble there is very good; in principle, the script is really good. it’s such a blessing to get into a series, well, depending on what kind of series, such a first-class series, well, a series like yesenin, of course, or in my life there was, in my opinion, a very good series empire under attack, yes, yes, yes, yeah.