or something, i remember, and somehow at first it was difficult for me to sit and listen, because the guys there were playing football in the street or something like that, i could see through the window there, and i had to listen, and then somehow i turned on i listened with pleasure, we continue the creative industry podcast on channel one, our guest today is people's artist of the russian federation, composer alexander serge.

it was a song from the film, it was a song above me, the sky is blue, the clouds are levitating, this is the song from the film, our dear doctor. the sun is blue, in silver foliage, tender smiled at me, the destructive wind flies, hurries after me like a rider on a horse. above me

there is a blue sky, a swan cloud and the factory is floating on a long journey behind them, irmek sirkibaev sang, there is a people's artist, but he all the time, he when... went to moscow, he did a lot of concerts in moscow, he did classics, there figoro, figoro, this one, and my heaven definitely drank, but then this happened to you more than once, the songs became popular again and again, and every time this feeling, this one, it passed, then it somehow dulled the feeling, and there was whether star sickness succeeded, that she promoted it, so to speak, that the song was popular with the people.

it’s difficult, let ’s talk a little more about gaidai, how you met and how this moment of getting used to happened, after all , two creative people, it’s interesting, yes, when he quarreled with nikita bogoslovskaya, it means he had no one, no candidate no, and he didn’t know any composers, especially, just nina, his wife, nina grebeshkova, she said, well, he says, here’s a young composer. hooked, he has a good song over me, not bassine, he says: i know the songs, they’re good, the songs are good, but how he’ll write to me as an eccentric, i don’t know, i have to think, then i finally took a chance after that, and the first song you showed him, that’s what it was, i don’t tell him showed no song, there was an operation and a film, there is no song anywhere, and the music in the third novel i wanted there to be a song when they are shown a house and in the window they seem to be hugging. actually, well

, close to this, in any case, i say, lenya, yes, i say, let’s make a song here, no, no, no, there’s no need for a song, there’s no need for a song, here, i even told him two or three times, i say, we don’t... we don’t risk anything, we’ll record a song, we’ll play it, if you don’t like it, take it away, there will be instrumental music, no, no, you just don’t need to record the song , it’s not necessary, and then he often told me, if you had insisted, the song would have remained from the film, such a regret, i say, i say, this is the first time i ’m working with you, i have to somehow force you to agree , but it was necessary, of course, for guidai to guess what the hit would be? is this song a hit or not? no, he's the only one what did you say, i need a song, not one that is played on the radio or on records, but one that people sing? i say, lenya, this is a very difficult task, will the people sing or will the pirot not sing, well, at

the beginning it means there was an operation y, this song there means, i just jumped to the last short story, at the beginning he, well they gave me the script, of course, he gave me the script, i read it. there were stage directions, that means music, he noted there, here is music, golob, and here is a march, here is golob, here is a march, there is also waltz, maybe here everything, everything, everything that he, well, his maximum brief, yes, that is, for you, of course, he wasn’t going to write any bullshit, not even marches, i wrote mine, he means he read it, then he tells me, that’s why you’re writing here samba, not golob, i say, i would have, i say, you suggested it to me, just as i suggested it to you, and i say, when i came to your studio i saw that he had such a thick script, you know, well, everything is just huge, i i think what kind of scenario this is, and it was discovered, and it was opened in just that place, but it turns out that this is the case with him, which means he’s an artist

i painted all the scenes, so the volume is very large, it just happened that this smirnov is an artist. who is running from the shower with a stick and he was all black, i say, that’s what you suggested to me, i say: we need to make a samba like this, maybe some kind of brazilian one from somewhere, well, like this , so to speak, he’s here all of it, so to speak , that is, in fact, you defended every episode and your music, i explained why, then here like this, and here like this, here’s the bus, how will you do it, i say, well, here’s the bus, everything there... shurik tries hard for everyone there, gives in to everyone, which means it’s raining, and he gives in to everyone, which means the place is so nervous, it should be like that, and there, of course , a very complex rhythm was recorded, which is artificial in some places, even there there was a bass, there was

a pum-pum-pum-pum, it was made from a ruler, an oak ruler, you put it on the table, you do it like this.

well, i’ll write another one, you’ll say the same thing, again someone didn’t like it, i brought it to you, and absolute trust appeared at some point, then of course, yes, then he, and therefore that i already had such a case with him, when i did, i don’t remember what number, but he accepted everything, we are on the editing table there ourselves looking at it all, how it all matches, and the idea came to me someone else should do it, i did it differently, i bring it to him, he says, well, we can approve it. that’s it, i say, well, well, it will be better, you look, i need to get used to it again, i say, well , if it’s better, then it’s okay, we watched it, i liked it better, that is, after this episode he can’t help me not trust, well, that’s how we gradually

got used to it, but in the films of gaida music is so subtly involved in all the action, there’s someone lifting a brick, it freezes and so on, the process took place, i was sitting at the editing table myself, here’s an episode - let’s say, fishing, he’s catching fish, so i noticed some points and wrote them down for myself. but you record all this in meters, there ’s a meter there, there’s 3 m 7 frames, let’s say, 3 m 7 frames, he turned his head there, for example, and there’s 9 m 15, he swung the mount over his head was there, it was an important moment, in this place, it means that i ran out of topic, i did it on purpose, so that there was some kind of topic going on there, ta-ta-ta, it ended here with a small backlash. pauses and further, this is an accent, that is, an accent - it doesn’t mean a hit on the head, there’s a hit on

the drum, but somehow, so that it coincides with the screen, well, this is meters, so i’m translating, now it means meters - this - in seconds this means one second and 169 thousandths, this had to be recalculated, which means then written down, then written down and so that it's all synchronized. there weren’t any of these yet that you could count quickly, but i later had such a sign and up to 100 everything was already calculated for me, let’s say 17 m there and a half i’m already 40 seconds there 42 seconds, my favorite work with the guide is what, the most perhaps the most interesting thing was, of course , the first operation, because it was unexpected and i really liked it, of course everything was interesting. in today's industry in today's industry, you worked with young directors, look after

the work of this film industry, are some directors of gaidai’s level born in your opinion, or after gaidai, was there anyone with whom you were just i haven’t met, somehow i don’t have any films, there weren’t, there were a few, what are they called serials, right? tv series, sasha oravin was like that, alexander oravin was there, i did a few tv series, but somehow the return is not the same, then comedies, eccentricities are nowhere to be found, it’s just music like that, but music, it’s a little sad, but now it’s your job - these are musicals, now musicals, yes, i already have what, eight musicals already, so now there will be a new one, more, so. we’re working with music, but how do you determine which musical to deal with,

which may not be necessary, well, i just like it, i watched the cartoon once ivan tsarevich and the gray wolf, very good, i really liked that fairy tale as if in our time, somewhere around the corner and i went to the producer and said, i say, what will you allow me to do with your script , i agreed. my manager malik made a deal with him i made a contract for a film, it is running with nona grishaeva, with great success, now you have some kind of music on your phone, in your player, what do you listen to music on today, no matter what, i prefer to listen to it at home on good speakers, on my phone , it’s just that if you just listen to the phone, what kind of music is there, no bass, no low hours, it’s not, but what do you have, what do you have? in the repertoire, what you like to listen to, in the repertoire, in the sense of whenever

you want, listen, i just don’t have time, now to listen, now this is how i like it, somehow they say, there is so much to do that when listening, there is no time to listen, for some time i listened to the young people, i am interested in the young people to listen to what they are doing there, but for now they still need to work on themselves, and work. i’m wondering myself, there are already some changes little by little, but everything will happen, dear friends, but unfortunately we need to finish this already, alexander segheevich gave us a huge amount of advice today, if you listen carefully to our podcast again, you can write them out in principle comply, but start with this advice, work hard, don’t allow yourself to be idle, live steadily, get into the flow, love your profession, yes. and the most important thing is to love what you do, alexander sergeevich, thank you very much for this conversation, and i would really like from

our viewers, from everyone, to present you with this bouquet for you, oh, yes, this is it, yes, this you, thank you very much, thank you for coming to us, this is exercise, good exercise already with him, yes, thank you, health, happiness. and a lot of inspiration, thank you, and new new music, i really need it, thank you, thank you. i'm larisa guzdeeva, let's get married. good afternoon today the grooms are alexander, alexey and dmitry. and our bride is anastasia. anastasia is 30 years old, her first lover instilled in her aggression towards men, and two subsequent ones instilled mistrust in her. anastasia.