listen to vladimir putin's rather systematic and reasonable arguments, and answered him with a three-part formula. he said: “vladimir, in response to our president’s remark that russia will be forced to respond, this will provoke russia to respond. vladimir, we are not enemies, so do what you want, and we will do what we want.” if translated from diplomatic language into russian, this means that we are not enemies, we... will not deliberately act against your interests, do what you want, no matter what you do, this cannot affect our interests, because we are essentially on different scales, and we will do what we want, you have no right of veto on any of our actions, an arrogant, short-sighted, rather arrogant line, which, of course, in russia never was not accepted, and 20 years and many parts have passed since this dialogue.

in order for the door to diplomacy to open, something has to happen on the battlefields, and i think this is where russia's best chance is now, to achieve a settlement in ukraine, before a military settlement russia's success. it was a great game, we'll see you on air next week.

hello, this is a podcast from einstein and its leading film historians, natalia ryabchikova and stanislav didinsky. our podcast is about who and how created classic, beloved, little-known, forgotten soviet films, and today we will talk about sixty.

skins, he actually went to the stall, well , that was shpalikov’s idea, from this story a new version of the script gradually, gradually grows, the schoolchildren are replaced with , in general, adults, students, graduates, one might even say so, and a girl appears, new characters appear, in general, at some point at the end , the fourth main character appears, moscow, which we see on the screen, this is the film that we all know by heart today. but

how it was created, probably, this is still a question not for us, but for you, well, as far as i know, the gene was still a student, according to his script, khutsiev filmed the ilicha outpost, or we are 20 years old, here he is in some that day i went to drink beer, you’re right when you say, drink beer there, in gikta, it is located next to vdnkh on the territory of vdnkh, there was some kind of beer establishment, and there he saw this scene, which then, like this , entered the picture when it started to rain and the weather was sunny. and a young man, a girl was walking ahead, he rode behind her on a bicycle and carried an umbrella over her, this, i know that he wrote it down, this is where it started, this is the root of this mood, which led him to the script, i’m

walking around moscow . and by the way, maybe we can watch this one now fragment, because you appear in this fragment too, well, let's clean it up, friend, shall we? no, there’s his bride, and i don’t know where the groom is, sasha, sasha, he bought a suit, and his hairstyle suits him, he’s a typical criminal.

well, you might not have been in this story at all, you ended up there completely by accident, yes, i did by chance, we... with my classmate, unfortunately, who recently passed away, viktor zazulin, an artist of the vakhtansky theater, we went to see a mass film, wandering around the corridors so that someone would suddenly pay attention, notice, well, but i didn’t even have to wandering around the corridors, only we passed the checkpoint, immediately met a student from the evening course, and he said: what are you talking about, well, we said, well, he says, well, it’s clear and he... come into the group, i’m walking around moscow , the fourth floor from the elevator to the left, so i remembered, well, we went in, so first they gave us the script to read, i didn’t understand anything in it, but then i really wanted to act, so then

they showed us to georgy nikolaevich danyli, there was an acting assistant there, there was such , now it’s called casting director on willows. so she showed us to georgy nikolaevich, and he ordered that vitya, that is, make a photographic test for him, and this he said, don’t need me, but as the doctor overbach said, she stuttered very much, and we called her in the picture with nikita lika zaika , so she then said that well, you looked so pitifully that i decided... to do a photo test for myself too, so they made this photo test, this photo test turned out to be, one might say, such a star ticket, it’s really wonderful, it’s a photograph in suit of the groom, that’s when georgy nikolaevich says, where is he, give him here, and they started taking me,

which means i had two photos, two screen tests, and the artist who was planned for this role, he was already approved, and to him... he still means you somehow has a negative attitude towards you that you crossed his path, there are no previous statements on this in the documents either, it turns out that they already tried you for the role of the groom right away, and

they tried me for this role, but you say that the students really wanted to act, but when we read documents, we often see that it’s not very they are always released easily when needed. they simply banned it altogether, of course, but you knew that they would ban it anyway, well, it wasn’t like that they would ban it, how can they ban it, simply. at the mkhat studio school they were simply immediately expelled, at the shchukin school they were not immediately expelled, well, in general, this was somehow not encouraged at all, well, mikhalkov was forbidden, as far as i remember, yes, no, they didn’t forbid him anything, he was just boris evgenievich zakhava, people's artist, who played kutuzov in war and peace, i explain this to the audience, he simply told him, you go ahead or either study or act, well, in general, somehow choose one of the two. well, then nikita went to the object-directing department and

an outstanding film director was born, whom we have the honor to know, we, to be honest, don’t see each other very often, but we, of course, are people of the same destiny, and we are so connected with fate, precisely because in the nineties i went to perform in ribensk, well, as is usually the case with this creative evening. i performed there for 3 hours in the city theater, i stood, which means i answered questions, and then they told me they showed me the city, everything there, in particular they me, there is a very good museum of local history, they took me to the local history museum, they showed me photographs there, in particular i remembered photographs, the visit of the grand duke to the city of rybensk, here the grand duke is standing and two people in...

naturally, so vividly, this is such a youthful friendship, it’s all very realistic, some kind of image of moscow, which now seems completely real to us, but again we know from memories, yes, that as if during the filming it was even necessary to wash the houses, to to create such an image of a bright moscow, a clean moscow, i don’t know, it’s unlikely that the city that we see on the screen was different from the real moscow of those years, yes, well, here’s an example, how was it different? with the talent of vadim ivanovich yusov, an outstanding cameraman who saw her like that in moscow, that’s all, but there’s nothing to wash here,

we have an episode in the documents that we read that a scene with a cafe in the arbat side streets, a cafe was created for this scene, it was not there, it was created, and this model, the pavilion is a full-scale one, yes, but from the standard ones blocks, that is, actually in the factory that makes these cafes. we bought blocks for a motsfilm, made a cafe, filmed the scene, left, then, since they were filming very quickly, the workers could not free themselves and dismantle this scenery, when they arrived they began to dismantle, then the residents of the neighboring houses began to say, why are you dismantling, we just we made a cafe, we want this catering cafe in our area, i can’t answer this question exactly, but i think it’s a legend, because well, somehow in the soviet time, nothing like that... we improvised with the construction, everything was not there, it’s all in the documents, that we will film it with

the help, it’s unlikely that they built a real cafe for the picture, they just put up a few walls, well, maybe, i can’t say, i i remember that when they were filming this scene, when i come to nikita, i approach his house, it’s in arbatsky lane, then this cafe was and it didn’t seem to me that it had just been built, this man... kiev television is trying to prove that yuri gogaririn was not in space, the whole world saw that the man is in outer space. we will show the declassified cia archives about the first cosmonaut, as well as how the estonian ministry is rewriting history. stalin was not destroyed by planes and who actually bombed tallinn, western and central europe lay in ruins thanks to.

will happen in the next seconds, you don’t understand, the first man in space, the first woman in space.

have you heard any stories about the work of shpalikov and khutsyev? well, you know, mariana verchinskaya played the main female role there, she is my constant partner, we classmates at the institute, and i remember that she was somehow inspired by working with marlin martinovich and said there was

a certain charm of working with him, she was, i remember that. well, to say that some kind of influence, well, firstly, vadim ivanovich yusov, the cameraman, if we talk about visual influence, this is such a lump and such a multifaceted lump, i would say, and i would not immediately conflate it with pelikhina, with all due respect to it is united by the fact that these are shpalikov’s scripts, and accordingly, there is intonation in the grain. shpalikova, yeah, but this one intonation, after all, it was turned into film classics, by the soul and consciousness of georgy nikolaevich danel, the director who saw it, transposed it, and the same andrei petrov, the composer, in general, you know, georgy nikolaevich somehow not long before

his death , he gave me a book, he wrote wonderfully, he published several books. so i remember some interview of his, he said that he could make all his films one more time, except i’m walking around moscow, and i understand why, because i’m walking around moscow, it was the mood, it seemed like nothing, but just like that, and the main thing, i remember, nikolayevich, what you can’t ask, is that it was then a second kereshel in the second year, i had experience before that, i withdrew.

how this legend took shape before your eyes, in general, usually the screenwriters do not communicate with the actors, or it’s as if their work is completed at the moment when they put the last point in the document in the script. they give it to the director, they go on to a new project, that’s how he influenced the film itself, well, he didn’t influence it at all, so deliberately, but the fact is that he’s married

i was hanging out with my classmate inna, then they separated and the kingdom of heaven is gone, no one is alive anymore, so there was some kind of connection, she was very close friends with valya malyavina, also my classmate, you know, this is one . it means gali polish, we are all in this intonation, yes, but we didn’t even know each other before the film, but after the film

we are already like relatives, in this film there is a story about how shpalik actually wrote the text of the final songs, these poems are famous, there are several versions in different in his memoirs, natalia ryazantseva has one version, georgy nikolaevich has another in his memoirs and... usually everyone tells danel’s version that shpalikov was supposed to hand in the text, but disappeared, and the shooting came when the footage was being filmed on maikovsky square, the rise is like this , yes, romantic, the night ones are already evening, no, no, not getting up, no, and of course, i’m more inclined, i know, that’s what nikalovich said, and it’s true, and these are not night ones, they were filmed during the day, and this was.

the thing is that shpalikov was like that a man of mood, therefore, perhaps, not very obligatory in some ways, so he was told that geogy nikolaevich told him that until you write, you will sit here, well, that means he composed the first line there and went out and shouted up there , and they say: okay, continue, well, and so they shouted at each other, so he wrote this... uh , shpalikov had different poems, but they didn’t fit this musical meter, there were poems, i’m walking around moscow, like walk along the board,

what is a square, right to left too, square, pushkin once lived here, pushkin was friends with vyazimsky, he grieved, lay in bed, said that he had a cold and so on, but they did not fit this size, so i had to make up this mm. well, you see, how all this supposedly consists of coincidences, but in fact it is god’s providence, i believe that just, if we talk about god’s accidents, in the film there is a unique scene with vladimir basov, that is, everything was filmed quickly, it was filmed very clearly, but at some moments, again the editors said, you there is not enough positive older generation, you need to come up with something, you need to introduce this older generation altogether, in the script loktyev’s hero had to go to the writer.

an installer, someone, a descriptor-engineer, of human souls, and you, as i see it, are a locker, and you are an opportunist, why am i an opportunist, where did you get the idea, and why? yes, because literature has its own laws, for example, there’s a hunting rifle hanging on the wall, it should fire, what kind of gun, there’s no gun there, the czech said it, but the eccentric, after all, i figuratively had to say, shake it? well, there was no script for this scene, there wasn’t, yes, well, the fact is that in fact, i don’t know who came up with it first, this is

from the editor from... i remember that basov was filming his film at that time , he didn’t even film anymore, but voiced in a tone studio, this is in the old tone studio on a mass film, georgy nikolaevich invited him to star in this fragment, in this episode, this is where his acting career began, one might say, so triumphant, yes , well, because he’s actually a director, after all he is a director by education, but we are simple spectators; we know him most of all, of course, as

an actor. so he right away he they at one time they were basses and bulls, this is in great demand, everyone offered them all the episodic roles, in general they could make good money, and the bulls also appear again in i’m walking around moscow, stealing scenes literally all with her participation, another actress appears there, who by that time was completely unknown. just like nikita, she always stood out, no one knew her yet, she is unknown yet, she always stood out, this girl, she was always talked about as...

talented, she had such a reputation, one might say, they invited her, she was a student at the shchepkinsky, in my opinion, shchepkinsky, and school, she played this episode, and these scenes were already filmed in the pavilion, that is, it was assumed that the film would be shot in the summer of sixty-three, everything would be on location as much as possible, but they still went into the fall, the fall is beginning and it’s already moving forward little by little. this is the current logic, this is what they would do now producers, then they calmly filmed in pavilions, they had to build a pavilion, there was no problem with that, in my opinion, all these pavilions were prescribed in advance, i don’t remember that they were looking for some kind of natural

scenery, no, all that.. . was filmed in advance, no, it is supposed to be gorky park, but it’s already cold, because the scenes are in the evening and therefore they are transferred to the pavilion, no, so in general this is not a reason for film production, because it’s cold, this is generally only a film vet or a film critic can come up with something like this, but the artists are all freezing, yes, but look, the final scene in the metro was always not in the script, it wasn’t, and there are different versions, in fact, what it should be... they end where they should be, at the borodino panorama, somewhere else they walk or at the airport, the same place where this film begins, but in the end the subway filming is postponed, because the metro has already been requisitioned for a couple of nights, they are filming, moreover, at the university station, which is the final one at that moment, they are allowed there two trains, you were not at this shooting, you have there

no, why wasn't i there? no, i didn’t go to shoots at all that i wasn’t busy with. this year we celebrate the ninetieth birthday of the world's first cosmonaut, yuri gagarin. go! do you know what kind of guy he was? elena yurievna gagarina, the eldest daughter of yuri alekseevich. new year, the cosmonauts were musketeers, we saw yuri alekseevich for the first time in a hat and a mustache in butforty. our teacher was terribly strict, suddenly she... breaks into all the classrooms, gagarin flew into space, hurray, there were also old ladies in our yard and one another, and he will come back, where will he go, but he won’t get caught on anything, in my life, as in all soviet houses, there was a portrait of alekseevich, and i was sure that this was a relative of my nanny, i so wanted to be a yura, i came to to my mother, i gave out such hysterics, i

want to be... from which yuri alekseevich gagarin himself drank, it is believed that if you drank this water, you will definitely fly to koska, on saturday on the first, i saw you on tv, who, in our don on tv, you 're joking, you're joking, you're joking, how does bayan differ from accordion, there is a domajor, then septocord c minor, confused me even more, and you like to perform more than one or with a team, this way and that, oh, what a delight, yes,

martin, of course you have no chance, you should become a star, and well, yes, the best, new season, on sunday on the first. you can say that after this film you woke up famous, that they began to recognize you on the streets, some kind of recognition came, profession, no, no, firstly, when the picture, when it began to be shown in art houses, yeah, in this circle, in the circle of filmmakers and in general cultural figures, of course, i was already known among my students. classmates there, but such a wide audience, it was still there, it had not yet been released, it was released later, and at the time it was released, i was already starring in the film goodbye boys, mikhail the scientist

kalika was on a film expedition, so i didn’t notice this, then somehow, when i came to moscow, i began to notice that they were looking at me, the students there are usually very well... very careful about this, that they recognize you, they don’t recognize you , this is some kind of recognition stage, like i wish i could say now that i have turned 78 years old, of which, you know, only 17, i lived as a non-public person, and i remember that when leukorona averbakh and i came with a letter, with a petition from the massfilm film studio, to to the rector of the shchukin school boris evgenievich zakharov, people. martyst of the ussr, so that he would let me go, he asked me very kindly, greeted me in general kindly and let me go. but what about mikhail kalik and goodbye boys, expedition, well, besides

, i already had to go to academic vacation, but somehow the teachers treated me favorably, it’s clear from boris evgenievich himself that i was later reinstated. i didn’t lose a year in my course, but i understood that i understood that many people were jealous of me, and i tried to behave somehow delicately towards my comrades, and in general i’m such a non-boastful person, that’s how i am by nature. the only thing i remember is that many people began to behave very complimentarily with me, and i understood that in this complementarity there might be some kind of flattery and... well, something like that, that i became famous, that with me, as it were, vasya vasya, means demonstrating some kind of closeness, this i understood, and i somehow differentiated, i still tried to discern the true

relationship with myself, but this is also natural, natural, because this we pulled out a lottery ticket, well, well, are you really so lucky that i didn’t just get into the cinema, my cinema, films now... i’m turning 60 years old, well, if you read the moment of the premiere, 1964, and a logical question, of course , yes, the previous generation of viewers know it by heart, especially this one famous phrase: my favorite scene is when the hero mikhalkov is walking down the street and meets some group of repairmen who are hammering the asphalt and asks: what are you looking for here, and they tell him: what is most needed, get out of here, they are just digging, that means , yes.

give a film i’m walking around moscow today, and i think that this old black and white movie will always be new at all times, so i’m walking around moscow, because it’s really a miracle that god is... everyone is being brought together, everyone the authors of this film, yes, all the participants and co-authors, so to speak, and something like that happened, by the will of georgy nikolaevich, of course, by his will, he made the final decision in each individual case, you know, a lot of people imitate, a lot of people have appeared, ala, i’m walking around moscow of films, after that, that means... something we caught it, i don’t give myself credit for it,

but it means that the authors, all of us, caught something, we sang something on the theme of time, to some extent we voiced time, there were some scenes that in the end, they weren’t included in the film in which you starred, well, it was at first, that’s when i come to nikita, i started, he picked it up or i don’t remember, this is the song we started singing first.

and such a global sound,

oddly enough, this intonation of our film is completely optional, as if on the one hand, from the point of view of rough reality, on the other hand, so piercing through time, i would say, you know, we are now talking about this topic i have already said several times how much we have already celebrated the fortieth anniversary of the painting, the fiftieth anniversary, i remember how... when we celebrated, it seems, the fortieth anniversary, at our demonstration, i am walking around moscow, which, in general, everyone knew, the whole beach had gathered, then when we came out, they interrupted the broadcast, well, there was a celebration there, our appearance on the stage, then we walked through - the hall of this winter theater went out onto the street, to the square, square, on the square there was simultaneously... a film broadcast, and there were

spectators standing there, a whole square, all this was broadcast, it was just some kind of national celebration, then we went to the beach there, where there was, that means, a georgian restaurant, a fondant for georgiy nikolaevich in his homeland, and there the table was set, they celebrated, this means that this is the fortieth anniversary of the film, in my opinion, only...

you can see our podcast on the website of the first channel 1tv.ru, thank you and goodbye, thank you, goodbye,

hello, this is the podcast easy money and i’m its host mikhail khanov , today our guest is the president of the association. thank you very much for agreeing to take part in the conversation, our conversation will be quite capacious and rich, first of all, for our audience i will say that i am an academician of the russian academy of sciences, so his words have special weight, first of all, since almost all of our audience, our readers and listeners, work with banks in one way or another, either they have accounts or have deposits. now a burning topic is fraud, this is how to protect your savings not from market losses, but from losses from attacks by scammers, that’s how effectively banks are able to deal with this kind of fraud that arises from year to year, everything is new, yes, this is a very serious problem both for banks, and for clients, and for

regulators, because this is the very the topic around which we are all... we are united allies, because usually with regulators market participants are more in the mode of direct or or tacit opposition, but in this matter we are interested in minimizing the damage that financial fraudsters cause, and it cannot be said that we have outstanding successes, but banks do not behave passively either, because this is their...