you see, you don’t want to be a child, you want to be a serious lady, but why are you afraid to be a child, allow yourself to be just as relaxed, just say what you want to say, but in a free mode, not in a serious way, you know, people , the question is what, we communicate with you, we can communicate like serious people, everything will be fine, we are two leaders who will find a common language, but if we want to share something interesting with you, then it’s easier to do it in such a free mode, such communication, not like...

problems from childhood, so you praised yourself, well, somewhere you talked for about a minute, yes, that is, they said about yourself what you are like, that is, well, we have limited time, that’s why we talk like that briefly, but this is normal within the framework of transactional analysis, this task should be worked out for 15 minutes, 15 minutes about yourself beloved, and not as you said, i’m good there, you need to expand what kind of person you are, you know, that is, let’s say i’m there a beautiful woman who looks amazing. i'm charming, you know, here i am your eyes have gone downward now, you doubt yourself about this, you know, again , what does this come from, this is paradoxical, internal adulthood, she considers herself too mature, you know, and the most monstrous phrase that an adult can wake up with , you know what, adults are us, that ’s when you wake up with the thought that adults are already you, mom is me, yes, mom, it’s me, that’s it, that’s how it was for me,

working for the public, well, accordingly , working for the public in this way is, well, theater, it works for the public, and besides, it depicts in general what is written according to the script, as they say, of the play, you understand, then it turns out to close the theater, that is , we refuse theaters, performances, concerts, that is, you just need to feel brighter, yes, that is, you just, if you want to express ourselves, then we allow ourselves this, so you forbid yourself to be a child, here is yours. the fear is that

you are afraid of seeming frivolous, uh-huh, funny, that is, you, you are a successful woman, you have achieved a lot, and you have put yourself at a certain peak when you imagine that you will lead the block, you will behave like a child, you do not agree with this, but there are two questions here: or do you allow yourself to be a child, so you can behave like us, that is, completely calm, relaxed and despite the fact that where we are and how we behave, or...

interesting, simple, charming kid, or we are doing something serious, yes, they look at us, we sell our products, we offer, but still there is such an effect of such solidity, but the majority of people, the majority of people, that is, they prefer to be children,

and even despite the age there, maybe , that is, no matter how many years there are, 80 years old behave like children completely calmly, like a grandmother going out into the yard, approaching her friends, saying: girls, you understand? she doesn’t say, it’s great there are old women, yes, she says, girls, there is a woman, she says, girls, yes, she acts like a girl, you understand why we still remain children at heart, here is your child, he is like that intimidated, you squeezed him so tight, your poor happy child, who is afraid to show up because you should be serious, i always remember the work of astrit lingorn, when it was not a cartoon and a small book, such a big fallian, she had carlson there, he had already mocked not only frekken bock, but... her own sister, and he once wrote the following phrase to the wall when he stole the next pancakes from her, i think, or what i don’t remember, he wrote donuts: “life is short, and you’re not serious enough, this is your meadow, you know, that is, you’re trying to be serious, but you allow yourself to be

yourself, once you are at work, you serious, yes, that is, you are there with the ladies, and somewhere you can be a child, you understand, you play a lot with your children, yes, well , you allow it if you play, of course, of course, when the audience is small, me nothing bothers me at all, that is, we dance at discos, and accordingly, we splash into the sea, everything else, you can ask a question, what if one of your potential clients or partners, well , it happened, and saw, saw how you are dancing, standing on your feet with your children, this is normal, this is not... format time, and that is, this is the allowed time, but he would have seen you jumping upside down there , your skirt up, laughing, sticking out your tongue, well, accordingly, this is not format time, but how would he react to this, what do you think? he will think, this is a person, a relationship, well, then they think, because we

often book our parties with early clients, well, you tell me, i tell you, it’s convenient, that’s why he’s okay? she’s also like, well , what an interesting woman, you know, but this is not a format, not a format for what, wait, here i want to talk about the format, okay, a new client comes, this is the director of a company, let’s say, a concrete plant, and we have to do work for him, but will he communicate with me if i show up to him there in some kind of wrong form, but this naturally, you see, let’s say there is an audience in which i give lectures as a lecturer, yes, i behave in a certain way, although i can joke, i really love the approach of positive psychotherapy, there are parables, stories, anecdotes, it’s like well, the norm, yes, in order to make it more clear, that is,

i use this, completely calmly, but if i come to a meeting, naturally i behaved appropriately there, this is a psychic podcast, that’s it?

coolly dressed, they have some kind of skillfully choreographed movement or speech, no,

in fact, this life comes out of them, interest in what they are talking about, you, for sure, i’m just convinced of this, seeing how systematic you are , thoughtfulness, you can talk about whatever you do, conveying this your attitude, this is your experience about this product, but you can tell how... a beautiful woman of mature years, yes, because in your luggage, what is there, why i will believe you, you have experience, i see that you are an insightful woman, there is maturity, that is, you inspire trust me, but when you talk about the reports, i will say, you know, woman, i respect you, but the reports are not within my scope of interests, i can’t use them in any way, yes, i can’t buy your reports, i i can’t... get joy or pleasure or benefit from your reports, tell me about the product, as if i were talking

you, well, okay, but pavel just now told me that on his social networks he deliberately, accordingly, presents himself in such a way as to be interesting for a certain circle of audience, that is, let’s say with an above-average status, and accordingly, like this... perhaps these so, that is, he is pretending, you think, these yes, fun things, they may be inappropriate, but that is, you need to look and evaluate and accordingly understand whether it is possible to ask here, who are your clients, yes, you understand, that is, the question is, your clients are on social networks, if your clients are not on social networks, you do not have goods that are widely consumed, then there is no point in wasting your time on social networks. you see, if your clients are just ordinary people, this is one conversation, if your clients are

company executives, this is a different conversation, why? because company executives, when they go on the internet, they go like children, to look through something, to look, everything is interesting, you know, that is, you must clearly understand, here you have it, again, this bifurcation, yes, that is, on the one hand you are a parent, on the other hand you understand, you want to be a child, besides, you yourself noted that you are great at being a child, you can, but only you... don’t allow it, so you are at home there in the family, somewhere in the family circle, you behave normally, but when you go out, you come out representative, serious, this is the image that takes you, this is the only way, this is your right, that is, this is your right, the image in which you worked, created, you created it, that is, and you can say, no, i i refuse this, pavel, that is, you generally question the need, well , the question really, as far as i don’t know,

pancakes, that is, it’s just some driver from another company who fries the same alternative home image that outside of work i can be like this, but of course not there , not at discos, you would like to start a channel like this, but we are talking about sales, i am forced to go in this direction, because your colleagues are forcing you to do this. because by analyzing competitors i look at what they do, someone

jumping with a parachute, someone is going up the mountain, probably, well, someone needs to either with a parachute, or up the mountain, or with the same pancakes, you need to do something, somewhere, well, yes, this is a disco - this is not that level, it’s splashing with children - this is also not that level, look again, you are already clearly saying that you have criteria for how you can communicate. with managers that managers are interested, that is, and here you are talking about the fact that you want to look like an interesting person, that is, in fact, this is the difference between what i sell and i have an interesting personality, she is different, different. i, for example, also, well, i clearly understand that i am a weak salesman, it seems to me, you know, that i will try to translate from russian into russian, what pavel persistently tried to tell you, probably that you are attracted by charisma, yes, there is strength, there is experience, it’s true, yes, there are external data, but

there is no certainty about what is it in my big life, which is much more than... what seems to me, olga is looking for a lot with her mind, this is also what i was trying to say for you today pavel, you have a lot from here, and it comes from your head, but the child lives here, the child lives a imaginative life, from somewhere here it is heart-shaped, when first he jumps, gallops, speaks, invents,

imagines, and then turns on a critic, most often in a child's voice... parents, who, therefore, besiege him, warn him, so it seems to me that your path and your new success, which, of course, is not hampered by age, new your competitiveness, which is also not about age, is to learn a little rebalance yourself in favor of the heart in favor of that unconscious , uncontrollable fountain and slightly reduce this controller. smart, adult person, try it, such capital has already been acquired, yes, when age really is expensive, it is expensive, if we speak in the images of pavel, i am now on the verge of opening my own institute, if in your criteria, that is, i think, that you also have everything ahead, by the way, mind you, we

talked today, but now i’ll teach you how to live, you see, this is the position of a demanding child. but that is, this resistance, resistance is normally activated when we cannot accept something, we cannot accept, due to some internal beliefs, the limitations that we set, but the most interesting thing is, if we delve into our past, we will find these limitations in our childhood, why is it that working with childhood... gives the highest effect and effectiveness, here is my practice, in 90% of cases all the problems of clients in adulthood, they lie in childhood, and there is always some moment that triggers this self-doubt, the doubt that i should be like this , serious, yes, that is, these are all from there, when we work, we work for some time with a person, not alone - two sessions,

more, then the person begins to relate to himself differently, the task of psychologists is... for a long time, then to help a person be a child, an adult, and much less often be a parent, because our parent sits on the machine, we we clearly control, that is, you should be like this, you should, should, should, that is, our little child runs around, does things, but he does not remain happy, he does not enjoy life, here is the rationalizing adult that turns on, which says: no, wait, that is, they do it great, let’s try , then a demanding parent says: no, what, you can’t behave like them, that is, they say: yes, wait, let’s try, he says: “no, you can’t behave like that,” well then we have nothing it will work out, says the adult, then no, well, anyway, let’s come up with something so that i remained serious, but at the same time it was the same as with these girls who behave like this, i think that our heroine, who came to talk about how to compete with young people,

is actually competing with herself , will find the right path and the right strategy in order to... really use age as wealth, and let her child go free, then everything will work out for her. psychic prompt. hello, this is a podcast of witnesses from einstein, where we, film historians, natalya ryabchikova and stanislav didinsky we tell. about well-known, little-known, often unknown stories, films, heroes of russian cinema, and today we will talk about a wonderful composer.

calling the black mazik, black maz, i approached my parents, i say: dad, mom, and what kind of surname we have such a normal surname, they say, i say, but i don’t like it, and i started, for some reason i was very drawn there, i began to study where it came from, and it turned out that my great-great-grandfather lived somewhere there in transcarpathia, herding sheep, he spoke very poorly in... uzbek, and there was a population census, and during the population census, one of the village residents said that a man lives there, in

the mountains, he will save the sheep, but no one knows what his last name is, but how we will write him down, he had a black spot on his face, apparently a birthmark, and the person who copied him wrote chernommazov, and i say, mom, well, that ’s not our last name. and at that time, i worked on the radio, i had the right pseudonym, everyone called me that, and i took this last name for myself, i said: “mom, i want to change surname, because this surname is not of our kind in fact,” she says: “okay, i approve of you, you can change it, i agree with you,” i changed the surname, but started officially, yes, but that is, my children need a surname, but - i started digging further, because the story did not end, and it turned out just recently that i found out the surname of this man, who is there in soviet, his real surname is zhurovlev, and my daughter tells me: dad, maybe we can change the surname. to

zhuravlev, since this is our real surname? i say: daughter, well, don’t change your surname so often ? it’s worth it, maybe you will grow up, when you are 18 years old, you will change your last name, but we will know in our hearts that our real last name is zhuravleva, that’s the story, let’s talk a little about who gennady glodkov is? how he came into our lives, how his songs came into our lives, and of course, our main example today is the bremen town musicians. alexey, did you have the record at home? no, there was no record, i didn’t have a gramophone, but i had the bremen town musicians on cassette. i was born in '84, and i'm a child of the nineties, then there were cassette tapes, pencils, when you could rewind, when we shared the recording with each other. of what is on the cassette, two cassettes are inserted on a small tape recorder, and one cassette writes the other, in this way we transmitted the bremen town musicians,

and of course, the bremen town musicians are my childhood, this is a crystal pearl, as sergei burunov, the artist sergei, said burunov, while other children were copying the cinema group, and the cinema group, and the deshmot group, for example, did you watch cartoons on tv, well of course, it’s very interesting that when... shows it is necessary to make such fragments that were shown on television, well, in fact, music videos, as everyone said, but in general i want to say that soviet animation was very unlucky with distribution, as

it would be today they said, because there were quite a few opportunities for cinemas to show it on the big screen, so it’s as if all this phenomenon of the popularity of these very favorite domestic films, both cheburashka and the bremin town musicians, it rather still comes a little in hindsight, when tv... is closer to some kind of student time, that is , this is adult school time, student time, maybe these were fragments, but

a full-fledged cartoon. i watched it, it seems to me, somewhere in the late nineties already, it seems to me, since my first trip to the cinema was actually in the nineties, and i ’ll tell you now, in the ninety-second year, no, ninety-four, i went to see terminator 2, i’m also into terminator 2, and it wasn’t a movie theater, it was a video store, that is, it’s an ordinary one. room, here as you and i are sitting here, there is just a tv, there is a video recorder, a video recorder, then it was still called, a man comes out, inserts a video cassette, which means he presses the play button , and a film is shown on tv with, well, with dubbing like this, with dubbing right when you put a clothespin on it the nose was covered, and there were 10 chairs, i think they also

showed the bremen musicians back then. that is, for example, we were walking in the park, there is a stand in the park, well, like a stand, it’s simple, it’s just cardboard on which paper is stuck, on this paper it is written with a felt-tip pen, the time and the film and an arrow, which means pointing to the door, you go into this door, it’s dark, there’s some kind of tv, so you sit down, pay a ruble there,

it’s so sincerely filled with this that when you watch this cartoon, you ’re filled with it, it’s like imagining, something happened to you, you walk along the corridor and jump, that’s what happened to me, so i regularly turn on gennady grigorevich’s music in the car when we drive with the children to school or kindergarten, that is,

we know all the songs by heart . three-minute performance to a song with dance, that is, at the moment when i was making the film, they were doing their creativity, and this is a whole dance, a whole performance, that means my two daughters, one six, the other 10, their neighbor, who is 9 years old, the three of them made me laugh a lot , let's look at the most famous song, there is nothing higher in the world, we will not forget our calling.

they were friends and glodkov, in general, might not have worked in cinema, because he was not a member of the composers’ union, only thanks to the persistent character of vasily livanov, everyone knows about him... i also wanted to remember karloson, because there, for the first time for us on the screen, the work of livanov and the work of glatkov are combined. livanov voices the little guy, and glatkov writes the music, and it

seems to me that we can also remind the audience what it is, what nothing is. glozkov is already starting out as such a fabulous composer, he works in the theater, he also writes such light music, yes, but you need to remember that this is the sixties thaw, that

’s all it is, but there is no entin here yet, there is no text here yet, here no this is how it is i wish we could hum the melody from gentleman of fortune there, but this is not a musical film, it is still a slightly different genre, in that sense, and then a visayas story comes out. in the soviet union, everyone will know that there is such a term musical, not just a musical film, but inesa kovalevskaya writes in her memoirs that they consciously decided to make the brenin musicians like a musical, but they still didn’t really know what a musical was, what it actually was is being done, they have a sample of the vissaetsky story, a musical film, well, a musical a film is completely different, but they need a musical, a modern one, so they think, well, that means there shouldn’t be text, everything should be clear there...

it’s all about connection, for those who, those, who are friends, there are no worries, people who are friends, people who unite together, so they all united, all undoubtedly talented people, each a genius in their own way, they all united and something shot out, something simply colossally powerful was born , so it seems to me that - this is very strong in general in any connection in any connection, people connect, something very significant is born, and for me - a song of friends, it is also one of the most significant for me, well, it just resonates the most,

probably we sing it most vividly, but this is what entina was not in carlson, mm, this is actually heard in the words, because if we just analyze the words of the bremen musicians, then they are incredibly accurate in their performance, in their m... in their essence, very simple, very understandable and very period, there is something in this for me, for me personally divine, because such works, they remain forever only if there is something truly divine in them, the bremen town musicians is that same work, i understand correctly that you managed to personally communicate with gennady glodkov, how. .. this meeting took place, how did this work go? an interesting point is that

we didn’t actually communicate with him, but we, together with the composer maxim fodiev, were passionately burning with this desire, we really wanted to meet and get his permission, blessing, of course, but for that period, when we were preparing for filming, he got sick, our communication, it happened in writing, everything we wanted, we got, a blessing, yes, but it didn’t happen in person, unfortunately. and yuri entin participated in some way, of course, yuri entin, since yuri entin is the author of the rights, yeah, i talked to yuri entin, my partner, our general producer, leonid emilievich verishchagin, and leonid emilievich did a great job, communicating with each of the authors of this music and these songs, i really wanted to film this film because i wanted to, so i saw it. how my children sing it, and i saw how my

children want to sing it again on the big screen, and it seemed to me that it was so important today to sit with the children in the cinema after the film, discuss what you saw, because today it’s in the cinema after watching it, this happens extremely rarely, we go, or we used to go, to western cartoons. we saw, well, essentially dubbing , we saw something that is not connected with our country, but i wanted to make sure that we saw our russian people, our the russian language, our favorite russian songs, our deepest values, and we were able to talk about these values ​​with the children, you understand, you are a music lover.

to search, that is, i am a seeker, in fact, i am a researcher, and i really like to study something new for myself, if i feel that i am interested here, now, here. it is precisely in this zone, precisely in this genre, in this feeling together with the children that i feel good, i understand that there is a lot of energy there, now there is a lot of energy inside me and it must be transformed into something, and this something is a new film, usually a new film, but what genre is it, well, that is, we understand that this is a musical, but this, if we talk purely about the genre , is a bavi, and such a movie , journey, film journey.

cause tears, this fabric, which is created from completely different scraps, make it convincing, make it organic, because if we try to weave silk and i don’t know, cotton or something else, this or leather, it might turn out strange, but for me the cartoon itself was helpful. because this is a very clear guideline, because

the cartoon gives clear sensations, that is , i understand what kind of fabric this is, i also wanted to say that in bremensky there is already, already embedded even in the music of gennady glodkov himself, this multi-genreness is consciously incorporated, then there is such a via, a vocal instrumental ensemble, yes a song, there is nothing better in the world, there is, as they called it , a little... a close-up song of robbers, there is a bassanova, which is instrumental, which is in the moment orchestra, yes, of course, of course. the path of the golden sun, winter was hidden by a veil, and a word between us, suddenly a wall grew, the night

will pass on... and the morning a clear dream of happiness awaits you and me, the night will pass, the time will pass, the unnatural sun will rise, the sun will rise, all songs lead to light, amazingly simple, but this is a continuation, this is in the footsteps of delirium. gennady gladnov himself sings along to songs about security, there is security, he’s tinorochka there, because the vocal

instrumental ensemble didn’t come for the recording, in general, they recorded it at night, they recorded at night, and in this studio there is a sound track. this is a sequel, this is a sequel, which manasa kovalevskaya was very dissatisfied with, here you are, alexey, and you love sequilas, in general, mm, the theme, continuations, this is always not easy for the director, in my opinion, because if the director speaks for himself, if he really says something important that was hidden in his heart,

do it, he says, but let’s make a small one before making a big film. i say: great, do you have any ideas, maybe we can make a short film? i i say, yes, go ahead, i have this idea. one of my comrades, artyom tsarigorodtsev, my friend and fellow countryman, he, mm, once

told me this idea, he says, i want to do something like a sketch, essentially, where the husband died, and the woman finds herself in rooster in the house. the rooster just flies, so she lives with him, maybe it’s funny, and i call artyom, i say: artyom, i want to make a short film, can i use your idea, let’s write it together, you want to write something, he says, i really want to, i say, let's go together let’s write, there’s kolya, there’s you, there’s me, we’ll do something together, we’ll connect second, and we connected, we wrote, i thought about who i’d like to make this short film with, at that time i really liked it, now i really like it, but then she was a lesser-known artist valentina mozunina, i think, let me call valais, i contacted her, we met with her in gorky park, i gave her something like this to read on paper, she said, i’ll go with the frozen one, you read it for now , here it is eight pages, she read it, i came with her

with burning eyes he says: yes, i will, i say, okay, we need to find money now to shoot a short film, because... a short film is always a non-commercial project, and we found a person who was interested in it, kirill alekhin, producer, and kirill alyokhin said: i’ll find the money, i want to make a film with you guys, and he found the money, and we shot a short film in five, i think, days of filming, and the goal was essentially accomplished, we secured your relationship with a wonderful...

listen, well, everyone usually tells directors, how difficult it is to work with dogs, cats, and roosters, what is it like ? for me, working as a director is not hard, that is, i do this job with great pleasure, i do it from the heart, so for me it seems like it’s just a pleasure, but the dogs complex actors. well, of course, well , we just launched it into the frame, as it will be, so it will be, in this no, there was no special training, the rooster was played by

the same actor, or they were different, it was always, there was always one bird, we didn't have the money to have duplicates. well, you say that producers are not very interested in short films and what to do with them then, but there are festivals, yes, that is, we are talking about films that are family-friendly, that they want to be watched on tv on december 31, that they want the audience... in the hall they watched, discussed, but there is also not in parallel, but the festival direction is an elevator for the director, that is, first of all, because, uh, what is a festival, a festival is usually film specialists or those around cinema who come to this festival, look at the works and they have a certain intention, they are looking for specialists, or they write about this material because it is their job. but the festival is probably not very good for

the producer, because the festival actually gives the producer, well, an award, a diploma, or if you’re lucky, some kind of financial reward for a future film, but here... it seems to me that - if we speak in terms of festival categories, then this is always a very fertile territory for a director, because a director’s career can probably develop, and if it develops like this dear, that’s wonderful, well, as for your festival career, how do you feel about it, i’ve been from the very beginning. but i made an internal decision not to think at all about, mm, do i want to go to the festival or is

this festival necessary or do i want to promote my career in this way? i want to talk to the viewer as broadly as possible. i really want the audience to be happy as often as possible, i want my films to be shown on television. i want them to be shown there on platforms, on the internet, there are as many of them as possible more, because after all, i set myself the task of creating phenomena, great phenomena, and i like it when these phenomena , through a theatrical screening... somehow excite the audience’s hearts, if they are filled aesthetically, if they...