we will try to weave silk and i don’t know cotton or something else or leather, it may turn out strange, but for me the cartoon itself was helpful, because it is a very clear guide, because the cartoon gives clear sensations, then yes, i understand what kind of fabric this is. i also wanted to say that it’s already there in the bremenskys, it’s already embedded even in the music.

then a veil hid the winter and suddenly a wall grew between us, the night would pass through the stubida , trembling. a dream of happiness awaits you and me, the night

will pass, the time will pass, dear sun will rise, the sun will rise, all the songs lead to the light, amazingly simple, but this, this is a continuation, this is in the footsteps of this continuation, yes, firstly, i would like...

and why bother with the continuation, we remind you that on the air is the podcast lizenstein's witness, which is hosted by me, stanislavsky and natalya ryabchikova, and today our guest is the director, alexey the necessary, you had the rooster in your filmography, tell us about this film, in my opinion, 2015, i meet a very interesting person in by a wonderful

author, nikolai kulikov, i had then the idea was already made, i was losing weight to make a film, because i lost 28 kg, and for me this was a significant step in my life, i came to nikolai and said: “kol, i want to make this film.” he says: i also lost 20 kg, i’m also interested in this. i say, then we must do something valuable. he says, but come on before you do. let's make a big film and make a small one, i say: great, do you have any ideas? maybe we can make a short film? 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, basically, where the husband died, the woman turns out to have a rooster in her house, the rooster just flies in, here she is with him lives.

it might be 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. let's connect, and we connected, wrote, i thought about who i would like to shoot this short film with, on i really liked that moment, now i really like it, but then she was less known, the artist valentina mozunina, i think, let me call valya, i contacted her, we met with her in gorky park, i gave

the guys the film and he found money and we shot a short film for five, in my opinion, shooting days and the goal was essentially fulfilled, we cemented our relationship with a wonderful person nikolai kulikov, with whom we later made the film i’m losing weight, that was the story, let’s watch an excerpt from the film rooster.

listen, well , directors usually tell everything about how difficult it is to work with dogs, cats, what kind of roosters? for me , working as a director is not difficult, that is, i do this business with great pleasure, i do it from the heart, so for me it seems like it’s just pleasure, complex actors, of course, well, we just put it into the frame, like ... it will be, it will be so, there is no, there was no special training, the rooster was played by the same actor or they were different, there was always one bird, we didn’t have the money to have takes, well, you say that short films are not very interesting to producers and what to do with them then, but there are festivals,

yes, that is, we are talking about cinema that is family-friendly, that you want , to watch on tv on december 31, which you want the audience in the hall to watch, discuss, but there is also... what is a festival? a festival is usually film or film specialists who come to this festival, look at the work, they have a certain intention, they are looking for specialists, or they are writing about this material because it is their job, but the festival. this 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 award 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? and i, uh, made an internal decision from the very beginning. not to think at all about whether i want to go to the festival or whether this festival is necessary or whether i want to advance my career in this way. i want to talk to the audience 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... forms on the internet, there were as many of them as possible, because after all, well... i set myself the task of creating phenomena, big phenomena, and i like it when these phenomena , through a theatrical screening, can somehow excite the audience’s hearts, if they are filled aesthetically, if they are filled with the content of these phenomena, then the task is completed, people unite to... from one cassette to another and also using

improvised means like a pencil, wait, wait, the cassette is a rarity, it’s great an image to which one can strive in new technological conditions. yes, you know, there is such a rebas on the internet, yes, why do you need a pencil and how to use it with an audio cassette, that’s about the same thing, but i have such an important question. how did the fate of the rooster from your film turn out, he received new roles in other works, but in my opinion someone from the film crew took the rooster for himself, but i don’t remember who exactly, someone lived in a private house took it for himself, if today, today i was filming a rooster, i would take it for myself too, since i live in the house and i there is somewhere to store this homemade liquid. today working in cinema is more difficult than 10 years ago, when you were just becoming

a professional, yes, that is, in many ways your creative career had not yet been fully determined and you knew nothing about the bremen musicians that you would have to work on such film and 20-30 years ago, today you, as a director, had to pull yourself up, or maybe the producer told you that this is not necessary, it’s too complicated, it’s too authorial, let there be a movie, it needs to be simpler there or it’s necessary something like this to. the important point is to make a quality movie, and it seems to me that it is much more valuable if

the film remains there for decades in the hearts and minds of people, let’s say, i am very proud of the film fire, it is shown on february 23, it is shown every year, and i understand that it is important on this particular day, that is, this film became iconic on this day. events, and of course, i have a dream, i really want some film that we created with our team to become a phenomenon on december 31, at 8 pm, so that russians sit down on the sofa, turned on, watched and sang songs, suppose i really want to please people in this way so that we connect and not separate. and this was a podcast of lisenstein’s witnesses, where we, film historians, natalya

ryabchikova and stanislav didinsky, talk about forgotten, cult, little-known works of russian cinema and its heroes, in order to make it more interesting for you to watch them, today we had a director as our guest , screenwriter, alexey nuzhny, thank you guys, thank you, thank you. this is a podcast 20 years later, its host alexander anatolyevich and konstantin aleksandrovich mikhailov, our guests are the author, musician, producer, director, igor ivanovich sukachev and yuri aleksandrovich sherbakov, a collector of old cossack songs and not only old ones. hello hello. in 1987, we graduated from the directing department, yes, the department and the department

, suddenly a brigade with musical performances , the rock and roll stage, and so on and so on, and the directing doesn’t let me go, i look phew, well, well , everything is written in the family because everything happened at the same time, the brigade instantly became a famous group and it was also seriously staged. probably, yes, well , well, no, probably, for sure, yes, yes, yes, because i came up with it as a design, yuri sanovich, you acted in films, with shakhnazarov, with mikhalkov, how did it turn out? are there maybe a couple of stories planned or continued? well, if you call me, then of course it will be interesting, and so everything was filmed, episodes, but for me they are valuable, the fact that songs from our region were performed there, that they took them as their own works, it’s all interesting, purely by chance, that i can i’ll tell you here,

i accidentally ended up with nikita sergeevich, i know that there was such a person, he ’s no longer there, viktor pavlyuchenkov, by the way, he played the main role, father, we’re there to see vasily konstantinovich, i also ended up there, so there were episodes on the accordion, and nikita sergeevich’s disc came from viktor pavlyuchenko, as far as i was told, then they found it through feedback, rewrote the blank, well, what do i know, i’m watching this film and you remember this scene, maybe when they are on citadel, they go on the attack with cuttings with their heads in their hands it’s almost like an epic scene, they ’re coming, it means in this leather raincoat, it means mikhalkov, they’re walking suddenly, damn it, i see yura shcherbakov, i’m like yura shcherbakov, i had

a lot of money, i remember i was just shocked at all. at that moment, for some reason , i imagined my grandfather, so he stood before my eyes on this stage, i imagined my grandfather, i think, oh my, what a war it was and how they endured all this, through the same swamp, through the meadows, we walked all wet , dear mother, igor ivanovich, there are no plans to film something on a military theme, there is a film script that the call sign is called panda, so i want to shoot this picture, i hope that... well, i’ll go on the set next year, but right now it’s casting, i’m just starting to watch young people, tomorrow i’ll be at mosfilm, tomorrow i’ll be doing just that , preparation, yes preparation, yes, it’s a full film, a story about classmates’ friends, four boys and their girlfriends, you shot the film midlife crisis in 26

days, how did it happen so quickly, well, there was no money at all, there was no film, so we it's fast...

hit it, hit it, fate will wake up the ruin, the rowan slok will knock in the water, sweeping up and papal the sea. whoever is so, is unwilling to light a light, someone is unable to say no, fate will be divided into a rainbow,

a snake will eat its tail. in the eyes, flight in the chest, fear, melancholy in the soul, only she needs pain, it’s impossible otherwise, but just hit, because, prophet, fate will wake up words, rowan words on the table, poraska, snack pales, top and daddy morek.

i so want to burn the words on your fingertips. tell a couple of thoughts in your pockets and give ice, cool your body, kiss the clock is just ringing, i’m sitting there and i’m sitting there, patrali century, for you and me, and for you and me, well, only.

long live love, guys! the crew with their first performance on the veranda of the kindergarten, as far as i know, oh, no, this, oh, my god,

this is not at all the same, the biographers lied, they lied, in general, history is such a false thing, because well, each of us remembers the same thing same event in its own way, let’s ask the author, but in reality, this is not a performance, i didn’t work for long...

they did it there, how long is this underground concert lasted, but for about 15 minutes, probably because someone immediately laid us down, so they went on to knit us, but that’s all...

he made a huge impression on me, zhenya khavtan played in the same group, so he was the first came, zhenya khaftan came to the postscript, which was already falling apart into collapsed - the postscript he created a bravo group, sergei and i had already graduated, well, we met then after this concert, hello, hello, well, how would he have heard about me, i heard about well, moscow is a small city, everyone knows each other, and even more so

there. advanced youth, and seryozhka and i met at the school, because he entered the orchestral conducting department, the orchestral conducting department, and i entered the directing department, that’s all, and we met and decided to make a new group, although the name already existed, but the brigade s was born with sergei, it was born as a group, together we created it, we are exactly a group. we created it together, although he played, with different people, and i, it seems, and even had a name, but it’s all, you know, fluidity, fluidity, this is because sukachev, brigade s, well, everything is often such a provocation, well, yes, yes, sukachev, sergei golanin, in general, all four of us have the letter s of those people, those people who created this group, one way or another, there was

a letter, a letter. i don’t know, i think i was lying about something back then, well, guys, 30, 40 years ago will be next year, i was lying that i liked her, or maybe you weren’t lying, that she was round, but not closed, there were different versions that i liked it, well, i was interested in all this kind of bullshit, well, directing, well, yes, well yes, seryoga golanin, i remember drawing notes on my cheek, yes, notes, and i also did indian coloring for myself, which... i should especially note, in my opinion, of course, the style in which the group appeared on stage, well, yes, well, yes, and then the untouchables appeared, well, it wasn’t soon, not right away, but yes, they appeared, yes, how did this one appear, this is a great group, yes, it’s true, but this is the first supergroup in the country, i don’t know if there is one now, i just i don’t really follow this, but i do, there are no such collectives, yes, we don’t have a supergroup, a second, supergroup i

i’m translating for... this is the story i’ll also try to make short, it’s not short at all, because by the year ninety-three it was already clear that, well, at least for me , that well, i had to somehow move my own way, so seryozhka golanin did your group. earring, he already made it, then a little later dima groysman, it was just that he helped him and the first record came out, and there was this, well , big crisis, we crossed the thirtieth anniversary, we were already older, we broke up and were together for a year and a half, as they say , in different groups, but at that time this year and a half, which is called a year in 10, yes, and we got together again, recorded two

records, all this is rock and roll and... rivers, when we recorded rivers, i said for sure that this is our peak, we no, we won’t record any more, that is, you then decided that nothing would be better, yes, but when there was a presentation in a small bowl, i said at the press conference that you were present at the very last concert of the brigade group with, more than it will not exist, yes, but tolik, he had his black obelisk, this is his beautiful group, and but tolik... after all, he, too, began to study music in a jazz studio, and tolik really liked our music brigades and even more our early music where there were a few more jazz techniques, and i don’t even remember either seryozha, he began to come to our concerts where we play, tolik comes and even

played with us several times, imagine at the concert. i just took the acoustic right with us on stage, this was a difficult time, well, i just had to make a choice, a choice. had to do tolik, he, too, was cramped within this framework for seryozha voronov, and we are in our little place, which olga then sold, so that i could finish the picture, this is all talk, we sat, chatted, chatted, you know, about destinies art, about the place of an artist, well, i’m saying this now, of course in different words, but somehow we were on... no one had done it before us, no, we really wanted to play together when we were there with seventeen-eighteen-year-old guys, bought various candles there, lit the candles,

turned off the lights and for hours, hours, every day, we saw each other every day, played some jams, that’s how this group was born, let’s talk about what now? is happening, tell us about your project with yuri, this is not a project, this is not even a project at all, this is not even a project at all, fortunately we met, became friends, played together, and i want to play together, now we will definitely record another song, i never think about this topic at all, you know, bosman is a tramp too, because sasha and i

didn’t build them, now it’s too late to build them. let's listen to your song together: i hear thunderstorms roaring. come on, i hear the thunderstorms thundering, bronze all the existing lightning. the winds began to heal, everything that had bloomed before was broken, the saga was scattered, filled with pain and grief. they trampled the flowers, melted the mountain, swept the forest, otherwise they filled the shup with pain and grief, trampled the flowers, melted

the snow, and i look into this darkness, where i am still engulfed in heat and screaming, but i will not be the forerunner of it. close, in its depths, i know what was destined for me, and i only ask, let me stand, in its depths, i know what i am destined for this, and i only ask one thing, let me resist, and help me to... stand under the steamy skies on the gray ones, help me, like a candle, not to go out in your honor, and if i fall,

help me gather my strength, so that help, russian god, if i fell, help me get ready.

you hear the thunderstorms, they creak, i play, all the sucking moths, the wind is stronger than ours, everything that was previously blooming words. they swept the sai, the carcass over the field and burned, and

the flowers became, the bliss melted, they swept away from the nakedness, i remember the party and watered the grief, they piled up the flowers, melted. igor ivanovich, not only composer, singer, film director, but also theater director, well, yes, there is such a thing. in the theater, how many productions there are already today, well, there are only three of them, one together with mikhail olegovich, this was a very long time ago the villainess or the cry of a dolphin in the chekhov moscow art theater, it was a long time ago, when oleg nikolaevich efremov was still alive, and so accordingly . which was shown at the sovremennik theater, and now i

staged a play at the sovremennik theater called sasha shishin, based on the novel by sasha nikolaenko to kill babrikin, can i say a few words about this play, enough he told me a lot when, well, the anarchy had been going on for probably two seasons, and galina borisovna invited me to her place and said: do you want to stage something else in the contemporary theater, i said, yes, of course, i will definitely do it, it’s easy for me. i need to find material, so he says: okay, look for material, the theater sent me some plays, my friend misha gorevoy sent me plays, because he generally knows modern, modern playwrights very well, he sent plays much better than i did , i was looking for something myself, me it didn’t warm up at all, and in 2016 sasha nikolaenko’s novel kill was published.

having not yet received a russian booker for it, i read it, it is a very complex novel, written in blank verse in the first person, a very complicated, simply extraordinarily complex novel, and i said to myself, that’s it, i went to borisov’s shin first. with this book that

sasha gave me, i say, i found galina borisovna, this is what i will play for her, she read this novel, there a day and two later i came to her again, so she says, you are, how are you even going to do this? i say, i have no idea at all, so i have no idea, that is, her reaction was ironic, no, no, she says, i don’t understand how to stage this, this is a very complex work. how to stage this in the theater, how do you imagine it, i told her honestly, i don’t know, why are you going to do it there, i say, i’ll just do it, i don’t know how to do it, it’s hard, either i’m here or here, or throw yourself out of the country, so she says, well, go ahead, i believe in you, it’s a shame, this is st. petersburg, she’s from st. petersburg, beautiful playwright, i knew her at that time, read her. i

love her plays very much, i called olya and said: “olya, please read the novel, let’s write a play,” and we wrote the first version, then the second, well, galina borisovna died, the pandemic began, then i they just called from the theater, i returned, the theater asked me, would you like to return to your native walls, i said, yes, i will return. i have some debts to galina borisovna, well, that’s how it happened, igor ivanovich, legend and hero many of its landing, which is already quite good. just that we are friends and i even shot a video for him at one time, so tone 16, veranda, igor ivanovich is having a meal, here

come the guys from the security agency, whom we all know, in general, they always protect all sorts of imported stars, which. great, i say, great, and he sits inside them like that, crouched down like that, and so tense, i say: guys, you tell him that i won’t offend him, let him relax, well, yes, that was the case, he relaxed, but they came, you said, he banged, well, somehow we shook hands, let's listen to the song, your

next one, together, my life flows and rolls, come on, this song was written by alexey medvedev, he is from the city of murom, he wrote this song when he was 26 years old. we are all a little the same age as a young guy, and when i first heard her, she made a huge impression, and we immediately started playing, and for the first time we just signed her up for the bossman tramp with sanya from klyara, part two, and i told sanya , listen, i ’ll play you a song now, here’s lyosha medvedev, he didn’t know him at all, so i say, let me play it for you right now on the internet, i love this song so much, i’ve been wanting to play it for many years, but to play it in my own way, and he says: well, come on, come on, i played it for him, he says, why are you a fool, let's go, let's go, now we'll rehearse it, we'll record it, so we recorded it, this is a podcast 20 years later, its host alexander anatolyevich, mikhailov, our guests were igor ivanovich

sukachev and yuri alexandrovich shcherbakov, and let's listen to the song "my life flows and " everything happens, sometimes i don’t even want to live, sometimes i don’t want to, my soul is in pain, but my life flows,

flows and rolls, flows. it flows like a wheel like a stream, but my life flows, flows and rolls, flows and rolls like a stream. and with a wheel, a big bougen, a big carp, suck it out.