teach us to hallucinate less, well, we started with the fact that we, in general, are lukewarm, so to speak, if, if our digital images were created, created by artificial intelligence, it would be interesting to look at them, of course, here are our models and here lena wondered what we could look like, we just have a question about this, oh, yoshkin, who is this, well, nothing. oh this is so kind of oh and you know how pardinskiy he is, that’s how he sees us, yeah wow, he’s made us look so young, look, he’s giving compliments and hallucinating, and i see you like in my head, you look exactly like this too, and i’ll actually tell you how photorealistic portraits are made . we have a team that deals with detecting fakes. you know, now

this is a particularly pressing problem, well, with the development of generative models , you can generally make a bunch of fakes and display them in on the internet, and this can bring huge losses to both companies and states and all sorts of reputational costs, that is, we must learn to distinguish between what is created by a neural network and what is not, so we are actually within the limits of to detect fakes, they decided to make a model that generates fakes, why? then, in order to complete the detection model on the detailed network that the generative model for creating fakes generates. so, as part of this work on fake detection, we made a fake generation model and applied it here, that is, how kandinsky creates your face as a model, first there is a model that describes you, then kandinsky creates your image with a tiger, for example, you can type in anything, there at the sea, i don’t know there in winter, skiing, and then the fake generation model, this one of ours, which helped the fake detection model, simply transfers the face, that is, this is the real you, in principle. yes,

dear friends, denis dimitrov is our guest in the creative industry podcast on channel one, the man who created the kandinsky neural network, a wonderful team, and the main conclusion, even if we don’t quite understand everything, in general, in the end, we understand, there’s still nothing to be afraid of , look how nice, smart people are, doing those things that we may be afraid of for some reason, not we must be afraid, because this is the competitiveness of our country, and it is in the reliable hands of people like denis. denis, thank you very much, we are waiting for the next stage. the antennas are on your head, with you there are still analog, analog versions of the presenters, elena kiper, producer and video director, and roman karmanov, general director of the presidential fund for cultural initiatives. it was a creative industry podcast on channel one. see you.

this is a podcast of witnesses from einstein and its leading film historians natalya ryabshchikova and stanislav didinsky, we talk about how to watch your favorite, half-forgotten, unknown soviet cinema now, how to find new meanings in it and how to get even more pleasure, no matter how old you are... "you probably know the incredible tatyana, we know peltser only in age roles, how did it happen that a great actress became great already in the second half of her life, well, actually, not just age roles, in supporting and third roles, that is, in general, a great actress who never played, almost never played leading roles, how did it happen, for this we will have to devote quite a lot of time to the first half of her life, we will try

to do this quickly, of course, she was born at the very beginning of the 20th century and, in fact, could start acting in cinema even before the revolution, because she was the daughter of actor ivan pelzer, so he just came to cinema in the 16th year of the 20th century, both as an actor and as a director, he was from that breed of provincial actors who can do anything, who travel around the country, who play shakespeare here, something from there. modern young playwrights, she began to appear on stage herself, literally she was not yet 10 years old, when the great, by that time theater and film actress vera yureneva played somewhere in the province anna karenina, tanyusha peltser played the boy seryozha, her son, although peltser had a younger brother who was also put on the stage, but he didn’t become an actor, he went into auto design, so tatyana was created for the stage in the twenties.

they approached her, she gets married, goes to germany, marries a german communist, but she has to work there a typist, and there she meets the famous german left-wing director erwin pescator, who is invited to play in the theater, but apparently the husband was not very much in favor of continuing his career, in the end, well , it’s not really clear, there are different versions of this, which tatyana ivanovna chose career went back to the soviet union in the early thirties. the union so happened that she found herself in the theater only towards the very end of the thirties, when she got into the then famous theater of miniatures, there were actresses who were similar to her in the type of talents, maybe, somehow, looking at them, she found herself in a comedy in the grotesque, in such

a sharp-character work, rina zelenaya worked there, and maria mironov worked there, but at the same time, mironov and the greens had already begun acting in films, the greens were famous.. hudson, but nevertheless, we can see her young, again, peltser was unlucky, she started acting in the forties, that is , she somehow more or less settled down in the theater, they began to invite her to small roles in war films, literally... episodes, she played in the film she defends her homeland, she played in adaptation of chekhov, and a little more was found in the middle of the decade in leningrad by the famous directors koznentsev and trauberg, in the film there are ordinary people, but the film was not

released, it was put on the shelf, and yet for peltser this was an acquaintance with the real film director, she finally understood how to lead a role at the direction of the director. she understood how to work in cinema, it seems to me that all her life she appreciated what koznintsev gave her, even if the audience did not see it then, and then worked with his assistants, with nadezhda kosheverova with ilya frez, it so happened that these are two directors who filmed her very often, then, well , in the theater it goes into the theater of satire, here in the late forties a play was staged, a wedding with a devotee, it is so... . it’s popular that in fifty -three, it seems, it was filmed, the play itself was staged by boris rovenskikh, and the film adaptation was made by tatyana lukashevich, there is a young vera vasilyeva, there are wonderful songs and a small role of such a klutz collective farmer, she sings a little,

she sings chistushki, this is peltser, in the performances, they were all so magnificent, back in 1951 we awarded the stalin prize of the third degree to the entire cast. well, when this film adaptation came out, or rather, it was a film performance, but it looks more like a film than a performance, of course, then, yes, the career really began, immediately after that peltser played in the film soldier ivan brovkin , well, actually, the role that made her famous, the role of the mother of soldier ivan brovkin, such a klutz, incompetent, for whom everything seems to go wrong until he joins the army, basically a director.

if only there was a guy aisle, he asks to go to the garage, he asks, he asks, he asked to be a mechanic, he asked, he burned wires, he burned them, he almost burned down the stable, not a single foreman wants to hire him, he is a loafer, a no -worker, an irresponsible person , that’s who your son is, i won’t send him anywhere, that’s enough, i can’t, i can’t, i can’t, but what did you promise to your husband when he went to the front, and to your family? don't worry, now my son is without a job you leave it, i didn’t raise my hand against him, cover it with a whip, it’s me in a hot mood, it’s a joke, he needs to be quieter, quieter, the people are listening, well , drink some water, he’ll bring the man himself, and then water, okay, okay, so what?

i’ll come up with something for your ivan, it’s interesting that we remember rina zelyonaya in roles that were also small, i still want to compare them simply, but in roles that... seem to be based on a certain profession, then she’s a turtle, let’s say, then she’s a machine. in her life she had no grandchildren, or even children, but even in ivan brovkin it is clear that she is

mother, she is the one who protects, she is the one who makes scandals about the necessary reasons, she is recognizable, despite the fact that she plays a collective farmer here, she herself is from a theater family, russified germans, merchants, and even nobles somewhere there, background pelzers were somewhere far away in the centuries. one might say, there is a kind of scheme according to which these images are built, it is always some kind of bubbling temperament that bursts out on the screen at some point and becomes one of the most striking scenes of this or that film, this happens very often, she she often makes scandals on the screen, but she is a difficult old lady and don’t put your finger on her, she will bite it off, and this can be seen already in the fifties, she begins to play for nadezhda koshiverova as a tiger keeper, also... a small role as a mother, one of the heroines, yes, she too, she stands up for her daughter, she makes scandals, but

she makes scandals with meaning, this energy, it was inherent in her life, yes, she was very, rather so intelligent, intelligent, aristocratic, or something, yes, kind in life, she was always fit, as they remember her, she would be very old, but on the screen she is with... her own, she is simple, she is universal, what is this at the heart of each, well, very many of pelzer’s images, this is reflected, well, as if already by the director and actress, a heightened sense of justice, here she seems to have this temperament, this certain scandalousness, it manifests itself in exactly this form, yes, that she defends some kind of justice, as she understands it, yes, with a fight, with a scandal, sometimes , with requirements. with swear words, in general in life she is not she shunned, as they say, strong expressions, but

nevertheless, in general, her character was also so difficult, because i have memories of how she got into trouble with directors, very often her career in one theater or another ended after, well, a showdown with the main director, who , let’s say, didn’t give erol, so i won’t say very often, because after all, we have little data about the twenties and thirties, but in the satire theater, where she came in the late forties... she worked, by the way, for 30 years , and they were truly stellar years, another thing is that she is already approaching 50, and then already over 50, but there are wonderful roles for her, wonderful opportunities, peltser’s biography is a clear embodiment of the development of one of the lines of russian theatrical art, theatrical traditions, in particular, well, not a little forgotten, the so-called korche theater, which, well, opposed itself , or let’s say... his colleagues presented this theater to stanislavsky, a little earlier, and later to the mirkhold theater, the line that

he developed in soviet art. well yes then there is a director’s theatre, which begins with amkhat, just like that, yes, then stanislavsky’s student miir hold goes even further in this sharp form, and there is a popular theater, which, well, is not quoted, but in such official sources , but where did everyone go, this very korsh theater, these about... and then satire, this is the same thing, yes, this is a popular theater, they can stage

classical plays, modern plays, but it’s always for the audience, these are wonderful directors, mark zakharov, yes, valentin is a rogue, who there is the main director, but the main thing in this theater is the actors, this is the podcast of witness lisenstein, in which today we talk about an outstanding supporting and third-rate actress. i wanted to remember a couple of roles, in fact, peltser in the satire theater, there was a wonderful performance, why do we know about this, we can see it now, we can talk not only about a film career, but... on a theater career, because starting from weddings with predan, yes, since the early fifties, the best performances were then transferred to film, not even like films performances, but as television plays, a wonderful performance that was staged by mark zakharov and alexander shirvint, wake up, it was staged in the theater at the very end of the sixties, it was

filmed in seventy-three, and we can see seventy-year-old peltser doing incredible entrechat there, dancing. runs around the table in an accelerated rhythm, as if to a silent movie, the bennihl show is like that, a little bit, yes, a performance that was just made for her, she plays the aunt of the main character, aunt toni, it’s like that here is an old woman who enjoys life, who receives five pensions, they start right from this, and so they imagine that they bought a new umbrella, again they received a pension, that they were from canada, from canada, and from italy, and from italy, and from sweden and from sweden and from france and from france, then she tells: the story of her life, i always want to see in this, of course, some echo of the story of peltser herself, that she had five beloved men, they all went to different countries , and after the war she wrote them a letter, that i never forgot you, i never regretted that i loved you, so we parted, but remember me, i lost everything, they started sending pensions, one, as she says, went to sweden, became a member of the

nobel prize committee and each a month sends me my little nobel prize, then they... it tells everything, they run around, have fun, she kind of brings the main characters together. the role, one might say, is not the main one, but on the other hand, in general, it’s very important, system-forming, yes, there was another incredibly popular performance, the crazy day of elzhenib figaro, there, of course, is andrei mironov, who, well, bathes in the role of figaro, but peltser plays his mother, and without her the play is also not a play, we can see this too, this, of course, and her... truly its finest hour, the theater gave it the opportunity to manifest itself, and cinema actually received some crumbs, yes, well, firstly, actually it was already an era of stagnation, and a little earlier, this was already the time of such a real dawn of children’s cinema, cinema, very one from the strong

directions of soviet cinema, this is attention cinema for the younger generation, for children and youth. she may not be the main character, but it’s hard to imagine without her, he’s like a kind of background, like a grandmother, and in the life of any grandson, there are parents, there’s someone who connects all family members, but she’s not a simple grandmother, in that - the point is that pelter is a grandmother who sings, dances, rides on the steps of the tram and climbs onto the roof, and this was clearly demonstrated by ilya fress in his film

the adventure of the yellow suitcase, which in general is such a real benefit performance, tatyana peltzer. on the screen, where she showed all her acquired talents and flexibility, and youth, and slimness, and the consequences of yoga, and so on and so forth, let's watch an excerpt, i will rise, if necessary, higher, i am not afraid of anything, stop being patient we have holes in the roofs, boldly no one is a coward behind me, first entrance, fifth floor, we are flooded into bardage,

i will show my iron character in my infusion, so please be kind, listen! my team, first entrance, fifth floor, we are heated, which is interesting in the film the adventure of the yellow suitcase is that, as they write about it, peltser performs almost all her stunts herself, well, that is, it’s not just someone dancing for her on the roof, but she is raised to at least some height, that’s all after all, and it’s not in vain that hope... our craftswoman, yes, a storyteller, a director, has been filming it for 30 years, it seems that her career began on good terms at 50, yes, but after that there?

his characters cannot do without their grandmother or great-grandmother; at some point, it’s time for quarantine, she appears as a great-grandmother, yes, yes, yes, and at the same time it’s interesting that we see her as a mother, aunt, grandmother, great-grandmother, at first these are more realistic roles, then more comedic, fairy-tale roles, and then we reach a new realism, in the eighties , well, this, probably the most famous, most beloved role is pelser, although we... maybe someone will argue with me, but when she plays in frez's film you never dreamed of, she is absolutely phenomenal there, but she

breaks the mold there, perceptions, everyone is already used to the fact that she is such a kind, cheerful old woman, and she in fact, she is not kind, not cheerful, in fact she ruins the lives and personalities of her grandchildren, and simply by forcibly imposing on them her point of view on life, you need to remind you that you never dreamed of it, this is a melodrama from... and then he will come, i i will lie down to die,

understand, this is a forced deception, open up, open up, let’s talk, we will deceive you for your own good, says the older generation and in general it’s like a conflict of the older generation. and the younger generation in films of the eighties, although it clearly manifests itself in some kind of everyday context, the film courier, for example, yes, where we see the absolute abyss that lies between children and parents, i always think that it is in the role of a grandmother that you never dreamed of, peltser is most similar to herself, for some reason it seems to me that she is like this, although here she is a grandmother in leningrad with a fireplace and plants. so on, in moscow she was a single woman with a two-room apartment in an actor’s house near the airport metro station, and she carried a bag over her shoulder in the metro, and in fact

, you could often meet there, as neighbors say, neighbors were seen through the window, how she cheerfully rushes towards the metro, but nevertheless, this is what i think she is, the only difference is, of course, in her the great actress did not die, in her she just came to life just in time, when her time has come, you’ll think that after... fifty, but there are still so many wonderful roles, again, not only in cinema, not so much in cinema, but in the theater, beauty, what a mish you are, it’s all the same, you are more beautiful, here you are, bear, don’t get used to me i can’t get along with ermakov now, i understand, hands, i see you’re not touching, we’ll still get married, i won’t follow nazar, i love the bear, varka, make up your mind, i need to start a new life, i ’ll get a job at a factory, we’ll rent a room somewhere for you too, the thresholds are ahead, mom, misha, where, they didn’t

find him, dad said, you’re on crashed in the rapids, hold it, jump, i said, i’ll shoot now, honey, don’t, it was he who killed him, father, how did you end up on the shore, are you me? a young director , mark zakharov, appeared in the satire theater, who began to give her wonderful roles, including.