the whole studio came up with this name, initially it was something like the story of one aircraft, that is, based on real events, where the consultants were real engineers, yes, aircraft designers, and pilots who actually tested all these aircraft. mark gollay, the famous pilot, was one of the prototypes, who, by the way, didn’t like this idea, why is it now about us - real people will make movies with our names, where something will be true, something will be fiction, and he protested very much against... the pilots having real names on the screen, that’s why they are all changed there, somehow it went in a polite way, but it took some time, some persuasion, well, in general, the figure of the pilot, it’s like the figure of an astronaut, in these years has a well-known areola, let us remember that a little later larisa shipitka makes the film wings, on the same material on a completely different topic, a completely different topic, but the theme itself is flight, yes, cosmonautics, stars, sky, pilots, who in 5 minutes, they're about to become an astronaut. it's all there, yes,

indeed, among lioznovo’s consultants there were people who were connected with bekanur already at that moment, and for her, as she said, it was interesting to immerse herself in some new world, to reveal a new profession on the screen, to learn something new for herself, and she did this on every film, she said that you need to not just study life for the director, not immerse yourself in it, but live it, and this requires much more, actually getting into the material. maybe that’s why during her rather long career, 30 years, it turns out, yes, from the first film, independently produced until the last, she has only nine films, well, that is, more than three years, yes, it passes, but if you count each episode of 17 instant spring as a separate film, then she has a rich filmography, but milestones in it appear every few years, it turns out that after they conquer the sky, she also shot another one - in

a slightly documentary style, a picture, also based on the script of vera ponova, which is called early in the morning. melodrama, again, yes, such words were not spoken then. the word melodrama in soviet the union, as it were, was considered non-existent, it is some kind of bourgeois genre. it was a family drama, but here there was a family drama, or rather the story of the growing up of a brother and sister, orphans, again, yes, the theme of orphanhood. and very much in the spirit of the gorky studio films of the sixties, the house in which i live, yes, that’s what it is. family, simple and at the same time not entirely expected, unexpectedly, then a new idea comes, and it comes from a song, overheard songs, in fact, flights, pilots, the sky, alexandra pakhmutova writes song "tenderness". and lioznova comes up with an idea, or at least that’s how it is later told, that something needs to be done around this, and only then does she come across alexander borchugo’s script.

she wants three poplars on a shabolovka again, she thinks that she should cast nonna murdyakov in this role, it’s difficult to find an actress, but when they asked her, why didn’t you cast murdyakov? she thought that i would now record nonna singing the song tenderness, this scene came to her mind, yes, the heroine sings this song, sings like this according to the folk, so according to the woman, and she said, i ’ll write down nonna, i’ll find some actress who can sing to nonna, when they asked her, why couldn’t you call mordyakov, she answered, well, what kind of guy does she want? you can take a couple, here, here’s the weight, yes, the personality, the weight of the actress, who could play in partnership with her? tikhonov, perhaps , by the way, but it didn’t work out, so they searched and searched and found doronina, who was extremely strict in her approach to the selection of scripts, just as it was difficult for lioznova to find, yes, maybe doronin was even more difficult, and just as they always said that working with lioznova is incredibly difficult, that if you were able to work with leoznoeva, then you can work with anyone, they said the same thing about doronina, what happened to her ... it’s impossible, well

, she’s an incredibly complex person, these two personalities collided on the set, yes, sometimes, they even say, doronina won over lioznova in this jump, let’s say to the actor efremov, who probably witnessed this difficult process, nevertheless, here he is i was there once the weight seems to be worthy of doronina, they then actually played in other films, we have one from this film. yes, efremov won’t be there, but nevertheless, it seems to me that he is very interesting, i brought a new one for my father-in-law and mother-in-law, but they are dead, it’s a sin, they are dead people waiting for their time, they were not given a lot of things during their lifetime, i brought them to my uncle yegor , i thought about the one-armed man.

do you offend them? i’ll give them mine, so show me, brag. there were still two kopecks, brand new, for some reason i really wanted the film to be called not three... streets, but still, well, perhaps it seemed that it sounded more harmonious, or something, it was always important for her that it was hers, that is, she decided in the end and

they wrote a song for her, she will know who sings it better than the composer there or the author of the text, she knows how best for an actor to play, she knows how best to film it, she prepared as clearly and... carefully for each shooting, that is, for her it really was such a job she forced those around her to work for wear and tear erasimova makarova seems to me to be telling here, perhaps, perhaps, why this scene is so strange, because this is the dream of the main character, of which there are actually quite a few in the film, and we start with this dream, and here such elements of surrealism suddenly appear that you forget about, when you just know, well, yes, yes, yes, she sings a song of tenderness, they are sitting in the car, here he is waiting for her, realism, yes, but there is also... this inner state, the inner world of the main character, in principle , just like the film evdoka is called by the name the main character, this one could probably be called nura, but not like that, here we move on to your favorite theme, or theme, to the discovery, i would say it that way, to the cinematic, lyotic, like a hidden surrealist in soviet

cinema, there is obvious ones, like andrei sergeevich, gonchilovsky, for whom it shoots out somewhere at some moments, slips through, especially in later films, like a pockmarked hen, and there are also more obvious ones. it’s interesting that gerasimov himself is quite himself, despite the fact that he is such a classic soviet director, cinema boss, general, i would he even said so, cat cinema, which makes such films, built according to all the canons of socialist realism, nevertheless was not chusht surrealism, and was, in general, sometimes often its defender, yes, when there were problems with the cartoon glass harmonica by andrei kharzhanovsky according to the script based on the script by gennady shpalikov, they tried to ban the film. because his aesthetics were too incomprehensible, alien to soviet cinema, the authors actually turned to gerasimov for help and he said: well, this needs to be staged, this is our kind of soviet surrealism, why not, and as for gerasimov’s studies with him, they were connected by one more thing,

music, lioznova was incredibly musical, from these early melodramas, but you can’t really tell, well, maybe she chose very always good composers andrei shai, she worked twice with... reverdiev, she worked with gay koncheli already in the eighties, she was generally characterized by musicality and rhythm, entering vgik, she entered, again, the classic of soviet cinema, selada pudovkin , which he later handed over to gerasimov’s workshop, he asked what her favorite music was, she named beethovin, then he asked, what do you like there or tell me something, she said, i’d better tell you the music, i ’d better sing it for you, she began to lead the melody with her voice . and you dance, and i sing, yes, as he says, so maybe there was this dance of carmen, and then they had a game with gerasimov, when they found themselves at the studio at the same time, she came to see him, let’s say on the set, maybe even be, naturally, not during filming, but between takes, they came into play, it was necessary

guess what one of them was humming, the members of the singing group looked at them as if they were crazy, in general, that she was coming here, taking the master away from work, but for them it was really that they were united by this very music and... and leoznova on in fact, for a very long time she tried to create a special creative association, well , like a studio within a studio, yes, which would deal specifically with musical films, and for her the film carnival was already the beginning of the eighties, it was one of her favorite films, this is exactly what she would like to do, in fact, but it turned out to be only one in her career, and before that she shot a film adaptation of alexander gelman, we are the undersigned, and this is such... an express in the soviet way, it’s not a detective story, but a production drama, but all the actions unfold on the train, for two episodes we are traveling on the train with the characters, and a wonderful company of actors has gathered there, yuri yakovlev, irina muravyova, klara luchko, oleg yankovsky and leonid kurolev in the title role, also aristarkh

livanov, here is the main one and the six, having worked with them she thought that, in principle, it was already sound, she told them, let's make the following picture together: yakovlev, luchko and muravyova, and this... the picture carnival, in fact, was born from her short teaching at vgik, it seems to me that she had only one workshop, she worked there for about five years , she asked the students to do sketches based on the script:

i remember the aesthetics of the videos of the abba group, this whole fashionable pop scene, then of the late seventies, early eighties, which would then sparkle with new colors, towards the end of that era. by the way, you can also count such slightly surreal elements, because the heroine always has something like this in her head, she sees herself as a star, this is probably liozny’s most autobiographical film, because she was such a girl, though not from the provinces, she was born in moscow, but she wants to be someone, she wants to become someone, but she can’t, yes, that’s the drama, plus mom, mom, to whom the main character returns at the end, who is sick, that’s absolutely the story liozny and...

it can’t be, here’s shalevich, who played tatyana doronina's husband in the flood on the plushie, he played in 17 years of spring, an uncharacteristic role for him, but the role of an american, and he said that at some point they did not learn the text with a partner, and there were 17 pages, they thought that somehow all this would be voiced, she forced them to learn it right there, spoke this text to them, and it really turned out very cool, because they understood it, they didn’t memorize it at home, yes, somehow they understood it, comprehended it, so she came up with some things in advance. she was very clear the elements she wants in the film are clear. she really wanted the

carnival to have a song about a telephone, that is, it was a direct order, there would be a telephone. on the other hand, this little scene begins with the heroine sweeping the asphalt and at the same time training her diction, with these same pebbles and nuts. she came up with this during the filming process. arriving at the site, saying, let's try this. and it turns out very interesting, this combination of music and humor. about melodramas, something unexpected, a great master of comedy, eldar rizanov said that i envy lioznova that i was able to make a carnival film, because when in your film people laugh for 15 minutes so much that they don’t even hear the further text there, but this is necessary, you must be able to do this. this is a podcast of lisenstein's witnesses and its hosts and film historians, natalya ryabchikova and stanislav didinsky. we continue our conversation about director tatyana.

went, and her last picture actually met with her, but something, something didn’t become a three-part television series, it seems, with a very intriguing complex title, the end light followed by a symposium, yes, but critics say about it that it was already some kind of belated movie, a film adaptation of an american play, where the main character... in fact, is also a playwright, all our wonderful soviet actors play americans, this is a little rounding off of a career, when she began with the memory of her heart, where there were real... englishmen, real germans, this is such a serious movie that would look good in the era of stagnation, then when it came out, the eighty-sixth, eighty-seventh she was filming, it was already well, it’s not at all appropriate for the era, something completely archaic, although she has a continuation of this, her technique for

personnel text, and there is a conversation with the audience, that is, well, right? comments on what he is doing, well, in general, without 5 minutes lars von treuer, this, by the way, is an interesting optics in order to watch this film, perhaps this should be done, use something unusual in order to see something unusual in what she did, but then the film was not accepted at all, and this is something else. the era after the fifth congress of cinematographers, when these trends of perestroika completely change the film industry, the old generation leaves, someone really remains, someone continues to work, but very often or most often less successfully than before, it is very difficult to find contact with the viewer, yes, after all for liozn it was always very important this very feeling, yes, that she knows, yes she

always understood for whom she was filming, for the residents, for the citizens of the soviet union, for the soviet audience. and the values ​​that she postulated on the screen, yes, coincided with values ​​of the audience, but here it’s as if the audience disappeared, left along with this country, or at least some kind of gap occurred, and for lioznova it was important to actually work in cinema, she said, quoted someone, art is work on the condensation of goodness that this is her movie, it should not just speak to the viewer. it should help them somehow, this very good, i don’t know, accumulate or something, fight evil, yes, which is very difficult, in general, her heroes, to one degree or another, fight this evil, whether these are some kind of industrial relationships or family relationships, be it a woman, a soviet teacher, nursing

an english pilot, in a school that has been occupied. germans and those making their way to the partisans, or be it a woman who raises other people’s children, all this is some kind of work to condense goodness, and it seems to me that this is her main legacy , lioznova’s legacy, although the themes of the paintings are different, but the message for her was everything time is the same, what is your favorite shot, it’s hard to say, after all, there are not so many films from the tapes liotic, i won’t, i won’t be original after all.

it is important that she deliberately did not go for any experiments with the form, although, well, to film two episodes in one carriage, you know, if this is not an experiment, then well, but nevertheless it was important for her to speak with the viewer in a rather simple language, and yet, in this simple language, she said quite complex things extremely, extremely economically, and i really like the scene i remember writing in life, where the stirlitz at the end of the film just sits on the side of the road and does nothing. but the tension is not weakens, of course, it is strengthened by music, but we are immersed in this process together with him, we are waiting, but as if we had already talked about this once, that he is one of the creators of the canon of the soviet television series, but this works not just a television series, yes, this is a movie, a big movie, in which

the tension is as high as on the big screen, this was the release of witnessstein's podcast, to the outstanding soviet director tatyana lioznova. hello, dear friends, our meeting today has a background. petersburg the express train rushed me from the fields of the st. petersburg economic forum in the night. home to moscow, i went out to the dining car, did not sit in the sv, where i was supposed to be, because no one would just meet anyone on the st. petersburg express, and there i met... zhenya malema, here he is sitting, you you know this brilliant drummer, you remember, our guest was the brilliant team of zwentan, who throws russian village melos

straight into the cauldron where polyrhythms, rhythmic fragments, funk float, in general this is fusion, this is the rhythm. zhenya says i i’m doing something else, show me, here he showed me, but the music is so brilliant, and most importantly completely useless, it’s of no use to anyone...

wet weather come to waste the dark from my skin, come to clean my hands. in my mind so my heart can begin and start open new revolution the clear sky hit the by blue resolution raindrops tripping by my window i wait until the paint stops gripping my brain stops slipping on the sink i lays up the head stop drifting so up the ketchup is over two i've been missing it's true it's not you i've been kissing but lost in the lamb when you were dismissed by the old in the old by the new is it all you can do to connect to the fue this, dear friends, is the fpm cartel, and we will ask mr. malimanov, with whom it all began, who are all these people, zhenya, where did they

come from, what do you play, you can’t answer right away, postmodern hip-hop, we call it, i guess, i don’t know, it’s arthouse music, we’re experimenting, we’re putting together a line-up and why? such a beautiful lady is standing next to you, but the rap she reads is completely different man, why then why do you need it, well? her finest hour will come yet, of course, yes, but this is a fantastic bass player, where did he come from? kirman, albert called me, i came straight from uzbekistan. why not a fretless bass? well, in this music, fretted is more suitable. well, of course, well, gentlemen, the most, most intelligent person in any team is, of course, the pianist. well, because he is the only one who, as a rule, has an education. baramanchika never has one, with the exception of maliman. too, but they only a specific solo, that’s all, 32 so and so, there will be silence, and this drags itself absolutely all, but this is some kind of report from you, well

, the oregon group, we grew up, of course, we were brought up on john zawinuli and other musicians, but we are a later generation, so we were influenced by slightly different people too, royhar, so you probably write everything, we don’t write everything together, who else? this is also a guitarist who writes, but this is santana, if, what santana, if jost is coffee, then either mahavishin, but not mahavishin, this is palobabkin, you’re not bored to play with them, no, of course, look at what, what a colossal piece of machinery, well, i would have cut it down, otherwise they won’t give me a break, they will give it, they will give it, there will definitely be more, go through what’s there, in the next song the guitarist will at least find a place for himself, or he will sort it out again, that’s the joke here, that everyone has their place. yes, of course,

yes, everything must be told, evgeniy, tell us what kind of song it will be, we will play today, we have already played one song, this was the debut composition of our project, so it went on air in a slightly different form, those who wish will find it at the venues to listen to it, here, but we will play three other songs, they have not been released yet, they are just freshly collected and now they are in the process of well, studio design, here is one of them... just like the name this lady? her name is gala, and why the group is called kartels in pm, you will find out only before the next song. now let's enjoy this one.

mabadiliko yanaendelea kuta na yanatuzunguka na parte atugibiga telele vaata que agilya. mabadiliko yanaendelea kuja, mabadiliko yanaendelea kuja.

this is firstly brilliant, this is fantastic, this is something african, which is very difficult, on the part of the drummer, of course, the most difficult thing is, poor malemanov, how does he cope with this complex rhythm, yes, but of course, first of all you should ask, this what kind of language is this, swahili, fantastic, where are you from, a little girl from russia, you learned swahili, well, to begin with, i actually know literally a few phrases of the matchmaker, but i lived there for a year and a half, where? in zanzibar. oh la la. so, that means you lived there. fell in love probably somewhere. it happened. that's what i thought. yeah, and the best way to learn a foreign language, the french say, is on the pillow. here you are. well, why did you like this language and this culture in general? in general, swahili is a very common language in east africa. i 'm going to take a course to finally learn it. this text was written by my friend, a wonderful guitarist, richard from zanzibar,

and he just translated it. they offered this melody to friends and they said: let's make a composition. i actually listen to the music, took the lyrics and just the first one actually actually, what came to me, well, this is fantastic, gentlemen, the second part of this song was in english, so it’s easier with english, we just mixed two languages, well, this is natural, for example, mostly opera parts are in italian, but that doesn’t interfere tchaikovsky writes a brilliant opera, so nothing in the world prevents us from listening to swahili on channel one. so tell us what a cartel is, this is fpm, what is fpm, we know a cartel, this is a conspiracy, where is the antimonopoly committee looking, this is a cartel, and fpm, what is it? fpm is our last name, fokin, polubabkin and malemanov, this was originally

a trio, but there were more of you, there was a trio, there was a trio, yes, just to play these songs, we needed a large lineup, we were joined by friends, our wonderful musicians, colleagues played these songs, no, we never played them. this was always intended and was initially a studio format, lesha and i had musical ideas, we are playing in another project with some lesha polubabkin, which we could not implement in other projects, because your beautiful the vocalist hasn’t joined you yet, so zhenya and i put together a band together with lyosha, then thanks to the responsiveness of amazing musicians of genius, like german tigay, like galaga, like eric kholmatov and the incredible sexophonist makar kashitsin, how many do you have? in the repertoire of material, you yourself write, mostly studio material, it lies on the platforms, no, no, of course, but we borrow, of course, you stand on the shoulders of giants, but you do your own, well, you can say so when they borrow, i hear in

mostly borrowed by guitar buyers in guitar stores, so there is always a sign, don't play smokona and never play of even, so you don't play it, no, you know what... play, but speak this language, but speak - something of our own that we will now hear to the surprise of our tv viewers, the song will be called, hiram, yeah, well, i can’t do hiram like a gala, so make it simpler, listen, you are passing the exam, millions of armies of our tv viewers of the first channel, they don’t need any dick , i would not like an exam to pass, and what already and you feel some trembling, excitement, no, we love music, so here we are just showing it for the sake of music. there’s a legend sitting on the other side of the screen, if he’s sitting watching us, he’s the one in charge here, let’s entertain him with whatever you can .

here i am again in the simple space, i should really be by myself, but i just can't beat. that they know here i am again in the same b space i should really be but myself but i

just can't get the pain oh so cold, i'm drowning in my emotions, can't seem to catch my breath, the weight of past impressions leaving me with no rest, i should really be letting go, moving on and starting new, but guess facing the moment just scares me through and through, i know it's time to face it, leave it all behind, sometimes the

pain of mistakes keeps on playing on we wine, need to find the strength to break the glass walls and love myself unconditionally how it was, yet here i am again in the same old space trying to find the courage to start a new and make a change i'm facing my fears, head on learning to let go, and finally here's the piece that i've been searching for so long, here i am, again.

this is an anthropology podcast on the first and this is the fpm cartel group. please tell me how the life of the team is going, you are probably going to spend your free time from work, right? the rest of the singles, here is one track that

will be played next, it will be on the new one and why in the 20th century does a person think in albums, but no one buys them, no, why does streaming work well, but this is a kind of collection of those ideas that were were created in this project, and we will record them as if on canvas, here on this record, deapple has eight of them, beitles have 16 of them, no, we have few, but the compositions are quite long. so the record will be somewhere around 50 minutes, but there will be five or six tracks, what do you have here on the shelf, this is a vocal processor, you don’t hit the notes, it catches you, namely, you go to the accounting department as a full-fledged vocalist , yes, or he processes your vocals in an interesting way, show me how i can communicate with you, yes, eh then my voice will change, now it has already changed, yes, you don’t like your voice, not me...

buy it in a local pub, pub, if there is such a first composition, then the rest will be the same, and we will listen to what it is like will.

i'm telling you once, telling you twice, right now, there's no point in leaving this down, i've been trying to change, trying to find my style, try to bring it up, things you can be installing our cloud, what's with your mind, start to leave your own life with all your mind, when white man says the time is now you better, move and do not only not and doubt, you say that there's no problem right, you love them girls to wear their jeans yeah.

don't love me, but you got to add me that right there's some truth i know it's a match up world we like elements boy you should not for sure no matter what we say we can try to stand all reaching the new height this is my journey my own del the truth see it's an all

in the anthropology podcast , the cartel group fpm is visiting on the first one, it’s interesting that these very young musicians, so they play skillfully, they probably don’t know that there were wonderful musicians in russia before them, you know, everyone is in obscurity, well, not all, of course, but the majority, do you know why? they also released records, somewhere they collected money from some sponsors, thank god, there were always enough well-wishers for complex music in russia, patrons too, yes, but the records disappeared into thin air, why? because such musicians cared about the whole world about

sound balance, about timbre, about, above all, technique, only the only thing that they did not we asked ourselves the only question: why , to satisfy what needs, under what circumstances, we, the listeners, would insert this record into the disk drive, and since we were not in the sights of such musicians, we are completely indifferent to them, please tell us now on the verge of releasing a record, to satisfy what needs, under what circumstances do you think the listener will listen to your music, a difficult question, at the moment... the underground is developing, it seems to me, we consider ourselves fighters for the underground, what is your usp, unique selling proposition? i don’t think we have found our identity yet, we are searching, of course, we are not ready yet, i think so, not from the point of view of skills, but from the point of view.