advertises, he says, walter cronkie, i say, got up and left, these were arbatov's words, i remember, well, well, this film, you see, jim, you see, watched it, and as al giddinks already told me, he says, everyone had already left the hall, and we sat for 2.5 hours, he says, talked, well, in general, he says, jim asked many times, asked about me, wanted to meet with me, so the first meeting was in july...

very interesting, of course, everyone really liked this thing, so to speak, jim was very puzzled, that we, so to speak, well so, so, they gave him a reception, it was 5 years before the release of titanic in ninety-seven, if you count de practically yes, ninety-seven, well then 2 years were spent on various there, well he thought, well and as john bruno, his assistant for special effects, told me later, he says that it is very difficult, since it is a lot of money, it is one thing to shoot in a studio, here we know everything, so to speak, ourselves, so we guarantee success, and here he says, well, who knows, maybe, of course, you made a film there, jim, he really liked it, jim liked this film, so, well, and so, as a result, there was another meeting, i flew, so, to los angeles

, i invited, but the thing is that so far nothing ended, i wrote to jim, then, well, a fax, there was no e-mail then, so, well, i wrote him a fax that jim, while we are alive and well, while the machine and the world are in good condition, let's decide, either we make a film, or we don't make a film, today or never, and then i wrote to him that... eh, in the end, a person should at least once to do something extraordinary in life, he still remembers this phrase. he says: when i read this phrase, i realized that it, he says, was addressed to me. the next day the phone rang, i come home from work, the phone rang, or, and the most important thing is that later, when we were diving, and he entered the apparatus, he always before ...

to descend already means to close the parade, he always said, let's go, i once asked him, i said, what are you saying, let's go, and so, he says, gagarin said when we collected her diaries, found this entry, ours writes, one day i will die for my homeland and become a national hero, she was constantly walking on the edge, walking on the blade, for the us, which is in fact a colonialist, racist country, this is the last battle, they will...

in the new season on the first, tell me, is it possible to do business in my city without me, you komolov, oleg viktorovich, here is the resolution on your arrest, last night a museum was robbed, what does my dad have to do with it, so, well, tell me, the director is local, he came from leningrad with his wife and daughter, daughter. an adult in an artist is going to, that's how, the museum was robbed at night, the area is quiet, they don't sleep only in houses where they sell wine and more often, so what's going on here, maybe we can come to some agreement somehow, and 500, what's up, okay, and how did you, hell, such a sly one, fall for a simple scam, and everything looked so convincing, and you're not afraid at all that we'll get bogged down in these affairs, well, they're bad, dad is good, he needs help, unfortunately, you can't do it without money, five, seven, oh, what, ah, you were

just amazing, and your partners too, my name is... ninel, the premiere of a multi-part film, soon, on the first one, and do you know that i have a patron, an adult appeared, thanks to whom i am here, and not in a cell, and what is it worth, you know? this is the cameron 70 podcast and today we are talking about james cameron with anatoly sagarilovich and maria shteym. and what impression did he make on you as a person? well, here is a director, usually i can just tell you an intelligent person

is immediately visible. therefore, here is an extraordinary mind, it is completely obvious. therefore, we are so to say, we somehow found a common language right away, i suggested that he go for a run along the pier, so to speak, so we went for a run, but after 500 m he started to get out of breath, i ran, so to speak, every morning, but i said, well , what else, but back, go back, so we ran to the ship, and there, so to speak, elginx was sleeping, and the sauna was already ready, so after that to the sauna, well, and then to do business, we knock on el, he says, let's tell el that we ran 10 km forward, come on, what year was this photo taken, this the moment of filming titanic directly, yes, or more, during the filming of titanic, yes, it was ninety-five, ninety-five, that is, all the work directly began intensively in ninety-five, on your

part, yes, those scenes, the work began intensively earlier, since it was necessary to prepare the equipment, the apparatus, it was necessary to hang. the world - with powerful lamps, which were not there, so to speak, we hung up to eight lamps on the apparatus, the second, of course, jim needed a movie camera, we filmed through the porthole with a movie camera, the movie camera filmed on seventy-millimeter film, this is such a huge contraption that occupied a third of the sphere inside, so it was necessary to make, you know , a movie camera. at that time there was no high-resolution video, so they filmed on a movie camera, so they developed, they took this camera by navision, so they made , you know, a design in the form of a cylinder, elongated with a cassette that was loaded

there, each time we went underwater, we only had 20 minutes, you know set aside for filming because... it was ending, jim used it for all sorts of repetitions, rehearsals, there were very difficult, so to speak, situations when in the current it was necessary to hold the apparatus in the thickness of the water, so you look at one point and work there with the rear engine and the side ones so that the apparatus stands at the point, so that's it, i say, well, jim, we've filmed it, well , let's do it again, i say that... and this was a rehearsal, this means a piece of film, these are the first frames that were filmed, so in the movie titanic, this was filmed inside apparatus, i was with bel paxton with luo bernati, so the three of us, and these were

the first shots that were included in the film titanic, so, james, so, cut off a few.

from your archive, which you brought today to show the audience, many different specialists, these are all your colleagues in the industry, in the specialty, here are different, but this is me with jim and this. flight engineer, anatoly blagodarev, well, this was one of the experimental dives, so we

went in this composition, how difficult was it to organize all this on interstate level, after all, what you were doing in the soviet union, it was a top secret matter, yes, but it’s unlikely, well, in the sense that deep-sea diving, for sure, something connected with about there was nothing here, there was nothing. and what’s a secret? we built the apparatus and mir in finland. why in finland? because we needed access to western technologies. and of course, there were many difficulties, because - you understand that this is, of course, dual -use equipment. and here, of course, the americans in general, they tried in every way to make sure that we didn’t get this equipment. even the americans themselves in 1994.

so to speak, to rust, to piss , they cut it, they open the door, the bactom starts pulling out old money, all sorts of things, well, naturally, it looks for this very blue diamond, the heart of the ocean, and so, at that time i, you know, leave this general circle and tell him, no diamonds, well then... jim, you know, called me - to hollywood, after the filming was already finished, they,

so, they were already editing the film, so i, so, naturally, flew there, well , first class, for one day, the whole day from morning until three o'clock in the afternoon, i said these two words in front of the lens, adzhiv sat like an executioner and, so to speak, told me, it shouldn't be like this, it shouldn't be like this. you, you know , questioningly, now, he says, affirmatively, it should be neutral, well, i, probably, well, a hundred, a hundred and more times, i probably said these.

absolutely absolute delight, i immediately had the feeling that the hero of the film - these are not heroes, yes, this is not rose, this is not jack, this is not even the heart of the ocean, this is the titanic itself, if we remember the composition of the film itself, it is framed, we start with , let's say, our days, and... i was completely fascinated by the very idea that you can include elements of documentary filming in a feature film, and your comeo, your participation just emphasizes the absolute naturalness of what is happening, then inside the memories, and you remember how it ends, in addition to the fact that no diamonds,

now we will have a new phrase, well, we all remember, this is actually the reason for constant jokes on the internet, that rose floats. on a large door and says: sorry, jack, there is no place for you here, well, of course, this is a joke, this is a joke, but this was a trap, this was a trap, stanislav does not end with this and not even with the fact that rose - throws, firstly, this is an amazing gesture at the level of myth: the heart of the ocean returns to the ocean, despite the treasure hunters who tried to saw the safe, as we all saw to find, here and ... the love story that is inscribed in myth, that's how i would say how the idea for the film was born, 1992, jimdings arrive here, we fly to kaliningrad, we are sitting in a live plane, and he says to me, anatoly says, i understand that you are saying you will do underwater filming, i watched your film, well

, he says, the main plot of the film, i say, i'm still thinking. i, he says, haven't caught it yet, i keep getting confused about the terminator, i get confused about all sorts of other things, and i say to him: jim, show life, show how people swam, and of course, i say, in the center of the film, uh, there should be love, right away for me so i watched, oh, love storey, that's how the idea for the film was born, that is, in fact , you suggested it, a month and a half later. i fly to los angeles, he invited me to los angeles, well, to this one, in honor of this , he gathered a group of friends there, including...

gone with the wind, gone with the wind, part two, well, i think, we won, gone with the waves, ladies, yes, and then i somehow had a program with this very one, with yulia minshova, there alone with everyone, so she asked me, she says, to you, she says, probably, this film opened a window into cinema, i say, you know, a window into cinema... it was opened to me when i was a child, our great directors, i began to include them, including your dad,

vladimir menshov, well, well, well and so on , i say, that's why when they ask me how this idea was born, i say, this idea, it sits in us, this idea of ​​humanity, i told him then that...

closer to that situation, well, i studied the archives, everything there, he had people working there, he had a special firm there, where historians sat, computer scientists, others and so on so they dug up different facts, on this very basis, that is , to bring as close as possible what people would see on the screen to what was happening then in 1912, well, i was at the premiere, well...

the film and no one stands up, people sit and cry, it was the first time i saw americans like this in the hall, the whole hall was sitting, then they turned on the lights, i look, everyone's faces are tear-stained, everyone is crying, that's what jim did to the american people, the film is designed for this, so that emotions, emotions, yes, but this is so much.

in fact, well, there was new equipment, new hydroacoustic means of search, everyone was going to the titanic, so they were searching and demonstrating their work, well, there was a kind of advertising, so when jim and i were talking, he says, he says, my task is to break this point of view, what does this mean, well, this is an object. the titanic is an object on the bottom, which everyone knows and which attracts everyone's attention, and that with this equipment you can find such things,

well... what did it lead to, but after the film, everything it ended, but something else began, we were the first with the worlds that began tourist immersions, in fact, the general pathos of cameron's films is technology as a dead end for humanity, is this true or not, and i would say so, yes and no, on the one hand, this is indeed a fairly harsh assessment of civilization, of course, but moreover, cameron every time ... no matter what material he works with, he translates it to the level of high tragedy, almost ancient tragedy, and ancient tragedy is good because even if the conflict is not resolved, everyone dies, nevertheless less hope remains, and cameron every time, let's look at all the films you listed, he gives this hope, how will it end, i repeat, titanic, the reunion of lovers, essentially the defeat of those who...

there are people who make a choice, this is about this, despite the desire to make money on dangerous experiments, and we remember in this case already the wonderful avatar, which also begins with an absolutely dystopian, almost post-apocalyptic picture of a dying earth, a dying world, it turns out that the worst thing that is on our planet,

is going to be no worse than aliens, a cratic apocalypse, but the planet is rising because there is jake sully, who, despite his own weakness, learns to see another world, yes, this is hope again, this is incredibly great, and i think this is the best thing cameron has, these are the films that we wanted to discuss today, this is truly the best there is, and no matter how you look at it, but his ability to draw us into his story,

to saturate it with... details that make us believe from alien to avatar and titanic, to make us rethink ourselves, formally, as you rightly said, within the framework of mass culture, entertainment cinema, when all this, all this, as if this wave subsides, you are left and think, what am i left with, who am i, where are we heading, he takes us through absolute zero, he puts before us,

we looked, i don’t know, the last part, where , actually, here is an attempt at a new level, at the level of modern computer technologies, to show us the beauty of the underwater world, we have an aquatic civilization there, here i have a complicated relationship with avatar 2, because that there, firstly, clearly appears what, what we talked about, cameron avoided in his best films, he created his own idea, he never... aligned himself with ideology, and here we see such a short course of a new ideology, some elements of a new ethic, and as if some topical statements are built in, in my opinion, forgive me cameron, whom we certainly respect, but our amphibian man was more beautiful, here, in my opinion, is a very beautiful picture.

incredible, i understand why he returned to water, because the ocean does not let him go, the heart of the ocean, if you like, cameron's heart is in the ocean, it is very much felt, there is no escape. but in my opinion, the second avatar lacks what was in the first: the persuasiveness of the world, the detail, and the awakening in the audience, and the desire to enter this world, and the desire to empathize with the heroes. thank you very much, today we talked about james cameron, and this was a special edition of the cameron 70 podcast, dedicated to the anniversary of the birthday of director james cameron, director of the films avatar. terminator and of course the titanic, which we talked about with our guests today. thank you very much.

to get away from the stereotype that was persistently put into people's heads in the old days, pushkin was a friend of the decembrists. and that's it

, that's it. judging by what we have at our disposal, well, let's say, rather coolly, this is what is remembered much less often, and there are enough stereotypes, i must say, in the post-soviet period, because if earlier pushkin, a friend of the decembrists, as you rightly said, and almost a revolutionary with a saber on his head, then in post-soviet period he is an orthodox poet, he is also a monarchist, yes, which is also as far from the truth as the soviet stereotypes. in general, we must try to get closer to the truth. hello, this is the historical podcast russia-west on the swings of history. with you peter romanov. and sergei solovyov. today we are talking about alexander sergeevich pushkin.

relations with the authorities were not very good for alexander sergeevich, starting from childhood. as he writes in one of his letters to his wife: i saw three tsars. the first, he means paul, ordered to take off my cap, scolded for me my nanny, the second, alexander the first, did not favor me, the third, although he sent me to prison in my old age, but i do not want to exchange him for the fourth, do not look for a good thing, well , it seems like a joke, but as they say, in every joke there is a grain of a joke, well, as for pavel, there is nothing special to say,

i considered him a sly and hypocritical person, and as for the victory over napoleon, he has a phrase: accidentally warmed by glory, you can argue with pushkin's position on this matter, but one way or another the attitude towards alexander the first was exactly like that, with nicholas i everything is much more complicated, because in addition to the personality of nicholas i himself, nikolai pavlovich.

their capitals, but also invites him to an audience, and this audience took place, judging by the sources, in a generally warm atmosphere, well, by the way, they were practically the same age, nikolai had 3 years of experience, so in principle there was an understanding there, a common understanding, so to speak, well , again in the past, as a rule , pushkin's words were quoted about this meeting, so ...

nikolai asked him if he would take part on december 14, so he pushkin answered, inevitably the sovereign, all my friends were in a conspiracy and i would have been unable to lag behind them, one absence saved me, and i thank heaven for that, this, and i thank heaven for that, this is already another pushkin, this is already pushkin, who...

who, who where, so there were questions, and what would have happened to russia in the event of the victory of the decembrists, or another question, maybe the potential of autocracy in general has not yet been fully exhausted, because one is an autocrat, another is an autocrat, this is one thing, but the political the platform, so to speak, autocracy, has it already worked out its resource, or can it still serve for the benefit of russia, well, finally, is it ready at all? actually, all these questions, as i imagine,

were spinning in mikhailovskoye, in pushkin's head, so to speak, and like any person, he matured gradually, and rethought a lot, here pushkin wrote that blahin, who was young from youth, who until old age. matured, here pushkin matured in mikhailovskoye, here is this meeting of nikolai and pushkin, here during this audience, here they both, if not to say, got closer, well, got closer to each other, and the personality of nikolai himself, it may also be there were no special sympathies, but nevertheless... pushkin's lines. no, i am not

a flatterer when i freely compose praise for the tsar. i boldly express my feelings. i speak my heart with my tongue. i simply fell in love with him. he rules us cheerfully and honestly. he suddenly revived russia with war, hopes, labors. well, it is clear what kind of war. so, further. oh, no, although youth is boiling in him, he is not cruel, he has a sovereign spirit. he punishes the one whom he punishes openly, secretly. here again the theme of the decembrists immediately flashes, because pushkin will always call on nicholas to be merciful towards the decembrists, here this is another hint. in this case the first, yes, but later there will be more. pushkin's attitude towards the autocracy definitely changed. in this you are absolutely right. if in the beginning contentment, only there did not lie suffering over the royal head of the people, where firmly with the freedom of the saint, powerful laws of combination, his poem dagger, which can be said to have been one of the decembrists' manifestos, which was partly

dedicated to karl sand, a german student who killed an agent of the russian government and a reactionary writer. in poltava - this is the twenty-eighth year, there is a hymn to peter i, the monarch, the ruler, whom, by the way, pushkin will often set as an example

to nicholas i, this is generally this characteristic of pushkin, to set nicholas as an example of peter, in the stations of the twenty-sixth year.

nicholas, who in soviet times was drawn as a completely unambiguous figure, was still a rather complex figure. anna feodorovna tyucheva, the maid of honor, who left a remarkable diary, a unique historical source, a very valuable source, about it, nicholas i wrote this: nicholas i... don quixote of autocracy, don quixote terrible and malicious, because he possessed omnipotence, which allowed him to subordinate everything to his fantastic outdated theory and trample underfoot the most legitimate aspirations and rights of his century. at the same time, she wrote about nicholas - as a knightly character of rare nobility and honesty. that is , one with the other somehow combined in nicholas. well

, it happens in a person. but pushkin, gradually becoming disillusioned in nikolai, still a lot from the ensign. a man of enlightenment, for him the most important thing is enlightenment, he is a man in this sense even from part of the 18th century, the century of enlightenment, and the fact that the government is the main bearer of enlightenment, for him a very important factor, whatever it may be, but

still, well, there is a well-known expression, pushkin is our everything, it is repeated incessantly. but at the same time does not take into account the fact that this formula, the changing power, very often adjusts, so to speak, to its own size, and from all this, some part is simply crossed out.