you stay here, it seems he needs you more, i ran down, you shouted something to me from the window, and i only knew, you betrayed me, my beloved, the wind hit my face and the rain knocked harder , how could you, how could you betray my dear, how could you, how could you betray my dear.

hello, with you is film historian stanislav dedinsky, and today we have a special edition of cameron 70. we are talking about the birthday of director james cameron, or rather about his work, about his films, today we have two special guests, this is anatoly tsagolevich, oceanographer, doctor of technical sciences and the person who in many ways guided and inspired james cameron during the filming of the movie titanic and maria steinman, candidate of philological sciences, professor at the higher school of economics. author of articles on topics that always worried james cameron. this is the doll, terminators, androids and so on and so on and so on. and today we, of course, will talk about... about what this

amazing, amazing world of james cameron is based on, which is a huge universe, seemingly so different, because that his films touch on a variety of topics, both the future and the past, if we talk about the film titanic, but our main question is to anatoly mikhailovich about how it happened in your acquaintance with james cameron, because any such large-scale project as titanic is sometimes developed.

and a perfect deep-sea research complex with two deep-sea habitable six-thousanders on board, it was some kind of revolution in the underwater world, as one american told me when i saw, says the pentagon walks on the ceiling, speaks with two the world works with devices off the coast of america,

he shot this film, there was a premiere in hollywood, he invited james cameron to the premiere. james cameron before that, they filmed together, james. was, then, the director, and al giddinks was a co-producer, so they were filming the movie the abyss, he was our speaker, so that's it, when the film ended, ella giddinks he was 47 minutes and walter cronkite commented on this film, so to speak, a famous announcer, i remember when i showed this film... to georgy arkadyevich arbatov, director of the institute of the united states of america and canada, he says that you are being advertised, says walter cronkie, i say got up and left, these were arbatov's words, i remember, well, well, this film,

so, jim, so, watched it, and as al giddings already told me, he says, everyone had already left the hall, and we sat for 2.5 hours, he says, talked, so. in general, he says, gene asked a lot of questions, asked about me, wanted to meet with me, so the first meeting in july 1992, al giddings and jim cameron come, so in moscow, we immediately, that is, move from sheremetyevo to vnukovo and fly to kaliningrad, where kelzysh was stationed with two worlds, that was our first meeting, we, that is, like...

jim really liked this film, so, well , that means, as a result, there was another meeting, i flew, that means, jim invited me to los angeles, but the thing is that so far nothing came of it, i wrote to jim, then, that means, well

, a fax, there was no e-mail then, well, i wrote him a fax that jim, while we are alive and well, while the device and the world are in good condition state, let's decide, either we make a movie, or we don't make a movie, today or never, and then i wrote to him that - in the end, a person should at least once in his life do something extraordinary, he still remembers this phrase, he says, when i read this phrase, i realized that she was talking to me, the next day the phone rang, i come home from work, the phone rang, or it was jim and he says to me in russian, let's go, and the most important thing is that later, when we were diving, and he entered the apparatus, he always before go down already, that means, close the hatch in the apparatus, he always said, let's go, i

asked him once, i said, what are you saying, let's go, and so, he says, gagarin said, this is the cameron 70 podcast, and today we are talking about james cameron. with anatoly sagarilovich and maria shteim, and what impression did he make on you as a person, well, as a director, i can just say, you can tell an intelligent person right away, so here is an extraordinary mind, it is completely obvious, so we, so to speak, somehow immediately found a common language, i suggested him along the pier, so to go for a run, so we went for a run, but after 500 m he started to get out of breath, i used to run like that every morning, but i said: "well, what else, but back, go back", so we ran to the ship, and there, you see, elgining was sleeping, and the sauna was already ready, so after that to the sauna, well, and then to do some business, we knock on el, he says, let's

tell el that we ran 10 km, i say, come on, what year was this photo taken, this is the moment of the filming of the titanic itself, yes, this? this was during the filming of titanic, yes, this was ninety-five, ninety-five, that is, all the work directly began intensively in ninety-five on your part, but the technical work began intensively earlier, since it was necessary to prepare the equipment, the apparatus, it was necessary to hang powerful lamps around the world, which were not there, we hung up to eight lamps on the apparatus, so to speak, secondly, of course, jim needed a movie camera, we filmed through the porthole on a movie camera, the movie camera filmed on seventy-millimeter film, it's such a huge...

once, when we went underwater, we had only 20 minutes, that is, allotted for filming, because the film was running out, 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 thruster and the side ones, so that the apparatus stands at the point, that means everything, i say, well, jim

, we filmed everything, well, let me turn it over like this again, and this there was a rehearsal, that means a piece of film, these are the first shots that were filmed in the movie titanic, this was filmed inside the camera, i was with bill paxton with luo bernati, there are three of us. and these were the first shots that were included in the movie titanic, so, james, so, cut off a few, so, pieces, signed them, to each participant in this first movie, gave them a souvenir like this, he said, he says, this is an american hollywood tradition, we say, we laid the first brick, the first brick, so, we, so,

so they sent it to the shore, a small boat was waiting there, and the small boat took it to st. john's, in st. john's it was processed, and then a plane flew in and dropped a container with this film, our inflatable boat picked it up, so the container, then we looked at the result, like this, that is, on board the boat.

we went in such a composition, how difficult was it to organize all this at the interstate level, after all, what you were doing in the soviet union, it was probably a top secret matter, but it's unlikely that it was, well in the sense that deep-sea diving, there was probably something connected with defense here, there was nothing, well , what is secret, the device and the world we built in finland, why in finland, because we needed an exit.

the whole history of the creation of deep-sea manned vehicles, and during the filming, what was your role in the organizer, pilot, episodic actor my role of course. this is both the organizer and the pilot, i was the main pilot, all the filming that was done, they were done not by this crew, but by the crew where there's andrey andreev, that means, me and james cameron, james cameron was sitting aiming the camera, the camera was outside on a special

hydraulic rotary device, so he was turning it, that means, but he was adjusting it. lighting, well, actually, he was saying which light to turn on, which to turn off, extend the rod there, turn on this light and so on, well, there he is, i was sitting at the control panel, controlling the apparatus, jim was sitting on the right at this control panel and, that means, turning these handles, well, andrey andreev was there, that means, providing everything the rest, you see... you see , the functionality of the apparatus and we also had a huge rod there, on which a large lamp was attached, we had to watch it so as not to hit it, since we were always near the titanic, all the time, so to speak, well, next to this

huge iron mass, here in this photograph it says fo natalia laplya. and there, you see, they cut it with an oxyacetylene torch, since, naturally, after 80 years of being at the bottom, it should, so to speak, rust, become covered with piss, it, you see, they cut it, they open the door, and bill paxton starts pulling out old money, there's all sorts of stuff, naturally he's looking

for that blue diamond, the heart of the ocean, and so at that time i step out of that general circle and tell him: well, diamonds, well then jim called me to hollywood, after the filming was finished, they were already editing the movie, so naturally i flew there, first class for one day, the whole day from morning and until 3 pm. i said these two words in front of the lens, and jim sat like an executioner and, so to speak, told me, it shouldn't be like this, it shouldn't be like this, you say questioningly, now, he says affirmatively, it should be neutral, well, i probably, well, a hundred, a hundred and more times i probably said these two

words, but they chose something, this is the cameron 70 podcast. i am film historian stanislav didinsky, and today we are talking about why james cameron's films are not just blackbusters, but are, in fact, modern ancient tragedies or films shot based on laws of ancient tragedies. this is very important, the thing is that cameron, as a director, creating a world, any world, science fiction, real, recreating, recreating the world of the titanic, and... absolutely fantasy-fairytale, like with avatar, he makes this world habitable, he makes it practically real, there was what is called the titanic's twin ship, with the same setting with the same notorious dishes, all this was taken, not even modeled,

it was copied. cameron was not filming a fairy tale, this is important, he, yes, he filmed a love story embedded in a tragedy, and moreover, where did this crazy success come from, incredible, which is still very difficult to somehow cover, precisely because the viewer needs this high, like this, even if the viewer himself does not realize it, a high sense of tragedy, a high sense of catharsis, this kind of change in himself, in the viewer, which transforms him and gives... cameron,

he takes us into this world of his own, and we do not want to leave, which is especially amazing, when did you first watch titanic, what do you have about titanic and james's films in general? what feelings did you have as a cultural scientist, how did you fit this film into what context? i can say that in addition to the absolute delight, i immediately had the feeling that the hero, and the film - these are not the 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 ... and the composition of the film itself, it is a framework, we begin with, conditionally, our days, and i was completely fascinated by the film itself

the 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 what...

you will do underwater filming, i watched your film, well, well, he says, the main plot of the film, i say, while i'm thinking, i say, i haven't caught it yet, i always get confused with the terminator, there are different things that get confused there, and i tell him: jim, show life, show how people swam, and of course, i say, in the center uh, the film should be love. he immediately looked at me like that, love story, that's how the idea for the film was born, that is, in fact, it was you who suggested it, a month and a half later i

fly to los angeles, he invited me to los angeles, but in honor of this he gathered a group of friends there, including some actors, bill paxton was there, hero and john bruno, it was his... this special effects assistant, says a toast, let's drink to jim, to anatoly, who will create a new blockbuster for us, titanic like terminator 2, suddenly jim gets up and says: "no terminator 2, gone with the wind patou, gone with the wind, gone with the wind, part two, well, i think, we won, carried away by the waves.

including your dad, vladimir minshov, well, well, well, and so on, speaking, so when they ask me, how did this idea come about, i say, this idea, it sits in us , this idea of ​​humanity, i told him then that jim, the world is tired of murders, of violence, of the blood that hollywood splashes out. on the screen, show life, show love, these are my words one to one, and he did everything the rest of the time, then we flew, he sat and

was silent, thinking all the time.

to bring what people would see on the screen closer to what was happening then in the twelfth year, well, i was at the premiere, well, and after the premiere i flew to memphis, in memphis my son was studying at the university, the youngest son, well , so i didn’t fly, i say, have you seen the movie titanic, no, no, i haven’t, i just came out, i say, well, let’s go, we went to the cinema with him, the cinema was absolutely full. everything was beaten, well, well, well, we bought some tickets there, i bought tickets, everyone sat down, we watched this film, the film ended, and no one gets up, people sit and cry, it was the first time i saw americans like that 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 i did...

we were talking, he says, well, he says, my other task, he says, is to break this point of view, that this, well, this is an object, the titanic, this is an object on the bottom, which everyone knows and which attracts everyone's attention, and that with this equipment you can do things like things to find, that's what it led to, but after the film it all ended, but something else began, we were the first with the worlds.

good in that even if the conflict is not resolved, everyone dies, nevertheless there is hope, and cameron, every time, let's look at all the films you listed, he gives this hope, how does it end, i repeat, titanic, with the reunion of lovers in essence, the defeat of those who wanted to profit from this love story, if this is not hope, then what then, let's look at strangers, not at a stranger, at strangers it was very difficult to shoot after ridley scott, but the transformation happened, and there is the same thing, remember, because what are the secret pitfalls, excuse me for the inevitable metaphor after titanic, what are the secret pitfalls, that one of the heroes is going to bring alien larvae to earth, and this does not happen, because 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.

discuss today, it is truly the best that there is, and no matter how you twist it, but his ability to draw us into his history, to saturate it with details that make us believe from the alien to the avatar and the titanic, to make us rethink ourselves formally, as you correctly said, within the framework of mass culture, entertainment cinema, when all this, all this , as if this wave subsides, you remain ...

of course we respect, but our amphibian man was more beautiful, here - in my opinion, a very beautiful picture, incredible, i understand, why did he return to the 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. detail and awakening in the audience, and the desire to enter this world, and the desire to empathize with the hero. 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 avatar films, terminator and of course titanic, which we talked about with our guests today. thank you very much. hello, in the program sunday time about the events of this day of the outgoing week. to defend, to warm, to cover, it should fly, as if ulyana's daughter, but he covered her, yes,

it's normal, as if, yes, he just has multiple shrapnel wounds, the level of attention is the highest, regarding your proposal to pay people money 1500 additionally. in automatic mode i completely agree, that's how it should be done. the kurdish region is the main one. the donbass front is on the move. these ukronazis shouldn't be walking around here... the great patriotic war didn't finish them off yet, but we'll finish them off now. eyewitnesses testify: i look, they're standing by the car, well, i took a flashlight, i thought as a joke, i said, guys, are there any alive, i shone it on them, they're all dead. fire on the enemy, weekly summary. memory without a statute of limitations. terror, nazism. russia stands up. bye. the president in the north caucasus, people,

fear and hatred in ukrainian, we need to take him, put him on his knees in the forest and shot in the head, persecution for the faith, hunting at the front, chronicles of the anti-people regime, she is not biden, at least she will not stumble. what's next? i will climb the gangway, and then? victory, then we will win. pursue until victory. pavel durov in prison in paris. wherever we went, the fbi and other intelligence agencies paid too much attention to us. and michael lynch, an american jury trial and death at sea. what happened to the superyacht that was supposedly unsinkable? very strange things. so, the kursk region,

what the week showed, we saw, and today we will see new video evidence of how our fighters grind up the reserves of the enemy who attacked our territory, and how they lead out from under fire those who were unable to leave on their own, people in military uniform, civilian volunteers, they cannot do otherwise, they are thanked for saving from shelling from enemy reprisals for help where there is no home, but where it is already safe,

because people were killed, natasha, last name savina, she, they shot her point-blank, she says, right in front of us, and somehow completely it becomes uneasy when a child tells about these horrors. we were in the house, yes, there were a lot of us, we lay down on the floor, it flew in and exploded, a fire started and we barely got out, because there was a lot of shooting outside, but the hardest part was ahead, when the group was moving through the forest.

my daughter is in the hospital, fortunately, it is not

the fault of the accommodation, not the whole family, the husband and the bullets, but the usual arvi, of course, dampness, everything in the basements, we drank water from the swamp, since there was no water, all the time in the basements, of course, dampness, dirt, wet, cold, today already my daughter is better, i think i already said, valentina borisova from the village is also in this temporary accommodation point. they didn’t abandon me, although what am i to them, a simple russian granny, why do they need me? they had to save themselves, but no one abandoned me. valentina yegorovna, the russian military took to a safe territory for several days, hiding her from enemy drones. well, at home we were in the closet, i equipped myself with a place, one day i heard a knock on my knee. seeing our fighters who were able to break through to village, i couldn't hold back my tears, but

there was no time for emotions, short preparations for the trip, the path turned out to be not easy. i already told the guys, i say, don't drag me. drop everything, give me a grenade, leave me in the field, but no one abandoned me, and i'm walking behind me, two guys are still walking, dragging me, and then at the end of the road they just took me like that and dragged me like that, i wouldn't have gotten out like that, only god helped and the guys, and the guys, probably in the form of angels were put to me, what guys, god forbid that something happens to them, it's just the color nations, they are guys, volunteers come to help, you have to work with the risk of life. there are many people like this in the village, old man, yes, there are, there are, here lives an elderly man, so on, like this, a bird, i beg you not to drag it out, a drone is flying, here we are already shooting back from it, looking at sergey vladimir, you can’t tell that

in civilian life they have solid positions, one is an adviser to the governor of the kursk region, another is the director of a motorcade, their old minibus is full of people. i went with the guys to my native donetsk, for them there was no other person's misfortune. having learned that the residents of the kursk region needed help, without hesitation they set off hundreds of kilometers from home. i saw him off to kursk, just like mine, when it began. i simply said three words: love, proud and pray. in the kursk

region, the guys worked in the most dangerous area, evacuated people from border areas. by decree of the president for dedication and professionalism posthumously. in the pogrom, well, the guys shouted loudly, who by voice, the streets were driving away, there were, well, branched streets, they were driving away in different streets, specially, persuaded, talked, well if we had a connection, there were different operators, someone might have had a signal somewhere, tried to call relatives, warn them to meet us, in the morning we were already driving through the aboyan

highway to ulanok, there were a lot of people there who ran away from kurilovka, through the forests, across the river there they swam, they were with children, sergey, an experienced person, when did it start? i went to the churches for a long time, the church went with the churches this year, he goes to the dangerous area every day, during this time he took out several dozens of people, among them children and old people, the enemy has come to our territory, it must be driven out, everyone must drive it out, and from the little one, that is , even the young army soldier, who we are working with. from them, if starting, they also write letters, and draw pictures, and minimal humanitarian aid, well, that is , you can't tell all this, while some save people from under-fire, others do no less important work, here in the rear, thousands of people arrived in kursk, in the first days at the points of distribution of humanitarian aid , many-hour queues were formed, volunteer svetlana

kozina admits it was...