andrei torkovsky valued his outstanding images in such films as andrei rublev, stalker, mirror, in it, as in a mirror, both spiritual quests and the suffering of a delicate and vulnerable human soul were reflected. alexey zotov - about the unique acting talent. come on, no, i don't want to. well, stand up when a senior officer is talking to you. what rank are you considered to be? i am a creative person, i am on a break for inspiration, well, what is it, what does it consist of, you are not thinking about that, well, what is it, always doubting myself anatoly solonitsyn decided to go from sverdlovsk to audition for tarkovsky only after he learned that his ancestor painted icons 2 centuries ago, the director was literally shocked by solonitsyn's monastic sacrifice, he quit the theater, was on the set, even when he was not filming and held a silent dinner for a whole month, like his andrei. held a dinner, we all

, well, laughed, and he, and the way he spoke, it was the voice of a man who was really silent, some spasms, some suffocation, you see how it turned out, well , okay, what are you saying, nikolai burlyaev remembers that soonitsin took care of him literally like a younger brother, calmed him down and treated his wounds after traumatic takes, what a holiday for... there were about 25-26 of them, he was very caring, very, i have no one except you, i look at the world through your eyes, during the filming of andrei rublev in vladimir isuzdal, anatoly solonitsin greedily absorbed everything he saw around him, one day his brother alexei came to visit him and anatoly took him here to the ancient church of the intercession.

this place has already become sacred for him. the brothers walked across the meadow and anatoly solonitsyn constantly admired the temple and talked to it, as if it were a living creature. this is where the russian soul sings. oh, my girl, my beauty. i cried, and he turned to me, saw my tears and smiled joyfully. he understood that there was no need to explain anything. you compose, brother, endlessly. from the tasks that torkovsky sets. my brain is melting, anatoly complained to his brother then, but overcoming himself, he learned to live in the frame, to convey all the feelings and thoughts of rublev, having played him solonitsyn wore for the rest of his life the cross observed the fast. the windowsill is completely covered with bottles of wine, i say, why is this? you see, when you want to drink, we buy a bottle of barmatukh and put it on the windowsill. and why? because

it's lent, let's drink to our victory, he agreed to wear a nazi uniform only because torkovsky asked his friend, a director who was terminally ill, to play a soviet intelligence officer, as if repaying debts, solonitsin helped beginners by acting in their films and turned even seemingly ordinary heroes into evil geniuses or people with piercing fate, i could not live with you. tsarkovsky demanded much more from solanitsyn than from others, knowing what he was capable of. this scene in stalker was voiced for almost 5 hours, it seemed that all the blood had already been drunk from slonitsyn. he needed to be wound up, the sound director is talentless, an actor must be chosen for the role, suddenly anatoly speaks words are suddenly born, because i used to think that someone becomes better from my books.

no one needs me, i will die, and in 2 days they will forget me, they will start eating someone else, tarkovsky, oh, look, they don't want to know anything, they just eat, torkovsky wrote the role in the mirror especially for his favorite actor, demanded that he cry at that moment, but solonitsin played more desperately, much more subtly expressively, well, well, but i 've heard that before, i'm not in danger, i'm a doctor, torkovsky was filming. only when tolya's pupil was running wildly like that, when his hands were shaking, when he told me, you are neither a woman nor a man, internally at war with yourself, yes, you are neither a woman nor a man, understand you, finally, afraid of falling under the charm of vysotsky, solonitsyn did not watch hamlet on taganka, played his own, not to the rupture of the aorta, but a philosopher opposing evil, not a word about love, in the years as yours live not boo.

understands how he wanted to talk with someone sincerely communicates, while the viewer is not a close person, and he is no longer in this world. fortunately, alexey solonitsyn managed to ask his brother what was most important to him. if you take on something, you must be reliable, reliable in life, reliable in profession, reliable in everything, in love, the whole homeland, it's true what you said then, it's true. alexey zotov, mikhail kunitsyn, vladimir grinevich, pavel bolkonsky, nikolay maloshenko, vladimir bokarev and anastasia beristenko, channel one. and finally , footage of the most ordinary, at first glance,

amateur fishing, the scene is sakhalin. as soon as it hit social networks, the video immediately went viral, the formula for success is simple, a really big tuna was caught. 112 kg, but weight alone is nothing without real emotions. valera, hurray, here we are well done, hurray, valera, this is us, so that we could do it, so everything, of course, the largest tuna caught on a fishing rod off the coast of canada is three times larger than this, but the fishermen, the record holders, had other gear, and the boats were not rubber, so the sakhalin catch can be called.

this is a podcast 20 years later and me and its host konstantin mikhailov. today we are immersed in our pioneer childhood, which is completely impossible without gum made of resin, without some kind of carbonated drinks from a machine, without bungee jumping, yes, bungee jumping on the vladimirslovich river, of course, this is sacred, and sometimes in the form of a tire that hung on the trees, and of course, where would we be without such wonderful children's films as the mustachioed nanny, the dog walked on the piano. and of course our guest is the master of children's and youth cinema and director vladimir gramatikov, vladimirovich, good evening, i greet you, the whole country watched the film, the dog walked on the piano, i remember how this helicopter tied with a chain tried to take off, how

they shoved potatoes into the tailpipe, something else, how the girls tried in every way to hold on to this love, beautiful pilot, and i, as a child, went to see this film many times, naturally, having played first before the show sea battle in the cinema, yes, and then having watched the film tomorrow, the next day, how the script for this film was written, i know that you had disagreements with the author of the story, yes with vika tokareva, well yes, there were different periods of our creativity, our friendship, the fact is that the script was written for georgy nikolaevich daneli, and it started. the script then had a name nothing special, when georgy nikolaevich was asked what you were cooking, he says, nothing special, everyone says, well, okay, tell me, he says, well, really, nothing special, and georgy nikolaevich was already in the preparatory period, all his friends

told him: "giy, what do you know about the russian village, why do you need cows, in general , all this, you have a wonderful story with a helicopter pilot, such a funny one, with a georgian, you do this..." you love, you can do it, and apparently, georgy nikolaevich suffered, suffered, suffered and got so tired that he quietly began to record mimino with gabry, and i learned about this project. that he did not wants to shoot, i got the script through secret agents, read it, and i really liked its stupidity, i quietly began to, that is, control this situation, the moment came when i came to georgy nikolaevich and said, georgy nikolaevich, i know that you don’t really want to do this, so let me do it, and he said: listen, it’s amazing, you start, we’ll do a change later, in general. and it so happened that he went to mimino, and i took this script, the dog walked on the piano. apparently, vika had her own

vision of this story, but you never told, but now i will tell. the thing is that in wiki tokar literature it is very insidious, what is its insidiousness? when we read, we create our own system of images, and this has its own charm, when we already interpret, when we already bring specific people to the screens, everything. changes, you can’t imagine what i felt when i edited, we call the first sausage, the first assembly, i was shocked, because i filmed some kind of, some kind of not comedy, but some kind of mockery of these village people, i did not want this, and i did it, and i didn't understand what to do, i give you my word of honor, i stayed overnight with the editor, i had a folding bed. the editor left, and i stayed and ran the film, i understood that i had to somehow get out of this, as always happens, a quiet

angel will fly in, if you wait for him, there was no longer any opportunity to finish filming, no, that's it, i had to proceed from this material, so a quiet angel flew in and suggested a solution to me, and the solution was as follows: i retold the story as a witness of these events, as a resident of this village, yeah, in detail circumstances, consistently, i couldn't do anything and... an angel told me: you're a summer resident, you came, he told you one thing, another, another, and these are fragments of history, when i edited it like this, the picture instantly came together, acquired its charm and i love it very much, by the way, it's also a secret, it decided my fate with mio moi mio, when swedish english producers came to the soviet union for a film adaptation, miu moi miu,

and a stupid story about a russian village, but they got together, it was not by chance, absolutely, but what exactly didn't victoria like? victoria didn't like the lightness, she wanted more of a social story, and i really didn't want that, and you remained friends, basically yes, well , lately she's been living on pokhra, when i lived on pokhra, i rented a dacha from trifonov for 18 years, yeah, when i was there, of course we saw each other and talked, lately... do you like working with friends or is it always well i always had a group, cameraman

alexander antipenka is our wonderful cameraman, we made 10-11 films with him in a row, this is alexey rybnikov, the composer with whom we started on usa tam nyan and further, this is konstantin zagorsky, the artist, who is our famous artist, who is moscow karezternik stars, two of his famous staged films and two state awards. yeah, yeah, well, unfortunately, it didn't always work out with actors, i really fell in love with lenya kuravlyov, on the dog found the royal, i so wanted to make a film with him, because the amazing shuvshin film, and with him, yeah, it's just a miracle, the same kind of plan, and so we couldn't do anything and he was looking and i, yeah, there was no literature on the material, that's the oven, after all, the dog was walking, it was gorgeous there.

we decided everything with him on this, you know, skhityaeva was wonderful, yeah, well, naturally, tihidon, they remembered her, amazing, yes, that means, she also wore a headscarf specially, so that they would recognize her, there we went to some kind of collective farm canteen, so that it was, and there was a problem, i told her: you are an earthly woman, you give birth to children, you have beds, radishes, dill, you are life, you understand, you are the earth, therefore no cosmetics, he is so

they watch me, they say, okay, okay, i 'm rehearsing, so get ready for... here before , 3 seconds before, as i motor, she bent over chick already with smeared lips, i said, i beg you, don't do this, i say, i 'll stop anyway, chick and joker, instantly, about the actors, you in the film myo my myo, discovered christian bale, yes, he was very small, he was only years old, and the music for the film was written by the guys from the group abba, yes, benny anderson. it's simple, yes, yes, it was, well of course, it was all so interesting and it's interesting, because the joint production in the soviet union, how it was built, independent budgets, the western partner determined some volume of work, yeah, and he paid for it, we didn't know to whom, how much, what and how, and the volume was also determined by

the soviet union, these are pavilions, this is nature, this is crimea, an expedition. it was a disaster, it was chernobyl, i had conservation, we went and started filming in stockholm, yeah, then we went to scotland, the north of scotland and filmed castle cato there, if anyone hasn't seen it, it's fantasy, yes, that means they came back, and this catastrophe happened, our partners said that they wouldn't go to crimea, because kiev is nearby, yeah, we explained that... it's all clean there, and the film was closed, and there was a chance, luckily, president magatha was in yalta, i found out about it, i came, flew to yalta, found him, persuaded him to take air and water samples, they took it to the swedish film institute, to our english partners, and so they revived the

filming of the project, they came to yalta, yalta was empty. prokhanov for the leading role in the film, which, one might say, gave impetus to your directorial career, this is the first big movie that you were entrusted with after your coursework and diploma works, mustachioed nannies, how did he pass the casting, you know, unexpected, in general for me it was an unexpected problem with the hero, i thought, well

, 19-20 years old, first courses of theater universities in moscow, charming. boy playing the guitar, well, elementary, yeah, it turned out to be a terrible problem, and you know, in the zone in the zone of contact with children, guys came, wonderful they play, they sing wonderfully, they are charming, but when they start working with children, one starts to say "pusi-pusenki", "musenki-musenki", all the "pusi-pusenki" lasts for 5 minutes, yeah, then they lose interest, the other one, on the contrary, quickly lines up, "well, did you smile? " it's fun, we're walking on this earth, "well, come on , give us a smile", and it was all a nightmare, a catastrophe, my counter was ticking, ticking, i literally had 3-4 weeks left before the start, and there was no hero, i remember that i selected twins 18, there were 21, just in case someone got sick, yeah, that's it, but there was no hero, and

a friend came, it was a true story, i... was sitting in gorky's studio in my group, the door swung open, a young man came in and said: i'm sergei prokhanov, i know you 're looking for a hero, i read the script, it's me, you can stop looking, that's where it all started, impudence is the second happiness, well, yes, but then he got bored, korilla is coming , gorilla. she's carrying a crocodile under her arm, yes, a bay! gorilla, dear crocodile, and why are there such eyes, what am i seeing, and

dear crocodile, and why are there such ears, and what was that better, dear crocodile, and nothing, these are the kind of teeth, is that better not? and this set was a brothel, great, yes, and we converted it into a kindergarten, it would be better not to say that, now it is impossible to watch this picture, no, everything is fine, yes, everything is fine, well, so how, he, it means, has developed ideal contact with the children, everything is fine, absolutely, the thing is that the children had already been selected, they lived in the studio and i told them, actors will come to you and you with them... he will communicate with you, but you will already know how you will like him, will not like him, we will decide, and so they destroyed candidate after candidate, so, gaining excitement, so

when seryozha came, i immediately paid him his first visit, when he brazenly entered the group, i said: "seryozha, go down to the second floor, and i will come to you in about 25 minutes." seryozha went, everything as usual, he came in, a scream, a temple, a ringing, a grinding sound of claps. and then a sudden silence, and i thought, yes, i was experimenting, i opened the door, saw seryozha, who was lying on his stomach on the carpet, that's how he crawled and said, we are fish, and the fish are silent, and the children them, then, also bending, crawled along this carpet, i saw their eyes, i understood perfectly well that this is what is needed, yeah, and they made a lot of money on this film, they didn’t make anything, at that time we had three categories, when we rented out films, we didn’t... get money from the rental, we got money from the category, we rented out the film, and there was, well, the highest category, and the all-russian premiere, all-union, excuse me, all-union,

when 1,500 cinemas started showing one film in one hour, and so the first category was somewhere around 9,000 rubles, that’s a zhiguli, the second category is 6,000 rubles, the third category is somewhere around 3,000 rubles. that's all we got, remember your first one? such a good, such a fat fee, what did you spend it on? well , there was never a fat fee, because it turned out that the dog walked on the piano, all the subsequent films and juaquin muretta, it was all in the system of the soviet distribution of categories, so if we talk about money, the saving money - this was of course the sazam street project, it was complete unemployment, it was... terribly difficult, it was very hard, and my wife traveled, sold dishes, it was a huge suitcase, saucepans, frying pans of incredible weight, she was

a sales representative, she was with this suitcase, traveled and presented this dishes, and this was our only income, and i was absolutely not in any position, neither acting, nor directing, nor scriptwriting, there was no work at all, then it was great that valera was a reception... my great friend, he offered me to go to kinotavr, i told him, valera, well, what is the point of going, you don’t have any pictures, i don’t have any pictures, and he was already a star, the boys had already come out, he was super popular, and for this very popularity, donetsk miners at kinotavr presented him with a bunch of vobla or rudets, you know, when you look at the sun, it is transparent, and we said 5 o'clock after lunch, after sleeping in a beer bar on the embankment, that is... with a pearl there, i came, he is not there, i go, looking for him, ksenia marinina, the famous ksenia marinina, who invented the kinopanorama, yeah, she says, volodya, come here,

we just need you, god sent you, sit down, i say, and here is ira borisova, producer, she will make an amazing children's project, we need a person who knows children's poetry, knows documentary films, knows children's films, knows children's poets, composers and so on and so forth. "you definitely know such a person, i held my breath, i knew such a person, because i was there, but i didn't tell her, i told her borisova, i will come to moscow and in 3 days i will call you, and we will decide everything together, i flew to moscow, i wanted to call, of course, but i slapped my hands, i held out for 3 days, i dialed, i say, and borisova, hello, can i bring you this person, i arrived, she says: "person, i say, it's me, she says, oh my god, what happiness, so i started an amazingly interesting work on the streets of sazam, it was together that we

came up with the cube, busiya. we took boba, thought about how to build a studio, and it's a brilliant idea, you know, its author noticed that children pay attention to advertising slogans, yeah, they remember them very well, and he came up with this system of short repetition systems, yeah, when he shows this letter a, and after three transmissions he shows the letter a, also reminds, but not right away, and after nine programs he shows the letter a and is silent, and the children. themselves scream at the tv, and do we understand? yeah, then 42 participating countries, each country films its own programs in the common pot, that is, it's like a franchise, absolutely, and some inspiration came from the mapit show, well, it was fantastic, puppeteers came from london who trained our puppeteers, yeah, those were lessons to tears, the thing is that our puppeteers are a little formal, they

slap their lips, they say. and the greeks demand precise closure, slip, these are all vowels, you need to practice, va, va, that is, these were trainings for 8 hours a day, you understand, but there is an effect, it is all done organically at once, when the doll just waves like this, that's it, yeah, that's how i worked, and zilibaba, zilibaba is a huge doll inside a person, he had a television screen. he saw himself from the outside, you understand, technology, of course, his right hand was in sync with his mouth, he said zeleboba was turning his head, the left one was working, he could take, transfer something, and the right hand was on a string, it was kind of formally dangling, and it needed training, training training, but we worked with such inspiration, it was so great, everyone was so, you know, passionate about this

work, how long did it last, well , we did the first season for a year and a half, somewhere around the second season, then i became the director of the gorky studio, and we made a special pavilion of the gorky studio to write synchronously, yeah, we made a special covering, a rest room for the actors, we filmed the second season gorky studio, cool, and what were the responsibilities of the director of the gorky studio, did you select any projects or not, the creative part, well, the thing is that no, i was two-faced. because i remained the artistic director of the project , first of all, i needed to gather the entire team of poets, composers, documentarians, there was lebedev, the famous director, and if he started on the street sazam, filmed documentaries, nikolai lebedev, yes, yes, so i was two-faced, as the director of the studio, i had to provide a pavilion, normal rooms, editing everything, and as artistic director i led the project as before

the second season, as the first. plus you also have to be a manager, probably a good one, to manage the studio, well , i started as a manager of the repair of toilets and corridors, of course, because everything was in such disrepair, i remember, yes, i remember, they were filming a cross-country skiing for the stars, well, richard viktorov, i was spinning around on the set, too, and i talked to igor mazheiko, yes, i also, who is the author of the script, absolutely wonderful, kir bulychev, yes, he is kir bulychev, but in fact he is igor mozheiko.

because you can't film it and you shouldn't film it at all, got me? i'm saying that i think we need to come up with something quickly, and lesha rybnikov and i wanted the death star, juaken murietta, they wouldn't give it to us because it was an expensive film, yeah, unfortunately it turned out to be a bargain, i said, but if i don't film the beetle muraveiniki, then give me what i 've wanted to film for a long time, the death star, juaken murietta, that's how i got it. a rock opera, and how did the idea come about filming a rock opera? you're probably like me, i listened to the record until i was tired, yes, i i didn't want to film the play, although it was very, it was super popular, just in linkom, that's it, but i didn't want to, i wanted the theme of violence begets violence, yeah, it was very relevant in eighty-seven, sixth year, of course, and lyosha wanted to rewrite

the entire score, he... we left the performers who were on the record, and i was forced to change the idea a little bit, because we couldn't record the new parts with lyosha, you know, but nevertheless i changed the plot a little bit, it seems , the construction of the story, yeah, well, you they rewrote this like silver bastards with waterfalls flowing from the city, wow, the whole chilean part, the whole exposition before the arrival of the barsha. when they sailed away, this whole part was rewritten, that's me your freedom, i'm your star, this is left from the record, well, the monologue, i shot it three times, don't be born, my son don't be born, yeah, raped teresa, her monologue, i shot it at the beginning of the film, in the middle of the film in the finale,

because the decoration of the hut was in a small pavilion in yalta, yeah, in an old studio behind orianda, and they didn't dismantle it, and it was mine happiness, i said, don't touch her, i want... to shoot this monologue, it's very important, three times, and which one turned out better, the first one, oddly enough, and you know, charlie chapin shot the scene when he recognizes hands, the lights of the big city, the blind girl recognizes hands, 40 takes, he took the first one, it's a fact, this is a podcast 20 years later, our guest is director vladimir gramadikov, tell me, when did you want to become a director, i know that your father - well, yes, well , it happened, you know, the bacillus of creativity is an insidious thing, it creeps into everything, it began it all started with the fact that i first entered a technical college, yeah, and then andron

kochelovsky was filming his graduation film, boys dove, yeah, misha korzhavin, the cameraman, he was missing two fingers, and andron asked nikita and me, oh my god, to connect with the caesars, we caught. about 200 caesars, and we had to wrap their wings somehow so that they wouldn’t fly away, pigeons, pigeons, yeah, yeah, pigeons, because on vasilievsky spusk they poured water on the cobblestones and released pigeons there, they weren’t supposed to fly away, they were supposed to walk, yeah, so we were somewhere near the high-rise building on the in the dovecote with nikita at night we tied these pigeons, this is the beginning, then when there was filming, it was in... in the morning at st. basil's the blessed a truck crane in those years, it is a small boom, but a truck crane, it is such an arrow on a car, the operator, assistant and camera rose up, yeah, could move

, everything, but this, and they put me on this truck crane, because misha needed to shift the focus from one mark to another, with such a slight movement, this is the work of an assistant. and i sat, i was wet with excitement, sweat, because for me it was, you know, universal scale, this bacillus grew, yeah, then, then, one thing, another, in general, i realized that i was so interested in it that i could not live without it, so i entered the acting department, first at gitis, then andron, konchalovsky and torkovsky brought me to the theater. kosentsev and rom graduated from two acting courses, they united and after marcel marceau's tour, moscow was in shock, silent, wordless drama, it turns out that

it was possible to convey feelings without words, so they created this theater, the experimental theater of pantomime, the artistic director, you know who it was, who was ivan pyryev, but he... because we lived opposite, i could do this business we were friends, they said: volodya, why are you moving so well, go to the theater, they brought me and accepted me into a professional troupe, this was sixty-two, oh, wow,

in sixty-three i went to serve in the army, i served 3 years in the army, in the navy, or what?