it was impossible to make either a domestic drama, or a comedy, or a realistic story, when andrei sergeevich suddenly pulled this script out of the dust and cobwebs, it suddenly caught fire, this was, of course, for many mosfilm people, because what to hide, our business is good, but we have a lot and cynics, who, but now he is with them, but the soviet army is there, there...

the moment when andrei konchalovsky wanted to do the most difficult work . it was important for him to win the opinion of his fellow critics, to achieve authority among professionals. he did it. it's here to a young audience, so that young people can recognize themselves, so that every girl can exclaim, i want this kind of love, so that every guy can say to himself. i want to love it like this, so that there are kilometer-long queues for tickets, and he decides to calculate his future viewer and calculate the future success of the film. we, and above all, andrei sergeevich, had the task of a sincere dialogue with the audience. the director set this task for cameraman lebanon. konchelovsky was under 40, the cameraman

was under 50, it was necessary to film as if for a very young man is standing with the camera , even if it’s blurry somewhere, even if it’s grainy, even if it’s shaking from a hand-held camera, even if the sun is shining directly into the frame, the main thing is that the camera should convey feelings, this is normal for the young, arrogant, impudent director that i was then, then he... when we started filming musical numbers, i think, let 's put dig one in the camera, he says, lebanon, he says, like straight into the camera, i say, he says, well, this is a marriage, i say, yes no, we'll shoot the way we shoot we are making a movie about love, they had to film that happiness falls on lovers, how it should look on the screen when a person... comes out of a dark room into

the harsh light, he squints, so they decided to film in contrast, from very dark to almost overexposed frames, i love everything, marriage , what to do, he said, and we will be in blatant laughter, because that’s not the point, that’s not the point, let there be a thousand digs there, this is nonsense, and let the camera be visible, it doesn’t matter , what is important is this call: it is necessary. that, what we see now on the screen - hello to the italian director fedorica fillini. this is his move. the action escalates, the plot develops, and then once the camera turns a little, a film crew appears on the screen. and the whole world turns into a film set. at first the cameraman was in a hurry from surprise, but suddenly he said to himself: all my life i have dreamed of just such a shooting, where there is complete freedom. why hesitate? and... there were no, how should

i say, rehearsals about how we turn so that the frontal face is towards the camera, there was no such thing, it was very delicate, i would say, cinematography; andrei konchalovsky also improvised when he selected the actors for this film. and he is the screenwriter and cameraman at first they saw the leading actors as completely different, when elena koreneva came to the audition , she did not make an impression on konchalovsky , lenochka came, swollen, because of her tears she had some kind of unsuccessful romance, she looked into space like that, so in general she didn’t care, i looked at her, i thought, how interesting, usually... actresses come, they

want, i like it, she was sitting like that, but her nevertheless, we decided to try, suddenly a miracle happened, in every gesture, in every phrase, elena koreneva... turned out to be absolutely natural, i’m always with you, well, something coincided, either a child’s, or something, what -this is a girl with some kind of a girl with some kind of inner maturity and at the same time very fragile, like an actress, i scared her terribly, she is playing, repeating something, she...

the taste of these strawberries, their aroma, they remain for life, like the wonderful aftertaste from filming, how i love you, human connections, they are more important than these, well, even creative ones, simply because the luxury of human communication is more important than creativity, it’s just that often. we don’t understand, that’s another question, we don’t understand how expensive it is to remain silent about the same thing, how expensive it is to simply understand what a person is thinking, how expensive it is to wait for what he will say, this is all human communication, of course, then it affects the

relationships between as a director and actor, as i say, life is too short to spend all your time annoying. twenty-one-year-old vladimir konkin was filming then in the drama, how the steel was tempered. it all started with the cover of the soviet movie screen, where i was in budenovka, a magazine was published for the november holidays of the seventy-second year. the cover

of this magazine replaced konchalovsky's photo tests for the main role. here he is, one hundred percent soviet romeo. konchulovsky decided not only to film konkin, but to persuade him to give up the role of korchagin. in the film how the steel was tempered, but konkin did not take this adventure, konchalovsky’s proposal seemed secondary to the young actor, he now has an epoch-making role, but what is this? i read script, the next day we saw each other, and i found 20 repetitions there, as i remember now, with korchagin, but i didn’t want to repeat myself, of course, they are very conventional, but then it seemed to me, so i’m saying, no, this is cranberry some kind of volodya, this is being filmed by mikhalkov konchilovsky, volodya, this is a different one for you, this is a different stage of creativity, and i haven’t gone through this yet, i had to

wait for konkin, but as a romance with lovers was put into production, the film has a tight deadline , konchalovsky had to go through official deception, it means he came up with it for himself. that he couldn’t act in film, he was exhausted, and i didn’t know how to tell him that i couldn’t act in film, and i still said it, i say, andrun, forgive me, please, i can’t do it with you, with me there is no strength, what does it mean to be left without an actor on whom you made the main bet, it’s difficult to survive this, and he turned away, which means from me to the window, he was looking at something there, his back was, there was such a pause when...

we everyone is basically the same, i don’t consider myself one of the people who have no shortcomings, i have a lot of them, i’m with i see them with pleasure in others. konchalovsky had to return to the tests that he did with other actors, remembering evgeniy kendinov. well he had a nice sculpted face. i tried many artists then, i couldn’t figure out what i should be like, but somehow he came. with this, he has such a sculpted face

, cheekbones, such a heavy jaw, he is like some kind of granite and i really liked him for that, in general he was a soft person, seryozha, well , hello, kindinov was inspired, managed to fill his character with energy and passion, he was soulful when he played love, when he played the lost. sincere , natural, so that there is no , how to say, acting skill, no, be yourself, and he said the same thing to lena, this is who you are, this is how you are needed, and you are so interesting, when the script... found out, that instead of the graceful romeo and the trembling juliet, a man with a rough face

and a strange girl would play in the film, he decided that the film was ruined, out of despair he even stopped coming to the set. we felt in andrey's mood sergeevich, we felt that the screenwriter somehow, something didn’t suit him, and he left, yes, not immediately, but after a while he stopped appearing. in addition, evgeniy kenzinov was older, romeo. from the script for about 10 years, here ’s a small problem, evgeny, you are of course older than the hero sergei nikitin in my script, so let’s do this, now we ’ll film you a little, and then let ’s go for a few days, how can i say, lose weight a few days to be a little younger, it will always be like this. at the beginning of work the creators of the film could not imagine that

there would be so much music in their film, it was planned, of course, to use several songs, everything changed when they met an extravagant, long-haired young rock singer. on the days we met, he was recording at a recording house and in his voice konchalovsky heard the expressive tension that was needed for the film. he decided to try it. the director asked: can you write music for a movie? the musician replied: of course, have you ever written scores? no, but everything is easy for me, i genius. the twenty-four-year-old genius's name was alexander gradsky. i met him, but he is just a boy. i don’t know how to orchestrate, so to speak, so i say, it doesn’t matter, let’s write melodies. that's why sasha is the first to go. the orchestral score was written for this film,

an unprecedented case at that time; not a member of the composers' union, he received an order for music for a two-part musical film. gradsky generally lived outside the generally accepted laws, and everything was forgiven for his talent. sanka had a tongue like a razor, send three letters for it didn’t cost him anything, in konchalovsky, not konchalovsky, that’s all there. so we became very friendly with him then, he lived on mosfilskaya sasha, we were young, he already had an ensemble, they played in a cafe on the new marbat. i can’t even believe that the bear is gone, aren’t you going to the wake? do you know who is it? no, but i am also a person close to him, i am his daughter, who lived there were three sisters. mom, is it true, she's our sister? one is beautiful, the other is smart. i

am glad to see you. well, i can't help you. okay, vavara mikhailovna, i'll wait. point, and the third is just a stranger, why do you put up with such an attitude towards yourself, he harasses, mocks, cheats on you, your mother also essentially fell in love with a married man, you think my mother was a happy woman, she cried at night, so are you you want, all my life i was afraid that she would appear, but maybe she’s for the better, someone else’s sister, today on rtr. the entire southeast of ukraine will return under russian banners. what vladimir volfovich says in 2017: russia will be the number one state. russia will remain the only superpower in the world. sergei voronin, former advisor to vladimir zhirinovsky, continues to sort through his personal archive and new

prophetic notes from vladimir volfovich are discovered. in them, the leader of the ldpr in... predicts the future malakhov on tuesday on rtr, you look like an inter-girl, you saw yourself in the mirror, i will never marry you, i need another wife, i want to marry a city man, be happy, do you think that there is happiness in the city, this is for you, beautiful, we will play a wedding, why did you even think that i would marry you, great hopes, in saturday and sunday on rtr, may the new year come and be happy here, and we will provide you with loud laughter in every hall, everyone is running somewhere, everyone is calling someone, these candies have been traveling around the city for 40 years, and what’s on mom’s table ? there’s nothing, three pickles,

bring mom something hot, warm her up, everything will be ready at once. appetite is a mood and a holiday for the soul, but you won’t remember this, the new year is just a rehearsal, but the old new year is already a premiere. full house, old new year, premiere on saturday on rtr. let's see that know everything about russia. the best historical series. let's look, look. in the application or on the website. world cinema star gina labrigida looked for some special devices in european music stores especially for gradsky and brought them to moscow. sasha said: “we need to have such

a wah-wow machine for kitara. yes, we don’t have it in moscow, but no. i called lolo bridges and she brought us these two wah-wow pedal machines to the festival . sashka was delighted. and the music sounded. the guitar became the companion of the main character. sasha, your original music and your wonderful voice - this is, say, at least 50% of the film. because yes, there were good shots and filming. wonderful actors, all this is wonderful, but if we say, as it were, melodrama, melodrama, it means that the first word, this melody should be, should be the melody of seryozha’s heart, and his chosen one, and sanka definitely did all this and just

big pilgranchik, spree, spree, spree, spree, little boy, you are a guy, young, young, konchalovsky wanted to make the song about a spree boy an emotional climax, so to film so that first the film crew, and then the audience, would cry, he pushed it, did take after take, suddenly he saw that he was thinking incorrectly, it seemed like everyone in the frame was crying, but something was wrong, oh, comrades, you hold me! then i started watching the material after 2 months, when, well, this last take , let’s take it, it’s terrible, i wonder what to do, we missed it. i say, let's go with the previous one , a little better, i say, and the first one, let's go with the first one, who said he was bad, look, here he is, the first one, without snot, without these tears, and

this is an amazing thing, tears should be there spectators, and not the artist, oh, comrades, you hold me, i’ll be busy with joy like fire, i’m a thief’s shame, but i’m straw. when konchalovsky received the script, everything ended with the death of the hero, when the main characters are happy, well , how can i say, sincerely rejoicing at the rapprochement, suddenly such a breakdown occurs when my hero dies, the death of the hero in novels is the death not of the body, but of the soul.

explain to the audience in my opinion that life after death, i probably lived most of my life without love, i fell in love, i was very carried away, that’s another question, but people happy people experience love, but falling in love is different, i believe that falling in love is a young feeling that makes you look younger, but love does not make you look younger, it gives you confidence in

life, in my opinion, happy people are those who understand what they love, and not everyone is so lucky that they actually meet a person who... is better than them, this is rare, i think, that’s why the romances of lovers in themselves, this is an ode, this is such a commendable word of love, together with the cameraman the director asked for musfilm the whole set of mobile diesel generators , lchtwagens to power powerful camera lighting , there were only seven studios, the camera department was grumbling, we even have for...

such an expression, art is a lie that helps to understand the truth of life, and there are very high lies, shakespeare, you read, you think , in general, how to insert it , and then it turns out that this is possible, so this is the truth of life that passes through this kind of sublime picture. and she was a huge danger for me, it could all turn out into some kind of terrible linden, who here you took me when i was there fighting for

you, just who? after the scene of the hero's death , the film turns black and white, and the heroes begin to speak not in blank verse, but in prose, it was the director... who and who does not love anyone, this energy is endorphins, there is a lot of things there, it elevates a person to such a - state

of exaltation. i’m saying this now, then i didn’t quite understand, but it seemed that it was necessary, this is the world of lovers and the world when color disappeared, when the feeling of everyday life, a love boat breaks is often commonplace, a black and white world may remain human forever and even end prematurely.

kupchenko appeared like life after death. the screenwriter's path to the hero's revival was written a little differently. in the bustle of the city, one day he found himself in a record store and, listening to the song of mathieu, he met the saleswoman to whom he was supposed to propose in the future. but for konchalovsky it was too beautiful. clarity and prose, he wanted the viewer, empathizing with kendinov’s hero, to receive his blows back. therefore the woman who will become the hero's wife, works as a distributor in the workers' canteen, and no peace-making. irina kubchenko, who played lyuda, had a very difficult task, only five episodes, during which time she and sergei had to meet, get married, give birth to a child, and

he had to fall in love with her. i am grateful to you, one of the main characters of the film moscow yard, how much sun, music, delight in life there is, how many amazing people inhabit it, i gathered this yard, some amazingly interesting people gathered, there is a colonel there. what's there, then

there was this one, there was not such a little exotic ponoptikkum, strange moscow people, ilzeta mikhailovna went, ilzeta mikhailovna went, iya savina plays the mother of heroine koreneva, enokensis maktunovsky, the trumpeter, who is given to know how everything will develop and how it will end, with his trumpet to the entire arbat courtyard he communicates to everyone the joys and pains of his sensitive heart. among the strange and whimsical heroes of the film, you cannot miss this man, the poet nikolai glazkov, the one who coined the word for himself published, and then it was transformed into samizdat. first of all, he is a poet, and a poet with a very capital letter, because he is very independent, thinking in his own way , perceiving the world, and whoever succeeded in this our reality.

the difficult reality of the forties, fifties, nineties, and subsequent years is still able to convey all this into poetry, it’s just that he is a talented russian person. glozkov was the leader of soviet self-publishing, he typed out books like these and distributed them to his friends. these are small books, often collected from notebook sheets, sometimes taken from a magazine. covers , he put stickers on them, wrote a year on them, wrote a title on them, came up with his own, put them inside each other and gave them to friends, because they didn’t print him, tarkovsky shot him in andrei rublev in the prologue of a man flying by, and come on, pick it up , i'm flying, arch...