ivchenko woke up ivan every day, in the morning he says, ivan, get up, they will discuss... when is acquaintance day and all that, ivan is the only one in the group, he had a cut herring on his head, everyone else glued it, he cut it, and he proudly walked with it, this is the 72nd year, no, my father, this, my father was also with a herring, i remember, he came here, he slept in it, i was afraid that, what is it with him, my father too, maybe he really is ivan, there was so created. the atmosphere, some such cossacks, you know, and, but i the script, we didn’t read it, we didn’t know, we took it on the set, this hell that was filmed, it was such a miracle, just, you know, eh, but it’s interesting that this devil, satan, who is that mykhailo holubovych, he also played the innkeeper and, well, i wonder what exactly he did after the start of the war. he will head the luhansk drama theater, and he actually explains it now, well, at least a few years ago, he said that he was doing it because they were allowed in luhansk, it means to play in the ukrainian language, that is, he actually s

moreover, i recently read that boris ivchenko is the director, well, actually there were two directors and mykolaichuk, to be honest, yes, he understood that this might be the last thing that would be allowed, and he said, get ready, guys, because it probably is the last film we are shooting about the cossacks, and so it happened, the litgazeta called it a lost letter. cossackophilism and the film was on the shelf for 10 years, but there you all experienced this colossal atmosphere, tell me what kind of atmosphere it was, there was such a creative atmosphere, not only, for example, during the filming, the whole village lived the same way when we came to the shooting , and they took us to a motel in the village, this is ukraine, at that time motels were extremely rare, but there was a motel near krasnohorivka. and besides, these are all the meadows, this is an incredible little lake, and there is a dry tree in the middle of the lake, i thought that it was all specially made, but ivan found it that way he found such a nature, as they said at the time, and we really felt somehow incredibl

it was his son boris who filmed him, or his father, he was ivan’s teacher, so he was on the course, andme, when he saw where ivan lives, how he is, where he sleeps in the corridor with marichka, then somehow it happened that ivan they gave an apartment on zhilyansky , one huge 20-meter room, and they are 20, it was just a holiday for marichka for ivan, but ivan and marichka were not lined up very much there , because, because... he lived his whole course by himself, a lot of people appeared at once, while ivan was still studying, he was still in the second year of the theater institute, and there was boris brandukov, he was there with his wife kateryna, there was ivan gavrylyuk with his wife myroslava, there were many more, maybe i didn’t know them exactly, and osyka and his wife too, that is, there was good company , marichka said that sometimes they even had to sleep in the bath, to sleep in the bathtub, yes, but it was really, the environment in which i got into was for me a completely different world, because in the viryovka choir , nina matvienko and i studied in the studio with th

ivchenko, the director, well , actually there were two directors there, ivchenko and mykolaichuk, to he understood that this may be the last one that will be allowed, and he says, cheer up, guys, because this is probably the last film we make about the cossacks, and that's what happened, the litgazeta called the lost letter a sheet of cossack philanthropy. and the film was put on the shelf for 10 years, but there you all experienced this colossal atmosphere, tell me what kind of atmosphere it was, there was such a creative atmosphere, not only... for example, on the filming, the whole village lived the same way when we arrived for the filming, and we were driven around the village by a motel, this was in ukraine, at that time motels were extremely rare, but there was a motel near krasnohorivka, and there are all the meadows, this is an incredible lake, and there is a dry tree in the middle of the lake, i thought that it was all specially made, but ivan found such a nature, as they said then . he found, and we really felt somehow incredible there, fedor strigun was there, there came t

i recently read that borys ivchenko, the director, well, actually there were two directors, ivchenkoolaichuk, to be honest, yes, he understood that this might be the last thing that would be allowed, and he said, cheer up, guys, because it's probably the last film we are shooting about the cossacks, and it happened, litgazeta called the lost letter a cossack philistine, and the film got on the shelf for 10 years, but there you all experienced this colossal atmosphere, tell me what kind of... atmosphere there was such a creative atmosphere, not only, for example, during filming, the whole village lived in the same way when we arrived at shooting and we were driven around the village by a motel, this is in ukraine, at that time motels were extremely rare, but there was a motel near krasnohorivka, and there were all the meadows, there were incredible little lakes, and there was a dry tree in the middle of the lake, i thought it was everything specially from... but ivan found such a one nature, as they said at the time, he found it, and we really felt somehow incredible there, fedor stry

ivchenko said, well, i can’t cut anymore, there’s so much in him, this film really had some kind ofy very much, ivan mykolaichuk was not allowed to work for 10 years, i i understand correctly, but all the time they were writing scripts in the apartment, there were some guests there were some creative people and there was osyka, a brawler, so this process was constantly being fanned out there, he supported, the one who shot the film, the fights are fought by old men, bikov, bikov was very supportive, sometimes he brought fish, he says, here i am, well, he spoke russian, that i caught fish, yes, but that fish was sold under the house. and tell me , please, did you meet parodzhanov and osika in mykolaichukiv? this is how osyka met parodjanoni in the mykolaichuks. and what are your memories of osika. aspen. aspen is very creative. he even when we were at kadochnikova's house and yuriy elenka, there and then osyka was so creative, you know, the director, he is like that, valya, you stand here, we sang, and you stand here, and you, nina, stand here, and you... marichka, stand here, we hav

ivchenko said, well, i can’t cut the spirit anymore, so much so that this film really had such an innerery , ivan mykolaichuk was not allowed to work for 10 years, and i understand correctly, but all the time they were still writing scripts in the apartment, there were some... guests, there were some creative people, and osyka was, damn it, yes, there was always some kind of this process fanning, supporting, the one who made the film, the old men are fighting, bykov, leonid bykov, bykov was very supportive, sometimes he brought me fish, he says, here i am, well , in russian he said that i caught fish, ugh, but that, but that fish was sold under the house... and tell me, please, are you did you meet parajanov and osika in mykolaychukiv? yes , paradzhanova met osyka in mykolaychukiv, didn't she? and which ones do you have? memories of osika? aspen? osyka is very creative, he even when we were at the house of kadachnikova and yuriy elenko, there and that's how osyka was so creative, you know, the director, that's how he is, valya, you stand here, we sang, and you stand here, and you. .. st