gadar, gadar himself, with gadar himself, and like gadar, and he was wonderful, gadar was amazing forhow managed to change my acting school, i think i didn’t succeed with him, because it was a completely different experience and kind of ...incredible reverence for such authority, naturally, i just went by touch, plus, of course, difficulties translation and everything else, but there was such an experience, there was experience. were you terribly upset? yes, what are you talking about, life is over, i, in my opinion, for two years i could not drive past the passage of the art theater, that is, the current komerger theater. one great russian writer had the same feeling as mikhail afanavich bulgakov’s kamhata, yes, he also swore that he would not step foot on mkhata, after maliere’s play was filmed, so, i must say, he broke his promise, this unites me, mikhail afanasich, i couldn’t even turn my head side of the art theater, it would be terrible. so i was led into an administrative resource, the ways of god are inscrutable, maybe i shouldn’t have become an actress, i should have immediat

gaddar was amazing to me at that moment, because the very name gadar, you understand, it was dark inhe invited me, but i acted with him, i was at the audition and... when i was approved for gadar, it was very funny, because well, this can’t be, because this can never happen, yes, and naturally, i shot what was the name of the film, the film was called these funny russians, the film, as far as i understand, did not work out, but it doesn’t matter, i had such an experience in my life and i communicated directly with godard, you know, somehow manage to change my acting school, i think that i didn’t... succeeded with him, because it was a completely different experience and like an incredible reverence for such authority, naturally i just went by touch, plus of course the difficulties of translation and everything else, but there was such an experience, there was an experience with an american hollywood director philip noyce, i had experience with a german director, that is, well, somehow , somewhere, well, it’s still very different from working with our directors. it is different in the

movements in cinema, but they reached you, well, not i know, maybe someone from the film crew said, watch gadar and georgiy nikolaevich daneli . they were such independent artistic personalities, maybe they looked and saw a lot, but i don’t think they could shoot something like something, they were so natural, uh , talents, there was no imitation in them, they could know take into account this, but to do something to this, so to speak, in unison, is unlikely, well, listen, shpalikov, forgive me, please, shpalikov was a student. in fact, it’s as if he didn’t have a filmography yet, he’s still a geek, i’m walking around moscow with a film, defended my thesis, in fact, and to what extent in general your trust as an actor in shpalikov as a screenwriter was high, but what about this the legend took shape before your eyes, in general, usually the screenwriters don’t communicate with the actors, or it’s as if their work is completed at the moment when they put the last point in the document. into the script, they give it to the director, they go on to a new project, that’s how he influenced the film i

movements in cinema, and you heard, well, i don’t know, maybe someone from the film crew said, watch gadarevich daneli, they were such independent artistic personalities, maybe they looked, saw a lot, but i don’t think they could shoot something like something, they were so natural, uh, talents, there was no imitation in them, they could know to take this into account, but to do something in this unison, so to speak, is unlikely, listen, shpalikov, forgive me, please, shpalikov was a student, in fact, it’s as if he still has in essence there was no filmography, he was still in gikovets, i walk around moscow with a film, defended my a thesis, in fact. how high was your trust as an actor in shpalikov as a screenwriter and how did this legend take shape before your eyes? usually , after all, screenwriters don’t communicate with actors , or it’s as if their work is completed at the moment when they put the last point in the document into the script and hand it over the director goes to a new project, how did he influence the film itself? well, he didn’t consciously influence me like that, but.

and you were told, well, i don’t know, maybe someone from the set groups said: look at the new one gadar'sre’s no gene, there’s no other woman, no one is alive anymore, so some kind of there was a connection, and she was very close friends with valya malyavina, also my classmate, you see, this is one circle of people at one time, this is what you can analyze and... right, if you are talking about this, this is time, time, certain intonations, i mean intonations not in the literal sense, not musical intonations, but such internal artistic intonations, they were in the air and the most talented people obviously caught them, the same lesha loktyev, that means galya polskikh, we are all in this intonation, yes ? and we don’t even know each other were in front of the picture, but after the picture we are already like relatives, in this film there is a story about how shpalik actually wrote the text of the final song, these verses are famous, there are several versions in different memoirs, natalya ryazantseva has one version, georgy nikolaevich has another in his memoirs; usually everyone tells