this is the next championship of russia let it pull itself up. who is to blame that they can't do it. why? i say that we always set the tone in all forms, because we were drawn to ourselves, but america held on. japan held on, someone else jumped out. i understand that the easiest way is to push us back in all forms, so as not to get in the way. well , they pushed us further, who cares, now our return to the world arenas is being actively discussed. and what conditions do you think? acceptable none i consider unacceptable no doubts raised no questions raised me boundaries. you will only come out when you are there something. sign something else without a flag without anything. what it is. what is it? why? who has the right to tell us what to do? well, i agree, as it were, if we go under the olympic anthem and the flag. it's okay for our athletes to come out,

because i have insane pain for those who will not make it to the age of 4 figure skaters. short thank god that there are some shows there. where to leave. the only thing that i am very grateful to this is that people do not finish there at the age of 14. here is such a commercialization our sport, when an athlete can skate in ice shows, interview great coaches and so on. i do not support because you are leaving the sport. i am the head coach. i can't support it. i want all the athletes who are on their feet now to stay here, after winning all the olympiads. you're going to be an olympic champion, anyone went, right? and so i'm interested in us staying here, so that we can be quickly admitted to the competition in which we have always dominated, i understand what you are saying that the three first places in steam. in general, we used to have pedestals

three dances three in these pairs, always always no one even thought, uh, and the winners were girls and boys. well, three failed. but who really needs it, no one really wants it, so in general, i see that everyone happily agreed that we were not there for international laser tag. i know it, for sure. when i interview immediately after the competition, i often hear difficulties from coaches and athletes. find motivation. here in these conditions of international isolation. what do you advise? where to draw it, if you come to you as to your home? you have here the atmosphere of work you have the atmosphere to find something and you succeed, and you grow

and you create and create together with the coach. this is such a creative job. what motivation, for the sake of this it’s generally just worth skating. i have been for so many years. i work as a coach, they know for sure that when a person is on fire, when they manage to create something very interesting new for themselves, then he will come here, will ride, will do and everything else, this must be preserved necessarily. and the athletes who are now changing their citizenship. when they change it, they somehow do not grow, it seems to me, to die in their work. no need to change. these are people who cannot endure, in general, the sport of the highest achievements is patience. you know how i always say this is my favorite expression in general, the most important thing is to endure. be patient. endure everything you know how to get into a difficult situation. nothing, we'll be patient. how to let everyone in

the international arena know who they are actually didn't admit no, if you can endure, then you are the champion anyway, they want to run away now. so what? well, they left, that they rode further. in life, no one knows , and that's it. you can travel around the world for a little bit. i don't know, you asked me, i don't have an answer. to this question, why leave and why leave? i won't go anywhere. that's for sure. so we are back. this is a podcast, a free program, and elena anatolyevna chaikovskaya is our guest. we now have, uh, very strong coaching schools there alexei nikolaevich mishina tamara nikolaevna moskvin. there is a younger generation , too, with absolutely successful super successful ones , there are even younger ones. you are calm about

our coaching potential. well, of course, i'm proud and not only i'm calm, because i'm the only one laughing that tamara 80 moskvina mishin eighty-one continue to work with us, in my opinion, i'm 83, we should already put in new young ones. their places and that they also be interested, because we are still immensely interested in figure skating in its development. is it true. every coach has an assistant who is a young hot assistant. this is what annoys me now. here is the story of tim mishin tim some kind of damn tim. we were always alone 1 coach one choreographer. you now all have 50 people behind you. and that like raikin who came sleeve? remember when the hand is the other way? here is the same thing, who is responsible is responsible for the head coach. uh,

help. uh, well, you used to have a choreographer, anyway, well, the choreographer is worth a side. this there is life helping his wife. the coach is the coach. she's not tim what tamara doesn't have you either. it's you who came up with yourself now , you sew, trousers, sleeveless, i eat, and a hat , but responsibility, somehow. she travels in all directions. no, well, it's all the time i understand that this is a new time and that's it. we did not allow ourselves. we made costumes. we treated went to the hospital. we sewed boots together with the athletes. yes, this is what parents do. you see, how would you feel about this, by the way, here are the parents now they trust themselves very often so immersed in their own i understand that they

invest a lot of money, but at the same time it happens that parents are already becoming coaches. otherwise they bring music. yes, it is not necessary to give birth to people to let them go anywhere. let it help, it’s really possible there with food and treatment, but not at all, but it’s probably easier when you blame your parents for part of the responsibility, then they will see you couldn’t or you didn’t ruin everything . take everything upon yourself back to the coaching staff. i am like u provincial athlete. i want to ask if it's too much. well, i'm from perm, so not everything. isn't everything so concentrated, isn't everything too concentrated in moscow and in st. petersburg now, geography means a lot. you can’t

say anything with couples, yes, and anything, nizhny novgorod too. to be a coach whether something does not work out or there are no conditions, but somehow they are not born there. i don't know what's the matter. i'm in favor of still having points. in many cities, where there are conditions, you have seen absolutely all the successes from the soviet figure skating and russian figure skating. tell me what are the advantages of our training system. and what could be the downsides ? i don’t want them not, but plus and everything plus our main strength is that this is an amazing training system, that is, we did not switch to the american system for 15 minutes.

go for a walk, and we are working, the way we worked in the soviet union, the system is serious and gives a very good result, because in girls we are generally ahead, in my opinion, the planet is not like there is someone amazing, a complete breakthrough of loss magnificent just a galaxy of children who are trained they are trained. you yourself are early childhood. that's the meaning of what i took there at the age of 15 and will train her. no, it's all here is the system is its success. she is probably now the most recognizable coach from the new generation of coaches. of course, i say, he has absolutely all the families, as well. competently built, and for each athlete, he has different sports training systems. this is very important for her

athletes, in general, our russian athlete becomes famous, after all quite early. now the sport has become very young. stormy skating. and that's good. this is fame at such an early age, or maybe it's this fire, water and copper pipes, it would be better if it came later , honestly, then everyone will say, yes, it's like you say, it sucks, no. it's better that it comes at your age, when people realize what they deserve. they lived it , they created it, because these kids are bouncing wonderfully talented, but they can't appreciate it. uh, everything, the strength of this success and what life has given them. here such a chance, you know? this also needs to be appreciated and understood and used further, how

to live with it and where to go, i can’t help but ask about the most probably high-profile story of recent years in figure skating, that is, the story of camila or you. oh, well, that's the whole story here, not allowing us to compete. this is one of the steps. how would we remove a very convenient stage. here is such a notion of some kind of microdoses of something that does not give anything and believe in our very best girls. yes, what is there someone? after the european championship if it was it was known and whether so why didn’t you immediately announce in europe would have taken away medals and nothing like that waited for the olympics, everything was done a hit, and to be honest, no one was expecting this. and in general, this is hooliganism . and now i have to be very persistent,

especially i need to feed myself. i felt like a person against whom such a big political game is being played. if she understands this, she will pass it, and everything will be fine, she is 16 years old. so i say that it is difficult for her. yes, if a person an adult, he can appreciate it to understand, and here it is difficult, so support is very important, but it supports, everything is everything for me. it's hmm doping story. well, not that it 's unpleasant, it's just outrageous, to be honest with you. it shouldn't be like this, they shouldn't hit athletes, especially girls. oh no, you have to go through patience , we just talked about it, yes, but this is such a global patience, it's the athletes and coaches that have to go through it. and so do i, by the way. now in the press, especially often

somehow exaggerated and inflated confrontations between coaching staffs between athletes and so on. what do you think, is it normal now that there is such a press , that it would be better if it didn’t exist at all, because what they write, firstly, they come up with all the time, you really don’t have anything there. secondly, all my life we ​​have had me compete with the beetle all the time, no confrontations. no, on the contrary. this gave tamara moskvina, on the other hand, in pairs, the same thing threw new students onto the mountain. it's normal, thank you. god cannot exist one coach will die. he needs to know all the time that someone is near or near the border, there with a friend, of course, of course, competition and that's it. this is interesting, you have not yet been asked about some such dubious ones,

for sure. well, you see, that’s why, over time, happiness at first constantly fell into some, now i either just don’t answer, or i find some kind of answers that they don’t print, because here the water is absolutely correct. yes, i do the same. i don't give any interviews. go ahead don't pay attention to what's behind. they say that in your opinion, there is not enough world figure skating or russian figure skating. where to direct the look forward what is not enough to pay attention to? borders that we would go beyond and win everything that could be. system whether statehood

parents or even sometimes at their own expense. you see a good athlete, but you can’t jump out on this. it should be like this with us, an amazing training system, amazing, i wish them all, by the way, china at one time we sent our pair skating coaches there. they grew up. they completely took over our system. don't send more trainers there. these are my eyes, they are not the same at the time. i'm sorry, i always coached the italian national team in three types, and couples dance - this is my all poles. all my time i coached the canadian team . by the way, those who are now montreal schools, they skated a lot, there was an exchange, but i

was exchanged. fly out, so there were exchanges like this, they were very good. by the way, i still have all these connections and relationships since then. and now it's all stopped with coaches abroad , i communicate with them. they call me, and all relations remain the same, but this exchange of knowledge with ideas by some training processes is no longer, yes, but they ended up with the one who just

joined us. i remind you that we are visiting. the great person of figure skating or anatolyevna tchaikovsky sometimes you train a person, somewhere already in the national team at high night you think, my god. well, what is it? what is it? why doesn't it go and that's it illumination can no longer. everything has already been worked out. everything and this is for the coach. here is for me. this is the most difficult discovery that gorky made, because you are still looking for trying everything, and then you are late. from the very top, well, this is coaching, coaching in general. why don't they go yet and at night you lie thinking? you do not live your own life, here

you pull it and that's it. but nevertheless, come all to the training, but it’s very good that we are talking about this topic, but i’m still my sore subject that very few of you people came to coaching. my task is to attract you. i understand that ballet on ice is all different, so to speak, financial matters. well, it would be great if you caught fire. with this development, here is what you will see, what you have picked up. that's how you raised a child of the people. maybe you will say which one you would like to see as a coach from the athletes who please, i wanted to see you, so the school is right with the school. i don't understand why it doesn't work. your partner, my wife hurts, right? nice. i would like to

to see from what now if there are hotbeds, why don't tarasov go there with frost , finishing there in how many years? they could they could, you know. i think that vova would definitely be able to, of course, well. i can't understand where yagudin is, why he's between heaven and earth, it's like that's the artist. that 's the point. i am happy that zhenya came , happy because there was a period when no one came at all. have us 2006 full right here remained. yes, because there was an ice show of earnings, others, please, very

a big deal for athletes who, well , anyway, it will end someday. this is also very heavy. you have to find yourself, how will you teach? well, now you come on, take a couple, then we'll see. as a head coach, i demand. yes please, because i'm very interested i'm very interested in you. you are young, you have a lot of energy, you have a lot of energy, you have a lot of ideas. let's all start. see, you asked what the head coach does with this. great. now i know, i ran

to execute. thanks a lot, to be honest a huge honor. i was really worried, to be honest, before this interview, because i didn’t know how to go talk to you at all, but it turned out very cool. thank you, you are very kind. i have emphasized a lot of you worth a lot. thanks i was afraid. don't be afraid, i've found a job, i'll definitely support you. thank you i am very glad thank you success. hello this is a podcast, today our podcast is called gaidai 100 and we are talking about the centenary of a wonderful soviet director. leonid iovich, gaidai i am a film historian natalya ryabchikova and today i'm talking with my colleague stanislav

medical film historian hello so why gaidai well , because, on the one hand, now we will have such a centenary anniversary parade. eh, amazing thing. in general, no matter what director, how can i not take here for me now some major anniversary from einstein 125 guide. the test is 100 years old, and soon there will be a whole parade of films of old people's anniversaries, a film in the twenties, and gaidai well, unfortunately, gaidai was not hmm, he was not properly given out in the soviet era, when he in fact, he created his films here and now they have been taking place for the last 10-15 years. here is 20 such a renaissance rethinking of the work of soviet directors. kaida, ryazanova daneli. with each other whose films everyone knows by heart, but now there is a comprehension of their formal methods of their a the legacy of the creative a-a in terms of directing skill, because, as it were, for very long years,

because somehow his films are made. well , as it were, somehow seamlessly with itself. all in all, it just seems, yes, there is no one here. well, zaum in a good way, like andrey tarkovsky or other serious directors who always filmed dramas , melodramas, ah, philosophical parables, well, in general, what they usually like to analyze so much, and film historians and, of course, film critics , for which it’s just the main bread for theorizing on the basis of a complex film language, and films where the passage of time is very slow, and gaidai in general, there is no slowdown in time, on the contrary, he has faster time, as the temp goes right his films are like, well, which, in general, were rather bli. for a modern viewer, uh, who loves mass cinema, but it seems to me that i need to speed up time and return at five very quickly and just talk about where the guide came from and it seems to me that this is very important just for everything else, and gaidai’s path in cinema, because he

came to vgik at the very end of such a period, which is called the forty- ninth year of the small picture. he entered the fifty-fifth and graduated and he was lucky to get into the workshop of grigory alexandrov, the master of the soviet comedy and uh, it so happened that alexandrov succeeded gaidai, then he became an assistant on the set of the film by lian boris barnat abarnet. this is also a master of spectator cinema of the twenties and beyond, and then it so happened that i took the guide under my wing the same person who took ryazanovo and vanturi dust under his wing was very, but friendly towards young people. this was the period when he could afford to be the head of the cartoon studio to attract. new forces, and now he attracted ryazanov and gave him after a few documentary films, but the musical comedy carnival night, and then he offered the guide to work in the genre of comedy in general, of course, for those people who learn from the history of russian cinema from history. vgik is the

same as these people who entered in the mid-fifties. almost all of them shot tarkov's konchalovsky shukshi, yes, which, well, somehow , unfortunately, he did not enter the international market, as they would say today, but nonetheless. these are all people of the same generation successfully debuted in many ways say that there was a change of era was the youth students' festival of the 57th year, when the soviet saints. the union was visited by a huge number of foreigners who brought chewing gum in their pockets to their experience and at the same time began to get foreign films, because yes. yes, yes, discharged speaking, the youth festival, and the moscow film festival went on and on, it went right up to a felline 8.5. even at the turn of the fifties. in general, and the film distribution was filled with foreign films and in this, gaidai was also lucky. yes ok. they were in vgik, they watched classics, but modern cinema, but what they filmed from the thirties, yes, and all this came out in the form of trophy films precisely

in the late forties and early fifties, and brodsky later said that to change the regime for e, change for a start. thaws, these foreign films there about tarzan, for example , yes, they played a much greater role than all khrushchev’s secret speeches about acoustics , these films that were popular, which were musicals, adventure melodramas films. this is also what influenced gaidai, but of course, but the source of it. it seems to me that we need to look in those films that were shot in the tenth year or in the twentieth , not only in the soviet union but also in america in france, films that belong to the genre of physical comedy, absolutely right, because sometimes it seems when you look at guy da films quite seriously, for example, yes, what, well, as if suddenly out of nowhere, some very talented director appeared, who began to shoot from scratch, and films that, decades later, fell in love with millions and is still reviewing what is the mystery? where will it open, yes, that is, when you start analyzing a director today, do you

usually look at what references are there, yes, what does he like to watch? name ten of your favorite films. in the case of the gay. ah. it was, on the whole, pretty good. yes. yes, pastor keaton but the chapling cops run comedies from the twenties the twenties in the soviet union watched american comedies. let's see what they were watching. actually, the comedy of action, it works exactly in it. cinema, because there is no sound, there is no speech besides music, and all that the comedian does is fast movement is absolutely in line with the appeal of early cinema. it's running, it's falling, it's tricks. what is the name of da buster kitton, who is an incredible stuntman. why does he do all this without a body double without any support, he's just incredibly athletic in training. this is one of just a such

teachers, and gaidai, in whose films the police often ran after criminals and bludgeoned each other. maxim recalled that when ross was in the american outback as a child, he was also interested to see. and what will happen if you come up to the policeman and hit him and give him a kick. well , of course, he was a normal person. he did not do this in his life, but he embodied this idea on the screen and subsequently. in general, all these poke worries are cracks, flying cakes. they migrated to the soviet soviet cinema of the sixties, because gaidai is testing all these sets of techniques, this aesthetic. we see, there are mouths and blows, and there each other. e on the head and so on. all this was later melted into the organic in the soviet new type of soviet comedy with a centric one of three. it seems to me that i would think so, because, firstly, not myself. gaidai came and said. but i want to make an exclusive camera, or i want to make a stone. it was not spoken from above. i

want to do the lyrical commission first, basically invented during the production of the film. i walk around moscow, first in the soviet planned economy, we need to do more comedies, the minister herself, culture, ekaterina furtseva - this is her own sealed with a signature. and then search. what kind of comedies actually happened and it so happened that there were three, like, yes, a sad comedy, and there is eldar ryazanov’s comedy, which, well, in general, is a situation comedy, but it seems to me that the most radical of these directions is the direction of the guide, because this is legacy from the twenties. suddenly returns to sound film. and what it will be who these masks? who will replace chaplin with us, who will replace us with this strange music, yes, on the piano that accompanies all these, and old races like that works? how it works on the material of modernity in the soviet union let's look at the material, just one of

the first such iconic combinarazhik, namely the guide from bars unusual cross, how does it work? and here on our material. here, in fact, the work of the whole team is visible , as it is written, yes, the scenario team , in fact, well, when i looked now, i remembered, for some reason, ivan's childhood. there , too, there was a similar directorate, birches, birches, birches, and how differently two directors will work with the same scenery here, in

in general, uh, on the one hand, it seems to us that it all somehow happens by itself. here it is obvious that everything is invented in advance, that is, improvisation. there are some graphical arrows here, and acceleration is jumping up, and here is a breaking birch, which, of course, should also be first made in a proper way here is incredibly thin. it seems to me that work with rhythm in general, how is it all done, what are these masks that appear for the first time and music that should be like that you can’t pull out. need it in advance clear understanding and production plan. ah, russian firewood. why does it start? where does it all end? it is very interesting that gaidai worked out this visual component very clearly with his permanent cameraman igor chernokh, and he told cherny about it a lot, that they sat down at the director's script and drew for each frame. what is not written there? and what needs to be done there and right then

they photographed it and distributed it to the whole team, and to the entire film crew, and it was visible, but at the same time on the site, when they came, gaidai was engaged in actors and did not interfere specifically there in the composition of the shots. he knew that his camera team would have done all this already. they worked everything out. this is otherwise genre experiments. a game of working with genre material, but at the beginning of his career, this is exactly what manifests itself most clearly when he just takes it. eh, a whole set of stylistic devices inherent. there have been on the husband androilu the western american film noir and embodies them in the form of separate arbitration films. uh in business people where robbers performed by a. nikulina enters the house, we see this gloomy atmosphere and the typical cinema of the forties and fifties . pick it up and leave it there. i'm sorry you got lucky. we are old

friends with rheumatism and also in the left. anyone else would have holed you through. when did you not raise your left claw? please tell me and for a long time you have been in your fifth year that now will not get rid of. you just have to enjoy it. write is gone. okay, have you tried rattlesnake fat hunger? i remind you that this paws podcast podcast. gaidai 100 today we are talking about the centenary of the remarkable soviet director, leonid iovich, gaidai i am historians natalia ryabchikova and together with me my colleague stanislav dedinsky will continue the history of cinema about noir and why does

noir suddenly appear again on the movie screen in the soviet this is the same french word. and what about the american genre? well, because the french in the circus years watched american films and said hmm a black film, how they have grim a and came up with such a term that it is natural in thirties. in america, there were no tricks when this russian criticism came up. here actually. and when we are going to watch a fragment now, a characteristic technique. the camera shoots from below. and a very big face. uh, the actor's hat. yes, as a matter of fact, nikulin this is typical. well, this is a frame. might be in some kind of double insurance. wilden, for example, why not? in general, such a look, but sharp shadows? yes, a contrasting image, which, by the way, also all this came, as this camera room is considered job. it was necessary from the twenties from e, the cinema of the era of german expressionism, where there was

a separate school of cameramen, many of whom then came to hollywood. and all this is this mixture of everything in the world in an amazing way. then, it turns out initsiaevsky district. well, why does beef need it? this experiment is a stylization, because the material and the approach to the solution in general. this, of course, the atmosphere there is completely newar. yes, that is, if noir is something hopeless, and here the guide takes the stylistic elements of the genre and overcomes them the same thing happens. there, in the leader of the redskins, there is another short film, which is absolutely eccentric of which, in my opinion, because the whole yeralash generally grew up excellently, because this is a boy who cannot be performed not by parents, not even by criminals who, due to their indiscretion, a are trying to post him this is what it grows out of. in general, well , a separate direction in the domestic children's cinema, as it seems to me, uh, it seems to me that these are the techniques that he uses. they are in order to be taken, to surely beat the suspect, so that he would have fun with this turn.