meg of cinema lovers to this day, but such a place where already, starting from the thirties, and thanks to its creator, the future creator of french cinematics. henri longlois, systematically collected old cinema, discussed old cinema, but discussed new cinema, also because the concept of the festival was born in many respects from the need to watch and discuss the film, and the french feed them bread. just give. here is some interesting cinema in the thirties . the french were also going to organize, and festivals were one of the first, but the festival - it's not just we gathered discussed. this is a state event, and therefore those countries that, and whose leaders are themselves interested in cinema, win the festival race here, therefore italy turns out to be the first mussolini who loved to watch movies, and liked to imagine himself as the heroes of the italian screen, matsestam, the man who organized the largest film studio in europe precisely in the thirtieth is the time when italy

wants to compete with hollywood already by then existing by then. in in general, dominating more than that, we are in the realm of sound films. yes, therefore , the state is interested in how and what films to show, how to duplicate them or not to duplicate them. yes? again, in the soviet union and in italy, films traditionally began to be dubbed, that is, they were voiced, so the original is not heard. and on the sound track, at least, the text of the original is not heard. and for example, in the usa it has become customary to give subtitles, and therefore they still do not like to watch foreign films so hard to read and watch at the same time, because they have a different tradition , and it was in italy in the thirty-second year that the first venice festival was held, moreover, in the thirty -fourth year, a rather large soviet delegation went to italy, headed by our head of the then cinematography boris shumyansky, then there was such an idea, but to create a soviet hollywood

somewhere in the south of the soviet union well, a sample of carbohydrates, where there is a lot of sun, a lot of diverse landscapes, and so on, and they gave money in shumyatsky in order to go see, a what they do in europe and what kind of festival is there and look what is there in a year, but this trip it led to the fact that shumyatsky , having returned, decided that, but it was necessary to organize a festival, and in fact they were going to organize it back in the late thirty the fourth year, but the matter dragged on, and it took place at the beginning of the thirty-fifth. and why thirty-four? and, because in the nineteenth year of 919 lenin signed a decree on the nationalization of the film industry, he gave the entire department of the commissariat. enlightenment of the ministry of culture, so to speak, from the nineteenth year. actually it was considered. uh, the birth of soviet cinema, so 34 was the 15th anniversary of the decade. we couldn't celebrate on the twenty-ninth, because it's a transition to sound, it's a building. mosfilm is the first

five-year plan, this is industrialization, since civilization has absolutely no time for cinema. and here, by the way, in the fourth we have chapaev , we have the youth of the maximum. now we can organize a real program. that is, there is already something that you can see for yourself and show others, and let's see now fragment. maxim in russian solar, forget this house, where it is possible, that i will fall in love, this will work. and who gave them to you? what is he talking about? do you remember?

here from this nest of deceit and vices, a rocky gorge awaits me, faithful comrades of villains with passion, a beautiful countess with all her forms. ha, ha you stuck. she to the head. she'll take you to the whole world, she whistled. and you are not asked such books. scientists who write something bad about the king or still write such things you read. wonderful soviet the film is one of several films that were shown at the moscow festival and judged and judged by none other than sergei mikhailovich einstein, after whom the yunost maksimov podcast is named, along with several

other films from the lenfilm studio. actually the first prize at the moscow festival. but the other two awards were received by the french market clair with one of his first sound films and, by the way, wall disney really old disney a was a very important figure and a very important name for a soviet animation in those years, because they actively watched the ussr how it was developing in general, how the disney film studio lives in general, where they create the main masterpieces of animation in the thirties. and, of course, we decided to export this technology and try to create it on our soil, and the films were shown at the moscow festival. this, of course, is mickey the conductor. and these are three pigs. another tape, they played very important values ​​for soviet animators, well, actually, that's why the festival was such an important cultural event almost it was impossible to see anything outside the foreign festival, but in these few weeks it was possible, but suddenly to see something that

was not usually available. this will later be important for the revived moscow festival, but while we are in the thirties and, in general , the venice festival continues, and the moscow one has never been repeated, france is going to create its own festival , moreover, the first festival in cannes was supposed to open on september 1 thirty-ninth year, the day when nasyn germany entered poland and the actual opening of the festival took place at the end of august, and it was already unclear for the first whether to continue it or not to continue, they decided to wait further, events began to develop so quickly that, in general, it was decided not to hold the festival and held it only in 46, but these post-war years are when the festivals started right here, to be born, like in popcorn in a cinema, one after another one after another, because there was a feeling that, well, we are alive, we won,

we open some new world. we open each other and i wonder what this moment second half of the forties. even despite the fact that the cold war begins rather quickly. uh, this is the time when soviet filmmakers, for example, go to a lot of international shows, but not all of them, of course. here are those who were trusted by all the classics . here are the pudovki, for example, sergei yulkevich, who became our main representative in general in cannes and he was such a conductor of some kind of soviet racists into european culture. and it happened, for example, in 1957, when the cranes are flying were in cannes, and yudkevich organized a viewing of the film cranes by pablo picasso picasso was in complete admiration, and there is a wonderful diary of sergei urusev 's cameraman of this film, who, of course, did not speak french, but he describes how they went to picasso's home, how someone gave him some his work, as he called the real urussi artist.

that is, he appreciated this visual component of the pictorial component, and of the soviet film. here we need to remember that during the cold war, the world festival of youth and students arose and, uh, one of these festivals take place in berlin and the consequences of this tradition extend to many different countries. and including in the fifty- seventh year, it reaches the soviet union , where it is already breaking loose everywhere. so you can say where they are actively interested in what is happening abroad in the west, where a new generation of soviet youth appears, which wants to be an open world. and such a point for many is the seventh year, when the council of the union comes from very many countries, not only the socialist but also capitalist students are cultural figures to share some ideas, and as part of this festival , a separate movie is watched, which then, as it is considered, will become the future

precursor of the moscow festival revived in 1959. and in this, but the big festival of youth students was a small program, films, it became clear that films and film screenings are an opportunity to show, again, what we are doing. we are those who come to see us and see what they are doing in europe in the world and er, in the fifty-ninth year. this tradition of showing oneself to others to see continued was not a very big festival in terms of the number of films, about 20 films in the competition, of course, not one of us was supposed to give several soviet films at once, and, of course, the chairman of the jury. there had to be, uh, a representative of the soviet union, usually in the sixties - it was one of the classics of soviet cinema either sergei gerasimov or sergei yulkevich, so they spent it, but it is interesting that the other members of the jury for the most part were not movie stars. not even film directors, but in

the first festivals it was especially noticeable film critics, european historians were. movie. eh, here. this is a very interesting meeting. yes, a combination of practitioners and historians of theorists. it was clear that it was necessary to comprehend what we see, in general, in the moscow festival of the very first years. and in general, until today. he is looking for himself trying to understand what place he occupies among the other largest or not the largest festivals in the world of the berlin festival, which by that time had already approved and, in general, very often they oppose themselves to other festivals to the cannes festival, where it is born on the sly. this is the story, well, in many ways, after all, the festival. and it was created as a kind of commercial event, where distributors pumped. they wanted to show their new films, primarily of french production. this is now a glamorous event. and then, well, it was still pretty. well, partly provincial is from provincial history, which was just just starting to create

the venice festival, in general, and the moscow festival in this, and the new world is looking for its place, it is no coincidence that it decides to hold it not every year, but every 2 years, because it should alternate with another major festival in karlovy vary of the eastern bloc. yes, that is, we oppose ourselves, even in such larger, let's say, division, and there is a festival of the eastern bloc. they may be more about art about e, humanism about international friendship. as it is stated in the slogan of the moscow festival, and there are more already commercialized in the post-war years, western european festivals and festivals there. in the capitalist countries there is bourgeois art, this is there for berlin for venice for caen but there is socialist art and we in moscow show it to the audience and the whole world. come on, members of the jury, which come to us to watch it. e. it is interesting that in the sixty-eighth year

the cannes festival came as close as possible to what happened at the moscow festival. that's right, and deagle marization, when, uh, a growing political movement student, yes it involved both filmmakers and the festival. it just stopped at some point, because they were protesting against this very eighth year, when directors hung on the curtains in cannes, trying to disrupt the next film screening. in general, it was like that. yes, he succeeded. actually, the festival was canceled because leftist art , including in europe, of course, they had their own view of what leftist art was and often opposed the soviet union, it was a different direction of leftist ideas. they convinced then and in general, the youth revolution. it was a revolution about justice, for, as it were, some basic principles. e work with the state. yes, for independent trade unions for working hours, and so on and so forth, including getting into the festival.

uh, films are made outside of the studio system outside of commercial a filmmaking about people by ordinary people. and something that would be done using the newest, and cinematographic forms in general. this is a very important moment, which is directly related to the history of the moscow festival. after all, what happens after the war years. we know that vladimir ilyich lenin said that cinema is the most important of the arts , what he meant that this is the most massive art, with the help of which you can convey some ideas to all segments of the population, as it was actually intended to remove and and other inventors of cinematography, and in the years after the war, cinematography becomes quite complicated , there are directors who are open about the fact that they are the authors that they are making complex films that are not intended for a wide audience. auditoriums and festivals are ideal venues for showing such films. well , actually, we all know this felline antonionia allen is a wonderful french director gadar, and whose films in the sixties

are becoming more and more intricate multi-layered and many other european masters. and now the festival just becomes those platforms where these films are watched, criticized, scolded, praised, and in general , these films pave new paths in the art of cinematography. directors around the world are guided by them, they are inspired by them. some tricks that they spied on. here in such, in fact, experimental works. and the moscow festival. in the sixty- third year, it just becomes the place where serious disputes flare up around the film federico filini 8.5. this is only the third festival and, by the way, it must be said that it is just for the mass audience, maybe it was not originally designed for it, but the mass audience. just a shaft brings down the moscow festival. this is a very important part of cultural life in general, not only in moscow but also in other cities. where these films then go and often the viewer of the moscow festival in

the sixties does not know, in principle, what he will watch, e.g. season tickets are bought in advance, and then they are exchanged all a little. such a work is random, but the viewer does not know anything about what the category is. the festival category for them is any foreign film. this is already a novelty, but for directors it was very important. and in general, how would the classification of world festivals. this is how it is arranged that the category, a, can only have the festival where the premium takes place for the first time. about this or that film, that is, an important condition should be that the film has not been watched anywhere else. well, actually, how do we find out today that the premiere will take place in cannes. this is because cannes is, firstly, a festival category, and secondly, everyone aspires to go there, thirdly. e hmm in general, how would it be such a standard well, this has not happened yet. it's only just she's born, so we can easily imagine that someone has already seen 8 1/2, but not seen by moscow viewers. and now he gets into the competition comes of course federicophilia.

we don’t already know him from the film road, for example, but we already love him in general, nevertheless for the jury. even this film became very problematic and caused a huge scandal, which we fortunately know about, because in that year, the jury was presented by a wonderful director and later memoirist, grigory chukhrai, and now, chukhrai talks about how the fate of the main crisis of the festival was decided, because that, of course, the jury members wanted to give this prize or not, but we said that soviet cinema is a very important part moscow festival. yes, and he also watches soviet cinema and it was assumed, at least to the departments of culture by the propaganda department of the central committee, that the soviet film would take the main prize . that year it was some kind of completely orthodox socialist realist film called meet baluev, and viktor komissarzhevsky no one talks about him now

remembers, except for this scandal with fellini , because the installation was given to give a prism. meet baluev and the jury, in general , rebelled; moreover, the chairman of the jury himself, grigory chukhrai, rebelled. he said, that he would resign from all his posts if, against the will of the jury, and there already half of it was to leave for his own country. can't wait for the award. and if, in addition to the jury, the film, the lines in general, the prince does not give a scandal, the grandiosity was brewing absolutely yes, and in the end, chukhrai and the jury members won. philline received. the prize, he said from the stage that this is for him, the most important principle is especially important, because he received it in the soviet union and to some extent the situation was saved, but in the following years it has already become customary that three main prizes are awarded one film to the soviet, another film from the capitalist countries and a third film

from the eastern bloc or from one of the countries of asia or latin america. about who and how created the classic forgotten cult unknown soviet films and how they were watched, today we are talking about this about how the moscow international film festival was held in the classic years of its existence recalls a very characteristic story of an argument with one of the jury members, oh, which, uh, he had when they discussed the film empty reis, the content of this film absolutely eluded the foreigners, because they did not understand. what is the collision. why one of the main characters of this film, a truck driver , cuts off the road when he travels from the logging station to the regional center. that's why he drains gasoline in the taiga. after all, it is meaningless to explain for the sake of the premiere

in order to receive the socialist prize here's but what a great time there is practically no symbolic for your money. why then does he do it? well, that is, in general, but for foreigners absolutely slipped some realities that were familiar to the inhabitants of the soviet union for the viewers of the soviet union, and they really just sometimes did not understand the logic of the characters' actions. and therefore actually this film has caused some certain scandal. let's see, in fact, an excerpt from it, the main role is played by alexander demyanenko, a journalist who comes to write an article about this transfers to the state farm forest, so he discovers. uh, this property of this gasoline. you see how much you know about you i'm almost done will be called ultralespromhoza nothing, huh? you know, i'm sure that not only someone could write, what are you thinking about

today, but also what you will think about tomorrow, the day after tomorrow, what when will you go home to moscow now soon? it remains only to artistically explain how you manage to achieve success. ride tomorrow. and tomorrow i say, go get the fact collected from here, otherwise, look, another wolf will bite. you don't take trouble. ride. here, after all, the chukhra, apparently, managed to find compromises. the film was given a silver award, in general, it must be said that the prize at the moscow classical festival was very large. here are three main prizes, then another for an actor and an actress, and more silver and some other minor ones, and uh, a special prize from the organizing committee and a special prize from the union

of some professions and smaller ones, and in general, the full list is quite significant. and this actually reduced the value of the prizes of the moscow festival, because if everything receive awards, if friendship won, then it turns out he did not win. no one is nothing crap, just again in his memoirs notes that after the story with the filin from the film eight and a half, the prestige at the moscow festival in the world began to slowly decline, because for soviet cinema, by definition, a soviet film is better than all non-soviet films, so it was impossible not to to give a prize, and it was also difficult for one of those soviet films that participate in the program. i think to explain to foreign guests. well , by the way, one of the first soviet winners even before the scandal with fellini, there was, in general , a film that still remains a classic of soviet cinema - this is a film from sergei bondarchuk, the fate of a man. it seems to me that you can watch this fragment to see. and what did the moscow audience watch then, and what did the jury judge at the moscow festival? shka, do you know who i am?

i am your father. in advance i waited so long before it finds me. hat serhiy madarchuk was frequent. well, you can always say you are the moscow festival, because his film war and peace was also one of program participants, colossus is one of the major films of the sixties. and in general, when a chukhrai says that the festival is a little losing its significance for the big world, nevertheless

, it becomes more and more important in the soviet union, because for the audience it is such a window to the world, thanks to which the audience opened themselves to world cinema. and in general it cannot be said that the festival was just like that, deprived of the attention of the stars. here, of course, the chihuahua exaggerates a little, for example, uh, in the late seventies, significant events. when ah francis ford coppola is the director of the film godmother titz, the conversations of many others bring their hottest novelty to the festival. moscow film. apocalypse of our days or apocalypse today, we bring a version that has not been seen in another world, a version that has a different ending where i am the protagonist refuses to commit murder and simply throws a knife, refusing this fate, which circumstances themselves impose on him. yes, he does not kill the colonel kutsa, and the very bivalence of this tape was somehow clearly demonstrated precisely on this session, that in general this film could have such an ending, or it could have been different. and this did not affect in any way.

in general, for uh, the artistic confirmation changed in perception, but the impression that the audience received did not change. the eighties is the peak of the moscow festival, because after uh, long years of stagnation in the soviet union, perestroika begins and at the end of the eighties another festival takes place. where to move absolutely all the stars. well, no, everyone, of course, but so many big names are coming robert nyro is coming. well, a lot of different stars. depardieu marchela. some kind of mood was absolutely incredible festival of the eighty- seventh year, when really, on the wave, some kind of transformation of the soviet is still on the wave. aggression after the fifth congress of the soviet traffic after the release of many shelf films an incredible interest in what is happening in the soviet union, including in the field of cinema, and this year one of the notable films of the festival was the film courier we have a small piece. you can see. how did the audience feel then?

this movie? see. everything is taken with hostility , everything is made into a performance of buffoonery, elevated to the principle we do not need anything. we all know this fundamental question masha i, our generation wants to know for whom we lived and fought. the building we erected. and what, actually worry, it would be interesting to know the principles of the young man. according to which you are going to exist in the most uncomplicated society, i would like to have a decent salary, a car, an apartment in the city center and a cottage in its vicinity. yes, even work less. well, the material good

is necessary in this there is nothing forced. in general, this is one of my favorite fragments from this film, it is so vividly shown there. this is the difference between the generations, the generation that knows all the words, but we see the emptiness behind them and the generation that is new, which is trying to break out, including from under the power of these words, from under the power of this generation of the previous one, and, in general, declares what it wants, but it declares in this frankly in this sense films become, like a window into reality. yes, it's not just a work of art. this is an opportunity to see the changes that are taking place in society. we sometimes forget that this is not just a work of art that is created in a vacuum. yes, it's something that somehow reflects the moment the movie is being made, even if the movie's plot doesn't actually refer to that moment. yes, that's why the text is important, because very often the moscow festival today

is scolded for competitive films, which i like, well, or often it doesn't match the level of a critic who is accustomed only to a masterpiece of world cinema, and love festival in fact, this is a selection screening, because this is the crucible through which it must pass, but the ratings, and with the jury of the audience, and the film before someone is it was decided that this is really a masterpiece or not a masterpiece in the nineties, the moscow festival is undergoing the same way as russian cinema in general, but turbulent times, because, in principle, this east - west dichotomy is disintegrating. in two years we move to annual festival, because you no longer need to look at karlovy vary and not really, of course. what, let's say, domestic films can be shown, because in the early nineties, at least, not very many of them are being shot. and at the same time, new festivals are born, the moscow festival no longer competes with the worlds, but with festivals within the country

, because the 1990s appear on the taurus. strong programs dedicated to asian cinema, in principle, this is openness, and post-soviet russia to the world, including from the point of view of festivals for the moscow festival, has become a little bit. added complexity because now the big films could get into the big festivals. yes, we have such a, uh, group of directors. well, for example, and pavel lungin can be recalled, who often worked in production in the nineties and some films he came across various european festivals and already this is the right of the first show. yes, and compliance with the parameters class festival, and the moscow festival could no longer participate in this, while the fact that we really have the opportunity now to watch anything, anytime, or rather, we have such a feeling. the most

important thing is that we have the feeling that, in principle, everything is available to us. this feeling, uh, began to appear with the advent of video cassettes , video rentals of video salons, then disks , computers, streaming, and it seems that, in general, we do not need to specially go to some event that takes place every a year and watch there a certain selection of films that someone selected for us, it seems that well, why, but at the same time there are a lot of films. it just never hits, neither in streaming, nor in rentals. and we will never see them. these films. just like the soviet audience. those who missed 8 1/2 at the moscow festival in the sixties didn’t see it at the box office, so here we don’t know what masterpiece we will see today or tomorrow at the festival and will we be able to watch it later when he tells, but visiting moscow festival is always over the past 20 years and has always been a lottery. you never really know . you only have an abstract in your hands,

maybe something and say the names of the creators or the authors of this film, but you never know what you are facing, sometimes it happened. i would just like a sharashina from some films. uh, well, it's really a lottery that happens every 10-20 films. by the way, i said that we have a feeling that we can now look. and that’s all, but often it’s difficult for us to do all this at the same time. actually, yes, choose here we choose at random the festival is good. also the fact that there is really a certain person who really selects films. and here are the programs. this is something that is very important at any festival, including the moscow one. over the past 15 years , you can always go to any documentary film program, because it takes quite a long time to get together. it is assembled by wonderful professionals. it really is cream. you can't go wrong with a documentary program or a retrospective, yes. and there was a retrospective for a while. togo

the very same dmitriev yes, vladimir dmitriev from samo. yes, when we look at films, for example, from soviet cinema, which passed by the big screen, or have we forgotten about them, or are they so shelved? yes, they don’t even get on television. the foundation has its own festival , which used to be called white pillars, now it is called the festival of archival films, and in this sense , another root competitor has appeared at the moscow festival, and in general, its main task in the future is to reinvent itself. yes, and time will tell and it was a tackle witnesses of eisenstein and we are his leading film historians natalya ryabchikova and stanislavsky, we are talking in this podcast about who and how created the classic famous little-known cult soviet films about how to better understand them now and how to get the most out of them. goodbye. thank you bye.

hello this is a podcast of the psyche. my name is natalya loseva, a journalist. there is my co-host clinical psychologist and candidate of psychological sciences mikhail khors hello and we are here to open boxes your codes. to disassemble your hearts , unravel your destinies and try to find a way out for the better, our today's hero came with such a request. he suffers from burnout. he suffers from the loss of the meaning of life. well, you know , such a typical middle age crisis for a smart thinking man, but there are a variety of ways out of this crisis, sometimes tragic. our task today is to prevent. alex tell your story. hello my story begins

a few years ago. uh. first it was. in general, everything was built on love for work and i took her feelings to heart. uh, a lot of events there. yes, i, in fact, was a perfectionist, an excellent student, probably. no, i was a doppelgänger. well, i mean, i'm a perfectionist. i tried to do well for people and some there, but not the ideal. it, uh, touched my soul. that is , i had about two burnouts due to work. well, what didn't we get there? but the third most serious thing happened in 2020, when the pandemic came at work. i got one big problem after which for several years i had to. uh, long enough to stay. well, in general, until this moment, to stay in a difficult, let's say, difficult condition. i had to rebuild companies. here, uh, there were debts, some obligations. all this appeared in 2020. here is the situation, that is, i

was hit on the psyche so much, how to say, probably that in the spring of the twenty- first year i was calling there for 3 months. about knees. well, i could barely walk, i was diagnosed there. and arthrosis, that's just not put. then i went to the doctors, i mean , they gave me injections in my knee so that i could start walking somewhere in the summer, i could run. i used to get up in the morning at 5:00 in the morning i ran around, you know, i remember the book the magic of the morning there he had a phrase that the only place where i felt more or less normal. it's in bed under the covers. that's confident in fact, i found myself in about the same situation, i could no longer smile. for me, the world was gray a, that is, nothing pleased. i first went to one psychologist, and we tried to film. eh, let's say a gray veil before your eyes. so, and then he said that , by the way, for this, in short, you first need

to weed the bed from all the negative weeds, and then on this favorable soil. you can sow something good, then some affirmations will already help, something else, so first we voluntarily plant a garden bed. that is, you began to work, because it was impossible to get out of this situation on your own before. this is the result. but let's say this. the first step was when to remove this black veil before my eyes. but this one black veil. and there was some kind of diagnosis, maybe not. i didn't go to the evraches. i went to a psychotherapist for depression, they didn’t put you on any medication, they didn’t prescribe you. i, probably, now, maybe put something there. that's when i myself came with such a list of problems for pills. it's already in january. and then they didn’t put me then i didn’t go to the psycho, yes, i went to the doctors for them. and what else, except for those obligations that have fallen on you in connection with the pandemic. i understand that you are one of them more or less rake. right now, yes, it will. and what

else is in your life now, because the loss of the meaning of life. it's not just about work. surely there are some more, uh, in general, after this situation. i actually thought, in general, why i live, well, like, i generally do. i used to really love my job. here it is after 10 years. that is, such a blow, and that is, i am now losing the meaning and it turns out. i've been here for these two years, well, forced. what else is working with you? what else? well, i used to love construction photography. that is, i am there photographed some of our neat, uh, creations in different ways. yes, close people. you have in general there is now also a wife. and this is not yes, his wife recently appeared. recently, after this crisis, we experienced it during this month. that is, there was a crisis not only for me there, but for my masha there was the same crisis. in general, we are like this, that is, then i will fail, then she. we both

went to psychologists on our belly, that's why our beloved yes, together together and did not part , and i congratulate you on this. oh so, i helped. uh, in general, my family is completely. but a miracle remained for about a month, but i want to ask alexei directly if there was a crisis, because you usually look at a person in a crisis. he's hiding under the covers of everything, he's afraid of nowhere, he doesn't want to go anywhere, he doesn't want to do anything . and here, yes, it means that you got married at this very time, it is at this time that you have the continuation of your wonderful family. this time you started to study some new spheres of life there, i will explain, i had a very strong drop in energy. well i used to get up at 5:00 in the morning i ran to the park and worked out for about an hour and a half after

i had this story. i lit up on a new one, uh, with your company. that is, i lit a new cigarette, i have a drop in strength, in general, a very strong thing happened. uh, and energy practically, but not. then i was like that, that is, well, i figured it out, i think that in order to get out of it all, i need a colossal amount of energy, that is, to be motivated to achieve the goals that i set myself, but i don’t have it. that is, and first, where it started. at first. i needed to speak black-and-black captive connection with the eyes. then i realized that generally lighting a cigarette. it was all the time, just such a drawdown you smoke, your strength immediately drops. decided to quit smoking first. so, in general, they recommended me, well, a psychologist, with whom we began to work. e was broken. work on two stages the first stage of work with stress, and the second work with smoking. so the stage of working with stress

helped me a lot - i started to help, and then after a month and a half. well, in fact, they quit smoking almost one day, and i already went. this is who we are, together with a psychologist, i will comment. yes, because most people are trying to quit smoking in the state in which they are. it’s just that it can be our spectator, but you first need to level your emotional state so that you have a resource for defeating the nicotine in yourself, never thought about it. i think just now there are millions of people who are going to quit smoking. this, by the way, is correct. were surprised by the words michael horso, but it's very cool to first work out a psychological problem, and then quit smoking. well, yes, you need to be calmer in all areas of life, then quit smoking. so at first i needed energy, that is, due to the release, respectively, from nicotine, then i have a resource , uh, i got another plus more work with stress. that is, the resource became more here, and then

i had a story at work there, a client. i have one here, with which it was difficult to find an extremely common language in general. in general, in the end, i started drinking alcohol at 8:00 in the morning. yes, yes, right from 8:00 in the morning. how was it, how is it happening now? we drank once at eight in the morning, or it was just that i realized that the trigger is working for me now, that is, in the same place as everything happens. yes? first we smoked and drank, well, roughly speaking, uh, money down the drain. here are some sayings. yes, i understand that if i go further, therefore, the paths, that is, for each of this stress, that is, we have not worked out all the stresses to the end, that is, well, it is impossible to work out all the stresses in even a month and a half. here i am, in general, i'm calling again this is what i say to a psychologist. now i want to stop drinking.