and we cannot give this to the enemy under any circumstances, under any conditions. this is what modern russian people need on their own, i definitely remembered that just the fruits of scholarship and related issues arise after the release of each film related to the war, a discussion arises. yes, it wasn’t, was it really, was it at all, should it be shown like that, shouldn’t it be shown like that, and so on, a lot of criticism arises, because everyone has their own opinion on this matter. how do you feel about critics? how can you tell? who criticizes why? yes, and what put before? well, as for the goals, if the criticism is m-m interesting, i need it so that i don’t make similar mistakes with the next picture. yes, i will accept this criticism. and if the criticism is loose, just to ruin your business, then i just don’t read it, i don’t watch it, since this doesn’t happen with our paintings. if there is criticism, then

ugolnikov is not the right tank there. and yes or vice versa it could not be like that, and we say that yes it was like that. we just show you and demonstrate the facts that you are unusual, and some of us are stories that i can’t shoot, but i just don’t have enough strength of the soul, but now, for example, there is a proposal to shoot khatyns. this is an old story. i had several scenarios. every time i read them. i tell myself i can't do it. i can’t, but i should, because it’s khatyn, and then the germans destroyed it, and with particular cruelty they destroyed the same people, the descendants who are now doing all this hell in western ukraine, you have to think. that's how much you have enough strength, and the ability to make such a movie, and criticism, well, as if it should be,

but at the same time, well, why criticize with colleagues. we always talk about it, that's what we need. we can't lose trust, but at the same time, hmm, this is our responsibility. and if the film is called the battle for sevastopol, then the viewer should see the battle for sevastopol as nothing else. if the film is called to save leningrad, then i have to see, and the fate of the people who tried to save leningrad, they escape on a barge and from this city, but and so on. this the responsibility that lies before us just gives us the opportunity and the need for criticism to treat pseudo- documentaries calmly. this is also a whole trend. it is now called fake. yes, but it's a whole trend. and how do you feel about pseudo-documents, when, say , you can attribute some facts. it works for the idea, and gives the creator himself. new

coloring, but this is read at the same time. uh , a large audience, like uh, real something into which he is immersed, what was actually, i don’t belong to pseudo-documentaries in any way and having made his life over 30 documentary pictures understand too. what is our responsibility. even when you want to in order to a little more interest the viewer to come up with something else that you could believe in, it would look authentic. but no, as for those of the great patriotic war, there are some episodes that i would very much like to shoot, but as a result, no matter how you take them off, they will not look implausible, for example, as i read in the krasnaya zvezda newspaper about one episode about great patriotic war when a soldier shot down a junkers plane and grenades. juncker, by the way, planes diving very low, and diving above the ground. and these planes did not dive

on the window and one of the soldiers - this, as they say, was very tired. he attached a lemon to his belt to pull out his cheek and untwisted it, as if i was forgiven and threw it and hit it exactly in the screw. take it off. i'll be told this, nurist oil, but it's straight. well, this episode was some kind of fairy tale. well, we understand that this is not the way to remove it. and you need to shoot something else and in general the history of the great patriotic war and filled it with so many facts that need to be filmed and told about, that it’s not even worth inventing anything. the podcast of the paws of the creative industry is on the air and we continue our conversation with a wonderful guest, people's artists igor golonov. if it’s about how much you need to shoot about the war, then if there are not very many big films about the great patriotic war, to put it mildly, then there are already quite a large number of tv shows, in general, and not all of them. they are in general

good quality, to put it mildly, that's how you get to the series and that's how you get to this new genre of working with the platform. well, that is, this is a new thing for the industry, but this is the first time we shot it. well, just a series from start to finish earlier , and we made full-length pictures and serial versions from a full-length picture, and then we tried to shoot a full-fledged series so and so according to those, and the canons of what it should be, but we just tried to be both reliable and bright . and, that is, we filmed the series actually again. like a big movie no matter how much my colleagues did not hold my hands that it would cost more and be more difficult to manufacture, anyway i rested. no, we will do exactly that, and when you say, about the series that are being filmed a lot, of course, there, as usual, there are bad nkvds. yes, uh, commanders who are not always responsible to their soldiers, which sometimes happened, but this is not what actually happened in such a large

volume, well, it’s just that the same responsibility and reliability work here, and in a big movie for which you shoot a series for in order to quickly do something for a minimum budget to put it on the screens or in order to again tell something reliable important to our viewers and children. what goal are you following, and then everything will be clear behind the budget figures. i understand that you are not watching, but can you be caught behind the numbers of views? that's it, so that you well , it's clear, if my series comes out. and if we need the opportunity to continue it, then i have to see what the rating and numbers of this series were like me i look at the collections of russian releases in cinemas, realizing yes, what's what and when the low fees of the awarded cinema. i'm worried because it's not the failure of this picture. it's an industry failure that you can develop a marketing solution or a marketing

solution or whatever. yes, that's why every time i look at how it goes. e picture, with what rating? with what audience share? with what fees? i'm saying don't think about this particular movie, what about everything that's going on right now? this is something you need to seriously think about, but this year it came out the most important film about space called challenge and i can’t help but ask how the person who carries the festival in his arms, tsiolkovsky literally. here's what impact, in your opinion, whether this film will have, maybe. maybe we haven't seen the full implications of this movie yet. well, what needs to be said is, of course, fantastic. yes, i was at the baikonur cosmodrome with everyone together when we saw off our guys into space and i honestly did not believe in it. well, yes. here they are now getting into this rocket. yes the rocket will take off. by the way, it was my first time at

boykonur. for the first time at the start of the space ship, they got into a rocket , and then we sat with a shudder and looked at how they would dock now, and something didn’t work out there right away and we worried about them and then when they were. there, in space , we were worried all this time, and then we sat and thought about what kind of film it would turn out to be, and we were also worried and, of course, watching this picture for 2 hours and 40 minutes. and we can ask ourselves a question. wow, how is it done, as always there are critics, as there will always be people who will speak. why was it necessary to remove it. uh, means on the ground. we have family salute film experience, there films are the first time, yes. well, why is it necessary? and we need to, and maybe we will understand. we are not now, but a little later, most likely, we will understand about this later, when it enters the history books. by the way, i

don't see much criticism. this time it seems to me that this is also connected with the fact that, after all, space is a separate topic for us, which we do not want be critical of space for us, this is absolutely the value of course. this is some kind of breakthrough, right? and our cinematography and our space industry, of course, but i cannot but ask a question about creative plans, since, as i see them, there are many, but all creative plans and triangles. they affect you and me. we end up in the cinema for films. what to expect, i would like to exhale a little and make a film. uh, new year's comedy, finally before that. well, my god, finally spirit. uh, write a script and i won’t shoot ahead of events, there is an idea, but for now it’s necessary to finish shooting the film about the people’s militia, the film will end at the call of the heart, the script of the film about the defense

of tula will end, the script will end and make a film about the ural tank corps and connect the time when the workers at three shifts were made by tanks on which they went to the kursk bulge and the current people are engineers, workers who do three shifts. tanks that go there with duct tape and uh, this is also a kind of plan that needs to be implemented there are ideas for a scenario, a korean war, when our domestic mega fifteenths under the leadership of kozhedub were shot down by american sabers. few people know about this either, but you need to show it, especially since we have these instants 15, one of them is even on the wing, if we talk about plans, then for now this is some kind of preparatory work that must be completed in the near future time. anyway, i have all the time. what to do, and new year's comedies. we'll talk more. and what makes you

the most happy as a creator? yes never nothing now. there is always something that is not done. well, it was necessary not to do it this way, but i was immensely, happy on june 22 , 2010 of the brest fortress behind the screen, and which was put interestingly, after all , at 2:00 am, when we first showed the filmed picture of the brest fortress, we were sitting or 1.500 people and watched it was at 2:00 am on june 22 this picture, and i looked at the viewers who are looking at the screen. i saw their face, and these were veterans and children of many people, and at that moment, of course, i i was happy that we managed to complete this huge work and make it worthy, and here it is. my viewer who is watching. here it is my happiness.

people's artist of the russian federation igor ugolnikov was today in the creative industry program in the podcast paws line on channel one, we wish you great happiness to experience every time you watch the premiere of your work , elena hyper, clip maker and producer roman karmanov, general director of the presidential fund were with you cultural initiatives, media manager all episodes of the podcast project, paws. you can look at the site of the first channel one tv point ru, goodbye. this is a podcast of eisenstein's witnesses, hosted by me, film historian natalya ryabchikova and my colleague stanislav didinsky , in this podcast we tell who and how created classic cult little-known forgotten

soviet films. we get into the secrets of film archives and tell. why watch soviet cinema now, how to better understand it and how to get the most out of it, and today our topic is ninetieth anniversary of the remarkable soviet director russian director alexander minta and his film, made in the late sixties gori gori. my star stas why is it important for us to talk about alexandra? because this person, who in many respects laid the foundations for the attitude to the cinema, as a kind of mass spectacle, this is the new standard of the soviet blockbuster. remember the fairy tale of wanderings in the film the crew. this, of course, was done by and so, who thought about how it is generally abroad. they rent mass cinema in those years when he was actively interested in it and subsequently, the concept developed its theory further directly into a three-act structure, as any mass film is built in general. there are the first actions with a plot, the second and

third, where the culmination and denouement of everything takes place. that's metal in that sense. this, of course, is such an amazing and evolutionary path of the soviet director, who began with children's films, in fact, who was actively interested. what does his colleagues do, including even participated as an actor, and on the set of his colleagues and further the film woe woe my star was in many ways a turning point for him. we are in 1967. alexander has cops. three films have already been released. he graduated from the gig. he studied with andrei tarkovsky and vasily shukshin wonderfully, the incredible workshop of mikhail roma, according to alexander naumovich. he. well, not exactly learned a lot. he understood roma more when he had already re-read those very lectures. released in a book edition and the sixty- seventh year is important in soviet cinema in soviet history, including because the fiftieth anniversary of the great october socialist revolution was widely celebrated

, many special films were released, and apparently alexander meta thought that a would be great. to show how a new soviet art began in the revolution in the minds of people at that time among people associated with art. yes , when they think of the twenties, and in the early twenties, sergei einstein, first of all , that's meyerhold and the idea is to show how such an artist is. uh, a revolutionary exists, not just in a situation where the whole system is changing state. yes, but when in some periods the system changes, almost every day, when things like this, nothing is stable in the political situation. how is it not clear who is in charge? yes, what kind of ideology yes influences how to behave in a situation where the world? the limit is unstable. yes, and somehow it was red comes to rob whites come to rob was in one film, this story is about how to live as an artist. yes, when the conjuncture is always different, does he need to follow this

office or, on the contrary, does he need to save himself and for cops, it was such an attempt to answer this question for himself, including by himself at the expense of these three heroes, whom he would show us on the screen and tell about that era, first of all, to the children for whom he made films, previous years call this touch the door and other great movies. and when we say harry harry is my star. we pronounce it so easily. in fact , the name appeared, probably, the very last in this film. and when we look at the documents on how it was created, then we we see the name of the child, which first of all include the name of the main character, first of all they came up with a surname for him from the cream. here is a creative pseudonym. of course, of course, the art of the revolution to the masses. and apparently this is what it grew from in general, uh, everything, this is the content of the film. we have a photo from the soviet screen magazine, which shows how the main character should have looked if everything had stood still, as metal was conceived, yes,

a hero appeared. at first his name was pavel from kremas, then vladimir skrimas appeared genre term genre definition comedy about from kremas and appeared in the process of writing the actor for whom all this was written incredible wonderful actors. director roman bykov, and his cremas - this is an artist who is not recognized by the old system. uh , there's a prologue at the beginning where he's in 1616 in 916 just an understudy for some tragedian and hopes that someday he'll be able to ask himself. do you remember this prologue from the literary script ends with the phrase that i will show you with it again. and here is the sixteenth year. revolution is coming soon approaching and so on and so forth, well, this scenario in general. of course, he was not the only one who wrote it, he wrote it together with his permanent co-authors of the creative team, and on the duma ifrit, and such wonderful soviet screenwriters, and there was even such a term, but the fridun script, well, frid's script and

the duma script are sometimes so colleagues of their armor . so they spoke with irony. here's to amita. it was such a creative union that, in general , worked for him as a director for many years, in general, yes, they made a lot of films. not so myself. this recalls funny that the screenwriters themselves were not very happy and every time they swore to him, and to work after the next release of the next film, and then they returned and he asked. and why well, so others are even worse of course, a story when screenwriters are dissatisfied with the director is an absolute classic, universal for all countries, but temporary for peoples. yes , the scriptwriters always did not give what the director does with sex scripts. here, it seems, the script, vyacheslav, is both quite easy and quite fast. here they applied. in the summer of 67, and in general, at the end of the year, there was already the first version of the script and the script began after the prologue quite festively in a small southern town, boiling water appeared with e,

traveling itinerant actors on the way to moscow, we can see a fragment, then how it is looks like in the movie, of course. as a result, the wandering theatre. comrades theater experiment art revolution see the tragedy of frogs back julius caesar vladimir and hide you romans remained friends and here is one of them. meta later recalled that

he was very attracted. this transformation of a wagon into a theater, the transformation of a small curtain in an actor's cape, everything is very much what we are talking about now, warm lamp, yes , home-made, but how it is really created on the run and should attract viewers, it is clear that we see a completely different thing on the screen actor. not rolan bykov, and this is the first drama that has befallen. eh, the filming process, but while bykov appeared , other actors who remained in the film were added to him. in the end, a wonderful character was written for evgeny leonovnova illusionist, as alexander ivanovich calls him, a person who is engaged in showing films, well, that is, and after bykov was replaced by oleg tabakub, which you just saw on the screen, he perfectly, in principle, joined

the three actors whose the director himself. she saw on the screen among the performers of the main roles, and just here is evgeny leonov, who played the cinematographer of the absolute amazed opportunist. this is another such bright work in this film, but again, who are these characters, for some reason, the trio of artists. yes, on the screen who they personify, and the third artist theme yes of course, which does not have a single word in this film, in fact, not a single replica. why because they were in the script, of course, because according to legend, efremov said that i have so many problems in the theater. listen and go ahead, i 'll just keep quiet and do whatever you say. i did a great job three characters were supposed to represent the thoughts of the director, and such a composite collective image of the artist of the intellectual creator and the fact that rolan bykov played well, according to later recollection, of course, and you didn’t quite

fit into what he wanted bykov too , uh, worried about. survival of the creator included. e. hmm frankly. after all, they wanted it all to be latent, tragedy, merhold, and so on, and bykov himself was too frank to do it, but methane could not do anything about it. again, according to him and in his opinion, for his happiness, the film was noticed soon after the shooting, well , they already reached about one-fifth of the useful footage after the soviet tanks entered czechoslovakia. and this is important, because, a, attention was immediately drawn to what was happening inside the country, a and, after looking at the studio, they said that the film. in general, it may be necessary to close, but this hero of sadness is too tragic and melancholy. and in general, not in line with what we should now show to the soviet audience, and then, uh, alexander did not offer

to replace the actor in such a way and took tabakov, who created some incredible pherical, uh, sparkling game of this very one from cremas. yes, he is straight and scripted very athletic it is clear that he is younger than bykov and although he was made. here, too, a little bit so thin and sad, but then he is more energetic and more optimistic. and this was in the spirit of what was needed. and who are these three artists that we see on the screen. well, as i said talking about the summit, this is such a collective portrait of the artists. what can be? he himself would like to be. yes, he would like to be and, probably, he will never be the one he is afraid of being a opportunist and the third one he, most likely, is not so stable, but prone to compromise from cremas. well, a cognacist is, of course , some kind of geographer, and here is a mitab. they walked, well, together with the writers, it was quite

fun. let's see an excerpt where the character of yevgeny leonov shows the audience. inhabitants of this city the film is a fission movie, obviously yes, it was filmed back in 1910, a drama at sea. drama at sea for peasants laughter babambore and here is the moscow france-ligator young mothers. here he will drink on the go, you are unrealistically

fond of. because you need a dynamo that with which they show a movie all the time it gave an electric charge and in fact animated photographs appeared on the screen. how would you say then why do we say that if a man is on the one hand about the twentieth and on the other hand about modern times and then today, because this little film that was made especially for the film you we see three times during our big film comedy basketballmas , or my star, and each time it is accompanied by a new e text and the context for one viewer changes completely, the same for another the viewer is such a third viewer for the third and, in general, he shows us, including the kitchen of the soviet to them with the russianist. how can we mount, re-voice and, in general, play with another satisfied art. here and

of course it's funny, but then how then at the end it returns almost the original for the revolutionary text, when does the white come? to the city and beyond, the genillion heroes reproduce this nostalgic intonation for the times that have ended. what times are over? against what struggling with cremation extremes. you see, he is not a bolshevik, he is not a supporter of any ideology , he is fighting, in principle, for the creation of a new art to replace that dead old academic art that dominated in the theater, well, in cinema in many respects in the 10s. after all, the new generation of artists of the twenties. it was just rebuilding itself from this daddy. well, not cinema, but papa's theater, which seemed to them, well, boring, well, not realized and of course the revolution, and breathed life into a bunch of young people, who decided to change everything, but at the same time, e from cream is very worried that there are people who do not listen to his revolutionary

drama. they don’t want to watch, but they run to watch. this is a tearful melodrama and especially, and he worries that a girl reacts very sharply and very dramatically to her, whom he picks up even a girl, and who becomes his companion throughout the film, which is so nailed to him and uh, trying to somehow protect him, or something, from the hardships of life , you understand that he is malnourished and this girl elena proklova plays this is not her first role. but she gave her, in general, such a path to art, just alexander meta for 4 years. yes, this film, when he took her to shoot after a huge long search for the heroine in his film they call open the door then or it wasn’t a damn thing for 12 years and she was brought to the shooting after some doubts by the second director alexander minty, who was also her family grandfather. and after that, lena proklova stayed with you to act. and in general, the cops already had

, as it were, in their heads yes, the candidacy of the actress for the role, but christina or rats, as they call her in the film and she already knew. she also worked with leonov, she worked with roman bykov. she worked, and he even with efremov already by this time a and in general , she was, uh, almost ready to play a more serious role, and in this film, this communication with the stars of sovremennik with tobacco efremov, according to her, led her to the fact that she entered the moscow art theater school the following year. here is the film itself about art about how the artist lives this art for her became the incentive that she, maybe, not enough. she only finished school in order to really start working in the profession, that is, before that it was such a childish thing, maybe a hobby, but on this film she consciously felt like a future actress. well, it seems to me that the most curious thing is for the context of the era, and the fact that she plays not about anyone, but the gendarme play,

which she puts from cream with e. this is a very relevant important heroine. of course, of course, recouped from the concerts of the years. it appears the heroine of the revolution in a broad sense, but look, gleb addresses the same topic panfilov started the film and, well, a similar character appears in his previous film, firewalker. no put jean blow to dreaming. even tarkovsky, who writes about it in his diaries. in general, this is a very relevant figure for well, not so much for that era. how much for the revolution as a whole, yes, and the anniversary of the revolution of course, everyone in well makes you think about how it could be paid on the screen, well, from the cream she copes with the means that she has at hand, but almost sets the theater on fire . well, rabik xl fence 2018 is always back in business.

who is this student? because it's the boss. i would like to speak with the general. i promised him a book, silver hair is called silver wolves, again an active pseudonym. so aleksandrovich returned today and showed that justice is always secret , sooner or later yours becomes clear. mom , too, has always been partial to strangers. this is a rare quality julia what did he tell you? you know how to spy on someone with a phone, and igor knows. this is for igor personally to know, they were not necessarily prepared as a couple. why didn't she go with him when volkov silver wolf was preparing their operation on sunday at first what is it? a person

with long-term anxiety often hears advice or , for example, thanks for the advice, you need to sleep it's easy to say, but in fact, anxiety can be treated. here there-there-there-there-there to-to-to-tum pay pay ozon card cashback up to 25% open for free in the ozon bank application. where are you going to ball? i'm leaving, i'm tired of the same thing and also eat for breakfast. yes, you haven’t tried our new product, natural cottage cheese with strawberries,

only natural cottage cheese from ripe berries, a tasty, satisfying novelty and a natural delicious breakfast for the whole family. will it ever end? no one on the video endless you can watch the video endlessly. just choose a dragon in the beeline tariff is on your side with free service, it is profitable to pay here and there. -there, cashback pay ozon bank cards with cashback up to 25% open for free in the ozon bank application enjoy a delicate and creamy curd dessert with gourmet chocolate.

rubles about sale, not miss out on the sale from june 14th, and today up to 25 percent off britz dry wet food. meet the summer collection of the pharynx, with discounts up to 50%, do not get enough sleep. sound sleep - this velson does not cause addiction to choose a car. it is difficult who fits the car does not fit the price, then fits. the price does not fit the car, and when you find the perfect car with the perfect price, the account goes for seconds.

get tinkov a car loan for both a new and a used car tinkov, he is such a snowy cottage cheese dessert. the tinkoff app makes people happy

tinkoff, he is one of a kind. our task and conclusion landing without a ship on a parachute , all astronauts from the first detachment knew that they would definitely eject. they have no other way to land . dolgov ivanovich was appointed commander. this is his workplace. second pilot nikolayevich andreev, he was stationed anywhere. here , he pulled out the remote control handle and ejected his jump was very risky, because he could, in principle, lose consciousness. i look at the arrogants already 19.000 m. at this height, the fall occurs from highest speed. this minus 50-60 - 70 is much more than a person without special equipment can endure, i just admire this person, because the height is

24.000 with a high-altitude compensating suit. it's not just a feat. now it would be madness to jump from space on friday on pervy i remind you that this is a podcast of witness eisenstein where we talk about who and how created classic cult little-known forgotten soviet films and today we talk about one of these films. it can be called iconic gori burn, my star do. we are in connection with the ninetieth anniversary of its director alexander naumovich. you, in principle, this is, but an unusual film for the soviet cinema, also because it is, well, you can say multimedia , it has a story about the theater, it has cinema, and the third post is painting. it can be said that even frescoes are sculpture, that is, visual art is static, and this was helped to materialize on the screen

by the wonderful artist, director boris blank and two artists behind the soyuzmultfilm studio who actually created these incredible colorful drawings, uh, statues of painted apples on a tree, which are created by the hero of oleg efremov yes, this is alina speshneva and her husband nikolai serebryakov here they are responsible, including for the wonderful ones, and the drawn inserts that open the eyes of this film are still eyes , remained there. and why are there these painted inserts? and, because when the actor was replaced, they no longer had money to reshoot something, they had to finish shooting a little later, they were allowed to do it, but for the same money, as was customary in the soviet movie. let's see, actually, how this art style, which, among other things , came partly from animation and was embodied on the screen. so i understand that you want me to leave as soon as possible, and i'm just in the mood to sit, sit and chat.

step aside. interesting interestingly today leonova's cinematographer was the first to sit down with these pictures that we see on the walls during the filming and after the release of the film were compared with the works of non-copies of asmani. we can compare these works with

chagall for some reason then this name is not was used, perhaps not so well known , was drawn and the last of his last films. it was called chagall and took off malevich, which was filmed several years ago. this topic of art interested him throughout his career. but this white officer is also very similar to someone, but not an actor, but a director, well, actually there is a director vladimir naumov. in addition to the director vladimirov, the film also featured, for example, marlin safe, in whose film alexander naumovich himself. yes, he played the july rain in the film, where he played such a nerd who likes to collect various facts. it happens all the time. they change each other. even them were subsequently reproached for the fact that they are creating some kind of skit on the screen, that it is each other that different directors are filming in small small physical roles, that they want to tell us by this what kind of circus it is, but nevertheless, how since this scene, these three artists had a dialogue with each other, where, in fact, they discussed, in general. what is the choice? yes, what is

the mission of each of these artists credo and here that artist, well, some kind of graphitist, whom he also elevates in status to an artist alone survive even in troubled times. this is the main motto for filmmakers. in this case, when the film began to be discussed, it is clear that the hero of leonov is a negative example. this is the very compromise that should not be in the life of an artist of the revolution and was perceived, for example, by reviewers with some kind of apprehension, like a negative one, but how do you leonov play him. somehow contradictory, we like him, we get used to him. we are in general also understand his pain and his desire to survive well over the decade. yes, and alexander , turning his gaze to this film, recalls this phrase of leonov to survive. how is it in general