a large state, a large center of gravity in the north of eurasia, must be in the top three of the top five, and world powers must remain subject in the struggle of these great countries. we roughly understand how demographics will develop until the middle of the century, how economic trends will look like uh? we hope, more or less predictably, now politics will line up on the horizon. there, for a decade or two, russia must retain its subjectivity. it must be a strategically sovereign country that excludes the possibility of dependence. from whomever you save this autonomy, the ability to choose the possibility of laying your own destiny in the 21st century, i would say the same thing a little differently, we cannot be anything in addition to avoid dependence it is impossible there will always be something from someone dependent here as since the task is, so that then there will already be more, so that different dependencies balance each other, because if so well, in

the most caricature form, the raw material appendage of the west turns into a raw material appendage of china , this can be internally pleasant in a number of ways reasons, but this does not change the essence, but both russia and a commodity item. glory to the west, god still did not become final, and the second will not happen. therefore, this is independence and the ability to always carry out some kind of maneuver - this is a must. forever, this is actually what andrei said, but purely like this, u philistine. it seems to me that in no case should you fuss, because when such a country is gigantic, and in fact, possessing everything. whatever possible begins to fuss there suddenly react to the fact that in general such countries should never react and join, for example. well, i don't know, but i'm always surprised when journalists call me and start asking questions. but the prime minister of slovenia said, this one, well,

some kind of congressman, this is what we have. it is mainly related to the west. nobody ever asks. but in vietnam they said something, like this is the eradication of a certain complex, which in fact no longer has any basis, but it , apparently, has been laid down . that's precisely the years of confidence that our development can be only catching up, therefore, even if something was blathered in slovenia, then we need to somehow, perhaps, sharply give an angry rebuke, but still, it seems to me, this is just a rumor. first of all, it is distracting. secondly, it is degraded. i don’t need to remember this wonderful one, what is it called? meme? yes, when two buddhist monks are sitting there. they say what they say, i watch the trees grow. he says you're all in a rush. yes, this is a very important and interesting topic for me. here in this new history, the emerging system of international relations, religion, as an ideological basis, which role can play. we can probably say cautiously that religion is returning from the periphery

of socio-political relations to its center, our colleagues from mgimo even talk about the webonization of religion, that is, the use of religion as a weapon. here is what awaits advanced western neurolinguistic techniques in this sense. they directly hmm work, but with the spiritual space of a person, forming images of perception, prompting him to action, prompting him to indifferent perception happening and carving emotion. emotion is the fuel of action due to the fact that the techniques of working with e, the human soul construction, they become more perfect. i think there are a lot of instrumental approaches to motivate people by 10 and sometimes covering it up with religion. you are talking about what is called religious motivation. yes religious motivation, yes. i do not rule out that religion in

the east, among other things, can become such an active force that will, uh, well, certain political programs to motivate there, india gave such an example, especially since there is no such differentiation that we are used to in the western world. yes, that is, religion, as a socially autonomous phenomenon, is, after all, first and foremost. uh, for- western heritage is like that. yes, plus he is a society, well, firstly, there is not a single moment in the history of mankind when we could rigidly divide here. here is the final religion. this is where the power politics and stuff has always been used and will be used. and what about will it? uh, prop religion and some new era? i think so, because in general it is very bad with supports, they all leave, ideologies crumble, are brought to caricature absurdity. at first , we watched for a long time when this caricature absurdity was brought, uh, from the left stylistic ideology. now the liberal thing is now

the main thing to prevent, so that the same absurdity, and even, god forbid, with the help of religion, is not brought to the conservative ideology, from which it is also possible to build such a monster, although in general. this is a very healthy approach to life, which is why i think that religion as a living and developing creativity of the spirit is absolutely necessary. but if someone tries to use religion as a bridle for progress, so that society develops, so to speak. this , i think, will not lead to anything good and nothing will work out. it will be the last one. i have a question for you, it is such with an educational dimension, it’s just these cards in your hands, taking into account what we managed to say today and in general everything what is happening why and how it is necessary today, first of all, to train diplomats; i believe that the fundamental basis of our approach to training diplomats.

it is rooted in the knowledge of history and the formation of empathy in relation to some you are engaged in through knowledge of the languages ​​​​of its culture, traditions and the ability, uh, to interact with a representative of another country in a way that is interesting to you , this is the fundamental basis on which the russian soviet then again the russian tradition historically relied on and i believe that we must preserve and develop it. we are currently researching how to prepare diplomats in twenty leading countries of the world. and there is absolutely paradoxical. we are watching you compare how you compare your own approach with how it is done in the whole world. and there are amazing things there, for example, in some of the countries there is not, in fact , a textbook on the history of international relations somewhere does not study its foreign languages. i believe that this is not necessary for admission to the disservice, in general, special education. the guys, having entered the type of service, then take courses. repod training gothic in our opinion. these countries are losing time in training diplomats, because

it is expensive, of course, for 6 years to train a deep fundamental specialist in regional studies with knowledge of the language, understanding of history and not necessarily a good diplomat. but at least he has a reason for the hereditary connection in what is happening in the world. they will be properly arranged and will not be prone to new experiments, which we must do in the training of a diplomat. this will enhance their ability to interact and communicate in this new environment where take the initiative to convince and firmly defend e own position. actually , the platform to interact in the discussion so that your point of view it is your point of view that looks like the closest approximation to common sense to this median, common sense with this. it seems to me that there are complexities in the large information space. well, i work at the school of economics. uh, we don't train diplomats. we are preparing other international specialists. yes, yes. and andrey said the right thing. i tell my students this too. constantly, that there should be a picture of a picture

of the world integral. this is how the cause of the investigative connection, how one affects the other, because the problem of many people and even world leaders. uh, that's what they have pictures. no, they act. here they are momentarily solving problems. and in fact, for a long time it was thought that this was normal? why is everything? right now , the world is so complicated that it is very easy to get confused, get lost and lose, in general, a compass, that this one here, especially the abundance of information, in which you absolutely do not understand. where uh, where where are the ends search and now, therefore, we need a base representation, as in general, here is a structural representation, and then already, well, each force will be. by virtue of their abilities and knowledge, fill this structure with current events. but here is the whole picture from here. actually, we need a theory. why do they often ask, especially with our students there? well, what for, i need it and then i will go to the corporation to deal with oil.

well, the fact is that anger is also taken from the same international relations that wars are in full swing, which means, in general, they have changed little. yes, as i recently one student not from our university. hmm. and who is also going to go somewhere to the corporation and said that 8 million people live in india, so in general, it is clear that i think it will be difficult for him to run a successful business. thank you very much, dear friends, fedorov international observers andrey shushentsov deans. faculty, there is a hero of international relations. i am vladimir berry. we gathered today to think about what is happening with international relations. thank you hello this is a podcast of eisenstein's witnesses where we are film historians natalya ryabchikova stanislav dedinsky we talk about who and how

created the little-known cult forgotten classic soviet films. we climb into the jungle in the archives to tell. why watch soviet cinema now, how to better understand it, how to find new meanings and how to get the most out of it, but today we are not talking about a particular film or even a film in general, but about the place where films are shown about moscow international film festival. the moscow festival is an event in a broad sense, which over the course of different decades was filled with different content in a different sense and actually different cinematography, which were shown at this festival and there. what goals and objectives were set before this, and the event before the moscow festival. today we will talk and tell our viewers. cinema , as we remember, appeared at the end of the 19th century in 1895, and the first festivals arose only in the thirties, and the first very first was the venice festival in the thirty-second

year. but the second, by the way, at thirty the fifth year was the moscow international film festival. it is no coincidence that this happened precisely by the thirties, because during the first three decades of the existence of cinema, in fact, it accumulated that amount of material. well, about which one could seriously say that he has a long history. yes , because any festival. this is summing up summing up what has already happened in previous years, or those results that seem to be ahead of us, yes, based on the results of viewing, most importantly, as relevant novelties. and in the thirty-fifth year, it was not by chance that two such totalitarian states, fascist, italy and the communist soviet union, decided that we need to show the achievements of our cinematography around the world and therefore first the venice festival remains, then the festival in moscow is put on, where, in general, the main the object of attention is the films created in these countries precisely in the thirties , two countries that by this time were from the world,

but were quite closed and italy and the soviet union did not let e, let's say on their screens there are as many foreign films as there used to be and , accordingly, their films are also not so much seen abroad. and it is precisely these two countries that made such a window the venetian festival. the moscow festival, where in such a limited space-time mode one could show one's own achievements and see the achievements. well, if not some photographs of the whole world, then again some parts of it, of course, until the thirties there were gatherings of filmmakers, there were some more or less festival ones, let's say so retrospective. phrases even in moscow cinemas in the mid-twenties spent, for example, comic weeks, that is, they took old comedy tapes of the tenth years, that is, ten years ago, and showed,

for example, the whole week or the writer ilya orenburg came from paris and brought novelties of french avant-garde cinema, though , not entirely in the film pieces, but soviet filmmakers, film lovers, could see what the lire market was doing there, what dmitry kirsanov was doing there. and in general, france was actually a country that not only it is believed that a gave birth to cinema, and with the lumiere brothers, but also to the country where the active viewing movement was divorced, not just sitting and looking, but the discussion of the fillet, as the term is quite french in origin and the french cinematheque. as a matter of fact, this is one of the main such mecca of cinema lovers to this day, and such a place has been since the thirties. and thanks to its creator , the future creator of french semantics. andrey lagua, systematically collected old movies, discussed old movies, but discussed new films, including because the concept of the festival was born largely from

the need to watch and discuss the film, and the french do not feed them bread, just let them discuss some kind of interesting cinema in the thirties. the french were also going to organize, and one of the first festivals, but the festival is not just what we gathered to discuss. this is a state event, and therefore those countries that and whose leaders are themselves interested in cinema win the competition-festival, therefore italy turns out to be the first e mussolini who loved watching movies, but he liked to imagine himself as the heroes of the italian screen, matsestam, the man who organized the largest film studio in europe in the thirties repairs, chita 30 is the time when italy wants to compete. and hollywood already by that time , already existing by that time, in general, dominant , moreover, we are in the field of sound cinema. 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 they began to be dubbed, that is , voiced, so the original is not audible . and the sound track, at least, the original text is not audible. and for example, in the usa it has become customary to give subtitles, and therefore they still don’t like to watch foreign films so hard to read and watch at the same time, because they have a different tradition and that’s it in italy in the thirty-second year the first venice festival was held moreover in the thirty- fourth year, a rather large soviet delegation went to italy, headed by our the then director of cinematography , boris shumyansky, then had such an idea, and to create soviet hollywood somewhere, but in the south of the soviet union, like a golly. where there is a lot of sun, a lot of various landscapes, and so on , and in shumyansky they gave money in order to go and see, and what they do in europe, and what kind of festival is there and see what is there in gold, but this trip it led to

that when shumyatsky returned, he decided that the festival needed to be organized, and in fact they were going to organize it at the end thirty-four, but the case 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 of education to 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 twenty-ninth, because it's a transition to sound. this is the building of mosfilm. this is the first five-year plan. this is industrialization. so civilization has absolutely no time for movies. but the fourth one is 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 look at a fragment now. maxim turn around,

damn it, is this a house where it can be, that i'm in love? well, this will work. what do you remember reading about? from this nest , the treachery of gunpowder, a quantity of effort awaits me, unfaithful comrades of kropotezanov

passions, the beautiful countess tide to him with all her forms. ha ha make you forget the whole world ataman what kind of nonsense is this anton krechet the famous robber i'm not talking about such books that something bad reigned on orders write such you read. yunost maximov is a wonderful soviet film one of several films that were shown at the moscow festival and which was judged and evaluated by none other than sergei mikhailovich eisenstein, after whom our podcast yunost maximov is named, along with several received other pictures 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 was a very important figure and a very important name for soviet

animation in these years, because they actively watched the ussr as a whole develops, as 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 films are shown at the moscow festival. this, of course, is mickey the conductor. and these are three pigs. another tape they played a very important role for soviet animators, well, actually, that's why the festival was such an important cultural event, almost nothing could be seen 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 venetian 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, the thirty-ninth year, the day when nazi germany entered poland and the actual opening of the festival took place at the end of august, and the first one was already unclear whether to continue it or not to continue. forty-six, but these post-war years are when the festivals began 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 it is interesting that this moment is the 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 reviews, but not all, of course, racists. and those who trusted the classics all the pudov, for example, sergei yudkevich, 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 were in cannes and yudkevich organized a screening of the film the cranes by pablo picasso picasso was in complete admiration, and there is a wonderful diary of sergei usinsk, the cameraman of this film, who, of course, did not speak french, but he describes how they went to see picasso home, as someone gave him some of his work, as he called the real urusev artist. that is, he appreciated this visual component of the pictorial component, and of the soviet film . here we must remember that during the years of the cold war , the world festival of student youth and, e

. and including in the fifty-seventh year it gets to the soviet union, where it is already in full flare up unhooked, if possible say, where is actively interested in what is happening abroad in the west there is a new generation of soviet youth who want to be an open world. and this is the point for many in the year 50-7, when the soviet union comes from so many countries, not only socialist but capitalist students, cultural figures, to share some ideas , and in the euros of this festival , a separate movie is watched, which is then considered will become the future swallow of the predecessor 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 the ones who come to see us and see what they are doing in europe in the world and, uh, in 1959. 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 at once, several soviet films were supposed give 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's interesting that other members. eats were mostly non -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 theorists. it was clear that it was necessary to comprehend what we see, in general, the moscow

scientific 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 the largest days in general to the festivals of the world of the berlin festival, which at the moment has already firmly established itself there and, in general, very often oppose other festivals to the kanan festival, where it is born on the sly. this is the story, well, in many ways, after all, the festival. american was created as a kind of commercial event where pumping distributors. 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 beginning to create the venice festival, in general, and the moscow festival is looking for its place in this, but in the new world, it is no coincidence that it decides to hold it not every year, but once every two years , because it must alternate with another major festival in karlovy vary numbers a major festival of the eastern bloc, that is, we

oppose ourselves also in such a larger, let's say, division, and there is, uh, the 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 commercialized post-war years, western european festivals and festivals there. for the capitalist countries there is a bourgeois art that is there for berlin for venice for kan ah, there is socialist art, and in moscow we show it to the audience and to the whole world. come on, members of the jury, who come to us to watch it. e. it is interesting that in the year 1968 the cannes festival came as close as possible to what was happening at the moscow festival . exactly, and delamurization, when the growing student political movement, involved both filmmakers and the festival. it just stopped at some point, because they were protesting against this freedom

of 668, when in cannes they hung on the curtains directors, trying to disrupt the next film screening in general, it was like that. yes, it 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. we won, 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 union independents for a working time and and so on and so forth, including for 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 latest, and some kind of graphic forms in general, this is a very important point that 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, which he meant that this is the most mass art, with with the help of which you can convey some ideas to all segments of the population, as it was actually intended to remove lulpierre, as well as other inventors of cinema . it is surprising that they are the authors of the fact that they make complex films that are not intended for a wide audience and the festival is an ideal platform for the demonstration of such films. well, as a matter of fact, we all know this felline antonionia allen is a wonderful french gadar regime, and whose films in the sixties become more and more confusing multi-layered and many other european masters, and now the festival just becomes those platforms where these films are watched , criticized, criticized, praised, and in general, these films pave new paths in the art

of cinema. directors all over the world are guided by them, they are inspired by them, they take some tricks that they spied on in such, in fact, experimental works. and the moscow festival in 63. just becomes the place where around the movie federico fellini 8.5 serious controversy flares up. 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 do these films go, and often the viewer of the moscow festival in the sixties does not know, in principle, what he will watch, uh, season tickets are bought in advance, and then they exchange it all a little. such a work is random, but the audience knows nothing about what the category is. the festival category for them is any foreign film. this is already

a novelty, but for the director it was very important. and in general, how would the classification of world festivals be arranged in such a way that only the festival where the premiere of a particular film takes place for the first time can have a category a, that is, an important condition should be that the film is not to be watched anywhere else. well, actually , as today we know what will happen in cannes premiere this is because cannes is, firstly, a category festival, and secondly, everyone aspires to go there. thirdly. to uh in general, as it were, this is already such a standard, well, in the sixtieth year - this was not yet the case. 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 federico filini. we already know him from the film road, for example, and 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 that year the jury was represented 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, of course the members of the jury wanted to give this prize to the philini, but we said that soviet cinema is a very important part of the moscow festival. yes, and he also watches soviet cinema and was supposed to. at least the department of culture, the propaganda department of the central committee that the main prize will be taken by a soviet film. that year it was some completely orthodox socialist realist film called meet baluev, and no one remembers viktor komissarzhevsky now, except for this scandal with fellini because there was a stop 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 leave all his

posts if, against the will of the jury, own country. can't wait for the award. and if, in addition to more than the jury , filini's films, the prize will not give an international scandal , grandiosity was brewing absolutely yes, and in the end, all the same, chukhrai and the jury members. the winner of the filinnee received the prize said from the stage that this is the most important principle for him, because he received it in the soviet union and to some extent the situation was saved, but in the following years it became customary that three main prizes are awarded one film to the soviet another film of the capitalist countries and a third film from the eastern bloc or from one of the countries of asia or latin america i remind you that this is a podcast of eisenstein's witnesses where we film historians natalya ryabchikova and stanislav divinsky talk about who and how created the classic forgotten cult

unknown soviet films and how to watch them . today we are talking about exactly this about how the moscow international film festival was held in the classic years of its existence recalls a very characteristic story of a dispute with one of the jury members, oh, which, uh, he had when they discussed the film empty flight 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 an award with a stylistic one. but what a big award there is is practically symbolic for your money. well, why does he do it then? 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 state farm. so he discovers this property a secret from poured gasoline. you see how much you know, nikolai handwriting pro i have almost finished you 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 collect the fact and flutter from here,

otherwise, look, another wolf will bite. and then they will say chrome shoved, you do not take the hassle. ride. here, after all, chukhra, apparently, managed to be found compromises the film gave him a silver award. in general, it must be said that there were a lot of prizes at the moscow classical festival. here are three main prizes, then another for an actor and an actress, and another 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 everyone receives awards, if friendship wins, then it turns out that they did not win. nobody nothing crap, just again with his memoirs, he notes that after the story with the filine from

the film eight and a half, the prestige of moscow time 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 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, was in in general, a film that still remains a classic of soviet cinema 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? vanyushka do you know who i am? i am your father.

normal for me will find. sergey mudrachuk e was frequent. well, you can say a frequenter of the moscow festival, because his very war and peace was also one of the participants in the program, and so would be a colossus one of the main films of the sixties. and in general, when a chikhrai says that the festival is losing its significance for the big world a little, 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, nothing in heaven exaggerates a little, for example, er, at the end of the seventies,

the same events happened. when a francis ford coppola director of the movie godmother 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 we have not seen in another world a version that has a different ending, where the protagonist refuses the decision to kill and simply throws a knife refuses this fate, which circumstances themselves impose on him. yes, he does not kill the colonel kutsa. and now both valences of this tape were somehow clearly demonstrated precisely at this session, which, in general, this film could there could have been such a finale, but it could have been different. and this did not in any way affect the artistic fabric of the film as a whole, its perception changed, but the impression that the audience received did not change. in the eighties, this is the peak of the moscow festival, because after many years of perestroika and at the end of the eighties

another festival takes place. where absolutely all the stars converge. well, no, everyone, of course, but a lot of big names come robert nyro come. well, a lot of different stars. depardieu marchela. some kind of mood it was an absolutely incredible festival in 1987. when , indeed , the transformation of soviet aggression by some kind of soviet aggression after the fifth congress is on the wave. fistov after the release of many milk films of 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. what was the feeling then that the viewers of this film had? see. everything is taken with hostility from the whole performance is buffoonery, elevated to the principle we do not need anything. we

all know this is a fundamental question. 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. and even less work. well, material wealth is necessary in this there is nothing. actually this is one of my favorite fragments from this movie there so vividly shown. 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, well, it declares it frankly in this sense, films become like such a window into reality. yes, it's not just a work of art. this is an opportunity to see the changes that take 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 criticized for competitive films, which , as it often happens, do not correspond to the level of a critic who is accustomed only to a masterpiece of world cinema, and love the festival in fact in fact, this is a selection screening, because this is the crucible through which it must pass, and the evaluations, and with the jury of the audience, and the film before

someone decides that it is really a masterpiece or not masterpieces in the nineties. the moscow festival is undergoing the same as the russian nemators as a whole, but turbulent times, because , in principle, this east-west dichotomy is falling apart . you need to look at karlovy vary and not very clear. 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 . eh, the festival is refocusing in many respects already on asian cinema, for example, there will be yes, very often there are strong programs dedicated to asian cinema, in principle, this is the openness of post-soviet russia to the world, including in

terms 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 remembered, who often worked on 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 of the festival class, and the moscow the 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 don’t need to specially go to some event that takes place once a year and

watch a certain selection of films there, which for us, someone selected 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 the moscow festival has always been over the past 20 years and has always been lotteries. you never really know . you only have an abstract in hand. maybe something is told to you by the names of the creators or the authors of the actors of this film, but you never know what you have come across. sometimes it happened. i would just like a sharashina from some films. uh, but this really is 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 festival fine. also the fact that there is really a certain person who really selects films. here are the original 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. the same dmitrieva yes vladimir dmitrieva from samo. 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. foundation. there is

a festival, yes, which used to be called white pillars. now it is called the fivny film festival, and in this sense , another root competitor has appeared at the moscow festival, and in general, its main task in the future is to invent itself anew. yes, and time will tell and it was a podcast of eisenstein's witnesses and we its leading film historians natalya ryabchikova and stanislav dizensky, 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. thanks goodbye. roman karmanov elena kiper yes, we have jazz musicians igor butman as our guests oleg akkuratov i wanted to ask igor to introduce

oleg akkuratov as he does on stage when he introduces his musicians. this is a separate part of the usual concert absolutely ingenious and better than e. butman - no one will do it. this is a unique unique, talented, unique, educated, well-mannered and very pleasant person, oleg neat, whom i first saw. er, well, we've seen each other. yes, where we saw each other for the first time , i went to the club to see me, yes, and you were very small, yes, well, not quite small. it was 2000 the fifth year. i was 0 years old 14 or 15 or 16, maybe i can walk? and you can, i didn’t even have time to understand anything, and then there was an international competition of the world, jazz in rostov-on-don, the dialect was one of the contestants. naturally,

as soon as he started playing, it was clear that this grand prix would immediately go to oleg akatorov. nikolai yanovsky and i, a wonderful pianist, an outstanding fattening composer, shed a man's tear, because we are because when you see such talent, you just touches you. you know, when our athlete bylkovsky won the olympic games, in my opinion in 2004. and when he overtook everyone, so to speak, all the people in the world. uh, at that time the best, who is also like that pride is pride, you always have such tears of joy, as the famous hero said, so it’s the same thing, we saw oleg and we both have such a tear, and then, of course, the musician who sings knows great music the history of music plays classics jazz plays. he knows folk songs and sings in all languages ​​of the world, so it’s impossible to imagine him differently than i imagine her , which means you met. i'm just here

to come to you to a living legend of jazz. can you meet? this is me for those who are interested, who wants to approach, but there are such talents, collectors, in general, you can not even be unwell. well, that's an appeal to catalentic people by and large, since we're a damned industry. here you have to be proactive and not be afraid that you will not be seen or understood. if talented, that is, i will notice. he is such a country that we notice talents in you, basically you are doing something creative, so to speak, activities, then you will get what you love. if you love, you want to pass this love on to other people. well, that is jazz, it is solid creativity should be not only jazz, music is creativity. it is absolutely life all the time. it's easy, when they really lead, there is such a tatyana chernigovskaya who says that children definitely need music and she develops their skills. this and at the same time here in the new education. i mean, there could be this part, when in the new, i mean in the new millennium, when they give to children.

the opportunity to start experiments in basic education, you know, it’s a must there , and jazz improvisation is nothing some not some something out of the ordinary. yes, this is how we talk. here you set the topic. we start talking to her, if we have enough to say so, well, i don’t know the vocabulary there , then i want to say, but i don’t have the strength. and how was it for you? as a child, everything is fine too. well, well, if not, well, if you force a child to play jazz under pressure, that's the question, in general, you need to force a child not under pressure, but we will create opportunities. if there is any there was a story. tell me, i had i have a different story. i had to deal with the classics from under the stick. i spent more time on jazz than on classics at the beginning at the very beginning of my period, and then i already realized, somewhere from the age of eighteen,

that when i started preparing for the competition in novosibirsk, i think i thought that to classic. i definitely need it, because not a single jazz musician can do without a classical education. that is, such an adult, understanding has come, in general, i have already begun to relate to this in an adult way and everything and and. why is this the biggest thing? why i used to spend more time on jazz and 2 hours of only classical music and that's it, only 2 hours of classical music. i was constantly working out. that's all day jazz. and now it's like yes, and now it's completely both. you said dad you said no. well, no, i did. i just listened to jazz. i really wanted to play drums, so my dad played drums for me. there were some, but he played there at weddings there, during the day he played engineers at a wedding in the evening and the drum was houses. i used to play all the time when i was 5-6 years old. i already played there with emil dimitrov, there was

some kind of such and some other such. in general what kind of records were there leningrad universes i played drums with them all, then they invited me a girl to write to teach me the piano, but she taught me the piano and we were there for half a year. we moved to vesely poselok in leningrad, a new area for such a sleeping bag, and she refused to go there. uh-huh and he refused, thank god, and then only then the father all the time. spoke jazz wasn't goodman charlie parker gennady goldstein. these musicians are, yes, a gremlin for the whole of leningrad. therefore, these are the ones who need a teacher, whom i later got into. gennady says that he was all the time. legend soviet glory. god is still alive legends of soviet jazz, an outstanding musician arranger composer at that moment. joseph weinstein, who played oleganstrom and his leader, and vadim ludvikovsky and the orchestra, in general, must be infected. yes, you need to infect it with good

music. it is necessary to infect to be proud of a jazzman. i must be a brilliant musician we will write already, a good musician. any musician must be a genius, in his own way 100 years of russian jazz, and we celebrated october now a little more. uh, 2023. so this is a good thing, but the next 100 years are ahead, which is lacking in russian jazz. uh, what to pay attention to for the first 10 years, at least for years with the support that we receive and all the creative industries in our country receive. at the moment, we are working quite closely in the field of education. and it's not just us, it's if there is a camp in samara plus, uh, of course, taurida is going through all this. there is a huge support, so we just need to work, but now we all believe that there can be success. people see successful jazz musicians on television, oleg neat. vadim or inkri. sergey is there,

smut, peter vostokov. kondakov the guys in st. petersburg are our goloschekins and so on, uh, young people appear here, in principle, we now have everything. there is a sponsor. there is support precisely at the local level, yes, the governors and the ministry of culture have appeared the incentive is now clear that even the young people who go there have a choice of where to go classically, they were to go there , i don’t know, to go to moscow state university to become an engineer. where are you, you can earn money. you can be a professional jazz musician now ask jazz musicians, this is a wealthy person. of course we are. dye middle class middle class collection for example, i consider myself a wealthy person. i don't know how at all in terms of finances. i mean, we 're talking about young people now young people are very demanding on this. yes , if you are in demand, respectively, you have,

well, last year we officially had 170 concerts with me. practically oleg is the same for the musicians of my orchestra and my committee. almost the same. well, we don't play for free. therefore, we have financial stability. i'll tell you what the musicians. some make very good money. and this is not the limit. and there are jazz musicians, ours. well, we also focus on the greatest musicians for us, the same wynton marsales, this is so to say both a musical and human idol, as a public figure, he was one of the 25 most influential people in america according to well according to time magazine. well, it's great that music is already playing, if you are marsales there, maybe in america he himself is an influential person one of the most why a jazz musician in russia cannot be

influenced. and what if you outline your mission as a jazz musician for the next century? i just love. i can't be, i don't think i don't sit i don't think. so what do you know, make the girls nice. my mission is to make people happier that they would like to know, i say that if there are some things happening in the world, it means that we have not finalized somewhere, somewhere we have not finished playing something. something people left satisfied. i remember being alone. wonderful jazz singer and pianist sherlin sang in america i was at the festival there performed, and then i sat the service. she went out. we are already an elderly woman who came out playing in white gloves. she sang and the entire first row. we all took hands, just not well, there are

people. we kind of knew there was someone on the right, on the left everyone took hands, and now they listened. here, this is some kind of divine musical revelation. well, nothing was bright. she just sang and this timbre of the voice is all together. and it was wonderful and we want to do it so that people leave satisfied with the sulka and exchange impressions. dear friends, dear friends, on this optimistic note, unfortunately, unfortunately, we are forced to end our broadcast. today they were with us. igor butman people's artist jazzman oleg akuratov is a star of modern russian jazz without a doubt. i'm sure the best thing you can do now after this broadcast is turn on the recordings. oleg is true, listen to him and igor butman's orchestra. this is wonderful elena kiper, we say goodbye to new and night airs. thank you very much you happiness in this big world. hey like the sun.

that's jazz for you. on earth