for example , he will understand from the creators of the brest fortress and podolsk cadets. yes, i will be watching. well, this is how it needs to work to be like that, but now it is very difficult to capture the attention of a young viewer who is fed up with, generally speaking, audio visual effects and doesn’t this impose on the directors who make films about the war, these are the uh duties to there it exploded more , it burned brighter, which means, uh, unbelievably bahala from all angles and so on. for example , there are films. yes, in a war where there is almost no war. that's definitely. you are right when you say that modern viewers, especially the young one, who sits on tiktok and on the internet, and who are not used to watching anything and empathizing with anything for more than 5 minutes. he is not able to perceive not only films, but dacians, which carry deep meaning and a patriotic beginning, he is not able to perceive. what in addition to being quickly

perceived and forgotten, perhaps this is the main problem of the fact that we now have a very difficult time talking with our children and grandchildren , they even begin to get angry with us when we we talk to them or invite them to read a big book. they start to get angry and go to their phones. this time connection is lost. and what will happen next is hard to imagine, one can only say that anyway we must continue to do our job in our childhood and there was such a genre when the class was going and they were taken to the cinema and such a collective viewing of the movie and the child had no chance to get out. ugh from this one. in general, e history. do you need to carry out such exercises for children in our time, and when they turn out to be no choice in front of the screen and there already here. who will capture it will capture the educational moment must be present unconditional and enter, we now have a new concept of a mentor. i

guide you on the path of truth. i'm not even your teacher anyway. i guide you here too. it seems to me that all means are good to achieve the main goal, so that the children think about something, so that they ask questions about how the little boy went out with his grandfather. i remember after watching the brest fortress by the hand and asking where it is. and how did it happen that in that war we won when everyone died, but for the sake of such questions it is worth making films. and most importantly, show them to children , you should not scare them. they just need to tell honestly and with dignity about the life of their ancestors. we just don't care about it in our families either. unfortunately, beyond grandparents. nobody knows the history of their ancestors. and here is a man sitting in front of you, who you know, now that his great-grandfather. the tenth in the eleventh generation , evdokim ugolnikov was born in 1690. i want to imagine his life

great-grandfather and in all his ancestors. that's how they lived, what they aspired to? and even to be honest, i feel my responsibility to them at the same time. eh, this is what they talk to children about. just imagine. you have. everyone has two grandmothers, two grandfathers , that's right, yes, it turns out, they also had the same dad and mom, too, your great-grandfathers and grandmother's rights. yes, but who were they? i don't know, but now imagine that they are behind you. how many people should now stand 10 generations. count the kids lose count and call some kind of e figure. and now imagine that these ancestors are standing behind our backs. and they are exactly iron and think about it somehow you want. let’s say that the great country in which you and i grew up should still go to our children and grandchildren in

the state that our ancestors were so worried about when we talk about what should be passed on to children. here, as if traditions, i left a little, when the ancestors pass on knowledge and the form remains, and behind the form. they just don't see the content. that is what stands behind every act behind every step. what are you talking about, maybe it's some kind of new format, when it comes to, nevertheless, around , uh, the result of the activity. uh, in the art of a large number of people, some kind of discussion , some kind of organization. i don’t know, maybe there is some kind of discussion for children , which should tell them what is behind the scenes, what is behind this film, what is behind this music, what is behind this song that was created on the topic. patriotism, although patriotism, well it's very a broad concept, yes, on the topic of love for the motherland , which is and through parents, through ancestors, through

love in general, in principle, to some kind of epic to the human principle, in the end, because the form. but, when we talk, the special effects of cinema are created with the help of new technologies. yes, the creative industries of art involve the use of new forms and technologies, but one way or another it needs to be told. the most important thing is a heartfelt , honest, sincere story and talk about it, because it seems to me that children quickly read new formats. yes instant they can already disconnect from what you are doing for them in the third minute. they need to tell parents in large audiences a little more about what it is about and why it is that you asked questions to answer it yourself. this is wonderful. we have a dialogue. but this is exactly what we are doing, and when children come on an excursion to the victory museum for the exposition of the feat of the people, we tell these e children, moreover,

using all the possibilities and the so -called gadgets. yes, but the screen on which there is a cinema and a museum, then everything is connected there. they are immersed in information and emotion and come out after this exposition, which begins with the brest fortress and ends with the storming of the sheet. gaga comes out completely different. this is exactly what we sometimes cannot tell them in the family, you can tell it in such a language already in their language. they are now on the screen. there, direct exposure can expand the screen to see what was there. what information is next and touch everything with your own hands to see how the ppsh assault rifle was assembled on and even sing a song of the war years by the soldiers of the great patriotic war because they have this skill. here. just try to look at you now soldiers of the great patriotic war. try to sing to them on a dark night. here, then they begin emotionally

gradually, but to enter into this information and ask further questions. it is for the sake of such questions that we try and work. this is a lab podcast and a creative industry podcast on channel one, our guest is people's artist of the russian federation igor nikolayevich ugolnikov if you have not been, uh, in the museum of victory, you have not yet seen the exposition of the feat of the people, in fact you have seen this is the wrong word in relation to this exposition, because you get inside this life from the moment when the beginning of the great patriotic war is announced . and you're in the apartment with your family, and then you go through you go through all the stages. and in general, you go to berlin with the reds. this is this this is very difficult to write. that's how this idea came about to do just that , generally speaking to the museum in different ways. can arrange an exposition in general. why

exactly did it happen that the director of the museum of victory , my friend, suggested that i approach the creation of the exposition a little differently than they did all this before, and invited dmitry, who was always wonderful. an artist from st. petersburg, and in order to combine our efforts and here is the co-creation of these three people, and at the same time a huge team of artists and directors worked, and it was necessary to technically come up with all this to organize. but the co-creation of these three people turned into this exposition, by the way, not only in this and there then there is the exposition. the battle for moscow about which we will continue. and as for how it affects people, because we have set ourselves a broader task than just the victory of the soviet soldier, the soldier of the red army of the home guard, but. the victory of the entire soviet people is the most important idea, then the great soviet people won in that war in the rear, and yes, and the partisans, and how the industry worked,

how the state defense committee worked, how the evacuation of the enterprises of factories in the western part of the soviet union was uniquely created union b to the east, a and that's it. here. what we say about ourselves, as the feat of the soviet people in this exposition, here is a subtle moment that can be bent, that is, with a frontal such edifying, yes moralizing, and you have just such a great strong skill to joke and make it easier and somehow natively embed there, some kind of lightness or it will blur the focus on the seriousness of the topic. are you joking in general , it happens to be pure to say that e jokes in this case are where they are addressed, for what they can be used? well, you can improvise any joke - this is a kind of improvisation, based on a certain yes range. here we have, for example, with you now a night program. yes, we

talk chair at night. we are not very comfortable. they make you and me sit up straight. probably this is correct. and if you and i dreamed up and the cameras would fly upstairs, we could talk here. so, when we move on to space, and i wanted to, igor stanislavovich still found a way to fall apart a little in an armchair. can i finish your question then, uh, between a joke and cinema is the genre of military comedy. uh-huh this is what a generally known genre is, but so far all films are about the war. they are very serious. there isn't. maxim perepelitsa is not there. e means some very ironic plots of some kind. well, that is, here is the comedy chronicle of a dive bomber. remember there was a wonderful movie, but i repeat. this movie began to be shot even then, more or less at the end of the war, and this was also a certain correct state order. it was necessary to exhale a little bit to raise his head, yes, and the chin over this war. i think this one will come

period we have now after some time just now while it's hard. so far we have 41, but in the future it is necessary and necessary to do this. why hasn't anyone been able to do it yet? how is it, they say to swing at vasily terkin? but this is the greatest work about the war and with great humor, probably, it is so hard for us now to perceive, and the situation, so that we begin to treat it at least a little with humor. i have a hard time imagining it. until now, i would take the ban program, so what i would do now in within its program. and i hmm must be modern to respond to the request of society. you could do a lot. it seems to me that such a program does not count. yes, and in especially serious ones, it is especially tough to talk with the viewer with this intonation. i think that the need is now and the one who finds the strength to do it will be rewarded by our attention, probably

worth it and necessary, well, those attempts that are now being made in this genre to work. it's sorry below plus it doesn't work. that is, i don't know, i rarely get it. would you like to ask a direct question, would you like to speak with the audience? likewise, good evening. right now, in your current position, the questions are interesting, now konstantin lvovich is also looking up and also inwardly inner peace. yes, konstantin lvovich, if there is a will from above and you say i draw. slavich, let's go. you are a movie yes, a movie in the afternoon, and in the evening, please, be kind here and open your hands in front of the viewer, but here we all need to work together seriously in order to do it with dignity and right the application is accepted. by the way, my daughter. and a moment about humour. still, i can’t help but ask, but humor is also a weapon. very powerful

, yes. of course, when a girl through the feat of the people is in their hands. it's this addiction weapon when you walk on it. yes, there is, uh, an exposition , dedicated to ukrainians, for example, uh-huh. it is beautifully absolutely amazingly made, but this weapon, so far i don’t see it being taken out at all. e from , so to speak, from the scabbard in a good way. yes, here and why is it too. uh, a sharp surgical instrument with no one to control them. someone's hands. it should be a tool. here you just need to think hard about how. and in this case , use this weapon and i repeat, whose hands it should be, but at the same time, our tsiolkovsky festival, which we have been doing for 4 years in kaluga, is our attempt to see. this is upstairs what i tried to do now 2 minutes ago again and in this outer space to see some of my fantasy. remember that we are the great soviet

soyuz launched the first satellite. yes, this gagarin or alekseevich gagarin next year, he will be 90 years old. yes, he was the first cosmonaut on earth. and now we are collecting films for this festival. uh, different themes. naturally, first of all , space and various genres, and the viewer comes to the tsiolkovsky museum in kaluga and watches with great interest different world cinema, and space. to be honest, for these few days every year from childhood to april 16 in kaluga, i exhale and from what we say, i have a feeling that now the very moment when you need to take our man. so its so a little shake it's good to say. well, you remember who your ancestors are, what is great. your country. ah, so something you can be proud of. you remember what to be proud of, only our man should not

be treated like that. so yes, alexander sergeevich yes, he spoke about this, two feelings, wonderfully close. their love for our father's coffins finds food for us in their hearts. love for the native, the ashes of bequeathed answers to them , by the will of god, the man himself pledge his greatness here is the state. we must stand firmly on our feet and not forget about our ancestors and our gro. which are still one way or another in the ground. she does not forget to influence us in one way or another. remember this. here is a film of learning, the fruits of which it was made 2 years ago about what happened in the pushkin reserve mikhailovsky during the war during the occupation, just m-m says about this, who are we russian people. what kind of independence do we have when we can’t even imagine not reading pushkin yes

there is a character, says it’s enough that we are proud of him, no, it still lives us, and we cannot give this to the enemy under any circumstances, under any conditions. this is what a modern russian person needs on their own. yes, i remembered just the fruits of scholarship and those related to this issue, but after the release of each film related to the war, a discussion arises. yes, it wasn’t, was it, was it at all, is it necessary to show it like that? isn't it necessary to show it 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 goals are set, if the criticism is interesting, i need it so that i do not make such mistakes from 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. and if there is criticism, and you have the wrong tank ugolnikov. yes or vice versa could not be like that, but we say that yes it was. it’s just that we show and demonstrate to you, and facts that are unusual for you, and some of us are stories that i won’t be able to film with him. well, i just don't have the strength of the soul. well, now, for example, there is. do not even shoot khatyn, this is an old story. i had multiple scripts every time i read them. i tell myself i can't do it. i won’t be able to, but i should, because it’s khatyn, and then it wasn’t the germans who destroyed it, but those very people, the descendants, whom now over there in western ukraine all this hell is happening, you have to think. that's how

much you have the strength, and the ability to make such a movie, and criticism, well, of course there should be, but at the same time, that's, well, why criticize with colleagues. we always talk about this, that we need to. we cannot lose trust, but at the same time. well, 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 save leningrad, then i must see, but the fate of the people who gave themselves to save leningrad and not run away on a barge from this city. well, and so on. it is this responsibility that lies before us that 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-documentary when, say, you can attribute some facts. it

works on purpose. eh, the creator himself gives it a new color. but at the same time this is read, but a large audience, like , real something in which they immerse him , what really happened, i don’t belong to pseudo-capitalism in any way and having made more than 30 films of my life, they also understand documentaries. what a responsibility we face, even when we want to make the audience a little more interested in something like that. still think of what you could believe in, it would look authentic. but no, with regard to those of the great patriotic war , there are some episodes that are very i would like to take them off, but as a result, no matter how you take them off, they will look implausible, for example, as i read in the krasnaya zvezda newspaper about one episode of the great patriotic war when a soldier shot down a junkers plane and junker grenades, by the way,

the planes are diving very low, and diving above the ground. and these planes did not dive on the sharks 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 right in the screw. take it off, they'll tell me. well it directly. well, this episode was some kind of fairy tale. well, we understand that this is not the way to remove it. but something else needs to be filmed. and in general, the history of the great patriotic war has scored so many facts that need to be filmed and told about, that it’s not even worth inventing anything. the creative industry lab podcast is on air, and we continue our conversation with a wonderful guest, people's artist igor golonov. how much should be filmed about the war, then if

there is not very much of a big movie about the great patriotic war, softly speaking of serials, in general, quite a large number have already accumulated, and far from all. in general, they are of good quality, to put it mildly, that's how you get to the series and that's how to this new genre of working with platforms. that is , this is a new thing for the industry, but this is the first time we have filmed it. well, just a series from start to finish earlier, and we made full-length films and serial versions from a full-length picture, and then we tried to shoot a full-fledged series in such a way, according to the canons of what it should be, but we just tried to be both reliable and bright . a, that is, the material was actually removed again. something big movie no matter how much my colleagues hold hands with me, that it will cost more and be harder to produce. still, i stumbled. 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, and commanders are not

always responsible to their soldiers, which sometimes happened, but this is not what actually happened in such a large volume, well, it just works here. the same responsibility. uh, reliability, which in a big movie for the sake of which you shoot a series in order to quickly do something for a minimum budget , put it on the screens or in order to again tell something reliable important to our viewers and children. what goal you send, and then everything will be clear behind the budget figures. i understand that you don't watch, but can you be forced to follow the numbers of views? that's it, so that, well, it's clear, if my series comes out. and we have the necessary opportunity to continue it, then i have to look at what the rating and numbers of this series were in the same way as i look at the box office of russian releases in cinemas, understanding yes, what's what and when the box office of the awarded cinema is low. 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 share of the audience? with what fees? i say don't think about this particular movie, but about everything that happens now? we need to seriously think about this, but this year the most important film about space called challenge was released and i can’t help but ask how the person who carries the festival in his arms literally tsiolkovsky. 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 don’t

believed in it. well, yes. here they are now getting into this rocket. let the rocket take off. by the way, i was the first time on boykonuria. 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. we were worried all this time in space, and then we sat and thought about how the film would turn out and also worried and, of course, watching this picture for 2 hours and 40 minutes. and we can ask ourselves a question. wow, how it is done, how there will always be critics, how there will always be people who will speak. why was it necessary to remove it. and that means on the ground. we have the experience of a family salute film, there is a film being the first, 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 just also connected with the fact that, after all, the cosmos is for us, a separate topic that we do not want to be critical of. space for us, this is an absolutely unconditional value. 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 this. well, my god, it can't be finally a spirit.

uh, i won’t anticipate events to write a script and shoot, i have an idea, but for now, you need to finish shooting a film on the people’s militia, a film on call, hearts , the script for a film about the defense of tula will end , the script will end and make a film about the ural tank corps and link the time when e workers in three shifts made tanks on which they went to the kursk bulge and the current people are engineers , workers who do in three shifts. tanks that go there duct tape and uh, that too a certain plan that needs to be implemented is an idea scenario, and what about the korean war, when our domestic mega fifteens under the leadership of kozhedub shot down 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 still let's talk. and what makes you as a creator as happy as possible? yes, never 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 set up at the interest-polish gates at 2:00 am, when we showed the filmed picture of the brest fortress for the first time, or 1,500 people were sitting and watched it was at 2:00 am on june 22 this picture, and i looked at the audience who are looking at the screen. i saw their face these were veterans and children of many people, and at that moment, of course, i was happy that i 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 artists of the russian federation igor ugolnikov was today in the creative industry program in the podcast line of paws on channel one , we wish you great happiness to experience every time you watch the premiere of your work , elena hyper, clip makers and producer roman pockets, ceo presidential foundation for cultural initiatives, media manager of all editions of projects, podcast, paws. you can look at the site of the first channel one tv point ru, goodbye. friends hello hello today we

gathered our thoughts about the land of will. well , then with all the kuzmenkov stops. boris alekseevich akimov, i’m still, vladimir, legoy, yes, oddly enough , and this is my question for you now cottage villages are growing around big cities a person who lives in his house on 10-12 acres with a smooth beautiful lawn and trees . does he live on earth or not? i think this is such a transitional period, as it were. well, while it flies there on the ground, it must land. uh, that is, after all, a cottage village. and it's kind of a gray area in general. seems like a gray area to me. here is an unequivocal dog between them, when they fully understand, that is , it is like such a city dweller who decided that i still want to. to be closer to the ground , well, as it were, closer to the city closer to

the metropolis, it seems to me that there are 40 km there, but these 40 km will always cost in traffic jams behind these corrugated fences freedom outside the window. here are these spaces. no, that is, it still seems to me that this is such an inferior life. e on earth because there is no will there. you exactly agree. well, he's definitely not in town anymore. the question is, where can he be soul and heart, but i think that it’s more likely on earth than not on earth, you know why i asked, in the summer i ended up in one of the cottage villages near moscow, ah, despite the fact that i myself also live for some time is already outside the city, but everything is simpler there, and here i go in, and there you know, as at the entrance to the school there is a zoo, there are also some crowds going around asphalt people. eh, these very tracks and so on. i had the feeling that i was in the center of moscow. here's the point. still, it seems to me that in the sense that we are talking about today, there is land and freedom, that is, after all, in which we have gathered. yes

, that is, it seems to me that there must be space , there must be some creative possibilities, that is, a person is revealed as such a co-creator with reality, yes, and which harmonizes the universe with the universe. here, it space gives you the opportunity to create, the more space, in fact, the better. although of course 12 acres and also better than 40. there are even 140 square meters. it's in moscow because you can still attach something to build a workshop, but it's not enough , it seems to me, well, you look then or i watched with you, uh, 6 acres of the famous soviet. yes, there were no schools, pools , zoos, and so on, but people are en masse, there are cucumbers, tomatoes, potatoes, our parents and parents lived on the earth. parents they rather spent some time from early spring. there before uh someone, yes, someone someone until late autumn. here, so to speak, lack, there necessary infrastructure. but uh, how would the question be on earth or not? yes, he touched the ground. i don’t know, i planted, at least

something, yes, at least i dropped the lawn. this is my first spiritual father alexander egorov , he spoke to the earth, the earth will teach. that's who bowed, yes, that's the movement, as if made. uh, a little lower back, let's say , planted something on the beach. yes, i already started here, well, i touched the ground. here is my grandmother. uh, who was born in the village, but here we lived in moscow, yes, there on leninsky prospekt she has only had apartments somewhere since mid- march, she has a room there, all balconies and all kinds of spaces. they were already filled with some kind of boxes, yes, from which something grew already there, it began to ripen, then it matured. eh, so i spent the summer in the countryside. here, uh, ka- ka- contact with the ground. he was here, not necessarily literally, being there. yes, he is in this antenna. it is in this desire that it is consciously unconscious, but it seems to me that it ultimately lives in every person. here in this call to come into contact with the earth, which will teach. and if a person does nothing on the ground, he does not stick, like a stick, and they do not plant. does he still live

on earth or not? well, it seems to me that, uh , growing something on earth is such an important, but not necessarily thing, that is, uh, the space for creativity is important. it may be related to agriculture, but, in principle, this is the idea that a person, if he left. from the city or well in the countryside or he lives in the countryside at all, that he must live by agriculture. in my opinion. this is not true. well, now that's not the case anymore. although. i'm sure everyone human. he is living on earth at some point, he still wants to grow from something. here you are a lot. what did you do in your life it so happened that you were engaged in journalism or, as it is now fashionable to say media , entrepreneurship and at the same time, at some point, you make a decision to leave for the earth, but not together. i mean, well, each of you had such an episode in your life. actually the question is simple and direct. why well, just for freedom, please. uh, because, in my opinion, the city of uh, this is what it is

there is such a certain, deceptive construction that there are a lot of people in the city. so you have many opportunities to show yourself there, for example, to make some kind of career there, because people are close to you. you can do something useful for them there for them. that's actually not, because the area. here is your free one. she is very limited. and you are in the city. and the consumer of the fact that some other forces are given to you by people entrepreneurs are transferred to create services to break out. that's where to become the one who provides these services in the city. well, it's also possible of course, yes, well, a much more serious competitive environment that makes you run and run from morning till night is more difficult. and you are cool. if you don't run, if you don't run, like, you're already a loser. you seem to have lost, and the village is the countryside of the province. in general, it gives you a huge field for creativity, yes, and the opportunity to exist at a much calmer free pace. generally. it seems to me the essence of man. she is doing something in this, so, well, do not constantly run after the carrot, which is always

ahead. and here's another walk on the street like this, i happy good or why did you go? well, first of all, i agree with everything that boris said here is a very similar feeling of experience. and, probably, i can say that hmm, to some extent, this is so for me. here, of course, and, oddly enough, it was. he has childhood, although i lived in moscow there, well, in a multi-storey building there on some seventh floor, but it did not always seem strange to be suspended. here in this kind of box, when you can live, here in a house next to some river or with or without a forest without a forest, that is, this is such a call to the earth. i had it. that's how i now understand from early childhood. i mean, i've always felt that way. well, indeed, there is such an apartment there, then such an apartment there in the nineties, it seems that they did not lose time somehow developed, but really. here it is further away there is another house, and then a house like this, and then there with a pond, and then with a view, and that feeling.