uh, do it, but as you rightly say, i've been in entertainment television all my life. yes, and the time was then the epic old soviet television was leaving, a new epic time was being born. new epic tv. and we really liked it from the screen, and the tv to amuse people. and by the way, it seemed to me that people then really needed it. it was from the ebony program. it was with the program, then i'll stun this one with the good evening program. in general, i consider the ninety-seventh year, when i walked every day program, good evening one of the happiest, well, years of my life, because every day i met with the audience and met with open hands on and spoke to the camera. it seemed to me an important thing and they make it openly light and selected. by the way, i do not see, for example, the current presenters who would use this wonderful. talk to the viewer with open hands

and be sure to look into the camera, because especially now we often talk with viewers looking for words and do not look at him eyes. and even more so we close our hands, but this is a skill. as for the transition , it really happened, especially after a good evening, when i switched to television officials, i didn’t do it intentionally, but by the will of the court when sergei vladimirovich stepan offered me to head the union television. i flatly refused, but he said, let's put it down. so you didn’t talk about how you didn’t manage to make the public television of russia get killed in harmony, and you told me about your dream to create a film about the defenders of brestskaya fortresses. here is an opportunity for you, a direct opportunity, and then we managed to make a tv channel for it, as it was called the tv channel of the union state.

and the most important thing is to convince everyone that i am worthy of making a film about the defenders of the brest fortress, but this is one of the most difficult genres, probably, the cinema of a film about the war, especially since we, generally speaking, have grown by very good movies about the war and now to go to the cinema and watch a good movie. it's such a big deal. what are the features of the genre of military cinema. you are correct in saying that go to the cinema now and watch good war movies. this is great luck. maybe because my colleagues, making military films , often neglect the authenticity in films about the great patriotic war, and thus the viewer's trust is lost and the next picture this trust is necessary. uh, conquer again, but it seems to me that the main principle in creating films about the great patriotic war is to follow, and the precepts of the ancestors are how the films were made. the great films of the soviet era and

making the brest fortress we staged before of all such a task, we are the successors of the soviet traditions of films about the war, but another principle is to make these films exactly where the events took place, because it affects those who make the film, so it was the brest fortress or there with the podolsk cadets, where we filmed and in the brest fortress and on the ilyinsky line, and here it will not work to lie. that's just not going to work and every new picture. we do it exactly according to this principle, and maybe then we can hope that the viewer will come to our film and, for example, having read from the creators brest fortress and podolsk cadets will understand. yes, i will be watching. well, this is how you need to work to make it so, but now it’s very difficult to capture the attention of a young viewer who is fed up with, generally speaking , audio visual effects and doesn’t it impose this

duty on the director, who is a movie about war, so that there is more exploded brighter, burned, so, uh, unbelievably bahala from all angles and so on. for example, there is a film by kolotov, but about the war, where there is almost no war, of course. you are right when you say that modern a viewer, especially a young one who sits on tiktok and on the internet and who is not used to watching anything and empathizing with anything for more than five minutes, and he is not able to perceive not only films, but ducks that carry a deep meaning and patriotic start. he is not able to perceive anything, except what is quickly perceived and forgotten, maybe this is the most important problem due to 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 talk to them for a long time or offer im reading a big book and start getting angry going off in their phone. 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 to the cinema and such a collective viewing of the movie and the child had no chance to get away from this one. basically, uh, history. is it necessary in our time to carry out such exercises for children when they find themselves without a choice in front of the screen and there already now, who will capture, who will capture the educational moment must be present unconditionally and enter we now have a new concept of mentor. i guide you to the path of truth. i'm not even your teacher anyway, and she's leaving you, and here. 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. turkish fortress by the hand and ask grandfather. and

how did it happen that we won that war when everyone died, for the sake of such issues 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, which you know. now that his great-grandfather in the tenth in the eleventh generation, evdokii ugolnikov was born in 1690. i want to imagine his life as my great-grandfather and in all my ancestors. this is how they lived, what they are for aspired? and even, to be honest, i feel my answer is responsibility to them at the same time, but we talked to the children about this. just imagine. you have. everyone has two grandmothers in the water, right, yes , it turns out that they also had the same dad and mom

, too, your great-grandfathers and great-grandmothers. yes, but who were they? i don't know. well, now imagine that they are behind you . how many people should now stand 10 generations. count the children lose count and call it like that, but the number. but now imagine what to go. here are the ancestors standing behind us. they stand like iron and think about it how 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 the tradition is a little gone, 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

every step. what are you talking about, maybe it's some kind of new format, when you have to, nevertheless, around the result of the activity, uh, in the art of a large number of people, some kind of discussion is organized. 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, this is a very broad concept, yes, on the topic of love for the motherland, which a through parents through ancestors through love in general, in principle, to some kind of epic to the human beginning, 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, you need to tell, most importantly

, a sincere sincere sincere story and talk about it, because it seems to me that children quickly read new formats. yes , instant they can already in the third minute disconnect from what you do for them. they need to tell their ancestors a little more in the family to their parents in large audiences to talk about what it is and why it was asked questions, they answered it themselves. and it's wonderful. we have a dialogue. but this is exactly what we are doing. and when children come on an excursion to the victory museum to the exposition, the feat of the people. we tell these e children, and with the use of all the possibilities and the so -called gadgets. yes, and the screen on which there are cinemas and museums, then everything is connected there. they immersed in information and emotion and comes 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. see how the ppsh assault rifle was assembled and even sing a song of the war years to the soldiers great patriotic war because they have this skill to sing. in short, here. just try to look at you now, the soldiers of the great patriotic war will try to sing them on a dark night. that's when they start emotionally gradually. and enter this information and ask further questions. it is for the sake of such questions that we try and work. this is a podcast of paws and a podcast of the creative industry on channel one, our guest is people's artist of the russian federation igor nikolaevich ugolnikov if you haven't been,

uh, you haven't seen the exhibition at the victory museum the feat of the people, actually seen this is the wrong word in relation to this exposure, because you get inside inside this life from the moment when the beginning of the great patriotic war is announced. and you're in an 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 this this this this this is very difficult to write. but that's how the idea arose to do just that, generally speaking, to the museum in different ways. it is possible to arrange generally speaking an exposition. why exactly did it happen the director of the victory museum, my friend, suggested that i approach the creation of the exposition a little differently than they did all this before and invited me again. dmitry pushtarenko is a wonderful artist from st. petersburg, and in order to combine our efforts and the work 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 and organize all this. but the co-creation of these three people turned into this exposition, by the way, not only this one, but there is still an exposition there. the battle for moscow about which we continue. and as for how this impact on people, because we have set ourselves a broader task than just the victory of the soviet soldier of the red army militia but. the victory of the entire soviet people is the most important idea, then in that war the great soviet people won in the rear, and yes, and the partisans and 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 east, huh? and that's it, uh, that's what it says about yourself, 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. do you joke at all , it happens to be pure to say that in this case, where are the jokes addressed, what can they be used for? well, you can improvise any joke - this is a kind of improvisation based on a once given. here we have, for example, with you now a night program. yes, we talk chair at night. we are not very comfortable. they make us sit with you. directly. probably this is correct. and if you and i dreamed up and the cameras would fly upstairs. we could talk like this when we move on to outer space, but i wanted igor stanislavovich to find a way to fall apart a little in his chair. and can i

then finish your question here, uh, between a joke and a movie, here is the genre of military comedy. ugh what is that this is a generally known genre, but so far all films are about the war. they are very serious. there isn't. maxim perepilitsy is not there. e means some very ironic plots of some kind. well, that is, here's a comedy, like a penny of a dive bomber. remember it was a great movie. yes, but i repeat. this movie began to be shot even then, more or less at the end of the war, and there was also a certain correct year in this order. it was necessary to exhale a little bit to raise his head, yes, and the chin over this war. i think that this period will come with us now after some time it's just hard right now. we currently have 41, but in the future it is necessary and necessary to do this, but why? no one has yet been able, as they say, to take a 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 banana program. here is what i would do now as part of my program. and i hmm must be modern to answer the question society. you could do a lot. it seems to me that he considers such a program. yes , and especially serious ones, especially tough with this intonation to talk to the viewer. i think that it is necessary now and the one who finds the strength in himself and does it will be rewarded by us with 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 me. rarely yes, look, here's the question right here. and would you like to talk to the audience, just like that, good evening. right now, in your opinion , states are interesting, now konstantin

lvovich is also looking, probably, and also and also the inner inner world. yes, konstantin lvovich, if there is a will from above and you say stanislavovich games, 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 seriously together to do it with dignity and correctly, the application has been accepted. by the way, my daughter. and a moment about humour. still, i can’t ask, but humor is also a weapon. very powerful yes, of course, when a girl through the feat of the people there in their hands, when you walk along it. yes, there is, uh, an exposition , dedicated to the ukrainians, for example, uh-huh. it's perfectly amazingly done. but it's a weapon until i see it being drawn at all. e from, so

to speak, from the scabbard in a good way. yes, that's why it's too much. uh, a sharp surgical instrument with no one to operate it in anyone's hands. it should be a tool. here you just need to think hard about how, in this case, to use this weapon and i will repeat. whose hands should it be, but at the same time, here is our tsiolkovsky festival, which we have been doing for 4 years in kaluga, this 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 union who 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 different genres and viewers come to the tsiolkovsky museum in kaluga and

watch with great interest different world cinema, and space. to be honest, for these few days every year from april 16 in kaluga i exhale, and from what we say, i have a feeling that now is the very moment when we need to take our man. so its so a little bit so shake well to say. well, you remember who your ancestors are, how great is your country, which means you can be proud. do you remember? what is proud of with you, only our man should not be treated like that. so yes, alexander sergeevich yes, he talked about it, two feelings, wonderfully close. in them , love for our father's coffins finds food in our hearts. love for the native, the ashes on them, bequeathed from the ages by the will of god, the man himself, the guarantee

of his greatness is on his own. 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 us so or otherwise, do not forget to act. remember this. here is the film of learning, the fruits that were made 2 years ago about what happened in the pushkin reserve mikhailovsky during the war during the occupation, just um says about this, who are we russian people. what kind of independence we have when we can’t even imagine not reading pushkin yes, there is a character, he says it’s enough that we are not proud of him, it still lives us, and we cannot give this to the enemy under any circumstances under any conditions. here it is absolutely necessary for a modern russian person. yes, i remembered just the fruits of scholarship and related to this

issue. e arises after the release of each film related to the war , a discussion arises. yes, it wasn’t like that, 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 they set about the goal, if the criticism is mmm 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. and if there is criticism, and you have the wrong tank ugolnikov. and yes or vice versa it could not be like that, and we say that yes it was like that. we just show and demonstrate to you, and the facts that

are unusual for you, and some of the plots that i won't be able to shoot. 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 several scenarios. every time i read them, i tell myself i can't do this. i can’t, but i should, because it’s khatyn, and then it wasn’t the germans who destroyed it, but with particular cruelty it was those same people, the descendants, who are now doing all this hell in western ukraine, you have to think. that's how much you have the strength and ability to do such a movie, and criticism, well, of course there should be, but at the same time, here, well, for the sake of what to criticize with colleagues. we always talk about it, that we can't lose over 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 to save leningrad, then i should see 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. this is the responsibility that lies before us as times and gives us the opportunity and the need for criticism to be calm pseudo- documentary. 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 this is read at the same time, and a large audience, like uh, real something into which it is immersed, what actually happened, i don’t belong to pseudo-documentary in any way and having done it in

more than 30 paintings of his life, and they understand documentaries too. 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 i would very much like to shoot, 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, planes diving very low, and diving above the ground. and these planes did not dive on sharks, and one of the soldiers - 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. here, take it off and they will tell me, well, iris, well, this is just some kind of fairy tale, this

episode was. 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 scored its so many facts that need to be filmed and told about them 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 artists igor golonov. now, if it’s about how much you need to shoot about the war, then if there aren’t 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. in general, they are of good quality, to put it mildly, that's how you are to the series and that's to this new genre work 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 hold my hands, that it will cost more and be more difficult to produce, anyway, i stuck. no, we will do exactly that, and when you say, about the serials of which there are a lot of films, of course, there, as usual, there are bad nkvd officers. 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 and 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. you stand it for the screens or for the sake of

in order to again tell something reliable and important in our audience and children. what goal they have reached, 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 if we have the opportunity to continue it, then i have to see what the rating and numbers of this series were, just 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 worry because it failure of this picture. this is the failure of the industry, which can be developed solutions or marketing solutions or something else. 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? we should 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 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. let the rocket take off. by the way, i was the first time on boykonuria. for the first time at the start of a space ship they were in a rocket, and then we sat with a shudder and we 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. right in space , we were worried all this time, 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's done, how there will always be critics, how there will always be people who will speak. why was it necessary to remove it. ah, it means on the ground. we have family salute film experience, there films are the first time, yes. well, why is it needed? 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. incidentally, i do not see a particular wave of criticism. this time, it seems to me that this is just also due to the fact that, after all, space is a separate topic for us, which we do not want to be critical of. space for us, this

is absolutely an unconditional value. this is some kind of breakthrough, right? and our cinema and our space industry, of course, but i can't ask not to ask a question about creative plans, because as i see there are a lot of them, but all creative plans and triangles. they affect you and me we eventually get to the cinema for films what to expect i would like to exhale a little and make a film, uh, a new year's comedy, finally. well, my god, finally in spirit. uh, to write a script and shoot i will not anticipate events, there is an idea, but for now it is necessary to finish shooting a film about 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 uralsky tank corps and connect the time when the workers in three shifts made tanks on which they went to the kursk bulge and the current people

are engineers, workers who work in three shifts. the 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, and 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 moments 15, one of them is even on wing, if we talk about plans, then for now this is some kind of preparatory work, which must be completed in the near future. 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 so, but i was immensely, happy on june 22, 2010

in the brest fortress behind the screen, and which was set up at an interesting gate at 2:00 am, when we first demonstrated the filmed picture of the brest fortress, or 1,500 people were sitting and watching it was at 2 am on june 22 this picture, and i was looking at the viewers who were looking at the screen. i saw their faces, and 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 artist of the russian federation igor ugolnikov was in the creative industry program today

in the line of podcast paws on channel one, we wish you great happiness to experience every time you watch the premiere of your work , elena kipper, clip maker and producer roman karmanov, ceo of the presidential fund for cultural initiatives, media manager, all episodes of podcast projects, paws . you can look at the site of the first channel 1tv.ru, goodbye. hello, my name is dmitry bag. i'm the host of a literary podcast called let them not talk, let them read, and i and my wonderful interlocutors i'm talking about this sweet wonderful process because reading e in many ways allows us to live another life reading books. we observe landscapes, we see pictures of the past. we penetrate the secrets of strong

characters. we meet wonderful people. in a word, read. it's fashionable cool wonderful. it is absolutely not an outdated way of life. this is life itself, so today we will talk wonderful. uh, our guest is a famous prose writer. sergei shnurgunov. hello sergei. glad greet dmitry and today we'll talk about the literary biography of sergei shergunov, which is very diverse, er, attractively , we'll talk about that. about how sergey made his debut at the very beginning of the 2000s, and we'll talk about his prose books, biographical books. and finally, in the second part of our program, we will talk about sergei shergunov's current studies on journals about writers' organizations. but, a in the middle between the two parts. we, as always, will have a surprise at

this time. i remind you that i am personal a poem or showing some old book from my own library. let's see what will happen this time and start this conversation with pleasure. sergey , please tell us how it happened that you entered literature so early. well, not everyone will make their debut, if i remember correctly at 18 or at 19, how did it happen this is a family tradition. this is some kind of special time that it turned out that very early began to write composed. fairy tales rewrote the books of life, because i was born in the family of a priest. and a passion for literature captured literally in the very early years, published domashniy magazine to kill you, at the very beginning they rewrote the lives and i would say, yes, and these were such semi-forbidden lives in such homespun covers of the lives of the new martyrs of those who were

put to death in the xx century forcibly yes the tradition of the revolution of the civil war and later in the thirties. so literature captured and began to publish his own magazine at the age of 10. in general, we are for the family, but in general it was distributed and even agreed with a neighbor who reprinted something. although in basically. i printed it myself. yes, of course, and then this server was copied and in general it went, what is called to the people, for example, mine is like that. you are the first debut in the official press for future biographers. this is the ogonyok magazine where my note was published there. first there was a text about me, and then some of my text, and just all this revolved around this magazine. this note was of the literary nature of the critical summer. there was an essay. i don't remember. it was dedicated to the fact that there is such a schoolboy who already publishes a magazine under called freedom listen how cool it is.

this is a literary and public building. these are legendary years. these are the years when vitaly kortvich led the spark. yes, then he was resurrected in a spark, gumilyov in the eighty-sixth year. this is a little later, apparently, yes, in the early nineties, the ninetieth year is the ninetieth year, and you are 80. that is, you are 10 years old, of course, i don’t even know, pushkin 14 made his debut , we won’t compare and then, of course, a lot was written. e, already in the future as a student of moscow university, took his stories in the magazine new world journalist faculty journalist. yes, yeah, journalism, and at the age of 19 he published there. i mean, you're like, uh, a professional writer. what a terrible combination of words. no, well, everyone writes, yes, it is known e clearly at 10-12 years old. e at 15:00, but not everyone enters the new world of 19 years. yes, for me it was an event and happiness, i remember we somehow hung out with classmates and uh, there

was some kind of topic with getting into some kind of night club and i climbed over the fence and one of them screamed showing me. there climbs the author of the new world. and although others understood this publication was just to come, but this is acrylic and it seems to me that i myself spread this energy of the legend. that is, it was the legend of shargunov? well, cool, yes cool to publish, it was inspiring and down with energy, then write big things, then apply for a debut award. i received it. well , in general, well, somehow i can’t imagine myself without writing, but at the same time i like this fever of debutantism. uh-huh, you always want to feel at the beginning of something, something to present, despite the fact that the family is quite high, say yes, mom is there too

and dads. um, of course, literary history, because before becoming a priest of the pope he was a poet and therefore a translator in the family there were always a lot of friends of writers. hmm. there, too, anastasi ivanov tsvetaeva, you can say that i was raised by my mother, the daughter of soviet writers, and at the same time among your relatives, gerasimov, you know, there, despite the fact that there are different, eminent ancestors? it is very important for me to feel my independence to remain myself, and on the one hand, looking with love and tenderness with in awe with an understanding of complexity, because sometimes the ancestors opposed each other literally, dividing into red and white. i still feel like what is called a discoverer. well, it's also very important that you don't so much continue the tradition.

how much try to do something new, it happens so often, and the famous phrase of mikhail roma remember the two students who entered him, one did not know anything, and the other knew, they were all fucking, respectively vasily shukshin and andrei tarkovsky you know i'm close formula of innovation in tradition. uh -huh that is, in fact, it is important to feel that this channel has been laid before us, but you really want and it is very important that everything you think, say , do is not borrowed by your free. well, you mentioned the premium debut. this is an important institution of that time, the prize existed for quite a long time, probably a decade and a half. i can be a little wrong, but approximately, and uh, very many through it entered the literature and debut award. eh, i had something to do with her. and i remember that she is interesting because that those who do not yet know whether they are writers or not are participating in the competition. yes, i remember 400

kg of e-mail, which were stored in the first season. yes, i sent it myself. i remember how now in a yellow envelope my tale of love, baby, punished, baby punished, but you knew that in the description, in contrast , i didn’t think at all that i would win there were 40,000 rivals then. yes, this is a huge lottery in one nomination. now, in the example , the lyceum occupies this niche, and still it is a very important mechanism for discovering young talents, of course, the most important feeling, it's still personal. but hmm, when you take some step towards the reader and meet support. it seems to me that this is important especially at an early time, the kid is punished - this is what love is about, uh, a teenager boy who is being twisted and a seductive lady is spinning. well, as you can see, the most different are possible. this is, in general, such a largely dramatic plot and

previously in many respects a confessional thing that is still dear to me in general, probably, someone said that it often lies at the heart of any literature. unhappy broken heart some kind of pain, as he said, tarkovsky's elder pain is no break for happiness, therefore, it is very fashionable to exploit the topic of trauma. but even before it became fashionable. uh, everyone has always understood that hmm, the experience shapes the writing. well, you know, the topic of trauma is a special one, of course, the topic is not close to me either. uh, well, here's a kind of violent feeling in this topic of the social element. that is, it is always some kind of projection of a personal social phenomenon, this is, from my point of view, the new socialism of socialism. it was supposed show the competition social life of production, the guiding role of the party. and

here you spend as usual and within the framework of this canon arise, of course, but here all the same speeches, i insist i don’t know experience. here, and an attempt to scale and generalize it socially always goes to the detriment of the artistic. none of my business, but if i were a prose writer, i would probably think so , yes, because, well, in general, literature does not need to be driven into a procrustean bed by deeds and even when you have some kind of concept, because without it no way then literature itself takes you beyond these wounds beyond these borders, because if the hero comes to life, but they already behave somehow with their own whimsical routes. pushkin said that tatyana ran away, yes, and got married. remember, it's wonderful. uh, wonderful now wrote a new book. and how many times do you write a chapter. you know the hero has to go there and refuse. this is not how everything turns out and exactly the opposite, because, well, some kind of feeling, the truth dictates the other is

still artistic truth. it is, of course, both moral and informative, but here is a very important topic you understand now very many. unfortunately they are straight forward. yes, i read about something good, the table read better about something bad. has become worse, no, and literature is changing people, including through complexity and through evil. eh, i read it sometime. e poorly made such, and god has a sloppy christmas story. on the contrary, you can become a skeptic and lose faith in the whole world, but after reading a heavy, uh, tragic book. you can actually get lighter because which is deeper and cannot be straightforwardly spoken. not everyone understands this either. uh, my favorite example is a soviet cartoon from the soviet era, where the teacher explains how to be modest, you have to do it this way, and

then there are modest among you. they say, that is, it is impossible to pronounce. i'm humble i have to do in this case. and so, therefore , your young prose attracted me, but then you were not alone, but we are the memoir genre, because it was not by chance that i said about the heat of debuting. i always want to move on, the worst thing is to stop and tell. so i was like this and sum up some kind of series for me every new book, like the first uh-huh this is great. well, here we are, our dear, tv viewers went through such a very wide circle, because sergey shagunov was a guest, no one will be talking about sergey shergunov. we also talked about how a writer can and should write about personal will , about what he perceives e in his creative seclusion, and ended with a conversation about a writer who organizes the process of literary making. uh, a lot

is everything for others, this is, uh, sergey shergunov, and i with great pleasure, i thank you sergey alexandrovich for this conversation and i am sure that we will meet with you more than once. thank you very much dmitry petrovich thank you and support. so our dear viewers. it was a literary podcast. uh, dmitry baka podcast is called. let them not speak. let them read today's issue. we spoke with the wonderful writer sergei shergunov and together with sergei we tell you to read with pleasure. subscribe.