so there is a director on the set asking for water, he has the right for us to bring it, it’s clear that i asked you three times for cold water. alexey yuryevich is a completely earthly ordinary normal person, even at times childishly capricious irritable. humorous, i mean, it's light, it's light, strange and most often unexpected, so it can be enjoyed, exploring how is such a genius in such an er, frivolous guise, if you like. here with both hands. no you

show. how am i to you now? well, here, you will immediately close, right. do you see? here i am now, how come, look right away, exactly how, your fingernails have become the right ones. this yuri vladimirovich was not kurilin; he was jumping into the funnel with us like a ballerina. so somehow i came to fight at the gate. well, ask either the earth, so that the three of them are there not a single pebble. lord, so that there is not a single pebble and they put what they need there. and so they go. i say fire, how they jumped around defies description, that they sifted they sifted kulin, laughter we laugh with sand. but

you will have me jumping like in a war, they like in kindergarten, you know? now i also warn the hand. i kiss her, i understand, i understand, i understand, i understand, i understand you are a warrior. i understood, from here we will be here and you turned around. i got it, i got it, i got it, i got it , a niche director, and he, uh, that's what the first thing that comes to mind is always wrong. well, from experience with german. he always somehow comes up with a completely different reaction in counterpoint leonid yarmolnik , the leading actor in the last picture of alexei yuryevich german it's hard to be a god based on the story of the strugatsky brothers picture

about what you don’t do anyway thirst for power, and murders of meanness all the time, as if in a struggle with a good desire for justice. in the process of working on the film, herman even planned to get away from the original name of the strugatsky brothers. he wanted to call the picture a chronicle of the arkanar massacre, and in this, a special challenge is the chronicle, that is, an almost documentary re-creation of events, then we will try to run. okay now nothing will work. and then this is the most that is not. yes, what a rain, he will now forget trukhanov will forget the text forget, who goes where, i will forget them, how to go where? alekseevich he

asks me. i tell him, nothing plays at all. because i came up with the idea that he is not there with the executioner. she will fly out of the picture that she smells him and smells everything at night of the ageless, he smells of something. wilderness during the conversation do so slap him they will all see the filming of the film stretched for 6 years began in the spring of 2000 in the czech republic the final shooting day, the third of august 2006 lenfilm then began editing the complex sounding herman was sick a lot because of this terms. surrenders were shifted several times to finish the film. he never made it.

in the summer of 2013, the film hard to be god was being prepared for the premiere screening by svetlana karmalita with her son alexei german, the youngest svetlana igorevna outlived her husband by 4 1/2 years, she died in the summer of 2017. hello this is a podcast of eisenstein's witnesses my name is natalia ryabchikova i am the history of cinema and together with my colleague stanislav didinsky we talk about who and how created the classic little well-known famous forgotten

soviet and russian films. and today at us program is not quite ordinary not quite ordinary podcast, because as a film archive. we have a living person today. we will talk about the film it's hard to be god by alexei yuryevich german and we will talk about it with leonid yermolnik. good evening. good evening our first question, of course, should not concern films. we must approach him. we need to talk, of course. about alexei germany and about the cinematography of alexei german herman i watched most of all. eh, of course i love the painting the most. my friend ivan lapshin but little difference. e. checking on the roads i love the picture a little more difficult for me was the picture where yura zurilla played the main role, uh arhrustal in the car. yes, but then, when we were making a movie, it seemed to me that our picture was even more complicated

from the point of view of the audience's perception. for example, my wife, she loves herman's films because she is an artist and she, in general, i believe that he filmed feature films with documentary means. to do this, he had special fedos operators, with whom he worked for many years and not without my participation. e, i joined this team and viktorovich klimenko who shot almost almost, well, more than half of this picture. i understood something that you i didn’t understand, we quarreled a lot, because we had a different look. well, as an actor, uh, i have to survive and do something in the frame, we had a different idea of ​​​​that. this is experienced, but was it sk-fiction, or rather, were soviet films about space fantastic in order, because it seems that even herman’s film is, on the one hand, it seems to be a fantastic story about how an earthling hits. uh, to another level, but on the other

side. this is an absolutely mundane, down-to-earth story. that's what attracted you. i 'll tell you more that this is again the strugatskys, this is no one. not another planet. it's us it's this, about what, they knew everything, and it's not about the planet, but about people, and to such an extent different. well, that is, if people who, uh , civilization should be grateful and there are those freaks who destroy this civilization and naturally, how it was necessary to figure out what it was there for several centuries. yes? uh, the story is not matches. so this is rumata, who seems to want to change the life of this planet. it doesn't work. it doesn't work because he can't, because he can't change people, he can't. run, he also does not succeed. why at all oh, because you can talk? i can tell you that my merit is many years. i persuaded herman that the film should still be called it's hard to be god, and herman himself is a very jealous

person. and naturally. this story of the strugatskys and it may be one of the best titles of books that can be generally represented in world literature. he wanted to call it the story of the arkanar massacre. well , that is, there were several options said, the tobacconist tobacconist of the street. yes, yes, and it's good that the film was shot from the age of 14 and for 14 years. i convinced him that, firstly, it was not only respect, er, and love for the strugatskys was immediately clear. what is it about. e about such a brilliant work already and the attention to this film is different to this title. let 's see, just the very beginning of a small fragment, so that it is also enough understand the audience what is at stake. this movie is not easy if close friends. this is a different planet. the same as the earth, but not catching up with the year 700. there were several similar planets , it was closer and smaller. in addition,

the local gray castles led to the idea of ​​the beginning of the renaissance and three dozen scientists were thrown here. but the renaissance was not here. there was a reaction to something that almost never happened. well, yes, i wanted to go back to the question about the actors , about how editing also gives us an opportunity. a-a to see to see the acting or not gives. that's right, if we talk about the beginning, and the science fiction of space flights on the soviet screen, that is, it all started in it , the cinema, even before the soviet cinema, there was a small flight to the moon. yes, but if we talk about this is the bearing of some kind of progress, an attempt to change the world, then after all, when tolstoy writes, and the elite, but about the tazans, then he makes a film adaptation. they

don’t talk either, in fact, they also talk about mars, just the spread of evolutionary ideas, as far as possible and uh, it’s impossible not to insert there, the same soviet life twenties, which then the audience is also interested. now historians. interested even more, but critics are not very. i liked it and it seemed that yes, everything somehow strangely combined wonderful words dressed.

yeah, well, it's almost a game, it's fantasy, right? well, look how civilization develops, if we are still there because of in my lifetime, after all, aliens, we will see, we will understand that all this has its roots, it's almost child's play anyway, but every year it becomes a reality more more more, because the. today we speak in such a different way about the cosmos of the given, there is flight. korolev was there and

gagarin flew into space. i also flew into my cosmos because my king became a germ. e space is what we dream of in any profession. that is, what seems to us unattainable and there comes a time when we still succeed in it, we are approaching it. that's why this is the cosmos - it's still such a universal metaphor. because if here anton was such a callsign, then it’s far away, but the strugatskys in general. used herman followed them with space themes in order to express some ideas that were exciting then in the sixties, and how herman was worried then in the sixties and eighties, and when he had a second attempt to approach this topic and actually in the two thousandth there was such a phrase, if the panel triumphs, if the grays triumph, then the blacks actually come to power. this is for all time for all civilization. are there, uh, some distortions in history, and we understand something that

is done wrong, it is only a harbinger of what may happen next. well, the whole history of mankind. such is and you, and when the book came out about it is difficult to be with god read, then in those and i read it, uh, either in the eighth, or in the ninth grade, i can honestly tell you that i was not delighted. it was my mother who made me read the book. she and dad understood more about it, but i read it like the wizard of the emerald city. that is, honestly. many years later. uh, when i found and understood. eh, in general, the meaning and, as it were, everything allegories and all the secrets. that is, i began to understand the strugatskys because they are science fiction only because they managed to write about what it was impossible to write about directly. these books would not be published, they would be banned, so i was not the smartest schoolboy already in my student years. i already understood more. well, i can honestly tell you that i catch up with some things today, despite my age, because this is

a work. it's like it's in russian , she's not russian. this is generally about human civilization, this is what these two talented authors have been writing all their lives and i can say without hesitation that there in the sixties it was always in doubt if they would hand over a book or hand over a book. they are such inventors, they are science fiction, who, uh. well, this is not because i want to say now, but i think that star wars and the mass of the american product on this topic arose because the strugatskys were on a huge screen with amazing sound in the cinemas of the country where

we are film historians natalya ryabchikova stanislav devitsky talk about who and how created domestic films, as well-known popular cult and unknown or simply forgotten unfortunately. today we have a podcast dedicated to the film it's hard to be god and we are talking about it with leonid yarmolnik. that is, the cosmos has become such a form of escapism. yes, at some point, yes , the soviet intelligentsia ran away from earthly problems with which they could do nothing, probably, perhaps, but in general, some kind of basic set. here are films about space. and you had before. well reference. yes, today it is called working. and in general, well, i repeat once again that cosmos and it only has to do with the fact that for me this is an actor's creative space, this

is working with german. it was like for me, like flying in space. you really want to, but you don’t know anything and you don’t understand anything and you don’t know what to do when you came to herman ploschadok, and who did he offer you to be? that's what the task was, some references were anyway. if you are not the cosmos , then what is who, you are an earthly director, he is a very everyday director. he is very truthful , he has no troubles, no beauty, and so on. and so on and romata. he was sent there as an outsider, but the whole point of the whole work is that there on that planet with strangers. he became his own from strangers became those earthlings who and i are still for those who are watching and listening to us now, and e. the most important change is that in the book, rumat returns to earth, while herman’s rumat remains on that planet, because he does not

want to return to earth to his colleagues and to what is happening there in this incredible philosophy and incredible heroism and boris he allowed to do this, e. herman allowed to dispose of the book, freely, that is. uh, you know, as it happens, as if based on motives, but it’s not based on motives, but he changed the ending, which may be the meaning of what herman did in this picture. and what i tried to embody in you can’t imagine how everyone envied me when i starred in herman, uh, my colleagues are quite famous artists. i just remembered that on linfilm we were filming in one poveleon, and in another pavilion we were filming on the side, idiot and vova mashkov e. every time when we crossed paths in the reeds went to our dirty pavilion, and they mean, uh. he threw his game to dostoevsky rogozhin, which means he knelt down on his sheepskin coat, walked towards herman says alekseevich well, why

the yarmolnik why? yarmolnik give at least voice. but it was a joke, in which there was only a fraction of a joke, because everyone envied me. well, what can i say? i envied myself and despite the fact that it was difficult for a long time. i'm still going to ask the settlers how much the whole e weighed in this suit. well, they're probably better now. i’m sure they used to be heavier with space , the only change is that i have the whole rumata suit, it weighed 28 kg. everything was not made of plastic, but everything was natural metal, and severovich liked to pour water in front of the frame and it became about 40 kilograms . at the same time, he asked me to jump into the saddle of a horse, he somehow connected. i said this with love. he somehow connected these middle ages. yes, all the breaks were on horses with a back in those days. i have such spurs in the front and back, it all weighs almost

40kg whole suit. and he wanted me, like a cowboy, to fly into these at all. yes, yes, well, a slave became or a ladder was inserted, a man took his seat. we spent a few days, and i mean, uh, the cars are still being watered like it's raining. and how can i not say it on the air, how slippery. so i kept slipping and sliding. it didn't work for me, just at that time, yuri viktorovich klimenko was already filming terribly every time i accelerated to jump. yes, he turned away from the camera. so the czech stuntmen are also turning away from how? well, i still achieved my goal, i m-m knocked with my foot. so i flew over the horse to the other side, by the way, you were not always there in heavy armor. and when you said that rumata remains in the end. after all, we understand this approximately, well, subconsciously, when we first see him on the screen at this moment. and when you wake up and start playing

jazz, that's how it's filmed, that's how it's built. it is clear that this person already. there inside here we have this problem. this is one of my son's favorites. and then i'll drink more. that is, if you like, the fact is that what sounds there, uh, any normal. i also fought for this for many years, so that the translation would be fattened, so that there would be a caravan for me, this is some kind of music that connects times and eras, right?

let's see, thank you again. if we go back to the moment when an idea is born, uh, with the strugatskys but this earthling is somewhere out there in space, i don't know the writers themselves how much this feeling really is. how much of a feeling. herman as a director, that here we are somewhere here, and we it's kind of like living in this world, but in fact we're playing caravan, we're somewhere, maybe, head at the same time, we would like to be somewhere else and we're torn. here, as far as you

think, such an idea is present. well, probably, but it's natural, because it's all the same for us, when we want to convey something, so that something happens, then it comes, because not even from more than one period of time. in general, this may be what we were told about. this may be what we dream about. this may be what we experienced and in order to explain the essence in this case based on this literary work. we connect absolutely everything. but because this movie sooner or later has to be shown to the audience. you are still looking for a key that not only you will understand it, but the viewer will feel it and read it, but in my opinion. herman well, in fact, the strugatskys themselves felt themselves, maybe a little misunderstood by the audience, because herman is a very difficult director, and in order to understand the philosophy and context of the strugatskys’ work, well, in general, you need to read all of them, most of them, of course, in her progressiveness

, which, roughly speaking, one must learn to understand their language unconditionally, and how very specific authors they are, when you read, er, several works by the strugatskys, they are all written in a different, but their own language. it's like you have to have a translator adapter inside when reading to schoolchildren, this is for me. it was one language, and then after 15-20 years. it was a completely different language, and you told the house of our beginning of the recording that you were during the rental. was to bring the movie more action packed so to speak yes, here's a little lower the level of mambals. yes, this is not quite yet. we fought. i wanted it to be filmed, to be action. i'm not even the type that i wanted to show off. there, as it were, with stuntmen, so that it would be beautiful, artists are always on this folder. this action would have embellished this picture and would have attracted, maybe more young people, so that it was not important to watch herman.

it was important for him that there were mountains of corpses, but a process. how did it all become corpses. uh, he was less interested in fighting beautifully. it was possible to fight, as if to say today how two drunkards can fight in the doorway or there, uh, in the stairwell, everything should be like this, as if dirty , clumsy, because in fact, in life, this is how everything always happens, and in the cinema very often, uh, they are engaged in embellishment. people fly it, but it's still, of course, these are all bruce lee yes, when one blow is enough for a person to be gone, and there this fight goes on for 15 minutes already a kind of choreography. yes but but but that's all i remember like i loved, uh, and watched this, but it's true no, but there is action that people want to watch and enjoy. does he have such disputes with the german? well, let's think about the viewer, maybe something will be incomprehensible to him. we make the speech of the characters more

clear, well, how would the actor's lines from the exact one . there was such a moment when, in general, how was this film received? honestly in the end. well, today i can say herman said such a phrase. he probably exaggerated, but i believed him, he says, until i dream of the scene and i can’t shoot, we rehearsed for weeks. sometimes for months. we are for a very long time because of this filmed endlessly. he was annoyed, he really is. the most difficult process was how he came to the moment of shooting. and what he liked. if he didn’t like something, he could have 300-350 people on the set, up to helicopters. and something else, and if he was not ready to shoot today, he could find fault with calling. katyusha crap one's pants while looking for a brilliant artist. and this is somewhere in the twenty-fifth row, some extras say where you got those shitty buttons. i found fault with these buttons and strictly everything is not i will be with him and leave, but over the years.

i realized that this was not a matter of buttons because he had not yet decided how to take the price off. by the way, he said in an interview to work in a filine, as if at the beginning of filming, that he had a filine. this is the main realist director. if you combine all this very logically, it turns out, of course, that 8 1/2 is impossible at the wrong time. i heard from herman, but this is so to entertain now he is alekseevich, he was a sand complex. and when are we talking about? yes , they talked about global cinema there. he says, well, you watched filinov's films, they say, here are these long shots , when they are long, when for a long time i don’t even know, this is it and he says, i don’t even know who it is. uh, federico came up with it, or i, uh, uh, that was it, uh, he appropriated it like that, you understand, of course, first federica, it was with us all the pieces we shot in very long pieces. a can of film went

to the frame. yes, because you need to be reminded that they started filming. uh, at the beginning of the 2000s, this is still a film movie, plus for us it seems that today. eh, if you want to shoot an expensive real movie, we still shot on film . the laboratory for the project was closed on the most expensive and japanese black-and-white film, it’s not even very clear where it could be developed. how would you like to come, well, something worked. it turned out to me. so pleased that you decided to talk about it. i do not know how many new viewers will appear who will want to see the picture, but i can immediately say that reading a good book and watching a good movie. this is work and people who know how and love to do this, they are smart, because the modern way of communicating information. he is so relieved. this is all the time cracking cracking cracking. and i was convinced that in this crack, not people do not understand everything and do not feel everything. so the film

began to be shot, and in the late nineties they shot it. how many seven eight years almost six and a half or 7 years, then there was a big break and then there was a sound too how many years lasted never happens. well, herman, once again, we are talking about this today. don't know, how much you need to talk about it. and when herman, uh, was filming, uh, a movie, uh, he the most hated person for him was the sound operator with this fishing rod. and he did not listen to the sound at all, he only looked at the picture, this one, which means video control, we said the text. so he drove all the time so that nothing would interfere with these microphones and so he made a movie. and when the dubbing began, he did not look at the screen in that studio, he lay on the couch, turned to the wall and listened only to what, well, in any case, we had it as i pronounce it, and he didn't. how it didn't fit, as it happens in the movies and should hit the lips. you have to get into some kind of gesticulation and he

came up with what it is, uh, how he would like to combine it with the screen. it's impossible sometimes some there. hey, i've got it all set. all. he says, baby. i beg you, i'll try to blow my nose at this time. you understand this physically, don't you? well, it doesn't make it. well, i would like you very much, he would ask me like a child and you will laugh. sometimes it turned out impossible and now he consisted of two and he first shot a picture, then he made a sound, then it all came together. and if you look at , uh, here is the chronology that is now being published on the creation of the film, then the rough cut was finished, it seems, in the thirteenth. but several years passed and only then did the premier take place after the death of herman in the thirteenth year. we have already shown the picture. uh, at the rome film festival alekseevich died earlier and the picture was finishing. naturally, mostly. eh, sveta feeds. uh, widow

some assistance. naturally. uh, the light called little lyosha, as i said, he also helped his mother, then through for a while, little lyosha got the feeling that he was also doing in this apartment. here we had a little conflict with him, but this has already been done. e. well, i can honestly tell you that well, 90-95% of what was done was done back in germany. they just worked in a different rhythm . not because they are so slow, but because they are so thorough. and how then the film was accepted at the rome festival, what was the reaction of the people ? i repeat, it is difficult to understand. she's probably like that. well, i don't want to offend. eh, it didn't go away. and a lot of people left somehow, as it was with the film khrustalev,

there is no car in cannes. no, uh, at those shows where i was not leaving, some kind of spectator would come who understood that he was going to watch and whom, and of course, the rolling fate of the picture. eh, no matter how, but the picture came in. so who else will remind me, only a participant in the events. uh, the picture entered the table of the best films of the world since the time. lurov, so it may be my grandchildren will remember this, that grandfather was filming, but the picture is absolutely its own destiny. well, i'm happy that i have this job , i drank, i'll tell you now. well, i'm a good team and in this team nikulin mironov bykov and how did herman himself relate in general to his directorial fate? well, uh, he often said in interviews that for him the failure of khrustalev at cannes was an absolute surprise, but he was a man who, as it were, was prepared by his soviet career growth,

let's say, yes, one film was closed the second was closed. here he is hanging out there for a while years, and he is ready, in principle, to shoot for a long time, but, looking back, let's say. here at the moment of shooting long moments, and sounding as long for a career as he felt, i don’t know, an unrecognized director, a green director, a director, really not for everyone. or, like tarkovsky, he believed that his audience was a mass audience. how would he relate it to the reaction of people to e, there were no already completed complexes. we have already touched on what excites his viewer. no. no, he actually made the movie that they were supposed to see those people who understand, who have taste, who have trusts and, uh, and who will join this one. eh, it was all the same to him, he filmed. we have already talked about this slowly carefully, because he and and he

has existed all his life in conflict, with anyone you want. now, if it’s quite so bold to say, he could be in conflict with lenfilm, he, we could be in conflict with the subcommittee. he could be in conflict with the kremlin. that's what made him a german. this energized him. but there is a second person in my life. i'm kind of the same when i worked in the taganka theater after the shchukin school. that's the same was yuri petrovich lyubimov as soon as nothing was allowed to interfere. so, then he was the most powerful most of these people. this this is something from the scoop this is something this, the more it prohibits, the more talented people resist inventing. i remind you that this is a podcast of svesilizstein. i am the history of cinema stanislav dezinsky and my

colleague natalya ryabkova e. today we are talking with leonid yarmolnik to our guests. thank you very much. now, if you look at it's hard to be god, what is it? this social criticism is hmm a radical statement. artistic. how do we feel about the film today? yes, how to interpret it? how, how, how, in general, maybe you will explain to your grandchildren or are explaining now what this movie is about, because in a few years. maybe three hours is enough for such a spectacle overflowing with everyday details, and sometimes very pleasant. but how it is, that is, it really needs to be passed through yourself better, of course, in a cinema hall, and not on a small screen, because a lot will be lost, but here after all, well, if there are such teachers for grandchildren. who believe that the whole class there or the whole course should be shown this picture, then i will be happy, because indeed you are right