there to treat well, you know, here's something else i thought about now. there is a situation with fakes, when a person deliberately can distort something. yes, but it seems to me that there is a deeper problem. it may be less sharp, but in that people begin to fantasize immediately. here it is necessarily necessary to write why? and that is, we are going. i don't know, addiction, or what? that's what happened or did not even happen something announced and that's any self-respecting, so to speak, blogger. he thinks that he doesn't know how he is, this blogger has been silent for 3 hours, but thank god the man is gone. it was followed every day. and anyway, look here. what is my question? after all, this is not a problem of a fake, as such, a conscious one, but a problem of constructing an information field, which consists of some kind of hmm fragments of thoughts. if i may say so, let me throw out emotions, under which for some reason someone should discuss this , after all, she immediately becomes specialists in all areas. yes, but this is more. one, so

to speak, the edge of this problem, but i just mean that this is fundamentally different construction, infofields. it, and even we , it seems to me, do not fully understand this, that it is completely different, everything that would never have hit before. this is the common space. today it consists of it. and it can be very cool to continue to wear this influence, but people think more with emotions and want to consume emotions. but look here then there is such a turn, and a phrase that is unpleasant to pronounce and admit to it, but i am afraid that we will not get away from this , there is no person who cannot be manipulated. there is no question of the strength of the influence of a-a, in readiness. yes, this impact is exercised on the scale of this. yes? someone is simpler than someone, there are probably people who are not amenable to hypnosis, as they say, but people who are not

amenable to manipulation, most likely, are absent or there are such manipulations, but they can be different. even even some household household manipulations. or when we come to the supermarket store. in the same place a huge whole science is built. how to entice people to buy. uh, this or that, so we're constantly in this field, but it's about information field. if we say a secret, we won’t reveal, of course, that all telegram channels. they somehow pursue the goal of their owner. someone has a commercial someone else, someone else wants to influence again. well, if we let's make news. it would not be m, but manipulative, that is, just dry, as if the news is there, so i often quarrel with one well-known federal agency. media ah-ah-ah, and they write. uh, such actual

headlines are pranksters. eh, they played a trick on such and such a person. i speak. well why would you write at least. well, what was there, in fact, there was some loud thing from there that they found out like this. well, no, we are like this, we are official with her. we give this title. well, then they themselves hand over some kind of clickbait headline, that something happened there, of course, there are subscribers. well, that is, there will be more views, but look, but still, yes. and, if we proceed from the fact that it is unpleasant when you are manipulated and in theory, well, a normal person, what exactly were they? naturally, well usually those who are sure of the name are being manipulated. that's it manipulates, but there are some rules that can help. here is a way for a person to resist this. well, i see. that's when you already said at the beginning, when you just take information from different sources and compare it already allows. you somehow see a little bit. yes, what else could it be? it is necessary to look at the invoice, that is, who said when he said under what

circumstances, how would the source, because if the source of some telegram channel wrote that lexus said it is not a fact that lexus this, well, the specifics must be mandatory, if without it it's all the same. not implausible, therefore, you need to figure it out and still look somewhere for some inconsistencies, because there is enough of this goodness in any news. well, do you ever feel, when you read something, that this is manipulation. and what and how are you trying somewhere, let's say, probably, i don't even try to understand it somehow, because i'm so well, how for me, it's commonplace that, well, everyone wants. uh, when are you studying there? some media not even media, not even telegram channel and or just some influencer bloggers should still understand that, but someone is behind them and there are some. well, it is clear that something is behind them. that's who's behind you. well we are an example. here is which

exception managed. yes, that's what i always say too. yes, well, if you take the media , it’s still some kind of team there. yes, they work somewhere in the state office for something, they live and receive money. that is, it is clear there are some owners. and there is, because this one is certain and in the classical one, as we today we are saying that even journalism is also always clear that there are some interests of the owners. media yes, but here it is not directly related to manipulation. well, different news can be presented in different ways. even now you look during the conflict. yes, and that even some news can be submitted, well, our official media is fine, yes, but let's say some opposition there is somehow twisted in a different way. here is the same news, but somehow the other way around so that a would still say what father's soap means. well, it's generally elementary to do. you know here. uh, somehow drew attention, well, since

it comes to me. now, too, there are some official interviews to give, and i say that this is a difficult situation on the one hand and on the other hand. here i remember goes publications in the headline. it is written there any you said a colon and what i said is written on the one hand, and on the other the media publishes. this is the same interview, but in the title it changes what was said on the one hand. this is what they took for granted. they took out what i said on the other hand and it turned out that one and the same text, but with opposite headings. yes, but this is the nuance of the complexity of the situation, that there is one and the other. it is simply absent from the headline and those who read the headlines do not go any further. they simply, well, the readers of the first were sure that i said this, and the readers of the second what was it? well , after all, it seems to me, uh, a conscious person and a responsible person should develop some rules of information hygiene. this is what everyone below is seriously talking about. yes there is so such a term is digital intoxication, but this is no longer a joke. it seems to me

that uh, no, well, you need to rest from the news flow, of course, and you rest, as they say, you don’t read newspapers, right? we try, of course, and how it is necessary, probably, to look at some kind. if you still want to study something, but some, well, maybe not news content. look at least at least someone there, someone is preparing something interesting. yes, on channel one. here, the more scientific content. you can look somehow a little bit to go to another area, for example, there, if politics is very concerned, well, look in some other area to see something like that, take a walk on the street. well, how do you personally feel? here is the dependence on this one , unfortunately, yes, but here, er, the fact is that our activity is somehow connected with the news trip. yes, and therefore all ideas are also born on the basis of what we read and watch, therefore yes, we also have such an occupational disease, but deformations

can only be cured, we try to live with acceptance. today we gathered our thoughts on regarding the prank of manipulations and the state of the information field vladimir kuznetsov alexey stolyarov, we continue, as far as i understand, but there are two extreme approaches, but to what is called a prank. although a lot of what is called prank. yes, but still the approach to the fact that it is almost an art. here is art, practical joke and so on. this is at one end of the spectrum and at the other, that this is hooliganism, for which it is necessary to punish the shame of the profession there, and so on. you know what the profession of a prankster is. oh, and we call our scouts scouts, and their various spies. yes, this is exactly the same here and well, it works like that. there in ukraine in the west. they call us hooligans. yes, there are even spies. they are not spies there, well, it is clear

that the ions, and there it is of such a negative nature. with us it’s a little different, so but for you personally, after all, this is even journalism, even journalists, someone is more instrumental, such a professional composition. yes, he sees instrumental professional speech here, someone thinks that this is art to a greater extent. but then uh, careful than you are doing. this? what do you think this is? all together modestly said. lyosha, well, there are also different pranks. yes, what can you call it, this is too broad a concept, because there, let's say on the street you go to some crazy person. well, no, well, of course, there is a schoolboy, yes, let's say for a day there a thigh on his head and say, oh, i decided to check your reaction. how fun here, but this, of course, has nothing to do with our activities at all or someone can call there, well, telephone divorces. this thing has been going on all over the country for a long time,

as if to some degree, they are somehow more elegant, because they force people there to do different things. we do not ask anyone to take loans in our name. don't ask us. there is no component or, as it were, a whole spy operation with e. wagner themselves, who flew to minsk, were supposed to fly somewhere to colombia there for a to work, yes, but it turns out that it was a special operation, just the ukrainian special services gathered people well thought out to imprison them in kiev and arrest them accordingly. but look again, closer to that, here, uh, what drives you? yes, well, there is still such a point of view that someone is doing this out of love for art. well, because you get some kind of drive, right? here, i don’t know, there, for some reason, you study, they say , yes, communications and so on, but someone thinks that this is a tool

to say something, uh, in your case, is that more of a degree? well, that is, it is a means for some purpose or for the love of art. here you are, well, like it here, if you didn't like it, they wouldn't been doing so much time. well, i admit, maybe you have different points of view. not everything is 100% the same. no, this is some kind of general, probably, those topics are still simple. well, how did they put it? yes, this is the first thing that we really want to do something interesting, cool and informative and every time we try to reveal and improve these skills in ourselves, because a good conversation with an interlocutor that has informational value when you do it. i think this is what motivates me the most. here i am

i remember that they once said to me that this is not the first time we have been talking. what stories did you have that you didn't release? yes, as i understand it, including for some moral reasons yes, that is, you decided that, well, somehow you don’t know there, you made a mistake in a person, but from your point of view, in my opinion, you weren’t mistaken. well, i mean from a point. well, why, maybe i misunderstood you, but i understood that you didn’t let go, because you think that this one, well, this person doesn’t need, so to speak, we don’t have a blow comes out. it doesn't come out exactly private life . hmm, if we cut it out, it's just that we never unwittingly laid out a conversation about it. yes, we never publish it. it's not in our rules. what about? i think that hypothetical i then said that if we felt this person, and we would consider that it is not worth publishing with him. we

would not have done anything, but we have such interlocutors. not so, well, i mean, well, i mean, are you still so fundamental to cook here? what if there is any doubt in expediency we weigh all the pros and cons well, but you tried, how to park? this is a question we get asked all the time. but uh, you can talk about well, i think it’s quite well, we’re called after some loud story by journalists, let’s say they ask something, but you won’t check everyone, for sure i’m afraid from there and let’s send me a letter with an official email no well, just what won’t get from this, what will they find out? well, some, but you don’t really get news from us. eh, what we publish well. sounds like something we don't talk about publicly, we are unlikely to say that this is

the opposite decision of china to feed periodically call and divorce. well, the truth is, they don't know. we call, well, they are all that accidentally fall into some not so long ago, well, not very, apparently, a gifted person wrote. uh, what do i mean, uh, i am a military commissar of the central military registration and enlistment office of russia , as it is, it turns out. that means you urgently need it, which means you need to talk to me, but i usually don’t pick up the phone, somehow there’s some kind of incomprehensible call, plus they still call, they call are calling. well, i guess it's something like this. well, he definitely writes. e in telegram right away, so i mean, there is some kind of chief military commissar. well, i understand that everything is clear with you dear man, dear a. then he writes a few days later. i don't reply at all. i want to mean through belarus and i want to do prank too. is there any way to communicate with you there? so

about? i didn't answer either. well, because if you are trying such a prank stupid. it does what it means to discuss with you. well, look, and since you said that any person is possible if desired, does this mean that, in principle, it is impossible to protect yourself from this? hmm well, no, it doesn’t mean, uh, just one thesis to use the means of communication the question is, what is the scope of this divorce, maybe, uh, just if you really treat all these external calls with such a call with caution. yes, then, of course, the chances of breeding are less. that one depends on what preparation uh the person who wants to do it has. well, and accordingly. i i think we can too. that is, you would be interested, well, yes, well, depending on what, yes, if it is some kind of interesting large-scale divorce. and you assume that there is some kind of

option in which you can lead a conversation like that. when you say, that's what. well, in general, you would not like to say, well , firstly, you are not frank by means of communication, so it would hardly have given anything. and secondly, well, once again i will say what we say publicly, it does not contradict what we really think, therefore we don't see the point. thank you. thank you. today we gathered thoughts about prank manipulations and the state of the modern information space. see you again. 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 well-known little-known forgotten soviet and russian films. and today we have a program not quite ordinary not quite ordinary podcast, because as a film archive. we have a living person today. we 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. good evening our first question, of course, should not be about films. we must approach him. we need to talk, of course. about aleksey german and about the cinematography of aleksey german german 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 think that he filmed feature films using documentary means. to do this, he had special fedos operators, with whom he worked for many years and not without my participation. uh, viktorovich klimenko also joined this team , who shot almost almost, well, more than half of this picture. something i understood you i didn't understand we had a lot of fights because we had different views. well, as an actor, uh, who has to survive and do something in the frame, we had a different idea of ​​\u200b\u200bhow it is experienced, and whether it was ss fiction, or rather, were soviet films about space fantastic

so that, because it seems that even herman's film is on the one hand, it seems to be a fantastic story about how an earthling gets caught. uh, to another level, but on the other side. this is an absolutely mundane, down-to-earth story. that's what attracted you. i to you i will say more that this is again the strugatskys, this is no one. not another planet. it's this we are this, something about what, they knew everything, and it's not about the planet, but 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 doesn't match, so here's the rumata, who seems to want to change the life of this planet. it doesn't work out it doesn't work out because he doesn't maybe 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 is the history of the strugatskys, and this may be one of the best book titles that can be imagined in world literature. he wanted to call it the story of the arkanar massacre. well , that is, there were several options that he said the tobacconist of the tobacco 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, in order to also understand enough for the audience what is at stake. this movie is difficult. i am my close friends. this is a different planet. the same as the earth, but not

catching up with the summer sun. similar planets there were a few 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 see to see the acting game or does not. that's right, if we talk about the beginning, and the science fiction of space flights on the soviet screen, that is , it all began in it, even before the soviet cinema. cinema was a small 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, and protozanov then 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 very soviet life of the twenties, which then the audience is also now interested in historians. i'm even more interested, but the critics didn't like it and it turned out that, yes, everything is somehow strangely combined. uh-huh wonderful words, hotels exactly.

come on, here, it's almost a game, it's a fantasy. yes, but look how civilization develops. if we still have to in my life still aliens, we'll 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. today, one way or another, we are talking 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 are about dream 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 antalita was such a callsign here, then the strugatskys in general. they used space themes, and after them herman in order to express some ideas that worried then in the sixties, and how herman was worried then in the sixties and eighties and when he he had a second attempt to approach this topic, and actually in the 2000s 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 any distortions in history, and we understand something that is being done wrong, then this is only a harbinger of what can happen next. well, the whole history of mankind. and you, when the book came out in a difficult read, then in those years i read it, uh, either in the eighth, or in ninth grade i can honestly tell you that a i was not thrilled. 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, all allegories and all secrecy. 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 would be banned, so i was not the smartest

schoolboy already 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 wrote about all their lives and i can not hesitate to say that there in the sixties it was always in doubt if they handed over a book or handed over a book. they are such inventors, they are science fiction, who, uh. well, it's not because i want to say now, but i i think that star wars and the mass of the american product on this topic arose due to the fact that there were strugatskys. i remind you that this is a podcast of eisenstein's witnesses where we film historians natalya ryabchikova and stanislav divinsky talk about who and how created domestic films, both famous popular cult and unknown or

simply forgotten unfortunately. today we have a podcast dedicated to the film. it is difficult to be god and we are talking about him with leonid yermolnik. well , that is, the cosmos has become such a form iscapism. yes, at some point, yes , the soviet intelligentsia ran away from earthly problems, with which it could not do anything, 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. no, in general, as it were, well, i repeat once again that the only thing that matters to the cosmos is that for me it’s acting creative cosmos is to work with german. it was like for me, like flying in space. you really want, but you don't know anything and you don’t understand anything and don’t know how to be when you came to herman on the site. ah, who did he ask you to be? that's what the task was, some references were set, anyway they were. 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 is without

problems, without prettiness, and so on and so on and romata. he was sent there as a stranger, but the whole point of the whole work lies in the fact that there on that planet with strangers he became his own, and those earthlings who became strangers and i, after all, for those who we are now watching and listening and e. the most important change is that in the book the rumat returns to the earth, and herman's rumats remain 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 allowed it to be done, uh, herman allowed him to dispose of the book, freely, that is. uh, you know how it is, like motivated, but it's not motivated, but he changed the ending, which may be the meaning of what herman did in this picture and what i tried

bring. you can't imagine how jealous i was now, when i was filming in herman , uh, my colleagues are quite well-known artists. i now remembered that on linfilme. we filmed in one pavilion, and in another pavilion, we filmed on the side, the idiot and vova mashkov e. every time we crossed paths in the reeds, uh, in our dirty pavilion, but not 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. here but this there 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, probably now

they are already lighter, they probably used to be heavier with space, you change. alone and the fact that i have the whole rumata suit, it weighed 28 kg. everything was not made of plastic, but everything was natural metal, and severovich still liked to pour water in front of the frame, and this became without 40 kilograms, while 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 front and behind , all this weighs almost 40 kg, the whole suit. and he wanted me, like a cowboy, to fly into these at all, not at all. yes, yes, well, a slave stood up or a ladder was put up, a person climbed up and sat down, we spent several days, and i mean, uh, cars are still watered all the time, like it's raining. and how can i not say it on the air, how slippery. so i

slipped and slipped all the time. i didn’t succeed, just at that time yuri viktorovich klimenko was already filming terribly every time i accelerated to jump before he turned away from the camera. here are the czech stuntmen, too, turning away from how? well, i still achieved my goal, i m-m shook my foot. so i flew over the horse to the other side. well, 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 this moment is first seen on the screen. 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 caravan . this, too, i fought for many years, so that the translation would be fattened, so that there would be a caravan for me

this is some kind of eternal 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, e.g. this ustyugant earthling, 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 seem to live in this world, but in fact we are playing caravan, we are somewhere, maybe, head at the same time, we would like to be somewhere else and we are torn. here's how much you it seems that such a thought is probably present, but this is natural, because we don’t care, when we want to convey something, so that something happens, it comes, because it’s 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 on the basis of 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, perhaps 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 order to understand its progressors, which, in fact , roughly speaking, you need to learn to understand their language unconditionally, and how they are very specific the authors, when you read, uh, several works by the strugatskys, they are all written in a different, but in 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 spoke to the house of our beginning of the recording that you during the filming. to bring the film more action so to speak, yes, here's a little bit to reduce the level of mambar. yes , this is not quite yet. no. i am very and we fought. i wanted it to be filmed was 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 susceptible to this. this action would have embellished this picture and would have brought, 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, if we say today, how two drunkards can fight, in the gateway or there, uh, in the entrance, everything should be like this, as it were, dirty , clumsy, because in reality

everything always happens like this in life, and in the cinema very often 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 and already a kind of choreography. yes but but but is everything else. i remember how i loved and watched this one, but there is no truth in this, but there is action that people want to watch and enjoy. can they dispute you with such german? well, let's think about the audience , maybe there will be something incomprehensible to him, we make the speech of the characters more clear, well, how would the actors' remarks from the exact one. there were such a moment when, in general, how was this film accepted? 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.

because of this, we filmed endlessly for a very long time. he got irritated, he really. 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. if he was not ready to shoot today. he could have called out. katyusha crap one's pants on a brilliant artist and say, and this is somewhere in the twenty-fifth row, some extras say where you got these shitty buttons. i found fault with these buttons, and strictly everything and i will not be with him and left, but over the years. i understand, that this is not a matter of buttons. but the fact is that he has not yet decided how to charge a price. by the way, he said in an interview for the work of a philistine, as if at the beginning of filming, that he had a filial. this is the main realist director. if all this is connected very logically, it turns out, of course, 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? agreed in such a global pro cinema. he says, well, you watched filinovski 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. eh, federico came up with it, or did i come up with it, that is, eh, he appropriated it like that, because, of course, first federico, it was with us all the pieces we shot in very long pieces of a bank 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 film plus for us, as well as today. uh, you want to rent a dear present movie, then we shot on film anyway. on the most expensive and japanese black-and-white films , the laboratory was closed for the project. in general, it is not even very clear where it

could now be manifested. how would you like to come, well, something worked. it turned out to me. so pleased that you decided to talk about it. i don’t 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 is work and those people who can and they love to do it 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 several years never happens. well, herman again. we are already talking about this today. i don't know how much 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 didn’t look at the screen in that studio, he lay on the sofa with the walls turned and listened only to what, well, in any case, we had it the way i pronounce it, and he didn’t how it didn’t drain, 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 fit into 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. and you understand this physically, right? well, i don’t have time, but i really like you, he asked me like a child and you will laugh sometimes.