in general, it is experiencing a certain renaissance and a certain renaissance. private space exploration in russia is now gaining momentum. and it seems to me that right now she’s going to rush at avangard in general, we continue to talk about handing over to the wonderful one, and we have three big directions for private cosmonautics in russia. this is uh development of ultra-light and light rocket launch vehicles. this is the creation of satellites and satellite constellations. and this is the analysis of space data. three large areas in which we work, everywhere we already have our own results. there are already successes everywhere. and our main slogan is probably the idea that we want to convey. this is space for the earth, we are not talking about the fact that we need to quickly fly to other planets, populate mars or the moon there. no, we are talking about the fact that on earth there are still enough different issues and problems that need to be solved, and astronautics is very useful to us earthlings in this maybe. when i

talk about the popularization of private space exploration, i always say that we , uh, not you and me, but people who are not directly related to space rarely they wonder how often they actually come into contact with space, use the services of space, absolutely use the services of space. if there are those who are watching us now, this morning they opened their phones and looked at the weather forecast or used a navigator or used some kind of maps. it’s just that at this moment a person interacts with space through the internet. i'm talking about the simplest levels now. and if we are talking about different areas, starting from agriculture and agro-industry, and ending with oil and mining industry. all these areas very actively use the data that we receive from the satellite, so we actually depend on space - it is very dependent in many ways. it didn’t just depend, but space improves our life on earth every day. that is, you are from your own rocket, which

you will launch yourself. which will be a useful load in the form of satellites, which will provide information that you will distribute on earth in all these three directions. they are interconnected, but now since we are a young company, we are literally 3 years old. and on the one hand there is a lot on the other hand, of course, for astronautics. we are still very young, and they are all interconnected, but at the same time we are developing them in parallel. and so, yes, we are talking now about the direction of ultra-light missiles. we have already had several launches. uh, my second launch. we carried out from the test site from which sergei pavlovich korolev launched his first rockets and this is like, let’s say, i was then and this was also a very significant event for us and now we are preparing to launch another space rocket. this will be another test flight and they will go further , faster and higher. yes, everything is exactly in our plans,

and we will do everything that depends on us to ensure that this succeeds. who will use your services? what kind of satellites will you order if people are companies or organizations that are interested? yes, we are already working with several companies that are interested in our services, and let me remind you that we ourselves also deal with satellites. and if we talk about what specific satellites are, then these are the two main large directions are dzz. remote sensing of the earth. and that's the connection. well, the connection is dissociative. that is, it should already be a rocket. yes, in several steps. they have several steps. we have one of these missiles in development. and just with several steps to get to the top ones. well, we are now talking about stationary pro- hers in a stationary army. that is, our russian private space company is developing if there are people interested in the project itself. and, of course, it will be huge

the number of those who will use your resources is absolutely everything , and moreover, i will say that our investors are all russian, all this is assembled from 95% russian components, exactly, if we are talking about the missile sector, these are russian components, that you assemble the rocket yourself in your own enterprise, then, as for satellites , there is a lower percentage, uh, of russian components, but we are also working on this, therefore, and as for the rocket there, i say, plus or minus, it’s 95% . well, we have special areas where we we do this, the most important thing. i wish your company to develop, to prove that in russia there is a private space company, because here we are a little behind our foreign colleagues. especially the american ones, therefore. um, i hope we're proud. e. in your company like you, who are involved in space. thank you very much, because honestly, this is what we lack.

we don't have enough support. and we are often very confronted with the faith that we have even among the common man in the street. there is a feeling that for some reason, private space exploration in russia is impossible. and when a person is an astronaut, he says that everything should work out. this is of course very nice, so thank you very much. well, you are probably collaborators with him, of course, we interact with roscosmos. roscosmos supports all initiatives. uh, private owners at one level or another, it is clear that we will now move on from such a complex topic, it is clear that we haven’t yet. and in our country, the tools for interaction are largely between private companies and legislative regulators bases. yes, this too. although already several years ago, a lot has changed in the participants, it has become easier to breathe as a private owner, it has become easier to work, that’s why we interact with roscosmos. we understand perfectly well that these are our regulators without roscosmos. we are nowhere, of course, there are still some issues that need to be resolved, because we quite often talk about how good it would be if

roscosmos and private space companies gave the opportunity to use its uh, test base, sometimes to private owners , this there is a very serious shortage, because private owners must build something of their own or look for some other options. but i have a very positive attitude towards this and let’s hope that over time i am sure that everything will work out for you. let's get creative. what do you think a person will do in space in 50 years? i am absolutely convinced that , of course, flights into space, piloting them will be more clear, that there will be a huge number of satellites in orbit, and at some point we will come to that that it will be necessary regulate somehow. i think that people on earth a will become even more involved in astronautics and will understand what astronautics gives them, and it will be. something like this, but a two-way interaction between people who live on earth and space technologies. and

perhaps we will gradually begin to become some kind of cosmic species beautifully. my guest was daria, a wonderful journalist and deputy general director of a private russian space company. i'm anton shpplerov - this is a podcast of space stories. well, the tears of the men, chasing a bullet in his stomach, he fell to the ground like a faithful dog, and next to him a viburnum bush grew, such a red viburnum, this is what vladimir semyonovich vysotsky wrote in a poem in memory of vasily shukshin hello today we gathered our thoughts about the work of vasily makarovich. shukshina viburnum red. hello dear friends. good evening lev maratovich. karakhan

is a film critic. producer sergey vladimirovich rated journalist-media manager. i'm vladimir leguida, let's get started. and i have a subject for a journalist’s master class at mgimo and when we go through a review, i give the guys films to watch. well, how else can you write reviews? they don't read books. here's the movie, let's see. and the children watch kalina red. naturally, this is a long-standing practice and i have been giving kalina red for a long time, it is clear that in recent years. this is an absolute revelation for them. but here’s a review a few years ago. i really remember the girl, an excellent student, winner of the all-russian olympiads, such a good review, but at the end she writes. i generally grew up outside of soviet cinema. and so i look, trying to empathize and here is the tragic ending, i don’t want to sympathize with the heroes. but i can’t. let’s see, by the way, it’s the final episode.

so she writes that she wants to empathize. they succeed. this is my aesthetic, i won’t invent anything. that's how it was written. we talked during class. well, i sighed there. but

here's the question i have. is it possible to do something, maybe some kind of conversation before watching the film, to help a person who today 20 1 2 3. empathize when watching kalina red, well , it seems to me that you can, of course, for this, just we need to talk seriously about the film and what happens to this hero, but i actually, you and i discussed kalina the red, and before that i talked with my students in afgika. and i rediscovered this picture for myself, because i watched it a long time ago during my student years, in 1973. by the way, it's turning 50 years old. yes , this year, but i discovered a hero for myself and something that you can really empathize with because it ’s not a midlife crisis when the hero says, i’m 40 years old, but there’s nothing to say. this

the anthological crisis is a crisis. e of existence is a crisis. uh, understanding yourself is such a very interesting film in the m-television radio fund, preserved, where shukshin talks about his hero and in particular. although he says that the hero left himself. this, in principle, is a very un-soviet form , to be honest, because this relationship with oneself is such hmm, in scientific language, if we speak existentially, yes, but matter is nevertheless very understandable, because a person is trying something like that. to find in life. uh, understand who he is. and this is the most important thing, when we begin to follow the prokuden in this movement of his, it seems to me that empathy arises because he, and hmm, is moving away from what? and sometimes we don’t read some graphic text very accurately, but it leaves

the team. and he wants to become himself. alone with himself, and the team is presented a little bit like a gang of lip-slappers. and what he says almost at the end is that i don’t owe you anything. yeah, he says this to people who, in general, with the environment in which he grew up, in which he, as it were, found. uh, social a certain status, albeit negative, but nevertheless, he does not want social status. he wants to talk about it himself. we 'll talk too seryozha, how can i help? well, firstly, in my opinion, from experience, since i often take students to clubs, also young ones, in principle, at that age there are limited ones. in my opinion, a set of film techniques in which people empathize, that is, after all, subtlety. this is what is happening on the screen in my opinion. it is better

perceived when you yourself have some experience you acquire it, and in general, you begin to think, but still, if the first part of this film is just that. clearly, pubic. yes, and understandable intentions are possible, the more subtle everything becomes here. the harder it is. it seems to me that a young person can perceive this, but you can help here, i agree with albaratovich, when you explain, perhaps a little more than is necessary with an older viewer, yes, you explain, what is this? let’s stop here about what is this about because uh, look, what a thing. somewhere on the internet i found what this movie is about. recidivist city prokuden, nicknamed grief, who has seven walkers, tries to tie up in the past, start living in the village in the house of anyone who meets by correspondence with a criminal past in the person of his former accomplice buba, the slap does not let him go, yesterday’s colleagues find the mountains and kill him, prokuden dies in his arms .

lyuba and her brother peter shoot down the bandit wolf at the end of the film. this is correct and absolutely nothing is said in russia, so when i read this, i remembered two things, first, yuri mikhailovich of our votman, who said, that the work does not boil down to what it’s about and i’ve always been amazed by the plot, yes, what about what? was this produced? what should we come up with this film about? and once you and i were talking about different things, and we mentioned kalina red. i said soviet cinema. you say, well, let's start with the fact that it is not soviet cinema at all, please explain why? this is not soviet because it departs from the standard. and in general, collectivism is a property of yes , soviet cinema, of course, it dominated in general in the sixties shukshin non-standard sixties. and here is the main question of the sixties, how to live, which was posed in the film i'm 20 years old. he

forced ilyich marlene to live in the sixty-third year. you are shpalikova. of course, we need to speak more correctly. if you remember, there was a fundamental conversation with his father who died in the war, such a metaphorical scene and the hero asked eh. well, what, what should i do, what should i do, and my father said a simple thing to live hmm then the hero asked the second question. how to live is a very difficult question it turned out to be an answer, and in the general sixties they didn’t really answer this question, because they lived, they devoted themselves to life and in this, uh, the beauty, as if it were a generation, but shukshin began to gradually move away from this, because life did not give that return , which he wanted for the first time, by the way, in his story, a wonderful one of his best stories stalled in the year seventy-one , a theme arose when the hero it’s not that he suddenly realized that the troika of birds was carrying

chichikov, uh, a swindler carrying how so he went to the hero’s literature teacher, he said that he shouldn’t take everything directly, but the point is not in chile at all, but in the fact that he thought about himself. what's going on with him? and there is a phrase there, the key one is not with chichikov, connected with the hero himself, he lived half his life, so what? no , the second half of life will pass and nothing at all will happen, shukshin’s wonderful word will happen . that’s what and that’s it, uh, pain is and misunderstanding is the desire to understand, that’s what motivated shukshin, and not an attempt to establish certain soviet dogmas and stereotypes, he from them departed and why he dies in the end. he has a lot of options. and if you remember at the beginning of the film this version of the movie gives the hero a hint, he comes to this non, his ex-girlfriend. but her father won’t

let her. prokudin also came to some mountain. the repeat offender did not open the door, but he says, where did she go? she hid from you so you wouldn't get her. the same can be done for prokudin and lyuba, who played wonderfully. eh, fedoseeva-shukshina, wife of vasily makarvich, she tells him we'll leave, but he doesn't want to leave. he says where yes, because he can’t even get away from himself, and the fact that he doesn’t need another territory in order to deal with himself, he can’t deal with himself. i'm talking about this because he is obsessed with life. that's the problem. he still remains internally from the sixties. we gathered our thoughts about vasily makarovich's kalina red. shukshina lev maratovich. karakhan sergey vladimirovich vereikin. i'm vladimir yagoda. we continue everything that you once

told me that the clients here could film something this is a movie like me. i guess i agree that it is not soviet because it is wider, uh, than the uh label of the country there. production or themes , uh, since we are the old man clint of our uh eastwood, one of the main themes of creativity is just a person who pushes his line, let’s say. so, yes, he gives in correctly, he does not look back at what is around him. he 'll probably go all over american hero. um, yes, uh, and in this sense, if we take the plot of, say, this picture and not only the plot twists, but also the aesthetics in many ways. in my opinion. this is absolutely an american western aesthetic, that is, a hero for a reason unknown to us. this, by the way, is also a problem. that's how much i review. why is he suddenly so tormented? well, that is, he is a repeat offender. yes, the crisis of age, the dubious hero comes out of prison, you understand, you can’t live like that, money is money, there will be a thigh, uh , he’s trying to arrange it first in the toyga, in which he’s used to, it doesn’t work out, and then this

yearning of the soul leads to uh, repentance to death. if i remember the movie grenatorium, for example, yes. grantorino, when the hero is in the end, yes, in the end man kill himself. yes means and thereby. eh, actually in this case, shukshin’s hero finds his place among the birch trees of his loved ones. eh, in my opinion. this is absolutely not a regional story. that is, i don't like it. no, does he find a place, he met the birch trees with his daughters-in-law. he says i will be there. he's actually healthy with them. he says goodbye to them. this is not his, nakhodka this is not his path, not his opportunity to get out of the situation in which he finds himself, as far as he is concerned. uh, why did you come out? well, i'm a repeat offender out of prison, what does he want? to become a page of the earth, let him be yes, no relation at all to repeat offenders. this hero does not have this is not a social hero. shukshin

didn’t succeed at all for a very long time. well, with the exception of such a guy, of course, this is just a wonderful movie based on such a revelation of innocence. it was done, but it didn’t work out for him, because he himself was not in the frame, and it’s a miracle that kuravlyov left to film in 17 moments of spring to play. eh, kuravlev had to play. yes? there is a bench in the stoves. yes, yes, a bag of tires, uh, spread apart, with his hands he felt that he had been betrayed and began to play himself and about, and he entered the frame like a hero with his own problems. prokudin is shukshin’s problem, they are some kind of social hero here, i agree, but we are more likely talking about the fact that shukshin is more than an actor, a director or not? yes, but what about a holiday like which one exists, yes, because there is a limit on the issue. is this a holiday? he struggles with this question all the time because he doesn't understand. what is a holiday? he's

coming. well, not by trial and error. and what does that have to do with it? full of mistakes, not a single correct decision. he does not make, except perhaps one correct decision to die, because he has exhausted himself, because he cannot move on. he doesn’t know how, that’s what, uh, the worst thing about his problem is, if you remember, uh, one of the last conversations he forgot what the hero’s name was, but he just appears for a split second near the boat, they stand talking and after with him, what is called, fate has come in his face. uh, one of those bandits. he says maybe it would have been better not to have been born. why do we live? this is what he didn't understand. this is the whole horror and tragedy, and prokudin should not have missed this. eh, in soviet cinema, by the way , to say, in principle, yes, in principle, yes, but because it seemed that, well, why not. the wordecist wants to become good here, like

what is said in the annotation that you read. eh, it’s a little clouded, the true meaning of this picture, which makes it . it’s not that it’s soviet or not anti-soviet, that’s not a question at all for shukshin but that this picture is about a person who wants to understand himself and finds it difficult to do this, based only on the realities of life. he, uh, achieves a lot, but he doesn’t find it with anyone either. really true love. after all, any uh, incredible things happen, if someone carefully looked at the picture hmm uh with her, when he first meets her, she dressed herself up in such a dining room of this uh semi -urban urban settlement yes when yes with her, and the unknown word yes which then you can’t do it on the wall. you know perfectly well the picture i was preparing, but where is it hanging on the wall , just when he is trying

to organize his fake holiday, yes, a race in width, what is he called or a neat bordolier? yes, he turns out to be a complete stranger. at this holiday, because there is no one from this world either, but there is a small moment of shukshin in the great director, indeed. and if it is left, it means that it corresponds one word to another and the point is not that any, but she is like that. what are you going to do here? this is culture. this unknown kramskoy unfortunately became just a symbol this non-natural culture, but there is no other. but his aspirations are completely different. this is generally the threshold of the razins. in a sense , razin is not the russian robber. it is i who came to give you inner freedom. he is smarter than many, as shukshin said, he understands more about what is happening around him. that's why he was important. this razin is not intellectual. naturally, but this difference is something that one understands to

oneself. he went to this razin. and about putin, this is an intermediate step - this is some kind of step, some kind of scum, to which he alas. didn’t make it, yes, a holiday about a holiday. or maybe about the soviet tell us this look. this is precisely in this sense a soviet film, because uh, here uh, if you remember, especially the seventies. yes, this is a set of some uh, such symbols. every home should have a kama, yes. and if we are talking about the civil war, then this is kolchak, and so on , this is all so that we remember about the civil war at the time of the seventies, and in one room of the restaurant he is reading watered information. and then it means that leo is a foolish waiter, he discusses. that's just uh, big brands. yes , but that is, there is an official trip. well, so to speak, normal. this is the legal life. eh, in my opinion. this is exactly what it is, that is, we made the most of the soviet artists there in this sense, and him, and

that’s why we tore it apart, because he, uh, well, not only of the salt-russian land, yes, but also of the soviet one in this sense, well, i agree, soviet who are trying. go a little further than the soviet worldview. yes, i found it when someone was thinking about our meeting wrote in one article that why does he die? why does he kill the hero, because in soviet realities this hero has no future? in a sense, he is right, but this viewer, in what sense will i explain? the fact is that whoever takes it is the collective. this is a gang, this is a lip-slapper. the leader of the gang. he couldn’t become himself, because this team took its toll and, by the way, that’s how it took it too. do you remember, there one of his girlfriends shouts, why don’t do that, don’t do that. eh, she squeaks, uh-huh , she says that her lips are a mistake, that’s how it should be. so

you need this person who knows social a world that knows how to behave in it, and no one will take it away. he didn't send anyone. he himself came. the leader came and killed. this is very important in this map, it’s important, because i read a lot where that thieves and others wrote shukshina. the film is cool, but the ending doesn’t happen at all, that if he wants to leave, then they were so impressed, so to speak. yes, you want to leave, yes, but no one will kill you. and this is precisely the level of parables. yes, this is from some no, including the point that this is not pro- not about a criminal hero, this is everything, it was time to build up much more significant and interesting than the plot basis itself, because otherwise it would have been a grotesque ending, like in the outskirts of lutsk when they are joyfully on tractors immediately after the burning of moscow, uh, thursday direct decisions and this is a film. in

a way, especially when they were watching it. to be honest, i had the good fortune to be at the premiere of this film at the cinema house. hmm, and it was a shock, because people stood up. shukshin was sitting in the back on the top row. he cried because such applause is incredible rang out and people stood applauding. he just didn’t expect such a reaction, he really only had a few months to live, and uh, of course, it made an incredible impression on her, but people didn’t decipher what immediately impressed them so much it was serious at that moment, if look at the reviews of those years , very serious and interesting critics. they wrote. which character shocked which hero? the finale is what no one wrote about this, because it was so ahead of its time. it is now that we ask ourselves these questions, when indeed half my life, and some have already walked away from it even more. and what is being asked is this question. if it’s a holiday, yes, and a holiday is a holiday, the question

is how he understands it, a holiday, he understands a holiday within life. he does not accept the holiday, like a holiday inside. and if you remember the famous episode after he came to his mother in delhi, when he did not meet with her, but heard. and as she says, uh with any and with his correspondence student yes correspondence. yes, it comes out, and it, in principle, is a prayer. this is a prayer of repentance. is not oh my god. and lord he says, forgive me. i'm sorry. yes, this is in what other soviet cinema? yes, the hero says, lord forgive me. yes, no, i still have constant prayer and there is a church in the background. this is not in the field, a zero complex topic for shukshin is not in the field. but it all makes sense. it's all done. he chose a location, it’s clear that it makes sense, but then

he says, he can’t stop at this point, and he says, give me time, lyuba, give me time, he’s not yet actually ready to speak the language by himself , and uh spirit on in the language of inner existence, look, and then again. excuse me. yes, a race in width, not height, and not in depth, about width. that's about it. let's look at the mileage, by the way. the people gathered for debauchery. oh my god , my girls with peaches. still, explain to us what we are celebrating. well. aunt's uncle, let's start eating question in

the movie story. i understand that this is a director's script. yes, it’s just that we called it kinopolis. it was truly such a genre in cinema. he has a whole speech here. he says that we are here people, let's each other to love, because i love you, otherwise we live like spiders in a jar, but a widely russian person, who is still with my deepest love for shukshi, well, very far away. the thing is that no, by the way, it wasn’t even important. i’ll tell you why, because he is himself. in a sense , about putin in his relationship with himself, which means that i will take upon myself such not cautious, but an opportunity to say, yes, because yes, let me not let you and

nevertheless, because he doesn't need it narrow he narrowed himself down, you know, he himself, he came to the point that he organized a holiday. this is tinsel. he’s the one who says that this is tinsel. he understands that this is not the only thing. what can he rely on? this is a panthetic motif associated with birch trees, which he also worked towards for a long time. after all, this is also three times. this is a very thoughtful dramaturgy. first he goes out and tries to talk to them, but he can’t because the crow is bothering him, if you remember, the second time lyuba bothers him with her conversations, and the first time husband, and he says, and what vasilisa is growing up, it’s time to give birth, then there is also such a powerful erotic motive, he is trying to connect with this, but this is all life, and to find internally this life in its everyday manifestations. his in its life manifestations, but this is not

life, the inner life of which he cannot get to the bottom of. today we gathered our thoughts about vasily makarovich’s kalina red. shukshina lev maratovich karakhan sergey vladimirovich vereikin. i'm vladimir liga. yes we continue. is it possible to say? which, by and large, is also surprising? here are more than one gospel story of the prodigal son and the repentant thief, who became an evil son. all clear. although, again, uh, here, what we started talking about is the mixture of real history and screen ones, yes , as if, if we remember the fate of, uh, the heroine, this one, who played, well, didn’t actually play, he was talking about himself. eh, which mother yes, even the document, by the way, is an amazing thing. yes, how organic it looks with documentary sound. yes, that is, for me in this sense it is precisely the biblical story of the prodigal son, because it perceived, that millet, as you know, as her own, she was extremely worried about. uh, when he died, uh, and in

principle, he was probably called son and for her, really the prodigal son, who left him. we always speak from our son’s side. yes, now countries, in fact, in this case, mothers. and for her, this return took place. it has never seen its birth. eh, the missing person was not there, the one who returned to her. uh, about the robber here. i'll probably agree with aratovich's album here, in general, but the robber is not so obvious. that is, he is on in fact, i watched it a lot, perhaps that’s why the first part of the film is about robbers. she ’s like, forgive me, the late gaidai, but in general, it’s more likely filmed in his vein. yes, here this is uh hmm, such a deliberate side, thieves, raspberry. eh, here's a berliera, again mentioned so deliberately. and even if you remember the episode when, after raspberries, the police are chasing them, he hides on his feet in films, yes, the policemen, like in the cartoon and shukshin himself, he does such pagas with his feet. uh, well, it's more like heroes

ivan vasilyevich changes his profession, that’s a step back, like if we remembered, from what yes to himself, that is, there is this robber, he ’s not very real. well, for me this is not a story at all. eh, well, it seems to me that in every good movie you can find an angelic story, because there are artists. that's why there are stories for me. yes , there is a gospel story, but here there is a very shukshin story, a story that a person never found himself and never got to himself. this race in width is no good. uh, how to say, then uh in uh razin already in the very even the novel that he wrote. uh, width turns into latitude. this is a little different , but it’s still a concept. well, in personal life, the specifics of life, but to feel is not something that cannot be touched with the hands of spiritual matter. he couldn't, he tried.

this man is searching. of course, we also have no responsibility, like the sixties, but this is not an open ending. this ending is tragic, because this is a man who has reached a dead end in his search. that's the trouble, and if it's in the year seventy-four, it's '73 seventy in the fourth year, tarkovsky removes the mirror. by the way, they are classmates. yes, there was a slightly different classmate shukshin filming with him. overall, the course was amazing. yes, yes, there is also saltykov meta, whoever was there and tarkov, tarkovsky has a completely different outcome where the hero dies, because he is faced with such vital material from which it is impossible not to die, but he dies in order to live and he lets go of this bird, which flies away; well, maybe it’s too direct a symbol even for tarkovsky. yes the holy spirit, but he speaks and is almost inaudible. i have several times. eh, when

i looked at the pictures several times for the first time, i didn’t notice these words at all. he says everything will be fine. he opens up a new life, the fact that arseny tarkovsky in his poem , which sounds in this film, life, life, just says that there is still life, life, not only life, but shukshin’s hero is stuck in life. he didn’t feel this life, didn’t discover it for himself in this tragedy, because , well, let’s say it’s like this. yes, here is the classic picture of gadar on his last breath, and there there is a famous dialogue. e with patricia, who is led by the hero of the car played by belmondo and she asks him. what do you choose: sadness or death? he says i choose death over sadness. it's a compromise. that’s where the whole point is, that for prokudin this is an existential choice. i completely choose there is no god. and let's go, but here, and it is impossible to make an existential choice, because for him

death is a compromise, he is a loser hero. here 's the thing, he was maximalist and there's an amazing sequence where he's riding on, uh , a hydrofoil. how much can e no, it's called listen, maybe, uh, we'll drag him away for a couple. this is the thought, yes, to drag away a hydrofoil ship, he is a broad man, but he cannot fit this breadth into some kind of internal message into a spiritual movement. he is trying to do it nonetheless. yes, there are these repentant his words, yes, when god forgive and right there, when he says, give me time. this sounds kind of crazy. he says, at least let my hair grow back. yes. what does your voice have to do with it? well , it's like uh the man who speaks. yes, i want go to church, but tomorrow i will therefore tomorrow. well, it seems like this is all putting it back . this is, as it were, the morok of the sixties,

by the way, dear friends. i hmm that's what i want to tell you at the end. but the fact is that the story with my student continued; she was expelled. no no no , after 2 years she suddenly writes. the same student tells me, remember, we watched the movie, kalina is red. i watched it again, it was an amazing movie. recommend me something else from soviet films, well, a film from the soviet era, so that i you know, i wanted to ask you for a conclusion. let's give you some advice? here from the non-soviet soviet here, those same our students are 21-23, that you would now, as a result of at the end of our conversation, you could advise him to look at tarkovsky’s mirror. i don't know how uh, it won't scare you. let's say a 20-21 year old person,

but in my opinion. it's worth at least trying to watch. eh, something from german alexey sr. accordingly, i would recommend it, because again, it will probably make you think about the fact that such soviet cinema and expand these uh. here. i would like to start with this and let 's see, since we are talking about students. i would recommend pedagogical cinema, because the mirror and the germans. i think he will look at it one way or another, because these are basic paintings that, one way or another, a person touches them sooner or later, but there is a wonderful painting, and ilya bach’s other people’s letters about a teacher who cannot understand, but her character student and gives in to him because she can’t explain why you can’t read other people’s letters, because

uh, this picture is good precisely because of this, because it cannot be explained, then you are everything that should be inside what should be, like an internal law within us, this should be, because it cannot be explained, and the soviet reality. unfortunately, i was closed to these internal laws that cannot be explained, they just have to be there, and there is an old teacher, amazing, who says , why is it not possible because it is not possible and that’s all? thank you dear friends lev thank you, shkarakhan sergei vladimirovich vereikin. we were going thoughts about kalina red vasily makarychevna.

the creative industry podcast on channel one is still hosted by elena kiper, music video director and producer, and roman karmanov, media manager and general director of the presidential fund for cultural initiatives, and our guests are a magnificent couple, an acting family, egor beroev , a 15-minute discussion about the title , she she me, by the way, it’s also terribly exciting, because in general the definition of the creative industry has arisen. about three or four years ago. then no one says anything at all i didn’t know him, and to be honest, because... i told lena, i’m a media manager. in general, i worked in the media, which has always considered itself a separate industry, generally speaking, just like the film industry and industries in general. in general , any other, and then in the end everything, in general, is not the same. now, i am listening to you now. no la, why? do i have all the words of your title?

i just need to explain to the viewer why there was a discussion, the discussion started with me saying that i don’t understand a single uh, well, like the word from the name, what does it mean, that it does not cause you any unassociation. it’s just that i, for example, understand that now, uh, this trend is not only our country, the whole world. eh, everything has turned into an industry, so to speak, into an industry. the word creativity is removed from this process with terrible force even at the school level. i don’t know the kindergarten there, because she stayed, i just talked with the teachers yesterday. for example, if we say go to the industry, and it’s nightmares, horror. these are truly horror nightmares. well how actors are raised, how, uh, then, well, that is, now it’s all come down to the industry, to money, to ratings. that is, there is stamping and absolutely, that is, there is no soul in it. and this is so contrary to the spirit of our country and the spirit of what we did.

that is, because creativity presupposes chaos in a good sense, a kind of creative disorder, when there is none, when everything is bureaucratized, and now everything is extremely bureaucratized everywhere, then creativity disappears, then for the sake of what all this was created remains a bare industry, which no one needs and the viewer doesn’t need it, and i know this for sure, because i’ve been there for 7 years, as if they’ve already found out. recently i just can't count. and i’m not industrial in that sense, i said creative people don’t want to count, so they refuse to be in the industry. no, i just know how human i am for 7 years. i have an author’s project there, which began not for the industry, not for money, but for the sake of ideas and the needs of my personal human, yes, in a conversation in a dialogue in reading, i don’t know , telling people about what interests me called literary gatherings of salvation, alfera. here. i just know what people tell me and how much they miss it, nor the industry from creativity. well, as it were, the living texts of my burning eyes, and the writers of the poets of which tell creative talented

people who are not in the industry , you know, who live, therefore, due to the fact that creative industries have appeared. eh, the understanding has come that, generally speaking, this needs to be supported somehow with money, because in general, there is no creative industry, musical. uh, the industry, it certainly has unconditional conditions and cannot develop. we need to invest people's money. give people tools and equipment. this means that the conditions are the same in the regions. nowadays, very many schools of creative industries have appeared, which in general , in our opinion, well, you can generally imagine such good children's art centers, which have good tools, good ones. they also exist only in a parallel reality, where people can create, because they are such professionals institutions in which people are given the opportunity to study at a very good level in order to later realize themselves in these same industries. well, in general, something good. chandeliers or how creative music is is wonderful. i

started my project without any conditions. here , from the word, absolutely no money. i just needed it so badly, i was burning inside. and this is a necessary element of creativity. if only i had been included somewhere or given opportunities. i'm not sure that even this turned out the way it did, that is, souls this would not be the case. okay, let’s say, 25 years ago in the city of vladivostok on the guitar, for example, and there were a huge number of groups that could now become excellent musicians in the creative industry, then no one invested in any instruments. no one gave these conditions to amateur musicians; no one invested in the rehabilitation base, which means festivals and so on. what happened was that in the end they all got lost and died. if only there were creative industries back then, if so, they definitely existed, i ’ve been telling everyone about poets and writers for 7 years.

those who are famous and who have never created any conditions, but they certainly have a zheltolanth , supported there by their parents by someone else , there is definitely a talent that needs to be supported at some point, but integrating it into the system means killing the talent. this is how you say , moreover, in the beginning there was a word in the beginning there was a word, it is very important, how and what you call it cannot be a creative industry. it seems to me that the industry, that is, the person, which is included in the creative. uh, how can i say this so as not to disrupt our dialogue with something new. e concepts, yes, and in the creative field he must understand that he will have implementation and not just a specific one, yes, some kind of separate implementation, and that there is an industry that accommodates much more creative people, rather than some kind of exclusivity, when it exists catch the creative . so you say, yes, tsvetaeva akhmatova, do you have any performances now? yes, yes, they are one another and that’s it. listen, what a long walk. i mean that in this. there is a certain bohemianism that cannot be, they cannot be certainly called the turkish

tarkovsky, we can also list in our spot actors and directors. eh, there aren’t any theatrical films, maybe. they cannot develop robotically, it will sprout. let's do it. let's take an example of the work of the creative industry in the film the turkish gambit, which was the result of a work of art in the first place. secondly, there is a spectacular spectacular cinema, then inside there is music that has become popular, which means there are a lot of these terms that all are parts. it’s precisely these very creative industries, without which this film and a great actor, just because there was a great actor, a great director, and a great composer, no two of them are the same. this is then digitalization and technology, that is, you just insert programs. e in robots, and they

will now be trying to do this. seriously. he says it’s a very dangerous trend, what you’re talking about, now it’s not good, i’m telling you for sure, but let’s prosper let's say, yes, what we want to see in the new time from creative results from creative results. uh, great personalities , who are like preserving our uh, true values ​​and traditions of our country, so that we don’t fall apart, so that our identity doesn’t disappear, of course, this is education. that is, the country. this is a very amazing country, we have 190 nationalities, we are multi-religious powers. and we have a lot of our original values ​​and traditions. why do we take strangers and, moreover, we have wonderful there, and even a large, large part of muslims , too, why? for example, muslims do not allow themselves to use swear words in speech . why do we use them? well, as if this is

a separate topic so much, as you can see, this is very important. this is also a separate topic, but for people. eh, that is, people with insufficient education. that is, i would definitely not allow it, i would not give it, no grants, no money, and i would not allow it to be filmed to understand some outstanding people, including or if you don’t like this poet. well, books too, when there are biographies written by those who are not loves. this is impossible to read. it’s not really clear why you even took on this , it’s really important, and from a knee-jerk moment it ’s also important here, because we’re just 40 years old, plus we have a very good base. then it began to collapse; it began to be destroyed. absolutely right. but as you know, times don’t choose. yes, but nevertheless, the signal final good things need to be done, the final question , the final question. eh, after all, times don’t choose. uh, we live in a time in which we find ourselves and many have a debate. all in all

it goes on, both external and internal people sort themselves out whether it is a good or a bad time. here is the current one according to your assessment. you and i found ourselves in a great moment in history , or in a bad moment, beautiful, very good, very interesting, bright. yes, when something really depends on each person. it always depends, but now you really just change something within yourself , very important things start with yourself. well, that is, are you aggressive and angry , angry at someone and hateful, that’s one story. yes, if we all fill up like this such, but this leads to the destruction of the country, or we create something within ourselves , a family a little further a little further in our small workplace. each one of us can do a lot for the country, you understand, it’s an amazing feeling when you understand that here and now everything depends on you personally. it all depends on how you are as a child. you will experience what you can or cannot give to him. so, how

to say, no one will be able to relieve themselves of responsibility every chance. we have such a chance, yes, it's true, we have a chance, - said yegor the hero put an end to it, finally on our air ksenia alferova of russian culture. you can say that, right? elena, it’s fortunate that you and i found ourselves in it here. friends, let’s finish the creative industry podcast today. elena kipermanov, dear friends, was with you on channel one, all episodes of creative industry podcasts. you can always watch on the website of channel one one tv dotka ru

the heart remains lord forgive gentlemen