himself because, well, we are already big monsters and of course i want to devote the rest of the holy mountain life, that is, very much not only. actually, our new creativity , but also in order to water this clearing here, we need to have someone follow us further earlier, so that they communicate with each other, as we once helped each other with our opinions in communication. this is actually how we developed. also absolutely, so i invite all young musicians, listen to each other, of course, communicate. yeah, don't take each other for granted competitors will enrich your creativity. this is very important for everyone , competition should only be positive. yes. and there is already this polyanka. where to send you some they simply find there and social networks send the compositions. eh, it’s just that now i’ve finally finished the big album after agatov’s and i’ll be able to get serious about all of this, because there’s a big demand, it’s a big nasty thing. will it be in any remix or what?

just after agatha christie is not allowed this year, my brother and i are officially separated. i have released several singles and several old solo albums, but i have never had such a large full-length album. and now, uh, now it’s almost ready like a hot cake. everything is fresh, everything is fresh. yes very cool. i don’t know. is it convenient to ask what happened to you? why did you break up, and the moment that we had to break up with my brother. he was obvious from the very beginning when you were on the cross, because it was clear that he had his own creative system. i have my own creative connection we existed for a while. what did he write, and how exactly? an author, like musicians, like a poet? yes, from early, uh, well, in the album second front, there’s quite a lot already. yes , the birth of agatha christie is considered - this is already gleb. the fact is that as we grow older. yes, if in our youth we are still, well, having fun, we can create such almost theatrical images in compositions, yes. in

creativity, we have not yet lived our own life drama as we live this drama. as a poet, we already want to express some of our more personal points. vision. that is, we are moving away from the fictional hero more towards our personal hero. my brother and i are very different, very different in many ways and antipodes, so it was clear that ours were these personal heroes. they will diverge at some point, that is, for me it was obvious from the very beginning and alik witnessed that gleb understood this from the very beginning, so agatha christie separated by decision. we accepted in 2008 that we were recording a farewell album, going on a farewell tour and actually. this is also zero. so, these are adult decisions two adults. e people who realized that they needed to move on. you said you are so different. i remember you on stage, uh, in the golden period of agatha christie for me, and you looked alike, because you had similar identical haircuts, you had forelocks, and i was like, damn, that's for sure.

inspiration was robert smith from ekir, but the influence on gleb was definitely great, as for the forelocks, but i don’t know, i think i still know. there was an early period of dated hair, literally you had you were similar. this was a ural scam. honestly, i'll tell you the shirts in cucumbers and here it is. yes, and to add in the 2000s, in my opinion, these were your first, uh, two solo albums that you recorded me. yes, vladimir recorded two solo albums within the framework of agatha christie. it turns out that there is more to listen to on the peninsula. two of them have been published. good work here. yes, the podcast 20 years later i am the host konstantin mikhailov and my guests are the agatha christie group the end of the first episode of our conversation, the second is coming soon

dear friends, the creative industry podcast is on the air, this is an anniversary episode, but an anniversary with us, and with mikhala efimovich shvytkov. mikhail yurievich hello, we won’t say thank you very much. how many years, because everyone already knows. i think quite a few mikhalych, special representative of the president for international cultural cooperation and artistic director of the moscow musical theater. what do you think, when you appear on the screen, what does the population think first? the population first thinks about how to turn off the tv as soon as possible. i say right away that i generally treat any audience with trepidation. uh, because uh, if there's no contact with the public on television or in the theater, or it’s

the fault, uh, the fault, not the audience. in this sense, she is always right. like in the soviet uh store there was always an inscription above the saleswoman, the buyer is always right, the public is always right. well, someone thinks that i’m the host of the mountain program there, in general, like a person, uh, who’s read three books, some people like it when, uh, i led the drive of comedians or, say, life is beautiful and sang songs. i liked it too , to be honest. uh, because i came to, uh, yale university, and uh, that means, uh. i there, at the human department, he gave several lectures, and the history of russian cultures, and at this university at that time, and he taught there, answer from me constantly. well , there was such an outstanding lithuanian poet, sven was so wonderful and he says to me,

my hostess, who invited me to the university, and she says, listen, let’s go have dinner. well, he will also come with his wife, but i got ready to read it right away, which means i started looking for his poems, but in order to make some kind of impression. uh, he came to me said. oh how we love our program. life is beautiful, and we began to remember soviet songs, so the whole thing about poetry didn’t come through in your person. the ministry of culture became the ministry of happiness, it seems to me, because you are a very cheerful person all the time. you have been broadcasting this culture all the time, which truly enriches a person with positive emotions. grisha gorin's grandfather grigory israel once said glasses, when i like life, it goes by faster. this is one of those very important unexpected and i think that one of the problems is serious. here we are when there was covid, and

it ended, we were allowed to play at 25% of the amplifiers. and everything was clear. we played at twenty-five percent. there they suffered endless losses, then they allowed 50 and the formula. life is beautiful, it worked amazingly, because people left the house, all the quarantines ended, it seemed like, well , now it’s starting, and then that means, after it started, a special military operation, we sat for a long time thinking, should we actually play a show called life beautiful, and we decided to win very much. the response is starting to warm up, what do you think? this could be such a huge path, my personal question. but to what extent are we generally masters of our destiny, when we go from and build this path, maybe in co-creation. good

question. i never thought. what i can? there you decide your own destiny. i understood perfectly well that we live in such proposed circumstances, that there are large lines of history that dictate this or that behavior, because in any proposed circumstances. you can behave uh, well, decently. or maybe there are still indecent things , that doesn’t mean i’m an information specialist. i'm absolutely conforming. i accept life conditions as they are. i'm not making this up. eh, i'm not trying. eh, there fight and shout that we are now going to break everything. now we will rebuild everything. i’m talking about this in general, it’s not about me, as the brave one in the party of moderate progress said within the framework of the laws. well, this position is from childhood. well, yes, when

i lived with my grandmother, my mother had her own family, and naturally. eh, this is the need to not offend anyone. find some kind of right balance. sometimes even. well, sometimes even to lie, just so as not to offend one or the other, there and so on. well, there was no need for grandmothers before. she knew everything that he was not living now. i am a grandma and grandpa until i’m 20 years old. i would like to move forward a little to where you became a minister and on the day when the president invited you to become a minister. i know that you came into the president's office with intention. in general , the president convinced you to refuse there, but i have another question. here you are when you came out president, what were you thinking at that moment? then i thought how terrible it was. i just understood

the situation that existed in 2000. it was extremely difficult, well, so that they don’t understand, what was the state of the ministry of culture, i was the chairman of the all-russian state television and radio broadcasting company, we already then, yes, we then carried out uh, well, then it was called automation. now called digitalization there was such a moscow computer center, uh, which uh, did the best for us then that could be uh, with communication point of view. eh, i had the internet in my office, this whole story was just beginning hmm, and they were seriously working on this. mikhail yuryevich was flattered. uh, the reign of the heavenly man is beyond the degree of passion for this. and so,

that means the office has eight screens somewhere. there is a back and forth connection of communication. we knew it all then and then, when suddenly from a phone like this you received a phone that wasn’t like this, yes, but you received a phone like this, and then very little, but it was something incredible. i'm coming to the ministry culture. or rather, my assistant, the television guy, comes to the ministry of culture, goes into the office, which means he speaks , and there stands eric’s car with this big big carriage, you can remember the thing from these days, yes, yes, and uh, and that’s it, and he says guys. well, at least you can put some kind of computer there. well , when i arrived there was a computer, i’ll try to use this computer to go to the secretary. at least it turned out no, the computer was installed, but nothing inside the networks of the ministry of networks,

there was no communication, yes, but this is a small detail, but it is very characteristic. we tried to live on television, where it was closer to the 21st century. but here everything was still poor, firstly, there was no money. this is the worst thing. i left the ministry in 1997, when some terrible mutual settlements were going on, something monstrous, something transgaz somewhere through this or something like that. maybe build something and then at the end you should get a salary for uh, that means uh six there are probably 700 people who work, when you were substitutable minister that's it, that's all. it’s worth saying so with horror and that’s all. i realized that this is something completely out of control, and when i came in 2000, i realized that this is a colossal problem. you see, there was a very difficult moment there in the nineties. there was no money

for the cultural institution, they told you. you are free to retake it. just survive, there was only one idea. we must pay tribute to evgeny yuryevich fedor and konstantinovich shcherbakov, who was his first deputy, and the idea was to preserve everything that was possible, to preserve in the sphere of culture. and when they tell me now there was a book and expect that we were the most reading country. i always say, those who read between the lines in the country are the most, but hmm, if we look at the inventory , well, the library fund there is 90 some second year, then three quarters were classics of marxism or there is a small land there that is still being cut off and there, uh, not i know tens of millions. yes , that’s why the design itself was very strange. and, of course, the main task was money, money, money money money, and uh, when the program of the cultural revolution in general is mine i have such a love affair with television. uh, the real one,

which started in 2000. well, like a leader. yes, he was connected with one. i must definitely be recognized by the secretary of the minister of finance, not the minister of finance , i see him, here is the secretary and there are women who work in departments in the ministry of finance and the ministry of economy, because you came from the man on tv. well, the song is sung on sundays or saturdays. well they are coming. well, how is he doing? well, extra, yes, refuse. well, in general, here it is, uh, but on actually. eh, the problem was incredibly large and it was a colossal problem. uh, i'll never forget, uh, it started in february, the muddy march sun. uh, the ministry of culture of the russian federation was located in a building that was formerly or not, they were building it for a computer center, so it was kind of so huge. the cloudy glass

was difficult and expensive to wash, and two people came to my office e, mikhail aleksandrovich ulyanov and kirill yuryevich lavrov, whom i naturally knew as a theater critic boys. they are older there by years, 15. they are such artists, they came in like that and they say peace. well, you know you won’t fire me, so they started. they, therefore, are making fun of their wonderful theatrical performance, but ulyanov was, in principle, pleased with one of the buildings , he could play from the building and marshal zhukov and that’s where it all means. i started to find out with them what was going on. and when i realized how much they earn two great artists, as directors of theaters, as artists and we, then the idea was born, and then yuri khotovich was also involved in this temirkanov and valery wrote georgiev and then

igor ivanovich, who worked in the administration, helped and the idea was simple: it was necessary to make a grant for artists very simply in 1943. during the war, stalin assigned such extra salaries to five collectives of the state orchestra of the bolshoi theater there, well, five collectives, only for one it is necessary to preserve the cultural elite, yes, but with us everything was very simple in the bolshoi theater, the artists were all abroad at sorry at night. i can say this, all ballerinas had 30 days in a month menstruation, and at that time they were performing somewhere abroad, the men had the same thing, it was approximately everyone dancing abroad in order to assemble a normal lineup. it was almost impossible. and, because it was still

very simple, they received 200 dollars a month in moscow. and for a performance there in hamburg they received $5,000, period. and they had to find some kind of mechanism and they couldn’t be blamed for that. well, we see, well , we remember that in the nineties. there our hockey players began to leave, there and so on and so on further. i needed these mechanisms and tools. in order to keep people in the country, we were able to create a tool with the help of which all large groups in the country received a president. i understand perfectly well that if they solve this problem, then no, there is nothing for culture to do at all. this is, of course, saving schools, because we were butting heads with the ministry of education all the time. they explained that at a theater institute, very often one teacher teaches one student and thought that this was generally abnormal. what a

fool you are, you're the only teacher. well, at least five students. and when such questions arose, vasily semyonovich lanovoy once taught there. eh, the artistic word here brought the inspector to him and wanted to show it. well, well, it's a wave one. is it in this tea? we continue the conversation on air with the creative industry podcast, today he is visiting mikhailovich shvytko, such a huge enterprise, you began to build and transform then. yes, i don't transform. i just understand that all this needs to be saved somehow. and of course, the most important of the arts, as we know, is the movie quote sounds unpleasant, but it really sounds like the most important arts are cinema and the circus in the conditions of absolutely illiterate russia, which means that then we took cinema into the administrative wing and the church of this, these were big scandals. eh , somehow, they categorically believed that

it was wrong that the state cinema should exist separately, just as the state cinema of the ussr and the separate ministry of culture always existed. eh, the circus has broken free. and uh, that means the russian state circus was subordinate to the government. and there was a story there. i cried when we talked to katimirov, because the big attractions there are like, for example, the equestrian church. yes, there was one book that was wonderful, it began in soviet times and began in the 19th century. in russia, i followed the signs of the development of the equestrian circus. so this is the equestrian church. this was something where all the big numbers with big animals started. what they did we had outstanding trainers and they stayed. in general, this is what we had to do, and

cinema. well, the cinematography was a problem. when we arrived, i collected it all. there were 150 halls in russia. equipped with modern turnover and we have been born for a long time then with the leadership of the government, then. i say, give money for the development of the network. they say, no, we won’t. i say then okay, don't touch american cinema. give money for soviet production. well, russian cinema. but then don’t touch foreign films, because the networks make money from foreign films. they are expanding. give us money so we can increase the amount of russian cinema at the same time they said to the shakhnazarovs, what? there is no need to touch the cartoon, but do you think the quantity of russian cinema is now sufficient and the quality is sufficient? well, you understand what the matter is, and we have reached a certain level. it

was about a quarter then in terms of box office receipts and a quarter in terms of repertoire, but i can say this figure to make it clear: today india produces 2 1/2 thousand feature films. i believe that our cinematography still needs to produce something of order. well, what about 50-200 units of feature films, especially in current conditions, when we find ourselves in a difficult situation with the repertoire. uh, but it’s not just this, you know, uh, at the end in the second half of the forties at the end of the forties. eh, stalin had this idea: why release a lot of films? let's make only masterpieces. and film production decreased instantly, by about ten titles per year. the thaw began and at about 50 there. well, i always say,

let's go to cinema. this means that the kolotov film has begun. faithful friends. it was a boat floating and rocking. this one, well, it doesn’t matter and again a large number of films began to be released. and so, if we talk about what i read, it was important for me as a culture. well , of course, it was necessary to create an environment uh-huh, which people could freely. develop to create what you do? here you are, dear roman. that is, you help people implement projects. and this is very important. i think that today there is just an understanding that we need to create an environment from here. there's tavrida from here, art master, there's a lot from here that we'll say by chance. uh, here, uh, again, uh, moscow will now the cinema is big, where it will release, that there are hundreds of films, you know, and this is also an idea, very correct censorship is needed

in general, such a question. uh, it’s not the easiest for me, i’ll explain why, uh, you know, on the one hand, you immediately remember albert carpet , who wrote that free literature can be good and bad. they are free literature. maybe just bad. but this is true and not true, because freedom of creativity generally does not depend on the presence of censorship, all russian literature, the great, was written in censored russia freedom in general is a test. we thought that freedom is happiness, freedom is tragedy. in general, speaking seriously, because when you live in such a, well , somehow authoritarian, cathartic place. uh , when you live in a state that determines everything including, uh, which side should you sleep with your wife on, uh, which church should you go to? there and so on. many

people relate to this, well, not with some joy, because as it was written in one polish oven at one time. i am brashkevich’s cage that limits freedom, but guarantees safety. this is always an exchange of freedom for comfort. the algorithm is clear. of course , i think that censorship is definitely bad. this is not right for a person. this is offensive. this means that we don’t trust people who will either see something, the wrong thing, or find out something, you know, i have my favorite jokes. i will allow myself to perform it once again for very young spectators. if they watch this when you are in soviet times, when all sorts of enemy radio stations, then they were trying to upset the life of the soviet people. you were jamming jammers like this and here comes

a man. can you imagine gorky in poland? what are you doing? do you understand where i am drowning out the voices of america? what can they tell us about us? well, trust me. i take this very seriously. they tell us about us. well, they can’t say anything, but if we talk about censorship, then firstly, there are laws according to which very many things are not allowed, these laws work. they already exist; some additional censorship is needed when we talk about vulgarity. this is actually a very complicated thing. um, well, first of all, because now i’ll explain very briefly that when tukhmanov brought victory day, as you know, he was not released for a year. it is believed

that he wrote in the size of the fact, you see, yes, this was absolutely ironclad, that there is such a fundamental difference between culture and art, it is fundamental. culture is a system of prohibitions. this is what ultimately determines for society for each person, what is possible and what is not, this censorship is only censorship developed by human experience, right? art has a different function and art destroys there? it's like science. and education some scientists like to joke that education is the enemy of science? that all the discoveries are made by amateur people who don’t know that 24 in art is enough, this is this, and

this is a very difficult moment. when you said there that it is difficult for the minister of culture. but mister culture is difficult. how not to strangle? this is the artist’s desire to create. and at the same time, not to drive him into it was worth all the prohibitions that exist in this and in general there is a subtlety of management. uh, there’s nothing else, so the censorship is this or that otherwise, in general in society with a person , the question is whether it is necessary to add some mechanisms. i am always very afraid of experts for one simple reason. eh, i have endless respect for experts, not my own selfish ones. this is all untrue. the expert focuses on existing knowledge. we say that there is land there. revolving around the sun yes, but people said no, the sun is some date some time, when they said this, they weren’t lying. it

wasn't like that. there it was not an order from the cia, it was the available knowledge of that time. and this is a very serious thing. we continue our conversation with you today on the creative industry podcast roman karmanov, podcast host and ceo of the presidential fund for cultural initiative elena hyper, producer and music video director. he is visiting mikhalych today. let's go back to that interesting moment. in my opinion, when the swedish minister of culture decided that at the same time he would also host a program on television, and we remember. why, in order to find out the question, is this number burned out? this is the plan, it justified itself in the end or no? you know, eh? when i generally went that, and then when i went, because with the handle of the federal agency

in the culture of cinematography, uh, the budget of the ministry of designation and the number squeezed out another thing, that this time, too, the budget there was still being filled, uh, everything worked. uh, taxes were collected, and, in principle, the country's budget was significantly larger. yes, but our own, uh, our little budget. yes, uh, i tried. uh, increase it as much as possible because i'll tell you. so. it is also very important to have good relations with colleagues in the government for them. i, too, was a man from the box and therefore some things were forgiven to me, because when the issue was discussed, for example, i don’t know about the development of the automobile industry there. uh , aviation industry, agriculture, and at the end i say, and also, well, you must understand that in general there is a catastrophe in the country, we don’t have performers on the english horn, not the greek ones themselves

, you understand well, yes, anxiety in general is a desire. it was far from killing me, but still. uh, well, it’s always serious in fact, and uh, to be honest, that’s why and then in the government was a sin and kudrin well, all the colleagues of president vladimirovich putin and they all supported many projects that, without some kind of human ones, it would once have been impossible to carry out reconstruction of the big one. well, this is the worst nightmare of my life. this is when we gave it a start and the minister of culture suffered, this is the minister who should bring only good news, there were a lot of good projects and the comedian shelter and life is beautiful and the cultural revolution and so on, but it is still clear that a certain task is being accomplished and so on, but popularity also mattered to him. after which project e did you feel this way, generally speaking, and through

the star too? and it was important to you, but i always laugh. well, a tv star. i still live a little, uh, well, i live a slightly different life. i don’t live a tv life at all and i’m grateful , how can i say, how to my tv colleagues and konstantin lvovich honors oleg borisovich dobreev with everyone that they put up with me, as if, like a person, in general, yes the person was like that i described the butler from the outside a little, well, from the outside in this matter. but i watched with great pleasure, hello comedians and in so much of the tabloid press, when suddenly direct contact arises , you communicate and these stories and people who are next to you, whom the whole country loves and you with them, and it was such a breath, and human for me. this was very, very important, because the person did not need contact. here he is an artist. here he is as he is, and you gave it to people and it’s seriously not very good. to me

i really liked this project and your charisma. people remembered you, you , you really are the producer of your artistic self. i would say, yes, you did it very consciously, as it now turns out , and you did it for a purpose that had a beneficial effect. as a result, for your entire device. you know, when we were making the moscow musical theater , i understood perfectly well that we would never make a broadway connection. what if? no, i deliberately didn’t want to. we can't make the brewery go away, because we work on pushkinskaya square. we can put on a show pushkin square. eh, i mean, now it’s not the quality, but the relationship with the public , you know, because in everything that we do there in the theater, it seems to me that it’s important to do some simple things. this is the most important quality today, or what? or people

should not be deceived by your passion. i immediately love that old country that i first heard there. i'm probably in my fifth year now. you know, you are one of mine. i had a successful interview on the culture channel with elena the magical giant , the same great singer who sang lilies of the valley. uh, for which then the next day they came out with a newspaper trashing the truth about this. eh, i love pop music. fell in love with a pop singer. and how does it happen that many people love and have loved and will love the stage, but the musical theater. this can be said to be the exception, not the rule in our country. although any television

project, if it includes a musical part related to our past, it immediately becomes popular, everyone knows this very well, but at the same time, well, you know, the project was closed. life is beautiful at some point, i felt that i was very i want to. eh, do something like this in this direction and here it’s my misfortune. i read. eh, i’ll color the story about the brothers, briefly, i’ll say there were four brothers so far, that three of them wrote songs, two of them were great soviet composers dmitry and days and daniil and samuel who wrote the immortal song from taiga to the british seas of the red army is the strongest, he became a great american composite and uh, throughout the thirties and late twenties he worked in hollywood and there was a lot of that. now, if you take some film there, the famous great waltz hollywood film, and strauss yes

, the music arranger had such a dmitry tiomkin composer who is one of the greatest american composers. uh, such well, popular music is irving berlin , who actually came from the cantera family. yes, he came, and they are all natives. it’s from somewhere around here, and american music from our region, and here’s american music from the late twenties and thirties. she was very similar to the forties, and she was similar to what our composers of the twenty thirty did. i just wanted to tell you more about it nothing, and then you know when you want to bake a loaf. you must first, uh, sow the bread, uh, squeeze it into flour, make it, there, and so on. this is an inevitable process. nothing worked out, and i was forced to invent this theater, which we created with david shmelyansky together with sasha popov.