by the way, honestly, that's the story in the movies. i know that there was so much money that you even created a separate establishment where you could eat. uh people, right. stunning okay, the canteen was organized for those, uh, people who, by the way, these were engineers and people with higher education, who simply could not get a job and had nothing to eat, and for this we created a free canteen for people. they could just come and eat. the first second and there was no need to say anything , the password was delayed. you had the very best a large fee we send from the tour with sports bags honestly, we don’t know in paper dollars, how the money was carried with bags of cards. there are, what, 150

concerts a month. there are 100, so where to put them? of course, we spent wherever we could, uh, i borrowed, to anyone there, do you remember we an- in moscow we had, uh, a trick like this, we went to pushkin to the monument to alexander sergeevich pushkin, people without uh, a specific place of residence often gathered there. let’s just say this, and we also collected food there dialed. they sat and talked with them. that is , we didn’t save money, we didn’t invest it anywhere. they just let everyone spend it and go for a walk. please tell me which one you had. eh, the most memorable fee, the biggest fee. i probably haven't received it yet. well done, we will strive for more, but i can’t give any numbers now, but probably and the most important thing is that i didn’t waste this money. well done. and, of course, i didn’t open a canteen like the guys. this is a very cool thing, on the contrary. i have a little

other story. he gives me a lot of toys. i think that these toys are also given to you a lot of toys. i take them to one place and then go to an orphanage and give them away so that they can find a second life. well, how at the same time do you do such a mini-concert there for the children, because they don’t have such attention and you want to give them more, and your love and your attention, even more so, but the children they love them, they know the berries for them, it’s a little unrealistic anthem for anthem for all children. yes, that’s why they then , of course, don’t hug it out to me. this something special, so it’s cool to be able to give them this love, an apartment, bought a car, bought it. i don't have a car, uh or not, either by metro or by taxi. that is, i generally hide the rational metro as much as possible. say, on the contrary, i’ll go down and take pictures with people. cool i really like the ending. i suggest you cook up a hit musically. we have khabib's sequence and it looks like this. well, great. -oh-oh i fell out of love.

forgive me. i'm sorry. let's not me, this is too much. i just fell out of love with the boy stand up for the youth one, two, three, oh, war, war has stopped loving the boy. i loved the boy. urgently reserve -

everything is patented, friends. everything works out for you. you're talking about a collab. we agreed, yes, it looks like we're getting stuck together like a boy. on the air of our exclusive podcast, the group na-nay them khabib agreed that they would record a hit together, this is a wonderful chord, one might say, the big point in today’s episode. we had a group in the non-format studio today. my wonderful hosts called karina cross khabib carnival group gcbank. i’m anton lavrentiev, using this energy to give up this stage to khabib. the head is dedicated to all the girls and it flies up. who are you who is sad. berries pray and fly in,

then you are so sad, cold as day, stupid in the eyes of number one girl, i paint and sleep for two numbers already. one of my fairy tales, hold my jeans, when you are with me, the rivers of the brik river, you are above me with you tra-la. fuck yeah, i got it sandu movie hunters movie someone is at least on the moon, but i don’t care. i'm telling you it's getting knocked up. here you are so sad, cold, like one clapping eyes. i'm ready to pray and twist the cold.

you are my sad girl number one, my fairy tale, we keep our jeans ready for you ricky the river rick brick you are above me with you tra-la-la, yes, polya went up to the cinema. you don’t want to go to the cinema, right? so even though i don’t care about london, i’m ready to say a prayer , my head turns and flies, then you’re so sad, cold contingent with my eyes lev to the right. i turn my head around like a shitty prayer and stop like that. you are sad, cold as smoke, your boyfriend learns a leftist prank. ay-ay-ay-ay-ay-ay, how you pray! are you in my

gostinka ah-yay-yay, where is the raspberry? oh oh oh. th dear friends, the creative industry podcast is on air, this is an anniversary episode, but we have an anniversary episode, and mikhala efimovich shvytkov has it. mikhail hello, thank you very much, we won’t say how many years ago, as everyone already knows. i think quite a lot, but mikhail efimovich is the 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 about how to turn off the tv as soon as possible? i speak completely serious. you must say right away that i am generally in awe of any public. uh, because uh, if there is no contact with the public on television or in the theater, then it's their fault. eh, it's not the public's fault. in this sense, she is always right. like in the soviet store there was always an inscription above the saleswoman, the buyer is always right, appearance, always right. well, someone thinks that i am the host of the agora program there. and in general, like a person, uh, who has read three books, some people like it when, uh, i hosted comedians or, let’s say, life is beautiful and sang song. i liked it too, to be honest. uh, because i came to, uh, yale

university, and uh, that means, uh. i was there, uh, at the human department, i gave several lectures, the history of russian cultures, and at this university at that time, and he taught there to answer from me constantly. well, there was such an outstanding lithuanian poet. thomas wenslova was wonderful and my hostess, who invited me, tells me. here is the university of wales. she says, listen, let's go have dinner. well, he’ll come with his wife, too, but i was prepared 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 and told me. 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, and all the time you

broadcast this culture, which truly enriches a person emotions positive emotions. once upon a time grisha gorin's grandfather was grigory israelevich. said points, when i enjoy life, it goes away faster. this is one of these important very dishonest, and i believe that one of the problems is serious. here we are when covid was over, we were allowed to play at 25% 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, everything 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 whether we should actually play in a play called life

is beautiful, and we decided to win, the audience responded very warmly to this. but how do you think such a huge putin can be, that ’s my personal question. but to what extent we are generally the masters of our destiny, when we go, we build this path, maybe i didn’t think about it in co-creation. 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. well, decently. or maybe i behave indecently here, this does not mean i am a conformist, i am absolutely not a conformist. 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 good soldier sheik said, i stand in the party of moderate progress within the framework of the rule of law? well, this position is from childhood. well, yes, when i lived with my grandmother, my mother had his own family was his own family, and of course. eh, this is the need to not offend anyone. find some right balance. sometimes even 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 went into the president's office with intention. in general , the president convinced you to refuse there, but i have another question. so, when the president came out, what were you thinking at that moment? i thought, how terrible. 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 are already like this. yes, we did everything else then, uh, well, then it was called automation. now called digitalization was such a moscow computer center, and which

then did the best for us that could be, uh, from the point of view of communication. eh, i had the internet in my office, this whole story was just beginning hmm, and mikhail yuryevich leshchen was seriously involved in this. was. eh, reign, mad man, i’ll fly higher than that. he does this and so, it means there are eight screens in the office somewhere. there is a back and forth connection of communication. we then and then it was all you know, when suddenly from such a phone you received not such a phone, yes, but you received such a phone, and then just completely swing, well, it was something incredible. i come to the ministry of 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, if you remember from these days, a fashionable thing, yes, yes, and uh, and that’s all , and

he says, guys, well, at least you, well, 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. although it would have turned out no, they installed a computer, but there were no communication networks inside the ministry’s networks, yes, but this is a small detail, but it is very characteristic. we tried to live on television. it's 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 were deputy ministers. that's it , that's all. it’s worth saying so with the horror of this shopping center. i understand that this is something completely out of control, and when i came in 2000, i realized 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 evgeniy yurievich fedor and stated shcherbakov from whom it was his first deputy whose idea was to preserve everything that was possible, to preserve it in the cultural sphere. and when they tell me now there was a book and expect that we were the most reading country. i always say the most read between the lines is the country, but uh, if we look at say inventories. well, the library stock there was 90 some second year, then three quarters were classical marxism. or is it a small land, or is it even more careless? you have, uh,

i don’t 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 was the idea of ​​the program uh of the cultural revolution in general born? my love affair with television is like this. uh, the real one, which started in 2000. well, like a leader. yes, he was connected with one. i definitely have to 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 the man from tv came. well, the song is sung on sundays or saturdays, well, they come. well, how is he doing? well superfluous, yes refuse. well, in general, here, uh, but in

fact, uh, the problem was incredibly large and it was a colossal problem. uh, i'll never forget, uh, we started in february, not cloudy , such 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 very understandable. it was kind of so huge. and it was difficult and expensive to wash the cloudy glass, and two people came to my office, mikhail aleksandrovich ulyanov and kirill yuryevich lavrov, whom i naturally knew as a theater critic silently, they are 15 years older than me. they are the same artists, they came in like that, and they said, mish, well, you know you won’t fire me, so they started, it means they were making fun of their wonderful theater, but ulyanov was, in principle, pleased with one of the buildings such limits, he marshal zhukov could also play in the hall and that means everything. i started to find out with them

what was going on. and when i realized how much they get two great artists like theater managers, as artists yes, and then we had an idea , and then yuri khotovich temirkanov was involved in this and valery georgiev wrote and then igor ivanovich helped, he, who worked in the administration and the idea was simple, it was necessary to make a grant for artists very simply. in forty-three . during the war, stalin assigned such extra salaries to five collectives of the state orchestra of the big theater there, well, five collectives, only for one it is necessary to preserve the cultural elite, yes, but with us everything was very simple

at the bolshoi theater the artists were all abroad at sorry at night. this i can say, all the ballerinas had their period 30 days a month, and at that time they were performing somewhere abroad , the men had the same thing, that it was approximately everyone dancing abroad in order to assemble a normal cast. 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 do you remember that in the nineties. there , our hockey players began to leave. there, and so on, and so on, this tool was needed with this mechanism. 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 understood perfectly well that if they solved this problem, then no, there was nothing to do at all.

this is, of course, uh, 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 deals with with one student i thought that this was completely abnormal. well, what do you think, one teacher? well , at least five students. and when such questions arose, vasily semyonovich lanovoy once taught there. eh, artistic word, then they brought the inspector to him and the inspector wanted it. well , well, well, it's a wave one. is it in this tea ? tell me, palace, this is a terrible wastefulness, because now there is a war, we won, not yet, eh. i didn’t even know, i ’ll be glad if there’s a place for me here

, a place like a monster, i need it to amuse the children friend. i didn’t see it, but i know, i heard the word, fat anna koroleva is an extraordinary person. although this is not immediately obvious, she is haunted by tragedy. i lost 17 children. i had a miscarriage. beautiful, stop laughing at me, it's a funny prank, really, go back to the kitchen to wash the dishes, because i'm treacherous to your female lead olivia colman. she is my maid. she’s not fired, i’ll make a favorite on friday on first we continue

the conversation on the air of the creative industry podcast, he’s visiting today mikhalych vydtkoy is such a huge farm, you started 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 cinema; the quote sounds unpleasant, but it really exists; the most important arts are cinema and the circus in the conditions of absolutely illiterate russia, which means that then we took cinematography into the ministerial wing . these were big scandals. uh, the filmmakers categorically believed that it was wrong that the state film should exist separately, as always there was a state cinema of the ussr and a separate ministry of culture. 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 the cantemirs, 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 here are the horse circus horses. it was something that all the big numbers started with big animals. what they did we had outstanding trainers and they stayed. in general, this is what we had to do, and cinema. well, cinema, that was the 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 development. look, they say, no, we won’t give it. 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 that we can increase the amount of russian cinema at the same time there are midges telling us shakhnazarov, what? no need to touch mosfilm. do you think that now the quantity of russian cinema is sufficient and the quality is sufficient? well, you understand what’s the matter, 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 uh repertoire, but i can now give this figure so that it’s clear today, india produces 2,500 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 the current conditions, when we find ourselves in a difficult situation with the repertoire. uh, but it’s not just that, you know, uh, at the end in the second half of the forties in the late 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. it's begun the thaw is about 50 there. well, i always say, let's go to cinema. this means that kolotov's film, true friends, has begun. it was a boat floating and rocking. here. well, it doesn’t matter, so they started releasing a large

number of films again. and if i talk about what i read, it’s important to me as something cultural. well, of course, it was necessary to create an environment uh-huh, which people could freely. develop and create with what you do? here you are, dear roman. that is, you help people implement projects. and it 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, and it's no coincidence that we'll say it. uh, here, uh, again, uh, moscow will now have a big movie theater, where up to hundreds of films will be released, you know, and this is also an idea , very correct censorship is needed in general, such a question. eh, not the easiest for me . i’ll explain why. eh, that means on the one hand. e you immediately remember alberra carpet, who wrote that free literature, maybe

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. eh, all of the great russian literature 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 kind of authoritarian totalitarian. uh, when you live in a state that determines everything including , uh, which side you should sleep on wife, 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 brashkevich’s cage

limits freedom, but guarantees safety. this is always an exchange of freedom for comfort, an understandable algorithm. 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 one more time. eh, i'm for very young viewers. if they are watching, this is when you were from the soviet era, when all sorts of enemy radio stations were trying to upset the life of the soviet people, then you jammed the jammers, and so here comes a man from gorky poland from the soviet era and buzzing. 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 are for us 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. eh, well, first of all, because now i’ll explain very briefly , once upon a time when tukhmanov brought victory day , as you know, they didn’t release the year, because he wrote in the size of the factual, you know, yes, it was an absolutely ironclad story. there is a very fundamental difference between it is fundamental to culture and art.

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 . does art destroy 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 amateurs there who don’t know that twice two is four in art. this is this and this is a very difficult moment. here, when you said there that it is difficult for the minister of culture. but the place of culture is complex. here's how to not suppress this 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. eh, there is nothing else, so censorship in one form or another is generally 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. expert focuses on existing knowledge. we say that there hmm the earth revolves around the sun yes and people said no the sun. so, in general, 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 , creative industry podcast roman karmanov, podcast host and ceo of the presidential fund for cultural initiatives elena kiper, producer and music video director. our guest today is mikhalych. 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 not? you know, when in general i wanted to stage it, and then when i left, because by hand, if the federal agency for cinematography culture squeezed out the budget of the ministry of designation and the number, it’s another matter that this time, too, the budget there is still being filled, uh, everything worked. uh, taxes were collected, and, in

principle, the country's budget was significantly larger. yes, but here’s ours, our little budget guy. yeah, uh, i tried to uh, increase the maximum because i'll tell you. so. it is also very important for them to have good relations with their government colleagues. 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, but you we must understand that in general there is a catastrophe in the country , we have no english horn performers , not our loved ones, you understand, yes, anxiety is generally a desire. it was far from killing me, but still. uh, well, this is a serious thing, in fact, yes, and uh, to be honest, and that’s why there was a sin in the government even then and

kudrin well, and all the colleagues of president vladimirovich putin and they all supported many projects that would have been without such -it was once impossible for human beings to make reconstructions of the big one you have. well this is the worst nightmare in of my life this is this then we gave it a start to him 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’s still clear what is being accomplished tasks, a certain one , and so on, but also everything that was popular was important to him. after which project e did you feel this way, generally speaking, and through the star too and it was important to you, well, i always laugh. what a tv star. i'm still a little uh, well, i i live a slightly different life. i don’t live in a television life.