in literature, i was a student at moscow university and in 1982, in the magazine yunost , i came across your story, the courier. i read it. i really liked it , and i wasn’t the only one. and in general, it was published in my youth. this meant waking up to a famous morning. so for me you began as a writer, not as a director, how did it happen that your story turned out to be in your youth. it was such a difficult period for me. the first picture i made was good-natured people. i have a painting based on the play. leonid zorin but i had no success. and so some how she went. and by the way, my film was the most cut, and there was a period when nothing worked out in the cinema. like you did, i began to write spontaneously. that's it. eh, the courier's story. i don't remember through someone. i suggested showing it there in my youth, well, the dryness was, in my opinion, 3 million. the circulation was.

yes, it would be impossible for me to be so gigantic, they somehow suddenly took a liking to her. and this really supported me then. why didn't you go further in the literary field? well, you know, first of all, i wrote a couple more short stories. there consul gusev was like me i don’t remember the story and type of fairy tale , the dragon slayer, but they were no longer for youth, obviously this was somewhere. i gave them away, but to no avail. so, but here we are from jazz in general, accepted. i shot the picture and this is the first one. overall, such a success. i had a pretty serious one, then i. you see, i basically became a professional screenwriter. and in general, almost all the films i made. i wrote scripts, so i somehow have too much respect for literature to do it like that between

you understand, after all, you decided to become a film director. that's interesting to me. how does this happen? yes, i don’t even know, you know, this is such a question, everyone comes up with some kind of global reasons. i think in cinema in general in this sense. i think i'm no exception. that is, i grew up in quite such an environment. well, as if my parents had absolutely nothing to do with any art, as he says, but they were, what is called very interested people. they gathered at our house. eh, he was friends with dad, lyubimov vysotsky came to see us there, something like that yes people in general, some kind of environment. accordingly, i went to the theater a lot. cinema, of course, we all watched it back then, so, of course, in this sense i was predisposed in some way, but when the question came up, i guess i think so today: what

is cinema? cinema is, in general, attractive to young people, the business of a beautiful woman. festivals, well, we see some kind of festive picture, especially young people. and, probably, i also think she was attracted to another question. that when you already come to it, you see that this world is very tough, which is actually very difficult to break through. and in principle, is it a great success that you can make films at all? when i had a course, i remember i taught there a couple of times in the airgeek, it’s generally not my thing, but i told them. so guys. the first thing you must understand for yourself is that, most likely, nothing will work out for you. this is a useless matter, maybe then something will work out for them. now, and then in cinema you need to have, in addition to, a certain will to organize. this is a little bit like that. i say this is less

art. well, what you say reminds me very interestingly of shukshin’s fate , because shukshin seems to be from a completely different environment than you. well, this is the festive land of cinema in its destiny. so he, too, was choosing between cinema and literature, and it happened when , as a young man, the truth of such a difficult school of life ended up visiting the dust. as far as i understand, having seen how dust lives. look at the dust in the film. he just realized that the noise was a very ambitious, very often loved person. he realized that the main the prize in life is to be a director there, then he told all sorts of stories that he didn’t know that such a profession existed, but nevertheless. he knew everything perfectly well, and he walked and, of course, these were his goals. it led to the fact that he became the shukshin that we know him, but it’s curious that shukshin played a big role in your life, because after all, your very first graduation picture was based on shukshin’s story. how did that happen? why shukshin why this particular story for me , by the way, it was a very important experience, because that in vgik, how do you graduate from the academy

? well, in the sense that you pass state exams and then you are given a year for a diploma at mosfilm then there were hmm, in each association there were two units for diploma students. we hmm, since i had already worked as an assistant for almost a year and a half, they gave it to me. by the way, i worked on the film in character. there was a main roller in the glove compartment. and he called me. he liked me. i drove him all the time, like an assistant. there’s something wrong with him back home there, which means he somehow liked it, apparently, but he says, i say, here’s the diploma he says. well, idea, you're in trouble. come to me there she had an association of time, in short, but i started wearing the script and nothing resulted. i came across a story by shukshin shereshakmaestro. i liked it, and then the signature circus began. i know, but it had to have the signature

of the rector and the signature of the editor-in-chief. well , this poverty. in short, i bring the rectors of huck, he says, okay, but let him sign this first. here is yours at mosfilm, and then you . i’m going there, he says. yes, yes, yes, well, let the rector sign, and then i will sign. i just i drove for two months, then this misfortune happened. vasily makarovich died on the set. they fought for their homeland and they signed both of them for me right away; moreover, i even further. i say, but in the script. still, it’s a long shot, i wrote the script myself, but naturally i wrote it very much. i fully adhere to the author’s request for a film adaptation, but i was given consent by uh already ledkolayevna. i started filming. and i somehow

decided that it needed to be immersed right there . village life is shukshinsky. i found a place hmm, the village of copper, i’ll believe it. yes yes i am to be honest, uh, i liked shukshin, but i didn’t understand him that much. but when i started filming, i was amazed that when you immerse these dialogues in this real life. you suddenly realize that this is incredible, really. allowed them. i wanted to put a little of it under my side, god , but i didn’t want it on the sides. i wanted to use this stitch right next to my side, but when i eat, here’s another one. i’m your doctor, i need a little something, lord, what’s the fuss about? why did you go empty? i don't need your hay. you will kill everything good for

a hay bite. remember the a, by the way , i got it, which was important, they cut off the geek, i had gaidai there too, when you know, the diploma was already a film, a master was invited who does not teach at vgik, that was the system. i came and leonidovich gaidai was with me, and his wife was filming with me. again, i didn’t know. well, it happened, that is, there really was a doctor’s role. and i somehow thought that i thought it was good. this will probably help me. so i remember, and there, how they watch a few times, and then they call you, and there they ask questions. well, they called me like this he sits gloomily, and asked me something, what do you have there? he’s riding a horse, he ’s galloping something on a cart. i say, well, he ’s a young man there, well, something like that, but i feel that something wrong is happening, that

is, the result is not at all the same. i, uh, i came out , i think, yes, maybe i won’t get an a. and this was very important, because if huck got an a , he had the right to a full-length production. and the four is already the second director. that is, it could send you to outsiders. but he gave me an a, but then in the evening she called me and said, well, i congratulate you. so i say, yes, well, you looked at me like that, i say, she says, that’s how he is. look, he really liked it, many years later. we met at the same eatery. they worked and did not give the impression of anything like that. uh, an outstanding comedian, he was quite silent and a little gloomy. this is the story i had with my diploma. sber

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millions of entrepreneurs trust us. we continue. this is the podcast life of the remarkable, i am its leading writer alexey varlamov i today. in our studio, uh, film director, writer, public figure karen shakhnazarov but i’m wondering if you would like your interviews to talk about soviet cinema. legend of soviet cinema. and yet. you yourself admit it. yes, there were so many difficulties, there were censorship, there were all these editorial councils. and so, as it seems to you. this is the idea of ​​returning, yes, taking something positive from the soviet union. well, it will work, in general you say editorial censorship, but i worked in foreign cinema. i did hmm in america a picture, i did the picture of the regicide with british producers worked with the italians, and began lap number six with the italian, he screwed up the mood in italy and worked. but you know this everywhere, and

moreover, i myself, as a producer , understand it much more strictly than the soviet cinema system. today we accept films by voting. well, it’s not possible to have a script, they read it there, then they vote, well, she has to work with the script. we definitely had to work on a movie script when we wrote jazz from borodiansky for the first time. so we wrote the script in 10 days we brought it, we think, everything is brilliant now, well , some advice from danel was my artistic director of the association. me, comedy musical films, where ryazanov also worked, but daneliya was the main thing there, they just smashed the script to smithereens and daneliya remembered this phrase very well. he says. what did you think, you need to work on the script for a year. and he

was right. yes, that's true, that's why soviet cinema has a script. it’s just that you entered into an agreement for three options at once, that’s correct. it's all true everywhere, the same way they work in hollywood, so there are questions of censorship. well, yes, they cut me out. here is the first picture. uh, from my jazz. they cut some things, but firstly, this is an element of survival. listen to this and don't exaggerate that yes. yes, of course, it was not easy, but to a certain extent it was brought up by us. well, well, if we go back, here’s to your work, and you are reviewing your films. well, sometimes, if it’s on tv , i can do this. what are your favorite films? i can’t say that every film has some value for itself. i live my life like this i remember my daughter was born here. here i got divorced and got married. here again this son was born. well, you know it sooner rather than later, as i’ll say. i

read to the owl, whom i consider mine. the main teacher in this life and even once sat next to him in the moscow village for the courier received the second at the very first for the film interview and we sat next to each other. so i translated everything for him in english. that's how she had it once. i didn't read it. he wrote that a film is good if it has four good sons. i thought he was right so i would rather say that here i am, if i remember, i think, this is where i got the scene. this is where it worked. this is what happened. here's a specific example. this is what you would be especially proud of, yes, but for example, i think that in the white tiger the fight in the village is very well filmed. and for example, in karenina both theater and horse racing have

a good scene. uh, in the american daughter. here are the prices on the beach. they, when they talk, he seems to be better than each other. car drive a car so walk, i mostly have 3-4 good ones. and here you are some kind of evolution there such a period such a period. yes, it seems that you have some kind of periodization of your work, but i think, yes, of course, i filmed the first period of my life in the evening.

i had to film andrey and he on gorky's chair he liked the story. i didn’t intend to take it off at all, he came and said, is that how you are? i say, take it, film everything, the young director was my friend. the only thing, says sasha borodiansky. we are constantly going down to write a script, they adapted it, but gorky’s studio didn’t missed the hero. you don’t know the soviets there, not really something like that. and here i am, when i finished

the winter evening and came. sasha says maybe we can make a script. let's fix it there. if anything, you're not happy with it. you can do it all without pictures now you've finished it. i also say, well, they didn’t let me through there. well, let's try, we sent the script to the state committee for internal affairs and they let it through. although later at the party committee there was order there, i still read it in powder form on mosfilm, but it didn’t matter, they scolded me to smithereens that she was anti-soviet, that there was a hero some not so-and-so, but the process has already begun . you have the honor of meeting a typical representative of modern youth , buffoonery elevated to a principle. we don't need anything. we know everything ourselves, we, our generation wants to know for whom we lived and fought. and what are you actually worried about ? it would be interesting to know, young man, your principles. by which you are going to exist in society. it’s interesting that after the courier of such a film, well, quite

realistic, you seemed to be drawn into mysticism. yes, and city zero appears like this mysterious, a picture full of some hints of some nebulous symbolism of an incomprehensible picture, about which they have argued a lot and continue to argue. what you yourself wanted to say with this film is, i don’t know, they are making a story that i liked. i can’t say that i always absolutely feel that it is, but i can’t, i generally believe that cinema is being born. but this is a bit of a process, but, probably, in the city of zara there was, of course, a feeling. the catastrophe that we are approaching was in the eighty-eighth year. and this is probably not what i wanted convey this. but this is how it poured out on its own , as in the sensations, when i made this picture. i don't order anything, don't

worry, something isn't included. just a little present from our chef. what is this? cake basically, in this picture, actually, i would say, in some people they call it mystical. in general, there is no mysticism in it. and this is a special department. is there nothing there that can’t happen in life? well, basically, the voice of a secretary can sit, it’s not like she is, if she had wings, it’s it might have been another matter that they didn’t seem to be sitting like that. that is, it’s like a combination of some things that are absolutely real, but they’re not like, well, there’s some kind of kafka there, just

, yes, the hero finds himself in this space from which he cannot escape. well, we couldn’t escape, but i think there is, in principle, a panorama of russian life, russian life, which has not changed at all. then, of course, excellent kissing. yes, this picture is so psychologically intense. why are you suddenly interested? plot how did this happen? i i read, uh, it came out in the magazine rodina for the first time in many years. as you understand, the topic was completely closed? what if there was such a famous gel writer here in rodina magazine? yes, of course, that’s what he wrote. oh, he was such a fan of this topic and he did a very good essay, generally so detailed about this whole story, the shooting of a family. and suddenly it was published. and as you understand, the topic was tightly closed, but i was, of course , so hooked by the overall drama of this whole story.

i didn’t even make a political picture, not even political. i didn't blame anyone bolsheviks no, i did this with people, but with fate, nikolaev and yurov’s fate of the executioner tried to understand this psychology. i've eaten enough to shoot something. we wrote the script. at first it somehow didn’t work out for you. we have such a historical one. before this we did canvas number six. before this we had self-construction. this is with the italians, so that the mood should be played canvas number six. we wrote a script almost

the same as the one i shot 20 years later and we all went to italy there. we were there at the launch and we did it. we moved everything to modern times have done, as if it were a television report, as it were. well, some kind of modern, some kind of experimental film. they seemed to accept everything from the italians. sylveomeg was known there. nikita also worked as a producer for us, and he had a contract with the mood and marcel was supposed to play ragin. and in short, they really wanted to play. we are coming. everything settles with us and then they started, let me change the script. still. let's get more into the more into the classic form. everything there, in principle, now i understand that they were right, because what we came up with, but it was not for marcello. in short , they began to leave it all. what to give and

change, we spent a great time there for a month and a half. we talked, my friend and i drank a lot of wine, but somehow we didn’t want to. this time is the sweetest side of life. yes, yes, there was a full program there. yes, and then this is the main thing, we wanted to leave all the time, and they wouldn’t let us go, and i eh, we wanted to leave. and what am i saying, sasha listen, just don’t tell anyone. well, you can say that the dudes in italy are really good hotels. there in the city center the daily allowance is 100 dollars, or something, she paid us the court in those days, that we don’t measure it, we sent him on a 100 excursion to naples, then, well, so that and you want to leave, but we are still there every time . well, maybe it’s okay that we’ll run away and that’s it, and we sat like that for a month and a half. so i got a little bit of satanism from him. although, of course, the city is short , we had a lot of material. for

the ward we went through a lot of madhouses. we collected two in the province. just a lot of notes, all these are on me. this is very made a strong impression then. i remember why you are keeping me here for dozens. hundreds of crazy people roam free, all these unfortunate people should sit here for everyone. all your hospital bastard moral relations are not measurable below each of us, so why are we sitting, and you are not, where is the logic of moral relations and logic has nothing to do with it, it all depends on the case. whoever was imprisoned sits, whoever is not imprisoned, walks. and so, when this suddenly turned into the goal of the killer to some such, not just a historical picture, but somehow through a madman into a madhouse.

here it is, as it were, it allowed, firstly, it made it much easier to communicate with the material, and secondly, to move during this shot-turbine. that's when the script came out. and before that, we were the first to remember, the version was written through such an actor as mcdowell, and in general it was a story. i 'll tell you. at that time i was a soviet atheist. probably then. for the first time, i truly understood the birth of a rooster. she was born very strangely, including mcdown. we wrote the script in mcdown. we introduced to mcdown. in jurassic and oleg yankovsky in nikolai but oleg yankovsky okay, he’s at hand yes makdal, in general it couldn’t have occurred to me that he would have been a megastar then after a clockwork orange colligula - that’s generally, well, he thundered. i think he was one of the three, probably, the biggest stars in hollywood at that time, an english actor, but

he already lived in hollywood. in short, we wrote the script and launched it, and suddenly british producer ben brahms came to me and he said, i’m interested in this topic. and i already started launches. i'm already auditioning for actors. by the way, petrenko tried it. this is what i remember, and he says, i want to participate in this matter. that's what interests me. i heard that you are filming. i don't even know what you can participate in. it seems like i have funding. all. he says, well, i say mcdown. firstly, well, it’s unlikely, perhaps, it’s clear that, well, it’s, well, okay, two weeks pass suddenly, he calls me and says, and you know, we dropped agent mcdal, he has two agents in london and los angeles, and he became interested. come on, come to london, i’ll do it for you, here he is in switzerland and

geneva, meet me, i’m coming to london, he sends me geneva , i’m walking around geneva in the morning, i arrived in the morning, i think, and if he wasn’t mobile, he wasn’t there, he’s like at 5:00, well okay, five or six i don’t remember i come to this one, mcdows is actually sitting in this forehead with the girl who kelly later became his wife, but he says, yes, what am i saying, this is the story, he says, you have a script we don’t it was in english. i say no. he says, well, tell me. the scenario is quite complicated, i say in english, but it’s also not that easy. well, i started telling him for about 40 minutes, and then he spoke. well, send me here and translate the script. send it was like march in august, it was already filming. this is the most interesting thing about vladimir for me. we became friends later and he told me an interesting thing. he says, you know , you told me when i didn’t understand anything, but

for some reason i was absolutely sure that i would star in this film. it was the same with me. for some reason i was absolutely sure that he would all star in the film. although, uh, later i was already there. maybe then it won’t be like that. well, often i’m quite experienced , it doesn’t happen with mega-stars that in march they told him, and in august he was filming, it’s some kind of miracle. anxiety can be treated new afobazole retard gradual release of the active substance just one tablet per day afobazole anxiety can and should be treated. start earning more with the tinkov investor card let your money work for you. apply for an investor card with free service and receive a promotional gift before 20,000 rub. tinkov is the only one you meet one day

vtb account you receive more than 30 business services and do what you love, and not the routine vtb we help with business for any business. this is the security service. give me the code from the sms let's do this, if you manage to trick me, i will return the stolen money to the client. show your sim card to tinkoff buy and get a free service to protect against phone bearings. he is the only one with age , changes in vision can change familiar things

town is created to nourish recovery and preservation of youthful eyes is recommended to be used daily for three months , three courses per year of tolfond. now in new packaging they are designed specifically for course use. loan at tinkoff , we approve your plans apply for a loan in the tinkoff app and get a deferment of the first payment for up to 90 days. tinkoff is the only one. we continue. this is the podcast life of the remarkable, i am its leading writer alexey varlamov and today in our studio, uh, film director, writer, public figure karen shakhnazarov and how did it come about karenina is it’s just such a temptation, yes, i always really liked this particular triangle. the whole story of karenin vronsky anna here she is naturally. i've seen this in my life. sorry

, i saw this in my life and in the lives of my friends. i know this, moreover, i read it, by the way, i don’t remember the book after the picture, our good one is also a writer. he probably wrote a book: there are the diaries of sofya andreevna and lev nikolaevich. listen to this directly. well, well, this is it. she is karenina , everything is the same there. i don’t know all these stories, which means who he wrote. to me i think he wrote. it's just all taken from life. this is the truth of the relationship between a man and a woman in all its difficulties, in all its drama, in all its charms and in all its unpredictability. this is what has always fascinated me. in any case, i always wanted to, if i were to film the hooks, then i really wanted to film this. and a few scenes. this is how it happens. in many ways, i just wanted to film the horse racing ball and theater as a director

. how do you feel about criticism? after all , this movie is how i watched it. in general he is like that mixed reaction. well, yes. well, you see, i treat this normally, that is, as normal, i can’t say that i love her, i can’t say that i don’t love her. somehow, this is our profession, but we are filming, and someone, yes, everyone can express their opinion. let it be this and that. this story has a lot of clichés. many people want to see it as melodrama and it is desirable that anna was deceived, seduced and abandoned to say this. it’s like they want to watch for this reason. it's like with women. such, well

, the desire is understandable, as they say, and by the way, i have statistics, if it is watched by a woman, 80% of the viewers are women, by the way, it’s interesting that the original title of karenin’s novel, do you know what it was like, well done woman in the front row? i didn't want them. absolutely. i also didn’t want to film a melodrama, and as they say, the fact that hmm, tolstoy ’s there is clear from you, her charm is that she has a complex, passionate nature, in principle, she does a lot of bad things, not at all good, that’s the charm, in general and depth. just this story that tolstoy wrote in his diaries i remember his wonderful phrase. he said man is a current creature, and he is evil and good and brave and cowardly and greedy. that's all. it's in this here. credo

e tolstoy it seems to me that we need to approach this, but it doesn’t suit us when there are clichés, which is why i said from the very beginning as an actor, we have to play them in no way. there is a certain idea of ​​how aristocrats should be played. they were not like this and these all, like consultants. naturally , the consultants told me. so i say, like officers at a ball, there he says, sir categorically forbade the officer to wear spurs, categorically that they tore these along with the ladies. i say that then he says, well , yes, but they still walked. they walked anyway, because they liked the jingle of their spurs. here you go, yes, as they say, that’s why i treat it normally.

and well, with criticism, whoever needs it, he realized that we will finish it, but you started with the fact that yes, when a person enters vgik there, well, of course , there is a sweet side of life, cinema, there is such a hard work well, change the world . yes here it seems to you. your company has somehow changed something in this world. well, i don’t know to judge. i think that, of course, i had a different attitude there at one time. in principle, what was good in soviet education, in general there was, of course, a very important thing they taught us. uh, make a better person change the world. yes, it was an installation, so i somehow have different stages. on the one hand. yes, what can cinema change? then i had the feeling that there was nothing cinema could change. it's all nonsense. this is nothing life can change, but now i'm kind of paleo. i think i’ll just

look at myself remembering my youth. eh, well, i understand that some of the paintings didn’t resonate with you very much. so it somehow affects me. so this shapes me. and that means my actions accordingly. albeit to an insignificant extent. well, somehow this is my world, which means that to some extent this is. you can say that it’s still important in cinema. you know, especially for young people, by the way, literature. in my opinion, to a greater extent. today influences me more than cinema. and here the youth. she is very receptive to movies. grandfather , children; i just have the most vivid memories from that childhood movie i watched. moreover, i repeat, in soviet times we went to everything , the ticket cost 10 kopecks. and

we watched everything that came out on the screen. it was some kind of mess. not that they chose science fiction there. yes, it doesn't matter. that's it, seriously. i remember the vengerovo painting when i was very young at school. wenger was there, a wonderful director, from whom herman later emerged, he had it assistant worker in the village i remember, i was so delighted, this picture was still in my memory, and it was the hardest there. soviet new realism, by the way, were amazing films, this is such advice for those who haven’t seen them. i advise you to watch a blind soldier who came from the front, a difficult post-war life. it's so amazingly done. i was about 12 years old and i still remember this picture as if it were today, so somehow. well, it remains in me, and i think that to this extent, probably, cinema is not something that can change, but man can affect a person. it's all just formation. might have something to do with this.

thank you. thank you very much for this conversation. this was the podcast life of the remarkable, i am its leading writer alexey varlamov a guest. i had a director, writer and public figure. karen says shakhnazarov thank you very much thank you nikolaevich hello this is a witty podcast with you. i am svetlana dragan and today we will continue the conversation about the finger of jupiter, the index finger. this, of course, is a matter of pride, a matter of importance, influence and desire for more know more learn if it's really positive good jupiter so i'll continue to you now.