[000:00:00;00] at least works of art, when he writes such works as i can’t remain silent, what is my faith, these are rather philosophical treatises, and journalistic ones, and so on and so forth, so probably the book that bears the traditional name of confession served as a boundary, there are many confessions in the history of literature, but this was actually based on, among other things, the confession of rousseau, rousseau was generally an extremely important figure for him, starting from the beginning. early youth, that's why this is just a conversation about the most important things through your personal experiences, such extreme frankness, this confessional openness of lev nikolaevich is also very important for us, and this text is very strong, serious and non-fiction, at the same time, just now, it is very difficult to divide into fiction and non-fiction, tolstoy has a lot of texts that,

maybe they are not so well known now, so we created such a project as the word of tolstoy, where we collected all the texts of tolstoy and you can see how many literary texts, how many public works, it’s interesting what people read besides the three greats novels, well, this is a separate statistic for study, but it just seems to me that the general reader does not imagine how much tolstoy wrote, how many pages of his texts were devoted to philosophical and religious issues. philosophical, this is probably the largest part, there is a very lively public, that is, to say that tolstoy, they know him primarily as the author of literary texts, but there is also a huge legacy, it is attractive, it is intelligible, it is convincing, it is perfect, and chernyshevsky very correctly formulated not the most a close person, thick in spirit, purity

of moral feeling, that’s for me. in this sense, if we return to the definition that dima gave, ordinary and simple, it was important for tolstoy, here you can approach him from the other side, these simple human questions were important to tolstoy, an ordinary person, the most important, and he and raised it both for himself and for everyone else, in this sense, we can consider him such, again, parcells, a simple person, he is not a pro and a very complex nature, but not everyone is complex an organized nature strives to be understandable to as many people as possible, so i tried to formulate this, which is why the death of tostov, his funeral became such an event, and one of the also imprinted in detail , and of course, this is also an amazing document of the era of time and the people bearing

the coffin of tolstoy from kozlova zaseka station to yasnaya polyana, and these crowds of people who follow this coffin, this is of course an incredible film document of the era, if you think about what tolstoy’s grave looks like, then this is probably the most modest grave in general in the world, there is nothing, there is no inscription, no cross, nothing, a small mound, in fact , according to his plan, not even a mound... it must be simple, it should have sunk into the ground to be leveled with the ground, this is already a museum piece such a tradition that it’s still somehow possible to designate a place, like a burial, well, yes, it did , of course, let’s now move on to modern times and - how does tolstoy’s legacy live on now, volodya, let’s start,

probably, with the fact that - in yasnaya polyana it comes from writers’ meetings, from this spirit that has been revived, well, just one one of my main ideas was to make yasnaya polyana again such an open place, very hospitable, and a place where modern creators, including modern writers, would joyfully and happily come, and the first writers’ meetings, they were gathered around tolstoy’s birthday, then this has practically been going on for more than a quarter of a century, right? yes, yes, this has been the case for 28 years in a row, every autumn writers come to yasya polyana, we can probably even say that the generation of those who

opened these meetings has passed. well, thank god he's alive there to whom we somehow came up with this together and started, but there is no valentin netuovich kurbatov, there are no very many. just look at the photographs, well, thank god, as if, except for valentin yakolivich, all the acting ones, valentin yakolevich, kurbatov, the legendary, amazingly talented, alexey varlamov, pavel vasinsky, who became the main researcher of the modern biography of tolstoy in yasnaya polyana, vladislav otoroshenko, one of the first laureates of the esnopolyan prize, igor petrovich zolotusky, our legendary critic, literature, god of health. here is anatoli andreevich kim, one of the initiators of the yasnaya polyana magazine, then the literary prize, yasnaya polyana, that is, we can say that writers’ meetings somehow consolidated

the writers’ community in general during difficult years, during the years of strife, many did not greet each other and so a group of writers emerged who worked in different genres , who became the center of attraction, everyone communicated and then corresponded throughout the year, maintained these contacts, a lot was done to somehow really connect people, i think it worked, it’s very important to me that there are always families and children there, it’s very important that the children there become friends, there are two dozen of them, children of writers, who communicate with each other. we talked about how yasnaya polyana since the nineties, the mid-nineties again became such a family place, a family place, and it was great happiness that our children grew up there, well, first of all, my

sons were born in yasnaya polyana, vanya and andrey, wonderful , andrey just got married, very recently, so his mouth is thick will continue here, of course, but how many descendants are there now? well, there are more than 300 living fat people, 300 people scattered all over the world, you need to understand that we are fat, if you don’t formally fit in, yes, if these are descendants, let’s assume tatyana’s daughters, they don’t bear the tolstoy surname, but for us they are us so we say, they’re just fat, of course, they are family to us, they’re fat , of course, that is, a whole bunch of projects have arisen, the yasnaya polyana prize is also unique, i never tire of repeating. it is unique in that it is a russian literary prize, but in it there is an international nomination, it seems to me that in russia, before that in the soviet union there was an amazing school of translators, but our readers always perceived the translated

literature as their own, so i don’t know the popularity, himingway, a remark, but you can name dozens of names from different literatures , american, english, french, precisely thanks to translations , they became part of our culture, yeah, well , then tolstoy is such a figure, a truly worldwide, international figure, and tolstoy is translated into all possible languages ​​of the world, and tolstoy read, yes, tolstoy is also a translator, of course, someone told how he is one of the greats, in my opinion, one of the nobel laureates, because two nobel laureates, yes, pamuk and vargas llosa ahan pamuk and marie orgas llosa, turak and peruvian, yasnaya polyana, yasnaya polyana prize, someone said that when he received a letter with a thick signature , i was just, to put it mildly, surprised , everything was clear, yes, well, what other

international nomination could there be for what award, tolstoy's tradition is a living one tradition, yes, i am proud that the foreign writers who received our iznokopolyansk prize are very proud of it, they all talked about, literally each of them, what role the honor of tolstoy played in their lives, what, how important the figure of tolstoy was for them, we are proud of all our laureates, regardless of whether they were nobel laureates, whether they are known throughout the world or not, but these are very bright writers, and i hope that this series will continue, last year there was a chinese author, there was a writer from chile, a lethal , in my opinion, wonderful, interesting, very, and such an american writer of japanese origin, ruth ozeki, became our first laureate of this award, it’s not that i’m not ashamed of one, we

’re just proud of these, don’t let them talk, let them read, i remind everyone who sees us he hears, in a month you will recognize new names, new names, you will recognize, but tolstoy, with all his desire for tradition, for something familiar , he is still a very modernist person, yes , for example, he loved technology, to him in 1908 , edison it was very exciting, at first he i even thought that this could replace the secretary, it didn’t, but nevertheless, here is the time to move on to new technologies, is tolstoy compatible with what is familiar to the younger generation, here is thekla, i know, everyone knows that you are an initiator, a participant , the inspirer of several large projects, here we have marathons , readings of maroons, well, look, i would be here, the technologies are wonderful, but

just like in the recordings of ilv nikolaevich’s voice , it is important for us not only that they exist, although we hear his voice, but what he said quite important, also technology, then and now it is important that they serve some things that are more serious and more meaningful, but of course, i think that you inspired lev nikolaevich with new technologies and it seems to me that he would very much support, say, the internet, because he would be for the absolutely free and preferably free dissemination of knowledge and his texts, he creates an intermediary publishing house, whose books should be as cheap as possible so that everyone can buy them, or, for example, refuses copyright, on these beautiful books of the ninety-year-old, it is written that every reprint is allowed free of charge, and we are inspired by this and continue absolutely tolstoy’s legacy, we

probably posted it on the internet 10 years ago, here are 90 volumes of lev nikolaevich, they were scanned , but the pictures are difficult to read, then with the help of volunteers, the main thing is that the volunteers who competed as many as anyone, no, we had an interesting time, we had a plan for several months there, everything was done in 10 days, all plans went to waste gibberish because, because people with such joy... in many countries, of course, russian-speaking people helped us proofread tolstoy, so that there were these texts on the internet, and when we asked them, what made you take dozens and dozens of pages, more and more help, they say: of course, what is written by lev nikolaevich, this project, and this project are living pages that we are doing, this is the same way, we are not adding anything, there is no interpretation of the literature of knowledge here, but here there is - helping the younger generation, well

somehow log in, some login scenarios, new navigation scenarios and new login scenarios for war and peace, for example, for the example of war and peace, yes, but you know, well, there’s, say, a table of contents for war, war and peace, when we noted which military scenes and which peaceful ones, well, we’ve already got such an infographic , yes, and if we talk about the project of readings that we did a few, anna korenina and i started, but here you understand, again, it ’s not about technology, these are these technologies. why did we come up with all this, because they give we understand that we are united not only by borders or language, we are united by culture, and at the same time for me this is the idea that literature is for everyone, every person can read, it will find a response in his soul, it seems to me that lev nikolaevich , i would be happy about such a unification, because this is a unification in the name of something good, this is what he talked about, that if there were good people. united, then a lot could be done, well, we

are taking some modest steps, and of course, this is important for young people, because, well, if people have already grown up with a gadget in their hand, please, a thick one can also be in a gadget , why not, of course, we know that by lev nikolaevich’s bicentenary, very serious measures will be taken at the state level, there is a decree of the president of the russian federation about this, a lot will happen restored, restored, and so on and so forth, but now i would really like everyone who hears and sees us now to listen, not even to tolstoy’s voice, to discover in themselves those feelings, those emotions and most importantly, those the questions that lev nikolaevich tolstoy raised, and which are still relevant for us, i sincerely thank vladimir tolstoy, tolstoy, well, in conclusion, as always, i urge everyone who sees us

to hear us, read with pleasure, hello, this is the ezenshtein-125 podcast, i am film historian natalya ryabchikova, we are talking with my colleague film scholar artyom sopinny about sergei. and today we have the topic of the incredible foreign travel and adventures of esenstein and his friends in europe, the usa and mexico. hello, and this trip, in general, divided my life ezenshtein into two parts contained a lot in itself, despite the fact that it lasted, on the one hand, not so much, and not so little 3 years, during these 3 years isenshtein managed to catch a lot of phenomena that by the end the twenties were just leaving european culture, but he still managed

to, as they say, feel, touch, look at them, on the other hand, he had already very astutely noticed those features that would be characteristic of the thirties, forties and already... without going into the subsequent years beyond the soviet union, he nevertheless met in the foreign press or in the domestic press, meeting certain names mentioned, he said, and i already know this, i have already seen this, this is how it is developing now, and it was back in the thirtieth, thirty-one, it was an absolutely turning point, because esenstein was invited to hollywood, invited to hollywood in '27, but he went there only in '29, and '29 is already a completely different world, this is the world on the eve of the collapse of the new york stock exchange, that's the world, where it is no longer possible to imagine cinema being silent. esenstein may also be silent films are still being made in the soviet union, but the whole world, including hollywood, is already engaged only in sound films. and that’s why he’s going, to try sound cinema, to see what it looks like, because back in 1928, here in

the soviet union, he wrote an article, an application, or rather, under it there are three names izenshtein, pudovkin and alexandrov, but how we know that pudovkin came to visit esenstein, they discussed theses together. but still dictated the text ezenshtein, and aleksandrov just recorded the two of them, in general, this article, which is loudly called an application, is just a proposal on how to use sound, so that on the one hand, not to lose the expressiveness of filmed cinema with its editing, attention to details, on the other hand, add sound as a new phenomenon, so that we don’t just record the sound, but so that there is sound, for example , a person is riding on a train, so that we hear not the noise of the wheels, but so that we hear the noise of his thoughts, what he is thinking now and not definitely like voiceover, just like this renstein will continue to think about how to convey the structure of thought, this is his favorite topic, here we are just about the structure of thought, here is this einstein sitting, here he was invited to hollywood, and he tells them, but i must i need to go not alone, with my cameraman eduard tise, well, roughly speaking, from hollywood they tell him, well

, the cameraman is important, good, and then he says, but i also need to definitely take my assistant, co-author grigory alexandrovna, and they tell him : why? who it? here he writes it down there are some applications from esenstein, and in fact there are three people going, very different, and one of them immediately feels a little disadvantaged, moreover, einstein is from a family where teachers were hired for special children, both english and german , and french, and this is not his first trip , yes, he learns languages, he knows people who come to moscow, theodor dreiser comes to moscow, and of course, to visit isenstein, to get to know him. and in the fall of the twenty- ninth, in turn, isenshtein and his a group comes to europe, why? because - in the soviet union it was impossible to get an american visa, because only in the thirty-third year the united states recognized the soviet union, and in order to get an american visa, you had to go to berlin, where there was the closest

opportunity. and after berlin they travel around europe for some time, waiting for the opportunity to get to america. and they make a living by giving lectures and making films, in particular in the thirtieth year, just in the spring they received an offer to produce the film sentimental romance, this is a small short film , which, in general, one large businessman ordered them so that his wife could be filmed in it, and isenstein, of course, jumped at it, because it was possible to try it with sound, by the way,

we have the opportunity to watch this, infinite, a wonderful woman, mara gris, not a wife, by the way, she was actually a mistress, they only got married later, no, this is important, it seems to me, because in general all this is this. company, party, yes, how do we get income, where? they apparently agreed that they - you left , they were practically without money, alexander then said they were given 25 dollars each, and what they were paid as business travelers in moscow goes to their families, isenshtein’s mother, alexandrov’s wife, for the little one the child, yes, his mother, tessa, his sister, they agreed that everything they earn goes into the common pot, but who earns, again, well, in principle, mainly in his name ezenshtein, he counts. of course, alexander fytis also worked, yes, although on the contrary, on the one hand, there was such a thing the reputation of this short film is that it’s a pretty, well, vulgar story.

the girl just sits so that it all looks as beautifully magnificent as possible, on the other hand, yes, glamorous, in general, then some sculptural figures appear there, these kinds of nature appear there, all this creates a rather ironic, very in fact, the context is that recently there was a very interesting article in magazine notes , which suggested the hypothesis that the whole film was invented precisely from... einstein’s sense of humor, but in general this remains a hypothesis, since the film, in general, not much can be isolated from it, but the entire prologue is what catches the eye first, because in the prologue we see exactly such a rhythmic sound experiment, and we can actually see how isenstein , indeed, in this case , einstein himself first came into contact with

sound. so, that’s why it’s important that they’re in berlin for a reason, they waited weeks for a visa, especially since there’s a story that they arrived and they were told the invitation was cancelled, they need to wait for a new invitation, they need to organize it somehow, but they are also going to berlin in order to organize the european premiere of the general line, and esenstein has finally finished, he made the film for 3 years, now it needs to be shown, and having arrived in europe they understand that this also needs to be voiced, moreover, isenshtein already has a prepared plan for dubbing, he knows that he has the composer edmund meisel, who voiced it for him later... and october, he has such plans, he wants terminvox

use, he takes the invention, this is it electronic musical instrument by lev termon and assumes that they will take this machine, where you enter with your hand near the antenna, and you get these sounds, then higher and lower, yes, they will take these sounds, completely unrealistic, and put it on a soviet village, instead that's why they have to earn a living by what... they have to: in france they are filming a sentimental romance, in switzerland they are making a film popularizing abortion, a film called women's misfortune, women's happiness, a hymn to the art of medicine, over which to a large extent, tise, in turn , works, and after that they finally set off in 1930 to hollywood on the steamer europe. but we have a small

piece from the swiss film itself. by the way, where in the general plan there is a birth, it’s not just a woman lying , it’s grigory alexandrov lying, we know this from memories, and alexandrov even has to stay, in europe, for a week or two, esenstein leaves with tiese, who signed the contract with his new producer jesse lasky from paramtha are traveling first class on this liner, and alexander, it means he’s finishing this sentimental romance, something is going on there alone, moreover, he ’s being detained in new york, isenshtein is already visiting celebrities and suddenly writes that grisha is on elisland, elisland is a place , where those emigrants who had something wrong with their documents or someone thought that they were unworthy of american society, maybe they were disabled, so i couldn’t. they will make no money and there will be burdens on society and the group that goes to hollywood, she's already

falling apart a little bit, is there any tension in this? nevertheless, in hollywood they find themselves in a rather difficult situation, because when they were invited, a passion for the avant-garde was in fashion and they thought that they could give isenstein something to try, hollywood made very good money, they could take a risk, do something experimental avant-garde and make an advertisement on it, but when something... arrived, the great depression broke out, in general hollywood was not ready to take risks, they wanted isenstein’s name use, since he had already come for advertising , so they tried to offer him something, commercial, completely, they really offered him a grand hotel, for example, with a bunch of stars, by the way alexander, here the very discrepancy between them was already visible, alexandrov said , that of course, let’s agree and make a film, work with hollywood stars , einstein reminded him that we didn’t come for this, but then , firstly, to preserve our rmma after all, avant- garde artists and to test the sound

experimentally, they first suggested the film zuttor's gold about the gold rush where this gold gold gold was supposed to be repeated like such a magic spell , but in general, this idea was not met precisely because of its experimental nature, due to the fact that it seems to be unsuitable for the gold rush shoot for a person who came from the soviet union, because it turns out that just as he will comment on american history, well, the same thing then happens with the american tragedy, it’s like they give him a great american novel of the same dreiser, who came to visit him in... they give it, well, they offer it, and he makes a wonderful script, also trying to develop his ideas there, but it turns out to be too depressing, but there are wonderful statements, in my opinion, by irvan thalberg, who read this , he didn’t work in parramt, they sent him a comment , yes, that’s what you think, esenstein wrote to us here, and he replies, he just finished, brilliant, esenstein is a master, avant-garde artist,

that’s all, but here’s mine hand reached for a glass of whiskey, we can't. such a movie releasing it so that our young american boys and girls can watch it is too much of a negative view of our reality , it is clear that esenstein, who comes and wants to grab this hollywood in a hurry, just as he quickly did potemkin, let’s say they came and wrote, filmed, and then went back to the soviet union, filmed there, and then returned to hollywood, such a plan initially in general, it’s something incredible, instead he writes script after script, but they are not accepted, not accepted, not accepted, and he he gets absolutely depressed, he drives around, looks at all these wonderful views , he plans the gold of zuttor, drives up and down california, yes, he sees all these old cities, writes it all down, somehow remembers it all, but he doesn’t can apply this, yes, he communicates with the stars, and at the same time, yes , he communicates with chaplin, chaplin becomes almost the best friend in hollywood, but he does not have some kind of intellectual

group around him, as was the case in moscow, with whom would it be possible to communicate? it ’s somehow already hard with grisha alexandrov, someone who who he considers hollywood intellectuals are not there at this moment, he communicates there with german emigrants , he communicates there with greta garba, he communicates there with marlene dittrich, yes, but there are no people around him who would somehow support him emotionally, save him, as it seems, at first glance, his acquaintance with another writer, the great upton sinclair, who proposes to make a film about mexico. and offers himself as the creator of a fund that would raise money for the production of this picture, and isenstein gets carried away, they go with alexander atis to mexico it turns out that indeed, firstly, this is a unique culture that combines the indian, catholic, spanish, and fairly developed modernity, on the other hand, an amazing

coincidence arises in mexico, about which even then and what is everything here the best components for shooting a film: the brightest mexican sun, the best film - american codec, the best german optics and the best cameraman of the soviet school. well, this is kind of just for filming, yes, that is, and here, of course, it coincided, with on the other hand, of course, seriously, this is the coincidence of separate different structures of the primitive, some rudiments, such a semi-feudal structure, the fact that it is all at the same time, as it happens, by the way, at the same time in the russian village, where he was filming the film old and new or the general line, how it was all in einstein’s head at the same time, because it’s not just like that , it’s around him, and he sees mexico as a projection, he writes about it as his own self, that’s how you come to

the country, you understand that there is an ancient belief , which seems to you to be the basis of everything... our thinking, there are images, there are incredible combinations of them, there is the baroqueness of these catholic churches that attract you so much, there is modernity, there is even revolutionism, your beloved, yes, on which you rose in general - then to the heights of world cinema and world culture, but there is everything , there is you in it, and how to make a film out of it, that’s where the problem arises, yes, moreover, when he came to mexico, he also returned to drawing, i i saw him when i... there was some sailor there, he was sitting in the box, on the left, suddenly he said, please pour me some norzan, everyone was running here, there was no narzan on the arbat, there is no system , stanislavsky, this is all nonsense, there is a great master’s method of work and that’s it, i stood against the wall, but with a real fadar, this there was my

military man, there were these green, white, red, the artists knew that red was a rehearsal until the last metro, why can’t you calmly sit on your hip? well, now it’s hard for me to run out to train you, in total i was kicked out three times, or even four, i walk into the office in the morning, someone is sitting next to me drinks beer, and i, uh, that’s it, end us with you, why are you going? i say, first of all , be kind, get out of here, on the birthday of your beloved yuri, on saturday first. for headaches there is askafenp - at an affordable price and askafen ultra with an enhanced composition to combat headaches and migraines.

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200 rubles for the construction of ships. i continue my journey through st. petersburg and the leningrad region. let's do a test. are you saying spartak? spartacus. movie? did you mean to say champion, or what? well, we’re in st. petersburg, aren’t we? that football in the swamps was invented by peter ii, only he didn’t call it football, but the construction of the northern palmyra, in general it was a window to europe, well, i’m ready, you’re ready, everyone is ready, this year the vyborg castle turns 730 years old, and why a glass elevator in a stone mine, you go up in a glass elevator and see, but the mine is stone, as you can see something, it was always so suffocating, the life of one’s own, the premiere, on sunday on the first. and always on 1tv.ru. this is a podcast from einstein 125. and with you is the history of cinema, natalya ryabchikova and artyom sopin. staying in mexico really reveals his

creativity, takes him to a new creative and theoretical stage, because it is here that he thinks through it, here he begins to feel more deeply this connection between theory and practices, through general things, not only narrowly cinematic, not only editing. and so on, and through the theory of perception, he begins to think about the psychology of the viewer, about the psychology of the artist, how this contact with the material is created, it is here that one of the most important of his later books begins to take shape, the method and the caring nature adjacent to it , they arose, in general, these thoughts arose, which are now so valuable and which are now being studied by cultural psychologists all over the world, precisely in mexico, because mexico gave him some kind of... impulse to rethink his life, and because there was time, they came, sat there for a year and a half, wrote to sinclair some of their ideas according to the script, again, then alexander

will offer to organize all this around some song, otherwise it’s the rainy season, then they’re traveling , suddenly an earthquake happened in ohaka , they’re going to quickly film a chronicle, so they ’re driving around, getting drunk, studying, this is necessary, this is important, and eisenstein i could justify it. yes, get money for this, later they’re starting to film, it’s the rainy season, they’re sitting, of course, he’s reading books, of course , he doesn’t have any distractions, yes, he doesn’t even need to watch films from his soviet colleagues, to finally express himself, including in text, in including in drawings, he simply draws hundreds a day, these semi-automatic sketches of one line set up the incredible in many ways automatically, that is, they shoot, they build it up like a living stein, then they will say that the film will remain unedited, why are we now just let's say, but it will remain unedited, because editing in a sense took revenge, that is, he was so carried away... and here he did not

come up with any editing techniques in advance, but here he immediately built it up to rather some of his own associative transitions , we can see how different eras combine as a transition, for example, such an eccentric solution, this is in the day of the dead, in the finale of this plan. here we see how the negative heroes take off their masks, there are skeletons, the positive heroes take off their masks and there are living ones laughing faces, this is the same opposition between the living human principle and some kind of terrible suppressive machine that runs through all of his work, which we see in potemkin, which we will later see in nevsky and, in

general, the structure here is rather not so much frame-by-frame editing, how many montages of certain such short stories. in particular, we can probably watch the prologue of the film, when it shows, in general, the image of eternity, these eternal stones and people eternally making their way. residents of the country the sacred ruins of the huge pyramids still retain the character and shape of their ancestors. among pagan temples, sacred cities, in the kingdom of death, where the past still dominates the present, human beings. similar to those

carved from stone, for stone figures are the image of ancestors, mexicans, as a symbol reminiscent of the past, a funeral rite, among the dead are the ruins of former monuments. an image of complete enslavement before the idea of ​​death, the biological, physical end of man. it seems to me that what is important here is not only how he sees, combines, everything, the whole history of mexico in these rituals.

in these landscapes and so on, what is also important here is this attention to art, yes, here we are talking about ancient art, but around isenstein there is contemporary mexican art, there are the same avant-garde artists, and he communicates, cannot help but communicate, naturally, with david siqueires, with diego riveiro, with frida kolo, he revolves in this, he spins in this, he cooks in this, and this, of course, also feeds him, there weren’t such people in hollywood, or he didn’t feel it, yes, he i didn’t see them around me, because maybe they were in new york, in mexico everything is closer, everyone knows each other and he is also present in this, and of course, he doesn’t really want to return, sinclair is already running out of money, here he makes, it seems to me, not a very smart move, he writes to the state data department in moscow, trying to demand money, his royalties for translations of his works, and then the story begins to unfold, when suddenly, well, maybe not suddenly, but at the next moment they remember , what is wandering around somewhere... and the main director,