[000:00:00;00] therefore, he doesn’t always go to the theater, because for young people the tempo of the theater, such leisurely, detailed, it can sometimes be boring, but pyotr naumovich he always brought the detail of existence to some unimaginable limits, he could rehearse some kind of exit, like everyone else some of his great predecessors, that is... down to microns, but is it possible to say that this is how stanislavsky’s system was, this is how fomenko’s system was, i won’t take on that, although i’m sure that it was, because i i came up with my own definition about pyotr naumovich, it seems to me that fomenko is like this, well, today he is the last poet in the directing profession, so i don’t know

a person who could read poetry better than him. the riddle is very simple, it seems to me that fammenko had one god, pushkin, so he knew evgeniy negin by heart, just by rote and could read any chapter there, i have a feeling that if he had named his theater, not fomenko’s workshop, but the pushkin theater, well, there’s simply already a pushkin theater in moscow, then it would have been so , at the first opportunity he did pushkin, and i don’t know do all tv viewers know, but we celebrated it recently. centenary of pyotr naumnich, and zhenya tsyganov gave, it seems to me, such a gift to the audience, to the theater to me personally that he took boris godunov to stage it, and there is such a prehistory, which means that the last work that was supposed to be pyotr naumnich, he rehearsed boris for a year godunov, and, as always, all of pushkin’s widows visited us, he staged it for the third or fourth time, yes, there was such a large sheet hanging in the theater, and

everyone was noted there, even the most... roles, since we still have 60 artists, and there are more references to boris gadanov, that means all the costumers, all the make-up artists were busy, then petorich for some reason stopped the work, maybe because he didn’t feel well, but i suspect that... then with something, the main thing was that he didn’t agree with the current time, it was 2012, i don’t know the reason, suddenly, when he turned ninetieth, zhenyanov assembled a team and made an amazing performance in my... opinion, firstly, he did everything in order for it to be a comedy, and the most important thing is that there is one and a half hours on the screen recordings of how fomenko rehearsed, and pyotr naumovich participates in this performance from the screen, maybe i’m the only one who adore this performance, because i wasn’t at the rehearsals, i very often like to drop in and watch, so he makes a remark, and the current ones young artists who have not worked with him, whether they do it or not, this is some amazing

new genre, it seems to me that thanks to tsyganov our theater invented, so i think it’s very cool that this exists, we are often reproached that we, how to put it, are either hiding behind fomenko’s shadow, or something, this doesn’t bother me at all, because our literary unit, after the departure of pyotr naumovich, brought it to me, i can’t call it a spiritual testament, it brought me a list of works that he was thinking about, well, i i think that life will not be enough for this generation, firstly, there, which is very cool, there is some kind of title, there, lady with camellias, it is written in parentheses who should play it, that is , it is clear there that he thought about everyone actor, so i periodically look there once a week that list, sometimes it turns out to stage something from this list, pyotr naunovich loved to stage prose, he adored it, i’m not even

talking about war and... and family happiness, but in my opinion, the main theatrical statement in the theater is one an absolutely happy village, a play that has been going on for more than 20 years, and the actors who play in it tease me all the time, well, maybe we have already grown old, i say, no, you will never grow old, since the play is performed on the old stage, in our very small room, there are 78 spectators in total, we could play it much more often, but we play it there specifically once a month, well, because it has been going on for a very long time, but every time i watch it there once every 2 years, my eyes widen in a wet place, it seems to me that petruch didn’t care what he staged, whether it was drama or prose , but he always didn’t lead to a play, but made it like prose, these are some kind of technological things, but it seems to me that this very important, but in general, when the director chooses a play for

a future performance, these are your ideas the feeling of what you want, your statement in general, what is it? i think it’s clear why i’m doing this. let's talk about your ulysses, for example, yes, some kind of madness, yes, this complex, huge novel, stream of consciousness, it was easy to show everyone, this can also be staged, as mirhold wanted to stage the telephone directory for me, or what? no, no, no, no, but it’s just obvious , the circumstances in my life were such that this twenty-four hour journey of the main character is a stranger in this state and irish, it's obvious. it was based on some events that happened to me personally, well then at lis - it’s like some kind of bottomless barrel, everything is there, there are all genres on earth, in my opinion, all languages, all

directions in art , everything is there, but it happened, i usually read any book there in the evening, i fought with ulysses for a week, i mean, i thought, i pretended that i wrote a dramatization, collected without pyotr naumovich all our then not very big theater, it was 200, 1998, and the theater appeared in what year, theater worker in 1993, then we were without premises, without anything, and i read it, which means it lasted about 9 hours, we broke there for lunch, dinner, staging, yes, what a staging, it was some kind of selection of material, everyone looked at me like that and said: “egegevich , maybe you’ll still work, really, they’re somehow coming to me.” treats it delicately, i’m older, it died down for 10 years, then, when they built a theater for us in 2008, and it’s very beautiful on the river, they’ve now specially built a pier for us so that people can come to us, yes, which

is very nice, so suddenly in the morning peter called naumovich, he liked to call at about 7 o’clock, and he said one word, it’s time, and i realized that it was time, so i brought the staging to mind, well , then, then there was one continuous... pleasantness, there were a lot of problems, but since the whole gang that worked with me were also, well, very determined to do this, well, we succeeded in something , then 10 years passed, but for some reason it seemed to me then that this ulis was about us, some kind of there was a click, 2 years ago we made doctor zhivaga, well, doctor, by the way, that’s also a terribly interesting story, but doctor zhivaga - this is actually some kind of song, because i had such wonderful co-authors and... for which it was a debut in our theater, i have a feeling that if i had gotten sick, nothing would have changed, they would have carried it through,

they are both super-professionals, they very keenly feel that it was necessary to make a play about how a person, despite all the circumstances around him, did not change himself, he remained himself, he remained an excellent doctor, he remained in the country, and after he left, it turned out that he was also an amazing poet, or something like that already after ulysses, we did a lot of prose, somehow, well, not that it was easy, but it was clear when we, where we were striving, there was one big problem, it was a pandemic, at times there were 15 people playing this performance , i had four people at rehearsal, we didn’t have money for the decoration then, and we somehow built it ourselves, but the audience, thank you, god, don’t notice. we had money for costumes, we made the costumes, but nevertheless, i don’t want theaters to be deprived of funding, but it seems to me that if people

are engaged in theater, they will build a theater anywhere and from anything, lop doga has this aphorism, theater is three boards, two people, one feeling, well, this seems to me, such a formula, that’s why, in general, it seems to me, if really the topic of our... podcast lab, which means theater and prose, it seems to me that for a long time in modern theater, it is not necessary to stage a play, although i personally really love plays, because you don’t waste time on adaptation, on translating prose into language in the theater, it cuts the rehearsal time in half and it’s somehow, well it frees your head halfway, it just seems to me that modern... i think it’s very difficult for them, because here’s all the wonderful modern, russian, contemporary drama, which i really follow, i don’t know, i’m a fan of kolada

, very big, because i don’t understand how a 30-year-old dog can cost one theater, while still managing to produce amazing playwrights every 4 years, the only thing i have, well, not really a complaint, i have a question for modern dramaturgy, it’s all so cool, it’s about pain and so on, but for some reason it ’s almost all in the basements, this doesn’t seem very right to me, i’m still waiting for it to come out on the main platforms. in general, it’s interesting that partly the same can be said about modern prose, it’s also about pain, about trauma, and in a sense it also remains in the basement, although there are some very large, bright events, of course, but let’s do that i don’t know whether you were bragging about it or not, but i saw a performance based on your prose at a youth theater, and i was honestly amazed at the huge number of people, and i it seemed that the auditorium was actively breathing, that's why... that evening there were a lot of young people, no, for me too, of course,

this was one of the most joyful events in my life, happy, when you wrote novels, you come to the theater , and it so happened that i did not take part in the preparation of this performance, the staging was done by the wonderful young playwright polina babushkina and i was only invited to this performance for fathers and mothers, that is, this is already some kind of general run-through, and this there was absolute it’s a miracle, to see my heroes on stage, what they are like, how they play, i’m very glad that the play is going on, it’s going on with success , it’s really all very cool, this is a podcast about the life of wonderful people, with you i’m its leading writer alexey varlamov, i have visiting director evgeniy borisovich komenkovich. i would like to return to the classics, the performance that i saw with you and remember very well, this is already such a world classic, this is king lear , this is shakespeare, that’s interesting, but times pass, centuries, some... names appear and

they drown, some remain, that’s what shakespeare did, if he existed, yes , that’s why they continue to stage it everywhere all over the world, they try to understand its mystery, but you know, there are several plays by shakespeare that i want to stage always in any condition, it seems to me that all directors are different, so i have four such plays there, i went to college with storm, although in my opinion it was a monstrous explication, well , storm is not so popular after all, but this and here... a spiritual testament, let's say, and since there is one line there that is not there, not in any russian translation, and my ending is despair , and my lot is despair, that’s what to do with it, that’s how the great bart ended, this is prosper’s last monologue, but it doesn’t matter, but king lear, that’s a historical fact, i definitely suggested

this is to my teacher, andrei sanovich goncharo, he looked at me only like theater, and theater, he was very similar to king lear, he laughed at me and didn’t talk to me, then i started pestering fomenko, i didn’t know how to get rid of me , in my opinion, he waited for his time there, i don’t know, seventy years old, finally said: “i won’t learn the whole text,” but did you want him for the role? of course, because he, well he, damn it, i don’t know who is better than the ganchers, of course, and lifamenko, but since in our country, thank god, the design was invented by a brilliant artist, in my opinion, alexandrovich borovsky, barovsky jr., then there it was possible to set such a correct form that then it somehow rolled on, and since our people are all talented, now this is without any humor, i say, they are very prepared, there were people of different generations there, somehow we managed it.

i must say that when there was a pandemic, two people were sick there in turn, two dukes and i twice , so partly from memory, partly, meaning with the text in my hands, i replaced them, how good it felt for me in this design by alexander borovsky, and we also have a theater, it seems to me, very cozy and you can hear it from any place, and i never wanted to be an artist, although i graduated from the acting department, i received some other very interesting question with translation there, yes, after all there are several translations, so you chose, as i understand it, some very, no, well , we chose the soroka translation, i won’t rank the translators now, but still the soroka translations are very difficult to learn, but most importantly, that he has some special irritating words that he has come up with, which in the first place will not give... but they somehow

make you be in suspense , so our most experienced artists told me that the king was quite difficult to teach, we understand that there is always an alternation of prose and poetry, it is clear that if there is a translation by pasternak nearby, then it is wonderful, this is not discussed, and there is the latest translation by krushkovo, very accurate and it is very like that, well, it is very tasteful. but still, it seems to me that forty is somehow more correct, the last one, well, the extreme one there, i don’t know, today you have work, as i understand it, this is a stage direction from the novel, a black obelisk, here... there is no merit on my part, because we had two very smart actors, volodya toptsov and yuri butorin, so they spent 2 years doing something with the blueprint, which i i didn’t like it monstrously, it always seemed to me that the remark is that i love him very much, but at the age of 16, i read everything and i’m happy,

unhappy or happy love, she smokes, yes, she’s definitely sick, in the mountains and so on, he he is magnificent, and there are always films and plays, and here i am... when i read everything that was happening around us, it coincided so much that i instantly joined them as the authors of the dramatization, of course i removed my last name, we brought it to crazy, i really didn’t like the name black obelisk, so i wouldn’t go with the name, it’s something about a cemetery, it seems to me, yes, and since we knew that we would have a premiere in the twenty-third year, and the novel takes place 5 years after... after the defeat in germany in the first imperialist war, that’s how this is the twenty-third year and we decided to act like this, so we called it 23, again we were lucky with alexander borovsky, who did a wonderful design, and this immediately suggested the form, well, i don’t know, i’m somehow proud of our

theater, which we have very often, by the way the idea of ​​pyotr naumovich, we very often have initiative from below, he came up with such an internal section on trial by error and any member of the team can take any work to show and sometimes this work will reach the end, sometimes not, but for example, now we have a group of crazy people, my husband and yuri titov, they took on a divine comedy , well, what is it, it can’t be staged at all, is anyone interested, has he ever staged a divine comedy, yes he did, well, costelucci has a famous performance, but you see, costelucci doesn’t have much there left it’s on video, here, and here, we had the first preliminary screening, i’m afraid to announce it, there’s no wood to knock on, but if it happens, my nose will be in the air, i, as such a temporary boss, will to be very proud of this, so you said, what does it mean that our topic today is prose, which means theater, and for me

the most important topic is gitis, because i ’ve been teaching there for more than 40 years, and i do it every 4 years all the time ... i’m proud of my country, because well, we’ve finished recruiting this year, well, it seems to me that it’s so difficult time, some completely penniless profession, where you all go, but we all the time had to schedule additional days of consultations, because the people still did not end, and it seems to me that i gained some kind of wonderful course, with one problem , of course , when we finished, there were only women in the directing group, and i knew that this would end someday, but i hoped not during my lifetime, although my mother entered gitez at the age of 16, but it was forty-seven, after all, this was an exception, and now out of six young ladies, this means that three of them are 17-18 years old, but they honestly

won the competition, and since i couldn’t calm down, in the end i finally came up with the idea that sometimes people come to us under all sorts of quotas, under agreements. he has seven women in the musical theater, he has no men, these are the times we have, to say that we at the literary institute are faced with the same thing, before it was more of a men’s institute, now it’s women’s, before women writers proved that they too have the right to exist that they are no worse than men, now men will probably soon prove. that they are no worse women, but i, as a rector who also deals with entrance exams, am very curious, well, when we select writers, our criteria are very clear, they write and we determine their ability to speak the language, imagination, intelligence, originality, and so on, when you select actors, i can also understand, probably, how they are directors, how to understand

that a person has directorial talent, imaginative thinking, none, but how do you test imaginative thinking, they and during the introductory rounds, yes, these are three rounds and competition, yes, they defend their directorial ideas four or five times , that is, these are actually plays four or five times, prose is also allowed, but plays, and this is instantly clear, this happens orally or in writing, in writing, they have an explication, first they are obliged to bring a model, even if it is somehow amateurishly made with their own hands, it doesn’t matter now. just so you understand, one girl defended the blue bird, miterlinke, which, well, everyone knows about stanislavsky’s performance, and so on, but this... in my opinion, one of the most difficult dogs in the world, if i were a millionaire, or if i were the absolute master in my theater, she

is 17 years old, i would let her stage this play with us, well, this is an impossible situation, she there is a first-year student there, but this made such an impression on me, then after the third round they do a lot of excerpts and excerpts with the actors, because several people who were wonderful in theory, when the itudes and excerpts began, they are young people, they are these eighteen-year-olds they lost to the girls, that's it, but in general to me it seems, mm, oh, the system of obstacles for admission, it is growing more and more sophisticated every year, because we, well , in general, we have no right to make mistakes, because we have very small courses, and the directing group is always very small, and the quality of the director’s group determines, how can i say it, the success of the entire course, but if the director’s team... is good , it turns out that there are twice as many teachers, because directors, they immediately become

teachers for fellow students, well, in general we have it’s very interesting there, that’s understandable, and also an interesting question , you said that people act, yes, in general, there are no financial or career prospects there, that is , no one gives them guarantees, no one, but in general, as usual, well, usually for everyone its own, but nevertheless, how the fate of a gitis graduate can turn out, that’s where he will be distributed very differently, well, because it’s understandable. that an actor should be on the phone, well , it’s better if he gets an agent, but directors, it seems to me, oddly enough, now have a rather preferable situation, because almost all the theaters in the country have come up with a very clever thing, they conduct laboratories, if three or four people participate in the laboratory, there is some kind of theme, there is one, i don’t know, fairy tales or a modern play or something, i don’t know what or in a thick one or something , that’s which of them... one of them will win in the laboratory, they organize a competition, yes, they and the actors of the same theater make a small sketch, and it’s instantly clear who

won, they let him direct, dear friends , we continue, this is the podcast life of the wonderful, i am with you, its lead writer alexey varlamov, my guest is director evgeniy borisovich komenkovich, but in general , what is happening in theatrical life in russia, this is how you would describe what is happening today: where are we going, what awaits us, what to expect, but it seems to me that the same thing always happens and the same thing, everyone is looking for topics to speak about, always, this is the most important thing, we had a wonderful teacher , playwright leonida kheifits, so i pester everyone with questions, i say, what in general, what have you been doing all your life, he says, i’m looking for a play modern, and my teacher goncharov is also already these are the very last days of his life, when he met, he spoke, he could not pronounce, but he said: well, kudilovich, well, there are new plays, this, well, it seems to me, this is generally

the most important thing, well, in a theatrical novel there remember, he says, why new plays from old ones or something, in general, i’m so proud that we staged a theatrical novel, thanks to kirill pirogov petrunov fonenko, because it seems to me that this play needs to be reviewed every day so as not to become bronzed and not make mistakes that it's so hard there... i i love this book, because it was written as revenge, he, he has a conflict with the art theater, because they cowardly renounced maliere from his point of view, he seemed not to want to understand the complexity of the then political situation, he was terribly offended by them , he leaves this theater , where he ended up on a call from stalin, by the way, nevertheless, he despises even this, leaves and sits down to write a theatrical novel in order to take revenge, because it is curious that when in sixty-two they wanted to publish this novel. in the world, the old moscow kharkiv people were indignant, because they were afraid that he would completely overwhelm them all, suddenly this book is a declaration of love for the theater, suddenly you can see how

in him in bulgakov this kindness, mercy overcomes him, this feeling, and of course, this production yours, it’s amazing, because such recognition, how the world of literature is depicted there, so envious, bilious, all these writers are friends, in the theater you find yourself in this territory, it elevates you, if you have talent, then even these servants all this... more someone, even stanislavsky, whom he did not like, nemirovich danchenko, whom he could not stand, even they look like absolutely amazing people there, yes, this is a miracle, of course, this is an instruction for any theater, it seems to me that’s for sure , this is a fact, about the golden mask, can you tell me something, what do you think, oh , you know, i don’t fully know what the whole fuss is about, i know that this is a useful phenomenon in our lives, i don’t really understand, why should they remove some category of modern dance or modern drama, like can this be removed? in my opinion, in my opinion this is

nonsense, i want it to be. so i was somehow very proud of the theater community, when there were new times there, filmmakers were divided there, writers there, i don’t know how many unions, so i was somehow very proud that we were united, and now there are some letters of protest, to be honest, this really upsets me, but i know that the golden mask brought enormous benefits to the province, in general i have a theory that if there is some next breakthrough in... theater, then it will definitely be in the provinces, because i don’t know, in some lesosibirsk there is such an amazing theater, or i, for example, i’m proud of my king lear, but i’m delighted with the decision of king lear, who, who made in izhevsk, for example, i saw this on the golden mask, exactly, and it seems to me that the golden mask is a chance for provincial theaters to express themselves, well, yes, well, not only for us

, we have such a big country that you don’t have time , i travel all the time, and you? somehow it was going to happen anyway, it’s probably possible to improve it, well, god willing, it will exist, i’m afraid, because i don’t know very well, well, the main thing is that it exists, and that no nominations are removed, it seems to me that this would be right, i’m generally interested, this is how it turns out, how many years does a performance live, what does it depend on, what influences it, a very easy answer, but here we wouldn’t film any performances at all, and we have 60 people in the dead. now i’ve already lost 47, 48, 49 performances in the repertoire, we have nowhere to store the scenery, but okay, it’s somehow problem to be solved, and sobyanin built such a huge storage facility for all the theaters, it helped a little bit, but not completely, thank you very much, but the horror is that with so many titles, although we have four

stages, we are generally in chocolate , yes, we are playing the premiere at four. everything else is one time and this is not, of course , this is wrong, i always give the example of kostya raikin, who on the big stage, i don’t remember, has seven or eight titles, and when a new performance arises, it is one performance he definitely takes it off, but in our country, every time the filming of a play is a tragedy, because all the plays are in saku, even those that are very many years old, there is war and peace, fireman and family happiness, but how is that? so i don’t understand, and even if they always live, but in general, but still, well, how, but new ideas, new people appear all the time, so, well, somehow we shoot something, i like to shoot my own performances, because i ’m the boss, i have to set an example, but this is a very big problem, a very big problem, the problem of all theaters, i’m not for others i know, i know about us, that i know that it’s not good that we have many

long-lived performances, but if they are good, then what can be done? in the world, after all, you probably follow the european , world theatre, how different their problems are from ours, or wait, stop, there is a completely different system, they have repertoires, they don’t have repertory theaters , well, in france, there are two, that’s why no, there is a completely different system there, it seems to me, some kind of reasonable more or less system in germany, because there is a complete decentralization, after all, well, they somehow exist in blocks, but to be honest, even... in our country, if i were the biggest boss, i would make sure that half of the theaters were repertory, because that this is really our achievement, but half should be free sites, because after all, we have a lot of almshouses, and i’m not sure that this is right, so i don’t understand who should decide and regulate this, but i know for sure that we have

a huge shortage of free venues where life would be more active than in the repertoire. v theaters but if we talk about the economic component, the theater as a whole, is it unprofitable or can it make a profit, which is how it all happens. no, only interprise theaters bring profit. but uh, that doesn't happen. because let’s say literature in this sense, it seems to live more honestly in its relations with the state, of course, we get some money there for festivals, for some, but in general the book, that’s how much you sold, how much you will receive there royalty, fee and so on. that is, no such injections especially this is not a book commissioned, and most books are still written simply because they are written, that is, in this sense, theaters and cinema are probably structured differently, the bolsheviks preserved the big theater, although there was no money then, we preserved how , so no, theater is a cultural phenomenon

that seems to me, well, at least some, yes, if the theater supports it. it seems to me that this speaks about the level of this state , it seems to me, despite all the shortcomings and horrors, and many say that there are many theaters in moscow and no one knows the number. until now for now, but it seems to me that it’s great that in moscow you can go to the theater, and when you get on the metro there at 10:00 pm, a lot of people come with programs, well, that’s great, very cool, no, no , it seems to me that no matter how technology develops, it seems to me that any meeting with a living person, and not an acquaintance in search of a bride on the internet, it seems to me that gramophone records have not managed to disappear? they disappeared at first, and then everything came back, there are such crazy people who spin them, books, that’s how many, it seems, yes, on

on a computer you can see it better, really, nothing, i think, it’s all one writer, you can put a kettle on the book, well, yes, probably, well, well, thank you very much, evgeniy boritovich for this conversation, once again, my best wishes to your wonderful theater, we’ll wait, that’s it, i’ll tell everyone everything, thank you, it was a podcast about the life of the wonderful, it was hosted by me, the writer alexey varlamov, my guest was a wonderful theater director, evgeniy borisovich kamenkovich. all episodes of the podcast lab project, look at website of the first channel 1tv.ru. hello, this is the podcast of mount fire and i, its host denis gorelov, with stories about the main trends of national cinema,

a digest of the most important national film innovations of the last 30 years, the extent to which this influences the current state and development of national cinema . the country is developing quite intensively. and we live tightly since last year, i think the third period of national development of a sovereign country has already begun, and the first took place in the nineties, that was the time absolute anarchy in the complete absence of the state, such a process of the hour happens when there is a change in the socio-economic structure , something similar happened in the world during the great french revolution and here during the october revolution, the state... is slowly dying out, the new one has not yet was born , so there are problems, and the main spokesman for this time, according to the general consensus, turned out to be alexey aktebrinovich balabanov with the film brother and all his other

films, what time is it in my apartment spent, you can’t imagine how much vodka we drank together, all the musicians hung out at my place, i was the only one who had my own one-room apartment, but my own, i had everything... the musicians crowded into serlovski, everyone ran away there, somehow, when? well, when everyone left, it was under these conditions, in fact, that a new stage of balabanov’s cinema began, he once began with productions of kavka and becket, i was very interested in the siamese twins, i read books about them, there were also... czech girls like that well, well, that is, i was wondering about so ugly, everything, i suddenly read about these people, i didn’t know about them, about the fact that people

can be masochists. but in 1997 his brother came out, from that moment his cinema began to talk about a man’s preservation of self-respect in the complete absence of a state apparatus . the word man is very important here because all the feminist heresies of that time still came from a post-industrial society from a push-button economy which, of course, equalizes men and women, in our situation, where it is strong, is still

there is a strong share of physical labor, and - there is no one hundred percent safety, therefore, when protecting neighbors, sometimes it is also necessary to use physical effort , a woman in these conditions always loses, simply because she was not created for any physical effort, atuyara svenoboy, the main character of the film, died in he has 200 loads, in the extremely nice characters of the south-east in kochigar the main character, as well as in the failed film the river in which all the characters died in a car accident, and current asia of the south-west caucasus, he was quite ferocious, for which he was actively criticized and persecuted by the domestic liberal intelligentsia, and the world community, the cinema community, simply did not take his films into competition. here, there was even some paradox, because not a single picture of a person who held the palm of the national film championship within the country, in competitions

at international festivals of class a, in cannes , any next film by balabanov was necessarily shown in information screenings, but he was never taken to the competition in his life, just fearing that suddenly this movie is still if someone from the jury, from the filmmakers, likes it, you can expect everything, they will take it and give the victory to balabanov, allowing this from the point of view of western cinematography was completely unimportant. maybe there was very little money, practically none, on film, on camera, but i filmed in all the places where i know something, seryozha, an unusual, very such a character, and then we sat on the beach, in a cafe, drank - for my beer, i don’t remember anymore, it was during the day, it was sunny, it was a day, i told him,

let’s make a movie together, but there’s no money it will be, he somehow so simply, just said: “come on, that’s it, i didn’t take him as an artist, but as a person who, well, together with me, i wasn’t a director yet, so big then, although i’ve already made three films i had filmed before, professionally, i mean, but i..." i didn’t feel like that. balaban, perhaps, didn’t give a damn about this, he stuck to his line, as was sung in the song in the film brother-2, and i suggest watching a fragment from his brother, which quite fits this line. come home with us, it’s good there, what am i going to do there? what are you

doing here? and i like it here, in america all the power in the world, where is the power, brother, that’s what , all the power is in money, brother, money rules the world and the one who has more of it is stronger, okay, that’s a lot, and what will you do, i’ll buy everyone, including me, danilo was a man who could actually make a goat’s horn, and the front-line past was openly discernible in him, every time he rented an apartment, he examined and figured out escape routes, back doors, and so on, having arrived in st. petersburg he went to brother not right away and maybe he couldn’t even explain why, he spends the first night somewhere either in the attic, or in the basement, among garbage bags, eh, but he comes to his brother already armed, which is also important, perhaps he wanted

to feel the revolver in his pocket, this is very serious and says a lot about the person, while they said everything about brother danil, it was done well by a professional, it is deeply paradoxical and symptomatic that a wonderful biography of alexei ktebrinovich was written by a lady who is the main lobbyist for domestic feminism, at least among film critics, maria yuevna kuvshinova and marusya thus stepped on the throat of her atlantic song, although she acted in a purely american style, she did not express her thoughts about certain films, but chose approximately 20 people who knew balabanov best, among them were people from his environment and people slightly from the outside who were able to appreciate him from some... adjacent territories,

it warms me that i was included in this number, uh, and maria herself spent hours interviewing these people with with a voice recorder, about alexei himself, about how he understood the life around him, the result was a rather voluminous picture, uh, which, in general, was recognized by the entire russian public, the book went through several reprints, it completely corresponds to the task, but the truth is, masha seems to have felt , that she too followed the lead of the character and began to publish her texts, about the fact that, in particular, as it seems to her, the main character of the film, brother , is not brother danil himself, but a german, as in general a person, a bearer of a moral imperative , pronouncing the most, accurate and important maxims on this matter.

to this i will say that with the same success we can say that the main character of the book about baratina is a cricket, he is also a bearer of a moral imperative, he also says the absolutely correct things, but still, frankly speaking, the hero is the acting hero, the wooden man pinocchio. the brother himself was in some way a wooden man , he could protect himself quite well, but frankly speaking, only a single person is completely invulnerable, people who fall into the same orbit with him, are under threat. as for sveta’s friend, then... fully understanding the abomination of his own brother, he calls him from her apartment, and thus sets her up, because brother vitya immediately writes down the number, and then leads all the gang on him,

and in the same way mm, very takes a big risk in a thieves' apartment , director stepan accidentally wanders in, to whom... danila says that of course i don't really like directors, but you're a normal guy, no one will touch you here, i promise you, after which i'm completely irresponsibly leaves to watch butusov, and if he had not returned and delayed at least a minute, then of course stepan was also threatened with immediate death, and another thing is that all this was redeemed by the absolutely excellent charismatic smile of sergei bodrov jr., everyone was in love with him, at that moment a gangster the theme was absolutely dominant in cinema, all the films, the best films about bandits, were on the b. brother, boomer and brigade. following the time without a state, the time has come for a relative

order of stability, tranquility, some abundance, sudden for our population, accustomed to difficulties, and - this period, in my opinion, was best expressed by zhora gooseberry, here, of course, there is no consensus decision on this person, but i continue to insist that it is the best the exponent of this period, as for modern times, and the director who will express it in the most accurate and beautiful way has not yet come to the fore. but let’s clarify what is director number one, the main director of national cinema, this is not always the case the person who collects the largest box office, and this is almost never a person recognized by national intellectual circles, the main director, the number

one director is the person who most accurately and vividly conveys the state of the national mentality in a given specific period of time, and as for our national cinema, then in the first 30 years of soviet power, the main director of the country was joseph vaserionovich stalin, it is unlikely that there was someone who was able to follow his line, or rather there was such a person, his name was sergei mikhailovich izenshtein, imagine, the fact is that ezenshtein considered himself a figure absolutely equal to stalin, he had incredible respect for people capable of turning the world upside down, he considered himself the same and was not at all afraid of either arrests or any stalinist influence, only with such worldview it was possible to do what