dad, we still love you, you are our dad, come here, my children.

i welcome you to the podcast of the chronicle of the end of times and today i will tell you about how semenov was eliminated - he is an absolutely legendary figure, he is more than writers , more than publicists. of course, he is mainly known as the author of such a character as stirlitz, the seventeenth century of spring, this is his creation, this is his novel, which was filmed, this, by the way, was the first series on soviet television, and many reproached

semyonov for that he took advantage the fact that it was the first as a byrial, that is, there were more than ten episodes, and each episode was paid for as a separate film, that is , after this experience, the guest of the soviet union television and radio reconsidered the payment system for multi-part, so-called films, vladimir semenovich vysotsky sang , i hate gossip. in the form of versions, but here you can’t do without versions, i also hate gossip in the form of versions, but versions, interestingly, that was the name of that publication in the top secret holding, which appeared after the elimination of yuliana semenov, who actually created this holding. generally speaking, the appearance of the first private newspaper, and top secret, was the first private publication in the soviet union.

just marked the end of times, because for the first time in 70 years of its existence the state lost its monopoly on the printed word and periodicals. yulian semyonovich semenov has been running around with this idea, to create his own publication, in which he could publish what he considered necessary and who he read was necessary, he was running around since about 1986, because in 1986 he created the international association of detective and political novel, whose members were, well, the most prominent writers of the detective genre in the world. yuliyan semyonovich semenov is not just a master of the detective genre, and not just a completely unusual extravagant figure of the soviet literary society, he is also a person who was fundamentally different from his own... not in his writing style, not in his approach to

writing, but in his view, in general on the universe as a whole, on the prospects of the beloved to them the country, i say without any irony, the country he loved, because he loved the country , despite the fact that his father was repressed, he himself, of course, also had serious enough complaints about the structure in the soviet union. structure not only in the writing workshop, but in general there were questions about freedom of speech, well, it’s a commonplace that everyone grumbled about this, but he is the man who broke through this wall, i will repeat again, he created the first private publication in the soviet union, top secret, in september 2023, 30 years since yuliana semyonova passed away, but then at 9

his heart simply stopped, and he died long before that, in the eighty-ninth year, since the eighty-ninth year, he was in a state of... well, what is called , how it doesn’t hurt me to talk about it, because i simply loved him and love him, he was in a vegetable state, he was actually liquidated, why and how i will tell you today, the newspaper, top secret, arose as such an experiment, egor legachov , who then supervised the entire press in the soviet union and in general... the whole ideology categorically objected to the ideas of a private newspaper, and then ilian semenovich semyonov said: this will be a newsletter, he said, no one asked any questions about what a newsletter is, well, it was just a monthly newspaper.

using, well, relatively speaking, my official position, i set up a franchise for this newspaper, it was published in moscow, and the publisher was yuliyan semenovich semenov, who had a salary of 1 ruble per year, so we, the employees, the first employees , were the owners of the newspaper this edition we were called shareholders, no one understood what it was, no one was particularly proud of this title, and in general did not understand the essence of it, i was personally interested in what my personal salary would be, what share i would have there, what percentage of this the newspapers belong to me, i was the first full-time ... employee , that is, i was the first to risk leaving the officialdom, i was working at that moment in the magazine smena, an organ of the central committee of young communists, he suggested that i go to him, our editorial office was located in a safe house of the security

department , on the then kalininsky avenue, now this is the new arbat, yuliyan semenovichova, his friends from the ministry of internal affairs assured that all the listening equipment was there. removed from the apartment and that we could sit there and talk freely about anything, make our plans, i didn’t naturally turn out to be a chief editor, i was just a reporter, yulian semyonovich quickly realized that i didn’t have any organizational talents, well, i calm myself down by the thought that at that moment it wasn’t, then i finally got them, and he invited me to the position of chief editor... from ap, everyone was convinced that he was from gru, well, in general, a lot of apna journalists worked for this organization, apparently he really was this sad person, when i simply asked him questions directly, sasha, he laughed it off, but in any case,

organizational skills he had and had some kind of special hooks, because he brought a couple of his acquaintances, who nevertheless discovered two bugs. in the kitchen in the office of yulian semyonovich himself, because this three-room apartment was built so that one room - this was the office of yulian semenov, where meetings of the editorial board of the meeting were held, the second room was the secretariat and the third room was like this, well, for the editorial office, in general, two wiretaps were confiscated, yulian semyonovich became very angry and turned to the general who actually leaked this room. here he apologized, said that it was a flaw, well, that’s how we all laughed, no one really cared about it, only one photograph survived, where yulian semyonovich is captured with sasha pleshkov, this one is to the left of yulian

semyonovich semenov, this is alexander, and our members of the editorial board, this is actually a photograph taken in the very office of yuliana semenov, that is... in the room where the meetings took place. alexander pleshkov was a very close associate of yulian semyonov, not because he worked in gru, but because he was his professional colleague , a journalist, they equally understood the concept of the publication, the layout of this publication was invented by your humble servant, as they say, here we drew t with the artist, the emblem name was invented by yulian semyonovich semenov himself, and the entire pilot number was done by only three or four people, as i remember, dmitry likhanov, my colleague and longtime friend, sasha pleshkov, and of course yulian semyonovich

semenov himself, who rolled out a bunch of materials , which, i believe, were leaked to him by his friends from the secret services, and things started to happen. that is , returning to how i used my official position. so, the newspaper was printed in moscow, but since it was printed on such special paper, which could be like swearing. there were no computers, then newspapers were printed from the matrix, this is important to understand, i was then invited to co-host the most popular program at that time, a program from the youth editorial office of central television, it had a huge audience, was published once a week, several issues i invited my co-hosts together with them and in each of these episodes... there was no advertising at all on television; this television had no advertising at all, that is

, it was about how to somehow monetize airtime did not occur to anyone, i remember there was actually such an episode, it’s a little not top secret, but about advertising, that quite clever guys from the ocean, who were located in brighton, they began to make such sweatshirts with the inscriptions perestroika, there is glasnost, so they gave us these sweatshirts, and we were so happy to broadcast in them, not realizing that there was a whole cooperative selling these sweatshirts, well , relatively speaking, for us, that we were simply promoting merch, as merch is now called, because there was no control over possible hypothetical monetization of ether, then in every issue of the look where i was invited, i shook off, by the way, the next... issue of this newspaper was top secret and said that everyone could contact

such and such a phone number, in my opinion there was even creeping line, or, in general, go to the office - yuliana semenova is top secret and we will provide them with a kind of license, that is , it was such a franchise, and the newspaper was published in millions of copies in a variety of republics, printed in the baltic states and in transcaucasia and in the middle asia, we quickly dialed very... in terms of reputation, financially, things were going well, i, as a shareholder , didn’t understand this, because i still didn’t care about what a share was, but there were people who understood the situation, but more about them later, refuse, laziness that’s all he’s waiting for, comrade trotsky refused aha important mission, i give comrade trotsky, no, it’s what i have to do, lev, i came to stop. crime, how much time do we have, no more than an hour, i’m thinking of leaving along the river, remaining

to die, no, that’s not the main thing, what’s more important is how to die, trodsky, tomorrow, after the program time, bourbon birman, a product of the stellar group. we are back, this is a podcast chronicling the end of times and we are talking about yulin semyonovich semyonov and his brainchild, top secret. at some point, yulian semyonovich thought that he needed to expand, that is, to make not just one newspaper, but to make several newspapers, perhaps publish a magazine, and since sasha pleshkov was very busy, his right hand and first deputy was very busy. these contacts, it was

decided to invite a person who is quite well versed in media, western media, this person was artyom borovik, he was a friend, comrade, colleague , who actually introduced me to yuliyan semyonovich, but artyom then worked in the very popular magazine ogonyok at vitaly korotich, headed the international department there, published books, one of them was called i served in the american army, that is, he actually went on an internship to the pentagon, an american journalist came here, and i remember this meeting in the central house of writers, the four of us, me, dima likhanov, veronica helchev's wife. artyom borovik and artyom sat for 3 hours , we were rubbing it all out, we really persuaded him in our head,

without knowing it with dima, so that he would come as a deputy to yuliana semyonovna. in the end, artyom agreed and began to work on the issue of creating, in particular, newspapers, versions and magazines of the person that later appeared in the holding, top secret. but without pleshkov and without semyonov, because sasha pleshkov was killed in paris in april 1989, sasha went there to study the so-called gold party, now no one remembers this phrase, then in the late eighties, it was quite a noisy story in the media, they discussed it in kitchens, it was about the fact that people who understood that the soviet union would inevitably collapse, they

they brought resources, the so-called gold and foreign exchange, to the west, in order to then come back with money, and well... do what they did, that is , buy up factories, entire industries, there was a very interesting selection system that he talked about pleshkov, in the same group, for example, some resident, intelligence officer, was given a budget to, say, create some kind of pharmaceutical company that would be a roof for our work, for the residents, or it doesn’t matter, business and people carefully watched how he would use this money, some spent, invested all this money in a business there, as it were, well, taking into account , of course, some kind of salaries and so on, and some stole, well, that is, they created a business, but there another million went somewhere offshore, man put

themselves, these people were taken into account as promising in the center, that is, they were invited and said, well... we all know how many there are, how many there are, you work very correctly, that is, you are a promising person, just keep in mind that we all know, they were counting on these people , as those who would later build a new society, as enterprising people, not blinkered and ideologically one-vector people, who did not think about themselves, but only thought about work. not without bitter irony sarcasm, pleshkov told this, so the idea was to generally deal with this gold of the party, that is, to generally open up this system, in paris, we had friends, when i say, here, i mean the editorial office is top secret, in particular

francois moreau, this is a french journalist who admired him, considered him a man of the future, new russia , he worked in the magazine vsd, this is friday, saturday, sunday, the publication was very popular in those years in france, about the same as the light in our country years and he said that its leadership, the leadership of this magazine, can offer sensational material, top secret, well, sasha pleshkov went there, he’s coming tomorrow. that day with eduard limonov, who lived in paris and who, by the way, thanks to pleshkov and yulian semyonov, returned as a writer to russia, because it was we who began to publish him in top secret, he was still such a banned writer, but he was already advancing the end of times everything changed, banned

names appeared in the press on television, banned... by the way, there is a photograph, me was preserved in the archive, where yulian semyonovich talks with eduard in our office, of course, eduard limnov has nothing to do with the elimination of sasha pleshkovo, naturally, other people did it, it just coincided that in the morning he had breakfast with him, then he met with the leadership of the vsd , the french were ready to sell this information, but at the prices that... were completely normal for western media, where there are millions of francs, well, then there was no euro yet, they were ready to pay for sensational materials, with us naturally, there was no such money, there simply wasn’t any in midiyka, there weren’t even any advertising budgets, not only on television, but in newspapers at first there wasn’t any advertising either, but the leadership of the vsd, as

yuliyan semyonovich semyonov assumed, they kind of burned some of the information was told to sasha about who exactly in france, particularly in the west , is engaged in accumulating funds withdrawn from the soviet union for further investment in the economy of the new russia. in short, sasha pleshkov had dinner with french, returned to the hotel feeling very bad, he tried to call a doctor from... the soviet union embassy, ​​the doctor did not come, he went down to the lobby when the party saw that his hotel guests were bleeding from all the holes, from the nose. ears, mouth, he called the doctors, but it was too late, completely, he was brought to moscow in a zinc coffin, the conclusion of the french doctors was

more than strange, that is, it said that he was poisoned, it was not clear what, yulik, how called, everyone in our editorial office is for eyes, naturally semyonovich, because in his eyes they called him or yuliana semyonovich, but they lovingly called him yulik, yulik was completely... crushed by this story, because he understood that to a certain extent, he himself, so to speak, had given this order and opening this pandora's box, he sentenced his deputy to such a rather tragic fate, and he decided to promptly completely get rid of the publication, or rather, not get rid of it as such, but to bring it to the international arena, he entered into an alliance with merdek, with rupert merdecom, media mogul and decided to start what is called a collaboration, in the presumption that if it was a soviet-american publication, it would be easier, in particular, it would be possible to find

money to buy the information that the french offered us, a representative of merdeka agreed to come to moscow , yuliyan semenovich semenov wrote a letter to the then head of state, general secretary of the communist party mikhailugevich gorbachev, the first president of the ussr, then he is planning such a meeting that he wants to bring it top secret to international level, and outlined some prospects, how, in principle, this is good for glasnost, which gorbachev promoted, and how cool all this is in general, very, very good, a representative of merdeka arrived, and we went to negotiations, there were us in addition to the driver, by the way , she didn’t have any... their guards, no one at all , didn’t bother there about any kind of security , that was the mood in the car, in addition to the driver, i repeat, i, artyom borovik, and yulian

semenovich semenov himself, meeting with representative of mardek was planned there on a ship on the moscow river, and during this trip yulik had a stroke, that is, he was broken by an insut. naturally, the meeting did not take place, we went to the hospital, and at that time i was filming a film about yulina semyonova, my friend, olivia lichtenstein, whom i met when she was working on a film called prostitutes, and whores, we were with her then we met, i went to london there for dubbing and so on, so she started a series about - new people of the soviet union, not new russians, but new people, svyatoslav fedorov was there, kuryokhin and yulian

semyonov, in my opinion, by that time three films had already been released in this series, comrade comrades, so she was making a film, according to my script, about my work, yulyana semenovich semyonovna, since they were traveling in the second car, they wanted to film this meeting with merdekom, which was supposed to be well... key in the film, that is, they naturally came with us to the hospital, filmed how, uh, we take yulik out of the car, and uh, dima likhanov and other people from the editorial office arrived there, and whom we notified, and dima told me, well, seeing that he’s filming my english, this, he told me, are you crazy, well, he didn’t use standard language, but... i thought that i really was crazy, because the person we love, i’m drooling, muddy

look, he just, well, the picture is not the most attractive, i asked olivia to stop filming, she harshly said that zhenya, you are not a professional, i say, i am not a professional, i ask you to stop filming, by the way, i later discussed this episode with a very many meters of russian television, i told, there was such an episode, but not am i crazy, they say, you should have continued filming, if you are a journalist, you work, you record, because you don’t think about yourself, about your emotions, you think about recording this or that fact, you are a reporter, you are reporting, you are not lying, there is no analytics here, you are recording, because later it will be possible to figure out what to do with this material, there is no material, then there is nothing to do with them, and so i realized that i am not a professional, so with since then i prefer to introduce myself as a media ideologist, and

not a journalist, in short, the filming - it... was - stopped, well, that is, they didn’t film yulian semenovich, the british filmed us, filmed me, dima likhanov, artyom boroi disappeared immediately, he left somewhere, somehow yulian semyonovich was pumped out, he began to at least moo, say something, not very separate limbs, and well, in any case, in his eyes, some kind of something appeared there and he at least was that he recognizes people, so we left him in the hospital, they arrived the next day, and the nurse arrived, i was with the british, with olivia’s group, lichtenstein arrived, and the nurse said that two people came at night, they didn’t even bother putting on white coats, they just showed their id, talked to syulyan semyonovich semyonov, after that no one talked to him, in the sense that he

became, well, in such a state that he could only cry, well, in general, olivia filmed all this, she filmed this nurse for a fee, because she was reluctant at first, but for a soviet nurse, 100 pounds sterling was almost half a year’s salary there, in 1989, she told all this when i was seeing olivia off, they tried to seize these tapes, she didn’t fly off on those flights, she called sofia embankment, the british embassy, ​​some people arrived there, then she flew away the next day, but she managed to get the source code only in 2021, in the summer i met her in spain, she kindly gave these source codes to me, they were used in the creation of the

channel one documentary. semyonov, here is yuliyan semyonov semyonov in this state i was still there for some time until september of the ninety-third year, that is, for another 4 years, and here is a very cool, relatively speaking, moment, a moment that i thought needed to be discussed in the work that we did together with olga yulianovna semyonova, daughter, youngest daughter, yuliana semyonovichonova, this is just in spain while working on a film about yu, where all these things were said, there lived one noblewoman, a noblewoman, a rezbian, kaisa ollengren, the minister of defense of the netherlands, support for ukraine is very cheap way

to ensure that russia and its regime cease to be a threat to nato allies. it is quite possible to supply f16 fighters. as the pilots and commanders of air defense systems told me, this is our dream; they are waiting for this equipment in the ukrainian air. lists of participants of the belder club kaisa alongrin. this is a club that professes the concept of the golden billion. her father, her grandfather were truly loyal to russia. a creature that, instead of continuing its lineage, decided to end this lineage on itself. these two managed to get yourself two elzbeyanochkas. they have companies that offer children for rent, children were rented out for sexual pleasures, they find themselves taken forcibly from eastern ukraine, they depicted themselves with all these warning signs, rainbows, but in fact it is a monster, karin hildur alongrin and other dutch diseases, dolls of the heir tutti , tomorrow on the first.

hot ice, live broadcasts, november eleventh and 12th on the first, love figure skating, appreciate figure skating, love figure skating, we're back this podcast chronicles of the end of times and we are talking about yulin semenovich semenov and his brainchild are top secret. you can find all episodes of the lab podcast project on the website of the first channel, 1tv.

so, the fact is that i will repeat, it was the soviet union, nowhere in the world, including the soviet union, there was any internet, there was no internet, there was no mobile communication either. it was, therefore, when a person went on a business trip, and ilian semenovich semenov went on business trips very often, so that work in the editorial office would not become, er, generally in the holding company, he inserted such a stack of forms with a top secret logo with his signature, where you could type any order, put any date, and as if with his signature it would come into force. well, it was assumed that he would return from a business trip, if something wrong was printed there, it could be withdrawn and disavowed, no one could have imagined that a situation would arise when the dejured person was alive,

no, his heart did not stop, he he is still alive, but de facto he is a corpse, de facto, he cannot do anything, he cannot say a word, these forms were used. these the forms were used, at first all the shareholders were deprived of their shares, and dmitry likhanov, and i and many others, including zoya ivanovna, semyonovich semenov’s secretary, such a very famous lady who was imprisoned in stalin’s camps and so on. a glorious, perfect misanthrope, everyone was afraid of her, but they loved her, in general, everyone lost their shares, the shares were all accumulated by artyom genrikhovich borovik, artyom genrikhovich borovik settled in the apartment of yulian semenovich semenov,

the nuance here was that yuliana had two daughters, but one of them, olga, with whom we just worked, still lives in the city of paris, and the eldest dasha, she is an artist, she was completely far from these people, she had her own family, her own problems , its tragedies, was infinitely far from these kind of property disputes, in short, the holding ended up with artyom borovik, which in general was not bad, because in fact, artyom, he was younger and much more advanced than chemyan semyonovich, he is not... all these complexes, conditionally speaking, i think that yuliyan semyonovich semenov would have followed this path to create a holding much longer and not so confidently, because it was under artyom borovik that

the version, newspaper and magazine of the person appeared, in general, in general, an advertising service appeared, that is, holdin flourished, but actually without semyonov. i remember how they buried yulian semyonovich in september 1993 , it was a very rainy day, and weiner, his competitor and comrade-in-arms, a writer, detective, very famous, said that we discussed a completely different story, so they remembered something , then later... a few years later, when vladislav listiv, the first head of ort of the first channel, was shot , weiner, remembering this story, said that it’s amazing how often people stand close to the coffin

killers, i don’t know what he meant, because somehow it was not before that, and actually it didn’t interest me then, all these things, they actually, as if in a narrow professional get-together, are not for whose secret was even once another date at the central house of writers a meeting was arranged, olga came from paris with her grandson, yuliana semyonovna with her son , this is dima likhanov, sitting to the right of the semyonovs, dima and i were simply the hosts of this evening, these things were all heard in the hall, there and there was a close relative of yuliyan semenovich semenov , nikita sergeevich mikhalkov, because yuliyan semenovich semenov was married to the sister of andrei konchulovsky and nikita mikhalkov, ekaterina, in fact, she is

olga semyonova’s mother, and i asked there, so nikita sergevich, nothing surprised you from what you heard, and he said no, him. nothing surprised me, but i, since i’m not a professional journalist , i’m always surprised, i always can’t get rid of this... necessary, so to speak, this, i don’t know whether to say, quality or lack, to be surprised, that is, i just can’t learn to impartially, to perceive information and broadcast it, which, of course, really interferes with my work, but allows me to think that i am not dooming my soul to death, that the soul is immortal, yulian semenovich semenov, it is also immortal and not because he created these works, not

because stirlitz is still known, even those people who do not know who ilion semenovich semenov is, saw 17 moments of spring , and i think what would have happened if pleshkov had not gone to paris then, so that it would have been top secret, but so that it would not have been top secret, it was obvious that the vector along which the country was moving could no longer be changed, which would have been the country already it was decided without yulian semenovich semenov and without journalists, the main drawback of yulian semenovich semenov, for all his merits , is that he was also a man, when i say, i also mean myself, this is perhaps the only thing we have in common, that we were naive, because of course to compare the scale , talent, charisma, i would never risk it, but he, too, was naive and also assumed that through some kind of agreements, through publication, through

the publication of books, one could influence the powerful of the world, but he did not belong to those, although it is irrelevant, having created the first private edition, he contributed to the end of times, although i remember arguments with him, he objected in every possible way to some things, i was fed up with it all the time there, i wanted some kind of investigative journalism, something... to expose, write, i have some kind of there was my material about hazing, and he told me, you can’t, you can’t criticize the army, you can’t criticize the special services, you just can’t, there are bureaucrats, there are party leadership, but for god’s sake, you can’t touch this foundation, it seemed to me, some kind of liar , i thought, i’m retarded, what a fool you are, retrograde. i still love you, i thought, but here you are wrong, and he was right, he,

making his contribution to the end of times, understood about the end of times much better than i did. this was a podcast about the elimination of yulian semenovich semenov, my name is evgeniy dodalev. these are the records of the end times. hello, dear friends, this is a podcast about the life of the wonderful, i am with you, its host, writer alexey varlamov, my guest today is the wonderful director, screenwriter and producer, sergei silyanov. hello, sergei mikhailovich, yes. thank you very much for

you found the time to come to us, today we will talk about cinema, for people from the cinema world you are such a figure, an absolute guru, yes, everyone knows you, you are one of the key figures of modern cinema, and from your decisions, from your words a lot depends, but for the general public, maybe you are known, in this sense a little less, me , for example, when i just began to take an interest in you, of course i was struck by the story: your entry into cinema, and especially the story of your first film, and angel's day, because this film was shot in in 1980, it was actually cinematic samizdat, and to be honest, it never occurred to me that this was possible, i understood that people, well , there are a lot of literary people, people wrote on the table there or sent it somewhere, the artist, probably, can also work in such conditions, even a musical group can be imagined as some kind of underground, in the soviet union , there were some, but for

a full-length film to be made, and quite a lot of people were involved in it, this story struck me, and maybe this is a phenomenon yours, it lies in the fact that you were independently established back in those days, and then a new era arrived, so i would like to talk about this first, as you see, this is your entry into the world of cinema, exactly how this determined your... my entry into the world of cinema took place when i was 13 years old and i watched at the bobyakin cinema in the city of tuli where i lived then three full-length films circus, city lights and new times and realized that this was it , what i want to do, so i started doing it, somewhere from the age of 14, i was involved in amateur cinema, so for me it was amateur , then not amateur, but still everything is amateur, you have to love, of course, that

’s why this issue was somehow resolved for me easily and simply, that’s in general this is some kind of luck, i realize it, even... somehow i was just lucky that my choice happened so early and without any special thoughts, doubts and hesitations, but still agree that your path in the cinema is different from this, well, more classical traditional one, when a person comes there in vgik, he enters, which is probably very difficult, yes, he graduates, becomes a director, but somehow all this worked out a little differently for you, so i understand that you didn’t have a hand in it, but it was a function, well, somehow i didn’t know this word either in the eighth grade, but i started a film based on vysotsky’s song, so i

decided to try myself in this capacity on vysotsky’s song, john lancaster peck. about a spy, and such a parody song, so i decided to film it and i had to, i somehow understood it, i didn’t have a problem the question that i should just somehow, let’s say, direct, no, i immediately understood that this was an orc question, that this included money, because the film had to be bought, it cost 2 rubles and 90 kopecks, a very significant amount, this 2.5 minutes of screen time, we need...' to negotiate, well, for example, there are scenes and somewhere in the wilds of a restaurant, citizen epifan was led astray, to mantalyka, by a non-soviet person, so he had to go to the restaurant, somehow come to an agreement with him, at that time schoolchildren, and even provincial ones, went to restaurants, somehow it was, in general, not at all

an ordinary event, even going to a restaurant, well, i came, talked to the aunties, i understood that i had to order something, probably, so that we would be allowed to film. we ordered a little something, came in the morning, well, at 12, when no one was there, well, i ’m going into too much detail, but the point is that we had to organize a win-win lottery among classmates, so that just 2 :90 collect, purchased items, all this somehow became clear to me that the word cinematography includes all sorts of different body movements, in addition to... actually some purely creative, but money - by the way, this is also quite a creative material, it plays a function in cinema, now i’ll say something beautiful, like paints for a painter, it’s just that cinema is really expensive, and

money in this sense is such a complete yourself an expressive instrument, or something, yes, that is, if you want... for the picture to be interesting, you must somehow correctly, but at the same time economically, optimize it, organize it with money, well, including money, when the film was a film and more was developed in laboratories, i said that money is sodium sulfate, this is a substance that, in fact, is one of the substances that carries out ... this development process, yes, it is sodium sulfate, without it, just like cameras, without a camera there can be no cinema , without sodium sulfate there can be no cinema, because we can’t develop the film, this is money, money is the most expressive means, well, you just have to, well, you have to love them too.