[000:00:00;00] an expressive instrument, or something, yes, that is, if you want the picture to be interesting, you must organize it somehow correctly, but at the same time economically, optimized, with money, well, including with money when the film was film, and was also developed in laboratories, i said that money is a substance, which, in fact , is one of the substances that carried out this developing process, but it is sodium shufat, without it, just like a camera, without a camera there can be no cinema, cinema cannot exist without sodium sulfate be, 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, if you love cinema, you have to somehow

love money, because without it you can’t... build this movie, that is, the aphorism is this: if you love cinema, love money? well, it probably sounds, it’s understandable, somehow vulgar or something, yes, well, well, well, it’s pragmatic, practical, yes, but it’s pragmatic, it’s just creative and even a little mystical, there ’s a lot of mysticism in money, soviet people are not , well , we started from soviet times, that's why i i’m delving into it too, although i don’t think much about the past. and i definitely don’t live by it, but when perestroika happened, then, in fact , soviet people first encountered money, because in the soviet union it had some kind of conditional, if you like, virtual or some other character, that is, there was no , the soviet people had no skills, no sense of money, and then it hit them with such a blow, as

a rule, for the vast majority of our compatriots they were not ready for this , this is one of the reasons that those problems is irrelevant for so many of our fellow citizens, when suddenly money showed itself in all its glory, you had to be able to manage it, but no one taught you, no one promised that it would be like this, well, okay, about money... more let's talk, well, about soviet cinema, after all, i would like to maybe talk a little too, but do you have any favorite soviet directors, soviet films, all over the world statistically, out of 100 films 10, according to optimistic estimates 20 are noteworthy, successful, wonderful, sometimes, yes, everything

the rest is waste, so in america, in china in the soviet union, in russia, and these 10-20% of 150 films were produced in the soviet union per year, respectively, this is quite a large number, this is a golden collection, they don’t remember the bad ones and that’s right, these wonderful paintings that were created in soviet times are darkovsky for me. and i liked gaidai’s early films, because they had this cinematic energy, and even when it’s not just about short films, well, operations, say, and so on, that’s it this was also important to me, daneli, and of course, the classic pudovkins from einstein and dovzhenko, where there are three big names, well, yes, but

this is already... so more professional, look, but let’s say torkovsky is not only a wonderful director, soviet, russian, russian, but also global, everyone recognizes it, yes, let’s say, in my opinion , ryazanov’s films, hyde’s films, shukshin’s films remained in our country, they did not receive such wide world recognition, and why did this happen, national humor is national humor, why italian? national humor, because there is international humor, because it is already related to marketing. and the soviet union was not concerned about such things related to this, which in general was a mistake on its part, because there was an ideological struggle, and hollywood used its trump cards 100%, ours somehow seemed to somehow or did not feel i don’t know that such a problem can be solved, but such plans are

for our films to be sold everywhere. there were none, yes, there was a sovexport film, it was often for exchange, simply for ideological reasons consideration, worked in all significant territories. but it was rather an exercise that didn’t have any business content, or something, yes, and those who think it’s important to earn as much money as possible, yes, they try to create plots, stories that travel, as they say now in cinema, yes, which may be interesting, if not to the whole world, then to half of it, soviet cinema worked for its audience, of course, individual ones, well, in addition to torkovsky and bonddarchuk, sergei fedorovich should be named, of course, because that the cranes fly in their time, yes, of course there were such isolated cases, but

there was no system, moscow does not believe in tears, moscow does not believe in tears, they sounded like our pictures, but there was no system. a charming person and a favorite of all generations, frekkenbock, a housewife who challenged everyday life, and herself, fantastic, next level, tomorrow on the first. vodka veda, a product of the stellar group, we continue the conversation, this is a podcast about the life of the wonderful , our guest is producer sergei silyanov. as

a producer, here's how you measure performance soviet cinema, i understand censorship, ideology, everything is clear , but soviet cinema, after all, its achievements took place thanks to the fact that there was some kind of, well, at least somewhat reasonable system, or despite... despite all this , many films that we consider classics in the sense of art, soviet film art, they were made, of course, to counteract the theme, the director is generally a reactive creature, oh you are so, but i’m on the contrary, there’s something even a little bit in this childish, but it’s right, it gives energy, that’s all directors, everyone you and i named, and a few more. they named all the names, they actually appeared in the country during the thaw, several years before and after, especially after, the summer fell again, and not a single name more than nikita mikhalkov,

who just a little, he went into the army, returned and also made a bright debut, everyone else, they appeared, they were, well, they were partly a military generation. well, even those who did not fight directly, due to age or for other reasons, but they survived it all, lived, maybe it gave them something, well, probably, some part of their life experience of internal energy was probably somehow connected with this experience, that’s all, then it all stopped, but they continued, they had already conquered some -some heights, some positions, some authority, they continued to somehow fight the state cinema with the system, remaining , of course, still within certain limits,

the system was powerful, that’s actually the answer to your question , that is, yes, it happened inside the system, and for some reason i couldn’t no one would allow it, but it was possible to express it somehow. across it, meaning opposition, including aesthetic, because something too from the category of fine arts was also not welcomed by the system, here are their names, we, well, everyone who is interested in the history of soviet cinema, and just watches soviet films, who are included in this very golden hundred, they are all from there, everything that later became under the system. no one has remained in the people’s memory, but personally for you growing up , these films mattered or you didn’t we watched it then, well, i didn’t watch it, i watched it, i watched movies, all sorts of different things, of course

, all sorts of different things that were shown in cinemas, i watched almost everything, no, well, of course, not everything, because it was clear that it was something to watch it’s not worth it, it’s not worth it, it’s not worth it, but everything, everything that was in sight i looked at, of course, and it probably had some significance, but aplin’s daughter, i repeat, i didn’t connect with myself this wonderful activity that was a spectator and a spectator, here we can also add that, for example, gaida, who is now number one of all soviet directors, but for a wide audience, for a wide viewer, he, of course , rises above man blanc - he is very loved by everyone , he is still popular, well, his films are better, of course, and he became a kimeniographer,

because his system scared him. he first made two films that were somehow, well, let’s say ordinary, and somehow he was there somewhere in the second film, something seemed to someone to the authorities portkom i don’t know mosfilm, something he wasn’t there somewhere he’s right, well, to put it mildly, they sanded him down and said, that’s it, you you don’t make films anymore, after a while pyrev, in my opinion, who was then the director of mosfilm, but decided to help him and give him the opportunity to make a short film, or another, gaidai decided that comedies were safe, and he came up with comedies and started making them filming, and continued further, this one, well, just a funny incident, although for the gaidai it was never funny, that’s what they call a fright, i took the right road, i was struck by the fate of shukshin, when i was writing a book about him, because look, the film shukshin, there lives such a guy,

where kuravlev, where bella akhmadolina plays, he generally enjoyed success and was accepted into the category of comedy, shukshin was terribly indignant and wrote articles that i didn’t make a comedy at all, then shukshin begins to make actually an author’s film, which few people know, he makes the picture your son and brother, then his third film strange people, these two films seemed to have failed at the box office, and shukshin, there is vasily beloov’s memory of how they went to the vologda cinema together... just to see how the audience will react to strange people, in my opinion shukshin’s best film in general, just the pinnacle, and shukshin bitterly notes that people are leaving, so he draws a very important conclusion for himself, as he later wrote, that tie yourself in a knot, but don’t shout in vain hall, and he makes a sharp turn and returns to this kind of folk cinema, to the comedy he removes the stoves of the benches, and moreover, when he filmed kalina krasnaya, then in the application there was also a comedy first, then only then kalina krasnaya became... different a film, that is, for him here

this is the problem of box office success, yes, success among the general public , it was very important, he did not have such a position that the public doesn’t understand fools, i’m making an arthouse, i ’m making an elite movie, that is, this is the strategy, but let’s say, i remember when torkovsky appeared, well, i can say so, i remember the first film stalker, which i saw, yes, because everything that happened before i didn’t see, people left with the mirror, too, apparently people left, but torkovsky... it ’s unlikely that he worried him much, well, maybe he worried me, i don’t know, but at least he did not change himself based on this conjuncture or from the audience ’s preferences, then here you can see that these two people who were students in the same group, and at roma, and in ovgik in the fifties, it was just the thaw , yes, they took such different paths, well, yes, so people go down different paths, and it’s good that they go down different paths, and this has everything to do with, as it were, let’s move on from soviet cinema to

russian cinema, yes, from your point of view view, phenomenon of russian cinema, i'm somewhere i read that you say that russian cinema began, well, here are the features of national fishing, brother, checkpoint, well, in principle , russian cinema, it continued the traditions of soviet, it was denied, it did not notice, this is how soviet, russian cinema relates, here such a question, indeed, i believe that russia... cinema began with three films, the peculiarities of the national hunt, not fishing, but hunting, hunting, of course, yes, the first hunt was former and balabanov’s brother, yeah, why, i think so, because these films are just broke with the complexes that many directors had, who moved from soviet cinema to russian cinema, who played out, well , there are several of them, the first, to finally film something

that was forbidden, now it’s impossible, here we are now, this is also not remained in the people’s memory, the second thing is to deal with the soviet regime, now it’s possible, and now let’s deal with it, and a large number, quite a large number of films. it was filmed about this, well, about the past with some kind of not so artistic, as much as a public fuse, that too, not really, yes, all the same, it was a dialogue with the past, with the soviet union, yes, among them there were quite decent films, but, but it was all there again, well, people were still just trying to implement

plans that they didn’t succeed in, they didn’t resolve, here’s the script, well, let’s try, and then these same great names, they all had the same problem, these are the ones we’re talking about, complete freedom, and then there was absolutely complete, total freedom, creative and not only creative, they didn’t know how to deal with it, they were used to working in other conditions, the so-called isopov and so on, to somehow express themselves so that they had their own viewer, by the way, to say, he raised his viewer, engineering technical intelligentsia, teachers, doctors, slowly, collecting films, the number of tickets sold reached 3 million , this was not enough for the soviet union, but in general it is a lot, and today this figure, for example, is absolutely worthy, but this is

so, a little aside, everything is a little like this looked back, to one degree or another, it was a dialogue with the past, with the soviet regime , some kind of showdown, some kind, including... artistic, i couldn’t do that, but now i’ll do it like this, the time was different, life was actually already different, these three films really looked and were something already born of new life, so i single them out, that ’s where russian cinema began today, well , they remember the thief... not only do they remember the brother the film , the brother is still alive, let's talk a little more about let's talk about modern cinema, from your point of view, today what is happening in our cinema, the film industry, cinema

is developing very actively, and it seems to me that an unbiased viewer cannot help but notice this, because... there are large, professionally completed large projects, and this is what i mention later, that until some point this was impossible, due to the lack of sufficient market volume and competence and money. they are very expensive and there were only 7 years ago, it was almost an unsolvable task, well, everything is somehow also thanks to government support , in this sense, here is the internal... the very feeling of me, as an industrial person, it is positive, but another wing, i am a visionary cinematographer, but another wing

, the author's, it has now encountered difficulties, because with additional ones, but it has always existed difficultly, because budgets, since it, as a rule, did not return the money invested in it, despite , say, state support, therefore it could not afford, as a rule, large ones budgets are quite large by the standards of auteur cinema, but i am the producer of a film by boris khlebnikov, and i think that this is one of the most beautiful films of the last one he collected in moscow, he had 43% of all theatrical box office receipts in moscow, that is, well it is clear that, unfortunately... viewers of auteur cinema are concentrated in large cities, this is also demotivating, of course , when your box office is, well, modest, woman , listen to me, hear me, margarita ivanovna, hear, i hear, we

will be hospitalized in order to save your life , we will, no, mom, we won’t, we can’t do that. move away from here into the corridor, dim , come on on the blanket, yes of course, guys, take your hands off, she won’t go anywhere, you come up again, you’ll get a scoreboard, and despite the fact that he still showed a serious result among auteur cinema, but how will it be tomorrow, i don’t know yet, but there is a feeling that the director of auteur cinema, and in auto cinema it is the directors who are the initiators, engines and creators of all that, there is a producer, an assistant, as opposed to spectator cinema, where he is rather a producer? in fact, this is the main thing, we continue, this is a podcast, the life of the wonderful, my guest is

a wonderful producer, screenwriter, director, sergei silyanov. but if we talk about modern scripts, about screenwriters, yes, this is how you see this situation, what is it about today, this is what scripts are being brought in today, about what? yes, it doesn’t matter what the script is about, it’s important how it’s done. okay, how, how are they worked? they are poorly designed, we cannot solve this problem, there is progress, there has been progress in recent years, but it is not sufficient, 1500 scripts come in a year, this is something like, well, yes, well, quite a lot, one and a half hundred, zero efficiency, there are scripts where the screenwriter is interesting, he will say that he is interesting, it seems like the script did not work out, but something... then it seems to be there somehow. there is some kind of grip, something, something catches us, we then get to know each other, try somehow, yes,

to develop a professional relationship, but this, in tv series this situation is better, in cinema for in theatrical cinema, it is still very so vulnerable and well, during this time they recruited a producer of visual cinema of their own competence in the development of the script in development, so-called editing, of course, it helps a lot with all these matters, somehow working with groups of screenwriters with teams like that with script rooms also brings this, too, more on tv series, but not only some, that is, some we have acquired the competencies that i already said, so this allows us to somehow minimize this problem a little, but it still remains,

because of course, look, we have wonderful modern literature, yes, you can call it, well, a lot of it is true , very good books, a very small percentage of these books are filmed, well, you can remember shargunov, well, zakhar prilepin, of course, alexey ivanov, yes, films are made based on their books. but, in general , modern literature is much richer, more interesting, more diverse, why can’t there be such friendship between modern literature and modern cinema? well , i won’t judge literature, but the producers very closely follow, well, the entire literary process, probably not, it’s difficult, there are still a lot of books, but for, but they keep their finger on the pulse tightly.

and they can’t find anything, material so that it would qualify for a film adaptation for various reasons, but they can’t find it, we are looking for it, we really need it all, we are ready to tear it out of our hands, but we don’t find it, so what? , what you are missing, that’s what, what you need , what you need to write about, so that you would be interested in making a movie about it, not about anything, it’s important how well, well, wait, is he already writing a novel? according to its own laws, here the novel should not sign up for the opportunity film adaptations, look, first of all, this division of cinema into spectatorship, authorship, it also explains something, because let’s assume it’s a fairly strong thing, with strong characters, psychological truth is present there and relevance, it’s worth it, it’s well relatively large-scale, such a movie costs, say, 300 , 400 million rubles, the viewer is not interested in it, the film will be good, will collect 50 million rubles, half of which will be taken

by cinemas, distributors, release costs, that is, the producers will be at a loss of 350 million rub. the film will be good, because the director is good, all that, the producers, in general , well, whatever they do, and god forbid, it won’t be very successful, well, no one will... i’m starting from a positive development events that the film turned out, yes, well, such a loss, this is the main answer to the question, purely author’s stories, that’s where the author’s story is, this is a question more likely for the directors, because it is a little unnatural by definition that i, as a producer, yes it happens, well there is 3 minutes of silence, it happens, but this is not a system, in theory the author’s is what the author brings you, for the authors for the director, here the directors often write themselves or directors of auteur cinema very actively participate

in writing scripts, their product comes to you, shows you look at the director, yes the director does not bring such books that are within a reasonable budget, yes, which are feasible to create auteur cinema today in russia and so on, which means that they are there too, apparently somehow they don’t find it, or they find something, again, or too... expensive, maybe, well, there are no such examples, well, yes, we are like in regarding copyright cinema, as you know, is wonderful, we are trying, and to broadcast , to writers, writers, some of our wishes, rules, yes , according to which, at your discretion, if you want your book to get more chances for

a film adaptation, then here’s how- then pay attention to... such , such, such, such, such moments, well, this work has just begun, perhaps it will bear fruit, or rather, i am 100% sure that it will bear fruit, well, the question is when how much , and in america a huge number, a large percentage, of films are based on literary works, well, american ones, as a rule, or english-speaking, let's say, but not only, because there are writers there, they somehow long ago mastered this art of combining literary and film interests, i don’t know, well, okay, thank you very much, this was a podcast life of the wonderful, with you i, its leading writer alexei varlamov,

and producer sergei silyanov was my guest. hello, this is a psychic podcast, my name is natalya losyeva and today, together with our expert, psychotherapist, clinical psychologist, doctor of medical sciences, sergei kolov, we will deal with the situation of the young, bright, brutal nikita koryakin, who is confused about what he really wants from a relationship, why they don’t work out for a long time, and where is the freedom that needs to be found, tell your story, there is such a problem that it is difficult for me to trust myself, to put myself in someone’s hands , to make some kind of full-fledged relationship, because i always feel some kind of

restrictions in them, and since i am a creative person, and i need... freedom , and most often she tells me i need everything, i recently had a relationship, it was six months ago, and it’s like, when everything starts, such a bouquet period, on the contrary , i’m inspired by this, i get interested, but when this has already been going on for 2 years, it’s like the whole this bouquet period, it begins to turn into a routine, and this slightly grounds me and my creative impulse. in my work, in general , some of my ideas, they are a little dulled, and i feel that in the moment - i begin to lack some kind of creative impulse, with this there are some feel difficult, and of course this affects relationships, and i lose interest in people, i just feel, probably, that i

want more, that is, i want to communicate - with different people there to receive the attention of other girls, so that i feel a lot about myself attention, this is important to me, it energizes me, but sometimes in a relationship i still consider myself a good person, and it is important for me that my other half feels needed, but when i need the attention of other people, i think there are some some problems with this, it definitely doesn’t illuminate in the shadows, but in general what kind of request do you have, when you came to us, that’s what, so that we could answer your question, but how to feel free in a relationship, because i’m already 26 years old, and i want, the parts are ticking, yes, well, for me it’s a little slower, so i want to develop myself in relationships, because when you have some kind of superficial relationship, you

don’t get emotionally much deeper, and since - my life is connected with creativity, i’m sure there’s something there too get enough so that you can then share it with people. nikita, you know that just now in your monologue i heard a lot... a lot, a lot, i , yes, uh-huh, you said, trust myself, i myself, now i’ll think of dear, beloved, precious, i can’t do it like this, how about someone, this priceless gift, bring me, nikita koryakin, 26 years old, photographer, graduate student, for long-term use, i also heard that you are getting bored, yes, that is, routine is setting in. bouquet period, as you called it, yeah, routine sets in and you don’t want anything anymore, it’s you

i’m not happy, yes, it doesn’t inspire you, and the third thing i heard is that relationships, maybe i’m wrong, i’m saying, the way i hear it, this is a resource for you to be inspired, you to be an artist, you realized yourself, but where is the girl in all this? good question. probably, first of all, this should be music for me, which, i will give it energy, it will give me energy, and that is , for this to be a mutual energy exchange, at some point, as if our wires are lost, this energy disappears somewhere and that is, i don't feel like i want something to give to this person, and at the same time i don’t want to keep the person next to me so that it’s like i’m playing around, ala and we just parted ways, at least. so that the person next to me is happy and gives him only positive emotions, but as you know, it doesn’t always work out that way, and for some reason i don’t believe you, you know, right now i’m listening to you

and something’s wrong with me... it’s not the same here , you know, it’s as if nikita koryakin is sitting now, yes, an actor is sitting who plays a young man, so enthusiastic, so subtle. come to us to show yourself, girls, look what i am, don’t count on more, because i will always be burdened when there are too many of you, that’s what i thought now, if i wanted to show myself, i probably wouldn’t i wanted to talk about my problems, because i came here with that problem , to deal with the concept of freedom, because freedom is of course good, but when you feel this freedom, you have... many paths, when there are many paths, you can get lost in something and end up at the wrong point you wanted to, but tell me, what is lack of freedom for you? lack of freedom is when

i have to do something that i don’t want, for example, what, for example, i want , this is what i like to do, great, this is already, this is great, i like, for example, spending time, i want to go somewhere... then with friends. just because we have some common interests, but one way or another, i ’m dating a girl there for some other reason, not because we both love photography there, but i want to meet people with whom the girl i let you go, well, that is, i didn’t hysterics, there was no scandal, there was and would not have been for sure, the problem is that my conscience is starting to gnaw at me, that i don’t take it, as if i ’m not interested in her, there are people with whom i ’m more interested, yes or there yes , i very often feel guilty, i think that my empathy is in a fairly normal position and probably it allows me to feel this, and often empathy is my

enemy and friend, because sometimes i feel too much, and at the same time it seems to me that a person is uncomfortable with this, but it happens that in fact , this doesn’t make a person feel so bad, but i just imagined it, and mm. further, for example, i want to maybe go there on vacation, with my friends, i have female friends, but this is always accepted, and if i say, a friend is a real friend, nothing more , and by the way it’s interesting that i perceive, as it were, my friends, i put them in first place , for now, because i think it’s logical, why, because a person comes into your life, new to your life, you meet there for a year or two, and you have friends with whom you have been friends for 20 years, 10 years, and they seem to be a priority for me, and perhaps there is also some nuance here, why is it difficult for me to build this, so you understand that every year this length of friendship increases

, will increase, you know, and the chances that you will ever meet a girl, by these standards of yours, who can compete with your friends, it will simply be minimized, well , or unless you lose all your friends, listen, an interesting case , although the story seemed rather banal to me at first, sergey, what’s wrong with us here? nikita, do you have a close, warm relationship with anyone? yes, there is, i have a friend, with whom we have been friends for 20 years, from the first class line, and i can safely name. my sister, with whom we spend a lot of time together, in general i have an understanding of what a deep relationship is, but unfortunately, not with the other half, so far, it’s not working out with the other half, that is, you know how to do it, but what -well, yes, because i feel when i choose a partner that this is one of those things, i as if i’m slandering something, and if i chose a person, then that’s it, he’s mine, i’m uh, her everything,

and that is, for me this is some very, very important step, which i don’t know what should happen , so that i would overcome it and say: yes, that’s it, i’m ready, so i’ll swear on blood, figuratively speaking, look, it turns out that he seems to be giving you only two policies, yes, so he says, i’m with her, and i’m not i have the right to look neither left nor right, even if it is a friend of my childhood, he condemns himself to this, then he himself from the same self-sentence, itself. excommunicated, begins to suffer, it turns out, nikit, you seem to have two parts of the psyche, one wants some kind of close, long-term, deep relationship, and the other wants freedom, and if i understand correctly, you understand freedom as the desire to fulfill all your desires, that’s what you want, then you do it, yeah, and if there are any restrictions, and this concerns this story with desires for freedom, only relationships.

not with girls or in life in general? in life in general, but it’s very difficult to control me in in terms of this, because as soon as i feel a lack of freedom, i lose interest; you even know, some kind of indifference towards this person wakes up when they try to limit me in something, and i immediately feel discomfort, this is some kind of energy some kind of sinks and gets lost, and i immediately even... it’s somehow uncomfortable and difficult to live in the feeling of lack of freedom, as you imagine, because the other person and any girl, she has her own desires, her own ideas about freedom, i understand this perfectly well in my head my idea of ​​relationships is collapsing, because i automatically end up in them as if i’m already unhappy, because the first tick here doesn’t work out for us. nikita, it

’s true, any relationship is a certain limitation, but do you understand how you pay for such freedom, how do you feel with the feeling of loneliness and isolation? the problem is that i never feel lonely, that is, because there is always someone who compensates for this, since i often go filming, it’s a lot of acquaintances, there are a lot of people around me, too then, if you want to tell or share something there, there are your close friends who will compensate for this, but why do you need it then? relationship with a girl for what girlfriend you have a close need relationship for well as for intimate relationships, for example , he is a young man, and this is also an important part of our life, probably just like that , you know, to engage in promiscuity somewhere, yeah, in any bar , he doesn’t want to, yes, because the moment comes when you want to go to bed not alone, yes, with someone,

feel this warmth from a person. but the problems are precisely in some deep relationships, that i want this, but something is pricking, that’s what’s pricking, i want to sort it out and somehow, as if we’ve already said, the restriction of the girl’s desire is pricking, yeah, well, because she has her own desires, for you this is a limitation, and it’s as if you cannot bear the desire of the opposite side, yes, but in no case do you think that i have every desire there, uh, i’m not ready to tolerate it, if i understand, that somewhere you have to give in, yes, i understand that, but there is, there comes some point of no return, when it’s like everything is over, the pot is boiling and i can’t give in any longer, that’s it, i want freedom, and i need to rest, that is, i was in a relationship for 2 years, eh, well, again we are we call it 2 years, but at the same time we had some pauses, why, because i just needed to rest, and i gained strength.

and hello, how are you, let's try again, and i sincerely believe that it will work out, then we go, the relationship begins, everything is cyclical in a circle, that i need a rest, i get there, go somewhere rest, take a break from a person, then i start to get bored, because i still feel love for this person, that is, i can’t say, it’s somehow different, and love is what for you, for me love is when you... in spite of everything, you think about this person and in other people next to you you can see this person and desire him in any case nearby and some kind of story that you both want to be together, but something you disconnects, she still doesn’t lose this feeling of love inside for this person, well then there is love - this is a feeling, yes, this is how i am with my feelings

, yes, i worry, i suffer, i admire, hot ice, live broadcasts, on the weekend at the first one, do you like figure skating? appreciate figure skating, love figure skating. the legendary singer zhenya belausov died 26 years ago, very young. his illegitimate son roman was only 4 years old at the time. having become

an adult, he now wants to defend his right to his father's inheritance. this is the same jacket i keep like a chaser of an eye. this is actually all that remains of dad. our exclusive revelation of roman belousov. who decided to go against his older sister and her mother, did they deceive me, and if they suddenly deceived me, i want to know where, when to what extent, what is the true purpose of the novel to engage in creativity or inherit his fame from his father? he doesn’t destroy the nest, he takes over the rights to continue to do, he just wants some kind of little justice , what exactly does he want besides the rights to his father’s songs , who inspired him that there is a chance to win, even after so many years, exclusive with dmitry , premieres on saturday on the first. this is a psychic podcast, my name is natalya losyeva and together with doctor of medical sciences, psychotherapist sergei kolov, we are solving the difficult

situation of our hero nikita koryakin. have you ever had pets? personally, it wasn’t. and some kind of flower? there are three flowers at home. why do you love them? your flowers, it’s crazy, i look after them, you have no idea how i take care of them, but please tell me a little more, i really wanted indoor plants, because i think they bring comfort to the home, and i love create comfort at home, and when i got the first plant, i realized that it needed a companion , i got more of these, we thought about how this plant feels, yes, that is, i constantly water it every day, because also - watering for me is a release of stress, yeah, but loosen, loosen the soil in this plant, i have fertilizers, i know how much is needed, when it’s there, and what do you feel when you do it, you loosened it, added fertilizer, and after 3 days new leaves appeared, i feel some

satisfaction, how i see my work, and i see the result, when you see the result , you understand, great, that means i did everything right, that we have achieved a new piece of paper in this case, well, you are happy, but suddenly you realize that you are like would do everything. not for yourself, yes, but it won’t change your life in any way, but when you see the results of your work, your investments, your lack of freedom, you can’t just leave for a week without agreeing that someone will water them, right, yes, this is not freedom, by the way, this is terribly not freedom, you enjoy it, it’s interesting, but the flowers are standing still and waiting for me, and with people, unfortunately, this is impossible, they will wither if you don’t take care of them, or they will have midges, he just doesn’t loved, well, there are doubts, yes, from a scientific point of view, love is a little different, there, say, if you refer to frome, he clearly describes different types of love, not only for a woman, not erotic, but for god, for children, to the mother, there are scientific, clear criteria, let's