[000:00:00;00] i was born in a ural village, i am from a peasant family, very arrogant , i killed a colonel and a mayor, now i will kill a colonel every day, it seems to me that kokha is of great political importance, is it worth risking such a valuable agent to eliminate kokha, based on real events , a real intelligence officer must be ready for anything, on the razor blade, the premiere

of a serial film is coming soon. on the first, he is the enemy, you fell in love with him, like a cat you get pleasure, with you again the podcast is the deception of substances, this is olesya nosova and zukhra pavlova, we discussed frying, there are useful ways of cooking - products, of course this is sous vide, sous vide is low temperature cooking, tell me how you can just sous vide, what is it, many have not heard about this sous vide, this is sous vide and this such a saucepan in which a certain temperature is maintained all the time, you pour water into it and there the temperature that you set is maintained all the time, 40, 40 °, 50, 60, well, in fact , it can be boiling for several hours, something is cooked there, what are you going there you put it in, there’s meat, vegetables and so on, it’s all put in special vacuum-sealed bags , i was very keen on this at one time, our whole family ate exclusively from sous vide, the most

delicious thing, you know what it would be like, you won’t believe it , boiled eggs, but if the eggs are in by the way, you don’t have to vacuum them, you can throw them in there for an hour and a half at a low temperature, put the eggs in and this is an absolutely divine dish, i haven’t tried it, but i’ll know well and these products are cooked in their own juice, they come out turkey is very tasty, yes for many, or chicken breast is kind of dry, some kind of tasteless thing from you can immediately add these wonderful spices , in fact, we talked and a little bit of salt or not, i’ll still stick to the extreme position of adding salt before you eat it, it’s absolutely not necessary to buy the unit itself, it’s big enough, you can just organize it in a saucepan, yes, it’s a useful way of cooking, but there’s also a big

misconception that baking is like they say no i don’t fry cutlets, i bake them, in fact, the same thing happens , the same iron baking sheet, yes, the temperature that is there from top to bottom or whatever you like, well, that is, it’s still a frying process, but if you bake in in a sleeve, or in foil and at low temperatures up to 150° , then the amount of advanced glycation end products is significantly reduced, and there is also a wonderful method - a pressure cooker, it does not take time, you put everything in, turn it on, it cooks, you work or do your business or just relaxing, there is also stewing, but as is our custom, first i fried it, well, yes, that and then poured it with water, now the whole product is already spoiled, that is, we immediately pour water under the lid, it is stewed over low heat , and what else we have left, yes , we have a wonderful way of cooking , which few people actually think about as a useful method - this is a microwave, here is a microwave, an unfortunate shawl, who cares, it

doesn’t... the temperature rises above 110°, accordingly, less of these are formed end products of glycation, but demonizes the microwave, that some harmful, ancogenic substances and so on , that all vitamins are destroyed , well, in fact, in our case, some of the vitamins are destroyed during preparation, even welding, and some, on the contrary , only become available, temperature effects, that lower temperature, higher temperature also changes the balance of vitamins, we lose some, we gain some, so i wouldn’t either... microwave, but it’s better to use it with water, yes, because the main effect is, this is based on water molecules, and people often say that food after the microwave is very dry, hard, hard to eat, add some water and there will be no problems, there is a very simple life hack, actually about the microwave, you don’t have to turn it on at full power all the time

, if you read the instructions, i read them, it says, yes, at 800. this is fast cooking, this is heating food, and so on and so forth, everything that is smaller, for example, 70% power, this is cooking without boiling over, 50%, capacity for preparing soups, seafood, and the lowest 25-30 is defrosting, desserts are actually heated, so the microwave is an absolutely wonderful story, the main thing is to use it correctly , you also know what i wanted to focus on, people often say, you know, we are used to frying everything, if i now start cooking differently, no one will support me, no one will eat it, everything will just be thrown away or i should cook... for myself, this is a very important point, remember how in the classic film we dig with a knife and fork your own grave, if this understanding, awareness appears, we try to say everything simply yes, so that people have this understanding, and you shouldn’t cling to this

crust, shortening your life or spoiling family relationships, help your loved ones, support them in this initiative, to cook them correctly, well , let’s say, when i switched my family to porous cutlets, i... rolled these cutlets in paprika, then covered them generously with fresh herbs, when these cutlets were ready, that’s when they ate , i then i just asked them if it was delicious, they said, oh, so tasty, everything is wonderful, juicy, everything, everything is good, i said, porous, they said, it can’t be, maybe, that’s why sometimes you can do it like this, and you show that everything is delicious, it’s just that stereotypes sometimes prevent people from giving up these harmful ones, yes, i also have similar stories, for example, i don’t even fry anything at all. if i cook borscht, again we always talk about borscht, cook borscht, but borscht absolutely does not need any frying, poaching or this at all, it’s this is all an outdated story, what else did we tell her about, we probably also ignored

shish kebab, there is also an opinion that in the caucasus everyone ate shashlik all their lives, that ’s longevity, they don’t contradict, no, this is also not a very good cooking process, because this is an open fire, these are very... high temperatures, these are a lot of advanced glycation end products, no matter what kind of meat there is, but there is one nuance, of course, the meat is usually pre-treated, yes, it’s either lemon juice, there, onion, where there is also substances that contribute to this preparation, but even with this preparatory process, high temperature , this charring and parts of this meat, these are still high levels of advanced glycation end products, in my opinion, it is a myth that all caucasians have always eaten - shish kebab, no, more often , by the way, they eat boiled meat, this is quite developed in culture, including, yes , i think there are a lot of long-livers, not only because they live in the highlands and breathe good air,

but meat is in their diet a lot, but more than that boiled rather than fried or cooked, here again i would like to spice it up, but it’s still pickled in the good sense of the word, a large amount of vegetables, again... this is sulforphan, which we talked about, which is in broccoli , by the way, there is a very interesting fact about the microwave, and when i was collecting information about the harmfulness of the useful microwave, in order to pump myself up, so to speak, on this topic, i discovered such a terrible thing that broccoli, if you put it in the microwave, at the fiftieth in a second she this means it loses an enzyme, which then participates in the production of this... barafan, which is an excellent oncoprotective substance, and so on and so on, and i got a little tense, i said, well, the microwave is good for everyone, this unfortunate thing means the enzyme, it it kills, it probably kills something else, but i

began to, so to speak, investigate further and discovered that regular cooking kills this enzyme in the same way, if you overcook, overcook broccoli, cook more than four times. so to speak in boiling water, so what is needed to do with broccoli, so as not to lose this wonderful enzyme, you need to eat it as alive as possible, and before that, let me remind you , break it up so that there is more of this enzyme, so if we cook it, then we leave it, cut it and leave it so that there is more of it. surfaces in contact with air, and if we chew, we can eat right away without any preparation , just chew thoroughly, because we produce myrosinase, this whole reaction happens, but i forgot the name of myrosinase, yes, yes, it’s just that

doctors have one deformation, they are they may forget aspirin, but they remember cetylselicylic acid very well, yeah, that’s why there are a lot of misconceptions about the preparation, it’s also very important to say, then about the final product. glycation, the longer we store foods, even in the refrigerator, the more advanced glycation end products are formed in them, so try to cook more often, but in small portions, yes, that is... well, maybe leave one single barrel that can be eaten, it only becomes tastier, but also, well, yes, yes, because that the end products of glycation are tasty, unfortunately, the mayer reaction, this very cross-linking of proteins, it is also called a tasty reaction, but everything else was better prepared, eaten, well, at the most the next morning, we cook again, although it’s clear, in ours like this it’s a crazy age, but the pace of such life is high, it’s not very convenient for us to cook often, but here we are. such a non-obvious fact, perhaps for some, that if you want to be

slim, healthy and young for as long as possible, then you must eat at home, you must understand what you are eating, in no case is it restaurants, even the most expensive ones and certainly not fast food, because the cook has completely different tasks, the cook, what is important is that it tastes good for you, that you come in more often and barely more, so he achieves this in every possible way , and at home it’s all a matter of controlling what you eat and how you eat, so we encourage everyone not to be lazy, to have fun, it ’s a creative process to cook deliciously and it’s a great pleasure to see how your household eats up this healthy tasty food and becomes healthier. did you have a podcast? deception of substances and presenter, editor-in-chief of komsomolskaya pravda olesya nosova

, endocrinologist pavlova. 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, sergey mikhailovich, thank you very much for taking the time to come to us. today we will talk about cinema, for people from the film world you are such a guru figure, absolute, yes, everyone knows you, you are one of the key figures of modern cinema, a lot depends on your decisions, on your words, but for the general audience, maybe you are known a little less in this sense, me, for example, when i just began to be interested in you, of course, i was struck by the story of your entry into cinema,

and especially... the story of your first film, and the day of the angel, because this film, shot in 1980, was actually such a 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 them in literature, people wrote on the table there or they were sent somewhere, an artist can probably also work in such conditions, you can even imagine a musical group, some kind of underground, there were a number of them in the soviet union. but for a full-length film to be made and quite a lot of people to be involved in it, this story struck me, and maybe this is your phenomenon, it lies in the fact that you came into existence independently like that back in those days, and then came a new era, i ’d like to talk about this first, that’s how you do you see your entry into the world of cinema , to what extent did this determine your current state? my entry into the world.

the movie took place when i was 13 years old and i watched at the bobyakin cinema in the city of tula , where i lived then, three full-length chaplin films, a circus, city lights and new times, i realized that this is what i want to do, and so i started studying at about the age of 14, i was involved in amateur cinema, so this one was amateur to me, then not amateur, but still everything is amateur, you have to love it. of course, that’s why this issue was somehow resolved easily and simply for me, in general , it’s some kind of luck, i realize it, even now, somehow i was just lucky that my choice happened so early and without any special some thoughts, doubts and hesitations, but still agree that your path to cinema is different from this, well, more classical traditional one, when a person comes to vgik there, does what is probably very difficult, yes, finishes, becomes

a director , but somehow it all worked out a little differently for you, here i am i understand that you walked hand in hand with this path of the director and at the same time the path, back then there probably wasn’t the word producer, well , the person who organizes all this, there weren’t the words producer, but it was a function, and so i’m like... i also didn’t know this word in the eighth grade, but i came up with an idea... a film based on vysotsky’s song, so i decided to try myself in this capacity for vysotsky’s song, john loncaster 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 wonder what i i just have to 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 90 kopecks,

this is a very significant amount, this is 2, 5 minutes of screen time, it was necessary to negotiate, well, for example, there are scenes... somewhere in the wilds of a restaurant, citizen epifan was led astray from the path to mantalyka, not a soviet person, so it was necessary 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 needed to order something, probably so that we would be allowed to film, we ordered something a little, came in the morning, when, well, at 12, when there was no one there there wasn’t, well, i’m telling this in too much detail, but the point is that i had to organize a win-win lottery among my classmates in order to collect just 2.90 for a can of film, so all this was somehow clear to me that the word

cinematography includes all sorts of different body movements, in addition to some actual purely creative, but in money - this, by the way, is also a creative matter; 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 quite a thing 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 money, when the film was film , and further

was developed in laboratories, i said that money is sodium sulfate , this is a substance that is actually one of the substances that carried out this development process, without a camera there can be no cinema, without sodium sulfate there can be no cinema, because we can’t develop a sawdust, this is money, money is the most expressive means, you just need it, well, you also need to love it, if you love cinema, you must somehow love money, because without it you cannot build this cinema, that is, such an aphorism: you love cinema, love money, well, probably it sounds clear. it’s just creative and even a little mystical, there’s a lot of mysticism in money, soviet people didn’t, well, they started in soviet times, so i’m also

delving into it, although i don’t think much about the past and definitely don’t live by it, but when perestroika happened, it was actually soviet. were faced with money, because in the soviet union it had some kind of conditional , if you like, virtual or some other character, that is , the soviet people had no skills, no sense of money, and then it hit them very so butt, as a rule, for the overwhelming majority of our compatriots, they were not ready for this; this is one of the reasons that those problems are meaningless for so many of our fellow citizens, when suddenly money showed itself in all its glory, you had to be able to handle it manage, but no one taught

, no one promised that it would be like this, well, okay, we’ll talk about money later, but i’d still like to talk about soviet cinema, maybe talk a little too, and you have some 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 else is a waste, so in america, in china in the soviet union, in russia and these 10-20%, over the 30, say, last years of the existence of the soviet union, were received by 150 films. in the soviet union was produced per year, yes, accordingly, this is a fairly large amount, this golden collection, they don’t remember the bad, and rightly so, these wonderful, of course, pictures like... which were created in soviet times, well

, who did you name, for me torkovsky, and i liked the early films of gaidai, because they had this energy, a little cinema, and even when, this not only about short films, but operations, let’s say, so on , this this, this was also important to me, danelli and... there are the classics of pudovkin from einstein and dovzhenko, these three big names, well, yes, but this is already so much more professional, look, let’s say torkovsky is not only a wonderful soviet, russian, russian, but also world director, everyone recognizes him, yes, let’s say, in my opinion , rizanovov’s films, guide’s films, shukshin’s films remained in our country, they did not receive such wide world recognition, and why is that happened, national... humor is national humor, why did italian national humor become, because there is international humor, because it already

has to do with marketing for such things related to, the soviet union was not concerned with this, that in general it was mistake with him side, because there was an ideological struggle and hollywood used all its trump cards 100%, ours are somehow visible... somehow or did not feel that such a task could be solved, i don’t know, but such attitudes are that ours films were sold everywhere, they didn’t exist, yes, there was co-export of films, they often worked in all significant territories by exchange, simply for ideological reasons, but it was more of an exercise that had no business content, or something, yes ? and those who consider it important to earn

as much money as possible, yes, they are trying create plots, stories that travel, as they say now in cinemas, yes, which can be interesting, if not to the whole world, then to half of it, soviet cinema worked for its audience, although of course there were some, well, in addition to torkovsky and mondarchuk, sergei fedorovich should be named, of course, because the cranes fly in their time, and naturally there were such isolated cases, but it was not a system, moscow does not believe in tears, moscow does not believe in tears, they sounded, yes, our pictures, but it was not a system , malingerers accept, and you are a simulator, i feel good, i don’t need anything, well, you gave me clients, 6 hours. katyusha, do you think the heroic surgeon deserves a cup of coffee, he has a new surgical nurse there, so he won’t miss his chance, his mood

is zero, hello, strong alcohol, a lot of nurses have passed through me, well, i noticed, what else did you notice ? there is fierce competition in medicine, get used to it, i brought a lot of women here, in batches, you like me, and you like me too, i don’t want you to be near her anymore i saw it’s nice to be in contact with your lovers, i mean? some guy asked you what he looked like? why are you yelling at me? ask the nurse, first thing tomorrow. why are you acting like a stupid nurse? am i acting in accordance with my position? yes, what happened yesterday, where did you go?

burban stirsman, a product of the stellar group, the combined colors of olivier toscani, there are some things that are not usually looked at, that are not discussed, and my job is to make people look at such things, advertising is only needed to make people think. the end of the century according to gotfrey reggio. metaphysically, we are from different worlds, but we feel much the same. i want to say that our world is turning into one big disneyland, into something artificial, we need more crazy people who could reflect this more clearly, convincingly, clearly. todor on friday on the first. we continue

the conversation, this is the podcast life of the wonderful. and our guest is producer sergei silyanov. as a producer, here's how you measure performance soviet cinema, i understand the censorship there, the ideology is all 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 all this? many films that we consider classics in the sense of art, soviet film art, they were made , of course, on... the opposition of systems , the director is generally a reactive being, oh you are so, but i am the opposite, there is something even a little childish in this , but it’s right, it gives energy, all the directors, everyone you you and i named, and several more that were not named, all names actually appeared in the country during the thaw period, several years

before and after, especially after, the summer again... dropped, and not a single more name, except for nikita mikhalkov, who a little, he went into the army, returned and also made a bright debut , everyone else, here they appeared, they were, well , it was partly the 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 life... their experience of internal energy was probably somehow connected with this experience, that’s it, then it all stopped, but they continued, they had already conquered some heights, some positions, some authority, they, uh, continued like this, somehow fighting

the state cinema, the system, remaining, of course, anyway... within certain limits, the system was powerful, that’s actually the answer to your question, that is, yes, this happened inside the system, and no one could afford something, but it was possible to somehow speak out against it , meaning opposition, including aesthetic opposition, because something too from the category of fine arts was also not welcomed. system and here are their names, we, well, everyone who is interested in the history of soviet cinema and just watches soviet films that are included in this very golden hundred, they are all from there, everything that later became under the system , no one remains in the people’s memory, did these films

matter to you personally when you were growing up, or did you not watch them then? well how didn't look, looked. i watched movies, all sorts of different things, of course, all sorts of different things, everything that was shown in cinemas, i watched almost everything, no , well, of course, not everything, because it was clear that it wasn’t worth watching, it wasn’t worth it, it wasn’t stands, but everything, everything that was in sight, i looked, of course, and it probably had some significance, but before chaplin, i repeat, i did not, no, no, no, connect myself with this beautiful view. here we can also add that, for example, gaida, who is now number one among all soviet directors, yes, for a wide audience, for a wide viewer, of course, like man blanc, he rises above everyone, very beloved, popular, as before, he is better than his film, of course, and

he became a stone painter, because his system was... frightening , he first made two films, such, well, somehow, well, well, let’s say , ordinary, and he was somewhere in the second film, something seemed to someone, the authorities, the portcom, not i know, mosfilm, he was wrong somewhere, he was, well, to put it mildly, they sandboxed him, and they said, that’s it, you don’t make films anymore, and after a while pyrev, in my opinion, who was the director of mosfilm, well, he decided to help him and give him the opportunity to make another short film, gaidai decided that comedies were safe, and came up with comedies and began to take them off, and continued further, this is such a, well, just a funny incident, although for 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 wrote about him a book because... look, shukshin’s first film, there’s this guy who lives, where kuravlev is, where bella akhmadolina plays, he was generally successful and was put into the comedy category, shukshin was terribly indignant and wrote articles that i didn’t... make a comedy at all, then shukshin he begins to shoot actually auteur films, which few people know, he makes the film your son and brother, then his third film strange people, these two films seemed to have failed at the box office, and shukshin, here is vasily belov’s memory of how they went together to the cinema in vologda, just to see how the public will react to strange people, in my opinion, shukshin’s best film is simply vershina, 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 not shout in an empty hall, and he makes a sharp turn and returns to this kind of folk cinema , to the comedy, he removes the stoves of the bench, moreover , when he filmed kalina krasnaya, then in the application

there was also a comedy first, it was only then that kalina krasnaya became another film, that is for him, this is the problem of box office success, but success with the general public , it was very important, he did not have such a position that the public doesn’t understand fools, i ’m making... artos, i’m making elite films, that is here, this is the strategy, and let’s say, i remember, that’s when torkovsky appeared, well, i sort of remember, so to speak, this is the first film stalker that i saw, yes, because i didn’t see everything that came before that, people were leaving the mirror, too, apparently people were leaving, but torkovsky’s is unlikely to be very strong somehow, well maybe he was worried, i don’t know, but at least he didn’t change himself based on this situation or on the audience’s preferences, then here you can see that these two people who were... students in the same group, at roma, yes, in avgika in the fifties, just when there was a thaw, yes, they went on such different paths, well, yes, so people go on different paths,

and it’s good that they go on different paths, and this has everything, as if we’ll now move on from soviet cinema to russian cinema, yes, from your point of view, the phenomenon of russian cinema, i read somewhere that you say that russian cinema began, well, here are the features , national fishing, brother, checkpoint, well , in principle, russian cinema, it continued the traditions of the soviet, it was denied, it did not notice, this is how soviet and russian cinema, that’s the question, indeed, i believe that russian cinema began with three films, the peculiarities of the national hunt, not fishing, hunting, hunting, of course, yes, the first hunt was, chukhraya and balabanov’s brother, yeah, why do i think so , because these films just broke with complexes that many directors had, who moved from soviet

cinema to russian cinema, who played out, well, there are several of them, first, to finally film something that was forbidden, now it’s impossible, here we are now, all this too, remains people’s memory, the second thing is to understand the soviet regime, now it’s possible, let’s deal with it, and a large number, quite a large number of films, and they were made about this, well, about the past with some kind of not so much artistic, but public fuse, that too, well, no absolutely, yes, it doesn’t matter, it was a dialogue with the past, with the soviet union, but among them there were quite decent films, but it was all

back there, well, there were also people just trying to realize plans that they couldn’t, they weren’t allowed, so the script is there, well, let’s try, and then these same all the great names, they all had the same problem, these are the ones we are. partially called, these children of the thaw, as they say, we all had a big problem, they are in conditions of complete freedom, and then there was absolutely complete, total freedom, creative, and not only creative, yes, they didn’t know what to do 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 the viewer, by the way, he is... markovsky also educated his viewers, the engineering and technical intelligentsia , teachers, doctors, slowly, the box office of films, the number of tickets sold reached 3 million, this was not enough for the soviet union, but in general it

a lot, and today this figure, for example, is absolutely worthy, but this is so, a little to the side , everyone looked back a little, to one degree or another, it was a dialogue with the past, with the soviet regime, some kind of showdown, some... including purely artistic, i couldn’t do that, but now i’ll do it like this, the time was different, life was already different, these three films... really looked and were something already born new life, that’s why i single them out, that’s where russian cinema began, today there, well the thief is remembered, probably to a slightly lesser extent , by the peculiarities of the national hunt, well, they also probably not only remember, brother, the film... having outlived itself to this day, let's

talk a little more 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 also large, professionally made major projects, and this is why i mention them later that until some point this was impossible, due to the lack... there is a sufficient market volume and competence and money, they are very expensive and even years ago, this was an almost unsolvable task, well, everything is somehow also thanks to government support. in this sense, here is the internal sense of self, like me, as an industrial person, it is positive, but it is a different wing, i’m talking about spectator cinema, i will say, but it is a different

wing. it is now faced with difficulties, because with additional ones, but it has always existed difficultly, because budgets, since, as a rule, it did not return false money to it, even despite, say, state support, so it could not afford, as a rule, large budgets, well, quite large by the standards of auteur cinema, but i am the producer of boris khlebnikov’s film, yes, i think , that this is one of the most beautiful films he collected in moscow, he had 43% of all cinema box office receipts in moscow, that is, well, it is clear that, unfortunately, viewers of auteur films are concentrated in large cities, this is also demotivating, of course, when your fees are, well, modest.

woman, listen to me, do you hear, margarita ivanovna, do you hear? i hear you! shall we be hospitalized in order to save your life? shall we? no, mom, we won’t, we can’t. okay, move out of here into the corridor. dim, let's go on the blanket, yes, of course, guys, take your hands off, she won't go anywhere, come up again, you'll get a scoreboard. and despite the fact that he still showed a serious result among auteur cinema, i don’t know yet how it will be tomorrow, but there is a feeling that as a director of auteur cinema, in auteur cinema it is the directors who are the initiators, the creators of the engines, all that, there the producer is an assistant, unlike in spectator cinema, where he is more likely to be the producer, in fact, he is

the main one, which means he is sent to us by the repair foremen, how many locomotives do you have? that’s it, stepan, give me a position, now i ’ll be a trusted person here, what are you looking at, date, what’s your name? ignat, sofia , why do you need a trophy, won’t you give me a locomotive, i’ll go further, there’s a dead man living there, on an island, you kill him again, and we got here, arbike, where is your ignat, has he left, will he come, why did he hide about the german woman, do german women really exist like that , the german woman is against you, not the pub, you are her heart, listen, kiss me, a living person’s

heart should beat. him, vladimir moshkov, yulia peresilt, you need to run, region , on saturday, on the first, mabiva, beloved, knocking, give him a brief description, professional qualities, smart, so, good reaction, brilliant... i was born in a ural village , i come from a christian family, i’m very arrogant. killed the colonel and the mayor, now i’ll kill a colonel every day, he’s a bit weak in character, it seems to me, he’s very willing to add. gentlemen, what's the matter, the elimination

of kokh is of great political importance, is it worth risking such a valuable agent for the sake of eliminating kokh? the basis? based on real events, a real intelligence officer must be ready for anything, on the razor's edge, the premiere of a serial film, soon on the first one , he is the enemy, you fell in love with him like a cat, you are having fun, we continue, this is a podcast, the life of the wonderful, visiting me wonderful producer, screenwriter, director, 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. it’s good, how they are worked, they are poorly

worked, we cannot solve this problem , there is progress, there has been progress in recent years, but it is not enough. 1500 scripts come in a year, that’s what it’s like... efficiency is zero, there are scripts where the screenwriter is interesting, he’ll say he’s interesting, it seems like the script didn’t work out, but there’s something there it seems like he has some kind of grip, something, something catches him, then we get to know each other, try somehow, yes, to develop a professional relationship, but... this

situation is better in tv series, in cinema for cinema cinema, it is still very vulnerable, and well, during this time, the producers of spectator films have gained their own competence in the development of the script, in the so-called development, editing, of course, these are very... things help, somehow working with groups screenwriters, with such teams with script rooms, also brings some kind of, this too more on tv series, but not only , we have acquired some, that is, some competencies , as i already said, so this allows us to somehow minimize this problem, but it still remains, because of course, look, we have wonderful modern literature, yes, you can name, well, quite a lot, really , very good books, a very small percentage of these books are filmed, well, you can remember shurgunova, well, zakhar prilepin, of course, alexey ivanov, yes, here films are made based on their books, but, but in general literature

the modern one 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 are very closely following the entire literary process, probably not, it’s difficult , there are still a lot of books, but they keep their finger on the pulse, and they can’t find anything, material, so that it can be considered for film adaptation for various reasons, they can’t find something like this, we are looking, we really need it, we are ready there, tear it out of your hands, but we don’t find it, but what, what are you missing, that’s what, what you need, what you need to write about, so that you become interested in making a movie about this, don’t, about what, it’s important how, okay, well, wait, well, a novel is written according to its own laws, but a novel

shouldn’t sign up for the possibility of a film adaptation, look, first of all, it’s