[000:00:00;00] a small fragment with the director, who, by the way, is played by a real soviet screenwriter yuri klepikov, or could have been played by a real soviet director and student of einstein vladimir vengerov, other characters also appear there, they are even more important in the script than ultimately on the screen , they were also toned down, an incredibly important character appears in the script, his own screenwriter, who is clearly based on gabrilovich, we started talking about the fact that gabrilovich is a person, here’s another thing... he actively came to cinema, he is a very interesting writer, he actually started out as a musician, he is a master, and from the master’s point of view, this character, ollya gabriilovich, appears in the script, he defends our heroine, pasha strogunov, whom the director took for the role of joan of arc, someone doesn’t believe it, let's watch a fragment, come on, well, in my opinion, the situation

is terrible, but in my opinion it is excellent. well, i don’t know, they asked, they begged, not the brothers for the main role, but i’m sick of the ugly ones, that’s not the point, is this jean arc, some kind of hooligan, i, as the author of the script, insist on replacing her, it is irreplaceable, one wonders why there is an editing gluing, somehow everything looks very strange, yes, that is, why a sonar. gives some instructions to the director, in general, no one usually asks the screenwriter, he handed in the script, that’s it, goodbye, bye-bye, we ’ll continue shooting the film without you, in real practice, in soviet, in modern, very few people are considered screenwriters , yes, he has already transferred all the rights for use, certainly not in the choice of an actress, well, certainly not in soviet film production, and if we

we look, well, because the screenwriter, in the thirties, was the screenwriter of the former film, yes, in the sixties, after all , the director is already fully considered the author of the film by everyone, he is the creator, and here, when we look at the screen, well, there seems to be a little bit of strangeness it raises questions for us, i say, why the splicing, why behind the scenes, because it’s obvious that all this was re-voiced, re-edited, and the character who was originally played in the selection, this can be seen from the director’s script, from literary scripts, was actually a representative of the studio , yeah, but there is even such memories or stories about how ... some soviet officials who managed the cinematography were offended and thought that this was a caricature of them personally, that it was just a specially drawn parody, that this should not be done, did not appear in the film in the end the version that seemed to be filming the script, the screenwriter did not appear , the screenwriter gabrilovich did not appear, but a representative of the film studio appeared , who is trying to clear up all the problems that arise on the film production site, and

who is a friend, in fact, of the director, and not an enemy him, this is clearly stated in the script, but sometimes he is very sad that the director does not listen to him, this is the character that visbor originally played , apparently, and then he was remade precisely because of this complaint of the screenwriter, that character , which is not here, in the script, by the way, it’s very interesting, this representative of glavka argues with the director, and as a party member with a party member, about why your heroine, jeanne darc, has such sad eyes.. .doomed, and that's what you would do like a chipaev film, to which the director says: well, maybe the chipaev film did not show the whole truth about chipaev, if we all knew how easy it was to accomplish a feat, then what would be the point of a feat? no, zhanna is just going to the feat, not suspecting that she can even do it, but this dispute around chipaev, it is very interesting, in fact, chipaev - it is no coincidence that chpaev was remembered, because its creators, the vasiliev brothers, are also students

of izzenstein, direct moreover. today we are specialists in the film the beginning of gleb panfilov, it was important to show in the film that our heroine, pasha, does not achieve her success , we don’t even know yet whether success will be easy, it was necessary to show that she not only has problems in her personal life, but also does not always cope with filming, and at the same time we understand that the relationship between director panfilov and actress churikova, they were more or less harmonious, because the script, in principle, was written for her, for her, and even knowing some of her habits, he spoke about it even the director of the studio, he attended some event, spent 10 days with panfilov and churikova, and says: well, i understand that you are doing this for her, maybe tone it down a little, maybe make it a little more difficult for her, but at the same time there are leonid kuravlev’s memories of

what he had on the set not very easy, remember, yes, he actually complained that he was giving his all, trying to do something so interesting on the set, and ponfilov somehow calmly said, well , redo it there, yes, we’ll do it again, the devil really is greatly offended, touched, and there are legends about it, yes, i heard from one from our producers, stories about how the wonderful soviet director panfilov, well, behaved very ugly towards the wonderful soviet actor glyanid kuravlyov, this is simply retold, as if it just happens sometimes in a dialogue, when they tell some stories, that is this still lives in people’s imaginations, and there is a biography of kuravlev , very detailed, where a separate chapter is simply devoted to this whole story about how hard it was for him... at the beginning of the filming, i wanted us to watch a piece where director in performed by yuri klepikov, he bullies pasha

stroganova on the set. no, they're bothering me, they're bothering me, they're bothering me, fyotr vasilyevich , they're bothering me, let me go, i'm not crazy, you're the one, let me go, quickly, someone give me the moves, calm down, get away from me. ugh, sit down, stop, this can’t be done, give me a saw, a saw, a saw, a saw , which one is more in the way, the left or the right, oh why, my hand doesn’t bother me, now you’ll find out why it’s for, no need, i understand everything, i i understand everything, now i’ll do everything, right. i remember that this second director is played by a real second director, indeed, these are the only characters for me, played by the second director of the film, in fact, who worked on this film, and of the film, so we talked about the fact

that there is more than one film in this film, yes, not only the love story of pasha stroganova, not only a comedy about the peculiarities of filmmaking, cinema and cinema, but also the third film is the story of jeanne d'arc, a medieval epic, and heroic... a story that seems to have its own laws, and this, of course, led in some bewilderment, in general when there is so much mixed in one film, it always confuses critics and viewers. in the sixties, you can very often come across some kind of reviews that are called so: genre, but what, yes, these complaints are addressed to self-contained films, for example, in the film shoot the car, when the critic does not understand, in fact, what film i am doing this with, with a comedy, with a detective story, or with some other film, everything here becomes even more complicated by the end of the sixties, and the director gives us three films based on for the price of one, as they would say today, this is the story about joan of arc, because where the film begins, and look,

we are deliberately deceived, when the credits of the film begin, we see the story about the trial of jeanne dark, at that moment the camera after some then the climactic scene, and he drives away and we see general scenes, which turns out... this is actually a film set, that this is not the truth of the middle ages, but this is the truth of a film set, they show us how film production works, yes, that is, it’s like this sudden transition from one scene to another, made due to the camera work, but completely changes the actual understanding of what kind of film we are watching, and this happens very often throughout the film, we are suddenly transported from soviet reality, to the middle ages, and sometimes you won’t understand , as if this is the real middle ages, or this is the middle ages that they show us in the movies, we really see how everyday soviet comedy enters into dialogue with the medieval epic, and jeanne, of course, is

the cementing image that connects putting together all these three parts, a story about filming, a story about reality, a story about modernity, in general , it seems to be of the greatest interest to the director, to gleb panfilov, why everyone wants to believe that first there was a film about jeanne darka, and then the film on... it seems that this is a very convenient escopism, but to talk about something completely different and maybe , under this sauce, as if to cast a new look at soviet reality, this escopism that seems to be in jeanne dark is present, it actually is in those pieces that seem to relate to modern times, that very scene on the dance floor, suddenly such a rollicking, really cheerful piece of music is playing there,

let's listen. you dance, you dance, and i sing, this is absolutely free use of western melodies, rhythms and... the melody of foreign pop music in soviet cinema of the sixties, we also need to say about it, how in principle it could have appeared there, and we didn’t even know about this, it always appeared, but remember carlson, who lives on the roof, advice... a cartoon, it seems to borrow an american melody, but this is a story about a ghost that scares two robbers , in fact, it’s horror of house, but it’s quite famous, some kind of american pupuri, i don’t know how to say it, i forgot the name of the artist who performs it, the singer, but in general, this is accurate, i was recently listening to music, suddenly i came across this story in a stream in a playlist, i was even a little shocked by how easy it was to take and

use songs, which... liked for soviet sound engineers in soviet cinema, the film july rain of 1966 is also very characteristic in that, in principle , there is no specially written music, a set of what could be heard at that moment on records, on the radio, in fact, the filmmakers took from the radio , at first everything seemed to be accepted calmly, and then eldar rizanov wanted to do it in beware of the car, too, in this manner, to collect - in the spirit of tarantin, the future tarantin, a soundtrack from popular melodies, and they told him: you know, but maybe you’ll find some composer after all, like andrei petrov, a good one, and so began a magnificent collaboration, rezanov and petrov, because he was simply no longer allowed to take foreign melodies without asking, in general at the moment when the soviet union accedes to the copyright convention , it all becomes a little more complicated, and in general, of course... the aspirations of the soviet union, these were in the sixties, seventies, in the late

sixties, seventies, these were attempts to cooperate, collaborate with other countries, including in the field of film production. and one of these stories is the next project of kleb panfilov, this is, in fact, a film about joan of arc, which he is planning to produce in collaboration with the french, so they think that french co-financing is needed, french participation is needed, because everything... still, in our landscapes and latitudes it’s a little difficult to film. but definitely still with the participation of churikova in the leading role. and it seems initially, at least to len film, that this is possible, yes, because indeed, she had a very big success in the film beginning. she becomes the best actress of the year according to moviegoers, then the soviet screen magazine conducted such polls every year, here she is - the best actress, an all-union star and an all-european star, well , besides the countries of the socialist bloc, we

have a scene of the execution of jeanne d'arc, which, well, in general gives the impression of a scene , which could be in the jean dark film, that is , this scene was the beginning of the film, but could it be in the film zhannadar? it would be his kind of an auto remake, but in general from the beginning of the film we see what the film could have been, color, probably full-length, widescreen, wide format. and the film by gleb panfilov, the life of jeanne d'arc, an unmade movie, my favorite

section. give me a cross, give me a cross, give me a cross, what went wrong, what went wrong , dreyer managed to film a danish director who shot an absolutely french film by gzina dark, but in the twenties in silent films with a french actress in france, the however, the main question is for the character by name jeanne d'arc, the director always has the following: where do these voices come into their heads, yes, how is it all, where does it wake up inside

the heroine? this passion, this desire to change the world, the desire to organize a revolution, start a war, transform something, where does it all come from, and each director, depending on the era, his personal taste, decides this in his own way, well, actually , what happened to this panfilov project, it became one of many projects that were not implemented on the screen, unfortunately, on the one hand it was a matter of money, it was really... expensive production. the french, of course, were not particularly eager to finance it, as can be concluded from some documents. we don’t have very many documents about this film, of course, yes, unfortunately i haven’t saved many. documents, but there is an indirect version that confirms this, that the soviet leadership , in general, did not want to touch this topic too much, but panfilov wrote the script in line with marxism-leninism, he received feedback from academician skazkin, what a name for a historian,

who said that everything about joan of arc is correct, but at some point inna churikova writes a letter to comrade germash, the then head of the cinematography of the whole yes, who says that i... for the sake of this project i gave up everything, that is, i’m putting it off, then i have a personal life, i’m not involved in other roles, why don’t you put this film into production, why don’t you give the green light, and as various sources write, ermash didn’t even respond to this letter, he ordered to just put it under the window and forget it, so we don't have a movie jeanne darc, the next film by panfilov and churikov, was released only in 1975, that’s when i asked for the floor, that’s how long it took them to let go of the previous project. but we have the film beginning, which received the komsomo award in the early seventies, and as i said, churikova received audience recognition, but this still doesn’t fully tell us why we should watch this film now, for me, of course , this is ina churikovo, that’s why you need to watch this

film, which is somehow very, very subtle transition, instantly transforms into a completely different character , you understand that it was one... ours, pasha stroganova, and then jaune dark suddenly appeared, you have no doubt that this is not pasha stroganova, who plays jeanne d'arc, the real jeanne d' arc , yes, her work, you can’t even call it a game, it’s really work, it’s here and it’s also incredible because it seems so simple, just think, she played one, played another, and she played this girl and suddenly she played joan of arc, she does it like that light, so...' simple that every time it’s like some kind of thin ligature, it ’s just some kind of filigree, i don’t know, medieval quality, yes, then they used watches, pricked fingers, blood and so on, and from this it turns out

, something embroidered with gold, incredibly beautiful, and this is also, of course, a reason to watch this film, but also something that maybe we haven’t said enough about, humor, how panfilov was given... here, again , to talk about everything , well, quite easily, but about absoluteness, a very spectator film, then yes, it is not particularly difficult, yes, this is not some kind of festival film, which you need to immerse yourself in in order to understand the director’s deep intentions, it is deep, but at the same time he does not scare himself away, does not push himself away from the screen, and in fact, this is exactly the topic of our podcast, see from einstein, these are films and the skill of directors. which do not repel and not cinema is not for everyone, yes, but cinema is for everyone, just how cinema becomes such an art that it can attract people to the screen absolutely any viewer, even the most unprepared, and this was a podcast of a witness from einstein, where two film historians, me, natalya ryabchikova and my colleague,

stanislav didinsky, talk about how, by whom, why classic, unknown, cult, famous films were made. never -before-seen soviet films, we are trying to help modern viewers watch these films with great interest, with great understanding and great pleasure, until we meet again. thank you, see you again on the screen. hello, i am pilot cosmonaut anton shkaplerov, this is a space history podcast, today my guest is alexander serdyuk, senior trainer and teacher of physical training at the cosmonaut training center. sasha, hello, hello anton , i know that you didn’t start your coaching career at the cosmonaut training center, how did you

even come to us, yes, that’s right, i started my coaching career with children, like... when anna entered to the detachment, and anna is anna kikina, your wife, yes, yes, yes, my wife, we collected her documents together, for that moment, she joined the squadron, and i came to the center to work as a specialist, a physical training teacher, tell me, how is selection for the cosmonaut squadron carried out, specifically from the point of view of physical training? from the point of view of physical training, selection for the cosmonaut corps takes place, as probably all selections, for some specialized professions, where physical training plays an important role. you need to naturally select the most dexterous, the strongest, by the way, you are quite dexterous, and you didn’t try together with, well then with

anya should submit documents, but then no, uh, in fact, then everything was a little even fabulous, and i just didn’t even believe it? now sometimes i don’t quite believe that this is happening, well, the first selection, as you remember , it was unexpected, let’s say, for yes, this was our first open recruitment in 2012 , yes, for the first time we had an open recruitment, where indeed, anyone who meets certain requirements could apply to try to join the cosmonaut corps. yes, then all our attention was concentrated on submitting anya’s documents and organizing her admission, and it happened, it’s very, well, tell me, interesting.

what are the requirements, what exercises does a future candidate for the cosmonaut corps, a candidate for cosmonaut need to be able to run, jump, swim, run that far, run, need to be able to, shuttle run, 10 by 10, all, 10 m, 10 m, 10 times , without stopping, with a change of direction, yes, of course, everything is on a stopwatch, and you also need to be able to run a 1 km distance, in... less time, of course, but you remember, what kind of digital indicators, maybe someone is just thinking about it now or preparing for the selection, yeah, the nearest ones, the digital indicators are actually not some kind of completely cosmic, olympic, yes, yes, they are olympic, you can run a kilometer in 3 minutes , 20 seconds and this will be a passing grade, yes, naturally, everyone in all exercises , pull-ups, swimming... must show their best side, because the selection still occurs among those, well, stretching is clear, the number of times, yes , yes, of course,

number of times, 12 or more, 12 or more, yes, we have swimming at 800 m, one of the stages, and you also need to swim it in no more than 20 minutes, and if you don’t know how to swim, if you don’t know how to swim, then unfortunately, we don’t provide training at the selection, we can. of course, suggest the direction where exactly to swim, but nothing more than how to swim correctly, how to swim correctly, those, that is, we understand that if you don’t know how to swim, you won’t become an astronaut, most likely yes, this requirement is mandatory, so same as - read, write, that is, yes, perhaps someone i missed this in life, but this is a necessary requirement, what else besides, besides this, we also have, well, a standard standing jump, flexibility. it is checked from a place, also for a distance, yes, with two, from a place forward

, and the distance is measured, and 2 m, 40 cm, quite enough, 40 cm, you need to jump forward, pushing off with both legs, absolutely right, but about the trampoline, what- it happened with a trampoline, oh, yes, we also have a trampoline, on a trampoline everything is very simple, let’s say, exercises on a trampoline, we have such as turns, that is, a person must break away from the surface of the trampoline by at least 60 cm, and make a series of turns of 90, 180 and 360°. this is a fairly simple exercise, as it seems, but quite indicative, uh, it’s interesting because it’s not difficult, without injury, it shows a person’s ability to control his body in such a prototype, weight loss, no, well, i remember, i always liked the trampoline, well, like a pilot , we have known the trampoline since flight... school , that is, not just turns, that is, it is a somersault, and i always liked the trampoline, with pleasure,

it shows your coordination, swimming, well i remember swimming, yes we swam, but the most difficult thing for me was to enter the water with a 5 m back, but this was no longer in the selection, it was already there somewhere, it is not in the selection, it’s all already in the process , that is, we first lure you in with the fact that it’s easy for us, and then we start. so tell me, the next thing, did the candidate pass into astronomy? selection, he was enrolled in the detachment, he is not yet a candidate cosmonaut, then how does his physical education develop, yes, his life in the gym, after our applicant is enrolled as a candidate, he is for two years in the okp group, general space training, prepares as per his specialization, that is, he studies all the systems , spacecraft, stations, and also physically improves, and the classes... are held at least three times a week, and sometimes sometimes more often, yes, these two-hour classes

are probably the golden time for precisely improving your physical fitness. preparation, so what do they do, run, jump, everything is exactly the same, that is, we use almost the same simulators, exercises that athletes use, the only difference is that an athlete usually specializes in something narrowly focused and achieves results in this , we have very diverse astronauts, physically versatile, so he needs to be able to run, swim, jump and... perform difficult coordination tasks exercises on a trampoline, at the same time they can also dive for breath-holds, quite decent, how much is needed, well , twenty for admission is enough, swimming pool, yes, later, of course, we improve all this, breath-holds, but in addition to training equipment, they probably play football

, badminton, team sports, yes, of course, they are always present, at the stage of general space training... maybe not to the same extent, but subsequently they directly become an integral part of the life of every astronaut and everyone chooses for himself some kind of game, some kind of direction and often achieves very good results, well, let’s even take you, you play tennis, badminton, alexander, the physical education department is the most favorite place for an astronaut to come, maintain your fitness, relax, socialize, it’s good that we have such an opportunity, a good base where we can go to the astronauts right at work during the time for which we are paid a salary, go in for sports, this is very good, yes, it’s good to hear, thank you , especially, such coaches, well, like you, yes, we each have a champion in our own way, different directions, now you play badminton quite well, you are a runner with us, skiing and so on, and our other teachers, who can also teach you how to play tennis

desktop and so on, this is the second one. it’s worth it, well, look, we talked about selection and okp, tell us how the relationship happens , already during the astronaut’s preparation for his flight, the preparation he joined the crew, yes, in the stages, after being placed in the crew, the astronaut becomes not so a lot of time, in general for everything, probably for everything , he begins to work non-stop, well , i think you know this very well, remember, you have to study, definitely, every opportunity, every chance that can be used for in order to get some kind of psycho-emotional relief, namely by immersing yourself in physical education, sports, cosmonauts, of course , always use it with pleasure, but we must say that the crew always has its own instructor, who is assigned to the stage, if i don’t know, in the stage if i there was one russian, which means i had a personal one, if i

fly there with someone, we always have a personal trainer between the two of us, can you remember? how many crews have you trained and i don’t know, maybe you remember the first crew, the very first one, i i remember the very first crew, it was your crew, just then , we worked together with anatoly viktorovich petrenchuk in pairs , he was the leading teacher, he passed on to you, he passed on the experience to me, and we were just your first trip to baykhanur, it was very interesting, of course, such an amazing event , to take part in all this for the first time and looking from the inside, for the first time to see how really, here it is, a rocket takes off into the air and flies into space with those people with whom you worked together yesterday, this is of course indescribable emotions, i remember, this is a very, very bright event, but we have new physical education every day before the start , of course, and in my opinion we start the ones that we wake up, go for a walk or

a jog, that is, from morning to evening, sometimes in the evenings there is a bathhouse, where we also go, all together, we try to steam ourselves before a six-month flight, yes, in order to somehow remember this already, the rocket flew away, the work does not end there, for a while, let’s say, it stops until the crew flies to the station, after which the operational the group that accompanied the crew before the flight, that is, we almost bring the crew to the rocket, then it flies away, and we accordingly return to the cosmonaut training center, well, the connection remains, we of course still have the connection, every week we have contact... exactly with a trainer, where we can tell you how we work out, that well, in any case, we uh, well, there ’s a treadmill, an exercise bike and even a strength machine, yes, we reset all the data, how much he can always ask the coach to adjust, well helped you at least at least, consultations, adjustments, yes, of course, this is always when there is a lot of flying experience, but there are still those who fly for the first time, i think that, of course, the invaluable experience

of the words that you will always find will help you stay in shape. yes, of course, well, feedback is very important, that is, astronauts, they also give us feedback, they enrich us as specialists, we are constantly in this work, this... every flight is unique, every astronaut is unique, you know very well, that’s when the real thing begins in space physical sweating, because regardless of the fact that the day off is a holiday, if on this day you have a way out from the cricos, then they don’t plan physical education for you, these 2 hours are sacred, it doesn’t matter, i say again what day it is on the calendar, but you there will be 2 hours of physical education, which we usually, well, divide into two blocks, yes, this is either a treadmill and this is an exercise machine, and yes? an american machine that replaces lifting weights, such as a barbell and dumbbells, yes, that’s it, everything is as you say,

we continue to talk about physical cosmonaut training, with coach alexander serdyuk, and i, anton shkablerov, that’s what you think, you, well, i already have experience, yes, and having analyzed more than one crew, how do the indicators improve or worsen over a six-month flight, yes, the question is such an interesting one , well, for example, you get data, he was flying away or working out for the first few days, he had a certain amount of weight lifting, and you see that he is starting to move down, that is , his performance is getting worse, for a six-month flight, let’s say, it’s definitely work in space improves in an astronaut, but the physical state of the body for ordinary life on earth, and also for some sports and physical education events, of course it becomes less... let's say, there are a lot of skills, those that we even here do not control absolutely, well, upright walking, just

there, from a standing position, take and sit down, for example, something that we don’t even think about here, all this is not used in space, and accordingly, neural connections, they both arise and are destroyed, which is why body control, of course , suffers, that concerns muscle structures, yes partially... are not lost, especially those that are not used , so, in fact , we run, jump and do weights, so that our cartilaginous tissues are pumped, and the bone does not lose a lot of calcium, well, that is, everything that is on board is is still intended to stop the negative factors of space flight, but, of course, they cannot be completely avoided, i think you also remember very well your feelings, i remember that we, in addition to losing indicators, for example, weight, yes, what we

are raising the frequency. the most important thing is that it didn’t do any harm, not to get injured, which is, in principle, theoretically possible, so your task is to save us, well, more or less, so that we will be there when we return to earth, so that we can recover as quickly as possible, that’s what we said. about your first trip, but you were lucky, you have already been to more than one cosmodrome, not only to baikandur , you were not so long ago, this is when your wife, anna kikina, was the first russian to fly on the american dragon ship, that is , before her no one did, and naturally you accompanied her to houston, then to florida, yourself launch, yes, that is, before the launch, she also continued to study under your strict guidance, as probably, she was always in my group, then i also accompanied this crew, initially this crew of the iss-68,

this is crew training with the commander sergei prokopyev, who is now in space, dmitry pitelin, a flight engineer, also, who is in space with us, but then there was a reshuffle and anna went to dragoni, now she met the guys there, but also physical training support, she remained with me, we there were also connections until she was in space, just like with all the astronauts , and when you were spinning, i met her, yes, yes, yes, i met her, at the johnson space center, that is, i no longer yes, yes, yes, it was in houston , here, this is a cosmonaut training center, only american, astronauts, or rather, yes, it’s correct to say, i met her there, well, you met her as a husband or, well, as a husband i’m not... of course, i’m not going there, so, but, but your task was precisely to meet her as a specialist, you were on a business trip, yes, of course, and you were sent not just to meet her, but to help

to her, because she didn’t immediately fly to russia, how long she was there, i don’t know, a couple of weeks exactly, yes, 10 days, 10 days she recovered, after that she was able to fly by plane from hughson to moscow, with these transfers, yes, with one transfer , we got to... to moscow, they already met her here and continued rehabilitation measures, you say that you only met in houston, and she landed in florida, yes. why weren’t you in that place, i know the doctor was with her, our doctor, the cosmonaut sweating center, her doctor, why you it wasn’t, you are both a husband and a senior trainer-teacher, and you were specially sent there to meet her and restore her as quickly as possible, but you didn’t end up on that ship, but it happens, i was just part of the task force, part of in the operational group, everyone has their own purpose, their own place, their own role, and of course, we adhere to all this, so

the doctor is mandatory, this is the first one who meets you, the crew doctor, and he definitely looks at your condition, if any necessary, takes measures to, that is, in the time of her return landing, well, splashdown, yes it turned out, you were already in houston, waiting for her, yes, i was in houston, i was waiting in johnson, but since my role was a little mixed, all the families went to the airport where they arrived the plane on which the crew was brought, so i also left for this airport, i boarded this plane, we were already together with rusana, serebriakova, this is the crew doctor, yes, we already took anya out together, we put her in the car, then we were moving exactly to place of our rehabilitation according to what emotions

were, do you remember when you saw her. oh, after her half-year-long flight, here she is back, a real cosmonaut, you know, i think that there’s probably, uh, such a range of emotions, uh, it’s like, you’re put together like a specialist, but at the same time, of course, you’re just you rejoice, like, i don’t know, like a child, when you don’t see your loved one for a very long time, you meet him, and don’t resign, so let her go for six months? station, no, other astronauts, cosmonauts, astronauts, cosmonauts, well , we have very warm friendly relations, most in fact, for everyone, so somehow, i don’t know, even the question, somehow like this, didn’t arise, but here, i don’t know, well, you know, there is work, and the team with whom we work, it ’s probably , more so, he’s really very warm, quite dear, and there are absolutely different... relationships, so

we talked about returning, then our rehabilitation begins, and there should also be the same coach, whose personal trainer the crew has, like a doctor, tell us about this stage after returning, yes after returning, we see, we are used to seeing that cosmonauts they don’t walk on their own, they are literally taken out of capsules there, it doesn’t matter whether it’s dragon or our union, they are carried out right in their arms, sat on chairs, and then we don’t see them practically walking, if they walk, then they are always supported by either a trainer or a doctor . yes, yes, yes, that’s right, in fact , a cosmonaut or an astronaut may be in fairly good physical condition, that is , muscles, and so on, muscles, but at the same time he cannot walk, precisely for the reason that he he just got out of the habit, his body forgot how it was is done automatically, that is, the neural connections have not yet been restored to this action and it has not yet turned into automatism, but constantly keeping everything under control, especially after the flight, let’s say, from the station to the ground,

is a rather difficult thing, energetic, yes, let’s call it that, that’s why, of course, at first you just need to give support , support to the person, so that his vestibular system comes into agreement , remembers, gets used to it, i remember, even after the fourth flight there, well, it’s like an experience, i i recovered quickly, that is, it seemed to me that i didn’t need support , but all the time i felt the elbow of my doctor and the trainer nearby, it turned out like this, if you walk up the steps, yes, i see a step, i raise my leg, i walk, if i start to get distracted and talk to someone, yes, i seem to raise my leg, well , automatically a step, what’s 14 cm or whatever it is in the image, but i forget, during these six months, that