looking at history, being an enemy of russia is not a very profitable business, and i am sure that most americans do not understand what the biden administration is trying to get them into. it was a great game, we'll see you on the air tomorrow. hello, i am still dmitry bak, i still host a literary podcast, which is called let them not speak, let them read, how much debate is there now about the classics, is it relevant, or is it forever outdated, of course, there are very different writers, but dostoevsky , fyodor mikhailov. among the classics

russian and world occupies a very special place, so i think, let's see what my guests think, today our guest is the director, people's artist of russia, vladimir ivanovich khotinenko, hello, vladimir ivanovich, thank you for coming, we have a theater actor, lenkom mark zakharova, anton shagin, and we will talk about dostoevsky for a reason, this year marks 150 years. from the date of publication of a separate edition of roman bes. and taking advantage of this opportunity, we will talk about the novel besa, about dostoevsky, about creativity, and most importantly, about today. vladimir ivanovich, how did dostoevsky appear in your creative destiny, because you filmed the dostoevsky series in the eleventh year, and then the demons, partly to blame for this is the architectural institute, which i graduated from at one time, that’s because we have complete prosperity there. in the architectural institute

of that period , these groups, rock groups, and mozart, and wagnerner, and high literature, whatever you wanted, coexisted quite happily, and then, in general, i became interested in nabokov’s lectures, lectures on russian literature, yes, nabokov , professor, yes, and i with i was surprised to read that nabokov was extremely disrespectful towards fyodor mikhailovich, he considered him a c student, strictly speaking, for his language, for that, for everything, tenth, this intrigued me, and this, perhaps, was the first seed sown, and then fate unfolded so that i was offered to make a series about dostoevsky, and i suddenly recalled the impression, i re-read, first of all, i remembered, naturally, constantly, or rather i remembered, i thought about nabokov, about this internal polemic, but nabokov did not convince you, how are you if now you think that he is wrong , no, nabokov, i think that he is completely wrong, absolutely, in his own way, that well, for this you need

to know nabokov, but he himself was a little thing, nabokov highlighted it to me, after all you know, sometimes it’s very important to highlight it with some unusual light, through an enemy, through an opponent, and i mean, i agreed, almost without hesitation to film it, i realized that i was taking a risk, i had a rather tough discussion with dostoevskov scholars that they didn’t put the bag on they didn’t wear it on the head during executions, but there is a wonderful one. quote he says that artistic truth is much more important than historical truth, so bertolucci said , i say historical truth prefers truth to art, because historical truth begins with truth and ends with lies, and the truth of art ends with lies ends with truth, and the main thing with eternity is curiosity, here i am i understood that i was taking a risk, but it was so important to me, i was not afraid at all, that is, it was still a personal plot, such a personal conversation for soevsky. life, nuances, his character,

his character is difficult, even harmful, not for everyone, i i imagined how i could meet him , for example, he missed tolstoy, thank god, i told myself, they were at the same lecture, the secretary didn’t introduce them, he’s not a secretary, and how tolstoy swore at him after dostoevsky’s death, the fact that tolstoy and dostoevsky did not know each other is generally a cosmos, well, can you imagine that i think this is correct, you know, i’ll say a paradoxical thing, this is correct, and it was not necessary, these are not worlds, theirs, theirs there was enough of our own, but after the opening of the monument to pushkin in the eightieth year, dostoevsky wanted to go to tolstoy in clear glade, and he was dissuaded, but dostoevsky on this one, well, he is susceptible to such messages emotionally, he really wanted to get to know each other, but

in any case, now, for example, i am now, for example, in horror, suddenly i imagine , so that fate does not give me such a gift, because today i am without... this is not a beautiful word for the occasion, this is not a figure of speech, i cannot imagine my life, that’s why i have a heavenly reference book, brothers karama, i can like this, i enjoy it all the time i’m polemicizing, that’s how they used to read , that’s how they opened it, i read like that, and i revel in it, but i have something, style, ideas, and style, and style, absolutely contrary to what i had in common with nabokov, i also studied onology with butterflies, but this is news an architect and i too am an entomologist i have urticaria i had urticaria such fantastic mutations i could run 5 km for the red day and i, most importantly

, violating all the principles of these entomologists i caught with my hands and i put on stavogin in this manner of mine that’s how fate is here from these i’m surprised how much your eye lights up, when i listen to you with pleasure and rejoice , you say how much it really embraces you, since you can’t get enough of it, well, is it really possible to get enough, i also tell students that there are volumes with recordings to a novel for a teenager, for example, this is no less interesting than a novel for teenagers, there was no internet, a person wrote everything he thought and this

treasure one day in st. petersburg in a second-hand bookstore i found dostoevsky’s notebooks, which he was preparing for a novel, an idiot, and pre-revolutionary edition, became interested, found it somewhere at the very bottom, moreover, an uncut book, not yet cut, unread, i arrived with rapture, under a light bulb at home, which means i started reading it and was shocked by how much these notebooks are, well, this can be said separately work, only in the eighth notebook he writes in calligraphic handwriting, dostoevsky writes the word prince at the beginning of the page, from this word everything begins to take shape, but this mechanism, it begins to twist everything, because those features that ganyu had, he transfers to myshkina, at myshkin to the features that were , he transfers to rozhino, this mechanism that he himself triggers from a single word, this is an incredibly charming read,

my interlocutors are amazing, you feel how advanced they are in this matter, but anton, i wanted you ask a little about something else, and do you feel more organic about yourself, in what images, within what characters, you play both modern people and, of course, classical characters of russian literature, what is easier, what is more organic, what is more productive, maybe nothing is easier, and here, more interesting, i can say , well, for me the main criterion is perhaps creativity, yes , so to speak, the volume of this or that character who would not just live his life, yes, but would be in dialogue with it, in a collision, then it turns out, this is polyphony , then it turns out that it’s interesting to perform, it’s interesting, of course , to observe, as for historical or modern, here, the main thing is that

there is a core and this flaming vertical, which you want to dissolve in, and then unfasten from yourself, because, so that this does not migrate to other roles, when you begin to encounter dostoevsky, and i played him in the theater and in the cinema, when you begin to encounter his text, it is so energetically very highly charged that it is impossible to learn it right away, let’s say, my daughter, for example, he begins to put pressure on you, he sits down on you all and you, as a performer, can completely dissolve a little tongue-tiedly repeating such a brilliant non-turgeniev of his. an amazing text precisely because of its disharmony, which, but thinks, at the same time, it is extremely strong and does not get lost, what is dostoevsky’s strength, it is a block of meanings and thoughts, and not reasoning , well, i love not a single turgenev, well, a wonderful russian

writer, but imagine the sun setting for udostoevsky, well, it’s simply impossible, the peaks began to sing a landscape , although although he wrote for money, as it were, yes, that is, his well... his main idea was not for money, yes, but he was always in dire need of money, so he could have rejoiced at himself, he says well to the fat turgenem, they have i have money, but i need to finish it, besides he could sit down, as it were, on these realities and describe nature there for 20 pages, but he doesn’t have this, he is to the grain, he breaks through to the meanings, although of course it’s difficult to read him , i’m vladimir ivanovich, excuse me, anton, i enjoy the conversation so much that i just want to stop and give you the floor to talk to each other, but it’s very important for me to ask you everything that was in my head, when did you read the novel? and did you know what was connected with him in soviet times, you did, or it was just somehow behind the scenes,

behind the scenes, the fact is that once i i read it as a plot in the school curriculum, i read it as a plot, no, well , it wasn’t in the school curriculum, no, i mean, when i was in school, i read it anyway, i already read the demon, but how what publication, this is a grotto - in the agrarian-petrine academy, now it is the temeryazev agricultural academy, and where the student ivanov, whose prototype was, was killed. it looks like we have a grotto in the film - there is where they kill in what i read, but i read and the assignments weren’t handed in at the time, yes, but i, i’m telling you, i’m so i had a reading, inquisitive mind, i just read a lot, spoiled my eyesight, lost my dream of becoming an astronaut, you see, that’s why, but it ’s all just a statement, yes, dostoevsky is a great writer, from a painting by perov, that’s it, that’s it, that’s it yes. but of course i really felt it, of course, when i started making a film

in nastoev’s style, that’s all, here everything was real, when i re-read everything, when i asked myself the question: listen, gloomy, gloomy, and sense of humor, hello, he has, what a sense of humor, he was even accused of that he imitates gogal, this, but it’s wonderful with such practice, it’s a wonderful statement that says, if not for katerga, these 4 years, who specifically paid attention, if not for katerga. he only had one notebook and the gospels are with notes for the building, yes, i know this publication is excellent, but look, i’ll just remind you that in soviet times there was such an anecdote that if they erected a monument to dostoevsky, they would have to write to fyodor mikhailovich from grateful demons, because since roman obesov of the revolution, he is against the revolution, then how this... it’s strange to imagine now, but in soviet times, demons were not published, they were published once and withdrawn, so i

was finding fault with you, which one, the pre-revolutionary edition, this is an important story, and the novel was based on absolutely hot events, because that in november 1869, near this grotto that we saw, and a group of revolutionaries, terrorists, conspirators, whatever they wanted, killed their like-minded person, a very modern theme, a sect, yes, which you can enter, but... you can no longer leave , his name was ivan ivanovich ivanov, well, such an intricate surname , they killed him, sergei nichaev led them, there was a trial, this is just this unenlightened, strange, drooping, in my opinion, face, strange, you can read a lot here, these are notes, for me the face , every time these are notes, yes, yes, after this there is a trial, this trial is not depicted at all, yes, everyone is discussing everything, whether the culprit will be punished, and dostoevsky works on the verge of relevance, he is a journalist, tolstoy

says that, well he doesn't write another one first thing, at first an essay, practically like that, and then it grows into a braid, i don’t even know , there’s already a post there, then only he realized that he was cramped, he felt cramped, he felt cramped there, and he, the huge scale of this private , thank god, he transferred it to a different register, completely. and he saw this as a world event, in fact, right? and there, well, lenin is partly to blame for this ban, well , in soviet times they said that nichaev was not a proper revolutionary, here is lenin and company, here is the first edition of demons, separate, you see, 10873. anton, how did you become pyotr stepanovich verkhovsky? i asked vladimir ivanovich for one single test for verkhovensky, to which vladimir ivanovich said no, the artist is confirmed, you are approved for kirillov,

the conversation is closed, i still persuaded about one test, where i showed three versions of one scene and after 5 days was already approved for verkhovensky, but what’s interesting here is my inner, so to speak, message, why it was important for me to play verkhovensky myself, i suppose, so that it wouldn’t grow on you... i didn’t stay, i had to perform it, play it and unfasten it so that he wouldn’t know about it, but when he played at the auditions. how important it is to hear this, because these are completely different people, after all, kirillov is such a monomaniac, he has the idea that suicide is the only free act and he lives only by this, and verkhovensky of his freedom, in fact, and verkhovensky is so complex,

everything - still a characterful person who wants to rule, hence the last name, probably his father wants it by the way... stepan trofivich here seems to be in the shadows, but triggered hook, in verkhovensky himself, pyotr stepanovich, it seems to me that he manifests himself precisely with this trigger, because this dislike, dispute with his father gives rise to this number of demons in him, to which he already how interesting and how new anton , stepan trofimovich verkhovensky is such a liberal of the forties, who is still obsessed with the fact that the government is looking for him, watching him, seeking him out, he is like an oppositionist, in fact, he is an absolutely unsuccessful person who is not even capable of loving son, treat him like a human being, he is focused on his figure, but his figure is absolutely empty, and petru stepanovich

cultivates all this and spreads it to the country, already to the people, trying to subjugate ... him to himself with his own plan and what kind of - this is a complex and this is what i want to say, it’s extremely important, you know, there is such a generally accepted formulation for actors: it’s sacred not to play textually, just for the viewer, even this is not entirely clear, but for actors it’s understandable in no case is it a grotto, can you imagine how it’s difficult to work with dostoevsky’s text without playing the text, i can say incredibly and how we struggled with it. how we were looking for this monoloshka behind the houses, it’s very difficult , because he puts pressure, he, i say, he dominates you, and if you don’t curb him, you, as a performer, simply dissolve, because when you start teaching him, and then you’re already starting to play it, i’ll say a strange thing now, but it’s even physiological for me, but

the insides change places at that moment, yeah, and the soul turns inside out, and then all your sins are hanging and waving their legs , like this, well, we continue, i remind you that today we are talking about dostoevsky, about the novel demons, my guest today is the director, people's artist of russia, vladimir ivanovich khotinenko and theater actor linkom mark zakharov, anton shagen, i will now, if you allow, take up what always happens in the middle of the program, this is... a few minutes of the host’s solo and in this fragment of our conversation i would like to read the texts of captain lebiatkin without any the first by the way yes this is the first aberiuth and captain lebiatkini, speaking of a sense of humor, he is a wonderful comic character and tragic comic funny, he must definitely be

funny, he tells varvara petrovna that he has a fable, he says, probably krylov’s tower, no, no, not krylov, my own fable, that’s what he reads , there lived a cockroach in the world, a cockroach from childhood, and then he fell into a glass full of fly-eating, lord, what is this, varvara petrovna exclaimed , a cockroach took the place, the flies began to murmur, our glass was very full, they shouted to jupiter, but while they were screaming, nikifor, a noble old man, came up, well, i’m not finished yet... despite the scream, all the comedy spills out, my god, what is this, this is absolute, this is not krylov’s fable with a moral, with clearly placed good and evil, in the end, and this is just a cult of the disgusting, disgusting , and then afanayash, an absolute russian poet,

even to the point of boredom sometimes, because he writes about the most important thing, well, about how the moths... crowd, my god, and i don’t know what i’m going to sing, but the song is just maturing, he says, yes, he’s not talking about something in the world, about the way he sings, it’s absolute poetry, that’s what captain lebyatkin makes of it, and he just starts word for word, well , he’s such a postmodernist, in fact, yes, he repeats feto word for word, i came to you with greetings , he says , to tell you that there is a rolling er, that the sun has risen, that it... fluttered through the forests with a fiery color, to tell you that i woke up, i, damn you, woke up all under the branches, there is a forest there, as if under the rods , every... bird asks for thirst, tell me what i will drink, not i know, i’ll drink, well, i don’t know what i’ll sing, but only fet’s song is brewing, and here

is this twist, terrible, monstrous, artistic, a twist of language, and a twist of consciousness, of course, because these conspirators are preparing a revolution , why it is not clear whether there is only one five in russia or a million of them, because they are told that for the sake of conspiracy, only one is familiar with the other five, so i don’t understand whether all of russia is already entangled in this terrible putin, this is a deception, because the devil never doesn't say, he always promises, but as soon as you worship him, he says , nothing happened, i didn’t promise anything, this nothing exists, but how do you even interpret the name, that’s why demons and not devils, for example, well, because it’s a herd of pigs, well, in the epigraph they say , yes, that’s why we did it from the gospel, in general , this number is very important from my point of view - it ’s a dance, verkhovensky with pigs, you know,

sometimes some things cannot be formulated in words, that’s all, you can feel it, in this complex of it, here are his plastics and these pigs, this, because sometimes you formulate a thing , it dies, and when it leaves a musical feeling from it , that’s what music is all about, figurative, when the image remains, here it is, i think this is one of the best scenes , this is verkhovsky’s dance, this is one of the best scenes of his manifestation, yes, there is this wonderful monologue and he coped with this, with this wonderful historical monologue, we had to shorten it, he’s there, but there we were struggling with words, we this monologue was rehearsed very carefully, because the words are too on the surface. but something else was needed, there was a need for a break , there was a need to look at that ogin, and how he was there, and how they managed to get into it, no, we don’t, this is such a topic, we could

talk for another hour, stavrogin is such an amazing character, he is a wonderful person, only he decided to find from the lord such a will, such a crime, for which the lord would not forgive, would not forgive, because they are all simply absent. that 's all, they have no love, this is, in principle , the correct formulation, this is not the most scary, well, how is it not the worst thing when there is no love - absence, in dostoevsky’s notes this doll from which you are a butterfly, that is, i am a confirmation , i brought a butterfly, it is not in the novel at all, i actually brought a whole line when i realized that dostoevsky forgot about this when he arrived, he asked him where you were? so i came up with this episode with the butterfly, and for him, after all, stavrogin, he loves

to stand on the edge when there’s this beauty, and he says: look through the microscope, that’s me in i experienced in childhood when a microscope looked at a butterfly, and there were some thorns there, he said , this is nature, and this is also a figurative system, because this is also in words, this is a simplification, because the words are given to us in everything written, not kill, don’t steal, that’s all, but we don’t do that, why is it important that you directly transferred this episode from the gospel, brought it to life additionally, yes, there too christ heals a demoniac and resettles him, the demons themselves ask to house the pigs, it’s allowed, then they ask him for permission, it’s very important, and infuriates them, i would like to return to your thesis, with which the main love, this is true, but look, a person who does not know love, he simply turns to stone and dies, but here is another story, in my opinion, these people

do not they just turn to stone and die, they want to rule over other people, they want to subjugate other people, they want to make other people unhappy, so stovrogin brings a child to death, this is the central idea of ​​dostoevsky, a teardrop of a child, take the kharamazovs, brings a girl to death, in that moment... how he knows that she commits suicide, and he looks at the little red spider, stylized, this man not only doesn’t know love, he revels in it all, and literally, yes, yes, this, this is a miracle story, here i am i say, we didn’t constantly fight, but tried to solve this translation from literature into the language of cinema, but the equivalent is very difficult to find, it’s very difficult, so i bring students. such an example of the difference, the great difference between literature , for example cinema, pobunin, mitya’s love, uh-huh, mitya felt the lump of a revolver in the finale,

like... it’s impossible to shoot something in a movie , you know, that’s it, that means you have to look for something else, don’t feel for a movie, in literature, because we feel this, this is the meaning, a revolver is so pointed, this is something , and he’s a lump, this is, this is what language is, you need to look for an adequate one, stabrogin, after all, he is dostoevsky’s most uncharacterized character, as if it’s... on the set of demons , fyodor mikhailovich himself gave me a letter of his work, a famous letter fyodor mikhailovich dostoevsky, that’s where he writes, how to react to the fact that one bookish woman asks him for permission to make a demon, he says: i never objected, but you

must understand that these are different forms. of course, they do not completely fit into one another, and what he recommends is some kind of secret of art, according to which the epic form will never find a correspondence in the dramatic; i even believe that for different forms of art there are corresponding series of ethical thoughts , so that one thought can never be expressed in another without the appropriate form, it is another matter if rework and change the novel as much as possible, saving only one episode from it for processing into a drama, or... taking the original idea, completely change the text, that is, it will be a new text, yes , this is wonderful, real, this is freedom, dostoevsky in this way he does with his work approximately the same thing as with stovrogin, but he leaves it free , we can also see now, it was still perceived as literature, yes, except for this interlocutor, no one really thought about it, he’s a handsome guy, here he is written down

handsome. all this was published in the russian bulletin, all this is known, mikhail nikifarovich kotkov, the publisher, who, here he is, in front of us, who published all the russian classics, war and peace, demons, the karamazov brothers, idiot, was removed from this publication, they removed the girl , yes, this is a whole story , again, this is 16 plus, he removed, he removed that text, the ninth chapter, the so-called, yes, which describes how stavrogin comes to. tikhon shows him the text that he wants to make public, well, sometimes in in the temple the priest says that if it’s hard for you, write, but stavrokin writes a terrible story about a matryosha, this monstrous one, and what does he say after that, and he says to the quiet one, you are my brother, well , christ is sinless, the mother of god , so what will forgive, god will forgive, just repent, but how you did it is necessary , so that he

is unforgiven, everyone is a devil and it’s not anyone’s business, he’s different, a fighter, he needs to be repressed, yes, that’s why he commits suicide, this is an important story, but i have another thought, well there of course, there may be subtexts, but it’s too complicated, maybe now we should take it away, when this censorship of katkov strogov had already disappeared, then this chapter could have been inserted, but for the first time, we also have a photograph there, then, this text was only published in 1922. but dostoevsky didn’t include it in the novel in 1973, that is, the novel continued to be published in some censored form. and in my opinion, this is a very strong move. if we had known from the very beginning that stovrogin was a man who would simply marry the disabled garbunya, well, ggaganova is there for us he's attracted to him, he spoils all the girls, he just wants to get the lord not to forgive him, it would be easier, it seems to me. you.

new reminder, events. results of the year with vladimir putin. don't forget to turn on the tv on december 14, at 12:00 moscow time. rum. castro is a product. that's it, that's it, that's it, now i'm an ordinary, obedient nurse. he knows more about taking. end of shift home. well, hello petrovodsk. mother! this is personal, you wrote where we are, deleted the post, immediately, are you crazy, or what? no, you don't owe anyone write where we are, no one, ask the nurse , tomorrow, on the first day, you are hiding from someone , if i tell you now, your career will be at risk, well, we continue, i remind you that we are talking today about

dostoevsky , about the novel... look, i also wanted to ask you, and anton , too, who do you think dostoevsky could do? be considered demons in its modernity, because on the one hand we measure all this head-on, yes, for the 1920th century, this is absolutely modern, yes, but in the novel there is a mass, a whole panorama of social, i’m not even talking about names, but what kind of people , but look, maybe it’s not even about names, no, not names, but why do you have to ask a simple, simple question, why is it nichaev’s story that pushed him to this topic? , because there it took shape in the history of nichaevskaya, it took shape, so we all have these elements, and maybe there were some familiar ones, but so that it took shape in an ideology, an ideologeme, that’s just yes, it’s an extra part,

then an object appeared that you can consider, well, yes, since dostoevsky, in my opinion, is absolutely a russian writer, even too russian, if i may say so. expressed, then, i believe, he describes the unconditional enemies of precisely russia, the russian world, the russian people, but russians, but russians, yes, those who are inside, inside, who are capable, because russia cannot be defeated from the outside, but this is not scary, scary when these silent people, these conspirators are in the country itself, in russia itself, and he, through this novel, us warns, he says that yes, we have external enemies, but pay better attention to the internal ones, those who will look for the right moment for themselves to manifest themselves and destroy the country, you

understand, just imagine for a second how many he saw demons in hard labor, revealed absolutely, revealed, it would seem, yes, but they did not become heroes for him in general. hard labor - a great thing was written, notes from the house of the dead, where the most terrible killers, good people, can be good people, wonderful, so dostoevsky personally for i am an absolutely bright author, because he leaves hope, he leaves hope for the salvation of a person, he does not close, does not remove from him the last , so to speak, props, and the lowest, even a prostitute. this is his end, he chooses, not like kirillov, completely, completely different, the fact is that kirillov is not in emptiness, kirillov

dies filled, in an idea, emptiness, he also wisely says, these are very different things, in order to commit something even more terrible, and do whatever you want, you can still be forgiven. since there is the all-merciful beginning in the world. fyodor mikhailovich actually drained this concept of man of human complexity to the bottom. this one from him has already scooped it up from the bottom, the karamazov brothers are already just grinding, dostoevsky has exhausted everything, he told everything about what a person is, this is a traumatic figure, and that this is not in any case. cannot be subject to some kind of declarativeness, recipe, recipe, recipe, ungrounded, religious and non -revolutionary, that is, everything can be brought to, and even all these phrases that we we take it out, we take it out of context, yes

, beauty will save the world, there and so on, this is all taken out of context, there is still a certain context in which, well, but the question is different, i want to remember, it doesn’t matter, because after all in fact, but the fact is that it is about love, this is the love that the apostle paul, the letter to the corinthians, if i may, i will add, of course, of course, love, but i would also put a dash here, to russia, as we say, somehow from this you immediately understand, somehow i understand, no, you are right, but pushkin’s speech, we remember, russian is global responsiveness, yes, that is, russia is global. this is not a self-closure, this is not, and for dostoevsky, russia is not the borders of the russian empire, of course, it goes without saying, well, rainer mareike said a wonderful phrase that of all countries, only russia

borders on god, this was said by the great poet of the language, and i think that maybe this phrase will mean, well, this is not even an end, but to end the conversation, which, of course , is so interesting that i think that we are still we will meet here more than once, but today, of course, we realized that fyodor mikhailovich dostoevsky, like 150 years ago, like 200 years later, in the future, will be relevant. because they argue about him, they talk about him, i am very grateful to my interlocutors today, the director, people's artist of russia, vladimir ivanovich, khotyanenko, thank you, vladimir ivanovich, see you, thank you, and very grateful, of course, to anton shagin, theater actor linkom, mark zakharova, thank you very much, and to you, our dear interlocutors, i’m dmitry buck, host of a literary podcast, let them not talk, let them read, i say one thing. the same wonderful phrase, important for me: read

with pleasure. hello, this is a podcast of witnesses from einstein and its leading film historians, natalia and stanislav didinsky. our podcast is about who created it and how. cult, famous , little-known, forgotten soviet films, this is a school of moviegoers, where we reveal the secrets of film archers, and explain why watch soviet cinema now, how to find new meanings in it, understand more, get more more fun, and today we have a special issue dedicated to the ninetieth anniversary of the wonderful soviet theater and film director mark zakharov, today we have a special guest alexandra markovna zakharova, hello. hello, we will torment you, great

, thank you for inviting me, i am very grateful to you, because we are terribly interested, we really want to tell you, really, about how mark anatolyevich zakharov came to cinema, why his films are so popular, although they are not so many, but they are constantly revised, they they quote, they are simply adored , we really want to try to reveal this secret, at least a little, mark antonovich did one amazing thing, he invented his own cinema, he rushed into... but when in television cinema, when it was not fashionable , when it was considered, in general, not very interesting, and his work, a feast during the plague, and 12 chairs taken in ostankino, and then, this is an ordinary miracle, beautiful and the same munchausen and formu, that’s all, that’s all television is television cinema, which later became fashionable over time, although - lioznogo, the great lioznova made a television

film, 17 moments of spring, which captured the souls of all people, viewers, young and old, and i must tell you that i was very little, i was 6-7 years old, you were walking down the street, the street died out when we walked 17 moments , so i even my father’s films like that - they wasted on quotes, probably 17 moments, and up to 17 moments you still have like this... chipaev, if you remember, well, i don’t know the secret, i know that of course, he created his own cinema, which does not enter into any competition , rivalry neither with hollywood films, nor with the films of nikita sergeevich, mikhalkov, nor with anyone else, nor with gaidai, nor with anyone, this is such a different cinema, its own, like its own theater, this is an auteur cinema, this is some kind of poetic fantasy . at first, it seems to me, these were

theater performances transferred to the television screen, as far as i understand, satire theaters, what was done, wake up and sing, for example, in 1974, a film was made of performances, this is such an interesting genre in general, which is a film performances, weren’t they filming from the auditorium, no, no, no, there were performances that were transferred to the stage, specifically television, it was like a test to film, this is a slightly different matter, this is necessarily communication with the audience, these are slightly different laws , what is in the theater, cinema very rarely conveys, this, you know, the viewer comes with a performance, the performance is born first as an idea, then a play is written, then it is rehearsed in the rehearsal room, this is the second, third

birth, then you go on stage, and then the viewer comes, that’s when it starts, and as co-creation, the audience necessarily participates in this, but it seems to me that television comes closer to this than cinema, when you are right here in this same room or kitchen with the viewer and speak as if very close to him, it’s very rare when the screen - these are very outstanding directors and outstanding works, when the screen captures this energy, some elusive rays, it seems to me that this happened in liozny’s film... on ivy, when doronina played grandiosely, brilliantly, with with all the aspirations and some in its mannerisms, but at the same time it was wonderful, it seemed like it was true, but it was some other truth, its truth, and you know, and alioznov told my father that efremov looked at it and somehow, well, well, something...

then he plays, he plays, okay, and then, when he looked at the material, he asked to re-shoot some shots of himself, these wonderful plans, when it rains, when here he is for the role, this was then filmed, in fact, for the audience, moviegoers, and meeting mark anatovich zakharov happened in a rather unusual way, because he turned out to be co-author of the white sun of the desert, with specific details, yes, but he was simply not involved, not just in the script, which passed through many hands, through the hands of ibragimbekov, through the hands of valentin geizhov, and before that the basis was written by sergeevich konchalovsky together with friedrich greenstein , so mark antonich zakharov got involved at the moment when it became clear that some kind of emotional note about this script was needed, it should be expressed in those very letters from sukhov, and the dramatic talent of mark anatelyevich was needed,

the director of the wonderful motel decided that he needed letters like these, attracted mark anatolvich’s father, took him, showed him the footage, which... as my father told me, he didn’t really like, and he wrote these letters, in my opinion wonderful, he he wrote to my mother, letters to me too, but somehow i was still at that age, well, somehow he writes and writes, although i have some letters lying around to annoy him, my daughter, do you make me happy or do you sadden me, my dear wife, nina tikhonovna, yes, when we were leaving with my mother somewhere to rest, and he worked, he wrote to my mother, my mother’s mother, periodically wrote some letters, well, it was such a kind of game, probably, but how did mark anatelevich’s debut in the cinema take place, how it happened, we watched this you know, when in 1973 mark anatolvich was called somewhere very high, a man named grishen

told him that despite all his shortcomings, and we know about them, my father told me this, we... are appointing you chief director of the leninsky komsomo theater, but i would like to ask you very much without experiments, this, he even then , you know, he dragged this phrase, in the play, there was such a performance, we conduct an experiment, after some time, that’s how he was, he says, he’s like this he stuck out a little from behind the table , so he had only eyes that looked like someone out of the water, you know, like two eyes in one, when he became the chief director of the leninsky komsomo theater, and after a short artistic direction of anatoly efros, who worked there 2 -3 years ago i left the theater, there was desolation and decline, and the main director was vladimir the monks and the theater were called monks

kurgan. this place, probably , it somehow helped, my father came and pulled karachentsev from... under the stage, which means from somewhere completely from the extras, then peltser came, in the third year he saw abdulov, yankovsky from saratov, inna mikhailovna chyurikova arrived, the whole point is that the artist becomes popular in the cinema, and he understood that it is necessary for the audience to come, so that there are popular artists, and they need to somehow build a theatrical acting career, and he began to make films, so 12 chairs...