everyone who chooses it besides you, so you say, it’s difficult for you to take compliments, so i’ll tell you, you have very beautiful hands, how cool, what’s the difficulty in taking this compliment? i don’t know, i think it’s flattery, but why should i take revenge? i don’t know, well, that’s how i perceive it, yes, well , let’s do it right here, now, why should i bother you to calm me down? necessary , but no, i can really upset you now, so - here are your hands, specifically your hands, here are your hands, i look at them and say, you have beautiful hands, thank you, but no matter what, but feelings what does this cause, well - i don’t think so, it’s like this, okay, but what do you think, ordinary hands, and if i tell you, you are very charming, you laugh so much, you smile so much, you just attract attention to yourself. how do you like this? nice, that is, i’m not

flattering, i know that i’m charming, and what do you have in your personal life, elver, yeah, but it’s there, i’m alone, well, yes, i’m alone, well, yes, me and work, yeah, yeah young people, where did they all go? after one relationship, i probably don’t want them to exist anymore, you were hurt in this relationship, very, i was 16 years old, and i fell in love very much, but unconsciousness and more than 4 years of relationship, and i thought that we were going to family, but... everything happens in life,

what happened to you, i think , that we never became allies, again we had to fight with someone, no, no, it was just necessary to have an alliance of two people, when you go into the future together, when one generates an idea, and the other helps to bring it to life, this didn't happen. pain where did you feel what happened? and such a moment, it replaced me father, i still have for him, that is, there is such a direct childish love, this love , but it’s as if he chose another daughter, that’s how it is in my head, it was very painful, but more than once he of course he chose, but in general he sort of chose another daughter and me, probably this is it... this is this

pain, and since then you don’t want a relationship, you know, i don’t want it, when we fall in love, we always a priori we doom ourselves to disappointment, always, because falling in love is a feeling that is associated with charm, and if it is associated with charm, then we see not a person, but our fantasies about him , uh-huh, which he naturally should not correspond to, the rules do not correspond, falling in love does not last long, we fall in love, as scientists say, there is the big toe of the right foot, for example, yes we can fall in love, but disappointment will always be there , but we fall in love again for only one reason, because it’s just cool, you just need to allow yourself to do it, no matter what, you can fall in love with a person , it’s not at all necessary with him, for example, you can live, you can fall in love with work, with neighbor, it doesn't matter in whom. yeah, with an actress, with an actor, yes

, because falling in love gives us a lot of charge, and we get disappointed at the moment when people stop living up to the very fantasies that we make of them, well , we form, depriving ourselves of such great power as love, like falling in love, you also deprive yourself of a very wide range of experiences that people need, well , it seems to me that... beating is just painful, so falling in love is also very painful, listen, well, look, do you love more? i love borscht, great, just imagine what you sit, eat borscht in a restaurant , very tasty borscht, yes, you like it, you have a real romance with borscht, you love borscht, it may even seem to you at that moment that borscht loves you, yeah, at that moment i come and start eating that one there’s borscht at the next table, yeah, and you ’ll start to get jealous or something, well, no, you’ll be happy to. you probably share your love for borscht,

right? well, yes, then why does it hurt to love a person, how does he differ from borscht? well, borscht can’t hurt, a person can, because... there’s something else, well as from my experience, animal instincts which he is greater than animal instincts, which a person begins to follow and hurts another, well, listen, it’s clear, well, look, because it doesn’t hurt you because you love more or the person, it’s done it hurts you when a person... ceases to be yours, the pain is caused by the desire to possess this person, and an unrealized desire to possess, of course, cannot be possessed, i can lock you in a basement somewhere and know that i have you there is one and love you for the fact that you are sitting in the basement, you really will not be

very happy in the basement, love should not be confused with the desire to possess, love is what you feel, what... fills you when you you will begin to train in this very self-love, you will little by little, of course, melt your heart, with a high degree of probability a man will come into your life, and this is wonderful, but this man is unlikely to come without instincts, and you also know, no, i i understand that he will come with instinct, i hope, yes, it would be a shame deprive him of all his instincts, because a man without instincts, but it’s boring, you know, even while sergei was talking, i was imagining... i just had pictures like little elvira, she’s telling you, we won’t seriously try again, are we serious, this is how we’ll end, and this is how these 100 years of ours will pass , 100 years alone, though never, well, of course

we’ll try, it’s just difficult for now, yes, and then it will be difficult, for now it’s difficult, last time it was difficult, now it will be difficult. it will always be difficult, love in general is difficult, because to love means to give, very often i don’t get anything in return, but it’s only worth doing this for yourself, not for another person, but for yourself, to love yourself when, when i’m in love, when i love, this is the main core. because the sword of her mother’s volgograd homeland frightened tsypso, she calls on her to move on and crush the enemy. ukraine, unfortunately, has become children of kinship who cannot remember. the monuments were built at a time when we were still one people; there can be no question that everything was built to describe some kind of

confrontation. and we'll tell a cool story ukraine from dinosaurs to the present day. mr. ukrainian sits on a deplodocus and rides somewhere with a ukrainian flag. he's an artist, that's how he sees it. if they said that... kstan: december 17, live broadcasts from st. petersburg, on the first. you are watching the triggers podcast, with you its hosts sergey nasebyan and tatyana krasnovskaya. our guest is the beautiful elvira, who tells us

a story about how difficult it is to love yourself so beautiful. how are you now? it's sad, what's there to be sad about? about giving up, probably. well, once you gave up, now maybe it’s worth it, well you know, in fact, if you gave up, you would stop biting yourself, because if , again, you ask, for example, how to love yourself, how to accept yourself, well , this is where you have to give up, and you are always trying to find some kind of the ideal elvira, the ideal mother, the ideal father, and as if you are trying to somehow correspond to them, but you understand that you do not correspond to them, but no, you do not correspond, this is the meaning of the ideal, that we do not correspond to this ideal. somewhere, to some extent, we want to strive for it and something even makes us better, but you will have to accept the fact where you are now, that's why i say that if you are asking how to love yourself, start the day simply by remembering this child, and tell him what you

love, what you will be there, that you will support, try to avoid words: i will protect, on the contrary, say that no one is attacking us, yes, this is very important. because if necessary, it will work out, you have experience, you have dealt with so many difficult stories in your life. you can handle it with any result, but there is no point in expecting him to defend himself in advance while sitting in a trench , your pain is real, i can directly imagine how i really look, no, now you look very good, bad with a machine gun against the whole world, who are generally against you they’re not fighting, that is, you know, you ’re sitting in a tank, not in a trench, in a tank in the middle of a field of chamomiles, they tell you you can. everyone

is walking around, sniffing daisies, and you are thinking about who to shoot at, who you need to defend yourself from, you just need to get out of there, it’s true, it’s not easy, i agree, but it will open up for you you, that’s the point, because, you know, pain and love, they are generally felt in the same place, in the same organ, and if you were able to experience such an amount of pain. then this means that you can love, love very beautifully, and in general the most beautiful love is unrequited, keep in mind, because any reciprocal love eventually turns into a routine, into everyday life, unrequited, i don’t know there, i loved - alice from this, what’s her name, guests from the future, well, in childhood, yes, well, she remained so in my fantasies, beautiful girl, in fact, probably someone is not delighted with her either, but i loved her. and this is the most beautiful love, and reciprocal love, it is good when you love yourself, because you will always receive a response

immediately, and this is the only person who will answer you right away, and you will see directly, you know, here mm, as if you started a bush, i don’t know, you would take care of it , you’ll understand right away, they watered it, it blossomed well, yes, they overwatered it , they burned it, it starts to rot, they didn’t finish it, it starts to dry out, uh-huh, the same thing happens with you inside. you know, ulvira, you are fantastic, really, you are an incredibly beautiful girl, and especially when you cry, sergei loves when women cry, and i will tell you that it is simply dishonest to the world, not to try to build relationships anymore, to sit in a trench, it’s just dishonest, i ’ll try what you’re leaving with, with a head like this. with ease, i probably felt

better, you know, do something like this again, well , at least for a couple of months, do this practice, go to the mirror, look at yourself, just start noticing what you like it, there will be elements that you don’t like, your knees are pointing in the wrong direction, i don’t know, your leg is bent in the wrong direction, all this will happen, but mark what you like, even if it’s some small ones. you do these two exercises every day: the first is to confess your love to this girl, the second, standing in front of the mirror, love

what you just objectively like, because obviously you don’t see yourself as beautiful as we see, and i say now it’s not just about appearance, thank you very much for coming and that you talked to us about this, it's not an easy story, it's not an easy task, but i 'm sure that if you start doing it, you 'll get through it, really, thank you , thank you for being so open with us, thank you very much, thank you , can i hug you? yes, thank you, thank you, you are great, well done. hello, this is the einstein witness podcast and its hosts are film historians, natalia ryabchikova and stanislav didinsky. our podcast is about who and how. created classic, iconic, famous, little-known, forgotten soviet

films, this is a school of moviegoers, where we reveal the secrets of film archives and explain why watch soviet cinema now, how to find new meanings in it, understand more and get even more pleasure, and today we have a special issue dedicated to the ninetieth birthday of the wonderful soviet theater and film director mark zakharova, today we have a special guest alexandra markovna zakharov. "hello, hello, we will torture you, great, thank you for inviting me, i am very grateful to you, because we are terribly interested, we really want really tell you about how mark'. anatolyevich zakharov came to the cinema, why his films are so popular, although there are not so many of them, but they are constantly reviewed, they are quoted, they are simply adored, we really want to try to reveal this secret, at least a little. mark antonich did one amazing thing, he invented his own cinema, he rushed into cinema, when into television cinema, when it was not fashionable, when it was considered, in general, not very

interesting, and his work is a feast during the plague, but... 12 chairs filmed in ostankina, further this is an ordinary miracle, beautiful and that same munchausen form, this is all this television, this television cinema, which then over time became fashionable, although lioznova, the great lioznova made a television film 17 moments of spring, which captured the souls of all people, viewers from little to great and... i have to tell you that i was very little, i was 6-7 years old, you are walking down the street, the street died out when 17 minutes passed, so i even took away my father’s films for quotes, as probably 17 moments, and until 17 moments more like this in jokes, chipaev went into quotes, 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 rival competition.

a different matter, this is necessarily communication with the audience, these are slightly different laws, what exists in the theater, cinema very rarely conveys, you know, the viewer comes and the performance, the performance is born at the beginning as an idea, then the play is written, then rehearsed in the rehearsal room, this is the second, third birth, then you leave the stage, and then the audience comes, so then it begins... 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 talk like as if very close to him, very rarely, 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 with lioznova... in the film of tritopol on plyushchikha, when doronin she played grandly, brilliantly, with all her breath and some kind of mannerism, but at the same time it was wonderful, it seems to be true, but this is some other truth, her truth, and you know, and alioznov told my father that efremov was watching somehow, well, something plays, plays, okay, and then, when he looked at the material, he asked to re-shoot some shots with himself, these wonderful plans, when it rains, when...

which - as my father told me, he didn’t really like, and he wrote these letters, in my opinion wonderful, he wrote to my mother - letters to me, but somehow i was there. even at that age, well, he somehow writes and writes, although i have some letters lying around, his wonderful ones: my daughter, do you make me happy, or do you sadden me, my dear wife, nina tikhonovna, yes,

this is when we my mother and i were leaving somewhere on vacation, and he was working, he was writing letters to my mother, my mother’s mother, from time to time, well, it was a kind of game, i guess, but how did mark anatolvich’s debut in the cinema take place, how did it happen, have you observed this?

the whole point is that an artist becomes popular in 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 destiny, and he began to make films, here are 12 chairs, where he brought with him elena shanina and alexander abdulov, who played there, some engineer, yes, i don’t remember the last name, in the soap, naked, helpless, uh-huh. and then an ordinary miracle, where he became, of course, it was the birth of a beautiful star, with whom all the women from there, from youth to very old age, he became like a sex symbol, yes they say, and of course, mark anatolyevich, who treated his actors very carefully, he began to film them, film, film, film, because popularity was needed, people should.. .and not just flash, play some roles, so that it would be good and so that it would probably be something like this, that is, it was not just some kind of director’s attempt to prove himself in something new,

as the media now say, but caring for the actors, that is, precisely as the main director, it was also a desire to show a try, concern for the actors, and it was schwartz, initially the father turned to schwartz when he staged... a play at the student theater of moscow state university under yutkevich, ralan anatolyevich bykov was there, he staged the dragon, yeah, and this the dragon, in general, became popular, famous, valentin nikolaevich pluchik came, saw it and somehow threw himself off a cliff, he, you know, invited a young, inexperienced, completely director to his satire theater, an actor and director when his father came to the satire theater, he... realized that he is not the best actor, but to go on stage with very good artists and this is like degrading himself, well, in general, he

said that he couldn’t be an actor, so he could be a director, yes, yes, he staged his own play a profitable place, a wonderful performance, which was closed after some thirty-eighth time, then there was such a minister of culture. furtseva, she closed this performance , she said that in general it was him, this director cannot stage plays in moscow, then there was a “banquet” performance based on the play by gorin and arkanov, which was also closed, then they said that zakharov was hundreds of kilometers away without the right to work in moscow, then andrei alesanovich goncharov, the chief director of the maikovsky theater, said: “come to me, stage a rout.” yeah, and he came to the lighthouse to set up a rout, and at that time armen borisovich garkhanyan came there, who, by the way,

spoke until his last days. then actress babanova called angelina stepanova, with whom she was very friendly, and said that we have a very talented director who staged the play, it’s a disaster, it’s being closed, and stepanova, who was his wife fadey, yes, and angelena stepanova, that means she had a turntable at home, somewhere very upstairs, she called and said, here at my

sashenka’s they are closing the show. suslov came to the performance, his father said that he came in galoshes, it was terribly funny for him to look at these galoshes, because no one wears galoshes, but it came to his mind, he didn’t even understand that his fate was being decided, but suslov looked performance, began to applaud the next day in the newspaper pravda article, what a great work, and how right it is that levinson is directing squad, will you marry me, zhenya, will you not leave me? why promise to get married on a federal channel in a show that is watched by millions of people, then give back, this is who you have to be, timur, kvn, the major league, the first semi-final, on saturday on the first, this is an important moment, i must say from a running start, i am a vampire , it can’t be, here’s a cross for you, i remind you that

this is a podcast of lisenstein’s witness, which is hosted by us, film historians, stanislav didinsky, natalya ryabchikova, and today we are talking about the creative heritage of the wonderful soviet, russian cinema and theater directed by mark anatolyevich zakharov, our guest is alexander zakharov. and in the movies , he also had this practice of writing more on the cutout and then handing it over little by little; it’s not like that on the cutout, it was just filmed. there, for example, there is a scene in an ordinary miracle, when yevgeny pavlovich appears in the window, remember the politburo before, it’s all a little, yes, like a move, that ’s when yevgeny pavlovich appeared, he did this in the window, when there was a premiere at the cinema house, wandering began in the hall when this happened at that time, and evgeniy pavlovich says: markusha, he said: “markusha, let’s reshoot it,” because we’ll still

have to reshoot it, but on the same day.

gennady viktorovich glodkov was very worried about this, of course, he says: “well, you can’t , composing music is an intimate matter, when it weighs on your soul,” and they say: “well, go ahead, write, well, well, come on, come on, come on.” ". and here, so that it was a little bit james bond, and here, so that it was somehow like him, his father didn’t sing, but he had an amazing ear for music, and - he was an erudite in this i mean, he brought music and said, something like this, here. this is the direction, and glotkov wrote the music, he was so scary, so this tape recorder, he brought it to the set, there was a storyboard, then, then he got into each actor, and he dealt with his individuality, to put it roughly, roughly, the system stanislavsky, this is me in the proposed circumstances, yes, this is what i... can do,

what i see, what is familiar to me, to exist like this, stanislavsky had nemirovich, the actor mikhail chekhov, who.. . then he raised an amazing galaxy of actors in hollywood, and when he appeared in the theater, he said, i want to play hamlet, and they told him what kind of hamlet you are, you are short, to which chekhov said, i will grow up, i will grow up, this is your height , growth, it is very important, growth is not physical, spiritual growth, that is , in order to play so simply speaking about the body, you don’t have to strangle someone, but you can compose how you would do it otherwise. there is an interesting recollection of sergei izenshtein, who saw him in his youth, he had just arrived in moscow, the beginning twenties, sees him in the theater, a small space, esenstein sits somewhere in the front rows in new felt boots, very brand new, looks fascinated at

chekhov in some role, where he absolutely surrenders to it, the next day he meets chekhov where something with mutual friends, and chekhov says to him: what wonderful valinki you had yesterday, and this struck esenstein incredibly, because at the same time mikhail chekhov. i could be completely in the role, and a little behind it, i noticed everything, so it seems to me that we experience this feeling as the audience too, and even in an ordinary miracle , that’s why we like it so much, but we realize that this is an invention, we realize that this is a wizard, this is his hero, the wizard himself is also a character, and somewhere behind him there is also mark zakharov , who is a wizard himself, comes up with this himself, and maybe there is someone else behind him , well, that is, this is such a wonderful ladder. this is the phrase that yankovsky’s hero says to his wife, the mistress, yes, i wanted to talk to you about love, but i’m a wizard, so i came up with these characters, this phrase was not in the first film adaptation, it was removed

, it was in the play, in the first film adaptation garin removed it , they just told him, well, how great it sounded there, why did you remove it, maybe that’s what made the fairy tale a fairy tale in garin’s version, we just have this fragment, we can watch it. remember how it sounds, yes, it’s your fault, why did you lose all this, i warned you, this is how i was born into the world, i wanted to talk to you about love, but i’m a magician. "remember, you said, remember, remember, here i am took, gathered people, re-drew them, they all

began to live in such a way that you would laugh and cry , in general, a great, serious work of art, it can push, push a person to start thinking, and yes, i won’t fly into space, but i can do something else in this life, i have some kind of backlash, i can rise a little, this is in all the works, in my opinion, of my father, i also wanted to talk about music, it’s interesting that the musical films of mark zakharov, they do not fit into exact genres, that is, we can to say that this is a film with music, we cannot say that it is a musical, yes, although the actors sing there, and the characters sing, but it is still something, something special, something different, how did he manage it, i can’t answer for mark anatolyevich at all, the only thing i can say is that this is an auteur cinema, it’s different, it’s not like anything else, just like

the theatre, it’s an auteur cinema, it’s not like anything else, they say lenkom , lenkom, what lenkom, was zakharov, around whom the arts united, with whom he treated very carefully, tenderly, like children, and that... he watched the performances very carefully , he made comments to everyone, he communicated with everyone, very individually, he gave every young actor a try, some succeeded, some did not, but these skilled, wonderful actors, when they play

to the music, the eyes warm up, uh-huh, something else appears, you keep saying, they, they, but you also played in these films, what about your position as an actress really? on the set, for example, the song una helped in the dialogue about the blacksmith in the formula of love, well, of course, it was nice, especially moreover, it was invented when everything was already done... they had such a game with glodkov, he brought a newspaper there, it’s true, yeah, he put it like notes, he says, come on, sing, compose, here under this truth, that’s... they had jokes like that, but it was quite funny, and he

says, i need to make one up, and glodkov says, i remembered all the words that i knew in italian, in the blink of an eye, well, i played some of them, and my father liked them so much, he says, just not nothing to me, he was so delighted, he flew off, that means the studio, showed everyone, everyone was talking, everyone was laughing so much, they were so happy, to his wife i liked it, but he always consulted with his mother on everything, said lodkov, did he at least accept the advice? about me and my mother, it helped you on the set, the knowledge of all this ins and outs of all these reasonings, in general it’s hard to work as your own father, i don’t know, it’s all the same, when they say what he’s like at home, what he’s like on the set, it was just difficult for me at the first moment, when swift was being filmed, i was still learning and how to handle it, i didn’t know, dad was uncomfortable, there was a break, the whole group was standing, dad was uncomfortable, and mark anatolyevich was unusual, i told him, come here, everyone

the group was so delighted, well, and then somehow it was just mark anatolyevich and at home his father, dad, theater director mark zakharov had to compete with film director mark zakharov, what do i mean, very often in order to let the actors go from the theater, i almost have to write to the minister of culture, i ask you to be allowed to leave. karachentsev, he said, i don’t want to do it ourselves,

somehow, ourselves, ourselves with the director’s control, and he never did something like this, and where this didn’t happen, and these are the leading actors, on which the repertoire was kept, and then, it’s clear that in order for spectators to come to the theaters, spectators still go to see their favorite faces, so he always filmed all his actors, so he tried somehow to make them popular, famous, famous , what happened, in my opinion, is all the more interesting when, among this series of familiar, beloved faces, again, whom we think of as the zakharov troupe, conditionally, even in cinema, on television, faces suddenly appear that we we don’t associate it with his performances, for example, in minhausen, the same menhausen, when you appear, let’s say, in this troupe , why don’t you contact her?

and his, you know, his unhausen intonations, when what was happening there, at the beginning celebrations were planned, then arrests. and then we decided to combine, we have a fragment also from the same menhausen with another legendary phrase, uh-huh, 7:00 in the morning, the clouds clearing, the weather is good, which shows, as luck would have it, today there is a clear sky, that

is, in the morning there really was fog, but then it disappeared, you want to say that it was his merit? "i don't want to say anything, bronos , i'm just pointing out that today is a magnificent day, but we have no reason to say that he dispersed the clouds, but says that he did not disperse the clouds, that would be contrary to what you see, you laugh above me, continue further, heinrich, from 80 in the morning to 10, a feat, how to understand this, it means from 8 to 10 in the morning."

ostrovsky, in order to create it was the main actress, you know, like in a theater, you need an actress in the center, so she was the main actress of the theater, but why is she so i rarely played in mark anatolyevich’s films, but apparently my husband was against it. no, no , apparently, it’s just, well, in the love formula there’s no one to play , there’s no one to play, but there’s a heroine, for the theater it’s a must-have actress, but for the cinema maybe, no, it’s a must, it’s a must, without a woman it’s impossible, without a woman it’s very boring , and no, no, no, and i’m talking about the fact that, apparently,

there was no suitable role, but she endlessly played in her father’s plays, and the theater, the theater, the theater to which my father dedicated his life, is repertory. theater, which is very important for culture of our country, then the repertory theater , namely, to which he served faithfully, his father, in general, served the theater faithfully all his life, creating such an author’s, author’s work, how did he manage to smuggle through all these groundbreaking phrases, there were some digressions, there were digressions , and he also said to record it very well, they say, it comes there, i don’t really know about cinema, but about about the bang-bang. i told you, and three girls came to the performance there and said: these are the remarks, the father took a piece of paper and knows that he really likes it when they record them, he recorded, then without changing anything , he said, we changed it here, as you said , they say, mark antorovich has become much

better, you understand that it has become better, nothing i change at the same time, well, yes, i went for something , for something not , you know, this is the most difficult thing, to come up with an idea, so that an idea arises, the person who gives birth to the idea, they pay him a lot of money, to compose, to come up with what to do , and it’s somehow in the air, how my father told me that gorin came to our house, he says, mark, let's make a play, an opera,

a rock opera about...