now i can really upset you, 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 you’re welcome, but what feelings does this evoke, well, uh, i don’t think so, i’m good like that, but what do you think, ordinary hands, but if i tell you, you’re very charming, you laugh so much, you smile like that, you just attract attention, how do you like that? yes, it’s nice, that is, i ’m not flattering, i know that i’m charming, but what about your personal life, elvira, yeah, but you have it, i’m alone, well, yes, i’m alone at work, well, yes, me and work, yeah, and the young people, where they all work, we’re happy.

where did the young people around you go, well, there are a lot of them, well, i don’t want them to exist anymore, well, after one relationship, i probably don’t want them to exist anymore, you were hurt in these relationships, very , i was 16 years old, and i fell in love very much, but lost consciousness, and i had a 4-year relationship, and i thought that we were going to the family, that’s it. in life, what happened to you happens, but i think 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, that didn’t happen , sore? where did you feel that what

happened? and such a moment, he replaced my father, i still have this kind of childish love for him, and it was as if he had chosen another daughter, that’s how it is in my head, it was very it hurts, well, he certainly chose more than once, but in general, i kind of chose another daughter from me, probably this one, this one, this one, this one. and since then you don’t want a relationship, you know , i don’t want to, when we fall in love, we always , a priori, doom ourselves to disappointment, it’s always like this, because falling in love is a feeling that is associated with charm, and if it is associated with charm, then we do not see a person, our fantasy about him, uh, which he naturally should not correspond to and, as a rule, does not correspond to. falling in love does not

last long, we fall in love, as they say scientists, 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, only for one reason, because it’s just cool, you just need to allow yourself to do it, no matter what, you can fall in love it’s not at all necessary to live with a person, for example , you can fall in love with your job, with your neighbor, no matter who, yeah, with an actor, yes, because falling in love gives us a lot of charge, and we get disappointed at the moment when people stop thereby correspond the fantasies that we make on 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 and you need, well, it seems to me that loving is painful just.

that’s why falling in love is also very painful, listen, well, look, you love borscht, i love borscht, great, imagine that you are sitting, eating borscht in a restaurant, very tasty borscht, you like it, you have a real romance with the gathering, you love borscht , you may even feel at this moment that borscht loves you, uh-huh, at this moment i come and start eating the same borscht with the next table and you will start to be jealous or something, no, you will probably happily share any. to borscht , really, well, yes, then why does it hurt to love a person, how does it differ from borscht, well, borscht cannot hurt, a person can do it, because a person has it, why else, well, from my experience, animal instincts , which he is more than animal instincts, which a person begins to follow, as if to follow and does to another. well

, listen, it’s clear, well, look, after all it hurts you not because you love a person more, it hurts you when a person ceases to be yours. the pain is caused by the desire to possess this person , and the desire to possess is not realized ; you really won’t feel very good in the basement, love should not be confused with the desire to possess, love is what you feel, what fills you.

like, where is little elvira, she tells you, we won’t seriously try again, we ’re serious, we’ll end up like this and this is how these 100 years of ours will pass, 100 years, never, well, of course we’ll try, it’s just difficult for now, yes, ah it will be difficult then, it is still difficult, last time it was difficult, now it will be difficult, it will always be difficult. it is generally difficult to love, because to love means to give, very often receiving nothing in return, but it is 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. you have a new reminder. events. results of the year with vladimir putin. don't forget to turn on the tv. december 14 at 12:00 moscow time. you are watching the triggers with you podcast, hosted by sergei 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 in general? sad, what to be sad about? well, about the fact that you probably gave up, well, you gave up once, 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 how, for example,

to love yourself, how to accept yourself, well, this is where you have to give up, and you are always trying to find something some ideal elvira , an ideal mother, an ideal father, and as if you are trying to somehow correspond to them , i will defend my word, 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 coped with so much such difficult stories in your life, you

can cope with any result, but there is no point in expecting it to defend itself in advance, sitting there, your pain is...

in everyday life, in the unrequited, here i am there, i don’t know, i loved alice from this, what’s her , guests from the future, well, in childhood, yes, well, she remained like that in my fantasies. and reciprocal love is that you will immediately receive a response all the time , it is good when you love yourself, because, and this is the only person who will answer you right away, and you will see directly, you know, it’s as if you started, i don't know, the bush would be looked after, you’ll immediately understand that it was well watered. mixed it, but they poured it, they burned it, it starts to rot, they didn’t finish it, it starts to dry out, yeah

, the same thing happens to you inside, you know, olver, you are fantastic, really, you are an incredibly beautiful girl, and especially when you cry, sergey loves it when a woman cries, and i’ll tell you that it’s simply not fair to the world, to no longer try to build a relationship, to sit in a trench, it’s just not fair. “i’ll try what you’re leaving with, with this head, with lightness, it probably made me feel better , you know, do something like this again, well, at least for a couple, a couple of months, do this practice, go to the mirror, look at yourself, just start noticing what you like, elements that you don’t like will appear there. i like it, my knees are pointing in the wrong direction there": i don’t know, my leg is bent in the wrong direction, all this will happen, but mark what you like, let it

be some small elements, it doesn’t matter what, but at the same time not pay attention to what you don't like, it, you don’t like it, you say, yes , yes, okay, we are now looking at what you like, you like the left eye, look at the left eye, at this time your mind will say, yes, the left, of course, the left one is okay, but the right one let us down, yes, and you say, yes, yes, yes, we ’ll deal with the right one later, we only look at the left one. little by little from the left eye it will begin to open up in general, in principle, what it’s like to have such an attitude towards yourself, just do these two exercises every day, the first is to confess your love to this girl, the second stand in front of the mirror, love what you really objectively like, because obviously you don’t see yourself as beautiful as we see, and i’m not just talking about appearance now, thank you very much for coming, for talking 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, i can give you a hug, yeah , thank you, thank you, thank you, you are great, well done, hi, this is the... witnesses from einstein and his presenter, film historians natalya ryabchikova and stanislav didinsky. our podcast is about who and how created classic, cult, famous, little-known, forgotten soviet films. this is a school for filmgoers, where we reveal the secrets of film archives. and we 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 anniversary of this wonderful thing. soviet theater and film director mark zakharov, we have today our special guest is alexandra markovna

zakharova. 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 to tell you, really, about how mark anatolyevich zakharov came to cinema, why his films are so popular, although there are not so many of them, but there are constantly they rewatch them, they quote them, they simply adore them, this is the secret. we really want to try to reveal at least a little. mark antonich did one amazing thing, he invented his 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, a feast during the plague, ah, 12 chairs filmed in ostankino, then this is an ordinary miracle, beautiful and that same munchausen, and the formula, that’s all... this is all television, this television cinema, which then over time became fashionable, although

lioznova, the great lioznova, made a television film 17 opinions 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 about 6-7 years old, you were walking down the street, the street was dying out when 17 moments were going on, so i even had my father’s film... that’s how they were taken away for quotes, like, probably, 17 moments, and before 17 moments ago chipaev disappeared into jokes and quotes, if you remember, well, i... i don’t know the secret, i know that, of course, he created his own cinema, which does not enter into any competition, rivalry with hollywood paintings, not with paintings by nikita sergeevich mikhalkov, not with any, not with gaidai, not with who, this is such a different cinema, its own, like its own theater, this is an author’s cinema, this is a kind of

poetic fantasy, but at first it seems to me that these were transferred to the television screen from... vastankina, in my opinion, yes, and the performance is a little different matter, this is necessarily communication with the audience, these are slightly different laws , what exists in the theater, the cinema very rarely conveys, you know, the viewer comes and the performance, the performance is born first as

an idea, then the play is written, then rehearsed in the rehearsal hall, this is the second , third. when the screen captures this energy , some elusive rays, it seems to me that this happened with lioznova in the film tritopol on plyushchikha, when doronina played grandiosely, brilliantly, with all her breathiness and some kind of mannerism, but at the same time it was beautiful, it seems like it’s true, but it’s some other truth, its truth, and you know, but

alioznov told my father that efremov looked at it somehow, well, well, he’s playing something, playing, okay. then, when he looked at the material, he asked to re-shoot some footage of himself, these are wonderful plans, when it’s raining, when he’s cast for a role, this was then filmed, actually for the audience, moviegoers, and the acquaintance with mark antolyevich zakharov happened in a rather unusual way, because he turned out to be a co-author of the white sun of the desert, and specific details, yes, but it is extremely important that he was involved not just in the script. which passed through many hands, through the hands of ibrahim bekov, through the hands of valentin gezhov, and before that the basis was written by andrei sergeevich konchalovsky together with friedrich grenstein, here is mark anton zakharov joined 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 sukhoi, and

the dramatic talent of mark anatolvich was needed, the director is a wonderful bloodworm.

that means he told him that despite all his shortcomings, and we know about them, my father told me this, we are appointing you as the chief director of the leninsky komsomol theater, but i would really ask you without experiments, this, he even then, you know , this phrase was dragged into the play, was such a performance, we conduct an experiment after some time, that’s how it was, he says, he’s a little from the table.

who played some engineer there, yes, i don’t remember his last name, in soap, naked, helpless, 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 their youth, fell in love until a very old age, he became like a sex symbol, yes they say, and of course mark antolyevich, who was very careful about... and it was schwartz, originally schwartz’s father turned to me when he staged plays at the student theater of moscow state university under yutkevich,

rolan anatolyevichkov was there, he staged a dragon, yeah, and this dragon, in general, became popular, famous, valentin nikolaevich pluchik came, saw it and somehow rushed down from a cliff , you know, he invited a young, inexperienced person. quite a director to his satire theater, an actor and a director, when his father came to the satire theater, he realized that the actor is not the best, and to go on stage with very good artists and this is such a debasement of oneself, well, in general he he said that he couldn’t be an actor, but he could be a director, yes, but he staged his own lucrative play, a wonderful performance, which... after some thirty-eighth time it was closed, then there was such a minister of culture, furtseva, she closed this play

and said, that in general it is he, 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 sakharov was hundreds of kilometers away without the right to work in moscow, then andrei aleksanrovich koncharov. this is again a performance by zakharov, so they staged a rout, levinson, the detachment commander , with levenson, that maybe it was just a rout,

as it were, and so they began to close the play again, then the actress babanova called angelina stepanova, with whom she was very friends, she said : his fate is being decided, but suslov watched the performance, began to applaud the next day in the newspaper, there really is an article about what a great work it is, and how right it is that levinson

leads the detachment. i remind you that this is a podcast of lisenstein's witnesses, which we host we, film historians, stanislav dizinsky and natal ryabchikova, and today we are talking about the creative legacy of the wonderful soviet and russian cinema and theater director mark anatolyevich zakharov, our guest is alexander zakharov. and in the cinema, he also had this practice of writing more on the cutout and then handing it in little by little. no, it was just filmed there, for example, a scene in an ordinary miracle, when yevgeny pavlovich appears in the window, remember the politburo before, it’s all a little bit like this when evgeny pavlovich appeared , he did this in the window, when there was a premiere at the cinema house, there was a stir in the hall, when this happened at that time, and evgeny pavlovich said, markusha, he's ruining it, markusha,

let's reshoot it. because you still have to re-shoot it, but for the same money , let me re-shoot it now, but in the end, in general, everything remained the same, there were complaints about mironov’s song bang-bang-bang, that there is some kind of erotic meaning there, to which mark antonech he said, it’s not just gastronomic moods, it’s all a gastronomic theme, he wrote the script to the music of joe dan, we had the truth playing all the time, yes, that is, he writes about it in his memories, they repeat it, you didn’t hate him at that moment,

circumstances, yes, that’s what i can do, that’s what i i see that it is usual for me to exist like this, stanislavsky had nerovich, the actor mikhail chekhov, who later 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 are you, you are short, to which chekhov said, i will grow up, i i'll grow up. this growth, growth, it is very important, growth is not physical, spiritual growth, that is , in order to play, i’m just saying, you don’t have to strangle someone, but you can compose how you would do it, there is an interesting thing about chekhov a memory of sergei zenshtein, who saw him in his youth , just arrived in moscow, early twenties, sees him in the theater, a small space, sitting somewhere in the front rows in

new felt boots, very straight. looks fascinated at chekhov in some role, where he completely surrenders to it, the next day he meets chekhov somewhere with mutual friends, and chekhov says to him: what wonderful boots you had yesterday, and this struck esenstein incredibly, because at the same time mikhail chekhov could be all in the role, and a little behind it, he noticed everything, it seems to me , we experience this feeling as spectators 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 where -behind him there is also mark zakharov, who the wizard himself, he 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, but i wanted to talk to you about love, but i’m a magician, 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 just it made a fairy tale, a fairy tale in gary's version. we just have this fragment, we can watch it, remember how it sounds, but it’s your fault, why did you start all this, i warned you, i was born into this world, i wanted to talk to you about love. but i’m a wizard, remember, you said , remember, i remember, so i took it, gathered people, re-drew

them, they all began to live in such a way that you laughed and cried, in general, a great serious work of art, it can push...

how children were treated , and as for music, i i just know that he rehearsed , filmed to music, in the beginning there was music, he brought, he showed, he spoke, and you know, when an actor plays to music, a good actor who doesn’t seem to sing, doesn’t seem to think, everything- it’s like alexander abdulov, mark zakharov spoke with the trained actors, they were all like that... trained, taught, because he watched the performance very carefully, he made a remark to everyone, he communicated with everyone, very individually, he gave everyone a try to a young actor, someone has this it worked, some didn’t, but these

skilled, wonderful actors, when they play to music, the eyes warm up, uh-huh, something else appears, you keep saying, they, they, but you also played in these films, how... from your position as an actress really on the set, let’s say the song una, helped you in the dialogue about the blacksmith in the formula of love? well, of course, it was nice, especially since it was invented when everything, the music was ready, when leaving, he told gennady glatkov, you know, we need another servants’ song, because abdulov and semyon foroda is great, the dog must definitely say what servants are already there, come on, he says, come on, sit down, sit down.

golotkov said, even though he accepted the advice, about me and my mother, it helped on the set, this knowledge, all this ins and outs of all these reasonings, i don’t know, it’s all the same, that ’s when they say what he’s like at home. like this on the set, it was only difficult for me at the first moment, when swift was filmed, i was still learning and how to handle, 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, the whole group was so delighted, well, and then somehow it was just mark anatolyevich and father, dad, at home. theater director mark zakharov had to compete with film director mark zakharov, what i mean is that very often, in order to release actors from the theater, you almost have to write to the minister of culture. which were filmed by yankovsky, abdulov, there

, karachentsev, he said, i don’t want, here ourselves, somehow ourselves, ourselves with the director’s control, and he never did something like this, but where, this was not the case, but these were the leading actors who were kept in the repertoire, and then it is 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, so that... they become 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 zakharov’s corpse, conditionally, even in movies, on television, suddenly faces appear, which we do not associate with his performances, for example, in minhausn, that same omenhausen, when inna chyurikova appears, for example, in this... troupe, why don’t you connect her with the theater? she came in

'73? because she doesn’t play in other films by mark anatolyevich, apparently that’s why it seems that she belongs to panfilov’s cinema? yes , of course, the beginning, yes, there is no ford in the fire , basically, of course, the beginning, but after watching the beginning, he invited her to the theater, she came, and the first performance, til the beautiful - is churikovo karachentsev, then you know, he did not collect actors. melted, she loved him just like a son

, she followed him, when she came to the theater, wrapped in a scarf, she said: mark, whether you like it or not, take me to the theater, then leonid sergeevich bronevoy came after menhausen, he offered him , he came to the theater, and this, of course, is a grandiose, great actor with some kind of crazy biology, who played until the last second of his life, he may have been gone for a month. and he was gone, he was great, and his, you know, his intonations in unhausen, when what was happening there, first celebrations were planned, then arrests, and then they decided to combine, we have a fragment also from that same menhausen with another legendary phrase, dispersal of clouds, establishment good weather. show me what? as luck would have it, today there are clear fogs, that

is, there was indeed fog in the morning, but then it disappeared. do you want to say that this is his merit? i don't mean to say anything, branos, i'm just pointing out that today is great day. well, we have no reason to say that he dispersed the clouds, but to say that he did not disperse the clouds was to contradict what you see. you are laughing at me? carry on, heinrich. from 80 am to 10:00 feat. what does it mean? this means that from 8 to 10 in the morning he has a feat planned. it’s a pity that there’s no phrase in there that, feat, feat, so i go to work every day at 8:00 in the morning, and of course there’s nothing, it’s a feat, there’s no feat in it, but there’s definitely something heroic in it. this phrase sounds something like this, i would like to say about

churikova, that you said so , she is not associated, inna mikhailovna churikova was the main actress of the lenkom theater, inna mikhailovna churikova marich called her a goldfish, she played in the style of “the sage, according to ostrovsky, a seagull, lord, three girls in blue,” i i’m afraid i won’t name something, she endlessly played the main role, it was the main actress, you know, like in ostrovsky, in order... to create a theater, you need an actress in the center, so she was the main actress of the theater, but why did she so rarely play at mark anatelevich's cinema, well, apparently... he was his husband against, no, no, apparently, it’s simple, but the formula of love, who to play there, there’s no one to play there, but there’s a heroine, for the theater it’s necessary to be an actress, but for cinema, maybe not, it’s necessary, it’s necessary, without a woman it’s impossible, without a woman very boring, and no, no, 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 is... the theater to which father dedicated his life, the repertory theater, which is very important for the culture of our country, uh, then the repertory theater, namely, which it served faithfully, my father, in general, served the theater faithfully all his life, creating such an author's, author's work, how he managed to push through all these intrusive phrases, there were some digressions, there were digressions, and he also said, it’s very good to write down, so they say, there he comes there about the movie... i don’t really know, but i told you about the bang-bang thing, and he comes to the performance there, three girls, he says, these are the remarks, the father took a piece of paper, and knows that very loves it when people record them, he wrote it down, then without changing anything, he said, we changed it here, as you

said, they say, mark antonich has become much better, you understand that it has become better, without changing anything, well, yes, to something. for something not, but the question is, how did he choose, and in general whether he would have had the power to make this choice, and what performance should be transferred to the screen next, why an ordinary one, or what script to write, yes, why at first there was an ordinary miracle , and the final point was killing the dragon, when it would seem, in general, many of the things that sound there, well, already written at that time during the extension. the person who gives birth to an idea, he is paid a lot of money, to compose, figure out what to do, and it’s somehow in the air, as my father told me, gorin came to our house and

said, mark, let’s do a play, an opera, a rock opera about cats, he talks like about cats, it was a very long time ago. well, cats , that’s how they are, and what and what, well, how they live there on the roof of the cat, he says, well, i ’m talking nonsense, cats appear, he says, sometimes in some kind of informative layer, you can do something snatch it, but for this you need to be a very talented person with an open mind, and my father definitely had some kind of ray, but you know, the understanding that you came up with something. kind of compose, well, like a direction, and then the fact that it begins to acquire material, and the fact that it then turns into a play or a film, a script is born from the idea, then it becomes overgrown with some kind of estimate, costumes, music , further, further, further, further

, a movie turns out, this is such a path, the path of an artist, but also to some extent magic, of course, absolute, absolute magic. then the question is, why wasn’t there this new screen magic after killing the dragon? he wanted to film, he wanted to film, they persuaded him and even hung a sign on mosfilm, they even had some ideas about a modern girl or boy there, and even once he said that maybe it was you, and but his friends are different , the directors say: my film stopped, no - as if there were no subsidies, someone says, i wouldn’t be able to stand it if the film stopped, this is necessary, this must be then, maybe it’s purely cinematography, after all , he had a theater, then to shoot for 20 years like a german, he wouldn’t have made one film, as it happened, i think he couldn’t, it’s still such a feat, it’s courage.