schödinger's cat podcast is with you, i am its host, science journalist grigory tarasevich , today we are talking about knives, we have guests who are well versed in this matter, albeit from different points of view, candidate of sciences, physicist nikolai milovanov and chef, mikhail samonov. mikhail, tell me, are these frozen foods, warm foods? it is cut, yes, of course, in any case, everything is cut differently, if, for example, it is some kind of steak with sashimi, it is cut very simply, easily, and there is a sharp knife at a certain angle and a certain pressure, if, for example, we are talking about a frozen product, for example, like beef carpaccio or salmon, which is cut there in a slicer, again this is a rapidly rotating disk, this is also a knife. with high

speed and it with a force of pressure, that is, the speed rotates quickly, the pressure that is created by the reinforcement of the cook or whoever cuts, slices it into a thin slice, that is, this also requires more energy and pressure, as far as i remember, when we are skating on ice due to friction pressure at the point of contact between the skate and the ice the water is melting, so we can quickly ride back and forth. in the situation of slicing a frozen product , the same effect occurs; when we cut , a small amount is released, well, when such water comes out, in any case, in any fish or meat there is some kind of plasma, which is a liquid, which in any case is hidden it, when if you completely defrost the product, there will be moisture, that is , it is clear, well, that is, i understand correctly that when slicing, the temperature at the point of contact increases, here we have the next one floats in...

i heat a knife on the stove , cut it with a hot knife, then cut off the piece of frozen fish i need, while frozen fish is more difficult to cut, because this is already the solid phase, this is all we are trying to cut ice with a knife, but only

... this means that here we receive heat not due to friction, but simply by preheating the knife , which means we locally carry out a phase transition from frozen to defrosted fish, cut it and achieve the desired result, well, here i get something physical. .. fear, remember, at the beginning we talked about intermolecular bonds, doesn’t the structure of a knife change when heated? i, for example , would definitely not do this, because knives are expensive, especially if they are japanese, especially carbon steel, it is very fragile, if, for example, you even drop a knife, it can simply split into several parts, it is also not recommended for heating, because the sharpening can also deteriorate, even when you change it... i taught it to a japanese man, he says: under

no circumstances should you sharpen a knife in hot water, only in the cold, i don’t know why, but i think that, well, the molecules probably expand, well, they change with this and it changes, even, for example, with any heating, the object always becomes wider, a knife, like sausage, like fish, like cheese - this is also a complex atomic molecular structure, with non-trivial laws of life, not always studied, because it is still... and iron and carbon in complex relationships, but i would like to move on to an even more complex system: look, it’s still a knife from the point of view of physics, as we understand, well enough a simple thing: there is an angle, there is pressure , there is vertical speed, horizontal speed, but as i understand it, another system is very important in risk, no less complex, much more complex, this is the person who cuts, and there already appears, as i understand it, many angles, many axes. rotation, that’s

how important a person, his posture, his movement is for correct cutting? so , let's probably start with the fact that firstly, a person who holds a knife in his hands must... think about what he is doing and why he is doing it, it is very important for the brain to work in paired with hands, the mind was a little cleared of any problems of complexity in this world , a man came to work, he must cut, the first is the surface, this is his position as a cook, how he stands, again the height at which he cuts, if he , for example, will cut lower than 90 cm, because all surface tables are made at a professional level, the height is very important. because if it’s low, it will be inconvenient for the cook to stand and cut, and he ’ll stand like that for at most 2 hours and say, then i’ll go, i won’t work here, so we also take this into account - in this height, density, surface, what the cook will cut on,

the surface is very important, for example, i don’t recommend cutting on glass boards, because the knife will quickly become dull, it is best to use plastic, wooden cannot be used at all. but it’s better if we take our restaurant, we use para-resin wood, which we order from japan and which does not leave any cuts after we cut it, that is, let’s return to the fact that this is the area, this is the height and pressure, with what will the cook and mind cut it , i guess i can’t help but add one more small physical element, this is the difference between hardness and... strength is the concept of hardness, roughly speaking, who scratches whom, with a diamond you can scratch glass, but with a knife , even good glass is quite difficult to scratch, but on the contrary, glass can slightly dull iron, yes, while the strength of

iron, if it is not some special japanese knife, is naturally higher than that of glass, you can break it with a knife, glass is not need to do this of course, but on the contrary, you are unlikely to succeed in anything, but as i remember, nikolai, his original activity in science is an experimental physicist, so i propose moving from conversations to the practice of experimental testing of our ideas about cutting, yeah, and let's try cutting it now and see how it turns out, yes, okay, so let's start, i guess we have the products and eat. a very competent opinion from a physicist, and today we will analyze the myths and why this is needed in general, for example, for households - there is a cucumber, you can use it cut - in this format, that is , what we talked about earlier, the surface is dense,

the most important thing is that it does not move anywhere, it will be convenient, again, the angle of pressure, that is, we will now cut or do it in this format. how to quickly cut this small cucumber , it’s easy and convenient than doing it with a big knife , where all this is still difficult, that is, you can format it like this, that is, as i said, the knife has three parts, for which you can

use, the first is to cut the half, for example, in this format, or the middle, this is when it is already denser , for example, a carrot, you can already chop it, well, the lever also works here, yes, everywhere, everywhere the lever works, that is, it is undesirable to lift it, that is, this board is like a stop all the time, that is, we are resting and we cut, chop, with this part, this is when , for example, there is already some kind of cartilage or something else, when it is possible to cut through, that is, this is effort, this is possible when the product, for example, is frozen, and it is also very important , how to hold a knife, look, if you are holding it now, your knife will walk, slicing may be different, so in order for it to be correct, we still no, it’s also not right. you need to be relaxed, take the knife in such a format, that is, so that when a cook or someone is cutting at home, you can calmly chop and control it, and it is very important to hold the product with your left hand, not only with your fingers, but also with your whole hand, yes and yes,

well, be very careful with your fingers, yes, this is very important, you can cut yourself even with the dullest knife, and this is exactly what happens most often when the knife is dull, the tool, the people, the cooks, most often they are cut to tuck their thumb , yes, that’s right, i and another one will show you a very interesting cut of mine, probably the most exclusive one, which... few people know how to do this, again , the surface area will probably now be a little differently, the principle will be sharp, that is, we will now cut a ribbon from a cucumber, what are you afraid of your fingers, i’m not afraid, that’s why i stick here, here i control the part with this finger, and here with this and i do this i feel like it's happening here the process turns out to be, as we said, cutting, once forward, that is, we cut only forward. we go back, we don’t cut, you apply quite a lot of force, over a large area, but

here i’m not really force, i’m not pressing, i ’m doing the opposite, this is this - i’m cutting, that is, with small movements, a sharp knife, a sharp knife, you again, it’s sharpened, now we’ll try to cut it not with a one-sided knife, but uh-huh, well , which has two sharpenings, great, very good, but can you show this knife again, is this a knife with a one-sided sharpening? that's right, that's it it's called a takahiki, a japanese knife - it's quite dense, on one side it fits very easily on the surface, it removes the required part of the thickness, i can't now cut, for example, the same kind of cutting with this knife, we 'll demonstrate it now, that is, it's double-sided the knife, it is sharpened this way and that, that is , the angle and surface are very important here, i will try, of course, to do it here, but i’m not sure that i... will be able to make it as filigrammatic as this one from the previous one because that the angle goes from both sides, yes, yes, yes, you see, here i am

it’s already difficult and i have to make more effort , now i’m pressing directly, but i didn’t make any effort, you see, with me it no longer wants to go any further, because the knife here is sharpened on both sides, that is, the angle is different, here the angle is obtained. one, here it is on both sides, well, for another task, because i understand correctly that when we have an angle, it means large enough, this angle is needed in order to move the cut parts apart after the cut and penetration of the cutting edges in depth, it’s very interesting that with a knife like this... it will be inconvenient to chop , but you can try, but you try it very carefully, look, the knife will always

go to the right, you see, it goes away, again it’s long for you, that is, the pressure angle will be completely , it cuts easily, but crookedly, crookedly, yes, this one with this knife , on the contrary, will be very easy to cut, for example, things like this, now we will move on to a much more complex system than a knife, this is a person who cuts, a person, how to stand , as i understand it, you can’t sit, yes, well... network firstly, it will be uncomfortable, because the back , it will still be compressed and the pressure lever , that is, we have a hand, it turns out like a lever, here we are shredding, if i sit down now, it will be uncomfortable for me, the angle will be smaller and i i won’t be able to cut, so the surface on which we cut the plane is very important, again a knife, i actually use this knife to relatively only cut fish, i very rarely cut vegetables there, but how many knives do you have at home, and i have one, generally only one , home alone. because i cut everything at work and at home, i have a universal one a small knife, approximately, but the length is very important

, we’ll come back to this again, here it’s 27 cm, here it’s 21 cm, here 21 for me is the most optimal for home conditions, where you can peel something, but not potatoes , for example, yes, cut the same sausage, thinly slice some steak meat, and cut up some kind of chain, for example, for cooking. the thickness of the cut of the rib part, that is, this is also very important, the less

meat remains here, the percentage of the processing ratio will be much lower, exactly by kitchen, this is very important, well, saving, it’s not even a matter of saving, it’s a matter of the right one, we use this technology very... that’s why we need a one-sided knife, we rested on one side, it turns out to be the surface, here we can easily remove from the fillet, pressing against the flat surface of the knife. on a flat, dense surface of the board, and we remove it all from the skin, leaving nothing on the surface itself, that is, in this way , everything is very dependent on us, in fact, especially in a restaurant or in a technologically advanced process of factories from cutting, and then from

the very technology of preparation of this product, so... now we will do it as follows, that is, here is a corner, and we cut it, it turns out, once, with a slight movement, yeah, let's take another knife, let's say this one, we also won't be able to do it, as you can see, the knife, firstly, is short, it does n't have enough angle, and i'll most likely have to do it all in two movements, because i can't do this one in one... cutting, wait, how do you cut fish? and i or you buy sliced ​​immediately, i cut the fish with teeth, when, well, teeth are a separate topic, we will do a separate podcast about teeth, yes, so, let's take, we had chilled, chilled fish, and now let's take uh, as i understand it, we have a different phase

state of water , another state is the water phase, here we will just try, since i ’m unlikely to be able to remove it from the skin. here we will need a knife that is heavier, because it will be very dangerous to cut with this knife, because it can split it here in the first place, even so, yes, because the metal is very thin very fine sharpening, if we cut on a hard part, the teeth will break and appear jagged, and if we rub for a long time, water will melt there, let's try, we're doing an experiment, let's try. in any case, something is visible in theory in theory, if you actively press repeatedly, then due to the pressure the phase stage should change, you get water and cut everything, look, here the water turned out to be liquid, yes, that’s right, the work of forces friction turns into heat, this heat is enough to melt ice,

transfer it into the liquid phase, well , yes, so... let's try one more movement, as we said, again the pressure angle, that is , you can also cut it in this format, that is, the angle holds, rests on the board, yeah, there with this pressing there is such a lever here, that is, this is such pressure without a third, we now get right here, we take the body weight very hard, press and cut through our stack of wonderful salmon, schrödinger’s cat podcast is with you,

but again, a knife, so that it doesn’t go anywhere, you need cut in this format, and movement is only the arm or the shoulder is involved, as in the side, the whole body is involved here, because we have the back, arms and legs, that is, support, so i’m doing it right now, or you can just do it, but if it’s like this stand and do the operation like this, then all the strength will go to the left hand, emphasis, so you need to stand slightly with your feet shoulder-width apart, take the knife in your hand. depending on what you are cutting, if you are cutting, for example, slicing fish, then here you will need to cut a little differently, in this i see you bend down a lot, yes here i’m still adjusting the product a little bit so that i can make a thin slice, in fact, human posture is a lot of complex physics, it’s not for nothing that scientists, engineers, mathematicians spend so much time

developing robots, so that all these movements in so many ways.. .to reproduce correctly, yes, everything is correct, shall we nori? i think so, let’s try, what’s the difficulty, why do we need some special knives for nori? well , there really aren’t any special knives for nori, but here we ’ll just do some kind of experiment, because here the area, the surface of the leaf will be very large, it is dense , that is, seaweed, yes, that’s right, if you take, for example, a small knife, then i will need to cut it in this... format, here we are separating one whole by as many as two , and if we take, for example, a large knife, that is , we made efforts just cutting, but here we will apply pressure, that is

, we will rest against the board and cut our wonderful sheet of nori with this movement, well, in both cases it turned out convincing, yes nikolay, can you comment on the difference in these two approaches to cutting nori, well, this is technological. the difference in any case is that we apply pressure on this product and this pressure is enough to disrupt the interactions of the molecules of this seaweed, this sheet, well, there could probably be, i think, a sheet of paper, for example, now...

a single-sided knife makes it very easy to cut smoothly; it’s not for nothing that the japanese came up with such knives, they invented them for fish. so, we take our wonderful cucumber ribbon, we take the rest of the cucumber that is left, we carefully wrap it all, we pack it all in our wonderful cucumber tape, that is, we already have such a dish. well, it’s a complex design, with different densities, different fibers, here you will need to cut, in a slightly different way, we just saw that cucumber can be cut like this, salmon

like this, nori like this, here you need to cut it in this format, that is, sawing, because i’m unlikely to be able to cut it evenly like this, because it will violate the entire integrity of the structure of this product of the dish, it will go into into the hall not in the form it should be, so here we use a holding device. once the movement, we rest, we cut a little and guide ourselves, and here the same thing, we guide ourselves, and we received such wonderful rolls with fresh cucumber and wonderful fish, thank you very much, it seems to me that our physics lesson can be completed on this delicious note , nikolay, i think yes, it’s simply impossible not to choke. looking at these amazing works, thank you, culinary art, really, thank you mikhail, thank you nikolay, the cat podcast was with you

schödinger, in which we talk about ordinary things from a scientific point of view. this is the podcast life of the remarkable with me, its host, writer alexey varlamov, and our guest is the wonderful producer sergei siliyanov. hello, sergei mikhailovich, and today we will talk about director alexei balabanov, who directed the film brother and many other wonderful films. well, but now i would also like to watch the trailer for a documentary film that was recently filmed.

this film, and i understand that you are very much since we already talked about alexei balabanov , well, we all came from the soviet union anyway, yes, we all came from soviet culture, from the soviet environment, anyway, we are soviet people, we don’t want to, we like it, but we don’t like everything this is how it seems to you, this had an influence on balabanov, or in fact, what i say has no meaning, i don’t

tell it often. "ethiopia, yemen and so on and yes, he began his first directorial experiments in soviet times, his short films are wonderful, let's say, not a fiction, a documentary film by nastya egor, it was also shot in 87, that is , when, well, this is also the soviet union, that is, yes

, but this..." well, this perhaps explains something, and, and something, i don’t know if this has any significant significance for those who love balabanov’s films and want to somehow understand them more deeply, for example, i really love balabanov’s films, i really want to understand them more deeply, and he really often perplexes, because...

when he could already afford it, this internal freedom, including unfolding in my paintings, they are different precisely because i was not a slave to the lamp, that i found some kind of intonation, some kind of direction, so i will do it persistently, he was not a person, well they often say about writers, he writes one book all his life in the good sense of the word, yes, that he is cultivating some kind of topic that excites him, in which he...

very organically, naturally, it was not some kind of , let’s say, by calculation, now i ’ll shoot this, and then i’ll shoot this, and then i’ll film this, in the first half of his creative life he was, as they say, creating out of creative excess, so tell me, please, when you met, you immediately understood the scale of this man, his talent, we met at the highest directing courses, because they settled us.

or everything was invented there, well, it doesn’t matter, well, with such an atmosphere, and he told me about it, in herman’s workshop they gave him such an opportunity, he took it off, naturally invited me to the first viewing, where herman actually was, well, this kind of hot advice, artistic council, something like that, the first viewing, i went with a sinking heart, because this was a person very close to me, it seems, and becket is not a gift.

they said: yes, well, we’ll probably participate, we went to our son, to the heir to the rights, and it turned out that 2 days before the visit of our norwegian representative , an american producer came to his son and bought the rights from him, well, that’s all , this is the story that collapsed for the second time, i didn’t have a film studio yet, but i starred. hermann, that means his next film was a castle, there we are we also wrote a script together for the caucasian film, yes, and then, when i finally opened my studio , as they say, then yes, i was the producer of all his other films,

the next was my brother, the next was trafim, a short film, yes very very very strong, in my opinion, with a very strong role of seryozha makovetsky, and then my brother, and he discussed with you... between the producer and the director, and the dialogue is exactly like this at an almost wordless level , but this is precisely at the level at the stage of the script or further too, well, all the time, of course, on the set, no , there is no set, i’m not there, or rather

, sometimes i’m just on a courtesy visit to those with whom i work, after all, getting back to the film brother, but look, the man is taking off a bill. he’s making films for now, that is, it’s like an intellectual film with a western direction, how after these films the idea of ​​​​a brother suddenly appears, everything happens simply, how a person wakes up , for whom it’s different, so oh, what a thought came to my mind, what -some idea, something behind it, through the magic crystal, something dawned there, right? and so, look, i’m thinking, here’s something about this, yes, why? no, and well, that’s it, well, it’s simple, it just happens, it seems to me that you don’t need to look for it, this is the artist, his complex path, his contradictory development, all this is not about us,

well, like a dog who is looking for grass, which she needs it there today for some dog-like reasons, it’s all by touch, it’s all very sensual, there’s little rationality in it, and it’s somehow like that in my opinion. there is art there, whatever you call it, creativity, creativity, something flew into my head and settled there, i wrote the script very quickly, it’s just...

probably won’t comprehend, no, it’s better that

’s all, no, it’ll probably, well, be quite noticeable, at least , yes, there was no calculation in this, in fact, back when the film was being filmed, brother, we said something about the fact that he went to moscow, and what next, well, lyosha said, well, next is moscow , then america, that’s how it was it’s said in forwarding, but, but not in forwarding either, we kind of assumed, well, lyosha assumed. yes that there will be two films, one about moscow, the other about america, then he decided that it would be boring for a long time, and he combined them into one, but it seems to me that many people who accepted the film brother, they did not accept the film brother-2, every person is also free, because as a viewer, he is definitely free, every person, and you, as a producer, you calculate the audience’s reaction, roughly speaking, there are two types of films, author’s and audience, yes and yes. the boundary between them is conditional, but it is quite clear,

nevertheless, and so on, so on, and the goal setting in the two cases is different , naturally, he wants millions to watch his auteur cinema, but we understand that this is very, very unlikely, and there the motivation is goal setting, there it is different, to make a strong movie by a strong director who is capable of creating cinematically. than in auteur cinema, what does not prevent them from being successful, popular and so on, there are films from the point of view of cinematographers that are simply terrible, by profession, for some reason, which, nevertheless , we understand and accept all this when if you make a spectator film, then of course, it’s not just about money, some kind of... well, if you set the task of making a spectator film, then there must be viewers,

otherwise you haven’t solved it, in the case of spectator cinema, of course , the rational is more included in the work, this is a very good statement from one famous american producer who says that an american director makes a movie and thinks how to make it so that everyone likes it, a european director thinks how to make it so... so that i liked them, both of them are honest, because the american director believes that they were given money, yes, he is obliged, it is his job for the money to be returned, he, he has no right to put something of his own there, if he likes oranges there, and the viewer likes apples, he must apples, of course, to give to the viewer, and the european director, what if i honestly don’t manipulate these dramatic techniques that americans hook the viewer. i will do it honestly, then it will be fair to the viewer, i really want

everyone to like it, but this is so that it is here is mine, so that i don’t lie, don’t manipulate him, but so that i speak honestly and everyone would love me, so this turns out to be an auteur cinema, as a rule, the question is raised, what about a russian director? spectator cinema has become a producer's film in russia, the role of the director of spectator cinema is, well, extremely large, but he, as it were... is , with rare exceptions, not the initiator, he is invited to work, there is a script, this is a huge responsibility, well, no, how... and it's a shame, because we suffer from the fact that from the directors practically, well, very few of them come up with their own ideas, and those that, well, well, well, are valid in this sense, that is, there are ideas and negotiations,

ideas, sometimes directors send some people who don’t answer criteria, yes , here the rational comes into play and

... this is art, that’s how it is because we do n’t know who created the fayom portraits there, they are getting worse, watch every single film, and somehow imagine that no they have the same author, you won’t have

this thoughtfulness, like brother 2 looks like this, well, yes, like a load of 20, it doesn’t bother me so much as it delights me when... and then we sat on the beach in a cafe, drinking beer, i think, i don’t remember , it was during the day, it was sunny, it was a day, i told him, let’s make a movie together, but there won’t be any money.