quite complicated, because the path to our meeting was quite long, in 1987 we built the mir deep-sea manned vehicles, well at that time, that is, there were only two deep-sea manned vehicles in the world that could dive to a depth of 600 m, it was the nautilus, that is...

that is, i would not like, so to speak, to participate in the filming of deep-sea films, the result of this, that is, was the film, al gindings was the first to make a film for the eightieth anniversary of the sinking of the titanic in 1992, well, al gindings made this film, there was premiere in hollywood, he invited james cameron to the premiere, james... cameron, they had filmed together before, james was, you know, the director, and al giddings was the co-producer, so they were filming the movie the abyss, he was our show, obis, so, and so, when the movie was over, ella giddings, he commented on this movie for 47 minutes, walter cronkite, so to speak

, and we sat for 2.5 hours, he says, we talked, so, in general, he says, the genie asked a lot of questions, asked about me, wanted to meet me, so the first meeting was in july 1992 al ginding and jim cameron come to moscow, we immediately move from sheremetyevo to vnukovo and fly to kaliningrad, where keldysh was with two worlds.

this was our first acquaintance, we , of course, looked at keldysh, climbed into the worlds, ran along the pier there, in general, it was very interesting, of course, everyone really liked this thing, so to speak, jim was very puzzled that we, so to speak, like this, like this, arranged a reception for him, this was 5 years before the titanic went on screens in ninety-seventh year. well , practically yes ninety-seventh, well then 2 years were spent on - different there, well he thought, well and as john bruno, his assistant on special effects, told me later, says that it is very difficult, since it is a lot of money, it is one thing to shoot in a studio, here we all, so to speak, know ourselves, so we guarantee success, and here he says, in general, well, who knows? knows

that maybe, of course, you made a film there, jim, he really liked it, jim liked this film, well, and, therefore, as a result there was another meeting, i... so jim invited me to los angeles, but the thing is that nothing came of it yet, i wrote to jim, then, well, a fax, there was no e-mail then, well, i wrote him a fax that jim, while we are alive and well, while the machine and the world are in good condition, let's decide, either we make a movie or we don't make a movie, today or never, and then i wrote to him that... in the end, a person should do something extraordinary at least once in his life. he still remembers this phrase. he says: when i read this phrase, i understood that she was speaking, addressed to me. the next day the phone rang, i come home from work,

the phone rang, or maybe it was jim and he said to me in russian, let's go. and the most important thing is that later, when we... i can just say that an intelligent person is immediately visible, so here is an extraordinary mind, it is completely obvious, so we, so to speak, immediately somehow found a common language, i suggested that he go for a run along the pier, so we went for a run, but after 500 m

he began to choke, i was running, so to speak every morning, but i say, well, what else on well back go back, so we ran to the ship.

on seventy-millimeter film, this is such a huge contraption, which occupied a third of the sphere inside, so it was necessary to make, so a movie camera, at that time there was no high-resolution video, so we filmed on a movie camera, so i developed took this camera by navision, so i made a design in the form of a cylinder. we only had 20 minutes allotted for filming, because that the film was running out, jim used it for all sorts of repetitions,

rehearsals, there were very difficult, so to speak, situations when it was necessary to hold the apparatus in the thickness of the current.

they laid the first brick - first brick, so we, therefore, laid the first brick, now we will build a building, but in order to shoot the material at the bottom... or even test it, yes, how does this happen, after all , what needs to be done, first it is filmed, then the film needs to be developed, it is not like today's digital image, you immediately blame on the monitor, you don't know what will happen, what the result will be, lift the film up, develop it, look, and then go back down, as it was, every time we went up, we took the film out and sent it to the shore, a small boat was waiting there, and a small boat from...

to show the audience many different specialists, these are all your colleagues in the specialty, but this is jim and i and this is board engineer anatorii blagovedev, well, this was one of the experimental dives, we went in such composition, how difficult was it to organize all this at the interstate level, after all... you were doing it in the soviet union, it was a top secret matter, yes, but it’s unlikely that in the sense

that deep-sea diving, for sure there was no secret collection here, there was nothing, well, what’s a secret, the apparatus and the world we built in finland, why in finland, because we needed access to western technologies, and of course there were a lot of difficulties, because you understand that this is of course... dual-use equipment, and here, of course, the americans tried in every way to ensure that we did not receive this equipment, even the americans themselves in 1994 recognized the mir devices as the best in the world in terms of their technical data in the entire history of the creation of deep-sea manned vehicles. and during the filming, what was your role? organizer, pilot, actor, episodic, my role, of course, is both the organizer and the pilot, i was the main pilot,

all the filming that was done, they were not done by this crew, the crew where andrei andreev is, that is, me and james cameron, james cameron was sitting there aiming the camera, the camera was outside on a special hydraulic rotating device. so he was turning it, so he was adjusting the lighting, so he was telling which light to turn on, which to turn off, extending the rod there, turning on this light and so on, so he was sitting there, i was at the control panel, controlling the apparatus, jim was sitting on the right at this panel and so he was turning these handles, but andrei andreev...

we had to watch her so as not to hit her, since we were close the whole time titanic, all the time, so to speak, well, next to this huge iron mass. here on this photo it says fo natalia, this is my wife, and this is addressed to your spouse, yes, so i made such an inscription, gave natasha one like this, you yourself also became an episodic actor who said during, i played myself, well, so there i say two words when they take out the safe, from the depths there it is... it was on the stern of our suudnakadem stislav keldesh, and there, so,

they cut it with an oxyacetylene torch, because, naturally, after 80 years of being at the bottom, it had to, so to speak, rust , get stuck, they cut it, they open the door, and bill paxson starts pulling out old money, all sorts of things, well , he’s looking, naturally, for that very... blue diamond, the heart of the ocean, and so at that time i, you know, step out of that general circle and tell him: well, yes...

there practically existed a real thing called the titanic’s twin ship, with the same furnishings, with the same notorious dishes, all of this was taken, not even modeled, it was copied. cameron wasn't filming a fairy tale, that's what's important, yes, he was filming a love story embedded in a tragedy, and moreover, where did this crazy success come from, incredible, which is still very difficult. as if to cover up with something, precisely because the viewer needs this high, like this, even if the viewer himself does not realize it, a high sense of tragedy, a high sense of catharsis, this kind of some kind of change in him, in the viewer, which transforms him and gives opportunities, strength

live on, well the audience knows how the film will end, that's the most amazing thing, just think they don't show us.

this is the titanic itself, if we remember the composition of the film itself, it's framed, we start with, let's say, our days, and i was completely fascinated by the idea that you can include elements of documentary filming in a feature film, and your comeo, your participation just emphasizes the absolute naturalness of what is happening.

he tells me, well, says anatoly, i understand that you, he says, underwater filming you will do, i watched your - film, here, well, here, he says, is the main plot of the film, i say, while i'm thinking, i, he says, haven't caught it yet, i keep getting confused with the terminator , there are different things there, and i

tell him: jem, show me life, show how people swam, and of course, i say, in the center of the film, uh , there should be love, he immediately looked at me like, oh, lou, that's how the idea for the film was born, that is, in fact, it was you who suggested it. a month and a half later i fly to los angeles, he invited me to los angeles, but this time in honor of this he gathered me there a group of friends, including some actors, bill paxton was there, le bernati, schwarzenegger was there, and john bruno, that 's his special effects assistant, he says a toast, let's drink to jim, to anatoly, who... they'll make us a new blockbuster titanic like terminator 2, suddenly the genie gets up and says: no terminator 2, gone with the wind,

part two, well, i think we won, carried away by the waves, yeah, and then i once had a show with that same one, with julia minshova, with everyone, and she asked me, he says, for you, he says, probably this film opened a window into cinema, i say, you know, a window into cinema was opened for me when i was a child, our great directors, they said, began to include them, including your dad, vladimir minshov, well, well, well and so on, i say, that's why when they ask me, how did this idea come about? i say, this idea, it sits in us, this idea of ​​humanity, i

told him then that jim, the world is tired of murders, of violence, of the blood that hollywood splashes on the screen, show life, show love, my words were one to one, and he was all... the rest of the time, then we were flying, he was sitting and silent, thinking all the time, that is, this spark, it was planted then and then it began to develop, and what kind of world do we see on the titanic, is this a model of the ark, on which there is a third class, that is, faggots, there is a high society that controls everything, is this otgolovskiy of marxist ideas or, on the contrary, is this according to the interpretation of the late nineties?

on this very basis, that is , to bring as close as possible what people will see on the screen to to what was happening then in the twelfth year, well i was at the premiere, well after the premiere i flew to memphis, in memphis my son was studying at the university, the youngest son, well and so - i didn't fly, i say, you say, i saw the movie titanic, no, no, i didn't go, it just came out, i say, well let's go. we went to the cinema with him, the cinema was full, absolutely, everything was packed, well, well we bought some tickets there, i bought tickets, that's it,

we sat down, we watched this film, the film ended, and no one gets up, people sit and cry, it was the first time i saw americans that's how it was in the hall, the whole hall was sitting, then they turned on the lights, i look, everyone... tear-stained faces, everyone is sobbing, that's what jim did with the american people, movies are designed for this , so that emotions, but emotions, yes, but this, it was done so masterfully that it , so to speak, evoked such emotions in people, then we had another conversation like this before we started filming, and the thing is that at one time they made the titanic... well, an object to demonstrate technical capabilities, then there is, when they found the titanic, it was in 1985 that bob ballar found it.

well, actually, there was new equipment, new hydroacoustic search equipment, everyone was going to the titanic , so they were looking there and demonstrating their work, well, there was some kind of advertising, so when jim and i were talking, he says, he says, my other task, he says, is to break this point of view that this is... well, this is the titanic object, this is an object on the bottom that everyone knows and that attracts everyone's attention, and that with this equipment you can find things like that, that's what it led to, but after the film it all ended, but something else began, we were the first with the worlds that began tourist dives, actually the general pathos of cameron's films is technology as

a dead end for humanity, is that true or not? so, i would say so, yes and no, on the one hand, it really is a pretty harsh assessment of civilization, of course, but moreover, cameron, every time, no matter what material he works with, translates it to the level of high tragedy, almost ancient tragedy, and ancient tragedy is good because even if the conflict is not resolved, everyone dies, nevertheless there remains hope and...

as if secret pitfalls, excuse the inevitable metaphor after the titanic, what are the secret pitfalls, that one of the heroes is going to bring alien larvae to earth, and this does not happen, because there are people who make a choice, this is about this, despite the desire to make money on dangerous experiments, and we remember in this case already the wonderful avatar, which also begins with absolutely...

absolutely and how does avatar end, itself the planet is rising up against this technocratic, potentially technocratic apocalypse, but the planet is rising up because there is jake sully, who despite his own weakness learns to see another world, yes, this is hope again, this is incredibly great. and i think this is the best thing that cameron has, these are the films that we wanted to discuss today, this is truly the best there is, and no matter how you look at it, but his ability to draw us into his story, to saturate it with details that make us believe from alien to avatar and titanic, to make us rethink ourselves formally, as you rightly said, within the framework of mass culture, entertainment cinema,

when it... everything, all of this, as if this wave subsides, you are left and think, what am i left with, who am i, where are we moving, he takes us through absolute zero, he poses before us, essentially, existential questions, what is called the liminal stage, symbolic death, he takes a risk, he succeeds, remember not even the ailb terminator, in principle, the opposition of the supermachine and the girl. and very fragile human flesh, and love, which on the one hand does not affect anything, in fact it saves the world. why is avatar 2 again cameron's appeal to the element of water, watched, i don't know, the last part, where actually here is an attempt at a new level, at the level of modern computer technologies, to show us the beauty of the underwater world, there we have an aquatic civilization, here

it is difficult for me. attitude to avatar 2, because there, firstly, clearly appears what, what we talked about cameron avoided in his best films, he created his own idea. very beautiful picture, incredible, i understand why he returned to the water, because the ocean does not let him go, the heart of the ocean, if you like, cameron's heart is in the ocean, it is very much felt, there is no escape, but in my opinion, the second avatar

lacks what was in the first, the persuasiveness of the world, the detail and awakening in the audience, and the desire to enter this world, and the desire... thank you very much, today we talked about james cameron and this was a special edition of the cameron 70 podcast, dedicated to the anniversary of the director's birthday james cameron, director of the films avatar, terminator, and of course, titanic, which we talked about with our guests today . thank you very much. hello everyone, this is not lymshita and tatyana gevarkyan, it's spring outside, there's a holiday in our souls, and we have guests in the studio who literally personify beauty, both external and

internal, elena krygina and alla segalova. hello, alla, hello, lena, today we have such a spring holiday issue, we will talk about beauty, about beauty, of course, not only external, but internal, and i... i'm very glad that you came you, because for me you personify, well, probably, not only female beauty, but human beauty in general, which today we are breaking the stereotype that you can be either smart or beautiful, because in our time it seems strange to me to choose just one thing, and if you have not become both smart and beautiful, then something is wrong with you, because there are all the possibilities for this, beauty is not only about appearance. al, for you, what is beauty? talent, first of all. i do not mean a person in general, i mean those moments beauty that is associated with unique people. for example, for me, beauty is in

the raised, hunched shoulders of galina sergeevna ulanova in giselle. for me, beauty is the face of yulia overpowering in this cosmic window against the backdrop of the sun. for me, beauty is when a mother runs to meet her children, and what is depicted at this moment is depicted on her face, for me, beauty is a surgeon leaning over the operating table, so this is beauty, this is a moment in which each of us can shine. i understand, yes, what you are talking about, you are talking about this here is the aesthetics of the moment, and such moments, there can be many of them. in life, there may be few, yes, there may be few, very often it seems to me, they manifest themselves in some specific situations, for example, in travel for some reason very often such moments are snatched, or as you said about the aesthetics of the moment in the profession,

in showing your talent, in life, where you show your talent, in love, first of all, where you can show this part of talent, you have people from your... close circle, who for you have some incredible magnetism, the misfortune is that i am surrounded by famous and talented people, so many of them of course delight me when i come to watch their films, watch their performances, i have a lot of such people around me, well , you see, you are lucky, you are surrounded by a lot of beauty, absolutely, len, tell me, and for you? what is this magnetic attraction in a person? firstly, i would not tie it to only external factors, if we talk about people, because i am often asked about applied questions about beauty, i am an expert in

the field of beauty and makeup, so i usually get questions about how to put on makeup, but i always say that beauty cannot be without some kind of inner harmony or protest harmony. when this calmness, beauty in the look, in the movements, in relaxation and both makeup and image, it immediately plays differently, you seem to see how beautiful a person is. peace and you are inspired by this, or protest, this rebellion, this talent, and what is protest and rebellion for you, let's say in a female performance, breaking the rules, breaking these very stereotypes, manicure should match lipstick, and shoes and handbags in color, stereotype, how to apply makeup correctly if you have such and such eyes, and how do you like this makeup, which is now very popular on social networks, they show practically how to apply it. this heavy contouring, a heavy layer

of foundation, pronounced eyebrows, eyelashes, this, this is beautiful, this is beautiful for, first of all , for the audience of the middle east, that is, makeup, it is different in aesthetics, yes, that is there are always different directions, and different aesthetics. it won't suit scandinavians, and in russia mainly too, but it seems to me , on the contrary, for the scandinavian type of face, it's more like this... heavy makeup is more appropriate, and for girls with an oriental type of appearance , after all, they already have bright faces, heavy makeup doesn't really suit them, it's more of a stage makeup, there's no specific rule, it's just why you see it on social networks, because social networks are filmed on camera, well, that is, everything that is posted is on a camera, the camera has certain makeup requirements, you know perfectly well that your makeup for recording a podcast, it will be different from your everyday makeup, the same thing... those who develop in social networks, including

earning money, somehow manifest themselves, that is, they use it in order to look cool on camera, so you see this makeup is quite bright, stage heavy, because well, let's be realistic, yes, that is, for modern youth, in many ways , social networks are their stage, but not in in many ways, but simply the number one means of influencing the minds of not only young people, but adults, by the way, and how do you...

there is makeup for a certain image, you do one thing, for another image you do another, that is, everything lies in its own cells, and you can take from each cell to use in this particular case and for this particular purpose, but you will agree that the world has changed very much over the past, say, 25 years, what and what influenced us in the nineties, and what influenced you in the nineties?

special photo artists, of course, german

expressionism to a great extent, is it now or is it the nineties, i was talking about the nineties, i listed them, that's what inspired you in the nineties, by the way, when we did n't have such opportunities, of course, well, i'm the mtv generation, i grew up in surgut, it's a small northern town, where basically there are five house projects, everything is gray, snowdrifts, there are several clubs where children can... develop very few opportunities to apply themselves creatively somewhere, but this charge was there, here you turn on the tv here you just understand all the colors of the rainbow. our pop culture, these groups are all shiny, no matter who, yes, western pop culture, and you sit in the evening, cut these jeans, put lacing in them to be like in this fashion video, twist some curls and perform on your stage in front of the mirror with hairspray, it was

a wonderful time, bright, we glued some applications, made some tattoos from rhinestones, and in this way, well, somehow... we got to know the world of our teenage years, watched what it broadcasts from there, and it had a very strong influence on us, then this knowledge of what was going on there, and how they did such choreography, and how they learned to sing like that, and how they do such hairstyles, it makes you develop in the direction in which you are cool with some internal stimuli, yes, that is, i went in the direction of studying make-up, there is plastic make-up,

what, where, where did you get this inspiration? well, from the age of 6 i went to study at the hermitage, at the hermitage school, here it is inspiration. mariinsky theatre, then kirov theater, then i had access to the closed funds of the public library, where from the age of 10 i could watch office for for most people absolutely.

it especially influences, especially on fashion trends, that is, last year we had barbie kor, which was imposed on us by the creators of the film barbie, mermaid kor, and mermaid kor, what is called, then olddmanie also came to us from the cinema, and of course, at the end of the year the series word of the boy fell on us, so everyone began

to imitate this gopkor, it seems to me that we all ... want to watch with interest extraordinary people, extraordinary people do not walk in the crowd, these are people who do not sing in a choir, that is why you are talking about a choir, and i prefer a personality that is different from a card player, i just don’t , i understand you perfectly, i think that we all choose for ourselves in some specific way here, and clearly not focusing on... some mass trends, but i’m just interested in finding out how you perceive the fact that cinematography really has such an influence on this mass culture, and is this good or bad, but this is, this is it's normal, this is the norm, these waves have a good effect, today, tomorrow.