and it is possible to do yes, but it is like let's say, it should be a movement from all sides, that is, conventionally speaking, that in any case it is necessary to look for a player who - with winning traditions will come, that is, you cannot take players to ural, yes, who have been fighting for survival all the time, that they will now give some result, players of a stronger mental level of the game should come in order to pull ural forward, and moreover, not least of all, but this is not the quality of justification and the referee's decision, and we...

then these details are cut off, the final product is obtained, which is the same as a var, it seems to me, it is necessary to reduce the influence of those players who sit on the var, because the judge must make the decision himself.

as one of the options for influencing the var , the argument is that there should be a former football player, as you think, this can, or at least that there should not be one team coming, which judges on the var, that is, we know, there are examples that var is determined there, i do not know how in some other place and they say there in the ear yes, maybe such a situation, as for the former player, this too, you know, as if some reasonable combination should be, why, because it can't be there in football only football players lead, there should

be some. yes, that's right, well done sleep yes , that is, and it disappears when they are some you get up in the morning and ask whether he slept or not now normal sleep this is now i have a lot of communication with my daughter who sees that she has a dad with whom she can play, this is also the same thing, it's not important, then there are some with my son - even to watch his training, to watch his games there danis, here's another thing, i'm looking at myself from the outside now, at many coaches who are out of work, yes, our smile has become more open, not strained. that is

, we have become more relaxed, that is, therefore , pauses are necessary in order to be more effective, and then, when your head has already become free, then replenishment, to fill in some gaps that exist, i always seek to learn - well, there is the other side of the coin, you know, when a young coach, who was my first steps in the bot, youth, courage, some kind of enthusiasm, some now you look at some mistakes, yes they they went through here somehow with some kind of enthusiasm you went forward, yes now. it seems like there is more knowledge, more skills, you know how to build - attack, defense, you know what a weekly cycle is, you know what an influence on a team is, and not the fact that maybe that youthful enthusiasm, it was much better than now, well, constantly filling in the gaps, you always have to move at some point, your child plays football, yes, son, yes, and do you see a career beyond being a professional football player or is it just time for him to do it, i don’t know, fathers are very strict, so she has an attraction, i try to support it, i don’t try to... lead it aside, this is your

choice, you go, let’s do it yourself, yeah, you play hockey, so how does this, how does this help a football coach, how can you evaluate this correctly, after all, in soviet childhood, when, well, well, we all played in football in summer in winter hockey yeah well i can't in my city where i was born in khoyniki yeah there are such very good hockey traditions now some veteran team they go somewhere although there is no rink they get together in winter they go somewhere to play these are the traditions that were yeah that is i still remember very well when in the soviet school uh in a comprehensive school yeah i don't know exactly on which line yeah they brought in all the hockey equipment yeah. all the equipment was with the exception of skates, so i have - in some eighty-nine or ninety year, when our famous e skates salva were here, they brought to the dead size forty-six and forty, i already had 40 plus, that is, forty was too small, forty

-six was generally bare, yes i bought such boots there, yes, yes i bought a forty, i still have here such a growth on the heels from these skates, because well... well, it was so heavy in them, but considering, all the same this ice beckoned there, well, in childhood you forget about many, warmed up these salvas are for them to stretch a little, of course nothing stretched there, at least i remember very good things about it, so hockey, well, how how, well, we were brought up on the fact that i can't miss some good hockey there, if it 's on, i can't help but look at the statistics in the morning, how kucherov, ovechkin, malkin and so on, how kirill kaprizov plays, well , at least for me this...

well, what could be applicable in your profession? in yekaterinburg, i really wanted to go and watch the training motorist, and i have repeatedly asked grigoli viktorovich, there were moments when either the motorist leaves or we leave somewhere there yes, and i would really like to watch the training of hockey teams, and maybe find something for myself, it is always well, what, what is it for example, well, five five , let's say a person is on - we will become

more, let's meet again, thank you very much. thank you for being with us. hello, with you is film historian stanislav dizdinsky, and today we have a special edition of cameron 70. we are talking about the birthday director james. more precisely about his work, about his films, today we have two special guests, this is anatoly tsagolevich, an oceanographer, doctor of technical sciences and a person who in many ways guided and inspired james cameron during the filming of the movie titanic, and maria

shteiman, candidate of philological sciences, professor of the higher school of economics, author of articles on topics that always worried james cameron. this is a doll, terminators, androids and so on and so on and so on. and today, of course, we will talk in many ways about what this amazing, amazing world of james cameron is based on, which is a huge universe, seemingly so different, because his films touch on a variety of topics, both the future and the past, if we talk about the film titanic, but our main question is for anatoly mikhailovich about how... your acquaintance with james cameron happened, because any such large-scale project as titanic is sometimes developed for more than one year, and not two, and not five, but even 10. how did you first met with this director? well, the question is quite complicated, since the path to our

meeting was quite long. in 1987, we built the deep-sea manned vehicles mir. well, at that time, there were only two deep-sea manned vehicles in the world that could dive to a depth of 6,000 m, uh, it was... the nautilus, you know, in france and, you know, the americans re-equipped the seklif, and then suddenly in 1987 we put two mir vehicles into operation, install them on one vessel, academician kstislav keldysh, and thus, in our hands the most original and perfect deep-sea research complex.

and the fields of the atlantic, the expedition was very successful, interesting discoveries were made, well, at the end of 1988 i went to baltimore to the aushen 88 conference and there i gave a report, after the report two people who were filming wide-screen movies came up to me, well, so... they asked me, would we like, well, so i would like, so to speak, to participate in

the filming of - deep-sea films, the result of this, so, was the film, ellings, the first made a film for the eightieth anniversary of the sinking of the titanic in 1992, well, al giddings made this film, there was a premiere in hollywood, for the premiere he... invited james cameron, they had filmed together with james cameron before, james was, that is, the director, and al giddings was a co-producer, so they were filming the movie the abyss, he was on our show, so that is , when the film ended, ella giddings he was 47 minutes and commented on this film at... cronkite, so to speak, a famous announcer, i remember when i showed this film

to georgy arkadyevich arbatov, director of the institute of the united states of america and canada, he says that he is advertising you, says walter cronkie, i say, i got up and left, these were arbatov's words, i remember, well, well, jim, you see , watched this film, and as he already told me. elldins, he says, everyone had already left the hall, and we sat for 2.5 hours, he says, we talked, so in general, he says, jim asked a lot of questions, asked about me, wanted to meet with me, here is the first meeting in july 1992, el giddings and jim cameron arrive, so to moscow, we immediately, so, move from sheremetyevo to vnukovo and fly to kaliningrad. where kelzash stood with two worlds, this was our first acquaintance, we,

so, of course, looked at keldysh, climbed into the worlds, ran along, 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 in 5 years. he says, in general, well, who knows, maybe, of course, you made a film there,

jim, jim really liked this film, so, well, and so, as a result, there was another meeting, i flew, so, to los angeles, jim invited me, but the thing is that nothing ended yet, i wrote to jim, then, well, a fax, there was no e-mail then. well, i wrote him the fact that jim, while we are alive and well, while the apparatus and the world are in good condition, let's decide, either we make a film, or we don't make a film, today or... never, and then i wrote to him that - in the end, a person should at least once in life to do something extraordinary, he still remembers this phrase, he says: when i read this phrase, i understood that it 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 says to me in russian, let's go. and the most important thing is that later, when we were diving and he entered the apparatus, he always before going down, that is, the parade to close the hatch, he always said let's go, i once asked him, what are you saying, let's go, and so, he says, gagarin said, this is the cameron 70 podcast, and today we are talking about james cameron with anatoly sagarilovich and maria shteimon, and what impression did he make on you as a person? well, as a director, i can just tell you, you can tell an intelligent person right away, so here is an extraordinary mind, it is absolutely 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 started to get out of breath, i ran, so to speak

, every morning, but i said, well, what else on the nu back go back. because it was necessary to prepare the equipment, the apparatus, it was necessary to hang powerful lamps around the world, which were not there, so to speak, we hung up to eight lamps

on the apparatus, secondly, of course, jim needed a movie camera, we were filming through the porthole. a movie camera, a movie camera filmed on seventy-millimeter film, this is such a huge contraption that occupied a third of the sphere inside, so it was necessary to make, then a movie camera, at that time there was no high-resolution video, so here they were filming on a movie camera, so she developed it, took this vision camera, and...

it was filmed inside the camera, i was with bill paxton and luo bernati, so the three of us, and these were the first shots that were included in the film titanic, yeah, so, so, james, so, cut off a few, so, pieces, signed them, to each participant in this first film, gave them

a souvenir like this, he said, this is what he says, here is an american...

at the interstate level, after all, what you were doing in the soviet union, this is to be it was a top secret matter, yes, it is unlikely, well in the sense that, like

, deep-sea diving, there was probably something here, there was nothing, well, what is secret, we built the apparatus and the world in finland, why in finland, because we needed access to western technologies, and of course, there were many difficulties, since... you understand that this is, of course, dual-use equipment, and here , of course, the americans generally tried in every way to ensure that we did not receive this equipment, even the americans themselves in 1994 recognized the mir vehicles 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? you are the organizer, the pilot, the actor, my role, of course, is both the organizer and the pilot, i was the main pilot,

all the filming that was done, they were done not by this crew, but by the crew where andrei andreev was, that is, me and james cameron, he sat and aimed the camera, the camera was outside, he turned these handles, well, andrei andreev - there, that is, he provided everything else, that is, so, that means the device is working and

we also had a huge rod there, on which a big lamp was attached, we had to watch it, we had to watch it so as not to hit it, since we were always near the titanic, all the time, so to speak, well, next to this... huge iron mass, here on this photograph it says fo natalya, well natalya is my wife, she was, and this is addressed to your wife, yes, so i made such an inscription, natasha gave it to us like this, you yourself also became an episodic actor, who said during the film i played myself, well, that means there i say two words when they take out the safe. from the depths there, it was on the stern of our ship academician slav keldysh, and there, that means, they cut it with an oxyacetylene torch,

because, naturally, after 80 years of being at the bottom, it should, so to speak, rust, get covered with dirt, that means they cut it, open, that means, the door, bakson starts to pull out old money there, there are all sorts of things, well... well, there first class for one day, that whole day from morning until about 3 o'clock in the afternoon, i said these two words in front of the lens, adzhim sat

like... an executioner and so to speak, he told me, it shouldn't be like this, it shouldn't be like this, you say questioningly, now he says affirmatively, it should be neutral, well, i probably, well, a hundred, a hundred and more times i probably said these two words, but they chose something, this is the cameron 70 podcast, i am film historian stanislav didinsky, and today we are talking about why... james cameron's films are not just blockbusters, but are, in fact, modern ancient tragedies, or films shot according to the laws of ancient tragedies. this is very important, the thing is that cameron, as a director, creating a world, any world, science fiction, real, recreating, recreating the world of the titanic, absolutely fantasy-fairytale, like with

avatar, he makes this... world habitable, he makes it practically real, there was what is called the ship twin titanic, with the same setting with the same notorious dishes, all this was taken, not even modeled, it was copied. cameron was not filming a fairy tale, this is important, yes, he was filming a love story, written into tragedy. and what's more, where does this crazy success come from? incredible, which is still very difficult to somehow cover, 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 him opportunities, strength to live on, well , viewers know how the film ends,

the titanic. regarding titanic and james cameron's films in general, when did you first watch titanic yourself, what feelings did you have as a cultural scientist, how did you fit this film, into what context? i can say that in addition to the absolute delight, i immediately had the feeling that the hero of the film is not the heroes, yes, it is not rose. it is not

jack, it is not even the heart of the ocean, it is the titanic itself, if we recall the composition of the film itself, it is framed, we begin with , conditionally, our days, and i was completely fascinated by the very idea that it is possible to include elements of documentary filming in a feature film, and your comeo, your participation just emphasizes...

we are sitting with a living person on a plane, and he says to me: well, he says, anatoly, i understand that you, he says, will do underwater filming, i watched your film, well, he says, the main plot of the film, i say, while i'm thinking, i, he says, haven't caught it yet, i always get confused about the terminator, i get confused about all sorts of other things, and i say to him: jim, show

life, show how people swam. and of course, i say, love should be at the center of the film, he immediately looked at me like that, story, like that. the idea of ​​the film was born, that is, in fact, this you suggested, a month and a half later, i fly to los angeles, he invited me to los angeles, well, in honor of this, he gathered a group of friends there, including some actors, bill paxton was there, le bernati, schwarzenegger was there, and john bruno, this is his special effects assistant, says a toast, let's drink to... jim from anatolia, who will create a new blockbuster for us, titanic like terminator 2, suddenly jim gets up and says: "no terminator 2, gone with the wind patou, carried away

by the wind." gone with the wind, part two. here, well, i think they won, carried away by waves, waves. yes, and then i had a program with this very one. well, well, well, and so on, i say , so 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, these were my words. one to one, and he, all the rest of the time, then we flew, he sat and was silent, all the time thinking, 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 it a model of an ark, on which there is a third class, that is, the faggots are the upper class, which controls everything, are these echoes of marxist ideas or vice versa, these are ...

there were different facts, on this very basis, that is, to bring as close as possible what people will see on the screen to what was happening then in the twelfth year, well, i was at the premiere, well, and after the premiere i flew to memphis, my son studied in memphis at the university, the youngest son, well, so - i didn't fly, i say, you say you saw the movie titanic, no, no, i didn't go, well... 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, everyone sat down, we watched this movie, the movie ended, and

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

, actually, well, there's a new one equipment, new hydroacoustic search equipment, everyone was going to the titanic , so they were looking for... they were demonstrating the work, well, it was a kind of advertisement, so when jim and i were talking, he said, well, he said, my task is, he said, to break... the 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 such things, that's what it led to, but after the film it all ended, but it began another, we were the first with the worlds that began tourist dives, actually the general pathos of cameron's films. this is a technology for dumbing down humanity, is it so or not?

and i would say so, yes and no, on the one hand, this is indeed a fairly 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 cameron every time, let's look at all the films you listed, he gives this hope, how will it end, i repeat, titanic, the reunion of lovers in essence, the defeat of those who wanted to profit from this love story, if this is not hope, then what then let's look at strangers, not at a stranger, at strangers, it was very difficult to shoot after ridley scott, but the transformation. happened there too, remember, because what are the secret

pitfalls, excuse me for the inevitable metaphor after 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 and the beautiful avatar. pictures of a dying earth, a dying world, it turns out that the worst thing that is on our planet is going to conquer a completely different world, to spoil, remember all these terrible careers, as if everything is for the sake of resources, everything turns out for the sake of, sorry, that kemeran, which so convincingly... shows us military action on the screen, in fact, a pacifist

and an anti-melitarist absolutely yes, and how avatar ends, the planet itself rises up against this technocratic potential-technocratic apocalypse, but the planet rises up because there is jake sully, who, despite his own weakness , learns to see another world, right? hope again, this is incredibly great, and i think this is the best thing cameron has, these are the films that we wanted to discuss today, this is true, the best there is, and no matter how you twist 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 the mass.

here, in my opinion, is a 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 look, 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 to empathize with the heroes. thank you very much, today we talked about james cameron and this was a special edition of the podcast cameron 70, dedicated to the anniversary, the birthday of director 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, this is the psyche podcast, and today our issue is dedicated to the centenary of one of the greatest russian scientists natalia petrovna bekhtereva, well, and we will talk in general about

the bekhtarev dynasty, about several generations of scientists who discovered the secrets of the brain, discovered the secrets of consciousness, glorified russian science with this, well, and made many things that were incomprehensible until then more transparent, but no less mysterious. today our guest is natalia bekhtareva, the granddaughter of natalia petrovna bekhtareva, the ideologist and head of the institute of the brain, a person who revealed completely incredible secrets. natalya, as i understand it, you didn’t become a neurophysiologist, you became a psychiatrist, but you continue to study these secrets of consciousness. i must say that initially i wasn’t even a psychiatrist at all, i came to psychiatry in a roundabout way through obstetrics and gynecology, wow, that’s it, but in fact, like my grandmother, i’m also a doctor, and this is already a certain style of thinking. anatalia petrovna, when she came to this, to this interest in this idea,

that she also wants to study consciousness, she wants to study these seeming mystical questions. she was born, as i understand it, into a completely soviet family, in a rather materialistic context, let 's say, here's what you know about her childhood, about her youth, how did this passion for such inheritances begin, well , let's say that in childhood she had no passion for medicine, she was such a hooligan in childhood, a c student, as she said, here i would like to say that a soviet family, but not quite, for example, pyotr vladimirovich yes... vladimir mikhailovich's son pyotr vladimirovich was an engineer, but he was an outstanding engineer, he participated in secret developments, which led to his repression, on the same day when he was arrested and shot, but when he lived with his father vladimir mikhailovich, for example, in tikhy bereg, yes,

tikhy bereg is an estate near st. petersburg, which is now 125 years old, which vladimir mikhailovich built to go there for vacation and loved it very much and spent six months there, that is, all summer, all the holidays, and pyotr vladimirovich, he was on that moment made it so that in this quiet coast there was a water supply system that supplied water not only to the estate, but to the neighboring village, yeah, there was a power plant there that he designed, that is, she was always in a very innovative, yes, in an innovative environment. not at all medical, vladimir mikhailovich was still with her, yeah , she remembers him, she told, that is, from both sides, yes, that is, on the one hand, grandfather, who knows how the body works, on the other hand, dad, who knows, who an engineer who is an engineer, yes, that is, in general , this is the thinking, innovative, non-standard, critical thinking.