that he already needs to be treated in the intensive care unit, expecting that according to the results of my colleagues who are studying these non-macococci there i don’t know among the population, that these are microbiologists, this is some kind of microbiological service, which each of us has, each of us has its own picture, sensitivity to antibiotics, accordingly, these are people who come straight to me, no one has ever approached me with an offer to donate microbes or is it just when we take some tests in the laboratory yet they send for this, of course, tests are taken, well , again, this patient has already been admitted, yes, before prescribing antibiotics, i got some biological medium from him, or he spat macrotoi into a petria dish, or the patient is so severe that i was forced to insert an endotracheal tube and i took this macrotoi out of there with a special device, a barchoscope, before i started treating with antibiotics, i will still take

a culture of the medium, but you say, you talk about common sense, i was sick with covid twice, but it's not hard, thank god, but the doctor just came to my house, prescribed antibiotics, he didn't take anything from me, the doctor who prescribed you antibiotics for covid, he wasn't treating you, and not even covid, i call it treating, the doctor was treating the fear in the lower abdomen, his own fear, no, he was very scared for you, that's it, but i'm not making this up, after all, the doctors prescribed antibiotics, right? yes, that was the idea , in general, at the beginning it also seemed like common sense to them, common sense suggested that a viral infection cannot help but weaken the human body, and if it weakens the human body, then the bacteria living in us or present in the environment will attack these affected lungs in this context, there will be a terrible bacterial pneumonia, from which the patient will die, so that in order to prevent this from happening,

you need to give him an antibiotic, well, for example, the widespread use of azetermetsin during the pandemic, led to the fact that it was not even enough at one time in pharmacies, it was carried, yes pharmacies, well, fortunately in our country it was more lacking than, for example, in some china, this is good, this is good it turned out, thank god, because now this mycoplasma pneumonia, which, for example, they write a lot about now, chinese, it is also a bacterium, only it is so peculiar, it is mycoplasma, in china. it is multiply resistant to azitermetsin, fortunately, azitermetsin does not work on this mycoplasma yet, so we did not really pour the enemy of azitermetsin on patients and it has remained in the clip for now, in any case, and what should the consumer do then, i am the consumer in this case, that is, a doctor comes, a person with diploma, prescribes antibiotics, i, i need to ask him why, i need to argue, i need to, because he can be... he will drive me into the grave this way, no, well,

he will not drive you into the grave, well, if something else happens later, and i end up in intensive care, the floor is the wrong decision, tactically it will not kill you, it will not drive you into the grave, but strategically the decision is wrong, strategically it is wrong to drink antibiotics, to drink antibiotics for a viral infection, yes, but you can buy antibiotics in pharmacies without a prescription, yes, these, well now only on the sly, is he just a kind person or is she a kind person or is this a violation of the law or am i just. yes, but in fact, of course, this is not good, that is, he is bringing us all under the monastery with that very, well, pharmacist who does this, yes, unfortunately, yes, this is an unpopular measure, but without strict prescription control, prescribing antibiotics, we can't get away from it, look, as a doctor, i will only suffer from this, because i am a resuscitator, i, i do not work in a clinic, i do not have prescription forms, i know when i personally need an antibiotic, when i don’t, but... but i’m glad because

we still and even i couldn’t buy it without a prescription at the pharmacy, that is, you are for greater regulation of all this image, antibiotics absolutely definitely need regulation, strict regulation, but how is it, you know, there is labeling on food, on meat there is, yes, that it was grown without antibiotics, as i understand it, that many of the agricultural products that we consume are grown, i don’t know, maybe cows they get sick or why else, antibiotics are there too. this is a sad story, actually, over-the-counter sale of antibiotics in pharmacies is such a small thing that contributes to the resistance of bacteria to antibiotics, the main thing is of course agriculture, they get sick because chickens get sick or whoever gets sick, it 's not even about illnesses, actually antibiotics, it was our american partners who found this beautiful idea at one time, if you inject a cow with an antibiotic, it gains weight faster, that is, meat, again

economy, meat will be cheaper, then, probably, meat becomes cheaper, there is more of it because you inject antibiotics, and they also get prescriptions, where do they get these antibiotics from. the whole sad thing is that antibiotics are used in the agricultural industry, which are needed in medicine, for example, there is such an antibiotic colestin, for now it is the main reserve against the adopted pseudobacillus, ecclepsy, when you have tried number one, number two and number three, you switch to calestin, that's right, that's how it is, chickens in china, for example, apart from colestin, agriculture solves the problem of feeding the people and at the same time uh... giving the people resistance to colistin, so when the people get sick with severe bacterial infections, colestin will not help them, the more you use an antibiotic, the more resistance to it, and an antibiotic is like an atomic bomb for bacteria, it kills everyone or and this is not an atomic bomb, but there are already beneficial

microbes, yes, you see, it means it is not only about beneficial microbes, so look, the thing is that such high-precision weapons anti-antibiotics... we almost don't use them now, this is the so-called anti -microbes, anti-microbes, yes i said, this is what we call bacteriophages, this is a separate story, what is it, they sell them in pharmacies, i know that those that are sold are not very effective, there are certain reasons for this, so we have to select combinations of antibiotics for now, taking into account that they possibly enhance each other's effect, and then we are back to where we came from, that new antibiotics are needed and for now...

i am no longer a scientist, a doctor, he is a consumer, i can only say that i would like to, but how to do this, i do not know, i do not have enough biological knowledge, i do not have enough chemical knowledge, and you communicate with scientists, with russian scientists, that is, i understand that there is a demand, you really need it, and most importantly, patients need it, yes, we communicate, now there are several developments, for example, at the same gomaleya institute, if they are trying to bring an antibiotic such as vtortesianon to the market, it has certain prospects, but it ... is also not a magic bullet, which will solve everything, that's why some spectrum is needed here anyway, the development of new antibiotics should be simply supported only by some state grants, money and what is called will. where do

antibiotic-resistant microbes come from, why antibiotics don't work, we talk about this and many other things today in the badrin podcast. dan with sergei vasilyevich tsarenko, chief resuscitator of the russian ministry of health. is there some understanding of the percentage in which cases an antibiotic works, what percentage of bacteria resistant? 5% or if 90, then this is probably really a problem of clinically hopeless situations, so i would say so, i would estimate them well in the region of 5 - 10%. these are people whom you will not be able to help, they will be as if there are no antibiotics, then, well, as the chips fall they survived, they survived. yes, that means, well, i will try to select a combination of antibiotics for this patient, based simply on common sense and someone will be lucky, and someone will not. now you say 5-10, this is for today, but 5 years ago, for example, how much? 5 years ago it was 2-3%. well, for us

in pneumonias on ev the mortality rate was 30-40% before the pandemic. the mortality rate was due to the fact that you couldn't, you couldn't find an antibiotic that... and one of the reasons was, one of the reasons was, well, there was also the severe severity of the pneumonia itself and so on, but in general 30-40%, and at that time there was mathematics, common sense does not work, you say that in patients who cannot be helped now 5-10% due to antibiotic resistance, on the other hand you say that the mortality rate of pneumonia is 30-40, this is a big rupture, and this is mortality due to the fact that antibiotics do not work, did i understand correctly, look, here we are talking about different nasal groups, different groups of patients, for example, patients with viral pneumonia, these were extremely serious patients, who were in bed for a long time, this is one, there simply is not such a number of patients, now in general in the circle in the specific weight of this kind of patient it

has fallen, thank god, that is why i say that the approximate estimate for such a patient, who cannot be helped by every tenth, but it can all come back, bacteria can become sensitive again. uses antibiotics without a prescription, this was our collective effort and now we have what we have, right, but initially this was not the case, so, probably, they should have been able to return, i see only one option, we stop using antibiotics altogether, just make a moratorium, just a moratorium? we need to do so that all this returns to normal, well, let's just understand that during the moratorium patients will

die, we will be satisfied with this option, well, if antibiotics don't work, they die anyway, well, your relative is in my intensive care unit, i 'm telling you, konstantin, you know, there's a steady handicap here, i'll come up to you with a knife to your throat, i'll ask, well, find something, you know, in a good way, we'll find a combination out of friendship, maybe, maybe we won't, yes, on the other hand, i have... my antibiotic sensitivity test has all the letters r, that is, resistent, from a formal point of view it means nothing, so if we theoretically wouldn't prescribe them to these patients, excuse me if they died together with their bacteria, then i think it's a matter of a few years, well, this is such an extrapolation of data, there is such a method of removing an antibiotic from practice into the hospital's use and see when it starts working again, really in one hospital. we can agree that we no longer use penicillin, here you as a director say,

i'm all, all, we don't use it, we wait, usually this process takes, well, about a year, i heard that in 4-5 years the frequency of resistant microbes has doubled, maybe multi-resistant, that is, then in 5 years it will become even more and in general, well, the state program itself, i don’t really understand, what will it do? to anyone? well, during covid, we talked a lot about and you generally talk about this, we talked about this, including me, now this topic has somehow faded into the background, there are other concerns, but nevertheless, unfortunately, the fact remains a fact, and my colleagues in this regard... are not perfect, i must clearly say this, antibiotics are prescribed for just in case, this applies to any colleagues,

american, chinese, russian, this is just in case, what do we care, well, in china they use colestin in agriculture, for example, and you ate chinese chicken and got your microbes in microdoses of colistin, well, and at the same time, as i understand it , a microbe that has become conditionally resistant to colestin, even if it did not come here on chicken, because...

i can still ask an uncomfortable question to a doctor, doctor, are you sure that an antibiotic is needed here, here is an embarrassed doctor, maybe will tell you, well, well, probably not, some kind of personal hygiene issues, washing your hands, i don't know, does it do anything at all, washing your hands is a good thing, you just don't need to treat them with antiseptics, there is antibacterial soap, yes, these, it 's good, it's probably not good, because it is sold in stores, it is sold, well , not much is sold. chicken is also sold, that is, do not wash, do not eat chicken, which means

antibacterial soap, it will cleanse all your skin from bacteria, including beneficial ones, and there are antibiotics, because there are, because there is an antiseptic, well, this is an antibiotic, a drug that kills bacteria on the surface, washed with an antiseptic, this is treated hands, there are no bacteria, in fact, this is completely unnecessary, because when you just wash with a regular wash, then the number of bacteria , uh. decreased to 30-40% of the original hundred that were on your dirty hands, this is enough to not get some kind of intestinal infection, for example, but if you treated 100%, killed with antibacterial... soap, then sooner or later on your skin pathogenic bacteria will populate, disease-causing bacteria, so you don't need to clean too much, you need to wash your hands before eating, and after being outside, well, not with antibacterial soap, ask, question in a polite manner what the doctor says, yes, question the producers of broiler animals and so on,

what they do there, try to find out somehow, figure out where things come from, you can't rely on state programs for systematic development , rely on scientists that they will develop antibiotics, and the state will support them from the point of view of development of these antibiotics, eventually someone will find a way to exist with bacteria. thank you very much, it feels like we are in the same situation, you, as i understand, usually have four antibiotics that you can use, and then that's it. we have four ways. somehow help you, well, hope for the best, probably, too, of course, hope must die last, it's true, and not from antibiotic-resistant, this is a very sad hope dying from pseudomonas aeruginosa, somehow sad, thank you great, sergey, and this was the baden baden podcast, we talked about antibiotics and

antibiotic resistance, with sergey vasilievich tsarenko, chief resuscitator. of the russian ministry of health . hello, this is the einstein witnesses podcast and its hosts are film historians, natalia ryabshchikova and stanislav didinsky. in this podcast, we talk about why it is now necessary to watch forgotten, little-known, popular, cult. soviet films, how to discover new meanings in them, and get even more pleasure. in order to do this, we we look into the secrets of film archives, re-watch old films, sometimes talk to working filmmakers. today we will talk about the 105th anniversary of the all-russian state institute of cinematography. and in order to do this, we invited

three graduates to gika, this is alexander kot, this is nikolay levedev and ivan fverdovsky. hello, hello, we, as historians, of course, love to get to the very beginning, we will say, here are 105 years, 1919, the most inappropriate time to open the world's first film school, absolutely unsuitable, at first they tried to shoot films right away, something worked out here, then the film ran out, the first graduation took place in 1927, that is, 8 years passed, at the same time, if we talk about such cult directors, actors, cameramen, well, those who are known to the average viewer, yes, we, probably, in 90 cases out of 100 will come across a person who either studied at vgik, or taught there, or was passing by, this often happened, then he also considered himself to be old geeks, well, yes, that happened too, so our first question is, of course, it

seems that geekdom, of course, has always been there, everyone knows it, but how did you first hear about... educational institution, how did you choose it, how did you get the courage to go there, or maybe you didn't need to get any courage, i don't know, after all, when you entered, there was already a choice, there were already higher courses for screenwriters and directors, there were already st. petersburg institutions, in general , there were places where you could study, but it wasn't 1919, there was already a choice, here is your personal path in vgik, i was the one who was passing by, and my knees were shaking, honestly, they were just buckling, i remember... well, it was a hot summer and absolutely no one, it 's impossible to believe, an empty wilhelm pieck street, not a single person leaving or entering afik, and i'm happy that there's not a single person, because if someone had left, god forbid, i would have fainted, i sat down on a bench, back then there used to be a bench at the entrance, and i had an 8mm movie camera with me, an amateur one, i

took it out and became very attentive to look at it, to do something with it, as if pretending that i was busy - unlike sasha, unlike ivan, i failed miserably, and well, the crash was not so loud, because we took written exams at first, and i passed them. that's when i had to sit down and talk to marlen artemovich khutseyev, looking into his eyes, so huge with thick glasses, then my tongue stuck and i flew many years later. i was telling this story to marlyan martynych, suddenly he somehow turned so pale, and he was the most charming person, wonderful, completely in geekdom, a teacher of a geek, and he says: forgive me, please, i

say, marlen martynovich, dear, it was one of the most important lessons in my life, maybe if i had entered then, i would not have worked in cinema, i would not have become a director, but thanks to you, i am here, such a paradox, yes, alexander, and how about you, how many times somehow everything is not, i got in the second time in... time i prepared hard, read a lot of literature, entered marlin manterovich, because i loved him movies in general and that's not the point, it's just that this year there was some kind of selection, i watched very few movies, now i'll explain, because then it was impossible to watch a movie, there was a film museum for the elite, at that moment i got a job there to watch movies, i carried films from white pillars, but in reality, a person who was going to enter, there was nowhere to watch a movie, especially from... historical, that is, the soviet video rental began, and even then, video rental is jackie chan, bruce lee and all this history, so going to the cinema is was a cultural event, and it is clear that i

watched russian cinema, well, soviet and did not see a single foreign film in principle, well , except for these, that is, who is wenders, who is he at all i did not know, and i entered because i was engaged in photography, and nowhere taught and still, maybe now it turned out , this profession of photographer appeared, but there was not a single university. in the country, on the territory of the huge soviet union, where there would be such a profession, photographer, with a diploma, so that there was, yes, there was a leader of an amateur film and photo collective at the institute of culture, where i entered at first, then it turned out that all the film clubs had collapsed, photo clubs, and so on, it was, there were photographers preparing at the zagorsk film technical school, and then moscow state university, a journalist, a photographer, but i was not interested in this, i wanted to do art photography, it doesn't matter, such a profession did not exist. as it turned out and after the bag i just found out that there is a film entered, the first time i did not enter, also to khudtsiev, also a touching conversation, i always want him, i wanted to hug him,

talk, even for me it's some kind of space, i got into vladimirovich, it was his first recruitment, i got in because for some reason he was recruiting in october and i , by the way, already understand that only the last name helped me, well, that is, everyone gets confused about the last name and the last name is of interest, so as not ... they leaf through these creative folders, but he took it and for the first six months i thought that i had been thinking for a couple of years that i was taking someone else's place, well, that is, i think, my god, how did i deceive everyone, what kind of director am i, well, because there was no such thing cultural background around me in general, the courier in the film delivery at umkleya doesn't even know about my existence, i delivered shells, roughly speaking, with yaufs, yes, these big ones, and then medvedev was in the solovey movie theater. well, that's where i worked, we were allowed to watch on the balcony and the first foreign film, after which i wanted to enroll and become a director,

oddly enough, was the film delicacy, a fairy tale about everything, you laugh, you cry, i watched this movie 10 times, i wanted to make a movie that this is like black humor, i realized for the first time that such a genre exists, and so it was possible to have a delicacy, we had a task... to shoot a remake, well, not a remake, but a kind of remake, yes, to reshoot five-minute fragments, and i shot a scene from this film, and mersdikin played this local, very similar, he was a student then, well, like, remember, andrei, remember, so uh, i got in easily, without any of these shakes, from the second, and the first time i prepared and just, well, there was a feeling that i saw a monument, it's really just it was impossible to be around... because this sticky feeling of admiration, delight of cowardice arose. ivan, well, you are the only ones here who got in the first time, it turns out, i am lucky,

because at some point in school i realized that i wanted to be a director, it so happened that my father, he is a documentary film director, but i really liked the way he lives in general, that he somehow always goes somewhere with his friends to film something, and all the parents come home tired after work, that means, on saturday they lie down, on sunday too. somehow i thought, well, in my opinion, this is somehow a very cool activity, and i set a very clear goal for myself, when i see a goal, i don’t see any obstacles, and i spent the entire tenth-eleventh grade just watching movies, studying everything that i needed, but as a result, i understand that the masters even laughed at me a little, because i was just throwing some knowledge at them, that i saw this, i saw this, i watched everything, take me, it turned out that i i got in the first time, but you had an unusual workshop, you recruited...

the way of life of documentary filmmakers, how they are in general, how they live and what they do, and it seemed to me that alexey fimovich is such a very interesting mix, then, that his initial career is connected with exactly this classic documentary film, and it was all incredibly interesting to me, in the game somehow i didn’t even consider it directly for myself, it just turns out that all three of our guests represent different directions of the educational process in geek cinema. alexander - this is a feature film.

how much did your experience, each of you , help you in your future career, yes , the film experience, this knowledge, baggage, the viewing experience that you received at the film museum, at vgik, how did all this help you in your work later, how useful is geek really in terms of studying? i actually have a very funny story in this sense, because i was not going to become a film scholar, but they began to persuade me, at that time i lived in... of the national republics, they began to persuade me to persuade me to apply, because there was a place, then there was such a story: if you apply in a national republic, you come and just study, and i resisted, said: "no, i want to become a director, i will be in the directing department, no, no, no", they persuaded me, i submitted documents and my works, of which there were many that were very successful, actually because of this i was invited, then they turned me away, saying that you understand, this is a national republic after all, in general, we will

have. i got angry, i was 20 or 21 years old then, i sealed these works in an envelope right on the way from the film studio and sent them to vgik, naturally i passed the preliminary competition, but since i passed, i thought, well, okay, i 'll go, and i was studying at that time at moscow state university in the journalism department, i thought, well, i'll go, okay, well, i'll pass one exam, i'll show them that i can pass exams, i came, you don't prepare, ivan, you prepared, and i came like you, when, when i took the second time, i sat down, wrote something, i realized that it would be ko...

i don't know, i've seen one film in my life, it's torkovskiy's name, we have a fragment from his diploma work, it seems to me that this is what they show, i think, on september 1st to every generation in gikovets in the baktov hall, to show that yes, that's how it is, that's the atmosphere, let's watch a little bit.

run, kid, calm down, we'll just talk, and where is the south, goodbye, kid, where, it turns out, we can go to angarsk, you 're not going anywhere, do you understand? what are you going to? hello, do you know dmitry kipen? does he live in this house? oh, so it is, we know, of course we know! south, premiere of the multi-part

film, tomorrow after the voice of the children, this is the podcast witness lizenshteyn and in the studio his leading historians of cinema, stanislav didinsky and natalia ryabchik. and today we are talking about the hundred and fifth anniversary of the world's first film school of the all-russian state institute of cinematography. there is a wonderful story about torkupsky and khutsyev. khutsyev brought his, it seems, it was the film bestan zarechnaya street, to show to students in gika, so after watching he stood up some student, everyone thought he was a pole or something, started loudly criticizing the film. well, then, of course, as you understand, it was torkovsky, this later turned out, and torkovsky became. khutsiev's assistant on the set, later, before he started making his own films, but this, in fact, this connection, when on the one hand masters and aspiring masters, and debutants show their films at vgik, discuss them with students, it seemed to

have always existed since the nineteenth year, yes, when there was a transfer of people's experience from revolutionary cinema to a new generation of soviet filmmakers, yes in the twenties, then in the thirties, when they started teaching there already a...

let's say for 5 years you are personally responsible for these people whom you recruited, you ruined someone 's life, you personally, because you made a mistake and accepted it, so this is such a wonderful broth in which we are stewing, and it is, how to explain, is it bad and good, because in all film schools there come different masters and you jump from one to another to seminars, and here, as it were , this community exists, it is very it's interesting because... it's mutual, you vampirize them, they vampirize you, you mutually enrich each other, and it's a thrill when you see the result, well, because if you recruited it, it's still there, i was born and wanted to be a director since i was 3, and then he has a wonderful diploma

, a person, here he is already filming and you think, my god, maybe he really wanted to be a director since he was 3, when some results appear before your eyes, the feeling that you are growing, while we do not recruit similar to ourselves, we are all different. absolutely, more that, we try to recruit people who are not like us, because we, stenovich, well, with volodya, with anna fenchenko, do not have the task of raising, that is, 20 kittens, which, oh , you are talking directly, oh, like uzeinstein, he said, i do not want to pay for eisen puppies, yes, yes, therefore this is a wonderful family, a kind of parallel life that exists, including, inspires, scares and pleases, that is, this system of workshops, personal responsibility, this ... nothing can compare with this, no education system, i think, this is a very complex story, in fact, sasha, this is you second, third workshop, third workshop, i didn't give up for a long time, vladimir sergeevich malyshev, a wonderful leader, rector of gika, a wonderful

leader who gathers everyone so carefully, and he kept pushing me to get a workshop, i said no, no, no, and i was really very busy, but a disaster happened, sergei alexandrovich solovyov passed away at... i listened to you, a very interesting story, i 'll have to take me on board, yes, reshoot

a piece, but in fact, let's say, like me a person who learned from other people's films, it was important when i went to seminars with other directors, to mita, for example, it was important for me to hear how they filmed this or that picture, and i show my opuses, while i do not count on praise, but i say, here i made such and such a mistake, pay attention, it is better not to make it. here in production there was such a difficulty, what is not visible on the screen, i can tell it, and this can help, in any case it helps me, it seems to me, this is the most important thing, about sasha said this, don't make a mistake and don't try to shape a person into something that only suits you, this is not a log, this is not pinocchio, you have to let them go to the will of the waves, and your task is to simply create an atmosphere in which a person can develop normally, and then it's their responsibility, this is adult life. in vgik, it also helps that

each studio has its own physical space, yes, there is its own, actually, studio, there is an office, right? ivan, do you also teach at vgik or do you? i work at the design school, hse, and this is of course a little bit different experience, and yes, that's how it's transmitted to other platforms in geek experience, roughly speaking, well, to be honest, i'm sad, because we have so many people coming, like children after school and like... i miss this kind of diversity of some kind of audience that i had when i was studying, because there were guys who entered the institute at 35, and there were those who came after school, this kind of transfer of experience due to age, it also happens inside the workshop, just like we have higher education after all, well, like children after school, a lot of people need it to tell in general what cinema is, why they came here and in general who they want to become, this is such a given, which is very interesting, but my students named the group, that is, our workshop, so at first i was so surprised, i thought, how in general, where do they know this

word, how did they get this name, then i remembered that on september 1, when i came to them, i began to tell them about how the process was organized in vgik, how in general, that is, where the very principle of such workshops arose, just directors, they really grabbed onto the word sect especially, directors, unfortunately, probably, they are just not as friendly as, for example, the same artists, there are cameramen even more so, that is, they always stick to their course. they gather, in my opinion, very well, they unite film scholars film scholars no, why are they like that , well, they are friends against someone, this is what happens so that, as it seems to me, when a good film appears, a normal person does not think about how to trip up the person who did it,

and he looks and says: wow, what if i i will do it even better than i can show myself better, it seems to me that this is the whole point of the profession, and then, when there is eisenstein, hitchcock, fellini, i don’t know, coppola, kolatozov, mita, menshov, well, name ryazanov, gaidai, well, pretend that i will argue with a colleague and try to outdo him there, yes, do better than a colleague, he will try to do better than himself, and this is normal, healthy competition, but there should be no malice in it, it seems to me that we should not plant in people the idea that in fact we are all here fierce friends, no, they are not sworn friends, that is wrong, by the way, this happens, again, when people come to vgik, at first they get used to each other, then they start to be very close friends, and then by the fifth year. they run away or after the fifth year, and it happens that on the contrary, everyone

is friends at once and they say: surely by the second year you will all quarrel, that is, this is really a dynamic that happens in any faculty, it seems to me, in such a small group, vgik really, well, how many there can be a maximum of 30, i do not i know, are there 30 people, you have about 40 people now, but i have a combined workshop, a combined workshop, a director and an actor, you are right that a small team -

discusses, now everyone has rights, you can't just expel. this is a podcast of witnesses from einstein and my host , film historians, natalia ryabchikova and stanislav didinsky. today we are talking about the 105th anniversary of the world's first film school in gika. we will watch excerpts from historical works, and you will tell us what the reaction was to these yours first works. even more interesting, no, i would like to start with nikolay and ask in general how it happened that you have what can be considered a diploma work. despite the fact that you did not study directing at vgik, it was hooliganism, but i was incredibly lucky, because yuri nikolaevich arabov, to whom i brought my works, including television and film works, he somehow believed in me, took me by the hand and brought me to my debut, but told me strictly, and he was the artistic director of one of the in no case say that you are studying at

obgik and that you, and at that moment i was studying at vgik and finishing moscow state university at the same time, the filming also fell out. and that means that we were filming at night during that period, and in the morning i was running to exams, and then to vgik, then to moscow state university, and it was a lot of fun, and it turned out that this is not a diploma, but this is a debut, which well, it was released on screens and thank god, and is even still running, but it is a medium-length film, it is a half-hour picture, a mystical thriller, i had already gotten into this genre, the script that i i wrote for this debut at first, it was exactly in the spirit of torkovskiy. so frozen, inhibited, there is water on the walls, everything is great, and then i came to the genre and realized that this is mine, we have a small fragment, you can just see what happened, it's not true, they couldn't tell you that, yes, i'm here, we will be

together now, one force, one will, i just won't screw it. yes, it's so painful, a rope. mom, when alexander said that he wanted to be a photographer, everything finally clicked in my head, because we just, when they were coming in at the beginning of the 2000s, they showed us on september 1st, including your film, yes, and i remember it very fondly since then,

because it really struck me then, and this was already the end of the nineties, if nikolai's film is ninety-first, by the way, where... before august, no, not even that, the soviet union or the post-soviet union? it was before august, we finished filming right before, well, we handed the film over right before, that is, it is still a straight soviet film, the last, the last , the last soviet film, yes, for alexander it is already the nineties, and for vgik, of course, the nineties were not a very easy time, how to shoot a diploma, to put it mildly, there we collected film bit by bit, the remains of famous operators. who started shooting music videos on film and advertising, just 15, 20 meters, it was all on the knees, there was no intent, such pure creativity, it is not for festivals, not for this, it is when friends got together, then it is not a diploma, the diploma scared me, and this...