where they make socks, look, here it pops out, here the sock is made by the machine itself, miracles, kirov, hello, here we are in the kitchen, i will have jam from seasonal chanterelles, i will cook just mushroom soup, which will be a gimmick, and love, spend an exciting weekend with us, only premieres on the first, on the first channel there was a premiere of the series choir, let them run...

nikolaev, have you learned the scores, yes, when the mutation passed, what did you do? zaporozhye, to the airfield, combat aircraft, parachute packer. i didn't even dream of singing in this choir, but 5-6 years ago i finally got there. i sang in such a wonderful group, just happiness, this is our golden childhood.

really this well and formal and informal interests, this festival in many ways stirred up these relations, and then another agreement was signed between italy and the soviet union, films began to come out, be shot, co-production, what is called today, well then also joint productions, that's how you already working in this cinematographic world, i came later. that's how she remembers how it all happened, how this mutual interest was awakening, how people discussed it among themselves, how they wrote about it in newspapers and magazines, this mutual interest, you know, it was happiness, just happiness, because making joint films, when the world opens up, when you are friends with another country.

as you know, and he loved italy very much, and it was a wonderful cinema panorama, i don’t know if the material has survived, before that there was a wonderful experience, wonderful, completely happy years of working with andrei arsenyevich tarkovsky, who came at the invitation of paradise, paradise television to shoot. his film, which was called "nostalgia". in italian, it 's called nostalgia, because dzhi, there it is, but andrey insisted, we will call it in russian, because it is an absolutely inherent feeling for a russian person, this nostalgia. i will tell you that it was 3 years of happiness, to say the least. and andrey

met all the leading directors, of course, fillini and was very friendly with michelangelo. venice, of course, was also present there and worked. actually, for torkovsky this world, well, not that fame yet, but success, let's say, it was noticed, it also began with venice in '63.

handsome, i remember him in a blunt way in velvet suits, with shirts folded back, a tie slightly lowered, tied in a very soft, large knot, smiling, absolutely beautiful, simply in his creative power. federica went and said: "ah, you sat down beautifully, but let's make it more intimate there, and we'll go boom-boom-boom, when he left." again federica with his irony, he said: "don't you think, tanya, that he looks like a prussian officer of the first world war, i immediately saw andrei in a helmet, though, well, it's all the moustache, well, of course, the moustache, this tension in

andrei's face is always there, although in italy, he began to smile, i saw him sighing like this for the first time, and that was the connection." very strong italian cinema, soviet cinema, and it seemed that it would never be interrupted, that was the impression, there was a lot in common, because in the russian character there is a lot in common with the italian, and i still have to tell you, it comes to my house many people, excursions and everything, they speak out loud, sometimes turning around,

"lorochka, break your ban, given to you yourself, you work in cinema, when will you see antonione again in your life, i warmed up, thought, said, when will i see her again in my life, decided to go, that's how our first meeting took place, well, you say that..."

buried them all, but they are alive, when you started communicating with tanina, yes, then he briefly listed his filmography like this: different directors, he laughingly said, everyone takes from me what he needs, so i

i try to help somehow, he emphasized, when i saw the letters to federico, which i will now publish for the first time, of course, here in my memoirs, here and where he writes: miokara tonino, my dear tonino, read amarcord.

week of italian cinema, you had the desire to get to see live at these, i not only, i worked at festivals,

the third year i worked, we sent atmosphere, it was life, it was happiness to watch these films, to watch these actors, that is, you had the opportunity to watch much more than the average viewer, in fact, i worked in cinema, how did you come, well, the film, how did you start working in cinema, why?

i think that russia and its wonderful people helped us, stanina in our common interests, in our common. life and i want to say that the friendship with georgy nikolaevich danelia was very strong very strong until the very end, and even i remember such an episode, that is, georgy ginkayevich never wrote to stunin, tanin never helped him with scripts, with naumov and allov, yes, and it was broad daylight

filmed and there it is the last role. kotunovsky, you understand, with andrei khazhinovsky, what a wonderful work, what a wonderful friendship with yurych konarshtein, with andrei, and with all that wonderful animation of that very strong, incredible, poetic, which was nowhere in the world, and it was happiness. here is the lion with a gray beard, which will now be shown in torus, which is shown from time to time, one of the best films from my point of view, andrei yuryevich, there are wonderful, brilliant drawings by sergei barkhin, wonderful, and tanin's voice is preserved there, the only film where he sings, tanya

has a former voice, a very good ear, so he sings there and satar and osiliane. and with all the georgian cinema, of course, because we went to georgia too, and well with all the directors and also, of course, and salemomi and larisa shepitka at the stupid time, well, i 'm telling you that it was mutual enrichment, they were our guests, it was a period of take-off both in the sixties and in italian. it was happiness, i will think that there was a mission in this, the film that you mentioned already in our conversation, which is another project that did not take place, the project of tanioni, tanin, ah, about the paper kite,

i remember correctly, it was you who said what kind of story it was, oh, brilliant. on the choice of nature, yes, but it was also happiness, a trip, where 1.01 night was born, you understand, yes, that is, samarkand, tkhiva, bukhara, the same tashkent, they were so impressed, and we, of course, went there with rustam khamdamov and, whom antonioni immediately invited to be an artist on his picture, he took care of us.

he has a lot of highs, you know, such sayings, i really love this maxim, this maxim is such a secret, the darkness of the secret illuminates us, think about it, it's very cool, that's where it is in the aquilon or paper kite, because boys launch paper kites on the edge. the cold near the aua, everything, then a hurricane, a sandstorm, everything breaks, only one remains, he holds this rope, it is not this that remains, all the auls, all the surrounding these, i begin to tie the cord, because it pulls pulls somewhere there, where the secret has not yet been revealed, everything is unraveling carpets , sweaters, camels, as antonioni said,

have to push huge skeins, giant multi-colored. this is the story, the fairy tale, the wonderful one, about the mystery, about the inexplicable miracle, why it didn't happen, why it didn't work out, unfortunately.

andrey loved russia, andrey, andrey, when we , let's say, he asked to stop the car at a plowed field, got out and

stood. tanya once asked him: andrey, why? you see, plowed land is the same everywhere, and at that moment i was in russia, andrey said. he just wanted to work in the west. wrote to the state cinema, since he was offered the moment of the end of nostalgia, he they offered to do boris gadunov in coven garden, well, who would refuse, guys, well, this is, and he staged it very well, very well, they still remember it, he wrote to the state cinema, to allow him to stay, to continue working, because somehow he told me, you know, "i said everything in russia, even if i only made five films, i want to talk to the world and unfortunately they told him that

nostalgia, come back, and he with his character felt like a serf, that same composer grizovsky, out of nostalgia, he said: "no, i will stay where i invites, and if"?

they don't know, when schools come to me, i ask, i tell, i ask aphileni, who, someone trobka there from the end, an artist, they are here, they, here they are, they are ramanza, they live, a stunning museum felline was created, in the malotesta castle, as it should be, and what about the films with argentina, for example, or also secondary. secondary, but he himself admits it, in fact, in his films, of course, he imitates very ifelina, he imitates there, well, okay, let it exist, but it is not at

the same level, because it is valued pioneer, today we talked about soviet-italian bridges, with in culture, in cinema, in history, we had a living bridge as a guest, which... gives us this feeling of connection between generations of cinema, the feeling that we are present among geniuses, we talked about the centenary of marcellaini, about the ninetieth anniversary, perhaps a little more, of sophia loren, we talked about the film sunflowers, in which they both played, which was filmed including in moscow, we talked about tanina guera, we talked about all this with laura guera, who has a huge gratitude for... for talking to us about this, gratitude to you, i remember those times with joy, thank you, thank you very much, thank you, it was a podcast of witnesses from einstein and its hosts are

film historians, natalia ryabshchikova and stanislav. didinsky, hello, dear viewers, the melody of my life podcast is on air, i am its host, valery syutkin, and today my guest is the wonderful people's artist of russia, andrei sokolov, hello, great! great, actually, that we are acquainted, but i would like to get to know each other even better, to know more, so for me and for the viewers, it's already live, mom, i'm filming, i'll go out, call you back, that's it, by the way, it's very natural, we know each other, but i want

to get to know each other better, more deeply. and so that our viewers can do this too, a question immediately, as an artist, to the artist, what new things will we see or hear or learn from andrei sokolov in the near future, they released a story with larisa udovichenko called an old-fashioned comedy, it's a performance for two watermelons, i must say that - despite the fact that i play in it, every time, i am amazed at that depth, the wisdom of the infinity of some arbuzov. it's like a hole, yes, the more you dig it doesn't seem to get smaller, on the contrary, it gets bigger, here is the same thing, here is the first one - musical memories from childhood, and we will remember around this melody, if you say so yourself, if you want, dad, mom, you know, then there was a very popular song, i remember my mother was a few years younger, and that means she always sang this song, top, top, the baby stomps, this is stanislav pozhlakov, the first

the singer of this song, i know for sure. georgian girl ilma sakhadze, but for some reason we all, for example, of course, edita piekha for me, because i even imagined how edita stanislavovna sings as a young, then little girl ilona bronevidskaya sings, here the baby is stomping, just came out, although tamara meensarova and maya kristallinskaya are there, it was part of the repertoire, well , let's remember together, with us today is sergey osokin, a brilliant accordionist and we will remember together, we will sing.

listen, well, i just remember this atmosphere right away i felt it, it just grabbed me and flew away to those many years ago, as i said, it was a kikimanka, we lived in a wooden house, and what's more, the house was part of the fence of a kindergarten, right? which i went to, that is , the window would open, they would take me like this by the hands, there, the window would close, that's it, go, and the same thing would happen at the end, and since the windows were not that high, well, probably about one and a half meters, i was already a meter with a cap there, when i returned, i just knocked on the window, opened, collected and we lived there before i went to school, yes, the first grade was there, then we arrived in cernanu , a different life began, but this memory, i don’t

know... call it musical memory or something else, it’s right along the associative series, i immediately have a picture of my room, where the three bears are, how shishken sits, and this carpet is completely stable, and the yard was absolutely fantastic, we had our own basement - where i took all my friends, so i had a key that i stole, and one day we went there let's go, for some reason we were sure that there should have been buried treasure there, well, that's natural, yes, there's no way around it, that's when, and it's dark there, no light, nothing. well, we couldn't think of anything better than to light it, make torches, go there, and everything there is quite fire-hazardous, and how we caught fire there, all this had to be seen, how our neighbors reacted to it later, and so on, there, but in fact, this smell of childhood memories is directly connected with the song, the flow immediately went, yes, i immediately go to such a page, as it grows up

andrey sakholov. i think, it’s unlikely about the acting profession, all the peers, whose childhood coincided with the beginning of the sixties, this is of course, some kind of physical education or sports, definitely, yes, yes, well it was hockey, i’m starting... to play in the first, no, in the second grade, we lost, so to speak, all this time until the end of school, in goal, yes, yes, in goal, yes, and besides, who was the idol, well, zinger also captured, zinger, well, he was already leaving, to navalnenko, yes, well, naturally, yes, tretyak, fetisov, well for me there were idols, there was this galaxy, the golden era of our hockey, yes, because these... canadian matches, yes, it was a bomb, then moscow was just dying out, september, we started playing hockey on the asphalt, there was such excitement, it would seem that it was football time, there was no snow, but you see and you play, well, yes,

but then there was no uniform as such, i can tell you that the goalkeepers had pads made of ancient hair, and we, yes-yes-yes, that now you can only dream of such equipment, and we, one after another, the older generation before ours. it was great happiness, when you basically have something, even without fasteners, at least in isolation, yes , my father made me a mask then from, there was a miner's helmet and, i think, sidelnikov gave him a goalkeeper's mask, this net, yes, metal, yes, without a helmet, without anything, and he attached all this to me, i was so trump card in the very first meeting we played at trud, trud stadium, as i remember now, we played with sportak, well, i'm a naive guy, all this, so to speak, is mine, yes, i got it in the very first, after the very first meetings it was stolen from me, it wasn't that it was offensive that it disappeared, that someone, well, our own, the very fact, how could it be done, well, to this day we play, that is

, people who are passionate about this idea, this wonderful sport, when they come to the ice after work, yes, we play, we throw off everything that has accumulated negative. it's adrenaline, well, again, no one has canceled sports, yes, pleasure, among other things, and well, extra, pardon the kilograms, that is, andrei sokolov and today a hockey goalie, all this it goes, yes everything goes, thank god, we leave, well, how can we leave without it, we leave for games sometimes on the lips , here is the answer, why is the artist in such a great physical shape, but the music of this period, when you are a young man, when girls start drawing, well, how is it? it is simona, kuzmin, simona, it is my trump card, such a thing, that without which, let's remember, it is impossible to imagine, yes, for some reason i

immediately remembered detochkin, i loved children, but i was not alien to this feeling under the birches, the air is funny, there the wind armors my na... there my plane is rushing, there the girl simona me loves and waits, the girl of my dreams, simone of beauty, like the dawn of the sea. better than girls, no, no, no, no, andre, our singing actor, oh, this is this, this is just again, again, yes, what a charge comes from him, and

it seems to me, this is generally an eternal song, we are driving, suddenly i receive an sms from the bank, a write-off of 50,000 rubles from the account, balance, zero, scammers are amazing people, they can probably be better than the most experienced psychologists, she pulled everything out of me that was possible, i had to sell everything i had, at that moment his sister - just starts to be aggressive towards me , because she was just his push, asked me to apply for a loan, how much did i ask for? 300, i open the closet where i kept my 8 million, i understand that this is... just papers, premiere, manipulators, tomorrow on the first, are you taking it for yourself or for me? well, i'm not lying to you, who are you? major larin, who? alexey nilov, star

of the nineties and noughties, captain larin of the tv series street of broken lights, opera, chronicle of the combat department. my father didn't really insist that i entered the theater institute, not on principle, because he knew that it was a difficult profession. in 1962 we filmed 3+2, it would seem that the actor's life was a success, but his enormous popularity had its downside: his first wife left him because he drank, his second because he drank a lot, his third because he drank even more. our exclusive today is alexey nilov, his life after death, and i am a warrior, a railroad worker, a miner-podrivnik, his new family after a whole series of divorces and separations. according to the registry offices, i was well known both as a best man and as a groom. i i never poked him, i never tried to change him. he arrived almost at the moment our son was born. i was under anesthesia, i had an emergency cesarean. with children, without children, but i think that these are families, these are five families. exclusive with dmitry borisov. premiere, tomorrow on

channel one. dear friends, today we have andrey sokolov on the air, you can see all the podcasts of the melody of my life series on the first channel website 1tv.ru. i will allow myself to return to andrey sokolov, remember this moment, you are mine, you are mati, aviation technology, he is mine with lili now, and before he was mati. mechanical engineer yes mechanical engineer aircraft in brackets it was read we had a closed department we produced a shell for space here was the famous project soyuz apollon soyuz apollon for the soyuz our department made a shell here we will see now our rubric photo album here is a series of photographs and you will comment what is this let's together oh well this is a gang this is the last one this is far from mati this is. we have a team

like-minded people 15-20 people and sometimes we go on vacation this is our sochi we arrived there on motorcycles here was a cruise like this 22 i think and this is one of the moments when look how handsome they all are and lenin marx and engels all in one person so dalsheslav yes this is we opened the arena named after him in the moscow region he just came to open. we had such a friendly match, here he just honored us with his visit, here is one of the shots at that moment, this is of course the greatest pleasure, here i am also in childhood, if i did anyone say that you would be acquainted with vladislav trettyak, would talk to him, joke together, i would be the greatest, yes, to see at least, i remember, my father at that time gave me a hockey stick, but not from slava, but from sidelnikov, a hockey stick, they somehow communicated with him, i just have this hockey stick...

stayed for a long time lived in canada, returned,

now has become one of the most interesting, and mukha, in the sense of kumakh, mukhadin, he is now the minister of culture kabardin balkari, kabard, here mukha, then, well, grammatikov egor, he is now filming, has become a good film director, to unfortunately, some seryoga poskrebyshev passed away, zhenka pimenov remained in minsk, and so on, that is, oh, well, of course, this is a separate horror up there, let's move on, oh yeah. this is nicholas ii, this is the film omanat, the role for which he was worthy of the title of honored artist of dagestan, this is just for me, for example, a hard-hitting story and a landmark one, this is like a milestone, probably, because it is already such a transition to the category, let's say, well, heavyweights, yes, because to play a man of blue blood, especially one of our kings, but this is for the whole your biography. it may not work out, but here it is a big story, and - the hostage entered

in such a special way, as ranevskaya said, yes, in a good sense, like a sprinkle into eternity, this is exactly what i hope will remain for a long time. we are moving, well again, yes, this is again, the shchukin theatre school, these are the guys i spoke about, vitalik kravchenko and zhenka pimenov, this is us preparing one of the excerpts, in my opinion, i tried to do this for sure. for sure, there was such an interesting story, that well, it doesn't always work out on course relationship with the artistic director, and vitalik and zhenya, well, well, they, guys, forgive me. but they were still a little hooligan and i did with them - such an application for the play kenkiziy my favorite extension of the cuckoo's nest yes , we did an excerpt and just at one of the rehearsals and after the rehearsal after this excerpt we had there i don't remember what the order was there two pluses well, roughly speaking

, fives or threes i always had fives so they gave them fives and fours on this excerpt because so much was invested but the excerpt was very powerful but to unfortunately the performance... of course we didn't pull it out, we couldn't, we didn't have time to stage it, we couldn't, we're moving, these are pedagogical excerpts, these are sketches on images, here losenkov, well velimin, unfortunately, kuznetsov, andrey, grammarians, one of the stages of our, as if to say, formation , in this way, so on yeah, well, this is what each of the viewers will guess, yes.

this is our whole gang, well, this is everyone who is who , this is also surprising, as stavskaya said , and my artistic friend at the shoken theatre school, in order to release at least one actor, you need to hold the whole course, imagine, one to 25 coefficient, yes, this is fantastic, i could not understand this for a long time, now when it also feeds off each other, you gain class.

after the hats were supposed to fly away the next morning, i lived, i think, on the fourth floor, and marina lived on the 7th-8th floors, that's when the firefighters arrived, yes, they started to put out their ladders from cars, they were not enough to reach her, they, imagine, there was a guy - on the very last step of the fire escape, another one stood on his shoulders, this ladder, which they were throwing and marina was going down, this is, well, this is, allow yourself, you are now on... you named a very significant actress in all respects, let's move on to the melody of love, not as a delicate person, i am not asking about the role of women, it is the melody of love, like in youth, when a feeling comes, what kind

of music characterizes it, of course, this is, let's say, some kind of internal experience associated with... where is my beloved, the ash tree did not answer me, shaking his head, i asked the poplar, where is my beloved, the poplar threw me, your autumn leaf, i

asked autumn. where is my beloved, autumn answered me with pouring rain, i asked the rain, where is my beloved, the rain poured tears for a long time, outside my window, i asked the moon. where is my beloved, the moon hid in the portage, did not answer me, the cloud has strength, where is my beloved, the cloud melted in the sky, friend,

my friend, my only one, where is my beloved, you tell me where she hid, you know where she is. the friend answered devotedly, the friend answered sincerely, was for you, beloved, was for you, beloved, was for you, beloved, a wife remained for me, yes, like this history. the power of ash. let me remind you that you are watching the melody of my life podcast. and

today my guest is andrey sokolov. well, we are moving on, here, since this great song has already immersed us a little. in such a state of light sadness, it plunged, delicately plunged. this is what catapults, here, when it happens to be sad, and this same feeling. gives the opportunity to then understand how wonderful life is, when everything in comparison, yes, what would you cite here as a melody of sadness, you know, this is how i did not come alone, so yes, i came with a book, which is called my house grew up without you, yes, it is a book of poems, it is not the first, my beloved hotly published my beloved pension, that's when you know, i once had such an amazing story, we live in airplanes and once, when we were still living , i was then in chertanovo and we lived together with my mother

, one day i decided to do something nice, i think i still did not finish some kind words , well, what did i think of, i took and wrote a letter , all sorts of kind words, and dropped it in the mailbox and flew away and then when i was still in on the plane i started thinking what my mother might think when she flies away without saying goodbye i also wrote a letter about how her hands will shake when she opens it, so i quickly type there, say: mom, there 's nothing scary there, and so on and so forth, and since i - well, since childhood i've been putting letters into words, words into a sentence, so i wrote a poem for myself, if we can do some kind of - a melody, well, let's say, the composer's hair will fit well, and then i'll try, i'll try to read this to her, yeah. yes, this is a dedication to mothers, but mothers in general are probably the most sacred thing that can be for normal people, so let's go,

i baptized her for the road, tears in my soul, a candle. at parting, silence is a lump in my throat, and one will silently sit on the threshold, the wind is an echo, my son, take care of your mothers, take care, and quickly return to your father's house, so that you open the door to your heart not too late, return without losses, and keep your shelter at home, angels sing. so.