gods, that these guys who , like, well, really want to realize themselves, had the opportunity to come, we have 51 large federal centers, these are our creative educational universities, and it is so important when, based on these spaces, a place appears where you can come to study, study to be a sound engineer, study to be a photographer, study to be a designer, and especially if it is connected with...

you will never be able to in your life, but for people who just went there as a club, this is a wonderful pastime at this age, all these groups that are now enrolled in schools of creative industries, singers get the opportunity to participate in competitions, send to all possible venues, so that you are noticed and so on, this is also another opportunity, plus the opportunity to speak out, it is very important that these children live in our schools of creative industries, they are in basements, not in entrances, not on the streets, not in ... attics, they do not withdraw into

themselves, do not - become such wolves, loners, where the world does not accept their creativity, on the contrary, it says: kitty, come to us, please, create, write, here you go, please, keyboard, we 'll teach you now, just don't worry, don't be nervous, we're right next to you and that's it, look, these are the houses, again, where the cheburashkas are looking for their friends, because these are people inclined to creativity, in which it can sometimes be very difficult to socialize, adapt, that 's it...

they think about how to pack it all, what kind of poster to draw and so on, that's it , that's really great, because teamwork is of course something that we really lack, moreover, it will be useful to an economist, that's it will be useful in life for a lawyer, the ability to use and make presentations, present your projects and generally creative thinking, we know perfectly well that in any field of activity a person will need this in modern production, because anyway this part is already...

the hermitage prize, a very important part of this forum, that's what it is this year it was awarded for the second time, as far as i know, that's what its importance is who received it this year? you know, this is really the second, this idea arose 2 years ago, tatyana

alekseevna golikova, our ideological inspirer, indeed, and thanks to her efforts and contribution, this is a very important award, such an institution now. arose and exists on a permanent basis, everyone remembers one of the masterpieces of the collection, the kalyvan vase in the hermitage, here is a small, incredibly beautiful, copy of this kalyvan vase is transferred to a russian foreign cultural figure, whose contribution to art causes only admiration, and if last year the first laureates were valeryysalovich gergiev and nacha duat - this is the chief choreographer of the mikhailovsky theatre, our colleague. from spain, this year it was polat belbelyagly, who sang fantastically absolutely, we cried there, he simply performed incredibly absolutely, a famous fantastic absolutely performer, but also many years ago my colleague the minister of culture, many-many years, the ambassador and in wonderful form at

the same time, amazingly absolutely, and boris yaklevich eifman, this year he also had a premiere, a crime of punishment. a big premiere of the eifman ballet at the st. petersburg cultural forum in general indeed, my legs wouldn't have had enough strength to watch all the events, it's very important that there were so many bright events, where everyone could choose their own to their taste, based on what you do in culture, art and what country you represent, but it was very important that boris yaklevich was in the hermitage on saturday, the last day, it was in a solemn atmosphere in the throne room...

every producer knows that when some major successful project ends, it's always necessary and all the nerves and worries go away and joy, of course, with an element of euphoria from the fact that everything happened, of course,

the next day a vertical crease on the forehead is evidence that everyone has already firmly thought about what to do with the eleventh, but in fact there are plans... a lot, and i always think that you need to just take a break for a while, the entire or committee, which i think is now just coming to its senses, exhale, get together further, the main thing is that the eye is burning, and people who are eager to do want to do it, we always have the feeling that there are topics of direction that we can only add, it is very important to us that we receive more and more requests.

beautiful, the most elegant, the most incredibly intelligent minister of culture in the world, dear friends, and i am very glad that i have such an opportunity to tell you about this and somewhere there must be.

hello, this is the witnesses podcast from einstein and its leading film historians, natalia ryavchikova and stanislav didinsky. in our podcast we talk about favorite, classic, maybe little-known or forgotten soviet films. we talk about... how it is now you can watch them in a new way, how to find even more pleasure in them. today we will talk about soviet-italian cinema connections. there are several remarkable anniversary dates: the centenary of the birth of marcel mastroianni, one of the most beloved actors of soviet viewers. sofia loren, sophia loren or sophia lorron, turns 90, as soviet viewers knew her in different ways. and another date is this. 55 years since the film sunflower was shot in moscow, where

mostroianni and loren were filming. i am for one italian woman, what do you think, she will like it, it's a wonderful gift, right? i think she will like it, today we will talk to a person who

embodies for us these very soviet-italian cinematic connections, this is laura guera, hello, hello, so, perhaps sophia loren, i'm 90 years old. you know, when i came to italy, all for these wonderful, beautiful, women, full of talent, and really. loreen was then just a biological masterpiece, i 'll tell you that she is not photogenic, she is even more beautiful in life, they were all a little older than me, i think, by about seven years, yeah, i don't want to say any dates now, so nothing, but it seems to me that she's a little older, but let's not give away her secret, if she said she's 90, then she's 90, well, these soviet-italian connections, even russian-italian ones in cinema? in fact, they go further than the thirties, of course, because

italy, italy is one of those countries where cinema actually began, developed and of course this is not surprising, because the country itself is a big giant film set, the fact that there is no need to build scenery, everything is ready, it has been standing for 2-300 years, as well as actors and actors were taken from the streets in neorealist films, these are actors at... you could say there was a break, then just neorealism, the forties, the beginning of the fifties, such a movement, which, well,

had a very strong influence on soviet cinema, on soviet directors, and even on ordinary viewers, so we wanted to ask how did you get acquainted with stalinist cinema, as a viewer, in this era a huge number of geniuses were born at once, just like in the renaissance, only in the renaissance they they drew, everything, and here was a camera. and since this film was left by the germans, and there was no money, it is, in my opinion, called varirovana, and it became fashionable later, a little darkened everything.

believe, as a viewer, it is terribly funny, the first time i saw, for example, amarcord, it was shown in the cinema house, yeah, well of course, on closed animals, it was very difficult to get there, and there were, yes, so many people were standing, mounted police were standing, even, i grabbed my friend, linichka ogiyanko, when at that time i was simply in a position, and together, i, making my way for her tummy.

happened to me, here is a revelation of beauty and a new cinematic language, and what actors, and morchalo mood, without running ahead, i will say that then , of course, friendship arose, because zanin was very friendly with marchena, he often even came to us in pinobeli, anywhere, was, when

he died, then he said a very accurate thing, he was the first, always thinking that the second, that 's the thing, who in his opinion was the first, victori gasman, or someone else, he said, or gasman, or someone, well, i later, i later, well, even, well, you see, no, he was the first, well, you say that you left the cinema hall with the feeling that some completely new cinematic language had opened up, but... at the same time , for soviet filmmakers, this language seemed somehow very close, because if you also turn to memories, yes, there is the same khutsyev, who simply prayed for bicycle thieves, for the same andrei torkovsky, who did not really like antoneo's early film, why, as you think,

it was in soviet cinema that professionals perceived italian cinema in this way? you you know, i think...

tanin was very afraid that after 20 years federico would not recognize e marlena. and marlena had the impression that he had not parted with his favorite director and...

at the same time it was a very warm meeting, says the elderly terrier, well, this is what i thought, that the sicilian mafia, that's how, yurochka,

the listeners of our radio program want to know where and how you are doing, swan, what did you say, and lark, get away from him, get away from him to me, so that i don't see you near the choir anymore. that's understandable, and how about you, heroda, the earth is wearing. there your yurka is shown. tomorrow after the program time. who in sports is given a license for doping, who? declared war on russian boxing, and how the white house manages anti-doping agencies, if you are going to participate in those games that are not sanctioned by our country, then you

cannot participate in the olympic games. i will not be surprised that in the next 2-3 years in principle there really will be two olympics. he actually admitted that the americans have never admitted that wada is under the fbi. i one of the williams sisters' biggest fans, what... they eat to be so big. it's probably a very healthy diet combined with great discipline. these athletes who represent the united states of america, they use these very drugs. all the rules are rigged. the wbc's decision was to stop any fights taking place in russia and to exclude all fighters from russia from the wbc. the great sport of boxing has been turned into some kind of madness. i sat in a mask, you could say, it wasn't me, it was.

italian directors, first contacts, after the festival of students and youth in the fifty-seventh year, only just... to awaken really this well, both formal and informal interest, this festival in many ways stirred up these relations, and then agreements were signed between italy and the soviet union, films began to be made, co-productions, what is called today, well then also joint productions, that's how you were already working in this cemetographic world, i came to cinema later, that's how you remember 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, it is with you, the best that we have is revealed to them, and it was the happiness of communication, happiness, revelation, simply, i can tell you about my experience, so to speak, well, and i didn’t follow the first joint production or bantarchuk, i was still quite young, studied in another dimension, i graduated from university, so i came to the cinema already... that 's how, so i can tell about my experience, i generally called myself, when i moved to italy, a bridge, because for me so...

maravia albertu took his first interview, in general, the entire intellectual world welcomed andrey, and we went to the venice festival, of course, we were also there and worked, actually, because for torkovskiy this world, well, not that fame, but success, let's say, he was noticed, it also began with venice in 63 year, of course, of course, and he was not new there,

because everyone knew. and i am saying that andrei was very respected as a director, and filleni wanted to meet us and sent a car for us, first we arrived, andrei came in, said, oh, how nice it is here, let's sit there, tanin smiled, because he knew what he was saying, now trika will arrive, you will see us all will be seated, it happened, fedorika, who arrived a little later, rubbing his hands, he was tall, handsome, i remember him in a blunt way in the bar.

he said: don't you think, tanin, that he looks like a prussian officer of the first world war, i immediately introduced andrei to the cast and really, 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 like this for the first time inhaling, and this was a very strong connection of italian cinema.

their people, we love russia, they know that i am russian, that's why they admit it to me, this is still, how did you meet tanya goera, how did this spark arise, yes, how did you get together your life paths, we met by chance, then my first husband, alexander efremovich yablochkin, who was

an italian, died, where there was not a single one, now they eat better in our italian restaurants, here is italian, then there was nothing, except russia, where they fed. cut, sausages, tea, they suffocated from this very thing, from and wanted to see one russian house, and it was decided to show that hereditary, intelligent world of academics, where the grand piano stood, paintings hung, everything, and the italians came, and inochka said me: lorochka, break your ban, you are the most given, do you work in cinema, when else in life? you will see antonioni, i warmed up, thought, said, when else in life will i see, decided to go, that's how our first meeting took place, but you say that when you

watched films, for example, sidini, where taninogura was a screenwriter, you did not pay attention to this, you have these names, no, but antonioni is the name antonioni to you, of course, i watched the night here, i told you, then i watched blow-ups. this is generally from my point of view a masterpiece of view, which is relevant now, absolutely, this cinema is eternal, you understand, it does not age, here again i am all of them near all my life, again i buried them all, but they are alive, when you started communicating with tanina, yes, then he listed his filmography briefly, and you are like, and i watched this film, and i watched this one, and this... also you, no, how was it? tanina wrote officially in his life, it will be counted, he wrote more, because sometimes in tetrarches it is 120 films, here he worked with everything italian and not only

cinema, and as they said, his mind ran like a red thread through the whole cinema, when he was asked how he could work with different directors, he laughingly said: everyone takes from me what he needs, so 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 is where he writes: "meocaro tunino, my dear tanina, read amarcord, read this scene, laughed, but there is a lot there." bravo mikla tanina, well done, my little ta, i asked, taninochka, well, you wrote the whole script, he says, yes, but it doesn't matter, because if federico hadn't come up with the idea of ​​the sea of ​​plastic, if rex hadn't been drawn

by the wall, it would have dragged on, if he hadn't taken all these characters, it would have been a cute school story, ours in general, because they were born next to each other, then...

casalio was such a director, and this was marcelo nastroyan's first role, that's how they met and became friends for life. you met with mostroyanie not in moscow, already in italy, right? that is, these filmings

under the sun, including italian actors who came to moscow, it was before me, festivals to which italians came, weeks of italian cinema, you had a desire here.

that friendship with georgy nikolaevich danelia

was very strong very strong until the very end, and even i remember such an episode, that is, georgy nikaevich never wrote to stunin, tanin never helped him with scripts, with naumov and allov, yes, and it was filmed in broad daylight and there it was smaktunovsky's last role, you understand. with andrey khazhinovsky, what a wonderful work, what a wonderful friendship, with yurochka narshteyn, with andrey, and with all that wonderful, that same powerful, incredible, poetic animation that was not seen anywhere in the world, and it was happiness, here is the lion with a gray beard, which will now be shown... in torosusi, which is shown from time to time, one of the best films from my

point of view, andrey yuryevich, there are wonderful, brilliant drawings by sergei barkhin, remarkable, and tanin's voice is preserved there, the only film where he sings, here it is the former voice has a very good ear, so he sings there with avtar and osiliani, and with all the georgian cinema, of course. we went to georgia too and well with all the directors and also of course with elem and larisa shipitka at the stupid time, well i'm telling you that it was mutual enrichment, they were our guests, it was the period of the rise of both the sixties and italian neorealism, so we like a bridge with... stanina connected this and 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, and about the kite, i remember correctly, you said what kind of story it was, how why so, as if they traveled professionally with them. so that he tried so hard that when he treated

antonioni to pilaf, he, as expected, to honored guests, took a piece with his hand began to know the map of michelangelo, he refused in the executive committee, he did not expect that it was for an honored guest, well then of course everyone laughed, that's the story , it's a secret, and tanin ugura said, u there are a lot of highs, you know those from... think about it, it's really cool, that's where it is in the aquilon or paper kite, because the boys launch paper kites on the edge, in the desert, near the aul, that's it, then a hurricane, a sandstorm, everything breaks, only one

remains, here he holds this rope, it's not this very thing that remains, all the auls, all the surrounding ones, i start to tie the cord, because it... must push huge skeins of giant multi-colored wool across the desert, it was very beautiful, it should have been, that's all this the most, until the cord breaks somewhere there, and it starts to descend, envelop everything, and again it starts... but there the story is that it was so, he went there, went beyond the earth, and apparently, he wants to find a planet where there will be new life, that's a fairy tale story, a wonderful one, about a mystery, about an inexplicable miracle,

why it didn't happen, why it didn't work out, unfortunately, michelangelo was offered.

beat russia, andrey, andrey, when we drive, let's say, he asked to stop the car near a plowed field, got out and stood, tanya once asked him, andrey, why? you see, plowed land, it's the same everywhere, and at that moment i was in russia, andrey said, he just wanted to work in the west, he wrote to the state cinema, because he... was offered the moment of the end of nostalgia, he was offered to do boris gadunov in kovengin, well, who would refuse, guys, well, he directed it very well, they still remember it very well, he wrote to the state cinema, to allow him to stay,

to continue working, because somehow he told me, you see, i said everything in russia. "even if i've only made five films, i want to talk to the world and, unfortunately, he was told that nostalgia, come back, and he with his character felt like a serf , that same composer grizovsky from nostalgia and he said: "no, i'll stay where i'm invited." and if we take tanin's films, which ones do you watch most often? "