they will move into feature films, like trifo, godard, washed-up french film critics and so on, but you have a completely separate path, unlike anything else, actually our question is how much your experience, each of you, helped you in your future career, yes , cinematic experience, this knowledge, baggage, viewing experience that you received at the film museum in avgik, how did all this help you later? work, how

useful is geek really in terms of study? i actually have a very funny story in this sense, because i wasn't going to become a film scholar, but they started to persuade me, at that time i lived in one of the national republics, they started to persuade me to apply, since 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, i said, no, i want to become a director, i will be in the director's department, no, no, no, they persuaded me, i submitted documents and my work, of which there were many that were very successful, actually because of that's what they invited me for, then they turned me away, saying, you know, this is a national republic after all, in general, we'll keep you in mind, 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 avgik, naturally i passed the preliminary competition, but since i passed, i thought, well, okay, i 'll go, and at that time i was studying at moscow state university at the faculty of journalism, i thought,

the sphere, let's take a look a little.

this is a podcast witness lenshtein and in the studio his leading film historians, and natalia. 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 with him, it seems, it was a film about zarechnaya street, to show to students in gika, after the screening some student stood up, everyone thought he was a pole or something, he started loudly criticizing the film, well then, of course, as you understand, it was torkovsky, this later turned out, and torkovsky became an assistant. khutsyev on the set later - before starting to shoot their own films, but this is actually this connection, when on the one hand masters and aspiring masters and debutants show their films at vgik, discuss them with students, it seems to have always existed since the nineteenth year, yes, when there was

a transfer of experience of people from revolutionary cinema to a new generation of soviet filmmakers, yes in the twenties, then in the thirties, when they begin to teach there already and people. their own, so that means to come under sharp criticism, because all this is old school and so on, well really different, different eyes, different generation, so it is absolutely normal, to give them a reason to lie, that they like it

very much, it is still very visible, so no, the workshop is different, it is a kind of community, which and you are responsible, we have a workshop for 5 years. you are personally responsible for these people whom you recruited, someone's life was ruined, you personally, because you made a mistake and accepted it, so it is such a wonderful broth in which we are cooked, and it is, how to explain, it is bad and good, because in all film schools there come different masters and you jump from one to another in seminars, and here there is this community, it's very interesting, because it's... mutually 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 years old, and then he has a wonderful diploma , the person is already filming and you think,

my god, maybe he really wanted it since he was 3 to be a director, when some results appear before your eyes, the feeling that you are growing, while we do not recruit similar to ourselves, we are all absolutely different. can be compared, no education system, i think, this is a very, in fact, difficult story, sasha, this is your second, third, third workshop, i did not give up for a long time, vladimir sergeevich malyshev, a wonderful, rector in geek, a wonderful leader who gathers everyone so carefully, and he

kept pushing me there so that i recruited a workshop, i said, no, no, no, and i was really very busy, but a disaster happened, sergei aleksandrovich solovyov passed away, and he was smart, cunning. malyshev called me the next day and said that you also can't refuse and i really couldn't refuse and the situation is always difficult because you talk about responsibility, yes, before the people whom you gathered here, these solovievs who had just come to vgik, who were in their second year, who had just begun to get their feet on the ground suddenly was pulled out from under their feet and... it was difficult, my personal task was only one, it remains not to harm, so do what you want, i can express my opinion to you, be careful, this does not mean that i am right, but my opinion is this, i listened to you, a very interesting story, i will have to take me on board, reshoot a piece, but in fact

, for me, for example, as a person who studied 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. there was such a difficulty in production, what is not visible on the screen, i can tell you about it, and it can help, it helps me in any case, it seems to me, that is the most important thing, sasha said about this, do not make a mistake and do not try to carve out of a person something that suits only you, this is not a log, this is not pinocchio, you need to let go to the will of the waves, your task is to simply create an atmosphere in which a person can normally to develop, and then it’s his...

that’s the 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 school, well , like, children after school need to be told a lot 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 means our workshop sect, at first i was so surprised, i thought, how in general, where did they know this word from, how did they get this name, then i

remembered that on september 1, when i came to them, i started telling them about how the process was organized in vgik, how in general, that is, where the principle of such workshops, specifically directors' workshops, came from, they really grabbed onto the word sect, especially directors, unfortunately, they are probably just not as friendly as, for example, the same artists, there here are the operators even more so, that is, they always stick to their course. sound engineer for the rest of their life, after all, a director in this sense is such a free bird and a one-man show, and with film scholars it's the same nonsense, for some reason they also have a bad community of film scholars, film scholars, no, well, why do they get together like that, in my opinion it's good , they unite very much, but they make friends against someone, that's true, that happens, so it seems to me that when a good film appears, a normal person doesn't think about how to trip up the person who made it, and he looks and says: wow, and if i

do it even better, how can i show myself better, it seems to me that this is the whole point of the profession, and then, when there is eisenstein, hitchcock, phillips, i don’t know, coppola, kolatozov, mita, menshov, well, name rizanov, gaidai, well, pretend that i will argue with a colleague there, try to get him there.

it is very difficult to expel a person, because times have changed, if earlier you were

a master, apparently, and could say, look, the prov is unsuitable, goodbye, well, in principle, and this is not discussed, now everyone has rights, you you can't just expel someone, this is a podcast of witnesses from einstein, and we are its hosts , 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... you didn't study directing at vgik? it was hooliganism, but i was incredibly lucky, because yuri nikolaevich orabov, to whom i brought my works, including television film works, he somehow believed in me, took me by the hand and brought me to my debut, but told me strictly to be wary, and he was the artistic director of one of the never 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 ran to exams, and then to vgik, then to moscow state university, and it was a lot of fun, and it so happened that this is not a diploma, but this is a debut, which well, it came out 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 then i got into this genre, the script that i wrote at first for this debut, it was exactly in the spirit of torkovskiy all. frozen, slowed down, there is water on the walls, everything is great, and then i came to the genre i realized that this is mine, we have a small fragment, we 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 strength,

one will, just don't need a rope, it's so painful a rope? but when alexander said that he wanted to be a photographer, i finally got it in everything clicked in my head, because we were just when we were applying at the beginning of 2000, on september 1st they showed us your film, among others, and i remember it very fondly since then, because it really struck me then and this was already the end

of the nineties, if the film nikolai is ninety -first, by the way, ninety-first... 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 was still a straight soviet film, the last, after the last soviet cinema, yes, for alexander, this is already the nineties and for a geek, 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 cameramen who started... shooting music videos on film and advertising, just 15, 20 m, it was all on the knee, there was no intent, such pure creativity, this is not for festivals, not for this, this is when friends got together, then this is not a diploma, the diploma scared me, and this is academic work, this is well such film, it was necessary to make a film without dialogue

, without words, that it was possible to make a great photographer who took pictures at his own funeral, therefore... i think that we, well, many morsiki, who has these amazing films, because they are pure, pure from the producers, well, the producers are wonderful people, you can't do without them, but how do you do what you want, with whomever you want, whenever you want, without any money at all, my father brought me boiled potatoes to the set, i was wildly ashamed, why did you come, well, you need to eat, we remembered, that you really need to eat. well, like, when you, well, you just have such a physical excitement from the desire to create, then this moment happens that we have all lost now, then you shoot on film, then you wait a week for this development, then they give you the first cut, and you go to the cafeteria and just look at these eight frames, and

everything is visible there, black and white, well, like, and then you sit down at the screen, you are simply washed over by a wave, because what did you do? rehearsed eight times and so on, something it doesn't work, that is, such a reverent attitude to the original source of the film in each, especially in short films, well, when you remove one frame, everything falls apart, now this is not the case, but we... try to show love for the frame, naturally, but still these are such games, it would be ideal if they gave in the first or second year, the first task to shoot

on film in order to simply feel the value of the film frame, we have fragments from the photographer too, so we can just make sure, thank you, yes.

ivan, as already at the transition from video, this is all worked?

let's look at a fragment of snow, this house, please take a picture of this barrack -type house, i lived in it when i came from saratov, here on assignment after the institute, they gave me a room here. there are my windows, there are yours on the edge, a small room of 8 m, everything is conveniently outside, water from a pump, we lived so well, "i got married here by chance, lenochka, my daughter, was also

born here from the maternity hospital, she was brought here, in fact, yes, you wouldn't immediately think that this is really a production and documentary methods, everything is as khutseyev taught, the method documentary film creates an artistic image, it was still the first day of shooting and natalya nikolaevna is a very theatrical actress, i remember that she hated me, because it was the seventeenth take that we were filming, she still did not understand what i needed from her, i said: listen, just calm down, slow down here, here this is also some kind of process that seems like a very, very random shooting, documentary film, just someone walking, filming a person there, in fact this is also still a pretty verified process, which is built up in such a long way, in geek bears the name of.

memory of them, because when we lose memory, as it seems to me, we lose the future, and this was a podcast of witnesses from einstein and its hosts, film historians, natalia ryabchikova and stanislav didinsky, we talk about how to watch favorite, maybe half-forgotten, unknown soviet films now, and how to find new meaning in them, get even more pleasure, and today we talked about the 105th anniversary of the state institute cinematography with three of its graduates: alexander kotty, nikolai lebedev and ivan tverdovsky. thank you. the most famous of the tsarskoye selo lyceum students is,

of course, alexander sergeevich pushkin. but among the graduates of this lyceum there were many people who left an important mark on our history, well, today we will talk about a remarkable russian diplomat who led our foreign policy out of the gravest crisis after the crimean war, from state... hello, this is the historical podcast russia-west on a swing history, with you pyotr romanov and sergei solovyov, today our topic is chancellor alexander gorchakov. gorchakov is one of pushkin's friends, he wrote

a piet about this man. russian literature, german literature, french literature, foreign geography and statistics, general history, political economy and finance, natural private and public law, criminal and civil law, domestic geography and statistics, mathematics, applied mathematics,

fortification and...

nevertheless, the parents did not acquire wealth, therefore they were very interested in sending their offspring not only to the lyceum, yes, but also to petersburg in general, to his cousin. as for the lyceum, i will cite two characteristics that were given to alexander gorchakov and his teachers. professor of russian latin literature kashansky wrote the following about him: entry from december 15, 1813. one of the few students who combines many abilities. to the highest degree, especially noticeable in him is his quick understanding, suddenly embracing both rules and examples, which, combined with excessive competitions and some noble strong purity, reveals the quickness of mind in him and some traits of genius. his successes are excellent, some traits of genius, that's even it. another characteristic, which was given by his director of the lyceum angelgard, is the following: woven from subtle spiritual matter, he easily learned a lot and feels himself a master where many still

strive with difficulty, he was not... limited to a titular councilor, because a titular councilor gave the right to personal nobility, not hereditary, yes, that's it the next rank, collegiate assessor, already gave hereditary nobility, and if the native understood that the common officials were not from the nobility, then he

would rise to the maximum of titular adviser, and gorchukov starts with this rank, at first his career developed in general quite quickly, let's go back to the end of the crimean war, the war was a difficult test for both the army and the navy, it showed that radical changes were necessary in society, but it also led to a severe crisis in international relations, it is completely clear that alexander i inherited from his father an already aged cabinet of ministers, incapable. well, it is clear that one of the most important areas was the international area, so this was one of the first appointments, so gorchakov became the new minister, and this appointment

immediately caused great concern in europe, because gorchakov had already proven his diplomatic talents to europe by the time of this appointment, russian historians write kindly about gorchakov in general, because it cannot be said that he did not allow mistakes, mistakes are made by everyone in general, but in general he successfully defended russia's interests in the diplomatic arena, that's what distinguished him. which is actually rare for a diplomat who, so to speak, by profession, is supposed to be flexible and inclined to compromise, and gorchakov, well, it's not for nothing that he was a rurikovich, he had a very

independent, firm character in general. we started talking about gorchakov during the reign of nikolaev, his career froze at that time, but not entirely, he held the position of ambassador in stuttgart, there maybe we'll talk about this some more. then one was an envoy to vienna at the very end of nicholas's reign, but overall his career stopped, by the way, sympathy for gorchakov, including huge, because he was, it seems, the only russian who managed to climb the career ladder to the top at that time, because almost all the posts in the foreign ministry were given to foreigners, so during the time of alexander i, our foreign ministry was headed by a pole, adam czertaryski, he was responsible for all foreign affairs, well, he did not hide his sympathies towards his relatives

poles, and it is no coincidence that when the uprising of 1830 began, he became the head of this rebellious senate, one of the most important... figures of the russian foreign ministry, ioan kabadistriya, he supervised russia's relations with the eastern countries, including turkey, well , of course, he also sympathized with the greeks , first of all, he defended the interests, of course , greek, although as a politician he was of course much larger than the same neselrodi, with whom they waited and who was removed precisely thanks to, that's it. and but he also later became the ruler of greece, completely logically, here the historian sergei tatishchev wrote: there was not a single russian person left in the positions of ambassadors at the courts

of the great powers, all of them were presented exclusively to the germans, who flooded both the college of foreign affairs and the chancelleries of the embassy and mission, talented young diplomats of russian origin, one after another... the peoples were given clear preference over the other were removed from the department in which they were, and if any of the russians remained, then like gorchakov, they were doomed to continue their studies.

the ambassador of lebanon, he said that it was very unpleasant

to feel alive, tied to a corpse, well, levin, naturally, quickly reported this, here a friend showed unprecedented activity in order to transfer gorchakov away from himself and sent him, here, but there was also the famous story with benckendorff, now i will quote the recollection of gorchakov himself, he ... "i did not enjoy the favor of emperor nicholas pavlovich due to the ill will of the count rod towards me. for many years i sat in vienna, not receiving the next honorary awards. it is curious that this was facilitated by one insignificant incident, which, however, among persons surrounding the sovereign nikolai pavlovich, i had gained the reputation of a liberal, a reputation for that time quite deplorable. in the absence of the envoy, i,

who was fulfilling his duties as a senior adviser to the embassy, ​​hastened to appear before the count, after a few cold phrases, he, without inviting me to sit down, said: please order the owner of the hotel, i have lunch today, i quite calmly went up to the bell and called the metro to the hotel. what does this mean? count benkendor asked angrily. the count said nothing more than that with the order about dinner, you can contact the hotel maitre d'hôte yourself. this answer earned me a reputation as a liberal in the eyes of the then all-powerful count benckendorff. it was because of this character and the attitude of his superiors, first of all nikolai pavlovich, of course, nikolai i, that gorchakov spent 12 years as an envoy

to the court of the würtherberg ruler in sturgat, then accordingly he was an envoy to the german federal diet in frankfurt, which generally met as a result of the revolution in germany in 1948-49 as a witness which gorchakov became, in general this experience of sitting in germany gave him quite a lot, this is really so, he called himself connections, one of these connections in frankfurt, it was a connection with the future chancellor of germany, actually the creator of the german...

for this he was awarded the order of alexander nevsky, when he did not allow the most humiliating conditions for russia to begin peace negotiations, in conditions when sevastopol was surrendered, because the negotiations... were still being conducted during the military operations - to insist on these insufficiently humiliating from the point of view england and france were important for russia conditions, in particular gorchukov later he will also do this, he played on the contradictions between the two opponents of russia, between england and france, these contradictions were, it is enough to mention one, the english wanted to go further

into the depths of russia, and the french, who suffered considerable losses, like the english at sevastopol, in general were skeptical about this. including because they once went deep into russia in 812, so gorchakov was also able to play on these contradictions. we continue our program, today the focus is on diplomat alexander gorchakov. gorchakov, having headed the ministry of foreign affairs, initially had the task, in general, not just to somehow correct the paris treaty, but simply to cancel it. and here is how he formulated it interestingly.

he said: russia is leaving the position of restraint that it considered obligatory for itself after the crimean war. how was gorchakov supposed to destabilize this most humiliating for russia paris peace? a bloc of powers formed against russia, one of which was austria. tyuchev wrote, yes, when the austrian envoy came to the funeral of nicholas i, yes, away from the austrian judas from his coffin board, well, because shortly before that, russia - this is an important nuance, saved austria from. paskevich to hungary, having defeated the hungarian insurgents, rebels, supporters of the independence of the hungarian state, austria thanks to this remained as a single power, and a few years later, literally austria came out with a neutrality hostile to russia on

side, in fact, england and france, forcing them to withdraw their troops from the danubian principalities , creating a threat on the borders of russia. prussia took a similar position, too. not entirely good-natured neutrality towards russia, also forced russia to withdraw its troops from the danubian principalities together with austria. russia found itself isolated. the great powers, the concert of great powers, that's what they were called when, who was that? england, france, prussia? at that time, it was already austria-hungary, the early austrian empire, and russia. and everyone was against russia the other four. and so gorchakov's task was to destabilize this concert of great powers playing against russia. and he... made a very unexpected move for russian diplomacy. first, he noted that austria is not a state, it is only a government. a harsh characterization that was justified in reality, only much later. russian diplomacy has traditionally focused on the german states. and, in fact, gorchakov himself played this role during his stay in stuttgart, and in frankfurt,

maine. gorchakov decides to bet on france.