still does it, because children very often have a need to talk about it, to ask their questions, if they know that we will not accept it, that we look at it only from one side, they will never tell us, if they never tell us, we will not be able to work through it together, and we continue, today our guests are evgeniya gin and petr pavel surkov, and we are discussing whether a child needs a phone, very often from children of any age. especially before the first grade in the first grade, as soon as school appears, you can hear an argument that is very difficult for parents to deal with, a child comes and says: but everyone has one, the parent 's maternal crown slips, oh my god, i'm a bad parent, what should i do, it seems i 'm against it and i don't want to, i understand everything, and all the wounds, but i don't want to be a bad parent, i want to be a good one, so what do you suggest, do you have any ideas, father of a large number of children,

well first, you can try this phone with the agreement that, let's go for a walk with the phone, and we need a phone, here you have a push-button phone, that will do, and in order to also be, also be with a phone, also be in touch, well, the request is specifically for a phone, of course not, of course, of course, of course the child immediately realizes that everyone has smartphones, and i have a regular push-button phone, accordingly yes, step by step you need to solve that problem as. next, what options can there be, everyone has one, i don't have one, yes, and everyone has textbooks, everyone has one, you also have one, you also have one, all children get excellent grades, a's, or someone gets twos, someone gets twos, someone gets fives, that's what you want to be, you want to be the best or you want to be the worst. well, and in this way you can

get to the point that now you can even show this, there is an experiment where they took students, sat them down with a phone, those who had their phone on the table had the worst exam results, well, not an exam, but a test, those who had it in their school bag, they were average, roughly speaking, they got threes, those who had their phone in the next room, in the next hall, got fours a's, that's to say that we... choose, we choose, what do we go to school for? to study, the indicator of good studies is good grades, and accordingly, we say, the task of being an excellent student, it is more significant than the task of being like everyone else, because in life the one who leads wins or becomes a leader, and not those who are led, here the child immediately says: aha, you only love me for my grades, in psychology they say that it is not important, that it is not the main thing, again a dead end. well

and yes, i really don't want to say that classmates are somehow worse than you, because in psychology we do not compare people, i have here, if there is this problem with a child who comes and says: everyone has it, i don’t have it, i think that parents watch this program, why, because now this worries a lot of people, this is a conflict in many families, and let’s solve this problem as adults, and not shift it to our six-year-olds...

it happens, you can’t, in short, the phone, you’re still little, go, the child listens to it for a while, he says, wait a minute, what is this you all can, i didn't understand why i'm the only one in this family, a bald guy like that, who doesn't have a gadget, and a parent to whom i, as a psychologist and my colleagues say, no, my dears, that won't do, first put yours down, put it away, and then teach the child about life, tell him what he can't do, first of all, it must be said that children absolutely.

two phones, one in a red cover, yes, the other in a yellow cover, here in the red one, you show directly that you don't have a single entertainment application, if you have a red phone, that means. we develop those same family rules of ours dad, please give us another view, then we watch ourselves together with the child everything is better this is well a desktop computer and so when we talk about the fact that the child looks at the parent who tells you you can't, he is tempted by another, every child wants to be an adult, yeah, that is, all children dream of becoming big, they become big and want to be smaller. younger, this is the message, probably a substitution of what was in my childhood, why did many boys start smoking, because grown-up men smoke, why did many start drinking early, because grown-up men drink, and they are told: you are still little, you can’t, and here

the same situation can arise, that you are still little, it can’t be formed in your head, even if we don’t say it, that you are little, you can’t have a tablet or a phone or something else, here... one of the solutions is to involve the child, to give him an understanding that he becomes an adult without a gadget, without a tablet, how? i want to say, send to the store for groceries, but we already buy groceries through gadgets, but here again we are at a dead end to give, but what to give? you can just give a gadget to say: here is your phone, order groceries, maybe teach how to use it productively, that is, of course, we talked about the fact that this is a tool that is worth discussing with children, everything does not come down to the fact that i bring money into the house, and you do not, but what are the criteria, how can you check yourself, i understand, me, i am also in

in some way a child, yes, that is, different adults are children in different places, in fact, that is, if we talk about going along this line, then some criteria of adulthood are developed here. also about the topic with gadgets, i see not only the problem of sticking, but if we talk about adulthood, this is a kind of infantilization in what, children who have a phone in their pocket, they are used to the fact that for any reason they can ask a parent for help, i can see it directly, that is, minimal difficulty, hello, hello, hello , mom, dad, mom, dad, and this leads to the fact that, that children lose the habit of solving problems and thinking, this is my professional task, to teach people to think, for this we need all these non-standard tasks and so on, we must understand that a child has many more non-standard situations than an adult,

why less experience, that's all, and here it seems to me, the work of a parent, if we are talking about practicality, my son and i have such a formula, when he asks me a question, to which i know, that is, he will tense up a little, he will answer himself: son, in the store, yes, you can do it yourself now make this decision, make it, and here, of course, it is important that the more responsibility the child has, the more problems will arise, that is, where they will make the wrong decisions, and here again for the parent, yes, there are pros and cons,

you will have cons, well, not everything is so smooth, neat, the pros are that you will raise a person who knows how to make independent decisions, here you can also add that sometimes... we advise parents to play the fool and even if you know the answer, do not give it, sometimes you need to offer solution, sometimes you need to say, i don’t remember something at all, come on, maybe you, and you, or, for example, if you know that your child has well-formed competencies in a particular area, for example, our seventeen-year-old son loves history, he knows a lot about history, sometimes it’s easier not to even strain yourself, she just says, styopa, tell this to the girls or remind me of this, this... his self-esteem, it’s very important to him and he’s pleased that we value it, almost every child has it, you can find a strong one in him side, his strong point, and turn to him for help, he will be your home search engine for this or that problem for this or that question, for

him this will be a very important place for the manifestation of his adulthood, no matter how old he is, if you know that he knows the multiplication table perfectly well at 8 years old, then coming with him to the market, where they will try can...

this knowledge that he has, let them use it, it's super, we continue, and today we are discussing whether a child needs a phone, i really wanted each of you gave our viewers some kind of recommendation, some kind of advice, maybe the most triz-like or non-standard, the one that they won't hear every day, how can they live with their children, happily, interestingly, cheerfully, with humor, solving certain problems in a non-standard way, and... such an exercise, write down what you consider problems,

we parents have a lot of problems, be sure to ask your children what they see as problems, you can do this orally first, you can do it in a chat, it doesn't matter, make a list problems, and then for each problem, that's how a problem differs from a task, we can talk for a long time here, i always recommend thinking about it, and then hearing my answer, yes, then google it, then. hear the answer: a problem from a task one of the key differences is the presence of a goal. my child is stuck in a gadget, or my child does not clean up the room, this is a problem, i only suffer from the problem, it is impossible to solve, because this is a certain description of a situation in which i feel bad, and the task appears when we add to this i feel bad, the goal, how exactly i want it to look good, that's the very end result that. we are on the gadget, there can be very different goals, yes,

we see with the problem there the child gets stuck in why does this bother you at all, maybe this is not a problem, maybe he studies in this gadget, self-actualizes and in general everything is fine, maybe, yes, and maybe this is a real problem, i don't know, so here it is important to understand why you feel, there the child does not read, and why is this a problem, maybe he listens to the book for days, will it suit you or not, i'm not giving answers now, i'm not saying, good or bad. it's important to first realize, that is, to your decisions, and here again not because others read like that from a neighbor, yes, and there i don't know, ivan petrovich limits his gadgets or, on the contrary, gives them to him, you understand for yourself what is behind this, this is the first understanding of the problem, the second is to set a goal, for the same problem there can be many different goals, yes, i want the child not to touch the gadget at all, i want, for the child to go to university, and i think that the gadget is a hindrance to this.

i want to give semyon as an example, at one time he liked to watch unpacking, how toys are unpacked there, i say , what are you watching? oh, this is also our son, who is now 17 years old, i tell him, what are you watching, let's better film your unpacking every week i bought him construction sets there and we assembled these construction sets, i say, let's film this, you

will have your own videos, and you will not have to waste time on these videos look, and they started filming after. after some time he didn't want to watch these unpackings, he got tired of it, yes, they filmed theirs, everything became clear, how it's all done behind the scenes, why it's interesting, why it's all happening and so on, he also tried to become a blogger with us, he also started his own forbidden gram, a huge number of women poured in on him , asking what to advise their teenager, what to do, he lasted for a week, he said, this is terrible work, i'm not ready to do this, and he stopped doing it. here i am i want to add too, yes, this is the path of the consumer-creator, it is important, and regarding the dream of wanting to be a blogger, this is also a very cool case, and here you can tell your child about the survivor's error, about how very few of those who started actually achieve success, and you only see them, only these spotlights, the majority vegetate, yes, those who studied

mathematics at school well, the majority prosper, well, that's how this world is arranged, yes, that is, there... this is not come on, come on, that is, i will pay you for the time in the gadget, on the first day the kid is like, wow, it's totally cool, and there are 8 hours, and he's there - i don't know, depending on his capabilities, yes, the amount, the next day you 're like, come on, earn money, when it becomes something that you have to do, children

hate responsibilities, and it becomes something that i don't want to do. the next day there, and then at a certain point you tell him: listen, i'm short on money, i 'm going to pay you half of what i was paid before, because i was paid 100 rubles an hour for playing, and now 50, but i don't i will play for this money, what are you parents, well yes, you can try, i'm not sure it will work, but you can try, there are children with whom they work, there are those who don't, but the reception turnover is universal, look, it often happens that we hit the wall, here is such a reception, to realize that i hit the wall. ask, what can i do differently? great, it seems to me, this is a very good point in our conversation today, we discussed gadgets, can they still be not harmful, but beneficial, and how to do this not only with with the help of psychology, but with the help of tris methods, thank you for coming, it was the ask surkova podcast, thank you for being with us,

all episodes of the ask surkova podcast are available on the channel one website in our social networks. hello, this is the einstein witnesses podcast and its leading film historians natalia ryabshchikova and stanislav didinsky. in this podcast, we talk about why it is time to watch eventful, little-known, popular, cult soviet films now, how to discover new meanings in them. get even more pleasure. for in order to do this, we look into the secrets of film archives, re-watch old films, and sometimes talk to current 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 the geek. this is alexander kot, this is nikolai levedev

and ivan tverdovsky. hello. hello. we, as historians. of course, we like to get to the very beginning, we will say, here are 105 years, 1919, the most inappropriate time to open in 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 the twenty-seventh year, that is, 8 years passed, at the same time, if we talk about such cult directors, actors, cameramen, well , those who are usually known. to the 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 myself ... also related to old geeks, well yes, this also happened, so our first question, of course, it seems that in geek, of course, there has always been, everyone knows it, but how did you first

hear about this 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, in the end, when you entered, there was already a choice, there were already higher courses for screenwriters, directors, there were already st. petersburg publications, in general... there were places where you could study, but it wasn’t 1919, there was already a choice, that’s it your personal path to vgik, i was just the one who was passing by, and my knees were shaking, honestly, they were just buckling, i remember well, a hot summer, and absolutely no one, it’s impossible to believe, an empty wilhelm pieck street, not a single person, either leaving or entering avik, and i’m happy that there’s not a single person, because if someone had left, god forbid, i would have fallen into omory, onto a bench, back then there used to be a bench at the entrance, and i had a movie camera with me, an eight-millimeter, amateur one, i pulled it out and became so to look at her carefully,

to do something with her, as if pretending that i was busy with something serious, serious concern, but at the same time i felt only one thing: this is in kiik, i am here, well i was 15 then, probably, it was before admission, that is, you wanted, to the directing department, i wanted of course. to the directing department, but unlike sasha, unlike ivan, i failed miserably, and well, the crash was not so loud, because at first we took written exams, and i passed them, that's when i had to sit down and talk to marlen like this artemovich khutseyev, looking into his eyes , so huge behind the thick glasses, here my tongue stuck to the roof of my mouth, 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, absolutely, in a geek, a teacher in geek, he says: "forgive me, please, i say, marlen martynovich, dear", this 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 became a director, and thanks to you, i am here, such a paradox, yes, alexander, and how about you, somehow i am still not there, i was the second time , the first time i prepared hard, read a lot. because i loved his films in general and it's not about that, it's just that this year there was some kind of selection, i watched very few films, now i 'll explain, because then it was impossible to watch a film, there was a film museum for the elite, at that moment i got a job there to watch films, i carried films from white pillars, but in reality a person who is going to enter vgik, to watch a film there was nowhere, especially historical, that is , the soviet video rental began. and that video rental is jackie chan, bruce lee and all this history, so going to the cinema 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, who is venders, who is this i did not know at all, i entered because i was engaged in photography, and they did not teach anywhere and still, maybe now it turned out, this profession of photographer appeared, well, there was not a single university in the country on territory of the huge soviet union. where there would be such a profession, photographer, with a diploma, so that yes, there was the head of an independent film and photo collective at the institute of culture, where i first entered, then it turned out that all the film clubs had fallen apart, photo clubs, and so on, it was, there was a photographer's training at the zagorsk film technical school, and then moscow state university, a journalist, a photographer, and i was 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... i found out that cinema exists, i got in, for the first time, i didn’t get in, also to khutsiyev, also a touching conversation, i always want him, i wanted to hug him, talk to him, because for me it’s some kind of space, i got in to

vladimirovich, it was his first recruitment, i got in, because for some reason he was recruiting in october, i, by the way, also already, and i understand that only the last name helped me, well, that is, everyone stumbles over the last name and the last name arouses interest, so no matter how they don’t leaf through these creative folders, but here he... took and i thought for the first six months that i had been thinking for a couple of years that i was taking someone else's place, well, that is, i thought, my god, how am i deceiving everyone, what kind of director am i, well, because there was no such cultural background around me at all, a courier in a film carrier, naum kleiman doesn't even know about my existence, i was delivering shells, roughly speaking, with yaufs, yes, these big ones, then medvedev was in the solovei movie theater, well, that's where i worked there... we were allowed to watch on the balcony and the first film in the country, which i i wanted to, after which to become a director, oddly enough, there was a film

called delicacy, a fairy tale. about everything, you laugh , you cry, i watched this film 10 times, i wanted to shoot a film like this, like black humor, i realized for the first time that such a genre exists, and so it was possible, delicacy, we had an assignment to shoot a remake, well, not a remake, but like a remake, and 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, perform, so, i entered easily, without any of these shaking, from the second time, and the first time i was preparing and just, well, there was a feeling that i saw a monument, it was really just impossible to be next to maranomovic, because this sticky feeling of admiration arose, the delight of cowardice. ivan, well, you are the only one 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 lived, that he was always going somewhere with his friends to film something, and all the parents came home tired after work, so they lie down on saturday, on sunday too, somehow i thought that 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 and eleventh grades watching movies, studying everything i needed, but as a result, i understand that even a little sm...

live and what they do, and it seemed to me that alexey fimovich is such a very interesting mix in that his initial career is connected with exactly this classic documentary film, and it was all incredibly interesting to me, in the fiction film i didn’t even consider it directly for myself, it just turns out that all three of our guests represent different areas of the educational process in the giko, alexander is fiction feature film, nikolay is the film faculty. yes, maybe not all they know the process, i graduated from film studies, i teach how, yes, well of course, it's just an unusual experience, all film critics dream, well many film critics, yes, they dream that someday they will move into feature films , well, like trifo, gadar, those french film critics and so on, well, and you have a completely separate path, unlike anything else, actually our question is

how much the experience of each of you has helped you in your future career, yes, film experience, this knowledge, baggage, the viewing experience that you got 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 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... to enroll, because there was a place, then there was such a story, if you enroll in a national republic, you come and just study, and i i resisted, i said, no, i want to become a director, i will act as a director, no, no, no, they persuaded me, i submitted documents and my works, of which there were many, which 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 keep you in mind, i got angry, i was then

20 or 21 years old, 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 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, i came like you, when, when i took the second time, i sat down, wrote something, realized that it would be a fail and left, got an a, then i thought, well, okay. i know, it's already the second exam, and so i rolled up to the final and kept thinking whether to apply or not , but in the end i settled in vgik, i have to to say, i don't know how it is with you guys, for me it's despite the fact that as i said, i studied in different educational institutions, in gig it is really absolutely special, there is such a feeling of freedom inside, not permissiveness, but freedom, a feeling of real brotherhood, communication with teachers who are not mentors. so

strict, yes, but completely sincere friends who listen to you, who take an example from you in something, prompt you, if something, then not from somewhere above. but very human, and it's incredible enriches, just the environment in geek, the atmosphere itself, and those people who surround you, and well , when you are nearby, i don’t know with abrashitov or with shakhnazarov or with minshov or with batalov, this is of course a completely unique world, and it seems to me that it is important to be able to read mastery and then, well , to embody it in your life, we will still return to... to the topic of workshops, because really the question, which seems to me, is very important in relation to the history of geek, and in general in relation to how it is transmitted experience in cinematography, one name that has not yet been mentioned, but which is naturally known to everyone, who at all, even i

do not know, one film has seen in life, this is the name of torkovskiy, we have a fragment from his diploma work and it seems to me that this is what is shown, i think, on september 1st to each generation in gikovets in the baktov hall, to show that yes, this is how it is. this is the atmosphere, let's look at it a little.

this is a podcast of lenshtein's witnesses in the studio of his leading film historians stanislav didinskiy and natalia ryabchikova. and today we are talking about the 10th anniversary of the world's first film school, the all-russian state institute of cinematography. there is a wonderful story about torkovsky and khutsyev. putsyev brought with him, it seems, it was a film obestan zarechnaya street, shows. in geek, so after the screening some student stood up, everyone thought, a pole or something, began to loudly criticize the film, well then, of course, as you understand, it was torkovsky, this later turned out, and torkovsky became khutsyev's assistant on the set, later, before

how to start making your 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 began to teach there already and people who became established in the twenties as directors, and that's how it goes, goes, goes along the chain, and here it seems to me that the workshop plays a very big role, can you describe it, what it is, why it is, how it works, at least in the directing department, well yes, let's say you show your film to a photographer, a student with... them before they start, do it like this or vice versa, don't do it like this, and why? no, we don't show it, they watch it themselves, our films, well, on the contrary, i don't want to show my films, so that - that means

come under harsh criticism, because it's all old school, and so on, well, really different, different eyes, a different generation, so it's absolutely normal. give them a reason to lie that they like it, it's still very visible, so no, the workshop is different, it's a kind of community, which you are responsible for, we have a workshop here for 5 years, you are personally responsible for these people you recruited, you ruined someone's life, you personally, because you made a mistake and accepted it, so it's such a wonderful broth that we cook in, and it's like...

a person, here he is already filming, and you think, my god, maybe he really wanted to be a director from the age of 3, when some results appear before your eyes, what you are raising, at the same time we do not recruit people similar to ourselves, we are all different, but... absolutely, moreover, we try to recruit people who are not similar to us, because we stenovich, well, with volodya and anya fenchenko, do not have the task of raising, which means 20 kittens, which, oh, you are just oh, like azenshtein, he said, i do not want to pay for aizen puppies, so this is a wonderful family, some parallel life, which exists , among other things, inspires, and frightens and pleases, that is, this system of workshops, personal responsibility, this... that cannot be compared with this, no education system, i

think, this is a very, in fact, complex story, sasha, this is your second, third workshop, the third workshop, i did not give up for a long time, vladimir sergeevich malyshev, a wonderful, rector in gika, a wonderful leader who gathers everyone so carefully, and he kept pushing me to recruit a workshop, i said, no, no, no, and i was really very busy, but a disaster happened, sergei aleksandrovich solovyov passed away, and the smart. cunning malyshev called me the next day and said that he also couldn't refuse, and i really couldn't refuse, the situation is always complicated by the fact that, you're talking about responsibility, but in front of the people you've gathered here, these little nightingales who just came to vgig and who, it was the second year, who were just starting to get their wings, suddenly the ground was pulled out from under their feet. and it's incredibly difficult for them it was, my personal task was only one,

it remains: do no harm, so do what you want, i can express my opinion to you, be careful, it 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 it on board, yes, reshoot a piece, but in fact, for me, for example, as 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 that... is suitable only for you, this is not a log, this is not

buratina, you need to let go to the will of the waves, your task is to simply create an atmosphere in which a person can develop normally, and then it is his responsibility, this is adult life. vgika is also helped by the fact that each studio has its own, so to speak , physical space, yes, there is its own , well, actually a studio, there is an office, yes, ivan, do you also teach at vgika or do you i work at the hse school of design and... this is of course a slightly different experience and yes, this is how the geek experience is transmitted to other platforms, roughly speaking, well, to be honest, eh, i'm sad because we have so many people coming - like kids after school, and i just 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 within the workshop, we have higher education after all, well, like kids after... school, many people need to be told in general what

cinema is, why they came here and in general, who they are want to become, this is such a given, which is very interesting, but my students, then they called the group, then our workshop a sect, so at first i was so surprised, i thought, how do they even know this word, how did they take 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 did the principle of such workshops come from, just a director? they really grabbed onto the word sect for this especially directors, unfortunately, probably, they are just not as friendly as, for example, the same artists, there are cameramen especially, that is, they always stick to their course, sound engineers, for the rest of their lives, after all, directors in this sense are such free birds and individualists, yes, individualists, the same nonsense, for some reason they too are bad for their community, film scholars, film scholars , no, why do they get together like that, why is it good? as it seems to me, when

a good film appears, then 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 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, felli. to outdo him there, and do better colleagues, he will try to do better than himself, and this is normal, healthy competition, but there should be no malice in it, so it seems to me that we should not plant in people the idea that in fact we are all fierce friends here, no, these are not sworn friends, this 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 together or after the fifth year, and it happens that on the contrary, everyone immediately becomes friends and says, you will probably all quarrel by the second year, that is, this is really a dynamic that happens in any faculty, it seems to me, in such a small group, and at vgik really, well, how many can there be a maximum of 30, i don’t know if there are 30 people, i have about 40, but i have a combined workshop , a combined workshop, a director and an actor, you are right that a small team is better.

was the artistic director, one of, in no case say that you are studying at the obgik and that you, and at that moment i was studying at vgik, finishing moscow state university at the same time, filming also fell, which means that it was just during this period, we filmed at night, 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 a debut, which well came out on the screens, thank god, and is still on, it's been on for a long time, it's a half-hour film, a mystical thriller, i was already into this genre then, and - the script that i initially wrote for this debut, it was just in the spirit of torkovsky, so frozen, slowed down, there's 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, you can just see what happened, it's not true, you... they could say so, yes, i mean, now we will be together, one force, will, just don't use a rope, yes, it's so painful a rope, and...