it was just being formed, just beginning its own television film production, you know, and it was interesting to me. it was important to me, and i understood that the leaders were the first tv and radio companies. and then it was called radio, they relied on a tv movie, because they didn’t understand that they would represent belarusian television and belarus in general at festivals, but only films, and that’s how the tv movie began to flourish in our country , firstly, we had it was a very good directing school. everyone has. secondly the editorial staff were all engaged in military broadcasts, sports broadcasts, children's broadcasts. uh, there on- popular science broadcasts publicly flown to convey. that is, there were these one-time broadcasts. all some things that

came today, tomorrow they are no longer there. that's all. and we were television, we shot on a wide 35-mm film, and we took it all to moscow. moscow accepted us. pulse movement breathing is the rhythm of life. fashion illustration is the art of conveying fashion ideas in visual form honey, is that a dinner spoon ? new theatrical forms copyright reading classical works searching for a sacred meaning we are in a new

place every week, watch the fashion for culture project on wednesdays on belarus 24 tv channel. what was done, how was it done, could it have been done better ? documentaries and among the heroes of your films

were astronauts, composers. musicians director of the plant, chairman of collective farms. in general, these are completely different fates, but in your opinion, what they had in common i was interested in the idealists. for example, i removed a film about the first secretary of the vileika region, which the former vileika region had with him, he wanted to take separately. in your area. to build market relations he was a communist. but he was an idealist, you know, not only that, in june 13, 1983, we flew with my large film crew to georgia, we traveled around georgia and watched how it all happens. the so

-called abazh experiment was a film i made. and i don’t divanchi sokolenko, the general director of hmm, a production association olesya knitwear. here's some. yes, he tried to build market relations within the framework of his factory. she was then called this olesya, they had their own rest home, their own dining room, their kindergarten, or there were all sorts of benefits, you understand, they were ahead of their time, these wonderful people, with whom i will not hide. after that, i met many times and shared feasts with them. yes , you understand, because they continued to be interesting to me and dyom, i know that you mm more and the longest filmed songs and even with

you met vladimir mulyavin under very unusual circumstances, as it was two such very funny artists, they began to court me, because they were told that there is a young director on television on a television movie who makes musical films and loves very much, but they, therefore, invited they called me. everything. i say, well, i must see they invited me to their content philharmonic held for some reason at 3:00 in the afternoon. okay, i'm coming. there, by three minutes to ten, or firstly, it's raining, secondly, no one 30 philharmonic. no, well, i knew how raikin spoke through the back cyrillic. i go to the service entrance to the philharmonic. they are waiting for me. yes, here the concert in the large hall was canceled, that means. then we go there, well, let's say we sit down in stolbtsy, which means we get on the bus. well, here we are, uh, sitting next to me, a beautiful woman who introduced herself as lydia karmalskaya. she

performed in a genre that is now dead does not exist, a artistic whistle. as soon as we left, she unfolds. uh, it means that there is some kind of treat there, and he would give me says something to me, tell that man, i tell him. she says, this is my husband volodya, well, too, yours said everything was volodya a dummy. well, you began to cooperate with the nerami. eh, in the early seventies and filmed until the age of 21, how pesnyary changed over these 30 years. you know, uh, until some period before the ninety-eighth year, they grew, and then the role of the icebreaker became unbearable, which split this team, you know, that's all. you

somehow prayed that you very often had to struggle through your projects. and what was the reason the topic was too bold or you asked too much, i don’t know, valery yubileevich, somehow i forgot everything that was difficult, you know, i forget everything. i, well, i tried at startup. again, cursed cozy home. it was a miracle to shoot a film on the basis of television, not belarus, even on the basis of television, to shoot, 33 episodes 16 months filming period for editing then a year of downtime, because, well, there was a need for this on television, but, as it were, they bought it for my project hardware

voice acting for currency and then another year of voice acting understand? it was a miracle, and someone smart understood that orlov would now break out somewhere at the artistic council, as there was at first. well , okay. let's let him shoot a pilot or two and see what i can hardly contain myself. yes, we are renovating the house. in which, by the way, i had to, of course, we will sew on 56 actors. uh, costumes, we'll get props. we are this this and when i have all this, i will already shoot two pilot episodes or 33 anyway. it turned out that for half a year there was some kind of parade of planets. i went through the authorities,

and i got some people who supported me. here at that stage of the launch, the same e, engines in the launch vehicle that were given. eh, you understand, push me, georgy dmitrievich chubat supported me. e, the director of the telecentre supported the chief engineer nikolai nikolaevich dove. i remember all of them , you know, they supported me, they gave me win-win technical directions. love on the cheek of a tear in my love, goodbye you god super alexandrovich, you are probably told about this very often, that you are not only a good director, but also an excellent storyteller and

you have a huge number of personnel stories that are included in your books, you already have more than a dozen of them, but what it all started ? when did you decide that you should write down everything that happens to you? well, as always, uh, at the beginning of all my business, skill projects , good people appear who guide me in the ninety-ninth year. i had two premieres. eh, or rather the premiere of two- two performances were my variety performance with an orchestra with a jazz orchestra nigga, and on the stage of the musical comedy theater, which was called along with the leonidautinsky song. well, i'm always an old-fashioned person. i understand that i am always an artist after the performance after the premiere. the more you need to cool down.