not a crooked nature from what is not maxim to tear from the neck. and belarus is people. we open them for you. we bring the traditions of calmness and at the same time we change our views on the sound. and robinga is the light of the yakmahalevs. belarusians are so different, and i know them of a homogeneous earth belarus 20 apartments sergey what is

documentary for you documentary? for me, this is my life, because everything i do on television has been for 40+ years. it's all documentary. this is my life. it's nothing else i have. today i am visiting a very unusual difficult guest he is my colleague. and as usual , it’s more difficult to interview your cities, and that’s all, because they know the process from the inside to correct here and here you will mount it and cut it out. so, i myself am already interested in what will come of our today's conversation. today my guest is tv journalist, leading documentary filmmaker

sergei kater. hello sergey, and sergey let's start from afar, and you worked at a motorbike factory, then suddenly you decided to apply to the bgtti for the director's department , or it wasn't all of a sudden for you. well, yes, unexpected turn, so to speak, dug far. ah. you know, when i applied for a television director in 1979, i thought it was a coincidence. i mean, i didn't mean to do it. in minsk , i was going to enter vovka in moscow and worked at a factory. and in principle, still doubted. do i need this directing? and i decided to just give it a try. i’m thinking of testing myself, well, if i enter, i probably

won’t study, then i have the right to enter the university, if i don’t enter, maybe not vovdik, i don’t have to do that if i already i won't go here. well, how did it happen that i entered and viktor grigoryevich karpilov said that he gives me 2 months to think about it, so that i decide whether i will study it or not, and he, of course, so to speak, reproached me for what i took away from someone's place someone desired to enter. and i mean, like, but i arranged samples here for myself. this is where i felt ashamed. i decided i would study, but in fact, of course directing. i had a long distance relationship. i always dreamed of being in the military. i graduated from the polytechnic institute, and, as it were, saw. yes, in production and directing, as

if very, very indirectly somehow treated. although he played in the people's theater , he played in the theater of student miniatures. uh, a terrible amateur photographer would take pictures all the time, then there was a film amateur. i had a 16 mm camera in krasnogorsk and i filmed everything. i mounted. in general, in short, there were some prerequisites today, i understand that fate led me to this anyway, therefore, an accidental, probably, a pattern. still, it probably was. but to radically change your life, which already has both work family and children. this is an incredible way out of your comfort zone, which was the most difficult thing for you at that time. here the most difficult thing was to explain it to my relatives, who have nothing

to do with creativity and krizhura and television. explain to them. how dare i do this, because everything at my factory was good, i was promoted. in general, in short, i was ashamed in front of my relatives, whom i also did not understand all the military men, why did i suddenly make such a zigzag, and somehow in the family wife took it easy. we already had two small children. hmm, she said, well, you decide, that is, she did not say yes, nor did she tell you to decide. how did you imagine financial matters. i didn't lose anything. and i even bought it, i'll tell you more, because part of the day department of the theater art institute. at the same time, i worked as a janitor in the pool

, as a fireman in the pool, at the theatrical art institute on the educational stage. and in the summer, construction teams still traveled, and i got more money than probably years five, which money i received on television, when i already came, work there, and i suffered so much from this that they pay so little on television. and that i no longer have time to work as a janitor. soon, and anyway, i worked and still already, working on television, as a director. ah, i still managed out of habit. that's why the desire to earn extra money. i also worked as a night watchman at school and enjoyed it immensely. from this e, you came into directing as an adult in an emerging person. but they say that documentaries need to start shoot after thirty. what do you think, well, i generally think that you need to come to directing

later. well, because, well, how will you share your life experience, how will you communicate with people older than you in age, and most often it happens, therefore , of course, some experience is needed before, and vgik should have already accepted sure to work. uh. you must have had work experience. today, probably, it is not so actual. it is a school of life. i don't think she bothered me. you started your a career in television from the film department, and it was. yes? and it was your conscious choice. you wanted to learn from the masters how to create a movie meeting with which of the masters, er, influenced you the most. well, in directing, probably, with no one, to be honest, because i really wanted to create a movie. i wanted to enter vgik. and i thought that maybe my dream , too, when i get a taste of the profession,

when i finish directing television, when i work. when i visit the film sets of our masters, i see how it's all done. i'll probably still try to fulfill my dream and enter directing on the day at the director of feature films. hmm well, over time, i realized that there was no watching. it doesn't solve this question of your skill as a director. all this comes with practice and experience. it is necessary to do something to shoot only then. you can probably feel. eh, are you ready for this profession? in general , i understood more that how much the lord has given you , your talent in your abilities is very difficult to jump above this. yes, probably it is possible, but it will entail either physical

or some huge psychological costs . many people break down in this profession. having tried to approach the masters without having, perhaps, that natural talent that should be laid down for you. i hmm realized that i'm probably not ready, but inside i still have it, as it were, and i, as you know, a little boy, still thinks. i'll probably make my own movie. probably i will take off, that is, it is the desire to make a feature film. this is for every documentarian. there is a desire to remove toys, but i'm sure. you've been in television for over 40 years, and in that time you've made over 30. er, documentaries. yes, a documentary one and a half, thousand or 1.600. i considered the program for each director is very

important feedback. that is feedback. that 's how you understand that the film turned out to be a success when you shoot a movie and then go to the festival with this film, and almost all of my films. yes, there was almost no film that was not taken to the festival. and when you go to the festival at and in the hall they sit. uh, people who watch your film. and do you see how they react, how they cry? well , how do they react in the places you like. this is what you know , this is feedback, which is very valuable for any director in one of his interviews. uh, you said that any movie is always filmed for the sake of something. what are you shooting for the sake of what i'm interested in understanding. i never shoot about what i'm not interested in this time. secondly, of course, but i expect

that it will be interesting to the viewer. this is two. thirdly, i expect that it is necessary for our tv channel belarus 3, because everything i shoot is on our tv channel and we discuss these topics and believe that they are needed, these are four, but why else do i shoot in order to so as not to lose qualifications, because you know one thing when you have been doing well for many years. there, the program is a stable format, some things have already been worked out. it's a little bit different from what dulls it there or a little bit uninteresting. no , i'm wondering, anyway, every new one too the hero is the whole planet and the cinema gives you the opportunity to, so to speak, a little. hmm. well , to dream up a little, strain your brains . think about the form, because every movie requires its own form. eh,

sometimes. this is a very painful process, sometimes they even regret that they took up the cinema there, because i can no longer think about the program. i constantly have these thoughts in my head how to make how to do it is not banal, how to make it interesting and natural. well , it takes nerves and time, which is very little, to be honest, here, but on the other hand , uh, these are festivals, and from the cinema , this festival made a successful one. and i said that almost all of my films go to the festival, and the festival is a meeting with colleagues. you are watching other people's films. you are fueled again both in the profession and as a person, it's interesting, has it ever happened, so that life circumstances completely changed your original idea for the film? every film always changes towards the end,

because you can't write a hard script in a documentary the script to drive your character the way you want, the way you came up with, how you would like it to be impossible and, of course, very often there are things that you don’t depend on, and this is very beautiful in a documentary film, unlike a feature film the beauty is you never know. hmm. the end result. it's like a minefield. you see , here you go and you don’t know, that’s where you, uh, will lose. and where will you find it? where is this hmm the right move, and of course, most often it turns out not what you want and well, well if it's good. and if, of course, it all

collapses. and then you get out, then you get out, so that it still turns out well. you shoot a lot about creative people, and artists, cameramen, actors, directors. and what attracts you in the topic of creativity and, uh, what do you want to understand, but shooting such a movie, well, first of all. i want to understand myself. i said that when i started working, uh, and even took my interviews for programs with heroes, and which i filmed these were. here are the directors, screenwriters, producers, emperors actors. i have always looked for answers to my questions. how to make a good movie how? well, in the hope that i will make films myself, but then you know, i'm watching my old programs. for example, i understood very well that through these heroes

, first of all , i was again looking for questions on my everyday topics , on my life problems; it was clear that i was worried at that moment, and genius often adjacent. eh, with some kind of internal breakdown of the disappointments of a personal drama. what do you think? is this the inevitable price of talent, or can it be avoided if desired? it's hard for me to judge. is it possible to escape and i don’t consider myself, you know, such a talented person who constantly feels depression, there is no satisfaction, and so on and so forth. probably, great artists, probably, have such moments of crisis that they demand. well,

the intervention, even, probably, of doctors, but how good or bad it is, but to me it seems that in creativity we always work a little on the edge, but this does not apply to me. i can honestly say that, for example, i feel very well that critical point, through which it is better for me not to cross. although maybe if i had stepped over it, maybe i would have done something more interesting, more masterpiece. well, i have some kind of internal brakes. i understand that if i continue to move in this direction, then yes, perhaps some psychological problems. and i also want to live , i also want to work and i don’t want to get to hospital ward as my friend, who made a feature film, but come. have you ever had

to choose between your profession and your personal life in your life, and is it possible to strike a balance? yes , to be honest, i don’t have a personal life, because i don’t know. it seems to me that my work is more important than my personal life, unfortunately. i can't imagine myself without work. i give a lot of time to work, i probably give little time to my family. not probably, but for sure, i practically did not raise my children, and thank god i have a wife, she, as they say, is a very good housewife and mother, so all the main burden fell on her. i am in this regard, probably, and the egoist

is more interesting to me. it is not interesting to work to shoot being outside the home. i don't know what to do. and what should i do? that's why i can't rest. i don't know how to spend time with my family. i am not burdensome. house therefore, if you could change something in your life. here's what you need to change. i thought about this question quite recently. the fact is that as a person who believes, as a person who knows that fate is leading me through life, i, frankly, do not grumble at fate and believing that by and large

it would not be necessary to change anything, because you do not know what consequences this may lead to in the future for you and your loved ones. it always seems to us that, if we were there sometime, it would be better, only the lord knows what would be better. and what would be, he only knows, and what fate is in store for us. and what awaits us ahead, but i still think that if it were possible to change something, i would, of course. of course we wouldn't. well, when it was possible to give birth to another child? sergey, you not only shoot, but

also evaluate. uh, other work. i mean the work on the fall leaves. you are now engaged in viewing and selecting non-feature films for the festival. here. has your approach to judging films changed? e over the last years and hmm is it hard to be objective? yes, yes, it is very difficult to be objective. mm, it's very hard to be subjective. you know, when i agreed to this position, we will talk. so, to be honest, i thought it was very simple, because according to the rules of our festival. we are accepting films that have already been awarded at other festivals have already

received the main awards and it seemed. what is easier? uh, went through all the festivals. now on the internet. all this is. uh, information, agreed with the authors took the films and you can not even watch them. i know that the jury can be very strange in their choice. sometimes even inadequate, because the mass of all kinds. uh, there undercurrents exist. everyone lobbies their interests there, their authors sometimes, this is not a movie that is personal. in my opinion is the best and when i ran into this, then, of course, i had this operation, that you can’t just trust someone else’s opinion, you

must. you like it because you are in charge of this program. there is such an expression festival cinema and most cases of documentary films, just the same we are, it rarely appears on television screens. why do you think it’s so, well, because documentary cinema is, as it were, a priori for today, it was a special genre of cinema , you understand, today these borders are a little bit, they have leveled off a little, but because documentary film has become more television and this is a big problem for artists who make real documentary films, because there is nowhere to show rentals except as a festival, and who will pay for your experiments in the field

of documentary film, because documentary film is this art is art. the art of cinema, and television cinema is a spectator cinema. and so, as today you can only watch a movie on television. basically you vision buys television is a customer then directors are put here in these frameworks. well, how to call producer films, or something, when they are required to have a spectator film, and this already has a distant relation to art, and then still a documentary film. it has always been very problematic , it was a conflict movie, but it can be extraordinary, unusual, it raised sharp topics, and today, unfortunately, so what time is it? do you already know everyone is blowing milk? what are hot topics? what problematic films do

people need to calm down and show that everything is. fine. a if it's not good, then you will understand well, and therefore, of course, there are problems with documentary films with real honest artistic documentaries. mobile cinema is being actively filmed now. eh, do you think you can make a good documentary on a mobile phone, you can use anything on a camera on a mobile phone, and as much as i have already seen, we even had an uh festival, in my opinion, a smartphone, which the guys just filmed. i was with a member of the jury of this festival, and i saw the game work, there are some specifics for films shot on a mobile phone. no, no specifics. the most important thing is the idea. it's just that

earlier the quality was not very good; today , some phones and shoot, uh, better than our stationary cameras. what will your next picture be about? oh, next picture? i don't want to talk because it's a secret. and yes, and i have, as it were, another application for the film. i think it will be very interesting work. but i don't want to be intercepted by this money. but, by the way, your creative plans for existence are working for you. yes, you know, i have a lot of creative plans. i write this out for myself every year, you know, here, here, here, here, here , what i would like to do, what i'm interested in, what i want to have time to do, it doesn't upset me that there is not enough time and energy for everything. our program is called the meaning of life for you. what is the meaning of life? you know, this is such

a philosophical question that the great minds of mankind cannot answer? and so you know you don't want to be banal. say, that the meaning of life is in procreation, which is important, of course, that the meaning of life is in life itself. i want to say again that i believe that every person has his own destiny. there is a path in this life. i'm sure i feel it more and more with age. and i would like to be able to walk this road to the end with dignity. and at the end i felt it. tranquility and inner harmony thank you thank you very much. this was the meaning of life

sergei gatiyar. belarus is a country with an interesting history, only a report of our trip, baranovichi station the central historical place from which similar railway boom began the country has picturesque corners. this tree is considered a relic, imagine dinosaurs could eat it, it is called ginkgo biloba and it is 250 million years old , definitely unique sights. one of the most important sights in terms of the history of the city of media is this majestic beautiful costume of the mother of god of the scapular amazing people. this was a rich bride. yes, there were so many pillows, the bride had to

to get married, and to have six travel pillows. viy on belarus 24, the patriot system was switched to automatic modes, which are used by default for people who have not been properly trained. well, is everything so simple or is it a victory in words to see the processes that are in the hot phase to explore the schemes of information confrontation one of the most expensive resources today is the time and children the european union today looks like a robber, trying to take away what does not belong to my child's future richard nine months ago came and took away strangers were taken away by the juvenile system of portugal we are not fake my daughter, really keeps the juvenile service of germany in the policy of double standards arguments and assumptions when victory.

ksenia lebedeva's author's project is different. watch new releases every wednesday on belarus 24 tv channel

. on july 1, with what events in the country and the world we begin the new month, i vladislav bondar hello, briefly about the main thing , our new memorial sign to the station in paranovichi restore the chronology of events at a previously unknown location.