yes, i am convinced that we can solve this problem. today, arable land is the gold fund of belarus, in the truest sense of the word. over half a century, the average area of ​​arable land per capita in the world has decreased more than twice. yes, the fertility of land is increasing, but in general there is significantly less of it, and the deficit is becoming increasingly obvious. belarus is a country relatively small in territory, but not as small as it may seem. in terms of arable land per capita, we are confidently among the top countries in world, so the indicator is almost 12 times ahead of switzerland, four times ahead of germany, twice ahead of france, behind canada, argentina, russia, kazakhstan and a little behind the usa, but in terms of territory our countries are incomparable. so preserving and developing agricultural land for the agro-industrial complex is the number one task our lands are our strategic natural resource. if there are not many minerals underground, we have to get food for ourselves to earn money on what can be collected. from the surface, the climate

does not spoil us either, but where is it ideal today with such a number of cataclysms. another important advantage of belarus is its careful attitude to agricultural land. we have not used harmful technologies for a sharp increase in yields, which lead to rapid land degradation. strict adherence to technologies is one of the main priorities of the agro-industrial complex, which is regularly demanded by the head of state, hence the high quality of belarusian food products recognized by many. inorganic products without unnecessary chemicals against the background of a growing deficit of quality products are an increasingly valuable factor and competitive advantage. it is not for nothing that the west, despite all its technological might, is already beginning to use technologies that are questionable from the point of view of the well-being of the human population. no matter how we treat each other, it must be admitted that the us and the eu know how to think strategically, so they understand that it is necessary to somehow accustom the population to the new realities of deficit.

the un has already promised a billion hungry people in the world. the un has previously set a deadline for achieving victory over hunger, as in the case of climate change.

this is evident even from the fact that in the world every year dozens of conferences on fighting hunger are held, the benefit of which, however, is close to zero. after this, there is nothing to add, only we ourselves can provide for ourselves, while the climate and conflicts are increasingly pushing the world to the brink of famine, our golden fields, you must agree. are such not only because of their natural color. happy. only for our tv viewers, we choose the best routes. friends, it is hard to believe that we are now exactly where it once began. the city of minsk, where are we going? first

safety, and you, tell me where, you 're driving, the next stop is asersov, let's go, yes, bye, and we're heading off on a fascinating journey around our country, how was this memorial complex created? the boys of our school, the search engine of the local history. the history and geography teachers brought a note from the newspaper, which described the battle on the nameless height, and the settlements of our area were indicated. alexander, i understand that your team selection as such does not exist, but if i wanted, you would take me, well, naturally, no problem. discover belarus together with the tv channel.

belarus 24. they are dedicated to their work, ready to share their knowledge. modern technologies are developing so fast, today artificial intelligence rules the world, probably in 50 years the museum will look a little different than today. no matter how modern the technical capabilities are, people come to the museum, after all , to touch the genuine historical, art, literary artifact. and our mission, i believe, is to preserve historical memory for the sake of future generations. show one day from your life the forests of belarus are truly our heritage, our beauty, our pride, in order to preserve this wealth, it must be protected from pests and diseases, for more than half a century we have been guarding the protection

of forests, our main concern is the health of the forest, protecting it from pests and diseases. watch on the belarus 24 tv channel . boris alexander mikhailov, a participant in the great patriotic war, hero of the soviet union. in 1940, he was called up to serve in the workers' and peasants' red army. since october 1941 on the fronts of the great patriotic war. by october 1943, guards lieutenant boris mikhailov commanded a battery of the anti-tank

artillery regiment. finding himself surrounded, the battery repelled all german attacks, destroying five machine tools, two. for,

i say, and why are you smiling all the time, he says, hai? iago is a little so irritating, one of the most furious desires of the unfriendly west to ruin our relations, the first and most important question, for what? we do not need luck, we need success, luck is needed by the unprepared. i worked only with great masters. vova, i love you very much and want you to develop intensively. and fully, and you and people will be fine, with the word believe, our activity began, so you want, believe it or not, but it is a fact, in total i studied to be an artist for 8.5 years, a person is active, attentive, speaks well, well, in any

case we saw a russian. hello, on the air is the program "say ne molchi". today with you victoria popova and tatyana shchyurbina. and today our guest, people's artist of the russian federation, vladimir mashkov. good afternoon, vladimir lvoevich. hello, hello. we are very glad to see you in brest, the filming of the picture was not listed, based on the story of boris.

only then can it get into the heart of the viewer or reader when it is sincerely filled. for the purchase of wheelchairs for soldiers

who went through the great patriotic war, and then we know that there were censorship interventions, this story was banned, banned for a long time, for a long time, only in the eighties it again found its life, you see how waves of understanding, misunderstanding collide even... you, it's about a young man who is a little over 20 years old, he is a lieutenant who

arrived at the fortress on june 21, and on june 22 the war had already begun, he is one of those who was not listed, one of those unknown soldiers, but who during this battle, which he waged with his comrades, and then already... during 300 days in the brest fortress, they formed him as a person, as a great personality, a person who knows what he is defending, we do not know, we cannot yet predict the audience reaction, but the actors of your theater, yes, who are all busy filming the movie, they went through the school of a young fighter filming, tell us about it, yes, it's true, we... i'm very happy, it was my long-standing dream to make a movie together with

the team of our theater from the theater school of oleg tabakov, thanks to timur weinstein, my friend the producer, who suggested making this story, and we are doing it on our vacation between tours, this is very important for the team, which... i have been leading for 6 years now after the departure of our heavenly artistic director oleg pavlovich tobakov. it seems to me that the team is incredibly viable, it is based on our students, and this story is very important for them, and indeed, before we started filming, there was a lot of work with the director, a wonderful young man. we also have

an amazing cameraman igor grinyakin with whom i worked on the film "movement upward", in general , such a powerful, real team has gathered, and the guys really lived in field conditions for 10 days, cooked their own food, repelled attacks, studied according to the regulations of the thirty -eighth year. in general, they carried out, albeit small, but very intensive work on themselves in understanding what, what they have to do, filming is really very difficult, and morally, and physically literally descend into these spaces, since we began filming here in the brest fortress, in those places where these events took place, now...

to continue filming, in general, this is a huge work of the entire team, and of course, but the center is to create this space where we will always the center and in the theater in the cinema is the actor with his living feelings and emotions, i wanted to remind our viewers that there was already such an attempt in the history of the contemporary. year picture, where the contemporary artists took part, let me go, let me go there, daughter, she was just here, how can we live, will we all the same threads burned, and stop being?

with a briefcase, with a thin neck then, in which in the briefcase there were very important documents, and if we talk about the tabakov theater, at first it was conceived as a studio of young artists for the sovremennik theater, well, again history separated tabakov from sovremennik, and

then he opened his own theater, now you see, fate turned out that i became...

with creators, creators, and themselves, that is , they are not performers, silent of someone else's will, when there is talk about a director's theater, i do not really understand this, if you look at the history of the development of the theater, all the great directors were initially artists, they knew what it was like to exist on stage. because sometimes directors come who have never been to never on stage, they start telling something, maybe even very excitingly, verbosely, maybe partly convincingly, but then they can’t build a living life on stage, you understand, generally watching an artist, there is such a thing as watching an artist, it’s

a very difficult thing, and the artist, they also got used to his school, to his manner, and now they get used to you, i never had any contradictions in creating a performance, oleg pavlovich, as soon as i came to the theater, i immediately began to do it myself performance, to provide him with this activity, for me he was the leader i wanted to provide. how i see this world and to make him happy, and he, starting from the first performance, here we had a performance that i did between rehearsals on my own, we dragged the scenery from the street, we found some broken bench, a piece of a fence, costumes, everyone who had some old stuff dragged, guys, where did we go swimming

, it's too early to swim, bolt, colotnaya, well, how did the daughter promise tedyo tedyo, do you want me eyes. pi in your eyes and words i remember again, i repeat, who told you, svyatlan, you always thought that you. when tabakov watched, i say: wow, listen, a good performance, play, that is, it was quite dynamic, after that i did the next performance, passions for bombarush,

then the death number, and he already told me everything then, govka, that i then, you stage, okay, i'll go work as an artist, and you stage, therefore in this sense there was a blessing, yes, yes, yes, yes, and i, since these performances have been going on for many decades, and a performance requires a lot attention, this is not a movie, but in any case , the actors in the movie will play well or badly, and the theater is a constant movement, if the performance is not filled with energy, ideas, meanings, not reminded before each run, it begins to collapse, so this is a very difficult activity, and near the tabakerka theater, on malaya sukharevskaya square, a sculptural composition of the sun atom by alexander rukavishnikov is installed,

it is dedicated to your teacher oleg tobakov, they released it for their sixtieth anniversary and the play of the same name, once the playwright viktor rozov said about oleg tobakov that he illuminates the play with his talent, as if he swallowed an atom of the sun, here you have it. another thing, stanislavsky, it seems to me, said it very accurately, he was often in the formulations, very unexpected, he said

that talent is first of all a choice, a choice of the right word, the right action, the right people, the right activity that you are engaged in, therefore it is very important to find your activity. find the word that will lead you, the goal, and not just a goal, and a goal that is illuminated by meaning, starting any work in the theater or in cinema, i always ask myself and those with whom i work, the question, the first, the most important, for the sake of what, if we talk about cinema, which we are engaged in today, over these 80 years there have been many technological changes,

technology has moved very seriously forward, but if we talk about a person, he was, so he remains the same as he was with all his passions, fears, love, hate. discoveries, here is this incredible paradox, it seems like technology is moving forward, but man remains unchanged, so, apparently, art is made to balance man with the world, in the most difficult and responsible moments of life, you dreamed in the film challenge by director klim oshipenko, this is the first full-length film, separate scenes of which were filmed in space, but this film is dear to us also because ...

and the cosmonauts, who, who had a huge responsibility, they took into orbit, just people who initially, perhaps, were not ready for this, to me it seems like a big breakthrough in science and in general in understanding a person, his capabilities, plus of course. for these shoots, everything that you see in the frame, related to space, it was shot in real space, all the technologies,

including shooting,

after the ninth grade, from kaliningrad to i will explain, we recruit guys from all over the country vladivostok, we have a huge selection, nine rounds, we look at about 300 young people who are trying to realize themselves in this profession in one way or another, we select 24 people. and then at the expense of, this is free education, my opinion, not everyone may agree with it, but i am convinced that it is impossible to train a platinum artist, because here there is an opportunity to take a person who is not very capable of this activity for money, this is free training, we bring the guys at our own expense at the expense of the moscow government.

to our boarding school, they live there, we feed them five times a day, they literally from the first year of study go out with us on the professional stage, in general, these are the people who we had our first graduation this year, the guys study for 5 years and receive a diploma higher education, one of the... people has just graduated, after all, it's not easy to get into our school, and it's even harder to stay in it, if a young person doesn't show his desires and aspirations during the first year, we simply send him back to school on his own, and then he decides what to do there, so in this sense, we are an absolutely evolutionary school, do you know how many artists

graduate in russia? every year, more than one and a half thousand. is that a lot? if all one and a half thousand found something to do, yes, that would be normal, but when out of these one and a half thousand about 10% get a job, i think that's bad. and due to what circumstances? due to various circumstances. i say again, this is a profession, practically. with zero guarantee, it is very difficult to guarantee a person success in his life if he himself does not take part in it, if he himself does not develop, therefore, returning to vlad miller and to all the guys, the majority of our theater is made up of actors and guys who graduated from theater school, these guys are constantly

developing, moreover... they themselves are teachers, i involved them in this activity, this principle of teaching, learning, it works very clearly in our theater holding, that's why i let the guys go to act in films, they are in demand there in this sense, but they know that their main place of activity is the theater, if they do not violate, i let them go to... disciplines, but if a person decided that he is more interested somewhere temporarily, then we always let him go forever, well, this is because you are also that theater director who has proven himself well in cinematography, you understand what are we talking about, yes, yes, well that's why it seems to me that the guys who come to us, here are 11 people, but these 11 people, all of them are settled in the theater, all of them who are not settled in

the theater, work in cinema. these are young, competitive artists. and for now we 'll take a short break, let me remind you, we have a telegram channel, say don't be silent, subscribe, ask questions and suggest. guests, the program say don't be silent is on the air again, and today our guest is people's artist of russia, vladimir mashkov. vladimir lboyevich, when did you pull out lucky ticket, but when you realized that yes, i succeeded in this profession, well, you know, i pulled out so many times. these tickets that seemed lucky to me, i pulled out my lucky ticket when i was born in a family, uh, my mother was a director of a puppet theater, puppets, yes, puppeteers, the greatest, uh,

an amazing woman and absolutely knowledgeable about this profession, and my father was an artist. puppet theater, in my opinion, the greatest artist of the puppet theater, he not only worked behind the scenes, behind the stage, he went out live, as they say, in the puppet theater, he was the leading actor, that's the atmosphere i lived in, despite the fact that i liked studying biology and entomology, but nevertheless somehow i was so drawn to this activity,

and to talk about a lucky ticket, here you know, in this activity, counting on luck, it seems to me, is wrong, although it partly exists somewhere, yes, here one of the cheerful people said that we don't need luck, we need success, luck is needed by the unprepared, therefore... in order to exist in this profession, you always need to prepare, to prepare for the next step, for the next action, you need to do a lot of work with yourself, with the team, you need to ask

yourself questions, only then in knowing yourself and the life around you there is this movement, movement forward or upward, well, it seems to me, this is also oleg pavlych, of course, he, well, you yourself said, took it back, he also decided, yes, he is the godfather, after all, for many artists, well, of course, of course, i, and when i went to enroll in tabakov, in this sense, you know, students of theater teachers, applicants enter all theater schools, i hope for luck, yes, i will show this one the light.

that a young man of 15 years old comes and you say: here is a genius, a star, this is excluded, we can see some data that were given to him by his father and mother, from god, from

the teachers with whom he works, some data that, let's say, are useful for this profession, a person is active, attentive, ae... speaks well, which is also a rarity, because many speak very badly now, after all, the word and in general, why it is necessary very early knows to work with young artists, there is an opportunity to correct their speech, because this is the expressive means that they will use all their lives, i change it, this is how his body works, how rhythmic he is, how musical he is, eh, how charming he is, eh, how fearless he is, then you look... he can develop, he

is developing, or he has, tabakov called it paralysis of the will, that is, if a person does not develop, he is given a task, and he does not complete it, this is called a breakdown of the will, then a person is let go, well, so as not to fool him, not to explain to him that dear, but this is your profession, you must work very hard and selflessly. on yourself, on everything that surrounds you, in general, an artist must read a lot, observe, in general, observation is one of the most important features of an artist, so to speak, this is a star, it seems to me, this is close to failure, let's talk about remakes, did the film nikolai lebedev's crew, in which you played the role of commander leonid zinchenko, manage to repeat, in your opinion? the success of the film by alexander meta. well, as far as i

i understand, a remake is actually a literal retelling of the material. in this sense, the film the crew, except for the title, has no similarities with that wonderful, great film by meta. eh, a completely independent story with its own heroes. by the way, meta was a consultant on our film, you know, i remember very well when the film the crew came out and what the queues were like and how people watched this film, well, at that time we didn't have much choice, in general, and i 'll tell you this, if you knew how much they criticized it, when it first came out, how critics scolded it, how they scolded it. pilots, in general, this

sometimes happens with films, yes, and the audience liked it for its kind of inner heroic component, even the most absolute blockheads, like filatov, do you know what the difference is between theater and cinema, globally? at the center of cinema is photography, there are just a lot of them, photographs, in the theater - it is a living artist, here now existing, with absolutely different, a different level of interaction with the audience, here is a living artist, there are friends, a different technique existence, in cinema, it is based on even more... verisimilitude, because the camera comes close, in this sense, this very

change in the frame of the artist is this miracle, this is what i pay attention to, how the character changes inside the frame, not due to the cut editing, here he is cheerful, here he is sad, here is a wall on which something is written, that's when inside the frame... i see that a person begins to love or hate before your eyes, this is such a very detailed activity, and for the theater it is very important with all details, energy intensity is important, clarity, to keep the attention of a thousand-strong audience here now, if i ask you what you like to do more in this life, work in the theater? or act in films, vladimirovich, what will you

answer? well, i say again, these are completely different activities and uh, for me, the theater is the place where the artist grows, learns every day, they don’t learn in the cinema, there is no time to teach actors in the cinema, there is little time, they take... how do cinematographers correctly take those who are ready for this work in one way or another, no opportunities to work with a person for a long time, sometimes you just need to deceive for this shooting.

but there are such, there are such, and in any case , such cinema interests me, once you gave the audience a wonderful comedy, the new year's orphan kazanskaya, it seems to us that in general even no christmas trees can compare with its success, it is unlikely to be interrupted ever show it so often, as well as the irony of fate, in connection with this the question, do you have an understanding of what the secret is at ...

we have already filmed, so it was written oleg antonov, who is currently the author of the script for our film, which is currently being filmed, he is the head of the literary department of our theater, he is an actor, playwright, screenwriter, he has worked a lot in this sense, you see what a spectrum, now he is, that is why we wanted to film this story, so we had this, this...

this is depressurization, they knock on my porthole, point to the clock, but this means time has started, that's it, stop, who knocked on your porthole in outer space, who knocked, it was me, i ask, who, where, in porthole, where in space, did you fly or not, pasha, tell the truth, everyone here is ours, well, i didn't fly, you know, when we left for filming, we started filming, i'll say it again, in march, i

looked at the street every day, we had to go to the village to film, it was already spring outside. it's leaving, gone, gone, already irretrievable, we bought, i remember, almost two train cars, uh, of some materials, similar to snow, rags to cover the roofs, white, towel, uh, foam rubber, salt, well, in general, everything that we were desperate for, that's what you want, believe it or not, but it's a fact. on the day we left for filming, i woke up at 6 a.m., opened the window and realized that everything around us was covered in a 30-centimeter layer of snow, luck, everything, success, exactly success,

because we didn't count on luck, we prepared. and i called sasha borovsky, the artist of the picture, and said, sasha, did you look out the window, he said, i'm looking now, and we went to film, and everything was covered in snow, and it started to drip on the last day of filming, it started, and it held out, we filmed, these street scenes, i think, for a week, a little bit. all the time this was snow, this is what it is, apparently, up there they also understand that we are probably about good, let's help, here is a new year's fairy tale. well, that is, you believe in some kind of mysticism, well, with the word i believe, our activity began,

when stanislavsky shouted: do i believe or not, without faith in our activity it is impossible to live, you tell amazing things today with your busy schedule, that you sit at theatrical rehearsals, do not allow performances to fall apart, and at the same time , golden masks are also used in cinema, and the union of theatrical... this is why vladimirevich such efficiency and self-loading precisely the covenants here are those very oleg pavlych to develop yes partly you are right his phrase which because this was also such a discovery for me tabakov once gave me his book my real life some other edition i... i read it there asked questions to oleg pavlovich there, by the way, he describes it like this, he says, i

already determined the place of the leader for volodya in the first year, here, but he persistently climbed the stage with some sketches stupid, but i really had two or three masters every day, he asked who would show, i said i would, he could no longer see it, because the sketches were different, not always successful, but... actively, i was still making a set, i said, i need to prepare for 20 minutes, i was building some kind of set, then i showed some crazy excerpt, what a nasty boy he was, oleg pavlovich left and literally a few days later i had this book lying around, i opened it again and realized that the pages on the first page were stuck, so i tore it off once i understand that there on... here i had a message that stuck, i was stunned, and there was this phrase of his, that vova, i

love you very much and i want you to develop intensively and fully, and you and the people will be well, this is not only a testament to me, to all his students, to everyone with whom he worked, therefore, since fate unfolds this way, i did not look for additional activities for myself. they are so, so the proposed circumstances developed, that is why i try to develop intensively and fully, and above all, so that the team that around me, let's take a break for a while, after a short break we'll get back to the conversation, for now subscribe to our telegram channel, look for all our releases on the belarus 1 youtube channel. today we

are in brest talking with people's artist of the russian federation vladimir mashkov, we argue a lot in belarus, including about these unions, are they needed, are they not needed, what to do with them, what do you think, does the union of theater workers need a reboot, but we are doing this, in 2 years there will be the 150th anniversary of the union of theater workers, this is an organization that was conceived as a society to help artists, and i don’t know of any public unions like these that have existed for a century and a half, and no matter what situations occur, it’s very important here, because i’m saying it again, and support , understanding, you can include journalists, they...

come to us with pleasure, you know, now we’ll probably sign a cooperation agreement with krygstan, the union

of theater workers, and of course, if... and belarus joined in, especially since we are such fraternal peoples, so understanding each other, my life is connected with belarus for quite a long time, and i worked with different teams, you have great masters here, and there was such a picture, a hunt for a piranha, what do you need, buy a machine gun? how much will you throw a thing to get dressed 500 rubles more we will not give, well that's normal, come in, we filmed in karelia and in belarus, there were the brightest shootings, i remember them all my life, and now we

are working with your mastersi hope that in december our theater, the theater of oleg tabakov will come on tour, while it is being decided which we will bring the play, i also wish, yes, we really want to come, let's discuss hollywood a little more, because well , i can't help but ask you, you are just one of those few actors who stormed it and successfully, we had very good relations, maybe in the 2000s, yes with america, with the american.

otherwise, they always defined enemies, with whom they should fight in big cinema, who are these enemies? well , russian, of course, and if you say, they became good to us, no, they understood that, well, if we talk about how i got there, i didn't i was driving, it so happened that i was invited, the film thief came out, uh. which was a huge success all over the world and was nominated for an oscar, faster, faster, and you, seryoga, this one was hitting, hitting, and you, don't interfere, leave me alone, then vmash, to each his own vmash , well, vmash, more, more, well hit, more, hit, well, porozhye,

porozhye, i said, well hit, well, that's it, that's it, that's it, calm down, that's it, let's go, that's it, after this film i immediately received an invitation to act there, they saw in you the ideal bad russian, well, in any case they saw. russian, for them it's very important, how popular is the person they invite in the country, in their own, because this gives them the opportunity to sell this painting, to belarus, to the territory of russia, and so on and so forth, that is, they immediately give, instantly then they gave the opportunity to work

yes...