, well then, nothing, ivan mykhailovych said, i was terribly afraid that parodzhanov would say, well,d you give me the premiership, with such a political gesture, he says, it's not that he wasn't offended, it wasn't that he wasn't angry , he says, he had the impression that he was so excited that's what he loved, but only give paradzhanov, paradzhanov already liked such sharp , non-standard actions, especially related to him, and he says that after the film, he took marta and i by the hands and led us to his home, and until morning we he had them, because, well, he was afraid that we, well, not us, but ivan would be arrested, well, they were not arrested, then, by the way, marta volodymyrivna tells me humorously, there are versions, he also says... he says, that he walked all night with ivan khreshchatyk and he, well, years later , all kinds of things, but it was like that, and it was, sometimes they say, really, that this is the first maidan, that is, there, next to the maidan, the deceased is unfortunately not the ukraine cinema, because let's hope that it will be revived, after all

life of kyiv at that time in the 60s and early 70s, it was largely carnivalized, well, the same parodzhanov at the center of this group, which also included mykolaichuk, and ilyenko and balayan, many younger and slightly older cinematographers, and they met almost every day, not just by the way, at parajan's, let's say, in yanukovych's apartment, oh my god , yakutovych, it was also such a band, and they, they 're like parranjanov, it's a holiday all the time, festivity, there are a lot of such stories, that's how roman howls balayan still, when he hears something, as if it were a true version from parodzhan, says, seriously, the truth, well, the same mykolaichuk, what a fantasy, once, when i spoke with him for the first time, well, not the first time, well, in the first period, in the house creativity, and we left after a long conversation, and leonid cherrivatko, who knew him much better, looked at on zora, he says to me, he says to me, well, how, i say, well, it’s great, how much he told everything, he says, and yet, first of all, he says, but how beautiful, because ivan was also carried,

ukrainian-centric cinema was practically under the ban since 1973-4 , huh. well, our idols, well, parodzhanovd, not to mention, ivan dzyub was jailed for detention, and he was sitting on this volodymyrska street, i didn’t know, by the way, i thought that the kagabiysk prison was somewhere, later years later i will find out at ivan mykhailovych's, that he was sitting there in the interior, gluzman was also sitting there, and we walked past him to the bus stop, one of my fellow students, such a guy is funny, every time he put on his hat, he pulled deeper and said: they know me here, we , they knew us and we felt it, but at the end we already felt it as a threat, it was no longer funny here, there was no such distance, yes, but this russian-speaking space that surrounded us, well, more and more often we stumbled over it and collided with it. as already when, because students, this is such an environment, let's go, you have already started talking about the beak and about the tiny ancestors, and then we will start a little now with the beak, because just as you and i planned to talk about ivan my