, the great lioznova made a television film 17 moments of spring, which captured the souls of all peoplewn the street, the street died out when 17 minutes passed, so i even took away my father’s films for quotes, as probably 17 moments, and until 17 moments more like this in jokes, chipaev went into quotes, if you remember, well, i don’t know the secret, i know that of course he created his own cinema, which does not enter into any rival competition. a different matter, this is necessarily communication with the audience, these are slightly different laws, what exists in the theater, cinema very rarely conveys, you know, the viewer comes and the performance, the performance is born at the beginning as an idea, then the play is written, then rehearsed in the rehearsal room, this is the second, third birth, then you leave the stage, and then the audience comes, so then it begins... as co-creation, the audience necessarily participates in this, but it seems to me that television comes closer to this than cinema, when you are right here in this same room or kitchen with the viewer and talk l

when the screen captures this energy , some elusive rays, it seems to me that this happened with lioznovaness and some kind of mannerism, but at the same time it was beautiful, it seems like it’s true, but it’s some other truth, its truth, and you know, but alioznov told my father that efremov looked at it somehow, well, well, he’s playing something, playing, okay. then, when he looked at the material, he asked to re-shoot some footage of himself, these are wonderful plans, when it’s raining, when he’s cast for a role, this was then filmed, actually for the audience, moviegoers, and the acquaintance with mark antolyevich zakharov happened in a rather unusual way, because he turned out to be a co-author of the white sun of the desert, and specific details, yes, but it is extremely important that he was involved not just in the script. which passed through many hands, through the hands of ibrahim bekov, through the hands of valentin gezhov, and before that the basis was written by andrei sergeevich konchalovsky together with friedrich grenstein, here is mark anton zakharov joined at the mom

television is television cinema, which later became fashionable over time, although - lioznogo, the great lioznova 17 moments , so i even my father’s films like that - they wasted on quotes, probably 17 moments, and up to 17 moments you still have like this... chipaev, if you remember, well, i don’t know the secret, i know that of course, he created his own cinema, which does not enter into any competition , rivalry neither with hollywood films, nor with the films of nikita sergeevich, mikhalkov, nor with anyone else, nor with gaidai, nor with anyone, this is such a different cinema, its own, like its own theater, this is an auteur cinema, this is some kind of poetic fantasy . at first, it seems to me, these were theater performances transferred to the television screen, as far as i understand, satire theaters, what was done, wake up and sing, for example, in 1974, a film was made of performances, this is such an interesting genre in general, which is a film performances, weren’t they filming from the auditorium, no, no, no, there were performances that were transferred to the stage, specifically