khutsyev’s film, have you heard any stories about the work of shpalikov and khutsyev?ldn’t immediately pair him with pelikikha with all due respect to her, what is united is that this is shpalikov’s script, and then accordingly, there in the grain has the intonation of shpalikov, yeah, but this intonation, it is still turned into film classics, by the soul, consciousness and... daneli, the director who saw this, transposed it, the same andrei petrov, the composer, in general, you know, georgy nikolaevich somehow , shortly before his death, he gave me a book, he wrote wonderfully, he published several books, so i remember some interview with him, he said that he could make all his films one more time, except i’m walking around moscow, yeah. and i understand why, because i’m walking around moscow, it was the mood, it seemed like nothing, yes, just like that, and most importantly, i remember, gekolaevich, what you can’t ask is that it was a second-year student then, i switched to the second year , i had experience before this, i starred in an episode in the film the first

have you heard any stories about the work of shpalikov and khutsyev? she is my constant partner, we classmates at the institute, and i remember that she was somehow inspired by working with marlin martinovich and said there was a certain charm of working with him, she was, i remember that. well, to say that some kind of influence, well, firstly, vadim ivanovich yusov, the cameraman, if we talk about visual influence, this is such a lump and such a multifaceted lump, i would say, and i would not immediately conflate it with pelikhina, with all due respect to it is united by the fact that these are shpalikov’s scripts, and accordingly, there is intonation in the grain. shpalikova, yeah, but this one intonation, after all, it was turned into film classics, by the soul and consciousness of georgy nikolaevich danel, the director who saw it, transposed it, and the same andrei petrov, the composer, in general, you know, georgy nikolaevich somehow not long before his death , he gave me a book, he wrote wonderfully, he published several books. so i remember som

i was walking around in moscow, they write that many people compared it with the film by marlen khutsyevecame in many ways an event for that generation of your generation, which you all discussed, said , how revolutionary this is in terms of the shooting method. some kind of influence, well, firstly, vadim ivanovich yusov, the cameraman, if we talk about visual influence, this is such a block and such a multi-faceted block, i would say, and i would not immediately compare it with pelikhina, with all due respect to her, but unites this is that this is shpalikov’s script, otherwise, accordingly, there is shpalikov’s intonation in the grain, yeah. but this intonation, it is still turned into film classics with the soul and with the knowledge of georgy nikolaevich daneli, the director who saw it, transposed it, the same andrei petrov, the composer, in general you know, georgy nikolaevich once, not long before he passed away, he gave me a book, he wrote wonderfully, he published several books, so... i remember some interview with him, he said that he wrote all his films i could have filmed it

out, i ’m walking around moscow, they write that many people compared it with the film of marlen khutsyevd block, i would say, and i would not immediately pair it with pelikina with all due respect to her, but what is united is that this is shpalikova’s script, otherwise there is intonation in the grain shpalikova, yeah, but it’s intonation, it’s still turned into film classics by the soul. and consciousness and georgy nikolaevich danel, the director who saw it, transposed it, the same andrei petrov, the composer, in general, you know, georgy nikolaevich once , shortly before his death, he gave me a book, he wrote wonderfully, he several books have been published by him, so i remember some interview with him, he said that he could make all his films, once, except i ’m walking around moscow, and i understand why, because i’m walking around moscow, it was mood, it seems like nothing, yes, just like that, and the main thing, i remember, nikolayevich, what you can’t ask, is that i was a second-year student at the time and moved on to the second year, i had experience before that, i starred in

came out, i walked around moscow, they wrote that many people compared it with the film by marlin khutsyev classics, by the soul and consciousness of igor nikolaevich and the director who saw it, transposed it, the same andrei petrov, the composer, in general, you know, georgy nikolaevich once, shortly before his death, he gave me a book, his work is wonderful he wrote, he published several books, and i remember one of his interviews. he said that he could make all his films one more time, except i’m walking around moscow, and i understand why, because i’m walking around moscow, it was the mood, it seemed like nothing, yes, just like that, and most importantly, i remember, nikolaevich, what you can’t ask, i was a sophomore then, i switched to the second year, i had experience before that, i starred in an episode in the film the first trolleybus of the gorko studio, that’s all my experience was. that’s why you don’t ask georgy nikolaevich, he slaps his lips like that and says: just like that, just like that, they didn’t particularly rehearse, they filmed practically from one or two takes, t