a podcast of isenshtein’s witness, and today our guest is isenshtein’s real witness, andrei sergeevich konchalovskyout andrei sergeevich’s favorite films and about the directors who made them. for me , in a surprising way, a new year's film in in my childhood, in the nineties there was the runaway train, because it was shown on tv somewhere around the new year, well, plus there was also snow there, too, as it were... still god, in general, i took the script, i said, ready, without reading, then i read the script, the script was absolutely brilliant, well, you see, i remade it, and it became not as perfect as that script was, in my opinion, because there was a much sharper plot, sharp plot, it was necessary to create an escape from prison and so on, that is, we thought about how to do... is for the americans to agree to finance such a picture, but it turns out to be interesting if there is someone better out there. his films, including, of course, all samurai, an absolutely brilliant picture, and, but he wrote runaway train for america, and he had a fight, naturally, as a great artist, he could not

real witness of lezenshtein, and today he is finally with us in our studio, and this is andrei sergeevich konchalovsky ten, there is birdman, mrs. alexander, there is chaplin, there is 400 strokes. be shy about influences, they should exist , because influence is a tradition, it can be developed , it is not epigonism, stravinsky also said that... he borrows mediocrely, he is a genius and steals, so you shouldn’t be afraid to steal, you shouldn’t be afraid to take, quote, here same threads, please, endless quotes, wonderful music, of course, this is our happiness that we had the opportunity to travel to starkovsky together in... watch kurasawa, fillini, these, these great, perhaps the last geniuses in cinema, in my opinion, you understand, the language of cinema, how it develops all over the world, reaches its culmination and then begins to die, these big. directors of that time in the sixties , it was, firstly, a time when reading people went to the cinema, when you could stand in line for a monteneone film, for a monteneone film, now you know who will go see, stand in line, it depends on public, now,

we, and above all, andrei sergeevich, had the task of a sincere dialogue with the audience. the director set this task for cameraman livan paatashvili. konchalovskyoom into the harsh light, he squints, so they decided to film in contrast , from very dark to almost overexposed frames. why hesitate and he began to improvise no how to say. impression, lenochka came, swollen, from tears she had some kind of unsuccessful romance, she looked into space like that. in general, she did n’t care, i looked at her, i thought, what interesting girl, usually actresses come, they want, she was sitting like that, but they still decided to try her, suddenly a miracle happened, in every gesture, in every phrase, elena koreneva turned out to be absolutely natural, i’m always with you, well, that’s something coincided, either childish or something. some girl with some kind of girl with some kind of inner maturity and at the same time very fragile as an actress, i scared her terribly, she was playing, i was rehearsing something, i said, now play, that’s how stanislavsky was, mom, mom, how scary, i heard it. when someone knocked and called me by name, so that the acto