but regarding the question about festivals, i still have the feeling that balabanovo’s films did notizes, or am i wrong? i also have this feeling. well, well, well, okay, how do you explain this? i don’t know, maybe he somehow didn’t get along well with the selectors of major festivals. was it important for him, for balabanov? well, he wanted, yes, yes, it would not be important. and even strengthen and emphasize them in order to further frame these wonderful people a little, somehow energy disappears with age, and cinema is energy, i always said that after 50 you shouldn’t make films , well, i made a stoker after 50 , people have given up in different ways. they make movies, there are people who make movies out of thin air, and i made them out of thin air, he thought he was a good person. i, of course, appreciate everyone who, with some respect, with some even respect, yes, is doing similar work, we continue conversation, this is a podcast about the life of wonderful people, our guest is producer sergei selyanov. i must say that i practically didn’t know him, the only time he invite

films, he wants to somehow understand them deeper, i really love balabanovo’s films, i really want because the feeling is that one film is not something... that’s the answer to your question about the soviet union: balabanov was a very free person, and this is not a soviet person, and the period of his creative growing up and maturity there fell, fortunately, at a time when he could already afford it. he was not a person, well , they often say about writers, he writes one book all his life in a good sense of the word, yes, that he is cultivating some topic that worries him, which he feels, understands, which... he had the most intense and mutually comfortable dialogue with the reader, he loved it. cinema is undeniable, yes, but cinema is different, and therefore you can love it, as they say, from different sides, and he did it, it was all very organic, naturally, it was not some kind of , say, calculation, here i am now i’ll shoot this, and then i’ll shoot this, and then i’ll shoot this, he’s in the first half of his creative life from creative excess , as they say, please tell me,