in fact, of course, it seems to me that bodrov’s secret lies. the fact that he plays even the most negatively, roughly speaking, yes, and you begin to love this person, trust him, you fall under his charm, this is just such a trick, this is art, that's what you can't separate from glory those lords on the composed elements , here it’s all together, it’s an image, try to make it out, such a killer like... from which you become numb with sympathy, some kind of empathy, with everything, with all of this, and this author’s statement, it all the more implies such, well, like the creation of images that are absolutely full-blooded, that is , internally contradictory, as if, in general, it premiered at the cannes festival, then it toured the festival in 1980, then we stopped following, well, that’s it -still indirectly, as it were, emphasizes that nevertheless a less original work, but because they are festivals... understandably, he is interested in auteur cinema. but regarding the question about festivals, i still have the feeling that balabanovo’s films did not receive enough international priz

in fact, it seems to me that bodrov’s secret is that he plays even the most negative role, well positivelys, and you begin to love this person, trust him, you get there. or am i wrong? i also have this feeling, well, well, well, okay, how do you explain this? i don’t know, he probably didn’t get along somehow, nevertheless, in chemistry with the selectors of major festivals, but for him it was important for balabanov, well, he wanted to, yes, yes, it wasn’t important to me, well , somehow i wanted, in a simple way, he somehow appreciated it in his own way. this attention, despite the fact that at the same time he didn’t value it at all and, as it were, sat there, didn’t like any events going somewhere, he didn’t really like giving interviews, if the interviewing journalist managed to somehow come into contact with him, he was ready, this was instant chemistry, again, well, it seems to me, an example of just such chemistry this film, which is called an afterword, and even to strengthen and emphasize them in order to further frame these wonderful people a little, somehow this energy disappea

at sergei bodrov's senior in the film “unprofessionals”, you played the role of zhenya, and there thev, by the way, he was a screenwriter in many films, and then this was his first directorial work, great, i came to him for an audition in some kind of robe. from st. petersburg offered to act in the role of a hundred-year-old old woman, i said, please there will be a hundred-year-old woman, but she is a cannibal. don’t think belzho, you yourself star in this old woman eater, interesting, yes, interesting , you refuse, i refuse, of course, in the film the last resort you starred with the famous belarusian actor, viktor tarasov, what were your impressions, working with him was great, what’s wrong with you , stop, calm down, no, this is not life. the children have become adults, at least we can live in peace for the last time, we’ll live, mother, we’ll live, but i remember that we worked in general when the actors, well, how can i say, well, how to put it mildly, for example, with kuznetsov, with kuznetsov, we - how to say , well, we didn’t talk right away, we went into the frame just lik

sergei bodrov, by the way, he was a screenwriter in many films, and then this was his first directoriald of robe, in some kind of floor, well, in a general jacket, in which i washed the floor and a white beret, and he says, that’s it, you ’ve been approved, i say, well, you need a suit, will you act in this suit, did you act in this one, did you intuitively choose the image for yourself? i didn’t choose, my dear, i was chosen. i could only refuse or agree, recently film director bilzho from st. petersburg offered to star in the role of a hundred-year-old old woman, i i said, please, there will be a hundred-year old woman, but she is an cannibal, don’t think about it belzho, you yourself act in this old woman, an cannibal, interesting, yes, interesting, do you refuse, i refuse? but i remember that we worked in general, when the actors, well, how to put it, well, how to put it mildly, for example, with kuznetsov, with kuznetsov, we, how to say, well, didn’t talk , we immediately went into the frame, just like in the same boat, so it happens like this, here myakhkov and i... stood and voic

perhaps, it seems to me, for a little bit it was present there, that here is the script of sergei bodrov here he is on the screen, here is another theme that has always attracted me to balabanov and even somehow intrigued me, and this is the yakut theme in his work, in his fate, and this film... the tragic story of the film river with the death of the actress and of course the film kachigar, yes, where is this yakut theme sounds, but how did he come up with it? well , i also have something to do with this, it was before karmadon, that is, they lived and worked vigorously, lyosha came up with a lot, but nevertheless, well, there were always some high-quality, interesting ideas, they were always valuable, and... one day i came into the hands of a script, the screenwriter eric paezyan gave me the script, written based on seroshevsky’s book, the limit of grief, i began to read it with some skepticism, but when i read it, i realized that this is some kind of really powerful story, from balabanov there were questions about this script, and balabanov then kind of wrote it, so to speak, again, s

because i didn’t take him as an artist, but a person who, well, together with me, it seems to me that bodrov’ss composed elements , it’s all together in it, it’s an image, try to make it out, the kind of killer that... that makes you numb with sympathy, some kind of empathy, with everything, from all this, and this author’s statement, it all the more suggests such, well, like the creation of images that are absolutely full-blooded, that is , internally contradictory, as if, in general, it premiered at the cannes festival, then it traveled to the festival 80 , then we stopped following, but still indirectly, as it were, emphasizes that this is nevertheless a work of the author’s own, because, of course, they are festivals. in chemistry with the selectors of major festivals, but for him it was important for balabanov, well , he wanted, yes, yes, it was not important, well , somehow...

perhaps, it seems to me, for a little bit it was present there, that what here is the script by sergei bodrovthat intrigues me balabanov has always attracted and even somehow intrigued, and this is the yakut theme in his work, in his destiny, and this film, the tragic story of the film morik with the death, and... actresses and of course the film kachigar, yes, where this yakut theme sounds, but how did it come up with him, why i also have something to do with this, it was before karmadon, that is, they lived and worked vigorously, yosha came up with a lot, but nevertheless, well, always some high-quality, interesting ideas are always valuable, and one day i came across a script, scripts with... conveyed by eric paezatian script based on seroshevsky's book the limit of sorrow. i began to read it with some skepticism, but when i read it, i realized that this was some kind of really powerful story. balabanov had questions about this script, and balabanov then wrote it, so to speak, anew. siroshevsky is a polish son who wrote a great work yakut and he is like that. i studied yakutia as a scienti

artist, but as a person who , well, together with me, actually, of course , it seems to me that bodrov’seven the most negative role he plays, well, positively, roughly speaking, yes , and you begin to love this person, him trust, you fall under his wallpaper. yes, this is just such a trick , this is art, this is something that cannot be separated into words, lord, into composed elements, here it is all together, this is an image, try to make it out, such a killer, from whom, from whom you are numb with sympathy, some kind of empathy, with everything, with all of this, and this author’s statement, it all the more presupposes such a well... as if creating images that are absolutely full-blooded, that is, internally contradictory, as if, in general premiere he was at the kakansky festival, then he went to another 80 festivals, then we stopped following, well, everything indirectly seems to emphasize that, nevertheless, it is an author’s work, but because festivals they are understandably interested in auteur cinema, that’s the question about festivals , after all, i have the feeling that ba

at the trans-siberian art festival, the world premiere of kuzma bodrov's second violin concerto performediller's drama perfidy and love. at the st. petersburg theater of musical comedy, the opera by agana strauss and die fledermaus , directed by igor konyaev. musical director and conductor andrey. alekseev. ilya del plays the main role in the play profidot sagittarius on the stage of the lensovet theater. the fairy tale by leonid filatov was staged by fyodor pshenichny. the ballet call of the steppe to the music of kuat shildebaev, renat gaisin, tole gen mombekov and carlos pino quintana is shown at the astana opera, choreographed by patrick de bana. hamburg ballet presents john neumeier's ballet, anna karenin, based on the novel by leo tolstoy to the music of pyotr ilvich tchaikovsky and alfred schnittka. in paris. the exhibition egyptian pharaohs is open in the digital space of the atelier of light until the end of the year. on an area of ​​3.00 km , there is a large-scale video installation demonstrating three millennia of the history of the egyptian pharaohs, from the birth of the anc

choose an artist, but a person who, well, along with me, in fact, of course, it seems to me that bodrov’sthe fact that he plays even the most negative role, well , positively, roughly speaking, yes, and you begin to love this person, trust him, you fall under his charm, this is just such a... trick this is art, this is something that cannot be separated into the glory of the lord into its composed elements , this is all together in it, this is an image, try to make it out, such a killer , from whom you freeze with sympathy, some kind of empathy, with everything, with all of this, and this is the author’s statement, it all the more presupposes such, well, as it were , the creation of images that are absolutely full-blooded, that is, internally contradictory, as if. i don’t know, he probably didn’t get along somehow, nevertheless, in chemistry with the selectors of major festivals, but for him it was important for balabanov, well, he wanted, yes, yes, it would not be important, well, somehow he would like , in a simple way, he somehow appreciated this attention in his own way, despite the f