andrei of course blew up cinematography with his vision, he of course was under the great influence of buñueleply, of course, if the well is very deep, then even on the sunniest day you can see a star in it, what kind of star, yes any, i see, mom, i see, yes, yes, there it is, and why it, because for it now is night. so it came out as night, but is it now night, now is day, for you day, for me day, and for her it's night, and are you rewatching ivan's childhood now or have you been rewatching it since the sixties, well i can't say that i'm rewatching it, so i'm rewatching it. eh, kabiri's nights, these are films that you watch like music. we argued to the point of fighting, but that was later, at first we went in tandem, and then we began to diverge in a certain sense, but that's natural, because he started before me, his style was developing by the time i was just sniffing around the corners, you know, that's why, but i'm very i am grateful to fate that... he and i, that he and i got along for a few years and lived, lived as if by the same ideas, and then we began to drift apart, that's norm

the film by spanish director carlos saura, buñuel and king solomon's table, is dedicated to the jointl, salvador dali, and this poet. perhaps federica garcía lorca is absolutely right, the story in this film is completely fictional, although all these three great creators were friends and interacted closely. fur coats 200 peter jackson, at the age of 12, tried to make a new film about him, making a hero out of rubber, wire hair from his mother's fur coat, but wisely abandoned the idea, but after he filmed the lord of the rings, he was able to film it with a large budget, this is king kong, bravo, 300 fur coats, from the skins of these animals. they sewed romanov fur coats, which became the winter uniform of russian army officers during the first world war. valery, well, this is a sheep school, right, fur coats for 400. who cares? andrey. andrew, theme, monuments and statues. the bet is yours. attention to the screen: in 2011, for the anniversary of the mongolian diplomatic service in ulaanbaater a monument to this particular european was unveiled. marco pola. right. festival of russia

"bergman came, kurosawa came, buñuel, everyone was there, but no one could work with hollywood cinema no one, everyone fled, because it is the cinema of producers and box office receipts, and of course, neither fellini nor bergman could even imagine that, and even more so kurosawa too, in fact, he came to the soviet union after that." yes, but the soviet union gave him complete freedom, we edited at the same time, i edited for myself in a row, and he edited the back in the hall, we just, i didn’t know him then, i wasn’t familiar, and he sat, smoked, there in the smoking room, always smoked, i sit there like a fool, yes, that is, you didn’t try to approach, no, i was very rabel, i was afraid of him, well , god. god, that is, it turns out, all other things being equal, in the soviet union it was easier to film at some points, because the state provided the director with all the resources of the budget. it was not a problem at all, well , they called me to the management, they said, look, you have an overspending of outrages, you still need to give you money, well, and no one in russian,