famous, wonderful, magnificent. director pyotr tsedorovsky and then khutsiev was advised to margarita pelikhinaemale cameramen, but they either worked as second cameramen, with their husbands or with their former geek teachers, or they worked in documentary films, that is, they were somewhere on the periphery. and pelikhina was already a really famous operator. people in a crowd with equipment that was far away, it was necessary to film people in a crowd, how to film something other than a cell phone, yes, how do you place your characters in a real crowd, so that it would be like a documentary filming, then margarita pilikhina cut out in.. . sports bag, a hole for the lens , put a small camera with a small short-focus lens there, yes, next to her was an assistant who was carrying a battery, and somewhere in front of them in the crowd there were actors and a director who needed to command when to start play shoot, they had this sign, he took off his cap, i don’t know how i saw him in the crowd, because he was very small and thin, but somehow it happened, and in this way... pelikhina took a lot o

became a famous, wonderful, magnificent director pyotr starovsky and then khutsiev was advised margarita pelikhina, a female cameraman, then for the soviet union is a rather rare phenomenon in feature films, in the sense that there were actually a lot of female cameramen, but they worked either... as second cameramen with their husbands or with their former teachers from a geek, or they worked in documentary films, that is, they were somewhere on the periphery, and pelikhina was already a really famous director of photography, she worked with mark donskoy, one of the classics of soviet cinema, here she became a real co-author of khutsyev, because they were constantly thinking, how could they film moscow in such a way, so that moscow would become not just a place of action, but... a fourth friend, whom they threw out of the really fourth friend, the script, so that moscow would be filled with this spring, summer, in fact , the seasons change there, but always with some very fresh air, from the beginning to the end, there were shots that they shot at night, they had to shoot during the day so that t

film even before it was released, everyone tells each other about what the film’s cameraman margarita pelikhinaamera, how she films outdoor scenes, everyone is talking about the dialogues, about khutsi’s manner of waiting endlessly for the right moment when you can start. scene in this filming pavilion, khutsiev and pelikhin rearranged the actors, they would stage it this way, then they would do the mise-en-scene this way, and the actors had already relaxed, began to discuss something, and khutsyev thus very imperceptibly created an unclear mise-en-scène out of them, did not separate them according to the cinematic, but you stand here, you stand here, and this is exactly the kind of image that is really close to reality when we see in the footage in the polytechnic museum... for khutsiev, it seems to me, it was important to even start the picture with something that would be as documentary as possible , started filming the film, which was then called the ilica outpost in may 1961, according to the frame, according to the film, this is a may day demonstration, they actually filmed it on may 9, b

everyone tells each other about what incredible shots the film’s cameraman margarita pelikhina shootss with... of those present in the scene with the potatoes, pavel fin, the future screenwriter, a friend, then very good, of gennady shpalikov, he recalled, in fact, how in this scene, in this filming pavilion, khutsiev and pelikhina rearranged the actors, they would stage it this way, then they would do the mise-en-scene this way, and the actors had already relaxed, began to discuss something, and khutsyev thus very imperceptibly created a clear mise-en-scène out of them, not just separated them. they filmed it already on may 9, but it’s really a cheaper extras, it’s real, the heroes walk in a crowd, cheerful, bright, and moscow is somehow completely flooded with light, spring, and the hero follows the girl whom he had previously seen on a tram or trolleybus, yes and which he lost, now he has found it again in the crowd , is looking for her again and is following her in such a sweat... of life, khutsiev already had a familiar familiar friend, cameraman pyotr todorovsky, his already gen