this scene was filmed in the pavilion, of course, but most of the... thaw cinema in the film by marlen khutsyevly for moscow, but for all cinema in general, because they talk a lot about this film even before it was released, everyone tells each other about what incredible footage is taken by the film’s cameraman margarita pelikhina, how she works with the camera, how she shoots on location scenes, everyone is talking about dialogues, about khutseev’s... manner of waiting endlessly for some right moment when filming can begin, yes, the father of russian prolongation, as he was called, but here khutseev is still , in general, at the very dawn strength , but many of his future directorial habits have already been outlined, well, in general, the film is an event, certainly in the years when it is being filmed, well, about the long filming, one of those present in the scene with the potatoes, pavel fin, a future screenwriter, a very friend at that time ... good gennady shpalikov, he i recalled, in fact, how in this scene, in this filming pavilion, khutsiev and pelikhina rearranged the actors, then

it was in 1963 that nikita khrushchov unleashed his anger on marlen khutsyev’s film outpost i. like danelia, was also a georgian, as if on purpose, well, people, so as not to accidentally run into the discontent of the party leadership, i walk around moscow with the script of the film. they came up with a scene with a tent, about truth, life, they came up with it on the day when shpalikov was picking up his wife from the maternity hospital, everyone came to visit them, he and danelya went out onto the stairs, this time their work table was the windowsill of the entrance, on the box there was... over the cake, they composed a conversation in the writer’s apartment, the scene was copied from those situations when danelya and shpalika worked their way into their script, and the bad council turned him away... but on the eve of filming, he called, he had some problems with his throat, either he had a cold, or lost his voice, there was no time to figure it out, so they were looking for a new tenter already in the corridors of musfilm. they were incredibly lucky in these corridors, be

soviet union opened with a carnival night, and not with a film from the ilic outpost there by marlen khutsyevive, let's do something something that has never happened, let’s not have us, like new year’s reports or some kind of strange quizzes, when in one of the first versions of the script for the carnival night, cucumbers offered a quiz, forfeits, political pans it was called, let’s pull it out from a saucepan, from a paper cap. what is it, yes, but there was no new year, there was no new year, but there was a type, yes, there was a type, and from these cubes rezanov is a former documentary director, for whom this is the first work in feature cinema, assembles - a certain structure, and now we see, yes, this is a universal set, which will then appear everywhere in many films about the new year and which are shown, filmed in order to watch the new year, yes, this is the action that takes place in the last day of the old passing year, when you need to say goodbye to all the troubles of the year, when everyone is in a hurry, this suspense is always necessary, it is intensified, you need to be

are talking about the cult soviet film, one of the main works of otepel cinema in the film by marlen khutsyev the shooting of this film is a huge event for soviet cinema, not only for moscow, but for all cinema in general , because they talk a lot about this film even before it was released, everyone tells each other about what the film’s cameraman margarita pelikhina shoots incredible footage, how she works with the camera, 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

are talking about the cult soviet film, one of the main works of otepel cinema, in the film by marlen khutsyevic, or i am 20 years old. well, in general, the shooting of this film was a huge event for soviet cinema, not only for moscow, but for all cinema in general, because that there is a lot of talk about this film even before it was released. everyone tells each other about what incredible shots the film’s cameraman margarita pelikhina shoots, how she works 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 someho