completely different roles in the segnai of the spring; it is strange that it did not involve oleg efremovashvili really wanted to play stirlitz, the lice sweeper, because for her these were not the same types, she liked smknunovsky, she wanted him to play, because he had such a... that was a slightly unpleasant trait in her appearance, she wanted this paint to be there, but tikhonov appeared and of course continued to exist. a big change for alexey korenev, if remember, yes, there kononov comes to work at the school, adult students. it’s the seventies, it’s color, there’s a lot of song -like music in the frame, and here there’s a lot of documentary style. there is a lot here, as if from the previous decade, even the twentieth anniversary of soviet cinema, it looks more like some kind of thaw movie than the cinema of the seventies, well, plus a black and white image, in fact, but also not out of nowhere, why? because luozno, of course, already relied on the tradition of perception of the great patriotic war on the screen. people are accustomed to cool newsreels, seeing them in black and wh

interiors, unsophisticated for today, one could meet vysotsky smaktunovsky, rizanov and gaidai oleg efremovlets with chicken pate, sandwiches with stellate sturgeon dumplings, unprecedented for moscow at that time. i’m a genius, and the other star said, no, you, the next star, of course, hit first, and of course, all of moscow was rushing to the cinema house for showings of moscow cinema. festival, another chance to see foreign films on the big screen films in fillini and bertolucci, andrzej wajda and fastbinder might not have existed. this panel, known throughout the cinema world, was given to her friend the minister of culture ekaterina furtseva, the widow of the famous french artist fernanand léger, nadezhda hadasevich, whoever posed against its background, from bertoluchie and mastroiania to belmando and lalabarigida. today , the guild of actors and stuntmen work in the cinema house, and they still organize events here. the inauguration ceremony of the president of the russian federation, vladimir vladimirovich putin. straight broadcast. may 7 at 12:00 moscow time on rtr. rest is leavin

interiors, unsophisticated for today, one could meet vysotsky from maktunovsky, rizanov and gaidai oleg efremov that were unprecedented for moscow at that time... i rushed to the cinema house for screenings at the moscow film festival, another chance to see foreign films on the big screen in fillini and bertolucci, andrzej wajda and fassbinder might not have existed. this panel, known to the entire film world , was given to her friend the minister of culture ekaterina furtseva, the widow of the famous french artist fernanand léger, nadezhda khadoseevich, who only posed against its background from bertolucie and mastroianie to belmando and lalabarzhida. today , the actors' guild works in the cinema house. seminars, film anniversaries and premieres of young filmmakers are still held here. it was in this hall that our two main premieres took place, the film man of labor and the film i mother. are you the director of these films? i am a director and producer. this is not just a legendary place, it is a place of worship. this is a great happiness for a filmmaker to show on the big screen. that is, i

unsophisticated interiors today one could meet vysotsky and smoktunovsky ryazanov and the gaidai oleg efremovted nourishment here. for the then moscow tartlets with chicken pate, sandwiches with stellate sturgeon and dumplings according to the recipe of director gerasimov. at these tables, premieres were celebrated, scripts were born and movie stars were approved for the leading role. but besides that, they could just, to put it mildly, punch you in the face. and why? the stars are to each other, because one star did not pose against his background from bertolucie and mastroiania to belmando and lalabrigida. today they are working in the cinema house. seminars, film anniversaries and premieres of young filmmakers are still held here. exactly at this hall hosted our two main premieres, the film check of labor and the painting. report from the church of the holy sepulcher in jerusalem , sergei pashkov witnessed the miracle of the descent of the holy fire. to end the war in ukraine, we must stop supplying it with weapons. in europe they know about this and are calling for war. pro-palestinian pr

these unwise for today in the interiors one could meet vysotsky’s smaktunovsky ryazanov and gaidai oleg efremovchicken pate, sandwiches with sevruga dumplings according to the recipe of director gerasimov, unprecedented for moscow at that time. at these tables, premieres were celebrated, scripts were born and movie stars were approved for the leading role. but besides that, they could just put it mildly in the face. and why? stars to each other, because one star said: “i’m a genius, and the other star said, no, you, the next star, of course well, she hit me first." and, of course, all of moscow was eager to go to the cinema house for screenings of the moscow film festival. there might not have been another chance to see foreign films on the big screen in fillini and bertolucci, andrzej wajda and fastbinder. this panel, known to the entire film world , gave to her friend, minister of culture ekaterina furtseva, widow of the famous french artist fernanand léger, nadezhda khatoseevich. and whoever posed against his background, from bertoluchie and mastroiania to belmando and lalabrigida today the

this was a long time ago, when oleg nikolaevich efremov was still alive, and therefore the anarchy thatremennik theater, and now i’m in he staged a play for a contemporary called sasha shishin, based on the novel kill babrikin by sasha nikolaenko, can you say a few words about this play? he told me quite a lot when anarchy was already underway... who knows, he sent plays better than i did, much better , i was looking for something myself, it didn’t warm me up at all, and in 2016 a novel came out - sasha nikolaenko, kill bobrykin, i must say that sasha nikolaenko is actually my close friend, i’ve known her since she was eighteen, she’s generally artist, at such a young age started writing... stories and one day, when she was 18 years old, she gave me her stories to read, i read them, i was completely fascinated, i said: don’t stop, you will be a great writer, that’s for sure, i absolutely see it, that’s it. and goes out to kill bobrikin, she gave it to me, having not yet received a russian booker for it, i read it - it is the most complex novel, written in blank verse in the first person

villainess or delfinov’s scream in the chekhov moscow art theater, this was a long time ago, when oleg nikolaevich efremov, and now i'm in sovremennik staged a play called sasha shishin based on the novel. can you say a few words about this play? he told me quite a lot when, well, anarchy had been going on for probably two seasons, and galina borisovna invited me to her place and said: do you want to stage something else at the sovremennik theater? i say: yes, of course, galina borisovna, i will definitely do it, i just need to find material, so he says: well, okay, look for material, the theater sent me some plays. my friend misha gorevoy sent me plays, because he is generally very modern, modern playwrights knows well, much better than me, he sent plays, i was looking for something myself, it didn’t warm me up at all, and in 2016 the novel, sasha nikolaenko, kill babrikin, is coming out, i must say that sasha nikolaenko is actually my close friend friend, i’ve known her since she was eighteen. she’s actually an artist, she started writing stories at such a young age, and one day, when she was 18 years o

or the cry of a dolphin in the chekhov moscow art theater, it was a long time ago, when oleg nikolaevich efremovr called sasha shishin, based on the novel by sasha nikolaenko to kill babrikin, can i say a few words about this play, enough he told me a lot when, well, the anarchy had been going on for probably two seasons, and galina borisovna invited me to her place and said: do you want to stage something else in the contemporary theater, i said, yes, of course, i will definitely do it, it’s easy for me. i need to find material, so he says: okay, look for material, the theater sent me some plays, my friend misha gorevoy sent me plays, because he generally knows modern, modern playwrights very well, he sent plays much better than i did , i was looking for something myself, me it didn’t warm up at all, and in 2016 sasha nikolaenko’s novel kill was published. having not yet received a russian booker for it, i read it, it is a very complex novel, written in blank verse in the first person, a very complicated, simply extraordinarily complex novel, and i said to myself, that’s it, i went to borisov’s

gadunov is invariably associated with the names of such wonderful actors as sergei bondarchuk, oleg efremov lot. volodya, well, let’s continue our conversation, press the button, choose a topic. the topic is out of order. well, admit it, do you often enjoy fame in in any sense? this is hard to believe, but i absolutely do not know how to use it. but one day you gave up your place in line. red lady, i can tell you, because i’m getting sentimental, come on, because it was the sixth or fifth night shift there , the beginning of summer, everyone runs to work, and you go to bed, yes, especially since we always have the end of the shift , hospitable, that’s all it was , that’s it, good night everyone, i remember that there was no bread in my bachelor’s room, but i think, well, we need it. vamovskaya come in, take it bread, i go, this is it, first to the cash register, yes, there they give you some kind of piece of paper, and then some other piece of paper, this is terrible , this was some kind of piece of paper, and i paid something like this i got one in the theater that day there was nothing, i

bulgakov aviary, where oleg nikolaevich efremov played the moliere superbly, kentiy mikhailovich played, we were told that at the end there would be some important moment, we all didn’t leave, we waited, and people came out, some, some general, some... then, apparently, then we understood his fellow soldiers, the audience stood up, and to the audience, these people said, the reward is ours. for 10 years smoktunovsky played in theaters in krasnoyarsk, norilsk, grozny, makhachkala, only after the death of stalinan was he finally able to get to moscow, by that time he was already 30 years old, before the war you were also like this, like this, you don’t like to drink, you don’t know how to swear, what do you like, in the film soldiers based on nikrasov’s story in the trenches of staling. smoktunovsky never returned to the war; the sixties became for him the time when he fully revealed himself as an actor, playing all the roles for which we know and love him, about love, about life, about hope. hello lyuba, i'm back. this is an actor who appeared equally brilliantly on the silver screen and