zenkovetska 30 years ago, it was simply something incredible, danchenko already worked here, and stupkahere, and here a number of simply brilliant artists came out here, viktyuk, he was also from lviv and was here superpower theater in lviv. directors were invited, i looked at the archives of the theater, directors from europe were even invited, and of course this audience is now there, it remembers those performances, and of course it yearns for these performances, let's talk more intellectual, not of the entertainment genre, and this audience, i am very happy when young people come to earth, and i look at their eyes, for one thing, young people can come, they can be driven away, by schools, and i look, that’s enough, such interesting young people who come by themselves in pairs, i see their eyes, after performances, this, well, this is probably not the most important thing is this reaction, but this is a pure technique, when you can say that with this performance you are trying to plunge a person into some kind of depression, it's not even depression, well, it's just you, you 're drow

move, i gave birth to you, i will kill you. you starred with great ukrainian actors here with bogdan stupka hortis, from kiev, a film crew, half of the group was recruited from ukraine, there was no internal division, there was no internal division, we understand each other, we - we joke, we sing , we suffer, we are sad, we worry, we hope and dream, all about the same thing and in the same way, it would seem, i’m not surprised that today you are so often on the front line with our fighters , when you arrived there for the first time, what struck you most, what shocked you the most, the first time, first, of course, you see the eyes, you see the eyes, they are absolutely... linen, they are absolutely clean, i was shocked and i was immediately impressed by how they are, with what respect they treat each other, what kind of mutual assistance, interconnection there is, you, you came to the family, that’s probably how you can say it, that’s how you can compare it, and of course, when the first trip, we didn't know what to lead there, we...' friends got together, bought sixty-sixth gas, threw in

copola and alain paquer called theirs a masterpiece of all times, and dmitry meskhiev and bogdan stupkastupkov. he generally how... he was an absolutely heavenly man, he found out who had birthdays there, came with flowers, the girls' make-up artist was there all the time bringing them something, some chocolates, he was a very attentive person to people, what did you talk about between filming? he was full of stories, jokes, anecdotes, and so on and so forth, and we generally had fun, we had fun at work all the time, to be honest, the mortar, of course , set the tone for it all, on our set... we just they didn’t know, his heart hurt badly, he suffered a micro-infection, he didn’t he didn’t say a word to anyone, he was silent like a fish about it, and ran around the city, that is , climbed through swamps, and so on and so forth, if i had known, i would, of course, never in my life, well, i wouldn’t have driven the artist’s mortar , we would have come up with something, somehow filmed it differently, but he didn’t say a word, no one knew anything, but oh well. you won't understand this. i