with the talent of vadim ivanovich yusov, an outstanding cameraman who saw her like that in moscow, that episode in the documents that we read that a scene with a cafe in the arbat side streets, a cafe was created for this scene, it was not there, it was created, and this model, the pavilion is a full-scale one, yes, but from the standard ones blocks, that is, actually in the factory that makes these cafes. we bought blocks for a motsfilm, made a cafe, filmed the scene, left, then, since they were filming very quickly, the workers could not free themselves and dismantle this scenery, when they arrived they began to dismantle, then the residents of the neighboring houses began to say, why are you dismantling, we just we made a cafe, we want this catering cafe in our area, i can’t answer this question exactly, but i think it’s a legend, because well, somehow in the soviet time, nothing like that... we improvised with the construction, everything was not there, it’s all in the documents, that we will film it with the help, it’s unlikely that they built a real cafe for the picture, they just

georgy danelia considered vadim yusov to be the best cameraman in the world. ms became prize-winners at the same festivals. he photographed all sorts of things, but never just anything. it was he who created torkovsky’s special world, half-dream, half-reality, the director’s vision from his thesis work. skating rink and violin to the cosmic harmony of solaris, having figured out in this film how to open the frame into the fourth dimension. but the epic cinema of sergei bondarchuk. yusav did the heartfelt thing by using transfaction on the faces of the actors in the battle scenes; in the tram they fought for their homeland, recreating the crescendo of the revolution in the red bells, in the festive technique of the musical. yusav was the first to figure out how to film nikita mikhalkov, making the camera walk around moscow, acting with the playfulness of a puppy, and the french provencal compared the film to spring rain on a young face. sar, what, let's buy a boat? 100 rub. for what? let's take a vacation, get on a boat and sail to the black sea. yusav himself,

there is no doubt that today director georgy danelia and cameraman vadim yusov would not film moscowrom the mido skyscrapers or on the kotelnicheskaya embankment, from the height of one of the skyscrapers. in the filming request from above, the group wrote: “we need to show how the city through the ancient streets are sprouting with new buildings, and the higher you go, the better you can see how far you can walk around moscow today. intercession cathedral, better known as st. basil's cathedral. in the reflection, this was filmed here, now i’ll show you, well, this is the same cafe that didn’t really exist, it was staged specifically for the film against the backdrop of the old quarter, old buildings in stalin’s high-rise buildings, and don’t get distracted, but how can we walk to construction street, first lane to the right, first lane to the right, let's go, and at today i started my day dancing on asphalt, i’m walking around moscow, we were cute, we were all young. they filmed very friendly and had fun, writer, don’t you recognize us? i find out that daneliya immediately saw alexe

and there is certainly no doubt that today director georgy danelia and cameraman vadim yusov would notght of one of the skyscrapers, the group wrote in the request for overhead photography: “it is necessary to show how the city is sprouting new buildings through the ancient streets, and the higher you go, the better you can see how far you can walk around moscow today.” pokrovsky cathedral, better known as st. basil’s cathedral frankly bored tour guides, one of them is just teasing how much? in general, this is also a long time ago, today people who are sincerely in love with the city talk about moscow." how do we get to the construction street? first turn to the right? first turn to the right, let’s go, but today i started my day dancing on the asphalt, i’m walking along moscow, we were nice, we were all young, we filmed very friendly and had fun, writer, don’t you recognize us, i recognize that in the role of an aspiring writer from siberia, daneliya immediately saw alexei loktev, but from the pushkin theater, he was cut off refused.

revolutionary this is in terms of the shooting method. some kind of influence, well, firstly, vadim ivanovich yusovceted block, i would say, and i would not immediately compare it with pelikhina, with all due respect to her, but unites this is that this is shpalikov’s script, otherwise, accordingly, there is shpalikov’s intonation in the grain, yeah. but this intonation, it is still turned into film classics with the soul and with the knowledge of georgy nikolaevich daneli, the director who saw it, transposed it, the same andrei petrov, the composer, in general you know, georgy nikolaevich once, not long before he passed away, he gave me a book, he wrote wonderfully, he published several books, so... i remember some interview with him, he said that he wrote all his films i could have filmed it one more time, except i’m walking around moscow, and i understand why, because i ’m walking around moscow, it was the mood, it seemed like nothing, but just like that, and most importantly, i remember, nikolaevich, what you can’t ask , it was that i was a sophomore then, i switched to the second year, i had e

sfsr, vadim yusov.