the window, remember the politburo before, it’s all a little, yes, like a move, that ’s when yevgeny pavlovichich says: markusha, he said: “markusha, let’s reshoot it,” because we’ll still have to reshoot it, but on the same day. gennady viktorovich glodkov was very worried about this, of course, he says: “well, you can’t , composing music is an intimate matter, when it weighs on your soul,” and they say: “well, go ahead, write, well, well, come on, come on, come on.” ". and here, so that it was a little bit james bond, and here, so that it was somehow like him, his father didn’t sing, but he had an amazing ear for music, and - he was an erudite in this i mean, he brought music and said, something like this, here. this is the direction, and glotkov wrote the music, he was so scary, so this tape recorder, he brought it to the set, there was a storyboard, then, then he got into each actor, and he dealt with his individuality, to put it roughly, roughly, the system stanislavsky, this is me in the proposed circumstances, yes, this is what i... can do, what i see, what is familiar to me, to exist l

the window, remember the politburo before, it was all a little bit like waving, that’s when yevgeny pavloviche window, and when there was a premiere at the cinema house, fraternization began in the hall, when this happened at that time, and evgeniy pavlovich says, markusha he’s markusha, let’s reshoot it, because we’ll still have to reshoot it, but for the same money, let’s reshoot it now, but as a result, in general, everything remains, there were complaints about the song, mironova, bang-bang-bang, that there is some- it’s erotic, there’s a meaning, to which mark anatolich said, no, only gastronomic moods, it’s all a gastronomic theme, he wrote the script to the music of joe dan, we had it all the time, really, yes, that is, he writes about it in his memories, everything repeat, didn’t you hate him at that moment? i hated it because he he’s beautiful and he still connected with my father in my childhood mind more, not dosen like dosen, but dosen sent me to my father, so somehow with great pleasure and longing i sometimes listen to some of his songs in the car, but then there was a very clea

little by little. no, it was just filmed there, for example, a scene in an ordinary miracle, when yevgeny pavlovich this in the window, when there was a premiere at the cinema house, there was a stir in the hall, when this happened at that time, and evgeny pavlovich said, markusha, he's ruining it, markusha, let's reshoot it. because you still have to re-shoot it, but for the same money , let me re-shoot it now, but in the end, in general, everything remained the same, there were complaints about mironov’s song bang-bang-bang, that there is some kind of erotic meaning there, to which mark antonech he said, it’s not just gastronomic moods, it’s all a gastronomic theme, he wrote the script to the music of joe dan, we had the truth playing all the time, yes, that is, he writes about it in his memories, they repeat it, you didn’t hate him at that moment, circumstances, yes, that’s what i can do, that’s what i i see that it is usual for me to exist like this, stanislavsky had nerovich, the actor mikhail chekhov, who later raised an amazing galaxy of actors in hollywood, and when he appeared in the theat

pavlovich appears in window, remember the politburo before, it’s all a little bit like when yevgeny pavloviche. economic theme, he wrote the script to the music of joe dan, we were playing all the time, it’s true, that is, he writes about it in his memoirs, everyone repeats, you didn’t hate him at that moment, i hated him because he was wonderful, and still, in my childhood mind, he connected with his father no more, not as good as he is, here dosen sent me to my father, so somehow with great pleasure and melancholy i sometimes listen to some of his songs in the car, but then... then there was a very clear storyboard, the script was written very clearly, it was all painted, then he worked a lot with composer, from whom he never left, and gennady viktorovich glodkov of course, he was very worried about this , he says, well, you can’t compose music - it ’s an intimate matter, when they stand over your soul, they say, come on, write, well, come on, come on, come on, but here, so that it’s a little james bond, and here, so that it would be something like this... his father didn’t sing, but he had

remind you that today we are talking about anton pavlovich chekhov, with the wonderful interlocutors, with people's artist of russia, actress of the yevgenyris nikolaevich lyubimov, theater critic, theater historian, rector of the higher theater school named after mikhail semenovich shchepkin. well, this is something not insane, i have to tell you that before that i had an amazing meeting with chekhov, a very difficult, but fantastic one given to me by the lord god, this was grisha kozlov, when we left for bulgaria and there in 24 days, on stage for a second there were vanya latashev, seryozha bekhterev, well, that ’s actually something, sasha bargman and seryozha vlasov, my dream was to work with dodintsy, katsman. everyone was changing, my god, in different directions, it was an amazing performance, and i remember that once, which means, a blanket was thrown backstage, and it landed on the tiles, a terrible stench began, and seryozha bekhterev asked in all seriousness what- it smells, to which vanya latashev answers him, what, what, heliatrope, yes, that is, we were so all and yes, it’s wonderful, you know, i think that chekhov was stil