a very great scale, and lem klimov, who took on the production of the master of margarita, and yuri lyubimovit on the taganka, and yuri kara, now lakshin feels like a fish in water when staging all sorts of adventures of evil spirits, but frankly. they stall when talking about the eternal, about galilee and judea, about the eternal dispute between yeshua and pilate. the only person who even tried to do something about this direction, was bordka, in his film the completely frank rhetorical duel of sergei bezrukiy in the role of yeshua, kirill lavrov in the role of pilate, actually balanced the adventures of the evil spirits. which, in fact, was bulgakov’s plan, the plan of all these excursions into distant jewish times. lakshin’s appointment of completely passable foreign performers, klaus bang and aaron the water carrier, to the roles of pilate and yeshua, first of all, spoke precisely of how uninteresting he is in these things, how much more pleasant it is for him to show how evil spirits are set in the city of moscow, in the house of the mushroom. for the role of woland, he took an artist

not a very great scale, and lem klimov, who took on the production of the master margarita, and yuri lyubimov to do something in this direction was bordka, in his film there is a completely frank rhetorical duel, sergei bezrukov in the role of yeshua, kirill lavov in the role of pilate, in fact. it was like an adventure of evil spirits, which, in fact , was bulgakov’s plan, the plan of all these excursions into distant jewish times. lagshin's appointment to the roles of pilate and yeshua of completely passable foreign performers klaus bang and aaron vodovoz, firstly in turn, he spoke precisely about how much these things are not interesting to him, how much more pleasant it is for him to show how... all the claims against socialism that he had accumulated, this and punitive psychiatry with electroconvulsive therapy, which bugakov did not have in his possession, this and security officers. of course, was also anti-soviet, like the work of our other nobelists, neither andrei platonovich platonov, nor isaac amanylovich babel, nor mikhail ifanovich bulgakov himself, nor directly, say, alexei niko

everything was much simpler there, i wouldn’t romanticized this period, the fact is that yuri petrovich lyubimovhe left his homeland, then... he was deprived of citizenship, this is all known to everyone, the management in the theater was changed, which was not very interested in me, aksyukha is already into this time i was pregnant in the seventh month, this is mine and my wife, so i didn’t have any fear, i went nowhere, in fact, at the same time i had to think about how to prepare for childbirth then and where to live and how else to live, well, something probably uh... i i wasn’t a member of the cinematographers’ union anywhere, nor did i have this certificate from the all-russian theater society, and somehow i was like that, i was such a cowboy that no one really needed, you know, an absolutely free artist, well , somehow everything worked out , there was some work on television, some work in cinema, but if you have already started talking about cinema, then probably the beginning of my film biography is like the real one, i was filming in 1978. in the detective movie in 1978, i starred in t

petersburg, in moscow, these are yuri petrovich lyubimov and anatoly vasilievich efras.d to work this way, you need to disassemble it this way. excerpts, this is how you need to work with an actor, even the methodology has become the same for everyone, let’s say, experience, this is not stanislavsky’s way, you can’t worry, let’s say, you have to act. efros had small roles; he was an actor, without whom efros, as i understand it, could not exist as a director at all. in 1967, he was transferred to the next director to the small armor, but in order to sweeten the pill that he was being transferred from the main one to the next, a brilliant director, they decided to take 10 people with them, fortunately i was one of them, in this company of ten people , with i served in this theater in sixty-seven. and why? efros took you among these ten people, now do you understand your question or not? probably because i suited him as an artist and i had already worked with him for 3 years and he took me with him to his company. anh, question, why did he take it? casual, lively, able to

everything was much simpler there, i would not romanticize this period, the fact is that yuri petrovich lyubimovlly needed, you know, an absolutely free artist, but somehow everything worked out, there were some works on television, some works in cinema, but if you’ve already started talking about cinema, then probably the beginning of my film biography is kind of real, it was in ’78 that i starred in a detective film, in 1978 i was filming in that same munchausen, the detective was very interesting to me... i periodically forget the name of this film, for some reason, probably, the majority of those living in the post-soviet space remember the moment where lenya is standing on a motorcycle, well, so do i i don’t remember, vadik zakharchenko is sitting, he keeps saying don’t growl, all this happens against the backdrop of the house where i was born and raised, this arch, yaovsky boulevard building 2, under the bells, man. pokrovsky gate and my house, in general, all this was filmed in smolensk, everything that happened connected with a motorcycle and there is a policeman who. suitable, it was th