out to be weak then, what is the dignity of this film, and the dignity turned out to be in what yuri marukhin, of course, the director, of course, also collected a-a with the help of editing. over the course of the film, here is such an integral image of minsk, it turned out that the image of minsk became the main achievement of this film, very lively and at the same time not hasty, but uh, not with these hmm familiar avenues. yes, but still with characteristic, uh, courtyards, back streets and lanes. and now, probably, it is this picture that reflects such an interesting solar epoch, epoch. some hope aspirations that are now captured on film. the six-episode television film ruins are shooting was filmed in the 70s by director vitaly chetverikov. the director tells about the heroic deed of the minsk underground during the german occupation during the great patriotic war. vitaly chetverikov, wonderful shot. here is this old already departed bliss. now you look at this playful picture, and it is perceived simply as a documentary, because, well, not in a moment, like no other street, probably, h

after architecture, they went to work in the cinema, and not in architecture, i studied with yuri marukhin'swas already at that time, yes, film studios and i forged with this group of cinema. i didn't work, but on the set there was an island in a rural town. i remember three times. i was on set. maybe a bull then docked a lot, a good, very good person and director. it was a big building. great decoration , huge decoration, glory to the craft of the gas dealers. i went to work as an artist in a regional cinema. then they called me. i arrived, the movie starts. as soon as you can work. let's go play grigoriev , this is the brest fortress. there was a time when it was not restored. there, the only thing they showed us were the places where you can see this brest fortress, then your immediate supervisor on the site was a little to blame. it production designer. how the duties are distributed between you the artist is responsible for all objects selection of nature selection of nature and for the frame is also responsible because of the costumes because of the props. there is work is the work of

i studied with yuri marukhin's brother as a cameraman, he was already at the film studio at that time. forged here with this group of cinema. i didn't work, but on the set there was an island in a rural town. i remember three times. i was on set. maybe a bull then, in general, a good, very good person and director joined a lot. it was a big building. great decoration, great decoration. i went to work as an artist in a regional cinema. then they called me. i arrived, the movie starts. as soon as you can work. ah, slide, let's go play grigoriev, this is brys as there was at that time it was not melted. there, the only place we were shown places where you can painlessly. this is the brest fortress. that's it, then there was a little pavilion your immediate chief on site. this is a production designer. how the duties are distributed between you the artist is responsible for everything for all objects selection of nature selection of nature and for the frame is also responsible because of the costumes because of the props. the property owner must also follow the work of preparing objects.

1965 by the director richard viktorov based on the novel by nikolai pogodin amber necklace, and yuri marukhinecame the operator of this picture. here you can enjoy the panorama of minsk from a bird's eye view or marukhi our brilliant cameraman. i'm just risking my life. many scenes are shown in the construction of the sports palace and the main character is watching this construction site. and it was an event. it was then the most powerful sports complex for the whole country, in this film there are absolutely wonderful shots, and the prospect, and it shows the palace of trade unions a. shown again. the correct square, lenin square, there is a scene where the main characters are warming themselves by the eternal flame on victory square. one of the key scenes of their relationship , the showdown takes place on the roof of the belarusian state circus. these are really such risky scenes, but they showed minsk as if, well, almost from a bird's eye view from the height of the roof. it was a wonderfully shown film, and remains some kind of romantic anthem. eh, the minsk under construction, which th

why after architecture went to work in the cinema, and not in architecture there yuri marukhin as a cameramanwith this group of cinema. i did not work, but on the set there was an island in a rural town, remember, three times. i was on set. maybe a bull then in general, news, sausage, a good, very good person. i am a director. it was a big building. great decoration, great decoration. i went to work as an artist in a regional cinema. then they called me. i arrived, the movie starts. just you can work. olesya toborka let's go play grigoriev, drop it, how it was at that time it was not restored. there, the only thing they showed us were the places where you can see the brest fortress, then there was a little pavilion of your immediate supervisor on the site. this is a production designer. how the duties are distributed between you the artist is responsible for all objects selection of nature selection of nature, and is also responsible for the frame because of the costumes. props. there is a lodge to follow the work of preparing objects. and if the scenery, then the construction scenery, if the