Editor-in-Chief of the Kaleria Time program. The legend of Russian television Kaleriya Kislova accepts congratulations on the anniversary

M. KUNITSYN: Good night, everyone. I am Mikhail Kunitsyn, collector and journalist. And together with the sound engineer Nikolai Kotov, we welcome the listeners of the Vinyl program to the Ekho Moskvy radio station. We, as usual, will listen to music recorded on records in the original sound, by the way, which is now on the air from the player installed in our studio. We with our guests listen to their favorite records, learn the stories associated with them.

In the fate of our today's guests, records and a gramophone played a huge role. Her life is the plot of a fairy tale about Cinderella, the path from the Siberian village to the Kremlin. Today our guest is Kaleriya Venediktovna Kislova, television director, laureate of the USSR State Prize, Honored Art Worker of the Russian Federation. Good night, Kaleria Venediktovna.

K. KISLOVA: Hello.

M.KUNITSYN: I would like to add a little more that a well-known anecdote once told that several generations of Soviet viewers looked at the world through the eyes of Yury Senkevich, the leader of the Travel Club. And, I’m not afraid to say this, the whole country has always looked at the most important social and political events through the eyes of director Kaleria Kislova. Demonstrations and parades on Red Square, celebratory addresses of first Soviet and then Russian leaders, legendary broadcasts from the Congress of People's Deputies in the late 80s, the first television bridges with America, concerts and, of course, the broadcast of the 1980 Olympics, opening and closing. So, Kaleria Venediktovna, I hope I have presented you as fully as possible with all your merits, regalia and titles. But, in fact, our meeting today here, at the Echo of Moscow studio, in the Vinyl program, is connected with the story that happened with your records and how you ended up in Moscow.

K.KISLOVA: Well, it's a long story. I want to start from 1938.

M.KUNITSYN: Yes. Get started.

K. KISLOVA: I am 12 years old, we live in a village, indeed, in the village of Maslyanino.

M.KUNITSYN: Did I tell the truth?

K. KISLOVA: It's true, because I was born in a village and until I was 18 I practically went on vacation sometimes. And so we lived permanently in the village. And so, in the summer of 1938, my father, a rural agronomist, became a participant in the All-Union Exhibition. It was then called differently, it was called the All-Union Agricultural Exhibition in Moscow.

M.KUNITSYN: This is the current VDNKh.

K. KISLOVA: The current VDNKh, yes. And he goes for the first time too (for not this was also the first trip to Moscow), he went to Moscow on a business trip to the exhibition. Naturally, we were waiting for him with gifts. And he returned with gifts. He came and brought a gramophone.

The gramophone was like that, some kind of blue-gray, it was an impossible handsome man.

M.KUNITSYN: It was the first gramophone in your village.

K. KISLOVA: This is the first gramophone. In our village, it was generally the first gramophone in our country. And he brought a set, a big set of records. Well, it's true, the records were a little, so to speak, of such a specific direction. Basically, there were gypsy records, gypsy music, gypsy songs. Well, I must say that we had such a family, because my grandfather was, indeed, such, a real gypsy.

M. KUNITSYN: A real camp gypsy.

K. KISLOVA: Yes. Well, my father is a little different.

M. KUNITSYN: But nevertheless, the gypsy blood remained and the love for the gypsy song.

K. KISLOVA: Yes. And that's why he brought a large set of records performed by artists from the Gypsy theater Romen, which then opened in Moscow. And most importantly, there was a disc performed by Lyalya Chernaya. And I already saw her in the film "The Last Camp", and just the song "Tramp", which will sound now, is a record of those times and the same record on which the song "Tramp" performed by Lyalya Chernaya was recorded.

M. KUNITSYN: So, the recording of 1937, Lyalya Chernaya, the song "Tramp", a 78 rpm record.

(the song "Tramp" performed by Lyalya Chernaya sounds)

M. KUNITSYN: On the air - the program "Vinyl". Dear listeners, I remind you the number for your SMS messages with questions to our today's guest. Number +7 985 970-45-45. Please, we are waiting for your questions. And our guest is Kaleria Kislova. Kaleria was the main director of the program "Time" on Channel One, then not yet on Channel One, but on Central Television for many years. And today we went on a long journey with the help of those records that she once had.

K. KISLOVA: In distant childhood.

M.KUNITSYN: In early childhood, yes. And we will find out how, in fact, the passion for these records in childhood had such an impact on fate? So, the record of Lyalya Chernaya has just sounded, which in the world, in fact, was Nadezhda ...

K. KISLOVA: ... Sergeevna Kiseleva.

M.KUNITSYN: Kiseleva, yes, yes, yes. With whom you then had a chance to meet.

K. KISLOVA: Yes.

M.KUNITSYN: How did it happen?

K. KISLOVA: Well, you see, when these records appeared, there was a large set - there were many dance records, such real camp songs performed by the entire choir of the Romen Theater. And there were romances, and Cherkasova sang. The set was very large. And from that moment on, I just decided ... I didn’t stay anywhere, I ran home from school, sat down at the gramophone, started and sat down, and listened. And, of course, I was attracted somewhere, it seemed to me ... You see, this coincided with the moment when I suddenly realized that the blood of this people also flows in me. To some extent, perhaps to a small extent, but still there.

M. KUNITSYN: Yes, that is, there was a chance.

K. KISLOVA: Yes.

M. KUNITSYN: Or a career in Moscow, or in a camp with gypsies.

K. KISLOVA: Yes. Then, at first I wanted to join the camp. I wanted to go somewhere in the steppe, to the fires, it seemed to me that ... Well, such a kind of childish, so to speak, romanticism that called me somewhere. And I even sobbed over these records. That's when it sounded...

M.KUNITSYN: But now I put one of these records, by the way, on the player. BUT? It?

K. KISLOVA: “Tu balval”?

M.KUNITSYN: "That's a bummer."

K. KISLOVA: “Tu balval” is “You are the wind”. Yes. And this is one of my favorite records, which exactly called me there. True, this disc is of a later time, it is an ensemble conducted by Zhemchuzhny. And then I had a record performed by artists of the Romen Theater. It sounded a little bit different, the arrangement was a little bit different.

M.KUNITSYN: But let's listen to the one that we have in the program today.

K. KISLOVA: Yes.

(sounds "Tu balval" performed by the ensemble conducted by Zhemchuzhny)

M. KUNITSYN: On the air - the program "Vinyl". The gypsy record “Tu balval”, “You are the wind” has just sounded. We listen to them together with Kaleria Kislova, with the director of Central Television. Kaleria Venediktovna is still working, and, in fact, she came to our studio after work, so thank you very much. And my question, in fact, will still be this. I know that the road from the Siberian village lay through Novosibirsk.

K. KISLOVA: Yes. I've been like this from 1938 to 1941, 3 years have passed and 3 years I dreamed about that ... I didn’t even hope that I would meet someone. No, I just wanted to see live, what kind of theater is Romen, and above all Lyalya Chernaya. And there was this dream, well, I just don’t know, I saw it in a dream, I just raved about it. And suddenly in the newspaper "Soviet Siberia", which my dad received, I was in 1941, and when the war had already begun, it was already a slightly different time, I suddenly read that in the city of Novosibirsk in mid-July the tour of the gypsy theater Romen began, and that everyone comes there, including the subject, so to speak, of my love. And I… Well, for some reason I somehow became interested in newspapers and magazines very early. This, probably, later led me to the Vremya program, because, in fact, I looked through the newspapers, in my opinion, from the moment I learned to read.

And so, almost on my knees, I begged my parents for permission to go to Novosibirsk.

M.KUNITSYN: And how to get there? Siberian village.

K. KISLOVA: And it is very difficult to get there. There was no road there at all. Now a highway has been laid there, and it takes 5 hours to get there by bus from Novosibirsk to Maslyanino.

M.KUNITSYN: Maslyanino is my native village.

K. KISLOVA: Well, I was born in another village, and then they moved to Maslyanino when I was 4 years old, and almost until I was 18 I lived there. She studied there and graduated from high school there. And, in general, in 1941 in July, I was just before the very tour ... There everything was calculated by the day. I'm going, I have 2 bundles with things, in one there is money and some kind of spare dress, and in the other my main things - there are my first shoes with heels, some clothes, even some food.

M. KUNITSYN: That is, everything you need in two bundles, in your hands.

K. KISLOVA: Yes, the essentials, yes. And I, with these two bundles, at 5 in the morning go to the house of the District Consumer Union, where all the trucks come from. It was only possible to go by trucks, because it was possible to go along this road ... And there was no other transport, especially since it was 1941. The trucks remained only some old broken ones.

M.KUNITSYN: Everything was requisitioned for the front, yes.

K. KISLOVA: And everyone was sent to the front. And so I come there, it’s still so dark, overcast, it rained the day before, it also rained all night. I come, and there all the drivers are sitting under a canopy, playing cards and saying, “We'll go in 4 hours. You go, girl, sleep. Come back in 4 hours, let's go." But I can't go back home - it's a bad omen. I think, I don’t know what to do for 3-4 hours, I go out and look, the convoy is assembled from carts pulled by bulls.

M.KUNITSYN: That is, it is almost a step?

K. KISLOVA: Well, of course. They move at the speed of a human step. Well, I mean, I run up there to the peasants who are going there, and I say, “Where to? To the station?" They say "Yes, to the station." And to the station 90 km, to the nearest station. I say take it with you. Well, the drivers there are laughing, saying, “What are you? You will be traveling for 5 days. Yes, it’s better to wait, we’ll take you in a few hours. ” But I still sat down. I am stubborn, I sat on the box next to the driver, because it is uncomfortable to sit in the britzka.

M. KUNITSYN: Well, then the trucks probably caught up with these bulls, I think?

K. KISLOVA: We caught up. Caught up in 4 hours, probably.

K. KISLOVA: And then on trucks. The main thing is that I lost the bundle with all my outfits and shoes too. And food, which is important. And I come... By trucks, then by train. I arrive in Novosibirsk and, of course, immediately, leaving only some things, I run to the box office. And they toured in the summer theater in Stalin Park, and I choose a place on the plan and in my fist I have the money that was given to me at home, and I ask the cashier, here, for all this money, give me tickets for how much, in general, it will turn out , for every day to the same place in the first row, in the very center. She says to me, “So, performances are repeated here.” I say “It doesn't matter. I want to go there every day." And from that moment...

M. KUNITSYN: For a whole month, every day, to the performances of the Romen Theater.

K. KISLOVA: Yes.

M. KUNITSYN: And at that moment Lyalya noticed something?

K. KISLOVA: Yes. I only got 10 or 11 tickets there, I didn’t have enough money for others. However, I started walking. I had the only bright red calico dress with a white flower, and, therefore, I was the first to arrive every day, the first to enter the hall, sit in the empty hall in my place at this and sit until the end of the performance, not going out during intermissions, nowhere. And I finally saw these performances, I cried with them, I laughed with them, I sat there until the end and was the last to leave.

And all of a sudden… Well, probably 5 days have passed. I didn’t go out during intermissions, because, well, you won’t walk alone in the alley there in the park. Everyone left, and I sat, continued in my place. And suddenly 3 young people appeared, one was there (later I found out) Kostya Kemalov was there, Misha Dotsenko and the third one I don’t remember who. In general, they approached me and started talking to me. Moreover, they asked me the first question in gypsy, I also answered them. They say, “Oh, right. Went". I say "Where did you go?" - "To Lyalya."

M. KUNITSYN: To Lyalya Chernaya?

K. KISLOVA: To Lyalya Chernaya. They tell me "To Lyalya" just like that. I decided that I was being deceived, but I still took a chance and went. And, indeed, they led me to her. That is, she told me ... Not only did I see her, she noticed me from the stage and, it turns out, told them, “What kind of girl is sitting there in a red dress?”

M.KUNITSYN: He sits and cries and watches the play.

K. KISLOVA: And she cries, yes, at every performance.

M. KUNITSYN: So here I will add that, in fact, this meeting between Kaleria Kislova and Lyalya Chernaya had an incredible impact on her fate, because it was the records that brought love for Lyalya Chernaya to these performances.

K. KISLOVA: Yes. That's right, Mish. Exactly.

M. KUNITSYN: And Lyalya influenced so much that, after all, then, under her influence, it was decided to enter the Theater Institute?

K. KISLOVA: Of course, of course. We talked a lot about this topic with her. I told her everything about myself, who I am, where I come from, who my parents are, and so on. She says, “Here, let's study, finish, come to Moscow. The war will end, you will come to Moscow and you will work for us.” And, in general, this, well, I can’t say friendship, this acquaintance simply had its continuation for many, many years. And then not only with her, but I got to know, in general, very many in the theater. I learned, well, almost the entire composition of that time, and I made many friends, many acquaintances.

M. KUNITSYN: And among them was Nikolai Slichenko.

K. KISLOVA: No, well, Nikolai Alekseevich Slichenko - he appeared in the theater much later.

M.KUNITSYN: Let's listen to his record.

K. KISLOVA: Let's listen.

M. KUNITSYN: We will hear the song "Sweetheart" in the recording of Nikolai Slichenko.

(the song "Sweetheart" performed by Nikolai Slichenko sounds)

M. KUNITSYN: The Vinyl program is on the air, as you understand now from this musical beat, and Kaleria Kislova, television director, is our guest. And we set off on a long journey from the Siberian village, already ended up in Novosibirsk, where Kaleria Venediktovna met Lyalya Chernaya, who blessed her for admission. That is, the desire to run away to the camp resulted in a desire to enter and get into the Theater Institute.

K. KISLOVA: Yes, yes.

M. KUNITSYN: What sounded on the dance floors at that moment? I suspect it's this disc. I'll put it on now. Yes, let's go. Plays "Blossoming May".

K. KISLOVA: Oh…

M.KUNITSYN: Are we dancing?

K. KISLOVA: Let's dance. (everyone laughs)

(sounds "Blossoming May")

K. KISLOVA: And then I finished school in the village, and came to Novosibirsk to enter the Theater Institute. There was the Leningrad Theater Institute. But at the same time, a theater studio was opened there in the Red Torch, which was supposed to be modeled after the Moscow Art Theater School-studio as a university. And I did both there and there. And it so happened that I did. But it also coincided there, my father was transferred to Novosibirsk and I was persuaded. At the same time there was a war, and it was scary to go somewhere far from home, in general. And I stayed in Novosibirsk to study at the studio of the Red Torch Theater.

M.KUNITSYN: Did you take the records with you?

K. KISLOVA: Yes, of course. We arrived, they gave us a large apartment in the center of the city, we settled in and, in general, got used to the urban lifestyle, that the water flows from the taps, and even hotter, and in general the house is warm, there is no stove. In general, of course, it was difficult to get used to, but we got used to it. You get used to it quickly, you quickly get used to the good. And I began to study, everything is fine. But I was very fond of dancing. And since it was with us, it was considered indecent to go to dances in the studio, I secretly, without telling anyone, I ran to the dance floor in the summer, and in the winter to the Stalin club, which was opposite the Red Torch Theater. And there were weekends and dances, and I danced there with might and main, including to this music too.

M. KUNITSYN: It sounded like the record "Blossoming May", a slow dance, music by Polonsky. Written "Instrumental sextet". A record printed immediately after the war, and the melody, by the way, was composed before the war by this composer.

K. KISLOVA: Well, of course, yes. I know it's an old record.

M. KUNITSYN: But, of course, dancing. These records were a great success.

K. KISLOVA: Yes, yes. But even more then, of course, I was very attracted by the fact that ... In addition to studying with us, very often in the Red Torch Theater, which was considered the Siberian Moscow Art Theater, there was then no House of Artists, but in the theater such concerts were held at night after performance, after concerts. And when some big, big artists like Vertinsky were on tour, others came too ...

M.KUNITSYN: Oh, so you were at Vertinsky's concerts?..

K. KISLOVA: Absolutely, yes.

M.KUNITSYN: As a theater student…

K. KISLOVA: No, after the concert they gave a concert for art workers in the city of Novosibirsk. Well, we, as students, of course, were present. And we sat on the floor. It was in the foyer, just in the theater foyer, at night. It started somewhere after 11, sometimes even 12 at night. And it was there that I heard Claudia Ivanovna Shulzhenko live for the first time, who was there on tour and came and gave us such a concert. I sat literally in front of her on the floor, literally at her feet, close. She stood at the piano because, well, the performers had good seats, and we sat on the floor and listened. And of all her songs then, “Hands” impressed me the most. Well, because it wasn't just… It was, well, a one-man show, you could say.

M.KUNITSYN: The record is already on the player. And as Shulzhenko herself announced, the lyrical romance "Hands" is familiar to all of you.

(the romance "Hands" performed by Claudia Shulzhenko sounds)

M. KUNITSYN: The Vinyl program is on the air, our guest is Kaleria Kislova, television director. With her we went on a journey from Siberia to Moscow. And, here we are, finally, in Moscow. Kaleria went on a long journey... I'll tell you, can I? Here, I know this secret.

K. KISLOVA: Yes, yes, Mish, of course.

M. KUNITSYN: ... went on a long business trip in 1961.

K. KISLOVA: No. But before that, I graduated from GITIS in Moscow. I, so to speak, received, after all, a higher education, I still received a theater education.

M. KUNITSYN: Nevertheless, she found her calling and destiny on television.

K. KISLOVA: Yes.

M. KUNITSYN: And in 1961 I arrived... First I started working on Novosibirsk television, and with the week of Novosibirsk I came to Moscow in 1961, on a business trip. And she has remained on this mission to this day.

And already working in the youth editorial office, on Central Television, as I understand it, I had a chance to meet Klavdia Ivanovna Shulzhenko already in my life.

K. KISLOVA: Yes. And it happened like this. As a director, I broadcast the congress of the Komsomol. I do not remember, it was the 60s, but the end of the 60s. I broadcast the congress, and after the congress there was a concert, which for some reason was conducted not by our musical editorial staff, but by us. And it was assigned to me. And just before the concert, before the start, I stood in the transpoint, which was then in the Palace of Congresses near the console, and so, even with my back, I felt some kind of movement behind me somewhere. I turned around, and I see that some strange group of this kind is walking through the control room. At the head of her is a beautiful, big, tall woman in blue, in some sort of flowing outfit, and they come right in to me. And then there was such a hitch, because she looked at me in surprise, I looked at her. She looked at me… Because I was small in front of her, I am small, thin…

M.KUNITSYN: Claudia Ivanovna was not impressed. It seemed to her that the director of television should be different.

K. KISLOVA: Yes, she looked like that, she says, “Darling, what is this? Will you be broadcasting the concert? I say "Yes, I am Klavdia Ivanovna." She: “So, I have such a request. Don't show me big. The closest shot should be like this ”and she showed me on herself much below the waist, so to speak, such a very average shot. And I had the audacity to object to her, I said, "Klavdia Ivanovna, you look great and it will be good in a close-up." She says “Baby, when you live to my age, you will understand,” she turned and left, leaving a trail of smells behind her.

M.KUNITSYN: The French perfume "Mitsuko" was her favorite.

K. KISLOVA: Yes. And so it was the second meeting. But there was also a third meeting, which took place ten years later. But it was already somewhere at the turn of the 70s and 80s, either 1979 or 1981. At that time I was already the chief director of the main edition of the information, that is, the program "Time", I was already a laureate of the State Prize, which also gave me some weight already. I was already a serious person. And somehow my friend called, the wife of the composer Valentina Levashova. She was in Kremlevka, in the Kremlin hospital, and she asked me to come to her, to visit her. And I went. I came to her there, came to the ward, they brought us right away ... She was lying alone, of course, in very good conditions. We were immediately brought tea with cakes, we sat down with her, drinking tea. And suddenly, with a noise, the door opens and Klavdia Ivanovna Shulzhenko enters. She was already here in a pink peignoir, she has a pink turban on her head and she says, “So, why are you sitting in the room? This kind of weather. We must use. Come on, take a walk." And we unquestioningly got up, leaving all the teas, and followed her for a walk in the park. We walked in the park, she was very lively, she was so cheerful and that's it. And then suddenly some kind of breakdown occurred, and suddenly she somehow became sad and began to talk about her son. I don’t know what she had with her son, but she had so much in her voice ...

M. KUNITSYN: She simply loved her son very much, and was always worried about him.

K. KISLOVA: And you know, she even had such a thought, a phrase. When she talked about him, she said, “I am very afraid of how he will be left without me. Here, I will leave, but he will remain and will be ... How will he live without me? Something was bothering her. Either he got married, or he was going to get married. Here, it was the third such meeting with Claudia Ivanovna. Like 3 waltzes, 3 meetings with her went through my whole life, so to speak.

M. KUNITSYN: But now we will move from Claudia Ivanovna to another wonderful performer, also whose records Kaleria loved and still loves very much - this is Muslim Magomayev.

K. KISLOVA: I also knew him and knew him. And, of course, our time is somehow impossible to imagine without it.

M.KUNITSYN: Muslim Magomayev.

(the song “Heart in the Snow” performed by Muslim Magomayev sounds)

M. KUNITSYN: On the air - the program "Vinyl". We are listening with Kaleria Kislova, with our today's guest of the record. By the way, in this thing, which Magomayev was now performing, there is also a lot, in my opinion, of a gypsy, such an exit.

K. KISLOVA: Yes, there are some.

M. KUNITSYN: But now I want you to tell us about another meeting.

K. KISLOVA: Yes, I just wanted to go to her. I know what you mean. I just want about one more person who, as it were, stepped off the record into my life. Slightly. Let him touch it with one wing. Doesn't matter. 1980s. I am getting ready to conduct the opening and closing of the Olympic Games. And in the summer, at the beginning of June, I fly to Greece, to Athens for a rehearsal of lighting the Olympic flame. And when I flew there (well, the ignition was in Olympia, where we flew by helicopter) just when I walked around the city of Athens, I saw big posters all around, billboards with portraits of Joe Dassin, whom I also loved very much as a singer, loved listen to his records. And, of course, I never even hoped to see, hear him live. Well, I got to the concert. But most importantly, I was at a reception where Joe Dassin was among the guests and was even introduced to him as ... Well, I was the only representative from Moscow television, and the reception was dedicated to the future Olympic Games. And so this is what happened. And we even sat at the table… We had seats… Everything was written there, we sat opposite. And, of course, I looked very carefully, I wanted to remember all the features, what he was and what. And I remember, he... He was alone with an interpreter only, no wife. Everyone asked him there, and he was just talking about the fact that his wife was waiting for him on the island, on his island in the Mediterranean Sea with a small son, with little Joe, as he said. And he flies ... That this is the last tour of this season and he flies there. And I looked and somehow ... I really want to. Let's listen.

(the song "Et si tu n'existais pas" performed by Joe Dassin sounds)

K. KISLOVA: Yes, wonderful, wonderful. And somehow, in general, he felt a little sad, because, after all, these last, as he said, tours this season turned out to be the last in his life, because, having finished touring in Greece, he really flew to his island and died there of a heart attack while resting.

M. KUNITSYN: Being a very young man.

K. KISLOVA: Yes, yes.

M.KUNITSYN: It was the year 1980, exactly.

K. KISLOVA: And you know, when I was sitting at dinner like this, I looked at him and, behold, I noticed that there were such large drops of sweat on his face. Here, they are like large dew on the leaves when you go out into the garden in the morning. And for some reason I thought, and, behold, the whole face, especially on the temples and on the forehead. And it was quite cool in the hall, the condition worked well, it was not hot. And I looked like that and I think, “He must have a heart disease.” And wow, a month later, indeed, such news came to us, which we already reported on the Vremya program in July. I don't remember the date, but that's how it happened.

M. KUNITSYN: But just this trip to Athens was connected with the Olympic Games.

K. KISLOVA: Yes, yes.

M. KUNITSYN: This is a huge milestone in your life, work at the Olympics. There are, in fact, many television programs in which Kaleria Venediktovna talked about how she worked, described in detail all these details of a fascinating, interesting work. There is, by the way, a documentary film called "Miss Television of the USSR." This, by the way, after all, Brezhnev dubbed that, Miss Television?

K. KISLOVA: Yes, Leonid Ilyich called me that.

M.KUNITSYN: Yes. And, in my opinion, 6 all-powerful men.

K. KISLOVA: It was easier for him.

M. KUNITSYN: Here, before putting on the last record in today's program, just a few words about that time, about working at the Olympics.

K. KISLOVA: Well, you see, for the Olympics, in general... I lived for the Olympics, so to speak, for a whole year, even more than a year. I worked together with cameraman Sergei Zhuravlev, all the time I was with Dunaev, the director of the grand opening and closing. And it was a very interesting job, unusually. And I think that this is probably my most important work, if we talk about my creative path.

M. KUNITSYN: Here is the famous plan, when Mishka flies away at the closing and a tear flows, rolls over this panel. This plan, in my opinion, has become a textbook and is associated not only with the Olympics, but with an entire era.

K. KISLOVA: You see, I'm glad that... Well, naturally, I didn't work alone. There were 11 PTSs at the opening and 6 PTSs at the closing. Well, it's 6 mobile TV stations, each station has 6 cameras. Can you imagine how many cameras there were only at the Grand Sports Arena? And it was a truly unforgettable time. And when it ended, when this Mishka flew away, when the last fireworks that were over Luzhniki went out, I felt such an emptiness in general, as if I had simply lost part of my life. Because we hosted it together with my, so to speak, constant partner, she was an assistant, then Tanya Petrovskaya became the second director with me, and we hosted this broadcast and, in my opinion, both cried after the broadcast. The opening was...

M. KUNITSYN: Everyone cried with you then.

K. KISLOVA: Yes, we cried together, yes.

M.KUNITSYN: Both those who were broadcasting and those who watched this broadcast were crying.

K. KISLOVA: Yes.

M. KUNITSYN: And, in fact, today, thanks to the fact that you came to this studio, you brought records, some of the records really belonged to Kaleria Venediktovna.

K. KISLOVA: Well, part of it. Unfortunately, I didn't have many of them.

M. KUNITSYN: And we made this great journey, starting it in a Siberian village with records of gypsy music, and ended up in Moscow at the closing of the Olympics. And at the end of the program, I want to thank you for participating, for what you told, in fact, there are so many interesting things for us, and put on that song ...

K. KISLOVA: But I still want to interrupt you and say that I have not parted with Roman all my life. Still. You know this because...

M.KUNITSYN: I know this, it's true.

K. KISLOVA: Yes. Because I still go to Romen, this is my favorite theater and I go there regularly.

M.KUNITSYN: One of the last things in today's program will be "Goodbye, Moscow, goodbye."

K. KISLOVA: Yes.

(sounds the song "Goodbye, Moscow!")

E. Afanasyeva- Good evening, Telekhranitel is on the air, a program about the essence of television and about those who define and preserve this essence. Elena Afanasyeva is in the studio, and, as always on Sundays, we are talking about people, programs, events and anti-events that affect how our television will be today and tomorrow.

Today we have a guest who absolutely influenced the way our television has become over the years, because this is the legend of our television - Kaleria Venediktovna Kislova, the person who broadcasted everything and everything, starting from the 60s of Central Television and up to the 90s.

K. Kislova- Not until the 90s, why.

E. Afanasyeva- Until the 2000s.

K. Kislova- And in 2000, too. I switched in 2003 to another ...

E. Afanasyeva- In consultants. Kaleria Venediktovna Kislova, director of Central Television, then TV companies ORT and Channel One. And a man who, well, that's really an absolute legend. If you are watching the network now, you can see Kaleria Venediktovna and you will never believe in your life that this year - she does not hide - she celebrated her 90th birthday. It's fantastic, it's just fantastic. And it strikes us all with cheerfulness, cheerfulness and, most importantly, a phenomenal memory. Kaleria Venediktovna remembers everything.

I wanted to ask you anyway, since we called today’s topic “Television from Brezhnev to Putin”, I think that it’s all the same to the listeners in the first place, despite the fact that you made a huge number of different programs, live broadcasts, broadcasts, parades, hosted the Olympics and so on.

K. Kislova- From opening to closing.

E. Afanasyeva- Probably, since such a topic is seductive, it is interesting to know: did you personally know each leader of the Soviet, and then the Russian state?

K. Kislova- Yes. Yes, it happened. It so happened that I did a lot of programs, and made films, and broadcast live. In general, she came to television, when there was no recording, all programs were broadcast live. Well, then it turned out that I began to work in the main editorial office of the information and hosted the Vremya program. And then I was also assigned to work in parallel, so to speak, to conduct, all sorts of records then already appeared and broadcasts related to top officials. And it turned out that with the first one I started working with Leonid Ilyich Brezhnev, I worked with him until the end of his, so to speak, work. Until the end of his life, in fact.

E. Afanasyeva- You also broadcast the funeral, probably.

K. Kislova- Broadcast the funeral, too. And moreover, I went on business trips with him both around the country and abroad. I'm not a politician, I'm just a director and I always wanted to do my job in such a way that it would be somehow not ashamed of it. Especially when I started working with top officials - this is still the prestige of the state. And, of course, I tried to show Leonid Ilyich in such a way that ...

E. Afanasyeva- Neatly.

K. Kislova- Yes, everything is fine.

E. Afanasyeva- Then you had a series of first persons in a row.

K. Kislova- Yes, then, when Leonid Ilyich died, I even, to be honest, on November 10, 82 of the last century, they simply called me from the birthday of my father-in-law, they didn’t say where and what, and at night they took me to the Hall of Columns, and I sat in the Hall of Columns, arrived there somewhere around 11 pm, waited until 2 am in complete ignorance of what would happen here, and why I was called here. Here I am alone in the large dark Hall of Columns.

E. Afanasyeva- That is, you were called to organize the broadcast.

K. Kislova- And only at three o'clock the people who were engaged in this appeared, his closest entourage, security and the head of the ninth department, which was engaged in the protection of the first persons of the state. And only then did I find out that Leonid Ilyich had died. I was, in fact, called in to determine what equipment I would have here, where the cameras would be - in general, to resolve all such issues.

E. Afanasyeva- And then Yuri Vladimirovich Andropov practically did not appear on the screen when he was Secretary General, he was sick.

K. Kislova: I- I recognized him earlier, because it was such a very unpleasant time when I went with Brezhnev to Uzbekistan, to Tashkent, and it happened at an aircraft factory ... in short, some kind of balcony broke off there, people fell on it. And the film was taken away from me.

E. Afanasyeva- People fell on Brezhnev?

K. Kislova- Yes, Brezhnev. And then there was the investigation. This film was stolen from me practically. Because I put it in a safe for safekeeping in the same place in Tashkent, and it was confiscated, well, by the local security agencies, who missed it. And then such an investigation began, they called me endlessly, in general. And the last resort was when I was called to Yuri Vladimirovich Andropov.

E. Afanasyeva“I mean, he figured it out himself.

K. Kislova- Yes. Well, because it's very serious. Actually, they had to determine how it was: either it was some kind of rigged act, or it was an accident. It was from this side that he was more interested. And we were with him for quite a long time, in general, for several hours also at night, I was in his office on Lubyanka, as Dzherzhinka was then called. That is, now it is called, and then there was Dzerzhinka. And I told him the whole thing. It was 1982, at the end of April, we met with him, and he was very cheerful.

And then he became general secretary after Leonid Ilyich. I met with him. At first, he did not want to be shown at all. He said: we have overfed television, we have overfed, so there is no need. Showing in photographs what is happening, some tricks - this is also not a way out. And I was with him...

E. Afanasyeva- You convinced him that he should show it.

K. Kislova- Yes, I convinced that even a little, but still ... Because when they sent a photograph, where many, many all sorts of outstanding people were awarded, including Mikhail Sergeyevich ...

E. Afanasyeva- Still young.

K. Kislova- Yes. And they all sat there in a line, and then to show this photo to me in the Vremya program, well, it’s simply impossible. And I said that it's better that like this ...

E. Afanasyeva“Still, there was a shoot.

K. Kislova- Let it be without sound, so be it. Well, we started, in general, they began to invite us.

E. Afanasyeva- What is it now called, on the parquet, right?

K. Kislova- But he got sick very quickly and very quickly somehow ...

E. Afanasyeva- That is, he stayed for a little over a year, then ...

K. Kislova- He stayed for more than a year, yes.

E. Afanasyeva Yes, he died in February. There was Chernenko, who was no less sick.

K. Kislova- And then Konstantin Ustinovich came to Chernenko, whom I also knew, and I had known him several years before.

E. Afanasyeva- Kaleria Venediktovna - I, firstly, let me remind you that this is the legendary Kaleria Venediktovna Kislova, director of Central Television. She and I remember that she knew all the leaders of the state, broadcast, filmed.

If you have questions - +7-985-970-45-45, please. This is our unique guest today, who can tell the whole story of our television.

I remember my deep childhood and the shot when Chernenko was shown, he allegedly voted - and this, apparently, was a polling station made for him in the hospital, or what? Tell secrets. It was a very strange childhood memory of mine.

K. Kislova“We made it look like a polling station, so to speak.

E. Afanasyeva“Just like a normal precinct.

K. Kislova- But, of course, it was still clear ... Later, many of our colleagues from abroad who were accredited here asked me: where are you, where? .. Did you shoot? Where? What? Well, in general, it happened because he was in the hospital, and he voted there.

E. Afanasyeva Well, now it remains to move on to the longer Gorbachev era.

K. Kislova- And then Mikhail Sergeevich appeared, energetic, young then. And at first he, too, somehow did not treat television very well.

E. Afanasyeva- Not really?

K. Kislova- At first, yes.

E. Afanasyeva- Why?

K. Kislova- At first he said that they didn’t need to go with me, they didn’t need to ... He went to St. Petersburg for the first time, then Leningrad was called. And there was his first time - he spoke there and met with the people, and Leningrad television worked with him.

E. Afanasyeva- Ah, that is, the Central Television did not even go.

K. Kislova- Yes. And his second such trip was in the same 85th year, at the beginning of September, and he went to Tyumen. And there we are with him quite by accident ... And I was sent there with operators. And then, quite by chance, he came up to me. I don't know, he didn't know, purely by chance. He thought I was some...

E. Afanasyeva- Boss.

K. Kislova- No, in the regional committee, we met with him in the regional committee. I stood there at the wall behind the column to let them through when they were walking there. And I installed cameras there in the hall, because someone else's OB van, without operators, operators, I set cinematic ones. And, in general, this was such a mess. And then he saw, came up and asked the first secretary of the regional committee, he said: why do you have women hiding behind a column somewhere here?

E. Afanasyeva- The frightened secretary of the regional committee did not know what to say.

K. Kislova“He saw me for the first time, he didn’t understand either. Well, then a general such as Plekhanov approached him, the head of the ninth department under him ...

E. Afanasyeva And he explained who you are.

K. Kislova No, he didn't explain. He said: Mikhail Sergeevich, this is ours. Mikhail Sergeevich decided, then he himself told me: I thought that, like Gaddafi, they recruited guards from women. And he looked at him like that, he immediately let go of my hand, because he had previously said hello.

E. Afanasyeva- Suddenly break.

K. Kislova- And he says: well, Yuri Sergeevich, you give! Turned around and went.

E. Afanasyeva“So he thought you were a guard.

K. Kislova- Yes, but I was not at a loss here, I was Yuri Sergeevich then for a coat ...

E. Afanasyeva Yes, if I'm yours...

K. Kislova- I had to fly to Tselinograd, that is, the current Astana. Because Mikhail Sergeevich flew there.

E. Afanasyeva- And you had to prepare the shooting.

K. Kislova“And I should have at least flown there with him. Because the sky is closed and no planes take off.

E. Afanasyeva- And the sky is closed because he has to fly.

K. Kislova“Because he has to fly in three or four hours. And then I: Yuri Sergeevich, I need to fly to Astana, that is, to Tselinograd. Well, he explained to me what I had to do. Go after that, we, - he says, - will have lunch, and you go there, tell someone there to put you on the main plane. And I flew with him there.

E. Afanasyeva- And when did Mikhail Sergeyevich find out that you are still the director of Central Television, and not his bodyguard?

K. Kislova- When they drove after dinner or before dinner ...

E. Afanasyeva- They explained it to him.

K. Kislova- ... Yuri Sergeevich explained to him who I was. And then Mikhail Sergeyevich himself went to meet me. He already knew the name, he came up and said: "Well, Kaleria, let's get acquainted." - Let's!

E. Afanasyeva- And what about his appearances among the people - did you also film all this? He liked to stay somewhere in the middle of the city ...

K. Kislova- Of course, then everything ...

E. Afanasyeva- And how could it be technically organized? I know it scared the guards. But how did you film it when he stopped unplanned, at least somewhere in Russia, in the Soviet Union, even in Europe or America?

K. Kislova- Everywhere. Because I used to ride in the lead car in front of him.

E. Afanasyeva- And where did your operators go?

K. Kislova— With operators.

E. Afanasyeva- They ran out here ...

K. Kislova- Yes, and we immediately ran out. Why did we end up in Tashkent when Leonid Ilyich, when this stick fell on him.

E. Afanasyeva“They were ahead too.

K. Kislova“Because we were the only ones there, no one else, everyone else was sent to Tashkent. And his first secretary of the Central Committee of Uzbekistan persuaded him.

E. Afanasyeva- So, it turns out that you met Mikhail Sergeyevich, went with him to all his historical visits, all these congresses of people's deputies.

K. Kislova- Yes.

E. Afanasyeva- The party conference where Yeltsin left - did you all film?

K. Kislova All me, yes.

E. Afanasyeva“I mean, all of you. Awesome! And did you film the resignation of Mikhail Sergeyevich?

K. Kislova- And the resignation of Mikhail Sergeevich - me.

E. Afanasyeva- I mean, this whole story is also sad.

K. Kislova- Yes.

E. Afanasiev: 25- huh, yes, I think?

K. Kislova- December 25, 1991. And after that, here ... and, again, I somehow succeeded all the time, as it were, because of the tact. Because here is Boris Nikolayevich - I met Boris Nikolayevich for the first time at a military plant in Zelenograd here, when he still came from Sverdlovsk and became the first secretary of the Moscow City Committee.

E. Afanasyeva- City Party Committee.

K. Kislova- Well, the Moscow City Party Committee.

E. Afanasyeva- This is not all that young listeners know now, so we decipher it.

K. Kislova- And we arrived there, there was a closed workshop, they told us: take a walk a little. And it was hot, the month of July, it was hot. I sat down on a bench in the yard, where it was hot, the only bench stood under a tree. I sat there alone and sit. And Yeltsin, the new secretary of the Moscow City Committee, the Moscow Committee of the Party, comes along, accompanied by one of the men. They are talking like this. And the yard is empty, yet cleared.

E. Afanasyeva- You are the only one there.

K. Kislova Yes, and I'm the only one sitting here. And I hear ... they went so far, and suddenly Boris Nikolaevich says: let's sit right here, here at least a shadow. And they fit.

E. Afanasyeva- To you.

K. Kislova- I feel that there is no other bench ...

E. Afanasyeva“I mean, they just come to you.

K. Kislova“Yeah, they're heading straight like that. He comes up and says hello. I say: hello, Boris Nikolaevich. He says: can I come with you here? ..

E. Afanasyeva- Sit down.

K. Kislova- Sit down. I say: of course. I immediately moved to the edge. Well, there is a big bench, such a bench, as I said. And we, that means ... And he began to talk to me himself. He says: why aren't you there? I say they didn't let me in. - Journalist? I say yes, not really. - What do you mean not quite? I say: I'm generally a director. - But it's interesting, but what does the director do? I began to tell him. And he and I, probably for an hour and a half, at least, sat talking. Then there was lunch, and after lunch there was another workshop, and that was it. I just, the only thing I don't remember is whether he... I don't think I gave him a business card. Or somehow... I don't know.

E. Afanasyeva- In general, he remembered you.

K. Kislova- He remembered me. It was also the 86th, in my opinion, year. And in 1991, when he became...

E. Afanasyeva- Already the President of Russia.

K. Kislova- The President of Russia is still, then still Russia, and the USSR still existed. And when Mikhail Sergeevich signed a decree on his resignation ...

E. Afanasyeva- And you broadcast it all.

K. Kislova- I saw him off, and took him there to this green living room, there were a lot of journalists, a lot of cameras. I explained to him where to look, there, what. Because it was a live broadcast, not a recording.

E. Afanasyeva- We are now on this burning note of the story of the resignation of Mikhail Sergeyevich, how Kaleria Venediktovna Kislova removed Gorbachev's resignation and then the beginning of Yeltsin's television era - we will interrupt for the news release on Ekho Moskvy and continue our conversation in the Teleguard program.

E. Afanasyeva- We continue the program “Teleguard”, in the studio Elena Afanasyeva, today I am visiting the legend of our television - Kaleria Venediktovna Kislova, director of Central Television, then Channel One, a person who filmed all the key events in the history of the country. And we began to remember how she worked with the leaders of the state, we have already reached history, when Mikhail Sergeyevich Gorbachev already resigned his powers and came to power - at the end of this 91st year - Yeltsin.

So you've finished filming Gorbachev's abdication, it was live. And then I had to shoot, probably, Boris Nikolaevich.

K. Kislova- Not.

E. Afanasyeva- No, not right away?

K. Kislova- Boris Nikolaevich did not come there. We finished at six o'clock, at eighteen there was this live broadcast, the flag was lowered over the Kremlin, the tricolor was raised - this is also ...

E. Afanasyeva- That is, you had separate cameras.

K. Kislova- Yes, I showed both the flag and Mikhail Sergeyevich, who, so to speak, signed the decree. And even when he signed, I had a camera on his hand, which signed this decree.

E. Afanasyeva- Historical document. And Yeltsin should have probably already been filmed with the New Year ...

K. Kislova Yes, but on the second day...

E. Afanasyeva- The next day.

K. Kislova- Yes. And literally on the second day - I already said that I met Yeltsin at a military plant in Zelenograd, but that was many years before this event, in 1986. And then on the second day, our editor-in-chief told me - then it was Dobrodeev ...

E. Afanasyeva- Oleg Borisovich, now the head of the All-Russian State Television and Radio Broadcasting Company.

K. Kislova- And he told me that I need to go ...

E. Afanasyeva- To the Kremlin.

K. Kislova- ... to the Kremlin to Boris Nikolayevich. I decided that it was not very convenient somehow: yesterday I said goodbye to Mikhail Sergeyevich, somehow right away ... I say: let's get someone else. And we sent it there... But the next day...

E. Afanasyeva“They called you anyway.

K. Kislova- Yes. The same Dobrodeev ...

E. Afanasyeva- Did you know how to be remembered by the leaders of the state, Kaleria Venediktovna.

K. Kislova- He said: do you know him? I say: no, well, how familiar? I showed him when he put his party card there, I was at the plenum, where all this ... That is, I saw that he didn’t me. And suddenly Oleg Borisovich said to me: but his assistant called and said that if I was there, then so that he asked me to come.

E. Afanasyeva- And you went.

K. Kislova- We went with Oleg then and still there with other people, a large group went to Boris Nikolayevich. And he surprised me that when they introduced him in turn, such and such, such and such, they reached me, they say: Kaleria Kislova, the Vremya program. And he turned to his assistant and said: what are you telling me? I'm with her back in the 86th year ...

E. Afanasyeva- That is, his memory is not worse than yours.

K. Kislova- In Zelenograd - he said - he was sitting on a mound. I say: Boris Nikolaevich, you and I were sitting on a bench, not on a mound. And he joked like that, saying: well, it’s more romantic on the mound. And went on.

K. Kislova All these years that he worked...

E. Afanasyeva- And they flew on business trips.

K. Kislova Yes, I worked with him. And she flew, and to the States again. I flew to the States with everyone. And of course, most of all with Mikhail Sergeevich. With Boris Nikolayevich too. And to the very end, and all New Year's greetings, and that's all ...

E. Afanasyeva- And that famous broadcast: I'm tired, I'm leaving - was this filmed too? ..

E. Afanasyeva- Just the same day?

E. Afanasiev: 99- Year 1, right?

K. Kislova- Yes.

E. Afanasyeva- That is, you wrote down the usual New Year's address.

K. Kislova- Yes, New Year's greetings, New Year's address. But when he began to say goodbye, he said: you know, you don’t sort it out yet - and we dressed up the Christmas tree there. He says: don't dismantle and don't take away the cameras yet. You will come again.

E. Afanasyeva I mean, he knew something was going to happen.

K. Kislova- And I say: Boris Nikolaevich, yes, you said everything well, I will mount it all on VHS, I will distill it for you too, I will send it as always. And he somehow… But then, of course, when I analyzed it, I thought that he, of course, already then…

E. Afanasyeva- Did you know that you would say goodbye?

K. Kislova- Yes. He said: no, you will probably still come. I will write the text myself, - he said such a phrase.

E. Afanasyeva- And you were called on the 31st, right?

K. Kislova- And on the eve of literally, on the 30th, in the evening, a late call, and they say that tomorrow at 6 in the morning all the same people should be at the Spasskaya Tower. I started to collect everyone, because the New Year holidays, someone had already gone on vacation, I was afraid that someone had left. But nevertheless, she gathered everyone, and on the second day in the morning early at 6 in the morning - there was frost - we drove up.

E. Afanasyeva- But you did not suspect that there would be more than just a rewritten appeal, did you think? ..

K. Kislova- What is just a rewritten appeal.

E. Afanasyeva- And at what point did you realize that he would say goodbye? When did you record or earlier?

K. Kislova“I only realized when I saw the text.

E. Afanasyeva How did you see the text?

K. Kislova- So we arrived at 6, we collected our entire scheme, there, sound, video, all together, everything - but they don’t carry the text.

E. Afanasyeva- And it should be typed on a teleprompter, right?

K. Kislova- You need to type it into the computer. And to give him a teleprompter. And there is no text, there is no text. And literally somewhere in 15 minutes before 10 - and I knew that Boris Nikolayevich was never late. Here is the appointed time - he usually left every minute. And I look, already at a quarter to 10 - there is no text. And then suddenly his assistant Valentin Yumashev comes out and gives me the text. And he says to me: Kaleria, you need to dial quickly. And I go, I go up to our Natasha Strezhneva, who is typing. I say: Natasha, quickly ... and I didn’t look at the text, I didn’t look, I think - well, as usual. And I walk around a little nervous, because, as soon as he comes, we are not ready. And then literally for about a minute, probably ... And then a person came who checks again so that there are no errors anywhere. And they type there like that, and I went up to his chair, and like this I leaned on the back and looked at the screen, at the teleprompter. And just got on the phrase: I'm leaving.

E. Afanasyeva- Like this.

K. Kislova- Then immediately, of course, I determined, and then Tanya comes out, who also worked for him at that time already, his daughter, and she says to me: Kaleria, you, please, if you don’t have time, you will talk somehow, but so that ... just do not sympathize, there ... I say: no, no.

E. Afanasyeva- Here they ask, excuse me, Kaleria Venediktovna, Vitaly Avilov asks: “How many takes did Yeltsin take, or did he say farewell words the first time?”

K. Kislova- Immediately, the first time. We just had time - we had the air at 12 pm, and therefore, as soon as we recorded it in full - by the way, he usually recorded without takes at all, he did one take, in extreme cases, it was necessary to talk something over there, if where There was an inaccuracy, so he was talking. He never did multiple takes.

E. Afanasyeva- And on the same day, you probably recorded Vladimir Putin?

K. Kislova- Yes. And of course he was worried. When he entered at exactly 10, I just looked at the Kremlin clock above the door: 10, and the door opens - he entered. He came in, so direct and so collected, otherwise he usually came in, talked to everyone, but here he was very ... So he came in, greeted me and immediately sat down in his place. And I understand that the text is not ready yet, so I start with it ... I say: Boris Nikolaevich, can I fix your hair here? There was nothing to correct, but I corrected something, I told him something, in general, I somehow tried, without touching this topic, I tried to somehow divert his attention that we were not ready.

E. Afanasyeva- And you filmed this one day: I'm tired, I'm leaving. And right there they filmed, right there Putin was already congratulating the people.

K. Kislova- They made this take, I immediately handed the cassette to Alexei Yefimov, and Ernst was waiting for us in Ostankino, and someone took the cassette. And they told me that I had to stay longer, because we also congratulated on the New Year, on the new century, and drank a glass of champagne. Boris Nikolaevich gave us flowers, the women of the group.

E. Afanasyeva- And you were told that you are withdrawing the appeal.

K. Kislova- ... yes, write down Vladimir Vladimirovich.

E. Afanasyeva- And you recorded Vladimir Vladimirovich for the first time?

K. Kislova- I first saw, so to speak, close. So I already knew him, but now he came out immediately, said hello ...

E. Afanasyeva- Vladimir from Penza is interested in: “Which of the leaders was the easiest for you to work with professionally?

K. Kislova- Yes, you know, it was not difficult for me with any of them, in any case, with those with whom I worked so much. But each had, of course, some peculiarities, some difficulties. Suppose it was difficult to mount Leonid Ilyich.

E. Afanasyeva Because he didn't speak well?

K. Kislova- Because he sometimes had reservations, they had to be corrected. And then they took it very seriously.

E. Afanasyeva- And the technique was still such that it was difficult to mount.

K. Kislova“And the technique was weaker then. And then, well, Mikhail Sergeevich liked to do a lot of takes.

E. Afanasyeva- Yes?

K. Kislova- He then chose, he watched, we watched together. We sat in his office and watched. He did ten takes. Moreover, they were not very different. But here he is - something else, and here's another, and here's another like this ... And he did not allow him to be corrected. I once corrected his wrong accent “start”, as he said, and I asked him: Mikhail Sergeevich, say “start, start, start” several times. And he talked, and my microphone was on. And I took him...

E. Afanasyeva- ... pasted correctly.

K. Kislova- He called me on the second day himself. Mikhail Sergeevich was distinguished by this, that he himself could call.

E. Afanasyeva- That is, without secretaries connection.

K. Kislova- He needs to say something - he himself could just call around without any secretaries.

E. Afanasyeva- I just called and said: this is Gorbachev.

K. Kislova- Kaleriya, can you drive up to me today? Come on then. And that's it. He called everyone “you”, he was with such enthusiasm, he was like that. And Boris Nikolaevich, on the contrary, is always on “you” with everyone ... I don’t know, it was not difficult for me with anyone.

E. Afanasyeva- I remind you once again that this is Kaleria Venediktovna Kislova, director of Central Television with a huge work experience.

Sergei from Saratov writes: "With such a memory one should write memoirs." Are you going to write memoirs?

And I also want to say that Kaleria Venediktovna broadcast the Olympics, the ceremony of the Olympics 80.

K. Kislova- Yes.

E. Afanasyeva- That is, this is also all yours - both the flying bear and the crying ones ... did you show all this?

K. Kislova- Yes. I prepared for the Olympiad for a long time, because I worked together with such a director-producer Tumanov, there was such a director of mass such spectacles, very interesting. And I took it very seriously, and at the opening I had 11 mobile television stations.

E. Afanasyeva- That is, at that time it was generally a colossal something.

K. Kislova- Somewhere around 50 cameras.

E. Afanasyeva“It's almost comparable to today's major broadcasts.

K. Kislova“Now this can be done with a much smaller number of cameras, because the cameras are different.

E. Afanasyeva- So, these were the cameras that are so huge, right?

K. Kislova- Not so, of course, they are huge, but they were big. And at the opening, for example, no one knew how an athlete would run, a runner who would light a torch, because there was no ladder.

E. Afanasyeva- Yes, he ran through these ...

K. Kislova- He just ran on human shields held by the athletes.

E. Afanasyeva Yes, it was a unique feature.

K. Kislova- Yes, Tumanov had such an idea.

E. Afanasyeva So, it was kept secret.

K. Kislova- He ran up to this podium, where there are no steps, not a path, and then the first, second, third appeared, and he walked along these steps alive ...

E. Afanasyeva- You knew this at rehearsals ...

K. Kislova- I knew that.

E. Afanasyeva But it was carefully hidden.

K. Kislova- It was hidden, yes. But that the bear is flying away, Tumanov told me that the bear would fly away at the closing, but he said: if you tell anyone, I will kill you. Himself, - he says, - I will kill. Do not tell anybody!

And I really kept it a secret from everyone that he - on the general one he did not fly anywhere and should not have flown away, but here he flew away from us, and I even had an additional two-chamber mobile television station PTS, I put another one on the springboard.

E. Afanasyeva- The springboard is on Sparrow Hills.

K. Kislova- To Sparrow Hills to the observation platform. And they scolded me: why are you taking another TCP? What for? I say: it is necessary. And I even with my right hand - I had an assistant, then she became the director Tanya Petrovskaya, we worked together, and even to her I did not reveal this secret that the bear would fly away. Everyone thought that they would take him out, carry him out like at a dress rehearsal, he would ride, stand up - that's all. And then he flew away.

E. Afanasyeva- And you were ready.

K. Kislova- Yes. And now I’m just in front of him, when he already had to, when he was already standing, bear, in the arena, I told the guys who worked on this additional van on the Lenin Hills, I say: guys, attention to everyone - the bear will now fly away . - How? I say: it will fly away.

E. Afanasyeva- Get ready.

K. Kislova- Yes. Be ready. And I wanted to finish, so that there was such a plan where all of Moscow was visible, and, as it were, the Luzhniki stadium and a flying bear above it were visible from the side. That's why I put an additional TCP still.

E. Afanasyeva- Yes, our dear listeners, Kaleria Venediktovna Kislova, director of Central Television with more than 45 years of experience, a person who celebrated 90 years this year. Do not be too lazy to watch the broadcast on the network viewer - it's impossible to believe it. If you have questions +7-985-970-45-45.

Write here: "Thanks for the bear!" And they ask how, with whom they knew each other - with one, with another, with a third ... I think that you all knew each other.

K. Kislova“I knew everyone. Most of all, of course, it was probably Leonid Ilyich, Mikhail Sergeevich and Boris Nikolaevich.

E. Afanasyeva- And besides political broadcasts, coverage of the first persons of the state, what else was included in your professional duties? What did you show besides these visits?

K. Kislova- In addition, I showed everything else - all the congresses, all the military parades on Red Square.

K. Kislova- On May 1, demonstrations, parades, I went to other cities, broadcast. I was traveling, for example - I didn’t just travel with Mikhail Sergeyevich, with Leonid Ilyich around the cities, I traveled around the cities of the Soviet Union and the capitals of the union republics, I was everywhere where they went. Therefore, I am from Norilsk to Tashkent, if from north to south; from Vladivostok to Brest, to Chisinau. Of course, Transcaucasia and Central Asia - that's all, you understand? And besides this, of course, I traveled, flew to different countries, especially with Mikhail Sergeevich a lot, because it was somehow special with him, and in Washington every year.

E. Afanasyeva- Kaleria Venediktovna, in those days, we still had a fairly closed system, the work of Soviet television was very different, so when you flew either to America or somewhere - we lagged behind, or we had something else, or we were on the level? How was it then?

K. Kislova- You know, technically we were lagging behind then. And in general, gradually tried to catch up. And in the creative sense, it’s hard to say, but I know that after the Olympic Games I was torn apart - they interviewed me, then even a year later, English television came and interviewed, from where I showed these plans, when there were no flying cranes.

E. Afanasyeva- There were no drones.

K. Kislova- And I say: you looked that there was no helicopter there. Where did you show these?

E. Afanasyeva- Where did you show?

K. Kislova“From these lighting towers that stood on both sides, they were three hundred meters high.

E. Afanasyeva- Which were at the old stadium.

K. Kislova- Above the field, above themselves, they stood.

E. Afanasyeva- How could it be installed there? ..

K. Kislova- Inside there is an elevator, and then there is a spiral staircase, they were only 200 meters behind our Ostankinskaya tower.

E. Afanasyeva Did you place cameras there?

K. Kislova- Yes. They made a platform there. We go there first with the leading operator Seryozha ...

E. Afanasyeva- You yourself?..

K. Kislova- We went up there ourselves first, looked from there, what are really just there from a bird's eye view. And we bet on these, so we ordered them...

E. Afanasyeva- Were the cameras so radio-controlled, or was there an operator?

K. Kislova- No, with the operator. They made a fence there, when already ... They scolded us that we went up there without any instructor.

E. Afanasyeva- Violated safety rules.

K. Kislova- Yes. Then our operators passed some kind of exam and received medical certificates that they have the right to work at height.

E. Afanasyeva- Well, of course, there were many hours to work.

K. Kislova- You see, the opening and closing, it went on - the opening went on for about 5 hours.

E. Afanasyeva- Oh-she-she!

K. Kislova- And the closure is a little smaller.

E. Afanasyeva And all this time the man was there.

K. Kislova- Yes.

E. Afanasyeva- And you controlled all fifty cameras live at this moment.

K. Kislova- Everyone came to me directly ...

E. Afanasyeva- Did you sit at the control panel yourself?

K. Kislova- I myself, yes, of course, and in headphones, and told everyone, because, just for five hours, I was talking like this, as now. I also had to shout loudly to interrupt the music, because I understand that it is noisy there, and the operators, although they are wearing headphones, do not hear very well. So that the director sitting in each OB van, so that the operator standing at each camera hears my commands, because I know exactly which camera I will show what.

E. Afanasyeva- Of all this huge kaleidoscope of your impressions, after all, which broadcast is the most memorable in your life - the Olympics or something else?

K. Kislova- Of course, the most memorable is the Olympic Games, of course. Because it was then, just like now, the 2014 Olympics, it’s already in our time now, and then it was also a word said, because even the Japanese, who did not take part in the Olympic Games, then they are there in general so our broadcast is high appreciated - and the Japanese, and the Americans, and the British - all who boycotted our games.

And now, of course, I'm already working ... - I'm still working.

E. Afanasyeva- Awesome!

K. Kislova“I am at work every day. But, of course, it's not like that anymore. And I managed to work with Vladimir Vladimirovich when he was president for the first time.

E. Afanasyeva- In the first term?

K. Kislova- Yes. He is, of course, very easy to work with.

E. Afanasyeva- Why?

K. Kislova- Well, because, firstly, because he quickly perceives everything. He asked - where, what, what - so he entered for the first time, came up, said hello, sat down. I said, sit down, please, here. So, this is the camera, right? He signed up the first time.

E. Afanasyeva- No duplicates?

K. Kislova- Yes. Then, when we already visited him, there, for the second or third time, I don’t remember, because I wrote a lot of his interviews. And he asked: how to see? I say: we can show you, we have a monitor with us.

E. Afanasyeva- Already everything was fine with the monitors.

K. Kislova- Show. And he went, then he looked, it made such an impression on him then, he looked so very with interest. And then he began to say goodbye to everyone, and he walked like that, with the whole group, said goodbye to everyone by the hand, and his guard was standing, and he too ... then he laughed.

E. Afanasyeva- Well, our broadcast, unfortunately, has rapidly come to an end. I think that many broadcasts are not enough for Kaleria Venediktovna Kislova to talk about even a small part of her amazing television biography. Thanks a lot.

Kaleria Venediktovna, health ...

K. Kislova- Thanks.

E. Afanasyeva- All the very best! Come and talk to us about television.

K. Kislova- Thanks.

E. Afanasyeva- Elena Afanasyeva, I say goodbye to you until next Sunday.

K. Kislova- Thank you!

E. Afanasyeva- Goodbye.

January 1 marks 50 years since the release of the first issue of the country's main information program - the Vremya program. Kaleria Kislova is one of those who stood at the origins of the Vremya program, the chief director of the Main Editorial Office of Information in 1977–2003.

The creator and first editor of the Vremya program, Yuri Letunov, drew attention to you when you were still working in the youth editorial office. How did your acquaintance happen?

I was lucky with the leaders on television. We had only four editions, including the youth one (Main edition for children and youth of the Central Television - TASS note). In 1965, the anniversary of the creation of the Mayak radio station was celebrated, Letunov was its editor-in-chief. What I loved most in my life was working on mobile television stations (PTS). I was sent to do a live report from Mayak.

We arrived at the Radio Committee on Pyatnitskaya, set up cameras in different departments. We came to the office of the editor-in-chief, he was not in the office, and without an agreement with Letunov, I rolled a camera in front of him so that he would say some words on the air.

I was sitting to the side, and suddenly a fast man flew in, strong, well-built, of medium height, hair with gray hair, a raincoat fluttering on him. He says: “So, hello, who is this with me?” I jumped up: “Yuri Alexandrovich, hello. I want you to say a few words on the show."

Yuri Alexandrovich says: “No, I will not speak. I know that you are reporting live from us, I told everyone what my deputy will say. "And why?" I asked.

"Firstly, because I don't like TV at all. And I just don't want to." I say: “Yuri Alexandrovich, but you are the creator of this Mayak. If you are not in this program, why do it at all? "Well, well," replied Letunov. This is how we got to know each other.

Then, in November 1974, I was called to see Letunov, who was already the editor-in-chief of the Vremya program. I go to him, he sits with his two deputies and says: “Will you go as the main director to us?” I say: “Yuri Alexandrovich, I think that I am not ready for the main director. I don’t know your work at all, I didn’t work in information.”

He told me: "Maybe you're right." But he immediately gave me a sheet of paper and told me to write an application to the chairman of the USSR State Radio and Television Sergei Lapin about being transferred to the post of director of the Main Editorial Office of Information.

How did your work in information differ from the youth edition? Was there any specificity?

Everything was different. If in the youth edition the plans were 30 seconds (that is, after such a period a montage was made - approx. TASS), then in the information - two and a half seconds. If in the youth team we said: “Listen, we must hurry, we have two days left before the broadcast”, then in the information they said: “Yes, five more minutes before the broadcast, let's go smoke ... "

Then I "sat down" on the program "Time", began to conduct it as a director. The first broadcast passed - without a hitch, the second one passed - everything is fine again.

Before May 1, 1975, in April, Yuri Alexandrovich calls me and says: “We want you to broadcast live from Red Square.” I agreed. “And who do you want to be the second director?” - asks Letunov.

I replied that I do not need anyone. I thought for a long time: why do all broadcasts go forever with a marriage? Either the sound was cut, then the transition is not the same, then the camera is not there. I said that this is because directors from different editorial offices work. And she convinced Letunov that there was no need for a second director, so that there would be no disputes.

How did you become the personal director of the general secretaries of the Central Committee of the CPSU? Has it put any restrictions on your life? After all, you became the only person in the Main Information Office who had access to state secrets.

Somewhere after the May holidays of 1975, I began to go to official events with the participation of Leonid Brezhnev, Andrei Gromyko. Letunov called me and said: “We talked with the first deputy chairman of the committee, Enver Mammadov, and decided to issue you such a permit so that you would constantly work with Leonid Ilyich.”

When I went to register in the first department, they gave me a questionnaire - a thick pack of sheets, almost like a notebook. I filled it all out.

Once there was such a story with Brezhnev. On September 1, 1978, I was given another vacation, despite the fact that Leonid Ilyich himself had not yet gone on vacation. And suddenly they called from the editorial office and said that Grandfather - that was how they called Lapin in absentia - really asks me to fly to Baku for at least three days, because Brezhnev was going there.

And on September 3, in the morning, we flew to Baku. We went straight to the Palace. V. I. Lenin, where Brezhnev was supposed to speak. I saw that the cameras were not the way I needed them and rearranged them. I returned to the hotel, in the evening the group and I went to a restaurant. There, a man comes up to me and says that they ask me to answer the phone. And Elshad Guliyev, deputy chairman of the Azerbaijani TV and Radio Committee, tells me on the phone that I need to be downstairs in order to go somewhere. We went to the Lenin Palace. There were a lot of people there - Heydar Aliyev, the first secretary of the Central Committee of the Communist Party of Azerbaijan, met with the press, which was going to cover the event. I was the only woman, and even in a white jacket.

And at some point Aliyev comes up to me and says: "Kaleria, let's get acquainted." And then he asks the question: “Why did you rearrange the cameras?” To be honest, I was just dumbfounded. No one in my position has ever asked me such questions. I explained that Brezhnev would speak, and because of some features of his face - paresis of the facial nerve - we do not shoot him full face. We always put the camera not directly in the center, but a little bit from the angle. He agreed. And then he asked me to show what each camera shoots. We reviewed together.

Aliyev traveled with us the route of the entire program of Brezhnev's stay in Baku and carefully monitored how we set up the cameras. That struck me about him. And then it turned out that Brezhnev fell ill and the visit was postponed. Geidar Alievich agreed with our leadership that our group would remain in Baku until Brezhnev's arrival. We were taken in. And it turned out that instead of three days I was there for a month.

When Leonid Ilyich arrived there, at the first dinner in a narrow circle we met personally with him. The funny thing is that Brezhnev didn't know who I was. When we were introduced, Bagirov, Secretary of the Central Committee of Azerbaijan for Industry, stood to my left, and Konstantin Chernenko, Head of the General Department of the Central Committee of the CPSU, to my right, and when it was my turn, Aliev smiled and said: “And this is our Miss Television - Kaleria.”

Leonid Ilyich kissed me on both cheeks. It turned out that Brezhnev mistook me for a local. And after that, Brezhnev never called me by my first name, but only "our Miss Television."

For 30 years of work in the Vremya program, six heads of television have changed, but Sergey Lapin stands apart from all the heads of the State Television and Radio Broadcasting Company with whom you had to work. How was your relationship built?

With Sergei Georgievich I had a very good business relationship. The only thing is that Lapin really did not like anyone to communicate directly with Brezhnev. And I never really climbed. She came to the office, set up cameras, lights. Then she went to PTS.

Most often, Lapin himself came to the Kremlin or to Brezhnev's dacha for recording. And when the recording was going on in the Kremlin, and for some reason Sergei Georgievich could not come, he asked that they bring him a picture without sound. And he looked at our work from his office.

In November 1981, Leonid Ilyich was supposed to talk to Indian Prime Minister Indira Gandhi. We came to his office, placed the equipment. At first they thought that he would be at his desk. But it turned out that he would be sitting at a table at the end of a long conference table. And when it became clear, I was already sitting in the TCP. And our operator Boris Kiparisov says: “Listen, urgently get up here, because the commandant of the first building did not allow me to move the table.”

I run into the office, look, and Leonid Ilyich is already sitting. I greeted him. “Oh, hello, hello, our miss, hello,” said Brezhnev. And I ran to the commandant: “Listen, we need to move that table.” And Leonid Ilyich says: “Is there something you don’t like here?” - "No, Leonid Ilyich, I like everything, but I need to rearrange something here a little." He turns to the commandant: “Yura, you do everything as she says. Here today she is the hostess, not me. Immediately the table was moved - and I ran back to the TCP.

I go in, and the chairman calls me and says: “Why did you talk to him ?!” - "Sergei Georgievich, it was not I who talked to him, it was he who talked to me." - "You should have said that you have a chairman." - "Sergey Georgievich, I could not tell him this, because it had to be done urgently."

He hung up.

You worked with six leaders of the USSR and Russia. Were you given instructions on how to film each of them, and which moments stand out the most?

In March 1982, Leonid Ilyich visited Tashkent. The film crew and I were driving in a car from the collective farm-limonarium to Tashkent. The head of the 9th department of the KGB of the USSR calls us in the car and orders us to urgently go to the aircraft factory.

We arrived first, Brezhnev followed us, about a hundred meters later.

We go into the assembly shop, there is an already assembled aircraft on the left, over which a crane is thrown, a shaky bridge. The bridge was not blocked, there were no “nine” officers on duty (9th department of the KGB - approx. TASS) near it, and a lot of people climbed onto it. Everyone wanted to look at Leonid Ilyich.

The operator takes off, I clear the way for him with my elbows in front. Brezhnev is walking, next to him is Rashidov, the first secretary of the Central Committee of the Communist Party of Uzbekistan. As soon as Brezhnev went under the bridge, it collapsed and people from a great height began to fall on him. One person fell right on the general secretary, Brezhnev fell to the floor. He had a broken collarbone. Leonid Ilyich was carried out on a coat and placed in a car.

We were the only ones who had it all removed. From the first to the last second.

I come to the Uzbek television, I'm going to overtake these shots to Moscow, suddenly a call on the "Kremlin" phone. The head of the department of the Central Committee of the CPSU, Leonid Zamyatin, calls from the residence and says in a stern voice: “Kaleria, don’t try to overtake these shots. You will bring the film to Moscow yourself, hand it over to me personally, you are responsible for it with your head ... "

I am standing in an embrace with this roll of film in a green trunk and do not know what to do. Where to store it before the plane? The chairman of the Uzbek TV and Radio Company comes up to me and says: “Let's put the tape in the safe for me. We'll seal the safe." So they did.

The next morning we come to the broadcast at a solemn meeting on the occasion of the anniversary of the republic. Leonid Ilyich was drugged with painkillers, and he read the report, then went to the Central Committee, where he also made a short speech. And after that - immediately to the airport.

And I went to the chairman of the TV and radio committee to take the tape. I went in, but he didn’t look me in the eye: “Kaleria, the representative of the Uzbek KGB took the film, I couldn’t object to him ...” It seemed to me that after these words I would die right next to this safe. I don’t remember how I got on the plane, it seemed to me then that if the plane had crashed and crashed, it would be better for me than to come to Moscow without this film.

From the airport I immediately went to Ostankino, it was midnight, I arrived, my editor-in-chief Viktor Lyubovtsev was sitting there and said: “Lera, Lapin calls all the time, looking for you ...”

At the meeting, everyone pretends that I am not in the office. Suddenly the secretary calls me and says: “Lerochka, let's go to us. Two generals arrived there ... "

I went into the office, they saw me and stood up. Very tall "birds" came to talk with me: Tsinev, the first deputy chairman of the KGB of the USSR, and the head of the 9th department Yuri Storozhev.

They spoke to me very politely, asked me what had happened, and left. Ten days have passed, everyone ignores me, I sit in the office as if in a vacuum.

One day, they are called to the reception room of the chairman of the State Television and Radio Broadcasting Company and are connected to the Lubyanka via a "turntable". “Comrade Kislova? - Strictly ask at the other end of the telephone wire. “There’s a car behind you, drive up to us.” I ask for the number of the car. And in response they say to me: “You will be recognized ...”

In the black "Volga" - a young and very polite lieutenant. We rush to the Lubyanka, to the KGB of the USSR, they hand me over to a no less polite major.

No one asked for documents, no one issued passes. Reception of KGB Chairman Yuri Andropov. I went in and said hello, no one answered me.

Andropov talked to me very well. He immediately called me by my first name...

I told him twice how it was, answered questions. We drank tea with him. And then Andropov called someone on the line and ordered them to take me home and take me to the apartment.

On the second day, everyone began to smile sweetly.

Speaking of Andropov, he was also at the helm of the Soviet state...

I did not see Yuri Vladimirovich for a very long time after that conversation at the Lubyanka. But then, at the end of January 1983, I had one conversation with him.

Andropov did not like video filming, but preferred photography. And at first we received photos from TASS. Yuri Vladimirovich once said: “Heydar Alievich told me here that you are dissatisfied with me?” I say: "Showing your photos in the information program is not the best option." And he said the following phrase: "It seemed to me that we have overfed our people with television." To which I replied that when some important moments, it is still better to show in motion, and not with the help of a photo. And to my misfortune, I convinced him ...

In July 1983, Andropov was supposed to present the Order of Lenin in the Kremlin to Janos Kadar, First Secretary of the Central Committee of the Hungarian Socialist Workers' Party. This broadcast cost me half my life.

Calls the head of the "nine" Yuri Plekhanov and invites you to come to the Kremlin for the awards. They choose the smallest Red Drawing Room in the Grand Kremlin Palace, the former bedroom of Empress Catherine. Firstly, there was an unfortunate dark red background, and secondly, it was very cramped, and thirdly, there were a lot of people crowded. We were allowed to install only two cameras. There was another detail. He was given a table with a malachite top, slightly higher than the coffee table. The cameras are jammed, you can’t drive anywhere - there is a wall behind your back. Andropov comes out, starts talking, and I see that his hand is just shaking, in which he holds a piece of paper. At the same time, he wants to lean on something, but he is tall and cannot reach the table. And on any plane all this is visible. I had such a horror.

We with two experienced operators did not know what to do. After the broadcast, I went to work as if I were going to be shot, because I had never had such a shameful broadcast. It was impossible to cut it, because he held the paper almost to his eyes.

On the second day, some strangers from the Central Committee, the KGB come. Call our group. We go to the control room, where the debriefing takes place. I ask them: "Tell me what to do in this case?" They say to me: “Couldn’t you remove the paper?” "Where?" - I answer.

We demonstrated that it was necessary to cut the plan to the very eyes of the Secretary General, even to cut his nose ... Thank God, everyone understood everything and nothing happened to anyone.

Do you remember anything about Konstantin Chernenko, who was General Secretary for 13 months?

I was with Chernenko in the hospital before he voted in the elections to the Supreme Soviet of the RSFSR in February 1985. People from the Central Committee wanted to build a platform right in the Central Clinical Hospital and have him read the report. Lapin entrusted the shooting to me. I said that I should go to the Central Clinical Hospital - to look and meet with Konstantin Ustinovich. Immediately after this conversation, I was taken to the Central Clinical Hospital in Kuntsevo.

I entered the "presidential" block. There was the most prestigious apartment for those times: a large bedroom, a living room with solid light wood furniture, greenish walls, a picture of the Kremlin hung from the side of the Grand Kremlin Palace, like on a hundred-ruble note. And Chernenko was lying in a separate room on a special bed with all kinds of tubes.

Chernenko recognized me, of course. I sat down on a chair closer, asked: “How are you feeling?” He said: “Yes, in different ways. Sometimes it's better, sometimes it's an attack." He breathed in for every word. I felt very sorry for him. I wished him a speedy recovery.

From there, I returned to Lapin, told him that I couldn’t take on this job: “He won’t be able to speak. This is simply unrealistic, this is torturing a person ... "

To which he said to me: “What should I do?” - “There is such a thing - a candidate's confidant. And he also has a confidant. Let the trusted person speak on his behalf and meet with the voters.”

I answered him that a short show could be made for the vote so that he would not leave the ward. Maybe put some kind of device so that he can lean on it from behind. And just to put the ballot in the ballot box, waved his hand and said nothing. Lapin said that he would report everything to the Central Committee and call.

On the second day in the morning, he called me at home: "Come." I arrived and he said that my proposal was accepted and a trustee would act, but I should be the director of the broadcast.

Lapin also said that it would be necessary to make another broadcast, in a few days, when Chernenko would be handed the mandate of the deputy. But soon Chernenko was gone.

In March 1985, Mikhail Gorbachev began perestroika in our country. Has his style of working with TV workers changed?

You know that he put the stresses wrong. And when one of the recordings ended, I approached him and said: “Mikhail Sergeevich, can you say “begin” and not “begin”?” He says: “Kaleria, yes, you understand, I know that it’s correct to say“ start ”, but I’m a southern person, I’m used to talking like this. And I like it."

I say: “Mikhail Sergeevich, well, tell me “start” ten times. He calmly told me. I, joyful, came to Ostankino, where we put it into his speech and built it in. And so it went on air.

The very next morning, the city telephone rang - Gorbachev was on the line. I say: "Hello, Mikhail Sergeevich." “Listen, how did it happen that yesterday I said “begin”, but it came out “begin”?” I told him: “Mikhail Sergeevich, you told me right later, and I corrected it. It's the usual way, we always do it." “No, don't ever do that again. I don't need to be corrected."

One evening, Mikhail Sergeevich called: “Drive up, I want to show you something.” I came to the Kremlin. I was met by Gorbachev and President Kruchin's manager. They showed me the new living room where they would record. He asks: “Well, how?” I looked and said: “I don’t like greenish silk wallpapers. Again it will be necessary to beat off the light, push you forward, otherwise you will have horns. “What horns?” he wonders. “You see, Mikhail Sergeevich, what a drawing,” I say. And on the wallpaper there are such stains, no matter how you plant them - it turns out like horns on the head.

Or another example. I offered him all the time to put up a Christmas tree for a New Year's address. “After you there is a chiming clock, everyone is sitting at home, at the table. The trees are lit, the TVs are on, and you are sitting dejectedly in front of a simple background. Moreover, even the crystal floor lamps were removed, because colleagues in the Politburo believed that it was not necessary to show them. “Well, let's at least put a small Christmas tree,” I say. He agrees. I arrive, and he says: “You know, the Politburo killed this idea. They said you can’t have a Christmas tree - this is a bourgeois tradition.”

Once Gorbachev calls me: “Kaleria, hello, come to the Palace of Congresses.” I arrive at the meeting room. Mikhail Sergeevich comes out from the side, comes up to me and says: “Listen, Kaleria, you don’t know how to work ...” It’s not very pleasant to receive such an assessment from the main person of the country. "Why are you showing me like that? Either I’m small at all, or I’m from somewhere on the side.” And when Gorbachev first arrived, we had Deputy Editor-in-Chief Golovanov, a former classmate of Gorbachev, who told me that I should never show a birthmark on my head.

“Here I am,” he says, “I was in London in 1984, they also showed me on television, but they showed me directly. And for some reason you always show me from the outside. If you are embarrassed by my stain, then in vain. I'm proud of them, but I'm not even shy at all. Therefore, I want to be shown straight, large, so that my eyes can be seen. I believe that the most important thing for a person is his eyes. "A scheme for arranging cameras has already been approved at the Palace of Congresses, you can’t put a camera directly. Gorbachev then asked:" What is needed for this? "It is necessary that Yuri Sergeyevich allow it," I replied. "Yuri Sergeyevich, I order you as Secretary General: let me move the camera to the central aisle."

In December 1988, Mikhail Sergeevich was supposed to speak to the delegates of the UN General Assembly. Since Gorbachev had to be shown directly, I flew to New York, and our deputy chairman of the State Television and Radio Broadcasting Company for technology Yushkevicius upset me: “You know, they didn’t allow the camera to be placed in the center of the Palace of Nations.” Then we went to the United Nations International Television Company, which had the right to set up its cameras as it saw fit. We met with the general director of their television company, convinced that this was Gorbachev's personal request, and received permission to set up a camera and broadcast it ourselves. The camera was installed in the center, on a tier behind bulletproof glass. And I see from today's plans from the UN headquarters that the camera is still in the place where it was allowed to install our camera to film Gorbachev's speech. And I consider it my achievement that I was broadcasting from the UN meeting room.

Did Gorbachev suspect about the impending coup in August 1991?

Before the coup, I recorded Gorbachev on 2 August. Before going on vacation, he addressed the people and spoke some general words. I came to the Kremlin for recording. He went out in a shirt, without a jacket, and thoughtfully watched the arrangement of cameras. I went up to him: “Mikhail Sergeevich, I heard that there will be repairs here while you are on vacation. Could you tell us to make a connection here (holes in the floor)?” All the time we dragged all the equipment into his office through the reception room. And the doors are ajar during the recording, and noise is coming from the corridor. He answered this with a very strange phrase: “You know, Kaleria, there will be repairs here, but we won’t be here with you anymore ...” “Mikhail Sergeevich, what are you talking about. Well, maybe I won’t be, but you will be ... ”He paused and said nothing more.

And in the evening I met with Plekhanov, and he introduced me to Vladimir Kryuchkov (from 1988 to 1991 - chairman of the KGB of the USSR, from 1989 to 1991 - member of the Politburo of the CPSU Central Committee - TASS note). They had a general conversation. For the first time in the entire period of work with all the leaders of the USSR under Gorbachev, I broke the rule and did not say that I was going on vacation. She didn’t tell about her vacation at “nine”, and didn’t report to the duty officer. And I did not tell them that I was flying to Baku on vacation. And when all this happened, on August 19, I was not in Moscow, I returned on the same day with Gorbachev, on August 21.

And already on December 25, I was informed a few days before that there would be a record with the signing of the resignation. Gorbachev that day was in a very tense state, but collected. I went with him to the Green Room. When we entered, it was full of people with their cameras, and among them - our three cameras. I warned the president that there would be a camera behind his right shoulder that would show only his hand, which was signing the decree.

And when I recorded it in advance, he always asked me to sit under the camera. And he said: “I can’t look into this glass, I need a living person.” It's been that way since the very first recording. And here I should be in PTS. And he says to me: “Will you be under the camera?” “No, Mikhail Sergeevich. I’m broadcasting, I still have a camera on Red Square to show how the flag will be lowered.”

He was confused, he said: “But how will I know when to start?” “There is a camera with an operator right in front of you, he will wave his hand to you, and you will start,” I answer. He asks: "How to dive into the water?" “Yes,” I answer him. After the broadcast, I went to his office. I approached and saw how two workers unscrewed a large sign on which it was written: "Mikhail Sergeevich Gorbachev, President of the USSR." I go to him, he stands at the table, lowers his tie and says to me: “Can you imagine, they want to do everything so quickly ... Raisa Maksimovna just called me, they came to her from the administration and said that at 24 o’clock we should leave from apartment and move to another. Well, how is it, but we have a big family ... "

A new president of a new country has arrived... - On the second day, our editor-in-chief Oleg Dobrodeev told me that I needed to go to the Kremlin to see Boris Nikolayevich. I decided that it was not very convenient somehow - I said goodbye to Mikhail Sergeyevich yesterday, somehow right away ... I say: "Give some other director." Agreed.

The next day, Dobrodeev calls again and asks: “Do you know Yeltsin?” I say: “No, well, how do you know? I showed him when he put his party card there at the plenum. And suddenly Oleg Borisovich said to me: “But his assistant called and said that you should come to the shooting.”

We arrived, and when we were introduced to him in turn, they reached me, they said: “Kaleria Kislova, the program“ Time ”. And Yeltsin turned to his assistant and said: “What are you telling me? Back in 1986, I was sitting with her in Zelenograd on a mound. I say: “Boris Nikolaevich, you and I were sitting on a bench, not on a mound.” And he says: “It’s more romantic on the mound.”

And before that, on December 27, we recorded the usual New Year's address with him. But when he began to say goodbye, he said: “You know, you don’t dismantle the Christmas tree and take away the cameras yet. You will come again ... "And I say:" Boris Nikolayevich, yes, you said everything well, I will mount it all on VHS, distill it and send it to you, as always. He said: “No, you will probably still come. I'll write the lyrics myself."

On the evening of the 30th, late in the evening - a call, and they say that tomorrow at 6 am so that all the same people are at the Spasskaya Tower. I started to collect everyone, because the New Year holidays, someone had already gone on vacation, I was afraid that someone had left. But nevertheless, she gathered everyone, and at 6 in the morning - there was frost - we drove up. We collected our entire scheme, sound, video, all together, everything - but they don’t carry the text.

And the text must be typed on a computer in order to submit it to the teleprompter. There is no text. I knew that Boris Nikolayevich was never late. Here is the appointed time - he usually left every minute. And I look, already at a quarter to 10 - there is no text.

And then suddenly his assistant Valentin Yumashev comes out and gives me the text. And he says to me: “Kaleria, you need to dial quickly.” And I go, I go up to the assistant, who is typing. But she herself did not look at the text, did not look, I think - well, as usual. And I walk around a little nervous, because he is about to come, but we are not ready. I went to his chair, leaned back and looked at the teleprompter. And just got on the phrase "I'm leaving."

Boris Nikolayevich came in exactly at 10, greeted me and immediately sat down. And I understand that the text is not ready yet, so I start talking to him: “Boris Nikolayevich, can I fix your hair here?” There was nothing to correct, but I corrected something, I told him something, in in general, somehow tried to divert his attention from the fact that we are not ready.

We made this double, immediately gave the cassette to Ostankino. And they told me that I had to stay. Boris Nikolaevich congratulated us on the New Year, on the new century, and drank a glass of champagne. Boris Nikolaevich gave flowers, we embraced.

And Valentin Yumashev is already telling me that I need to write down Vladimir Vladimirovich ...

Interviewed by Dmitry Volin

Baku was visited by a Moscow delegation, which took part in the commemorative events on the occasion of the 95th anniversary of the national leader Heydar Aliyev and the 100th anniversary of the founding of the Azerbaijan Democratic Republic. The delegation included people who during the period of Heydar Aliyev's work in Moscow were his associates, worked together with him. Day.Az reports this with reference to Trend.

The first secretary of the Central Committee of the Communist Party of the Azerbaijan SSR, Heydar Aliyev, after successful activities from 1969 to 1982 as head of the republic, was invited by the leader of the USSR, General Secretary of the Central Committee of the CPSU Yuri Andropov to work in Moscow, was elected a member of the Politburo of the Central Committee of the CPSU, and was appointed First Deputy Chairman of the Council of Ministers of the USSR. In this post, Heydar Aliyev also achieved great success, gaining great prestige and recognition. In those years, next to Heydar Aliyev there were people who to this day celebrate the high human qualities of this person, who inscribed his name in history.

The delegation that visited Baku included Secretary of the First Deputy Chairman of the Council of Ministers of the USSR Jamal Jamalov, Deputy Head of the Secretariat of the First Deputy Chairman of the Council of Ministers of the USSR Vladimir Ukhov, Assistant to the First Deputy Chairman of the Council of Ministers of the USSR Yuri Solodukhin, Honored Art Worker of the Russian Federation, television director, former chief Kaleria Kislova, director of the information program "Vremya", Alexander Borodkin, personal doctor of Heydar Aliyev, Viktor Nemushkov, officer of the 9th Directorate of the USSR KGB, and Vladimir Tupitsyn, a driver and officer of the 9th Directorate of the KGB of the USSR. They visited the Heydar Aliyev Center, got acquainted with the sights of Baku. We managed to talk with the guests, who shared interesting memories of Heydar Aliyev.

Today we present to Trend readers the memoirs of the legend of Soviet television Kaleriya Venediktovna Kislova.

92-year-old Kaleria Kislova has devoted more than half a century of her life to television. She worked on the creation of many popular programs, was engaged in the preparation of broadcasts of parades and demonstrations on Red Square, international youth and student festivals, competitions for the 1980 Olympics, television bridges, etc. In 1974 she was invited to work in the main editorial office of the information of the Central Television, including those involved in the release of the program "Time", and three years later she became the main director of the program. For about thirty years, Kislova was the chief director of the central news program of the Soviet Union, and later the Russian Federation. In 2006, she resigned from the position of chief director and became a consulting director and is now one of the oldest employees of Channel One. Kaleriya Kislova is a laureate of the State Prize of the USSR, an Honored Art Worker of Russia, and has received many state awards.

During her long professional life, Kaleria Kislova worked with the first persons of the USSR and Russia Leonid Brezhnev, Yuri Andropov, Mikhail Gorbachev, Boris Yeltsin, but it was Heydar Aliyev who, according to her, became for Kislova a special boss, person and good friend.

"Never in my life have I met such a sincere and noble person as Heydar Aliyev. I came to Baku for the first time on September 3, 1978, being the chief director of the Vremya program and the personal director of Leonid Brezhnev. This was on the eve of Leonid Ilyich's visit to Baku. We immediately went to the Lenin Palace (now the Heydar Aliyev Palace), where Brezhnev was supposed to speak, and set up cameras. Then I returned to the hotel, and in the evening the group and I went to a restaurant. There, Elshad Guliyev, deputy chairman of the Azerbaijani TV and Radio Committee, called me to the phone and asked me to come back to the Lenin Palace. It was about twelve at night. Preparations for Brezhnev's visit were carried out almost around the clock. Geidar Alievich gathered in the Lenin Palace a team that was preparing a meeting of the General Secretary of the CPSU Central Committee, including the film crew of the Central Television. I see all the men in dark suits, dark ties, only white shirts. I was the only woman, and even in a white jacket, and I felt a little embarrassed. During the conversation, Heydar Aliyev unexpectedly came up to me and said: "Kaleria, let's get acquainted", smiled and immediately won me over. I will never forget his friendliness and simplicity. Although even then he held a high post and was the first secretary of the Communist Party of the Azerbaijan SSR. He asked to tell and show the readiness of the equipment, how each camera shoots. Together we looked through all six cameras located in the hall. There were no operators in the hall, and I personally showed how and from what angle the broadcast would go. Heydar Aliyev was a very attentive person and treated journalists, creative personalities and cultural figures with great respect. And then, in his car, we traveled together the entire route of the upcoming movement of Leonid Brezhnev's motorcade around the city, where cameras were placed. Geidar Alievich personally looked at everything, asked such professional questions and gave instructions, pointed out such places of the necessary angles for filming, that I was simply amazed by his knowledge in the field of television! Moreover, he did all this very tactfully, so as not to offend my professional feelings. I knew and worked with all the first secretaries and members of the Politburo of the USSR, traveled to almost all of our republics, but no one ever paid such professional attention to the filming process.", - said Kaleria Kislova.

According to Kaleria Venediktovna, while preparing for the filming process, Heydar Aliyev asked if she had time to see Baku, which was stunning in its beauty, and spoke about Azerbaijan with such love that everything was clear without words from his expression and emotions.

At that time, it so happened that Brezhnev fell ill and the visit was postponed.

"Heydar Alievich agreed with the leadership of the Central Television of the USSR that our group would remain in Baku until Brezhnev arrived. And it turned out that instead of three days we stayed in Azerbaijan for a whole month. It was a fabulous and unforgettable month! We were met everywhere with great respect and We worked a lot, I even managed to fly with Geidar Alievich over the republic, see many wonderful places, become a witness of the love with which ordinary people treated this great personality.Leonid Ilyich loved Azerbaijan very much and treated Geidar Alievich with great respect.On the day of Brezhnev's arrival, there was a dinner at the residence, and I was invited to it, although in general, according to the protocol, it was not customary to invite a television director. Geidar Alievich was the first to take such a step. When Leonid Ilyich came, Geidar Alievich began to introduce all his people. On the one hand, the guests from Moscow lined up, on the other - the high ranks of Azerbaijan, and I am in the middle. And when they reached me, Geidar Alievich, smiling, said:"And this is our" Miss Television "- Kaleria." It is interesting that Brezhnev did not recognize me at first, apparently he thoughtthat I am the head of Azerbaijani television. And only when they told him that I was from Moscow and "the same Kislova", he was very surprised,kissed me on both cheeks, and after that he always called me "Our" Miss Television ""- said Kaleria Kislova.

Kaleria Kislova next visited Baku at the end of September 1982. Leonid Ilyich Brezhnev arrived in Azerbaijan after a serious illness. This was his last visit to the republics of the Soviet Union. After meeting Leonid Ilyich Brezhnev at the airport, everyone went to the city, where a tribune was organized for the speech.

"Brezhnev got out of the car, but refused to speak, citing health problems. He got back into the car and everyone drove away. For us, it was an emergency situation that required an independent and prompt decision. The whole square was filled with people, and mobile TV cameras stood along the highway to the very residence. And then we decided that the shooting would continue. After that, I edited the material - how the procession should be, how people sing and dance in the square, a grandiose holiday is taking place all over Baku - and all this was shown in the Vremya program. Leonid Ilyich looked and said: "How beautiful it was! But I didn't see it."- said Kaleria Kislova.

After Heydar Aliyev took the post of First Deputy Chairman of the Council of Ministers of the USSR, Kaleriya Kislova often traveled with him to various regions of the Union and the capitals of the republics - Tbilisi, Almaty, Kyiv, etc., and again saw with her own eyes how warmly they welcomed him people, with what great attention and care Heydar Aliyev treated them.

"He was an amazing person, for whom, despite the huge state work, the well-being of the country's citizens was important. He often got out of the car and communicated with people, in a completely simple way. In those years, none of the country's leadership went out to the people. Geidar Alievich personally got acquainted with people, was interested in their life, work, salary, delved into all the requests of ordinary workers and gave orders to solve problems.Moreover, Geidar Alievich was the only leader of the former Soviet Union who personally communicated and even dined and dined with those accompanying him in business trips by journalists. He was a very sincere and open person, with his charming smile and sincere attitude towards ordinary people, he was always interested in whether we were eating well, whether we were well arranged, interested in future plans and helped in everything. I knew all the leaders of the union republics, but Geidar Alievich was special, it was easy and interesting to work with him as a human being. they traveled all over the USSR and I have never seen him look down on anyone. He was with each of us on an equal footing, treated with paternal care. For me, these were unforgettable moments of life next to this great personality - kind, sympathetic, cultured, hardworking, who forever remained in my memory as a special boss, person and good friend.", - said Kaleria Kislova.

Kaleria Venediktovna recalls with pain in her heart 1981, when her parents passed away one after another in Novosibirsk. In these difficult days, Heydar Aliyev was the first to support her.

" They lived in Novosibirsk, I went there, to a city where I had not lived for a long time and lost my friends and relatives there, and then my mother's funeral ...Imagine my surprise when in Novosibirsk they called me for a telephone connection with Baku. It was Heydar Aliyev. “Kaleria, I am calling to express my deepest condolences on my own behalf and on behalf of Zarifa Azizovna. Tell me, how can I help you? I answered: "Yes, Geidar Alievich! Thank you very much." This event became a landmark in the most difficult period of my life, because none of my Moscow leaders, with whom I was friends, and who knew perfectly well that I was there, and in what position, did not call me and did not say these words, did not pay attention and support",- said Kaleria Kislova.

Heydar Aliyev once actually saved the son of Kaleria Venediktovna from death. Her son was 14 years old and had an appendicitis attack. He was taken to the Sklifosovsky Institute, where he was diagnosed with ... "simulation", and sent home. The next day, his appendix burst and he was taken to the hospital unconscious. The operation lasted six hours, and the young man was placed in intensive care. All this time, the mother could not find a place for herself, rushing from corner to corner, because everything could end in death. And in the evening Alexander Ivanov, head of Heydar Aliyev's bodyguard, called her to discuss current affairs. And Kaleria Venediktovna told about her misfortune.

"In the morning, when I arrived at the hospital, I was surprised by the large number of doctors, professors, up to the Minister of Health. As it turned out, Geidar Alievich was outraged by the actions of the doctors of the Sklifosovsky Institute, and it was instructed that he be reported to the reception on the state of my son's health several times a day! In fact, thanks to the efforts of Geidar Alievich, my son was brought back to life! And Zarifa Azizovna kept asking about my son's health. And they didn't even know my son, but what a part in my fate!"- said Kaleria Kislova.

And once, having learned that Kaleria Venediktovna was seriously ill, Heydar Aliyev sent his personal doctor to her, who cured her in just three days. Moreover, she was allocated an apartment.

“He always came to the rescue, he never asked directly, but he always knew who needed help and what kind. It was also in my life that he saved me when I was very sick. I thank him immensely for such care! And when I went to work, they called and said that they gave me an apartment. I thought it was a hoax, because I didn’t write any applications for an apartment. It turned out that the doctor had returned from me and Geidar Alievich asked: "In what conditions did she lives?" And he told me that I have an old living space of 39 square meters. That's the kind of person he was! Therefore, I simply idolized the person who saved my child, helped me when I was sick. Never and none of all the representatives of the leadership, with whom I worked for, did not do as much for me as Heydar Aliyev did. He was struck by optimism, attentive attitude to people and boundless love for the motherland, care and attention even to complete strangers",- said Kaleria Kislova.

Kaleria Venediktovna recalls the warm relations that were in the family of Heydar Aliyev.

" I met Zarifa Azizovna in Almaty in Kazakhstan in the late 70s, where she was with Geidar Alievich. He loved his wife very much, all men would have such feelings towards a loved one! Even in this he was different from everyone! After he introduced me to his wife, we talked, and as it turned out, she heard a lot of good things about me from Geidar Alievich. She immediately hugged me, and I felt a soul mate to me. After that, we met several times,and she always called me Kaleria khanum, and I was very pleased to hear it.Zarifa Azizovna was an amazing, very educated, sympathetic and kind woman. She was for me a model of a smart, subtle and wise woman. I humanly admired this married couple! ...1985 was a very difficult year for Geidar Aliyevich. At this time, his wife Zarifa Azizovna was already very ill. Before another business trip of Geidar Alievich to Altai, we met with her at the Bolshoi Theater, where he made a report on March 8. She called me and asked: "I have a big request to you, Kaleria. Make sure that he does not catch a cold. He does not like to wear a hat and scarf, but it's cold there, and he is a southern man." So she took care of him. April 15, 1985 - I will never forget this day. Zarifa Azizovna passed away. In the morning, when I went to the Kremlin and entered the office to express my condolences, I saw a completely different Geidar Alievich. He had just arrived from the hospital, where he spent the whole night, did not sleep, it was painful to look at him. Then for the first time I saw Geidar Aliyevich's tears... I tried to say something, somehow support with words, and he answered: "I lost not only my wife, I lost a friend..."

Many years have passed since Heydar Aliyev left Moscow. Many years have passed since he passed away. And his former team, those who remained, still meet and celebrate the memorial day - December 12 and his birthday - May 10.

We always say: "We are the team of Heydar Alievich!" Kaleria Venediktovna completed the conversation.

The legend of Soviet television, the permanent director of the program "Time" of the Central Television Kaleriya Kislova managed to work in her long professional life with the first persons of the USSR and Russia Leonid Brezhnev, Yuri Andropov, Mikhail Gorbachev, Boris Yeltsin and Heydar Aliyev. But it was Geidar Alievich who became a special boss for Kaleria Venediktovna, and later a good friend. "My memories of the ex-president of Azerbaijan would be enough for a whole book," Kaleria Kislova admitted to a correspondent "Moscow-Baku".

First meeting

I first came to Baku in 1987. Then Leonid Ilyich Brezhnev came to the capital of Azerbaijan on an official visit, and I worked as part of Brezhnev's television group. I got the impression that the whole city of Baku met Leonid Ilyich and, as it should be, very hospitably. On the very first day I met Geidar Alievich. He immediately endeared himself to our entire delegation. I will never forget his friendliness and simplicity. Although even then he held a high post and was the First Secretary of the Communist Party of the Azerbaijan SSR. I knew all the leaders of the union republics, but Geidar Alievich was special. Firstly, he knew his business perfectly, a true professional, a diplomat, and secondly, it was easy and interesting to work with him as a human being. It would seem that he was an unusual and status person, but he behaved very simply. Later, we traveled all over the USSR and half the world for work: we were in the south, west and east, and I never saw him look down on anyone.

He always knew who needed help

From the first minutes of our acquaintance, Heydar Aliyev called me Kaleria, and I, of course, Heydar Alievich. He was fluent in Russian, but sometimes he could just like that, easily, call to work at Ostankino, or home and consult with me how best to build this or that proposal. He respected and appreciated me for the fact that I always tried to answer his request. Sometimes I even had to come to his Kremlin office, where we discussed issues for a long time, talked a lot. Another quality for which Geidar Alievich was appreciated by all his employees is the desire to help. He always came to the rescue, never asked directly, but he always knew who needed help and what kind. There was such a thing in my life that he saved me when I was very sick. For such care, I am immensely grateful to him so far!

Zarifa Aliyeva - merciful and sympathetic

It so happened that we did not meet Geidar Alievich's wife right away, but after some time not in Baku, but in Alma-Ata. When I came to Baku for the first time, Zarifa Azizovna had things to do and a lot of work. She almost never appeared with her husband. Only stealthily did I manage to see her at a reception in honor of Brezhnev's departure from Baku in 1978, but then I was too shy to approach and introduce myself. In Alma-Ata, we met by chance, but as it turned out, Zarifa Azizovna already knew me by name, hugged me warmly and even made a compliment. She said that she liked the dress in which I was then at the reception. Later, Zarifa Azizovna always called me Kaleriya khanum when she met. The first lady was never limited to formal social interaction, she was always attentive and kind, as well as generous. I never let go of Baku without gifts and almost always personally saw off at the airport. The last time we saw Zarifa Aliyeva exactly a month before her death. I did not know that she was already seriously ill and that this was our last meeting. At her funeral, everyone supported Geidar Alievich as much as they could. I even have photographs of this sad day, and are still on the shelf. Together with Zarifa Azizovna, a part of Geidar Alievich also left, there was no face on him. But his family helped him - very young Ilham and Mehriban. They became his support.

Look at Baku from the top...

The first time I came to Baku in 1978, and the last trip took place in the summer of 2014, I rested on the seashore for almost a month. Probably, I love Baku because it gave me a lot, so the stars were formed. Here I worked a lot and rested, first with my son, then with my grandson. I am familiar with different Baku, but it has always been good and made me happy. When I arrived in Soviet times and drove from the airport, I saw only a dried-up desert and “pumps” of oil. But I also loved this landscape. Now this city is like an oasis in the desert: with excellent roads, infrastructure and skyscrapers. I have always liked Baku. I can say that this is one of the most beautiful cities on earth, and I have traveled half the world and therefore I can judge. I can advise those who are just going to go there: be sure to look at Baku from the top point in the daytime and at night. I'm sure this memory will stay with you for the rest of your life.

Forever in people's minds

Already 13 years have passed since Geidar Aliyevich was gone from this world. But in my memory and in the memory of people, he will remain forever. His unspoken presence is felt especially well in Baku. When I arrive there, I go to his grave to bow and talk for a long time ... We were connected by work and friendship, a very long period of time that cannot be forgotten. In many interviews I talk about his character, what kind of person he was and so on. Perhaps there will be enough memories for a whole book, and my children will publish it. There were no secrets in our friendship and I would like to tell even more about him, about his wonderful family and the country that he loved immensely.

REFERENCE: Kaleria Venediktovna Kislova was born on April 20, 1926 in the village of Kargat, Novosibirsk Region. She graduated from the school-studio at the theater "Red Torch" in Novosibirsk and GITIS in Moscow. She worked in theaters in Novosibirsk and Alma-Ata. From January 1961 - assistant director at the Novosibirsk Television Studio. In the same year, she moved to work in the Youth editorial office of the Central Television in Moscow. She worked on the creation of the cycle of programs "Our Contemporary", the TV magazine "Molodist", the TV show "Come on, girls!" and others. She worked a lot on mobile television stations (MTS) during the broadcast of parades and demonstrations on Red Square, youth and student festivals in Bulgaria and Finland, Olympics-80 competitions, teleconferences, the Leningrad World Youth Forum. In 1974, at the invitation of the Editor-in-Chief, she went to work in the main editorial office of information (the program "Time"). The director, and then the main director, directed the broadcast of all the brightest events in the life of our country. Laureate of the State Prize of the USSR, Honored Art Worker of the Russian Federation, awarded the Order of the Badge of Honor, a medal for the Order of Merit for the Fatherland, 2nd degree, and a Letter of Acknowledgment from the President of the Russian Federation. Winner of the Telegrand-2011 award. Since 2004, he has been working in the editorial office of the Vremya program, but in a different position. She says that she can’t just retire, and her romance with television will never end.