Copyright @ 2000 by Tatyana Elmanovich
Elvis Presley, Vladimir Vissotski, Marlene Dietrich, Myrna Loy

Marlene Dietrich

The Excerpts From The Book of Queens
Home Development Circle, on August 8, 2000
Sitters Tanika, Vladimir, Nila and Lidia

First Appearance

Tanika: "I see Archie, one of my guides. His calling card features a fenced pier, and his guests arrive in a boat to this pier. Archie looks great tonight. He is wearing a classic black tuxedo. And he helps a lady in an evening gown out of the boat. She looks like… she looks like Marlene Dietrich. My God! She is Marlene Dietrich. She is ready to speak, she speaks…"

M.D.: Good evening ladies and gentlemen. I am happy to greet you in this quiet little Costa Mesa town. I feel pity for all of you and especially young Hollywood, because their Hollywood is so different from ours. Our time was difficult, but your time is much more difficult. You are deprived from that special feeling of festivity that accompanied our lives, efforts, and our daily routine. You are eating in McDonalds and other fast food places, and you live your fast life without the excitement that was in our songs, in our movies, in our dreams. We dreamed. You abandoned dreaming, because in your life, there is no time left for dreaming; you are in a rush. I don't want to judge you. It is not about judging because I believe if I would come to Hollywood today, no one would hire me for a single role. I wouldn't run in a crowd of all the contenders for the status of a star. [She shows me a sport arena with running tracks and running figures…] They would consider me too nosey, too proud, too capricious, too moody, and too star-like! No, neither Greta nor I -- we wouldn't get any jobs today. But what's the moral? What am I really saying? There is something about your life that we didn't have. You have a challenge ahead of you. You have no idea what's going to happen to you or to this country tomorrow. The security is lost, and the unpredictability of your situation makes you different. You are a generation who walks the ropes of survival. We lived in our manicured flower gardens, but you are walking ropes that are drawn across the abysses of failures and losses. You survive by listening to your intuition. And you invented New Age movement to support this need. We were too ego-centered for it. We didn't care what God was thinking of us. In our homemade Olympus, we were the gods, or so we believed stupidly enough, allowing our lowlife bosses to run our destinies. In other words, we wore masks of gods, but today, you wear masks of nobodies instead. You belittle yourself, but behind these masks you search for the center of your inner universe. Will you find some, or you are wasting your time? What can I say? I wish you the best of luck in your search. And I hope, God will accept and bless our differences… I think, I told them enough. Archie, you may guide me to some other place. As I finally get to visit earth, I will not go straight back from here. Let's go visit some beautiful places in Hollywood…

Tanika: I still hear sounds of a Johan Strauss Vienna Waltz and see Archie and Marlene Dietrich -- a glamorous couple -- waltzing through a school hall… So they are still here. The same evening, after the group session, I went to my office and attempted to continue the conversation in my usual way -- by typing onto the computer in case someone was out there to talk to me. Soon the conversation with Marlene Dietrich was resumed.

Marlene Dietrich and Gogol
Marlene Dietrich and Gogol

M.D: On our side, every time I recalled my life on earth, I felt terribly bored all over again; the same emptiness that I experienced before dying motionlessly, incapable of moving. My body was poisoned because of a failure to digest food or process any liquid, even clear water. Finally, I had no choice but to step out of my body. And they accepted my coming over into their world. I started to walk toward the light at the end of the tunnel, but lost it a half way, and I really don't know how I got to the hospital. Now everything is fine and wonderful, but when they ask me what I want to do, I cannot think of anything. I cannot find anything to hold onto, you may say-- to lean toward, or cleave to. There was nothing that bound me to either side of life. I couldn't find who I really loved, who I wanted to be with or belong to. I decided to find out more about love, and who loved me for who I was… I went back through my last incarnations after the fall, trying to find out who I left behind… a soul who would love me not for fame or beauty, or other signs of success. But I found nothing, there was no one in my last incarnation, there was no one before.

T: Please, what fall you are talking about?
M: Watch this, go into meditation…

Of course, I hoped to be invited to the world of ancient Egypt or Atlantis, to say the least. Instead, in my mind's eye, I saw bright pictures --clear as in a movie-- of a steppe's ravine. Up there on the road, a cavalry of the Ukrainian Cossacks shot by. Men wore red puffy trousers, and they were almost baldheaded with small plates on top of their heads. I knew instantly that I had been shown 'video' illustrations of Taras Bulba, a story about the Cossacks in XV century, written by Nikolay Gogol (1809-1852), Ukrainian Russian writer. The "Cossacks' video" was followed by Gogol's painted portraits well known to everyone familiar with Russian literature. With the speed of the Cossacks' cavalry allure, the titles of Gogol's works shot through my head. Why Gogol? What can possibly connect Nikolay Gogol to Marlene Dietrich?

First of all, a word about Nikolay Gogol (1809-1852)
Who was this Russian writer? In the West, you would find Tolstoy and Dostoyevsky's books in every Barnes & Noble store throughout the United States, but never Gogol's works. If someone wants to learn about Russians, I guess, he or she should start with Gogol, and only then proceed to Tolstoy or Dostoyevsky. According to Britannica, his major works "are considered the foundation of the great 19th century tradition of Russian realism. It was also believed that Gogol's ornate and agitated prose was assumed by Fyodor Dostoyevsky." Russian sources say, that the impact of Gogol's The Dead Souls on Russian literature is hard to overestimate. "Gogol awakened our consciousness about ourselves and for a long time there hasn't been a writer as important to his people as Gogol was to the Russians." And of course, Gogol's works, filled by unforgettable characters, mysteries, and incredible happenings, were so much more than the encyclopedias say about them. Gogol also may be considered as a founder of genre literature. He started the horror genre, travel story genre and developed the historical adventure genre in Russian literature. For instance, he produced his version of Portrait of Dorian Gray fifty years before Oscar Wilde wrote the story. As Nikolay Gogol's international recognition never took off, there was not a chance that Oscar Wilde could read Gogol's Portrait, and he did not have to! It was the ability to tune into the pool of universal plots that made both writers to pick up the same plot 'from the air,' and make it work in their independently written stories. It was a mystery of his destiny that Gogol didn't live to see the international recognition of his "Mertviye Dushi" -- The Dead Souls -- the story of a crook named Chichikov. Chichikov's adventures are of the same stature as The Pickwick Papers by Charles Dickens. Chichikov traveled across vast Russia buying up "dead souls" -- the lists of dead serfs from the Russian estate owners --pomeshtchiks for his illegal dealings. Of course, the title The Dead Souls is metaphoric, and the true 'dead souls' are the estate owners who sell their non-existing merchandise to Chichikov. None of The Dead Souls' honorable pomeshtchiks, -- by the way, great survivors in the Russian vast and wild space - could resist the temptation to get some money for nothing from the hands of an obvious crook. Gogol did not condemn, but enjoyed observing them and laughed at them. The characters of his lovable losers would last, serving as the best antidote to the poisonous propaganda and chauvinistic garbage, including Communist propaganda and post-Communist patriotism (Russian fascism) by reminding Russians who they were and where they were coming from. Witnesses say that Gogol firmly believed to have a mission, but could not figure out what it was! Really, how could he foresee that in some 100 years his vision of life would become so important to his fellow Russians and constitute a key to present challenges.

Besides his fame as a writer, Gogol was also renown by a dark rumor regarding his death. Vyacheslav Lyutin's The Private Lives of the Russian Writers ("Russkiye Pisateli v Zhizni," 1999, p. 247) addresses it as follows: "There is a sad legend about Gogol's death. Already in his "Selected Pieces from the Correspondence with Friends," Gogol asked, "Not to bury my corpse unless the signs of bodily deterioration become unmistakably clear." His will wasn't observed. On the fourth day after his death on February 21, 1852 he was buried in the graveyard at Daniilovsky Monastery.

In 1923, when the Communists demolished the graveyard, Gogol's grave was opened and according to rumors, he was found laying on his side with the coffin's edging badly torn. Was Gogol buried twice? So far, this legend is neither proven, nor refuted."

After the home circle sitting on August 8th, when I resumed the séance by typing on the computer, I was asked by Marlene Dietrich to go again into the meditative state. I suddenly found myself in a coffin, observing every fold and tuck of its silk edging. The picture was powerfully clear and sharp. I had the impression that the edging was initially pink, but had already changed to a sepia tone. I had no air to breathe, and I could barely get out of that coffin by 'coming back' from the meditative state to the normal state of consciousness. [After that experience, I wasn't quite myself following three days, and while editing this paragraph, I felt again the lack of air, a headache and (against common sense) an explosion of bright light inside of that coffin -- instead of the expected darkness].

Marlene Dietrich's voice continued her story.

M.D: I was Gogol. I died early (at age 42 -- T.E.) never reaching international recognition. Tell them (the readers, I suppose -- T.E.) that in this lifetime, Marlene Dietrich received international recognition that was earned by the Russian writer. In other words, tell them that the international hype that came with the territory called 'Marlene Dietrich,' was well deserved. This was why I visited Moscow in 1968. I hated performing for Communist officials, as I was well informed who made up the audience, and people were not allowed to see me. My Moscow visit was a pure formality, because they still lived behind the iron curtain. No one really saw me in Moscow, but many people knew that I was there, and I hope, that over time my tiny contribution helped to bring down the hated iron curtain that separated them from the rest of the world.

The voice of the famous actress said:
M.D: Some day we will arrive at my Egypt incarnation. Yes, in that lifetime my energy channels were opened to the max. But I failed to stop the brutality of a big-time overdue custom of burying the dead pharaoh's retinue alive. As an advanced soul I was supposed to change it, but fear blocked my will. And in following incarnations I had to experience payoffs like the described death in Russia.

M.D: Yes, I was Nikolay Gogol. Please, do me a favor -- compare our photos by placing them next to each other, Gogol's face and mine, and you will see that these two faces are as good as the same.

Miraculously, I had photos of Gogol's oil portraits and his death mask handy in a rare Russian edition of Gogol's complete works, published in 1911 in Saint Petersburg -- before the revolution. In our family, this old book was kept as a memorabilia of the monarch Russia. For reading, we used modern copies of Gogol's works. For some unexplainable reason, my brother, who lives in Estonia, brought me that volume as a New Year gift while visiting us in January 2000. I remember thinking, why did he carry this heavy volume through three international airports on his way from Northern Europe to Southern California? The gold title characters pressed deeply into the cover fabric were worn out, and the once green or blue cover fabric looked blackish. The binding was torn, and it was risky business to open the volume as its pages could fall out and be lost forever. I couldn't see any need for this book in my fast American life. But now I was happy to have it on my shelf next to my computer. I opened the book with care and found on its front pages the writer's portraits. Gogol's death mask had striking similarity to some of Marlene Dietrich's photos. Was it wishful thinking that I saw this similarity, or was there something to it?

Gogol's private life was strange and mysterious. He was never married, and his relationships with women may be characterized by his funny theatrical play "Wedding" where the groom behaves like Julia Robert's runaway bride. Gogol's groom leaves his bride at the altar, and escapes through a rest room window … In Gogol's times -- he lived in 19th century Russia -- homosexuality wasn't even a topic of discussion. Even in one of the latest essays about his life, published after the fall of Communism, the possibility of suppressed homosexuality had never been brought up.

But his contemporaries left numerous observations of the lack of women in Gogol's private life. The best they could come up with were the recollections about his meetings with honorable church ladies in the last sad years of his life when religious hypocrisy replaced his laughter and the artist in him. Up to the present day there is no answer to why Gogol grew from a genius into a sanctimonious hypocrite to the degree that it destroyed both his mind and body. What made it happen? Was it a mental disease? Or was it his guilty conscience for his interest toward the supernatural, as was assumed by Dmitry Merezhkovsky in his critical work "Gogol and the Devil?" Or was it the destructive guilt caused by suppressed and condemned homosexuality. Was he introduced to homosexuality during his endless trips to Germany, Italy and France? This possibility had never been discussed by historians.

Marlene Dietrich's bisexuality wasn't a secret and has been discussed openly in every book written about her.

There are more significant similarities between Nikolay Gogol and Marlene Dietrich. According to many accounts, young Gogol was a great actor and comedian. His father, Vassily, a Ukrainian landowner, was an amateur playwright who produced his plays at the home theater in his friend's estate. In his childhood, Gogol seemed to be involved in these productions, because later, in college, he would be involved with the college's theater, revealing unusual professional skills. His peers recall that Gogol loved theater passionately, and was at his best as a comedian. According to their estimation, Gogol's embodiment of a classic female character -- Madam Prostakova, a fussing but poorly educated mama with intolerable demands, was considered unsurpassed and unparalleled. But in spite of his acting talent, he did not become a professional actor. Instead he would write many successful plays.

One of them, "The Government Inspector," a laughable and sadly truthful portrait of the Russian government officials and their dealings, and their wives and daughters, lasts in the repertoire of the Russian drama theaters since its premiere in 1836. …According to witness' accounts, at the premiere, the czar Nikolai sat through the entire production, laughed joyfully and said, while leaving the lodge, "What a funny play! Everybody got his portion of criticism, and I got the most of it!"

But can Gogol's childhood experience on a provincial amateur stage be acredited to sophisticated skills needed for creation of "The Government Inspector," winning the attention of the Russian czar and conquering the love of an entire nation? I have my doubts. The only honest thing to do is to admit that we have one more mystery at hand, and something doesn't add up here.

Marlene Dietrich on Aliens

Home Development Circle sitting on Tuesday, September 5, 2000

Tanika's Note: That evening I channeled, and Vladimir asked questions. We had no prior knowledge about the information that came through in answers. We know nothing about the split souls or twin souls, and we had no prior interest toward the alien issues; we had never been on any sightings, and haven't read any books about aliens.

Vladimir: Perhaps later when we have more time to talk, you can tell us, how you remember your life as Gogol, the writer and mystic? If you remember that lifetime, how do you see both of them together?
MD: No, Gogol is not an incarnation of mine. As I already explained, in the past, there was a split. It is the same soul and two different souls at a time. We are close souls, because we are the halves of the same soul. I played out one potential of that soul and Gogol played out another potential of the same soul, and we suffered the same karma […]

Vladimir: Can you explain about the split of a soul, or about twin souls? What does it mean to you? Did you know about it on earth?
M.D: Of course not. Being on earth I had no idea about it. It was much easier to release the burden simultaneously for both Gogol and I. The priest's base soul earned the guilty conscience a long time before the split. It wasn't mine, or Gogol's guilt. Before a soul was split in two its host, the priest, buried a lot of people. They were buried not accidentally, but after the death of a pharaoh according to the custom. And there was the understanding of the priest that it was a sin, and guilt, but the belief that he was supposed to stay on the side of the order didn't allow even to discuss the chance of overriding the burial rules and prevent burying the retinue alive together with the embalmed corpse of the former Pharaoh. The elementary humanity would ask for some mercy, at least, by killing them first… But of course, the overall awe was absolutely paralyzing and the priest couldn't handle it. Pay attention to the fact that our attempt to release limbo souls around the ancient burials (August 17, 2000) happens at the time when this energy was stirred up by the Kursk's tragedy. (August 12, 2000) There were over 100 (118) people buried alive and it brought back the shadows of the past that was still torturing us.

Tanika: Like in one of Gogol's horror stories when I read them in my teens.
MD: What a pity that I had never a chance to read any of … my own writings! If you look up the dates, you'll see that submarine Kursk's tragedy became the world news when we were busy resolving our problem (limbo release). So, it means that these two events are somehow connected. I don't even know how, but the energy of the ancient guilt was somehow stirred up…

Tanika: Do you still feel guilty?
MD: I feel no guilt. A cry for help from being buried alive in that submarine on the bottom of the sea, opened old graves, pyramids, and old burial places with souls once buried alive there, and still lingering in limbo around them.
MD: It was the priest who was responsible for the burial of the Pharaoh's retinue alive. There were hundreds of slaves, maybe more; the number 151 comes to my mind. But the split of a soul was an experiment that was conducted after the priest's death. And it was done as a …. It was done as an attempt to learn how to manipulate the destiny of a soul.

Vladimir: Was it somehow connected to the burial ceremony?
MD: No, it was absolutely a separate story. But today, the priest's guilt was still found in both splits.

Vladimir: Was the experiment done by other priests, or by someone in the spirit world?
MD: It was done by the hierarchy… I think that someone in a higher hierarchy conducted the experiment, because every soul also has its destiny. It was a kind of experiment to learn what would transpire, if a soul would be split into two equal halves.

Tanika: Please, elaborate on the procedure of the split, is there a way to describe it? Was a soul literally cut in two halves, or it was cloned holographically, or in some other way?
MD: Give me a moment to think how it could be explained...

Vladimir: Do you know, if was it quite a common experiment?
MD: No. Not really. It was done in… In ancient Egypt, there were some advanced souls of aliens walking the earth. Their souls couldn't be considered human souls… yet they were humans at the same time, because the alien interference is a part of life on earth. And of course, Atlantis and Egypt's advanced souls were connected to other dimensions, and other galaxies and other worlds. So, these souls came here, and they were easy to be manipulated, because they were ready for the changes in their destiny. And these attempts were connected to the problem of transportation as well. Instead of sending another alien through the universe to the earth, which was almost impossible, the idea was to get two advanced souls from one alien this way.

Vladimir: Is it related to the process of propagating original souls?
MD: I am not quite knowledgeable in this regard and cannot explain to you the process of generating souls. But it is a very interesting question, and our understanding is that it is God's will how many souls are released into circulation in the earth's sphere. So the attempt to split a soul sounded like a little mutiny against God's will. It wasn't a mutiny, rather it resolved a problem. I am inclined to believe that it came down to a transportation question. Instead of bringing in new aliens, they attempted to split a soul of the priest in question. Yes, he wasn't the first generation alien; his soul was married already twice to earthlings. But it was still superior in its advancement and it was decided to split the higher part, and make the alien's presence more profitable. If you watch my screen image, or my photos, you will feel the alien presence in me in spite of the fact that the original alien soul was planted in a human body so many generations ago… I couldn't even know to tell you -- how many generations ago. Was it 75 or 85? Back 85 generations or even more? And still that aliens transparency can be noticed in my face, and also in Gogol's pale and specific face.

Tanika: "I would like to add that a number of Gogol's contemporaries have written about the paleness of Gogol's face and his strange homelessness -- his preference to live as a guest in somebody else's home and his frequent travels abroad (to the extent of being accused of loving Italy more than Russia). He even died in a friend's house. But most of all -- contemporaries wrote about his unshakable conviction that he was a superior being, better than others. It was noticed from the start, and it made him who he became. Amazing stories had been told about the speed of his ascent from a country pumpkin (born in the Ukrainian heartland, a smaller town than Tupelo, Mississippi -- the birth town of Elvis Presley), to part of the top literary circles in Saint Petersburg -- BEFORE becoming a famous writer, propelled solely by his belief of being a somebody.

Vladimir: You mean 85 incarnations?
MD: No. Genetic generations. Genes are given… A spirit soul went into a certain body, and the body produced a body, and a body produced a body… and one day I came back in the same bloodline body, and the result was a Marlene Dietrich with her transparent face and transparent eyes, and her absolute indifference with whom to sleep, men or women.

Vladimir: Please, tell us about the talent? What is the importance of the fact that your soul is different from others? Or it is related somehow? MD: A talent cannot be reached or breached without the help of that alien's presence in the soul. Without the alien memory or the higher memory. This is how you can explain the fact of coming out on the top out of nowhere. All of us, who are here, are cross production of aliens and humans… […] This is how the genius of Russian great writers, or European great writers, or Shakespeare came about. It is so funny that nobody knows who Shakespeare was, because Shakespeare was an alien in human body, so to speak. And the alien came down only for one reason to give identity to English people. And Dostoyevsky came to give identity to Russian people, and American people still haven't any need for identity because of many political and geographical reasons; and they are still such a melting pot that it is impossible to give them a writer like Dostoyevsky or Zola, or Shakespeare. It is impossible, because Americans still don't need this type of identification.

Vladimir; Can you tell us what is an alien? Is it a soul that descended many generations ago as an old soul, or what is it? How do you explain the term "an alien soul"?
MD: Alien soul comes from the world hierarchy… An alien is a guest from other galaxies; they are guests who push a civilization to move forward. It is an intellect brought aboard to advance the life on earth. Ages ago, the intellect was injected into an animal body and it started the evolution of the human race. In a sense, Darwin was right. But Darwin was right regarding the animal body. Darwin missed only one little thing -- the switch of souls -- the moment when the animal soul was substituted by the alien soul. Everything else was very, very accurate. Darwin was right. And in the process of evolution, the injected intellect still had many ways to proceed. It was very difficult to choose a right way. Darwin, religions, myths, and history reflect the choices that have been made.

Vladimir: Are you talking about alien souls versus non-alien souls? Do the alien souls stay in a body for one incarnation only? What do they do after the body's death? Do they go back home, or stay here?
MD: Alien souls come for many purposes. And there are splendid souls among them… Some come to start a bloodline, the preparation for descent of a soul with a very special mission -- like to be a mother of a famous person. The other alien souls come to fulfill a purpose, or to do a job. And they don't go straight on the mission. Sometimes it takes two or three incarnations to be ready to fulfill the purpose because they have to familiarize themselves with earth condition.

Vladimir: Is there a lot of them?
MD: No, there are not too many of them. Not as many as has been thought. But they are also part of the distribution of intellect in the universe, so to speak. It is also the work of hierarchies, but I cannot give you the full picture of it.

Vladimir: Do you say that individuals with alien souls are privileged in comparison with the other people? Or rather are they deprived?
MD: You are right in both. It is very hard for them to blend in. If you come to be an actor, you do a better job, you have better memory, you have better appearance, you have better qualities in many regards. And as a result, soon enough you see and feel that you are envied, hated and despised because you are different, and difficulties of communication and relationship are already your steady companions on your way through your life on earth.

Vladimir: Are those people more talented than others? Are they physically different than others?
MD: This is … the top performers are less mixed with the humans. As I told you, the intellect was injected into animal body, yes? And the injections were not equal. At the beginning, there was very little difference between animals and the early humans. And it was how the human race was incubated, and started to rise, rise and rise. So every single human has a little drop of an alien inside of him. An alien soul cannot go into a totally unprepared body. So every human body is a little bit prepared for a selected alien soul that is coming down to perform a certain task, mostly an intellectual task, like Albert Einstein or William Harvey, the discoverer of the circulation of blood.

Vladimir: That leads to the next question of talent and genius…
MD: Leonardo DaVinci! You want to ask me about DaVinci, don't you?

Vladimir: Probably, he was one who brought knowledge, and art and science to humans. But is this knowledge available to anyone in the spirit world?
MD: It comes not from the spirit world only. There are some other earths in the cosmos. There are other planets, other situations. Why do the signals that humans send out in the cosmos, remain unanswered? The reason is that on the other planets, there are different physical conditions. There may be different range of frequencies, and therefore they cannot receive our signals. They do not hear or read us. An alien soul on a mission comes from another range of frequencies and usually needs time for adjustment to a totally new form of life on earth before it can transplant the higher forms of intellect into the lower evolutionary level of life.

Vladimir: So we just get glimpses of different reality that is not our spirit world, but comes from another spirit world.
MD: Right.

Vladimir: So, souls who transit from the present world to the spirit world don't become instantly omniscient.
MD: Absolutely not. It is a long evolution on both sides. And in the spirit world, the evolution is not less intense than on earth. Actually, it is more intense. And the idea that people are going to rest on the other side isn't quite accurate. Here the resting is very different from the rest on earth. The conditions of intellectual development are much better, and people with some consciousness who wish to grow, can do it effectively in the spirit world's environment. The idea of it is love and lightness. So, if you have some love in your heart, you can 'afford' to occupy your brain with learning, studying, and creative work -- doing whatever you want to do.

Vladimir: How does the communication work? Some communicators can foretell future and some can't?
MD: Because spirits are also on a different level of development. It's simple.

Vladimir: Is the information of the future still out there?
MD: Yes, it is out there and in versions. Because everything comes from something and because that something is changing all the time, the formula of future is also changing… People have so many myths about the great predictions… The belief that Nostradamus predicted the far future is ridiculous. Yes, he predicted, but it was limited truth and has been fulfilled long time ago. But people are still trying to read something significant into his verses, and it is ridiculous.

Vladimir: So, do you think that we are reading too much into his words trying to find more than has been said?
MD: Of course. Because if the formula of the world's future didn't contain an element of unpredictability, it wouldn't move forward, it wouldn't develop. It would be a frozen stone. And I would be a puppet, and you would be a puppet as well. The unpredictability is the oxygen of the progress, because nothing can happen if everything is written in stone. This is life, and life is unpredictable on BOTH sides, on your side, and on our side, and many other sides that exist in our world. And this is the beauty of the game. There wouldn't be a game, or Las Vegas, there wouldn't be the idea of the game, if everything has to go by the book. The future is not set in writing.

Vladimir: Speaking of the future, what is the value of fun, game or play on earth?
MD: Of course, fun is the father/mother of creativity.

Vladimir: So do you think that it doesn't make much sense to work hard and study?
MD: This is why Gogol and I could represent the same soul. I represented the dream of fun, and he represented a dream of hard work. And still the souls were mingled. I represented the game, but I was very serious person, I played too seriously, there was something that I couldn't let go in order to achieve the higher level of the game.

Vladimir: When you tell us that you played the game, tell us about it. What kind of game was it?
MD: I played the game of beauty -- a beauty that is desired but cannot be achieved. Unachievable beauty. My image made people want to have it. But the moment when they touched it, or got their hands on it, the beauty died. Did you watch me in Desire with Gary Cooper?
Vladimir: Yes.
MD: Do you remember how boring I looked and dull when I became a good girl?

Vladimir is laughing
MD: Did you like that good girl? Who would go to that foggy city (Detroit) with that stupid gentleman that had been played by Gary Cooper? (He is an automobile engineer from Detroit who reforms a jewelry thief, Marlene Dietrich from a 'bad girl' to a 'good girl.' The 'good girl' marries him and moves with him to Detroit)? Did you like her? No you did not! You liked that vulnerable and guilty bad girl, the jewelry thief. You liked her much more than the reformed girl, yes?

Vladimir: What do you think about it? What we do …
MD: The problem is that the ideal is unachievable. You cannot be a bad girl, because you cannot be a bad girl. But the instant when you become a good girl, you are not interesting to anybody. So, this is a dilemma. I played the dilemma of true beauty.

Vladimir: So it was important to create the dilemma?
MD: Of course, there is something that viewers enjoy about dilemma because it makes them think, as it made you ask me so many questions. Do we have other people who want to talk, because I understand, that the young gentleman will never let me go?

Vladimir: I like your company very much.
MD: I really appreciate your devotion. You are my fan. Now I know that you are my fan. Thank you.

MD is laughing, she produced out of the air a big cigarette holder with an already lit cigarette, and is smoking… She seems to be content.

Vladimir: It was our pleasure to have you with us.