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Also a great part of Polish industry proved to have existed only to support the Soviet military industry, and it became superfluous and incapable of being transformed into anything else. We did not foresee that or the magnitude of these phenomena.

Andrzej Wajda

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Andrzej Wajda
Age: 90 †
Born: 1926
Born: March 6
Died: 2016
Died: October 9
Director
Film Director
Film Producer
Politician
Screenwriter
Television Director
Theatrical Director
Andrzej Witold Wajda
Great
Became
Magnitude
Military
Phenomena
Industry
Polish
Support
Proved
Else
Existed
Part
Incapable
Also
Transformed
Foresee
Anything
Soviet
Superfluous

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It turned out that the country was helpless in the face of a new reality.
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Why does there exist a global American entertainment industry, but there isn't an equivalent coming from France or Italy? This is the case simply because the English language opens the whole world to the American cinema.
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It was progressively more difficult to find work in the theatre, as well.
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Previously the same Polish audiences would have been pressured into seeing cinema made for adults, films made by us about those spheres of life that were significant for us and which should be significant for our society.
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As I said earlier, there are no writers who could create a literary vision of the new reality.
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In the first years after the systemic transition, our screens showed American entertainment that had not been available before, or had been available only sporadically.
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A novelty in Polish filmmaking was that it was possible to find funds for a big production. However, at the same time, the state budget committed less and less money to filmmaking.
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Television theatre, as is implied in its name, should rely on adaptations of scripts written for the theatre.
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Films made in the spirit of the past continued to be made.
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One might have thought that the most significant change in the film industry that would come about with a transition from the communist economy to capitalism would fundamentally concern the sources of funding.
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Cinemas gained new young audiences who wanted films made for them.
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Language also encodes our past. We want to know who we are. To know who we are, we have to know who we used to be. Consequently, our literature, written in the past, anchors us in that past.
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In the same period, Polish literature also underwent some significant changes. From social-political literature, which had a great tradition and strong motivation to be that way, Polish literature changed its focus to a psychological rather than a social one.
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When a film is created, it is created in a language, which is not only about words, but also the way that very language encodes our perception of the world, our understanding of it.
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On the one hand, young theatre directors were coming to television theatre, because they wanted to get closer to the cinema, despite having studied and worked for the theatre.
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We expected that people were just waiting for the collapse of the Soviet Union, or at least for its retreat, and they were going to be full of initiative in all areas of life - in culture, in economy and in politics.
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In Europe, there is no television filmmaking legislation that could assist film production because private broadcasters are not interested in supporting Polish film.
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The difficulty of writing a good theatre play set in new reality was even greater given that the level of similitude to life that is allowed in a film would not work on the stage.
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