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The difficulty with the present state of affairs is that there is no legislation on the sources of funding for the Polish film industry. There is no legislation concerning filmmaking. And, there is no legislation on television that would be beneficial to filmmaking.

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
Television
Beneficial
Present
Sources
Movie
Legislation
State
Affairs
Actors
Affair
Film
Difficulty
Concerning
States
Source
Polish
Would
Industry
Funding

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Cinemas gained new young audiences who wanted films made for them.
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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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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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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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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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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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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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There is no filmmaking legislation because distributors are not interested in sharing their money with the film industry - for instance, by giving a percentage of ticket sales back to filmmakers.
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However, that old mode of Polish filmmaking virtually disappeared.
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It turned out that the country was helpless in the face of a new reality.
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It was progressively more difficult to find work in the theatre, as well.
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At the same time, television theatre became more visibly active.
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Nevertheless, in the theatre, and in the cinema, the contemporary reality of Poland has been represented only to a minuscule degree in the last 12 years.
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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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As I said earlier, there are no writers who could create a literary vision of the new reality.
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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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On the one hand, we had great filmic spectacles that brought in big audiences, adults as well as primary and secondary school students. On the other hand, there were attempts to create contemporary Polish film.
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Films made in the spirit of the past continued to be made.
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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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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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