Words matter. These are the best Andrzej Wajda Quotes, and they’re great for sharing with your friends.
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.
Suddenly, the screens were dominated by American entertainment to the extent of something like 95 percent. As a result, audiences turned away from the kinds of films that we used to make.
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.
Cinemas gained new young audiences who wanted films made for them.
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.
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.
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.
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.
Films made in the spirit of the past continued to be made.
Eventually, the state’s funding covered only the stages leading to presenting a film project to potential funding bodies. It was enough to produce a script, indicate casting and put together a budget to present it all, but nothing beyond that.
It was progressively more difficult to find work in the theatre, as well.
As I said earlier, there are no writers who could create a literary vision of the new reality.
In Europe, there is no television filmmaking legislation that could assist film production because private broadcasters are not interested in supporting Polish film.
Television theatre, as is implied in its name, should rely on adaptations of scripts written for the theatre.
Even better, there were established two separate committees deciding on state film funding.
However, that old mode of Polish filmmaking virtually disappeared.
In the forty years of the people’s republic, some of the worst historical traits were preserved in our people. These included even the common characteristics developed in the economic reality of the time of partitions in the 17th and 18th centuries.
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.
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.
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.
With it adult political audiences abandoned cinemas. In their place appeared a void. That previous political audience migrated to the seats in front of their TV.
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.
