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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
