Cinema can speak to people's consciences. I don't think I've wasted this life because I've contributed something to the course of political events.
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.
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.
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.
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.
Even better, there were established two separate committees deciding on state film funding.
Young directors had no choice but to throw themselves into writing scripts. That did not have a positive effect on the quality of Polish cinema.
Cinemas gained new young audiences who wanted films made for them.
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.
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.
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.
Films made in the spirit of the past continued to be made.
Television theatre, as is implied in its name, should rely on adaptations of scripts written 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.
However, that old mode of Polish filmmaking virtually disappeared.
It turned out that the country was helpless in the face of a new reality.
At the same time, television theatre became more visibly active.
By dint of that concern and because that society was willing to examine its particular reality, Solidarity could come into existence.
In Europe, there is no television filmmaking legislation that could assist film production because private broadcasters are not interested in supporting Polish film.
In the first years after 1989, films were partly financed from the state's budget as well as by public television. Still, except for a few special cases, most films are made this way.
I think that adult Polish audiences, while observing what was happening in Poland, started to give in to a particular kind of anxiety.
As I said earlier, there are no writers who could create a literary vision of the new reality.
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.