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.
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.
Even better, there were established two separate committees deciding on state film funding.
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.
As a producer, I think one of the most important decisions you make is not necessarily the material you are working on but the production apparatus that you choose to develop the project with, and that determines what funding you go to, it determines many factors.
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.
The world is a stage, but the play is badly cast.
I hope that America as a whole, and especially its architects, will become more seriously involved in producing a new architectural culture that would bring the nation to the apex - where it has stood before - and lead the world.
Neither Rainer Werner, nor any of us could have succeeded, or produced the number of films that we did, just on our own. We showed our films to each other, discussed them vigorously and rarely agreed.
There is nothing real about film. Nothing. Even the light particles that project the film can't be proven to exist. Nothing is there.
I think if you look at the themes that are presented in the film, some are inherently social, and I think that any film which deals with the family is dealing with the smallest social unit in our society - and in a sense it is a question of scope.
Bodies do not produce sensations, but complexes of elements (complexes of sensations) make up bodies.
So, no, I'm not trying to crack into Hollywood, although I'll make films there if they're good scripts.
Personally speaking there's only so long you can go from film to film to film. There's an inspiration an actor gets from the stage.
I like to rehearse with the actors scenes that are not in the script and will not be in the film because what we're really doing is trying to establish their character, and good acting to me is about reacting.
In my earlier films, it felt like I was putting in everything I had learned. But with "Drunken Angel" I suddenly felt sort of liberated. It felt like I got bolder.
I just don't want to live like I used to. And at some point, I'm going to put a gag order on myself in terms of talking about the past. I've got to slam the door and deal with the present and the future.
With this silent film, I wanted to hide what was going on in the clinic. I wanted to cover it up in the best cinematic way and in an entertaining manner.
Things are not difficult to make; what is difficult is putting ourselves in the state of mind to make them.
Similarly, many a young man, hearing for the first time of the refraction of stellar light, has thought that doubt was cast on the whole of astronomy, whereas nothing is required but an easily effected and unimportant correction to put everything right again.
Butte was once a grand city. To me, that city is like one big stage for Edward Hopper. You could put your camera anywhere, and you felt you were looking at his paintings.
I hope that the institution will succeed in maximizing students' potential in the same way. I will give all of my stock to this institution. It will own the Bose Corporation and be funded by the Bose Corporation.
We must not only cease our present desire for the growth of the state, but we must desire its decrease, its weakening.
I think the situation in Toronto is such that there are funding organizations which make it easy for a film to raise more money than it needs and very often that works against a film.
I was very lucky and eventually showed the film, got some good responses, and some people helped to make the longer version of the film.