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.
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.
The arts have only ever interested a small minority of people, which acted as a kind of nursery to support artists.
They say now in America that final cut doesn't mean anything. As Harvey Weinstein said to some film-maker, 'You can have final cut. I'll open your film in Arkansas.'
However, that old mode of Polish filmmaking virtually disappeared.
No press conference announcing a last film. I'd just steal away. Best way because, if by chance after two or three years something interesting comes up, I would not - like Sinatra - have to say: "Well, I've thought it over and decided to come back."
I care about Bond and what happens to him. You cannot be connected with a character for this long and not have an interest. All the Bond films had their good points.
Without renouncing the support of physics, it is possible for the physiology of the senses, not only to pursue its own course of development, but also to afford to physical science itself powerful assistance.
Is this film more interesting than a documentary of the same actors having lunch?
A lot of young filmmakers bring their movies to my dad because he always gives lots of good editing ideas and notes. He'd be a good film professor.
I'd like to believe that the people that have supported me in my work or identified with me in films, the people that feel they know me, they do and they don't have misconceptions - they understand. I believe that.
Even for the most difficult scenes, and there are difficult scenes in the film, and because Michael Haneke is such a great film-maker - I think a great film-maker is not only being inspired, but how to do it, how to make it as real as possible, knowing that it's not real.
My parents found what I was interested in and encouraged me. They didn't put me in front of a television and buy lots of toys, the way some American parents do.
I'm only interested in being a good actor and in being remembered for my best films, not for the way I look. But it seems inevitable in this line of work that I have to care about the way I look without getting obsessed about it.
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.
What is generally referred to as American-style films are, in fact, studio productions.
At least I know that one film-maker in my career has had the initiative to come to me and thought of me as being capable of doing interesting and complicated work, and so I have a new-found belief that other film-makers will see me in a different way, the way that Patty did.
Right now my career is totally schizophrenic, because when an American production like Hitchcock Presents asks to see my work I would never dream of showing them my independent films.
My interest in secret societies is the product of many experiences, some I can discuss, others I cannot.
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.
In the late 1980s the amount of German films was down to four or five percent of the market, and the remaining 95 percent were American. It is now 20 to 30 percent German productions.
I did a film very quickly, and then a lot of work for television, and then I did stage work.
There's so much else to do in the world. To just be interested in doing films would limit my life.
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.