“(...) a director should tell a story that is close to his own existential experience.” — Andrzej Wajda Copy Share Image
On the one hand, we had great filmic spectacles that brought in big audiences, adults as well as primary and secondary school students. On… — Andrzej Wajda Copy Share Image
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… — Andrzej Wajda Copy Share Image
A novelty in Polish filmmaking was that it was possible to find funds for a big production. However, at the same time, the state… — Andrzej Wajda Copy Share Image
By dint of that concern and because that society was willing to examine its particular reality, Solidarity could come into existence. — Andrzej Wajda Copy Share Image
One might have thought that the most significant change in the film industry that would come about with a transition from the communist economy… — Andrzej Wajda Copy Share Image
It turned out that the country was helpless in the face of a new reality. — Andrzej Wajda Copy Share Image
Previously the same Polish audiences would have been pressured into seeing cinema made for adults, films made by us about those spheres of life… — Andrzej Wajda Copy Share Image
The difficulty with the present state of affairs is that there is no legislation on the sources of funding for the Polish film industry.… — Andrzej Wajda Copy Share Image
Television theatre, as is implied in its name, should rely on adaptations of scripts written for the theatre. — Andrzej Wajda Copy Share Image
When a film is created, it is created in a language, which is not only about words, but also the way that very language… — Andrzej Wajda Copy Share Image
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… — Andrzej Wajda Copy Share Image
