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. — 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
