In the first years after the systemic transition, our screens showed American entertainment that had not been available before, or had been available only sporadically.
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.
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.
With it adult political audiences abandoned cinemas. In their place appeared a void. That previous political audience migrated to the seats in front of their TV.
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.
Cinemas gained new young audiences who wanted films made for them.
In Europe, there is no television filmmaking legislation that could assist film production because private broadcasters are not interested in supporting Polish film.
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.
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.
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.
Television theatre, as is implied in its name, should rely on adaptations of scripts written for the theatre.