Cinema can speak to people's consciences. I don't think I've wasted this life because I've contributed something to the course of political events.
We knew from the very beginning that this was a Soviet crime. There were letters (from the detention camp) that people received, including from my own father. All of a sudden the letters stopped coming. We were aware that something happened in the spring of 1940. There was no doubt.
You are doing the right thing.
A great artist has died, a man with the hallmarks of a genius.
(...) a director should tell a story that is close to his own existential experience.
In the forty years of the people's republic, some of the worst historical traits were preserved in our people. These included even the common characteristics developed in the economic reality of the time of partitions in the 17th and 18th centuries.
We expected that people were just waiting for the collapse of the Soviet Union, or at least for its retreat, and they were going to be full of initiative in all areas of life - in culture, in economy and in politics.
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.
The difficulty of writing a good theatre play set in new reality was even greater given that the level of similitude to life that is allowed in a film would not work on the stage.
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.
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.
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.
In the same period, Polish literature also underwent some significant changes. From social-political literature, which had a great tradition and strong motivation to be that way, Polish literature changed its focus to a psychological rather than a social one.
At the same time, television theatre became more visibly active.
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.