Andrzej Wajda
Andrzej Wajda
Andrzej Wajdais a Polish film and theatre director. Recipient of a honorary Oscar and the Palme d'Or, he is possibly the most prominent member of the unofficial "Polish Film School". He is known especially for a trilogy of war films: A Generation, Kanałand Ashes and Diamonds...
NationalityPolish
ProfessionDirector
Date of Birth6 March 1926
CountryPoland
television would-be film
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.
theatre difficult wells
It was progressively more difficult to find work in the theatre, as well.
school hands adults
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.
names theatre television
Television theatre, as is implied in its name, should rely on adaptations of scripts written for the theatre.
cinema world france
Why does there exist a global American entertainment industry, but there isn't an equivalent coming from France or Italy? This is the case simply because the English language opens the whole world to the American cinema.
our-society spheres adults
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.
hands theatre cinema
On the one hand, young theatre directors were coming to television theatre, because they wanted to get closer to the cinema, despite having studied and worked for the theatre.
understanding perception world
When a film is created, it is created in a language, which is not only about words, but also the way that very language encodes our perception of the world, our understanding of it.
past anchors literature
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.
reality vision said
As I said earlier, there are no writers who could create a literary vision of the new reality.
reality solidarity existence
By dint of that concern and because that society was willing to examine its particular reality, Solidarity could come into existence.
giving tickets film
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.
europe television film-production
In Europe, there is no television filmmaking legislation that could assist film production because private broadcasters are not interested in supporting Polish film.
change might transition
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.