However, that old mode of Polish filmmaking virtually disappeared.

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.

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.

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.

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.

Television theatre, as is implied in its name, should rely on adaptations of scripts written for the theatre.

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.