Films made in the spirit of the past continued to be made.

By dint of that concern and because that society was willing to examine its particular reality, Solidarity could come into existence.

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.

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.

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.

It was progressively more difficult to find work in the theatre, as well.

As I said earlier, there are no writers who could create a literary vision of the new reality.