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.

At the same time, television theatre became more visibly active.

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 turned out that the country was helpless in the face of a new reality.

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.

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.

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.

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

However, that old mode of Polish filmmaking virtually disappeared.

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 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.

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

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.

Nevertheless, in the theatre, and in the cinema, the contemporary reality of Poland has been represented only to a minuscule degree in the last 12 years.

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

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

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.

Eventually, the state's funding covered only the stages leading to presenting a film project to potential funding bodies. It was enough to produce a script, indicate casting and put together a budget to present it all, but nothing beyond that.

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.

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.

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.

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.

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.

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.

Cinemas gained new young audiences who wanted films made for them.

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, 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.

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.

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.

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.

In Europe, there is no television filmmaking legislation that could assist film production because private broadcasters are not interested in supporting Polish film.

Even better, there were established two separate committees deciding on state film funding.

It's the difficulty we had with Mr. Bean, actually, when it went from TV to film. You certainly discover that you need to explain more about a character.

Divide each difficulty into as many parts as is feasible and necessary to resolve it.

The honest truth is that if this government were to propose the massacre of the first-born, it would still have no difficulty in getting it through the Commons.

A lot of these industries are having difficulty finding reliable workers with the skills they require.

Bad company is like a nail driven into a post, which, after the first and second blow, may be drawn out with little difficulty; but being once driven up to the head, the pincers cannot take hold to draw it out, but which can only be done by the destruction of the wood.

I think the biggest difficulty is that when I'm here in America, there's a necessity of using English, so I really have a great sense of really wanting to learn, but unfortunately when I head back to Japan, the necessity vanishes and so does my enthusiasm about learning.

I'm sure that you could go back and make a graph showing that all the killings of black males increased in times of economic difficulty. As a matter of fact, a black man was lynched last year.

Conquering any difficulty always gives one a secret joy, for it means pushing back a boundary-line and adding to one's liberty.

Let there be no illusions about the difficulty of forming this kind of a national community. It's tough, difficult, not easy. But a spirit of harmony will survive in America only if each of us remembers that we share a common destiny.

The accumulation of skill and science which has been directed to diminish the difficulty of producing manufactured goods, has not been beneficial to that country alone in which it is concentrated; distant kingdoms have participated in its advantages.

For example, in painting the form arises from abstract elements of line and color, while in cinema the material concreteness of the image within the frame presents - as an element - the greatest difficulty in manipulation.

The difficulty of literature is not to write, but to write what you mean; not to affect your reader, but to affect him precisely as you wish.

The mind unlearns with difficulty what it has long learned.

I should point out, however, that at first some difficulty was experienced in observing the phenomena predicted by the theory, owing to the extreme smallness of the variations in the period of oscillation.

Perhaps, to the uninformed, it may appear unaccountable that a man should be able to retain in his memory such a variety of learning; but the close alliance with each other, of the different branches of science, will explain the difficulty.

Given the difficulty of resisting such temptations over the longer run, a proper concern for the welfare of congressional souls may well be the ultimate argument in favor of term limitations.

If most people are not willing to see the difficulty, this is mainly because, consciously or unconsciously, they assume that it will be they who will settle these questions for the others, and because they are convinced of their own capacity to do this.