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"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."
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"When the New York Times scratches its head, get ready for total baldness as you tear out your hair."
"Pro-government press is not a press it is just a lie-generating ugly machine; it is a guard dog, guarding only the official thieves, not the public!"
"Sensationalism dies quickly, fear is long-lived."
"If you interviewed 1,000 politicians and asked about whether the media's too soft or too hard, about 999 would say too hard."
"Madison Avenue is a very powerful aggression against private consciousness. A demand that you yield your private consciousness to public manipulation."
"The minute viewers callin or write about your looks, they were not listening to what you were saying."
"This is the truth about mainstream media and advertising: People wouldn't have to pay to show you such messages if they were right."
"If you're nice, decent, attractive, get good grades and are talented, no one wants to read about that...They want to read what's out-of-the-ordinary, the scandalous, the shocking and the tragic. They want a story; they want to be captivated and what's typical does not give them that...unless, of course, that person ends up a victim, commits a crime or loses their minds via a love affair."
"When the name of Gail Wynand became a threat in the publishing world, a group of newspaper owners took him aside-at a city charity affair which all had to attend-and reproached him for what they called hid debasement of the public taste."It is not my function" said Wynand, "to help people preserve a self-respect they haven't got. You give them what they profess to like in public, I give them what they really like. Honesty is the best policy, gentlemen, though not quite in the sense you were taught to belive"."
Explore more quotes by Andrzej Wajda
"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."
"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."
"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."
"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 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."
"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."
"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."
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