Above the audience, society and law
Katarzyna Dębek: Filmmakers and private media companies fought over the final version of the new Cinema Act, with an annual budget of zł.100 million at stake. Who should have won?
Marek Sowa: Only one side of this debate is fighting for big, easy money. Filmmakers want to reach into other people's pockets in order to free themselves from the uncomfortable dependency on the market, the viewers and difficult financing issues. They want to place themselves above the current law, above other members of the creative community and the society. Under the guise of populist slogans and the protection of Polish culture, they propose to introduce a common 1.5 percent tax on the revenue of TV broadcasters. The burden of the new tax will be borne by Polish families. Well-hidden behind the high-brow rhetoric of the law's supporters is a shameful fact that only a small group of Polish filmmakers will benefit from the common tax. The Cinema Act in its present form sets a bad precedent.
Are the payments required from media companies a ripoff?
Of course. Besides, you can't expect much from filmmakers and advocates of this law as they are confused about basic economic concepts. Even now, the Minister of Culture doesn't understand the impact the tax on revenue would have on the actual income tax. When there are no real arguments left, they resort to national symbols. What does surprise and worry me is that the majority of deputies succumb so easily to the magic of a couple of celebrity names and vote in favour of a faulty law with negative consequences for the entire economy.
What are the law's strengths?
It sparked a debate on the poor standing of Polish cinema. But the underlying problem is creative mediocrity, and not the money. Good projects have no difficulty in finding financing. Instead of much-needed systemic changes, the law provides a massive cash injection for a select few filmmakers and entrepreneurs, for whom the good of the Polish culture is synonymous with their own interests. The Cinema Act itself is an example of sloppy, detrimental regulation. There is no logic in putting disparate companies and their customers in the same bag. TV broadcasters have been co-financing Polish film productions for years, but the cable TV operators belong to the telecommunications sector. The former want to continue to decide themselves in which project to invest, while there's no rationale for the inclusion of operators, and there is no such precedent in any of the EU countries.
Who benefits most from the new law?
The likely scenario is that the windfall would go not to the young and talented filmmakers, who should be supported from the state budget, but to those with past credits, the best connections but little creative potential.
You will find institutions similar to the Institute of Film Art in the majority of European countries. Do they work in practice?
In the majority of EU member states local cinematography must be provided for by public television, because it is a significant beneficiary of TV and radio licence fees. Private broadcasters are usually free to invest in the projects of their own choice and in return they are granted tax breaks. But you won't find a single EU country imposing compulsory cinematography levies on cable television operators. The often-quoted French model is extremely costly and politicized, and the British experiment turned into a total fiasco.
What are the most important future tasks of the Polish film industry?
To produce films that not only the film community and a couple of friendly critics want to see, but that Polish (and other) viewers could enjoy. The new Cinema Act will serve to put further distance between the filmmakers and the audience; it will generate conflicts and adversely impact the economic order.
Interviewed by
Katarzyna Dębek
New film art institute
Poland's film industry is set for a major boost, with a new film institute and other investments approved by parliament - and television will have to foot the bill. Polish legislators voted last week on a new Cinema Act creating a national film institute that will have in the region of zł.100 million to invest in Polish cinema each year.
Not all within the industry are happy, however, as the funds for the new institute will come from government coffers and a controversial levy on broadcasters, cinema tickets and retail film sales.
The Sejm voted on more than 30 amendments. Discussions on the new Cinema Act have lasted many years and its adoption constituted a pivotal point in the political program of Waldemar Dąbrowski, the Minister of Culture. While Andrzej Wajda, Krzysztof Zanussi and Kazimierz Kutz celebrated the victory of their circle, Jan Wejchert, the president of ITI Group, declared the broadcasters' intent to block the Act in the Senate or through the President.
Marek Sowa: Only one side of this debate is fighting for big, easy money. Filmmakers want to reach into other people's pockets in order to free themselves from the uncomfortable dependency on the market, the viewers and difficult financing issues. They want to place themselves above the current law, above other members of the creative community and the society. Under the guise of populist slogans and the protection of Polish culture, they propose to introduce a common 1.5 percent tax on the revenue of TV broadcasters. The burden of the new tax will be borne by Polish families. Well-hidden behind the high-brow rhetoric of the law's supporters is a shameful fact that only a small group of Polish filmmakers will benefit from the common tax. The Cinema Act in its present form sets a bad precedent.
Are the payments required from media companies a ripoff?
Of course. Besides, you can't expect much from filmmakers and advocates of this law as they are confused about basic economic concepts. Even now, the Minister of Culture doesn't understand the impact the tax on revenue would have on the actual income tax. When there are no real arguments left, they resort to national symbols. What does surprise and worry me is that the majority of deputies succumb so easily to the magic of a couple of celebrity names and vote in favour of a faulty law with negative consequences for the entire economy.
What are the law's strengths?
It sparked a debate on the poor standing of Polish cinema. But the underlying problem is creative mediocrity, and not the money. Good projects have no difficulty in finding financing. Instead of much-needed systemic changes, the law provides a massive cash injection for a select few filmmakers and entrepreneurs, for whom the good of the Polish culture is synonymous with their own interests. The Cinema Act itself is an example of sloppy, detrimental regulation. There is no logic in putting disparate companies and their customers in the same bag. TV broadcasters have been co-financing Polish film productions for years, but the cable TV operators belong to the telecommunications sector. The former want to continue to decide themselves in which project to invest, while there's no rationale for the inclusion of operators, and there is no such precedent in any of the EU countries.
Who benefits most from the new law?
The likely scenario is that the windfall would go not to the young and talented filmmakers, who should be supported from the state budget, but to those with past credits, the best connections but little creative potential.
You will find institutions similar to the Institute of Film Art in the majority of European countries. Do they work in practice?
In the majority of EU member states local cinematography must be provided for by public television, because it is a significant beneficiary of TV and radio licence fees. Private broadcasters are usually free to invest in the projects of their own choice and in return they are granted tax breaks. But you won't find a single EU country imposing compulsory cinematography levies on cable television operators. The often-quoted French model is extremely costly and politicized, and the British experiment turned into a total fiasco.
What are the most important future tasks of the Polish film industry?
To produce films that not only the film community and a couple of friendly critics want to see, but that Polish (and other) viewers could enjoy. The new Cinema Act will serve to put further distance between the filmmakers and the audience; it will generate conflicts and adversely impact the economic order.
Interviewed by
Katarzyna Dębek
New film art institute
Poland's film industry is set for a major boost, with a new film institute and other investments approved by parliament - and television will have to foot the bill. Polish legislators voted last week on a new Cinema Act creating a national film institute that will have in the region of zł.100 million to invest in Polish cinema each year.
Not all within the industry are happy, however, as the funds for the new institute will come from government coffers and a controversial levy on broadcasters, cinema tickets and retail film sales.
The Sejm voted on more than 30 amendments. Discussions on the new Cinema Act have lasted many years and its adoption constituted a pivotal point in the political program of Waldemar Dąbrowski, the Minister of Culture. While Andrzej Wajda, Krzysztof Zanussi and Kazimierz Kutz celebrated the victory of their circle, Jan Wejchert, the president of ITI Group, declared the broadcasters' intent to block the Act in the Senate or through the President.
