PFM 2|2016
after their national culture were criminals. The Speaker of the Senate left the room, outraged. All up, it took ten years to “force” the Act on Cinematography through the Polish Seym, and then through the Senate. That law was of key importance for the development of Polish cinema structures. The Association has been working to develop these structures ever since its inception. It has been a laborious process, but eventually we’ve built what is arguably the best organization of its kind in Europe. At least this is what everyone has been saying. What makes it the best? It can do a lot, politically speaking. The Association has managed to build such a position for itself that the various political parties and the Parliament take its opinion into account more than those of other organizations. Another reason is the broad spectrum of our operations. We care for the environment, and we have all the things professional associations normally offer. We provide social benefits and look after young filmmakers. We produce first features, but above all, first shorts, at the Association’s Munk Studio. This enables young directors to put their skills to the test after they finish school, but before they enter the professional market. The films produced include short fiction films, documentaries and animations. Our program is unique and can’t be found anywhere else in the world, so everyone envies us. ADVERTISMENT
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What is the most important thing for the Polish Filmmakers Association right now? It’s mainly the issue of online piracy, and the lack of a legislative framework to regulate it. We’ve been trying to get the Act on Providing Services by Electronic Means completed. This was required by an EU Directive ten years ago. We also want to make the government realize that creative industries account for 5% of employment in our country and contribute immensely to the state budget. During a press conference at the Ministry of Culture in April, we asked the Ministry to commission comprehensive research into the contribution of creative industries to GDP, because no such studies had been carried out, and data from other countries aren’t taken seriously in Poland. Perhaps if we could make the Minister of Finance and the Minister of Economy realize what creative industries actually are, and what cannot be seen with the naked eye, we’d really be able to get these initiatives off the ground. We’ve already learnt that we have to keep patiently plugging away, because it eventually yields results. The Association has managed to build such a position for itself that the various political parties and the Parliament take its opinion into account more than those of other organizations.