What is it going to be like this time? It’s difficult to guess. The case of Hannibal, created by series master Bryan Fuller, shows that even NBC allows strong, artistic personalities to take the floor. And Todd Ellis Kessler is certainly one of them. To prove this is The Good Wife, which for all of its six seasons has kept an even and distinct level. Enough said that among this year’s Golden Globe nominees The Good Wife was a single representative of giant TV networks, which in previous years have moved aside to make room for cable TV networks. And although the giant TV networks don’t give up, and Fox, ABC and CBS come up with aspiring series ideas, NBC can’t find its niche. Smaller, yet reputable networks, such as HBO, Showtime and AMC for years have been engaging the most interesting screenwriters and directors, and currently rule the series field.
This isn’t the first time that Kieślowski attracted attention of foreign producers. Ever since Decalogue appeared on the screen in 1989, it has been met with recognition all over the world. It was enthusiastically received at festivals in Montreal, San Sebastian, São Paulo and in Venice, where it was awarded with a FIPRESCI prize. The series was presented, among others, in France, Germany, the Netherlands, Sweden, Belgium, United States, Switzerland, Great Britain, Japan, Spain, Australia, Canada and Hong Kong.
In 2005 George Clooney and Steve Soderbergh were both interested in remaking Kieślowski’s and Piesiewicz’s series, however Krzysztof Piesiewicz’s objection stood on their way. Four years later the series awaited its Polish spin-off. To celebrate the twentieth anniversary of Decalogue’s premiere, out of Andrzej Mańkowski’s initiative, ten young filmmakers have prepared a set of 20 minutes long études, of which each told a story about one of the Decalogue’s commandments. Among the young and talented directors of Decalogue 89+ were Adrian Panek, Bartosz Paduch and Marcin Bortkiewicz.