The second conclusion is that, as European films become more dependent on television, their budgets get smaller. This would cast television in the role of cinema's most treacherous 'ally'.
It would be broadly true to say that legislators and policy-makers in Europe incline towards the former view, hence the widespread regulations requiring broadcasters to invest in feature films. But it would also be true to say that many leading film-makers regret the influence of television, especially in its
tendency to support llltlmate, parochial projects, thereby contributing to the reduced commercial and creative ambitions of European cinema.