Well the Bombay film wasn’t always like how it is now. It did have a local industry. There were realistic films made on local scenes. But it gradually changed over the years.
SATYAJIT RAYIt was only after Pather Panchali had some success at home that I decided to do a second part. But I didn’t want to do the same kind of film again, so I made a musical.
More Satyajit Ray Quotes
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Ever since Two Daughters I’ve been composing my own music.
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When I’m shooting on location, you get ideas on the spot – new angles. You make not major changes but important modifications, that you can’t do on a set. I do that because you have to be economical.
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What is attempted in these film is of course a synthesis. But it can be seen by someone who has his feet in both cultures. Someone who will bring to bear on the films involvement and detachment in equal measure.
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Sometimes a director is making three films. Perhaps he is shooting a film in Madras and a film in Bombay and he can’t leave Madras as some shooting has to be done, so he directs by telephone. The shooting takes place. On schedule.
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I wouldn’t mind taking a rest for three or four months, but I have to keep on making films for the sake of my crew, who just wait for the next film because they’re not on a fixed salary.
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When I write an original story I write about people I know first-hand and situations I’m familiar with. I don’t write stories about the nineteenth century.
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I don’t start a film with the heroine but with the cinema subject. If there is a woman in the story, she has to be of a particular type. It’s not as if I start with Madhuri Dixit and then think what kind of film.
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I was interested in both Western and Indian classical music.
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The director is the only person who knows what the film is about.
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Most of the top actors and actresses may be working in ten or twelve films at the same time, so they will give one director two hours and maybe shoot in Bombay in the morning and Madras in the evening. It happens.
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There’s always some room for improvisation.
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I’ve made seventeen or eighteen films now, only two of which have been original screenplays, all the others have been based on short stories or novels, and I find the long short story ideal for adaptation.
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The only solutions that are ever worth anything are the solutions that people find themselves.
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I mix Indian instruments with Western instruments all the time.
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Particularly in the final stages I always find that I’m rushed. It’s dangerous when you’re rushed in the editing stage, most of my early films are flawed in the cutting.
SATYAJIT RAY