The director is the only person who knows what the film is about.
SATYAJIT RAYThe only solutions that are ever worth anything are the solutions that people find themselves.
More Satyajit Ray Quotes
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The conception of background music is changing. You use less and less of it these days.
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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 think they quite like me when I work because I’m one of the safer directors to back, because even if my films don’t bring their costs in back home, once they’re shown outside of India they manage to cover the costs.
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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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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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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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Ever since Two Daughters I’ve been composing my own music.
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You cannot go beyond a certain limit in your expenditure if you want to bring back money from your local market, which is very small after Pakistan.
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At the age when Bengali youth almost inevitably writes poetry, I was listening to European classical music.
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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.
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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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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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For a film maker, an Oscar is like a Nobel Prize, you know. So I am very happy… delighted. There is nothing more after this. I cannot hope to get anything more prestigious.
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I had developed this habit of writing scenarios as a hobby. I would find out which stories had been sold to be made into films and I would write my own treatment and then compare it.
SATYAJIT RAY