There’s always some room for improvisation.
SATYAJIT RAYI’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.
More Satyajit Ray Quotes
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The director is the only person who knows what the film is about.
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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.
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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 was interested in both Western and Indian classical music.
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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.
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The conception of background music is changing. You use less and less of it these days.
SATYAJIT RAY -
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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At the age when Bengali youth almost inevitably writes poetry, I was listening to European classical music.
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It 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.
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Ever since Two Daughters I’ve been composing my own music.
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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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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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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.
SATYAJIT RAY -
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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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.
SATYAJIT RAY