The director is the only person who knows what the film is about.
SATYAJIT RAYI 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.
More Satyajit Ray Quotes
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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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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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There’s always some room for improvisation.
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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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I was interested in both Western and Indian classical music.
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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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Ever since Two Daughters I’ve been composing my own music.
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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 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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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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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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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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The conception of background music is changing. You use less and less of it these days.
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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.
SATYAJIT RAY