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.
SATYAJIT RAYWhen 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.
More Satyajit Ray Quotes
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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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I mix Indian instruments with Western instruments all the time.
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There’s always some room for improvisation.
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The director is the only person who knows what the film is about.
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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 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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My films play only in Bengal, and my audience is the educated middle class in the cities and small towns. They also play in Bombay, Madras and Delhi where there is a Bengali population.
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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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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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The conception of background music is changing. You use less and less of it these days.
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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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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 RAY