Indian - Director | May 2, 1921 - April 23, 1992
My cameraman and I devised a method, which we started using from my second film, which applies mainly to day scenes shot in the studio, where we used bounced light instead of direct light. We agreed with this thing of four or five shadows following the actors is dreadful.
Satyajit Ray
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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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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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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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There is a ban on Indian films in Pakistan, so that's half of our market gone.
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The conception of background music is changing. You use less and less of it these days.
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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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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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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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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 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 mix Indian instruments with Western instruments all the time.
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