The only solutions that are ever worth anything are the solutions that people find themselves.
The director is the only person who knows what the film is about.
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.
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.
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.
There's always some room for improvisation.
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.
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.
At the age when Bengali youth almost inevitably writes poetry, I was listening to European classical music.
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.
The conception of background music is changing. You use less and less of it these days.
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.
Ever since Two Daughters I've been composing my own music.
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.
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.
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