Best 27 quotes of Satyajit Ray on MyQuotes

At the age when Bengali youth almost inevitably writes poetry, I was listening to European classical music.

Bicycle Thief is a triumphant discovery of the fundamentals of cinema, and De Sica has openly acknowledged his debt to Chaplin.

Cinema’s characteristic forte is its ability to capture and communicate the intimacies of the human mind.

Ever since Two Daughters I've been composing my own music.

I don't understand these national awards, because half of those who sit in judgement over Indian films do not... possess the competence to evaluate a film correctly.

If the theme is simple, you can include a hundred details that create the illusion of actuality better.

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.

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'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.

I was interested in both Western and Indian classical music.

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.

Last, but not least -- in fact, this is most important -- you need a happy ending. However, if you can create tragic situations and jerk a few tears before the happy ending, it will work much better.

MAMMOOTTY has presented an outstanding performance in film'New Delhi'

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.

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.

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

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.

The conception of background music is changing. You use less and less of it these days.

The director is the only person who knows what the film is about.

There is a ban on Indian films in Pakistan, so that's half of our market gone.

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.

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.

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.

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.

If you take some words at random and put them together, it becomes gibberish, and everyone who knows the meaning of words knows it as such. But if you take unrelated moving images and string them together, there will always be some people who will hold that the resultant strip of celluloid aims at some profundity.

[W]hile devices cannot replace imagination, they can certainly influence it and even mould it. Devices are there for the artists to use if they so wish. With them they can say new things in a new way, or even old things in a new way. Or, if they choose, they can ignore the devices and say new things in an old way, or old things in an old way.