At the age when Bengali youth almost inevitably writes poetry, I was listening to European classical music.
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.
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.
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 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.
I was interested in both Western and Indian 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.
I mix Indian instruments with Western instruments all the time.
Ever since Two Daughters I've been composing my own music.
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.
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.
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.
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.