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.

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.

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

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.

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.

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.

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

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.

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.

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

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.

I was interested in both Western and Indian classical music.

The only solutions that are ever worth anything are the solutions that people find themselves.

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.

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.

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.

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

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.

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.

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.

There's always some room for improvisation.

I mix Indian instruments with Western instruments all the time.

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.

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

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

There are certain romances that belong in certain cities, in a certain atmosphere, in a certain time.

And I think I find, I know a lot of people around, in different cities, and so it's not - it might sound strange - but it's not that hard to say good-bye, because I know there's other people where I'm going. I can sort of fit in in a lot of places.

In addition to a timeline, I have proposed that U.S. troops be removed from front line combat positions in Iraqi cities and towns, turning over daily security patrols, interactions with citizens, and any offensive security actions to the Iraqis themselves.

We ought to be doing that with decent standard housing but if we have people who are absolutely on the streets in this case, I think it makes sense that tent cities are preferred to not having tent cities.

Our fifty principal cities contain 39.3 per cent of our entire German population, and 45.8 per cent of the Irish. Our ten larger cities only nine per cent of the entire population, but 23 per cent of the foreign.

Divine Nature gave the fields, human art built the cities.

Unlike most major American cities, Honolulu is geographically insulated from the rest of the country. When disaster strikes we cannot call on neighboring states for assistance.

I'm always going to get more of a charge playing Chicago than I will Duluth or some place like that. Just because of the history and the people there are way more knowledgeable than a lot of other cities. It's an amazing music scene with some great bands and great musicians.

We do not look in our great cities for our best morality.

Have you ever, on a cloudless night, looked down from a passing aircraft flying over Canada? Endless, glowing strings of cities, towns, and homesteads. Stretching on and on, one province to the next. With only the stars in the distance.

Australia as a nation, as a set of cities and some regional centres, that project died a death and we didn't get it up, but I still think there's merit in that.

Burn down your cities and leave our farms, and your cities will spring up again as if by magic; but destroy our farms and the grass will grow in the streets of every city in the country.

The point of cities is multiplicity of choice.

I can set up shop anywhere. I've got my oils, I've got my yoga mat and I'm good to go. I must know good yoga classes in about 25 cities on this planet.

What I'm going to be given I gather is not the key to the city, which in many cities is the case. It's the freedom medal, and for me freedom has always been associated traditionally within the city.

It is we the workers who built these palaces and cities here in Spain and in America and everywhere. We, the workers, can build others to take their place. And better ones! We are not in the least afraid of ruins.

An architect should live as little in cities as a painter. Send him to our hills, and let him study there what nature understands by a buttress, and what by a dome.

There isn't much discussion of ruling class in America even in Boston, probably one of the most class-conscious cities in the country?

After spending three years of my life looking into this, I am more convinced than ever that the U.S. government's responsibility for the drug problems in South Central Los Angeles and other inner cities is greater than I ever wrote in the newspaper.

When we get piled upon one another in large cities, as in Europe, we shall become as corrupt as Europe.

We say we want to create beauty, identity, quality, singularity. And yet, maybe in truth these cities that we have are desired. Maybe their very characterlessness provides the best context for living.

And one by one the nights between our separated cities are joined to the night that unites us.

But when I reintroduced the Nation of Islam, and began to host meetings in cities and thousands and thousands of people come out.