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.

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.

They who love dancing too much seem to have more brains in their feet than in their head.

Basically, right before college I got into the Guinness book for my feet and started to do local commercials and little radio spots, just little things and found I really liked it.

My feet are like gnarled old tree branches.

The men are walking. They are fifty feet apart, for dispersal. Their walk is slow, for they are dead weary, as you can tell even when looking at them from behind. Every line and sag of their bodies speaks their inhuman exhaustion.

My feet are dogs.

Heaven is under our feet as well as over our heads.

A beautiful line of verse has twelve feet, and two wings.

My feet never touched the ground. Lots of good groups with crazy and unique images. It was wild. I spent all of my time doing gigs, TV appearances, interviews, or recording. I could write a book - and probably will.

My sister and I are opposites in many ways. She is six feet tall, while I'm five feet four.

In the 1950s in Columbia, South Carolina, it was considered OK for kids to play with weird things. We could go to the hardware store and buy 100 feet of dynamite fuse.

St Michaels Mount is a favourite place of mine; people will walk across to the Mount all day and assume they will be able to walk home. The spectacle of hundreds of people realising that the path they walked over on is disappearing under several feet of water is very amusing.

I had to weave and play around with a honey bear, you know, and I could wrestle with him a little bit, but there's no way you can even wrestle a honey bear, let alone a grizzly bear that's standing ten feet to eleven feet tall! Can you imagine? But it was fascinating to work that close to that kind of animal.

I wouldn't want the pressure of a Six Feet Under or the pressure of improvising like Curb Your Enthusiasm.

Although there exist many thousand subjects for elegant conversation, there are persons who cannot meet a cripple without talking about feet.

I think the secret of my light, quick, foot strike is related to the fact that I have fragile feet.

I'm convinced that the man who has learned to meditate upon the Lord will be able to run on his feet and walk in his spirit. Although he may be hurried by his vocation, that's not the issue. The issue is how fast his spirit is going. To slow it down takes a period of time.

When we too are armed and trained, we can convince men that we have hands, feet, and a heart like yours;.

Eve was not taken out of Adam's head to top him, neither out of his feet to be trampled on by him, but out of his side to be equal with him, under his arm to be protected by him, and near his heart to be loved by him.

Riding a motorcycle on today's highways, you have to ride in a very defensive manner. You have to be a good rider and you have to have both hands and both feet on the controls at all times.

He had one uniform practice, and a very bad one it was, during the time of family worship, and just three or four seconds before the conclusion of the prayer, he started to his feet, and ran barking round the apartment like a crazed beast.

You can browse to your heart's content but it's hard work and not easy on the feet unless you do it through catalogs or the Internet, and I like to touch and try on the things I buy.

As long as you smile, have sparkly eyes and stick your shoulders back, nobody's going to notice your bum or your waist or your feet, for that matter.

I should like to lie at your feet and die in your arms.