Some Thoughts of Satyajit Ray

मी खुप आनंदी होतो आणि आजही आहे जेव्हा मला समजल की माझा आणि श्री.सत्यजित रे यांचा वाढदिवस सारखाच आहे.त्या दिवसापासून मी शोधत होतो की त्यांच्या आणि माझ्यामधे काही साम्य आहे का? आज त्यांचे चित्रपट निर्मिती विषयीचे लेख वाचताना मला माझे काही विचार त्यांच्या सारखेच आहेत अस वाटल .ते विचार .....काही त्यांच्या शब्दात....काही इतरांच्या.....
चित्रपटाचा विषय ::
He believed that behavior of people emerges from their existence in a particular place and time in a particular social context. This was and is, largely ignored in most popular Indian song-and-dance films. In an effort to appeal to different linguistic states of India, the makers of Bollywood films consciously avoid any references to a particular place. Even the names of characters and places are made as "universal" as possible.

On the other hand, the extraordinary believability of Ray's characters comes from their being firmly rooted in a well defined society- usually Bengali life in the nineteenth or twentieth century. Curiously, the feeling of "universality" stems form this authentic localism and specifics. He generally suggests the context by meaningful details, gradually forming an enveloping world.

कथा अणि पटकथा::
"When I write my own story, I use characters and milieus I am familiar with. I can deal with something I do not know at first hand only with the help of someone who does"

Ray preferred dialogues that were "realistic" as opposed to smart lines or natural speech. "It is not as if it's off a tape-recorder, because then you would be wasting precious footage. You have to strike a mean between naturalism and a certain thing which is artistic, which is selective", he once wrote in an article for a newspaper.

अभिनय::
He wrote, "Sometimes, with a minimum of guidance, an actor provides me with exactly what I want. Sometimes I have to try and impose a precise manner, using the actor almost as a puppet. This is my inevitable method with children". He believed, "Since it is the ultimate effect on the screen that matters, any method that helps to achieve the desired effect is valid".

कला दिग्दर्शन::
Ray usually shot the outdoor scenes on locations and preferred studio for indoor shoots.

"To the extent that a director knows what he wants, he can impose his ideas on the designer. The designer is independent only up to the point the director allows him"

छायाचित्रण::
"The style of photography should grow out of the story, and the director should be aware of what he wants and be able to convey it in precise terms to the cameraman," he wrote। He believed that the director should be his own cameraman or at least be able to impose a visual approach on his cameraman. To him, there was no such thing as good photography per se. It was either right for a certain kind of film or wrong.

He warned the over enthusiastic cinematographers, "It is dangerous for a cameraman to put forward creative suggestions unless he has the full emotional and visual sweep of the film in his head। If he does not, he should be content to do as the director tells him. Coutard is a good cameraman if only because he is willing to sacrifice his ego and submit to Godard, whose ideas, if unconventional, are at all times striking, and therefore worthy of respect."

His camera moves as per the needs of the situation, rather than out of any fixed notions of style.

संकलन::
Much of Ray's editing was done in the camera, as he was very clear about his intentions before he began shooting. He shot very little beyond the point where the cut would come. He did not shoot an additional take just for safety's sake. If the first take was really good, he did not do a second take. It made his shooting ratio astonishingly low. This was also dictated by the limited resources available to him to make films.

संगीत::
"... the pleasure of finding out that the music sounds as you had imagined it would, more that compensates for the hard work that goes into it। The final pleasure, of course, is in finding out that it not only sounds right but is also right for the scene for which it was meant". he wrote.