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.

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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.

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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.

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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.

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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.

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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.

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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.

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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.

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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.

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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.

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