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		Jump to a film by Satyajit Ray ------------------------------ Adventures of Goopy & Bagha (Goopy Gyne...) 1968 Adversary, The (Pratidwandi) 1970 Bala (Documentary) 1976 Big City, The (Mahanagar) 1963 Branches of the Tree (Shakha Prashakha) 1990 Chess Players, The (Shatranj Ke Khilari) 1977 Company Limited (Seemabaddha) 1971 Coward and Holy Man, the (Kapurush...) 1965 Days and Nights in the Forest (Aranyer Din Ratri) 1969 Deliverance, The (Sadgati) 1981 Distant Thunder (Asani Sanket) 1973 Elephant God, The (Joi Baba Felunath) 1978 Enemy of the People (Ganashatru) 1989 Expedition, The (Abhijan), 1962 Fortress, The (Sonar Kella) 1974 Goddess, The (Devi) 1960 Hero, The (Nayak) 1966 Home and the World (Ghare-Baire) 1984 Inner Eye, The (Documentary) 1972 Kanchenjungha 1962 Kingdom of Diamonds (Hirak Rajar Deshe) 1980 Lonely Wife, The (Charulata) 1964 Middleman, The (Jana Aranya) 1975 Music Room, The (Jalsaghar) 1958 Philosopher's Stone, The (Parash Pathar) 1958 Pikoo (Pikoo's Day, Short Film) 1980 Rabindranath Tagore (Documentary) 1961 Sikkim (Documentary) 1971 Song of the Little Road (Pather Panchali) 1955 Stranger, The (Agantuk) 1991 Sukumar Ray (Documentary) 1987 Three/Two Daughters (Teen Kanya) 1961 Two (Short Film) 1964 Unvanquished, The (Aparajito)1956 World of Apu, The (Apur Sansar)1959 Zoo, The (Chiriakhana) 1967

Filmmaking Subjects Story & Script Casting Art Direction Cinematography Editing Music
		Design and Art Direction Ray usually shot the outdoor scenes on locations and preferred studio for indoor shoots. Sets for this were designed to match the locations with no hint of studio quality or artificiality. His team worked with limited resources but with great Teknical resourcefulness."Simulated natural settings are obsolete now, and exteriors are shot on real locations. If one shoots interiors in actual settings, one achieves the quality of verisimilitude. But there are limiting factors such as poor sound recording (involving the always unsatisfactory business of dubbing), restricted camera movement, interference from onlookers, etc. By and large, I prefer to shoot interiors in the studio where with a gifted collaboration of my designer and my cameraman I can almost always achieve what I want", he wrote in 1966. "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", he said. Ray worked with Bansi Chandragupta, his art director, for about fifteen years. This relationship lasted until the designer's death in 1981. After designing sets for 19 of Ray's films, Bansi Chandragupta moved to Bombay in early seventies. He returned again to work on Shantranj Ke Khilari (The Chess Players, 1977). Ray believed that a film set was built for the camera and for the camera-angles only. Anything that was not effective through the camera was a waste of good money and effort, however pleasing it might look to the naked eye. 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... - Satyajit Ray

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