‘ I don’t make a difference between my father, my mother and him‘
Soumendu reflects very emotionally on the loss of his own guru ( in this clip, Soumendu first talks in Bengali and then explains the main ideas in English / recorded in Calcutta in 1999 )
this short film is branch#33 of a big tree entitled ‘memories of ray’
my relationship with Satyajit Ray was not between a cameraman and a director, he loved me like his younger brother’
Soumendu Ray talks about his career with Satyajit Ray as a cameraman, and the chance he had to work two other very talented technicians: art director Bansi Chandragupta and lighting director Subrata Mitra. He talks later on about Ray’s technical evolution through the years. He explain Ray’s handling of technical crew and actors, and remembers when Ray decided to operate the camera himself. He ends with remembering a nice shooting anecdote….
( in this clip, Soumendu first talks in bengali and then explains the main ideas in english / recorded in 1999 in Calcutta )
this short film is branch#32 of a big tree entitled ‘memories of ray’
‘ when Pather Panchali was released, we were even more nervous than Satyajit Ray himself!’
Soumendu Roy remembers the release of Pather Panchali and explains when photographer Nemai Ghosh joined the scene. Nemai Ghosh explains how he himself was influenced by Soumendu Roy.
( recorded in 1999 in Calcutta )
this short film is branch#30 of a big tree entitled ‘memories of ray’
’ i joined as an apprentice on the shooting of Pather Panchali, I was the camera caretaker, the atmosphere on the set was very cordial, we were like a family, no difference between the artists and the technicians, we ate together, there were no class divisions…’
from the source: Soumendy Roy remembers with nostalgia how he joined the shooting of Pather Panchali and how he learned so much from Subrata Mitra.
( recorded in 1999 in Calcutta )
this short film is branch#29 of a big tree entitled ‘memories of ray’