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On the very first day of the shooting of Pather Panchali. I remember I had Pscene where
had to do was to walk a few steps, stop, look this way and that, and then walk again. Little did I
know then that it was twice as hard to achieve impeccability in a shot like that than in a shot of,
any
second-unit director—a sturdy young fellow, generally, with not much brains but a lot of stamina.
aliv, William Wyler was away planning interiors in Hollywood while the second-unit director shot the
er in a field of tall grass, you are faced with a particular state of mind that produces a special
kind of walk, and a special kind of stopping and turning of the head. You also have to calculate the
exact duration of the halt, of the exact duration of each turn of head, of the exact moment of
resumption of walk. Of course, all this is further complicated if you are dealing with someone who
has never faced a camera before, and with whom it would be futile to discuss outer manifestations
of inner feelings.
Dhe boy Apu went looking for his sister into a field of tall grass. In the very first shot all that the boy
fron a shot, or even an entire scene of battle, would normally be entrusted to what is known as the
'ssio atire chariot race somewhere in Italy. But if you are faced with a scene of a boy looking for his​

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