"Yes, my acting was not stylised. I always underplayed, maybe because I never learnt acting. I thought the best way is to feel it and do it. And when you feel it, the emotions come out naturally. Gulabo was liked by people and I started getting different roles. If I liked a story my attitude used to be: this is the scene, this is the character and I have to do it. I never thought about the repercussions of doing a character."

“Music earlier used to be an integral part of the film. The background score and the songs were as important, to take the story forward as were the screenplay and dialogues.”

“Dinner followed thereafter among a small group of common friends, a surprise being the presence of my favorite Waheeda Rehman. Now aged and well within her years, she to me described what the conventional Indian woman ought to be in look and behaviour. Those early films 'Pyaasa' and 'Kaagaz ke Phool' and 'Chaudhavin ka Chand' and 'Sahib Biwi aur Ghulam' are unforgettable for the charm and grace and childlike softness of an ethereal looking Waheeda ji, alluring and dynamic by the intensity of her simple and endearing looks and performance.”

“I definitely think this is the best time to be in the industry. Earlier, films were made on a set pattern- love story, family drama, one is rich and other is poor type formulas. But today there are different kinds of films being made and accepted by the audience. I wish I was there in the industry today...I wish I was born in today's time.”

“Today that rarely happens. Most often the songs are used as a relief. They have nothing to do with the film per say. And all look almost the same. Just replace the central characters and a step here and there...choreography remains the same in most cases. So does the beat. We have so many classical dances and folk dances in the country but nobody seems to be using them.”

“The instant Waheeda Rehman arrived for her ten days shooting in Calcutta, she charmed every member of Ray’s unit. She lacked star airs and graces, never behaved in a pretentious manner and was content to go about off the set in her own face without make-up. There was an unspoilt quality about her personality and she was conspicuously receptive to Ray’s direction. She was pliable, with few ingrained mannerisms.”

“I was and still am her great admirer and fan. She signified to me the epitome of Indian grace and culture. She possessed in her the mischievous streak of that precocious village belle and the spirited movement of a Shiv Tandav. She looked vulnerable and lost, searching for protection in one moment, yet knowledged and mature in another. You felt like protecting and guarding her from all the evil of the world and to gently wipe away any frayed eyebrows that may have accumulated on her face. Her performances were pure and clean, without effort and deliberate design. They were just a part of her - simple and soft.”