Asif Kapadia Quotes
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My wife Victoria Harwood was art director on 'Far North,' and she had designed my student film, 'The Sheep Thief.'
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I'm a sport fan. So, I have always watched everything, and I used to watch racing. Formula One was always on. The genius about it is that it's on at lunchtime on a Sunday.
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As far as I'm concerned, I make movies.
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I used to live in Pillgwenlly, and there was this old Italian pizzeria that used to be there with a really amazing character who ran it.
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We spent four days filming in a helicopter. I had never seen London from that viewpoint - you get a sense of how big it is and how easy it is to get lost. There was one day when we couldn't find Brick Lane: we spent 25 minutes looking and then realised it was directly below us.
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The Monaco Grand Prix is in May right around the time of Cannes.
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You can't stop people watching on mobiles, but I hope the old fashioned idea of sitting in a dark room with a big screen with a group of strangers lives on forever.
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'Amy' is somewhere in the middle of authorized and unauthorized.
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I worked in TV for a short time and couldn't stand the fact that we'd always be filming someone talking, just giving information.
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I lived in Camden, Primrose Hill and Kentish Town for 10 years.
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I'm an ordinary Hackney boy, and I can talk to people.
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I worked with Michelle Yeoh on my last film, 'Far North,' and her partner is Jean Todt; at the time, he ran Ferrari. So I went as a VIP to the British grand prix.
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When I was given the opportunity to direct 'Senna,' I decided the film had to work for audiences who disliked sport or had never seen a Formula One race in their lives. It had to thrill and emotionally engage people who had never heard of Ayrton Senna.
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In a film called 'Senna,' the clue is in the title, and we have a Brazilian badge on our sleeve as we were making it. We were making it from Senna's point of view, with Senna narrating it.
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I want to make my own films from my own scripts based on stories I want to tell, but they take time to put together.
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People have always been recording what's going on around them in one form or another.
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As much as I love creating entertaining visuals, I love toying with the pace of a movie and trying to perfect that. It's imperative to the impact: faster cuts, cuts at the right moments that meld with the tenor of a scene. Creating and maintaining that feeling.
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My team and I used the actual footage to create a three-act story of the life of Ayrton Senna. There are no talking heads and no voiceover. Senna narrates his own epic, dramatic, thrilling journey.
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I often make films about subjects I don't really know much about. Maybe it's laziness, but I don't go in there having done a tonne of research; the research happens while I'm making the film.
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A lot of the time when I'm working, I'm abroad.
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The big thing for me is to make films that you feel, whether you feel happy, whether you feel sad, whether you feel sick; it's to make the audience feel so that the next day they remember what they saw.
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I don't normally make documentaries. I'm a drama director. I've made a few short docs, but I don't like talking heads or 'voice of God' narrators.
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There's this great TV show we have called 'Later... with Jools Holland', a live-music show on Friday nights. Anyone and everyone's been on it.
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I never realised 'The Return' would take so long to make - it was a very tough 'political experience,' and the post production in L.A. seemed to go on forever.