Asif Kapadia Quotes
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Weirdly enough, I live in London - was born there and have lived there all my life - but I hadn't made a film in London for a long time. I hadn't found the right subject. I liked going away, to some far flung place.
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My background is from India, and I always get asked, 'When are you going to do an Indian film, a musical or Bollywood film?'
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A lot of the time when I'm working, I'm abroad.
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We were working on 'Senna' for a long time before we were fully financed, so we didn't actually have an editor for a while.
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I made several short films with very little dialogue. I'm still not a fan of talking heads. My stories are told with images as much as possible.
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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 never know going in if I've even got a movie to make. Once you start making a film, you hope there's going to be enough material! My job as a director is always to push for more.
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We were studying at Newport Film School, and I found that the only way for me to make films - because you need people and you need equipment - was that I had to be a student.
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Real life is far more complicated than fiction.
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Hopefully with digital projection, a film will always look the way the filmmaker intended.
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Martin Scorsese was being given an honorary doctorate, and one of the tutors asked if there was a student film he particularly liked. He mentioned our film. There was a dinner after the final show just for the tutors, but I was smuggled in to meet Scorsese over dessert.
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The Tour de France would make a great movie. Drugs, corruption, political chicanery, guys risking their lives - everything you need for a great sports drama.
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I made three short films of my own which I wrote, produced, directed... you did everything in those days. My favourite one was something I shot on VHS... a little documentary.
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My background is Indian, so I believe in a spiritual idea that there is another level, another layer or layers, if you will, above us. I believe that there are elements that allow things to be drawn together, a sort of energy.
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Hopefully, when people see 'Senna', they will understand why this inspirational story needed to be told, why it had to be made as a movie for the big screen, and why it is a film for everyone.
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I love telling stories with images. But I think there's more to just saying a movie is great visually.
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I wanted to make a film that wouldn't just appeal to Formula One fans. That's what the great sports documentaries do - 'Hoop Dreams,' 'When We Were Kings' - they're human dramas first, sport second, if at all.
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After Newport, I worked in television for a while, and then I went to The Royal College Of Art and did a master's degree. I really did study quite a lot!
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The worst thing ever for me is go see a movie, and the next day I go, 'What did I do last night? I have no memory of this $300 million movie I watched because I felt nothing.'
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As a filmmaker, you complete a film you have spent years obsessively making, and you know the release prints will never look quite the same; prints get scratched and dirty.
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I like to make films where I learn along the way, like the audience.
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Why make a movie about Ayrton Senna? Someone who drove around in circles at 200mph in a car that looked like a giant cigarette packet? Why would anyone who isn't already a fan of Formula 1 care?
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I wanted to study film at an art school - I loved the idea of being surrounded by designers and artists. We were encouraged to be experimental.
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As a kid, I thought movies were boring. My parents would hire VHS recorders for the weekend and watch Bollywood movies. I'd get bored and go out to Stoke Newington common to play football.