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It’s always great to be able to go to a premiere with the actors there.
– Asif Kapadia
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.
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.
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.
My wife Victoria Harwood was art director on ‘Far North,’ and she had designed my student film, ‘The Sheep Thief.’
My films often have a spiritual dimension which comes from my Muslim background, and I’m happy to tackle that in cinema.
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.
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.
We want to make movies for the big screen. We want people to go to the theater and feel like they’re watching a movie.
To be teammates in Formula One actually means you are first rivals, not really mates.
‘Amy’ is somewhere in the middle of authorized and unauthorized.
The subjects have to come with questions for me. I don’t make films where I’m a massive fan.
I love telling stories with images. But I think there’s more to just saying a movie is great visually.
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.
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.
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.
Real life is far more complicated than fiction.
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.
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.
My background is from India, and I always get asked, ‘When are you going to do an Indian film, a musical or Bollywood film?’
A lot of the time when I’m working, I’m abroad.
My interest in filmmaking was always very much the visuals and images.
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.
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.
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.
My family didn’t film anything. But then you look deeper and realize, maybe there are photographs, there are things. It’s also context: You give something a context, and suddenly it becomes really deep or meaningful footage.
I lived in Camden, Primrose Hill and Kentish Town for 10 years.
The thing people don’t get about Indian films is that the songs are the story.
I don’t really rely on watching video monitors. They put you at a certain distance from your actors, and it makes me feel less a part of what’s really happening in the scene.
For me, ‘Amy’ is a very dark film about love.