British - Director | 1972 -
A lot of the time when I'm working, I'm abroad.
Asif Kapadia
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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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My films often have a spiritual dimension which comes from my Muslim background, and I'm happy to tackle that in cinema.
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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.
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'Amy' is somewhere in the middle of authorized and unauthorized.
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A big part of my filmmaking is that I can go somewhere new and, visually, be excited by it.
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I lived in Camden, Primrose Hill and Kentish Town for 10 years.
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The subjects have to come with questions for me. I don't make films where I'm a massive fan.
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On 'Senna,' it got to the point where there was so much footage that our first editor had the wild suggestion that we only use the archive.
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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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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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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.
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