British - Director | 1972 -
The thing people don't get about Indian films is that the songs are the story.
Asif Kapadia
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I'm an ordinary Hackney boy, and I can talk to people.
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I don't have these crazy deadlines. I don't have this, 'Oh it's got to be out tomorrow.' I don't like working like that.
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If I'm going to do something, I'm going to spend however long it takes to get it right.
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'Senna' took five years, 'Amy' took three years. You try and say, 'Look, there's no deadline.' That's important. Just saying, 'We've got to make the film. And once the film's ready, it will be out there.'
SayingYouLookReadyThreeSay
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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I was a sports fan long before I had any interest in film-making.
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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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Boxing is made for film - there is corruption, violence, tragedy and the chance that the underdog can catch the champion with one lucky punch.
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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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While still a young student at film school, I was lucky enough to get a golden ticket to a Martin Scorsese master class at BAFTA in Piccadilly: fancy, but technically still 'the flicks'.
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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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