Asif Kapadia Quotes

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  • Filmmaker
  • born 1972
  • 72 quotes

Asif Kapadia, a filmmaker (born 1972), is quoted 72 times on QuoteForever. The subjects that come up most often are Images, Amy, Grand Prix and Grand.

Quotes with a ready-made image come first, then the rest in order of how often they are read and shared. Open any quote to copy it, share it, or turn it into a picture quote.

For me, 'Amy' is a very dark film about love.

Real life is far more complicated than fiction.

A lot of the time when I'm working, I'm abroad.

Directing can be very lonely and quite intimidating.

I'm an ordinary Hackney boy, and I can talk to people.

I lived in Camden, Primrose Hill and Kentish Town for 10 years.

The Monaco Grand Prix is in May right around the time of Cannes.

'Amy' is somewhere in the middle of authorized and unauthorized.

I was a sports fan long before I had any interest in film-making.

My interest in filmmaking was always very much the visuals and images.

It's always great to be able to go to a premiere with the actors there.

The thing people don't get about Indian films is that the songs are the story.

To be teammates in Formula One actually means you are first rivals, not really mates.

Hopefully with digital projection, a film will always look the way the filmmaker intended.

A big part of my filmmaking is that I can go somewhere new and, visually, be excited by it.

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.

You don't have to be someone who likes walking a tightrope across the Twin Towers to watch 'Man On Wire.'

My wife Victoria Harwood was art director on 'Far North,' and she had designed my student film, 'The Sheep Thief.'

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.

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.

My films often have a spiritual dimension which comes from my Muslim background, and I'm happy to tackle that in cinema.

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.

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.

My background is from India, and I always get asked, 'When are you going to do an Indian film, a musical or Bollywood film?'

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.

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.

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.

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.

Boxing is made for film - there is corruption, violence, tragedy and the chance that the underdog can catch the champion with one lucky punch.

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.

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.

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.

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!

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.'

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'.

I love sport, so I'd love to do more stories if I can that deal with sport maybe. Other characters, actually the real guy is so interesting why would you want to get anyone to play them?

'Do the Right Thing' has been a big influence on me. I saw it when it first came out in 1989. I was about 18, and it blew me away on many levels - I had never seen anything like it before.

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.

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.

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.

Asif Kapadia is quoted on

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