A Quote by Asif Kapadia

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.
I spent a long time on my first movie, which was the sequel to a short film that I did called 'Carne.' And I had no money. I shot it over a period of three years, a bit like David Lynch directed 'Eraserhead.'
I produced and directed a movie a couple years ago that won some awards that Samuel Goldwyn released called 'The Last Good Time'. I wrote, produced and directed it, but I wasn't in it.
I produced and starred in 'Wake the Riderless Horse,' a short film that my buddy wrote and directed.
I made lots of short films, about nine or ten short films. And then I made a television film called 'This Little Life.'
Kubrick was one of those directors who actually did practically everything in his movies. He actually directed, photographed, wrote, lit, edited - everything. A few people can be like that.
When I wrote my first film and then directed it and I looked at it for the first time on what's called an assembly, you look at this movie which is every scene you wrote, every line of dialogue you wrote and you want to kill yourself the minute you see it. It's like, 'How did I write something so horrible?'
My M.F.A was in directing, and all the films I've made, for film school and after, I've written, directed and shot.
Everything I've made - it doesn't mean they've all been good - but everything I've made so far, big or little, fiction or documentary, has been something that I've been really enthusiastic about.
Everything I did on the 'Paid in Full' album and those first three albums, I wrote everything right in the studio.
Me and my roommate wrote and directed a little short comedy called 'The Elevator.'
Me and my roommate wrote and directed a little short comedy called 'The Elevator.
When you cut from a long shot to a close shot, you're doing it for a reason, or if you let something stay in long shot for a long take. On the short films, I was teaching myself how to express something personal cinematically, how to use the language of film the best I could.
I majored in screenwriting and playwriting in school - and wanted to make films as a career. But when I directed my first short in college - which was called 'Extras' - I lost thousands of dollars and made an unsatisfying and incomplete film.
I was a Teletype operator in the army, so that's where I learned to type. One day, I went downstairs to see if I could still type - I hadn't done it for four or five years after the war. So I typed out a page and I showed it to my wife and she said, "Where did you get this?" I said I wrote it. "You wrote this?" It was something very funny. I went and wrote another page, another couple of pages, and by the time I was finished I had 13 little short stories, humorous short stories.
What made me want to be an actor? Ah, I'm not really sure, to be honest. I was one of those little kids who did it around school, and then I got to university and made lots of bad plays and short films, and then midway through that, it suddenly dawned on me that this might be a satisfying way to earn a living, if that was at all feasible.
The key fact missed most often by social scientists utilizing documentary films for data, is this: documentary films are not found or reported things; they're made things.
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