Asif Kapadia Quotes

There has to be the right pacing of images to tell the story. I'm always stunned at how little you can put in.

The great directors, I've learned, have a great sense of rhythm.

I love more than anything looking at a movie scene by scene and seeing the intention behind it.

Filming is so much to do with rhythm, as is music, and if it isn't there then you know in the end nobody can save it really, they can't.

I would love to direct a western. I love taking photographs and I'm always fascinated with angles. Also, my father was a film editor, and I have a talent for thinking of things that aren't always in a script.

A montage is incredibly challenging. When I can, I'd like to know what the music is going to be ahead of time because that will affect the beat, the pace of the montage.

The key to making good movies is to pay attention to the transition between scenes.

Growing up, I wanted to write films and make films. Even as I took this detour and stayed in the music world, I still think in terms of 'What is in this room? What is the shot? Who are the characters? What is the conversation here?' My sense of pacing is very filmlike, it's not musical.

I'm not a fan of these very cutty, handheld-y kind of films or TV shows, where a cut is just every half second or every two seconds, where you're desensitized to it. To me, a cut should say something and be impactful.

I love film and, particularly, shorts. You don't get to see them often, and they're a great little form, like a short story.

I love the medium of film.

There's two aspects of film crafting that I'm very strict about, and that's how I move my camera and where I cut the film.

I fell in love with film and its potential. The idea of putting one image next to another image and creating meaning blew my mind.

I love film, and I love short films.

I've seen so many young filmmakers - even professional filmmakers who get a Hollywood deal - they don't quite know where to begin, where to end, and they'll waste a lot of time making this perfect shot, an establishing shot, and then there's no time left to shoot the dialogue.

I never watch the dailies. What I usually do is have a look at the rough or final cut, and I just get something from the story. Sometimes I start composing even before the director has shot anything. The dailies don't help me at all.

Every director knows it is his job to be manipulative. When you make an edit, you are trying to manipulate.

A film ingeniously directed does indeed give the impression of having been laid end to end, but a film ingeniously edited gives the impression of having suppressed all direction.

It's such a delicate business, the structure of film, isn't it? What happens if a scene is not there but two minutes later? It's an eternal, never-ending search, actually, which is very exciting. It really is.

I just think a lot of movies are too long. I want to know how to make my movie as tight as possible.

I love being in the editing room and playing with tempo and with the rhythm of shots.

In certain fight scenes in 'Raging Bull' - for example, the shorter ones - I literally just took the head and tail of the shot and put it together, and it all worked beautifully.

From 2005 to 2010, I was exclusively shooting 'The Act of Killing' and then editing it.

One thing that the audience, and perhaps critics, aren't aware of is that, especially in a film like 'Moonlight,' you always shoot a lot more footage than makes the cut of the film.

I've always been in love with film and music.