BAFTA winning filmmaker Asif Kapadia gives his answers and recommendations.

Asif Kapadia presents Exploding Cinema as part of the film season.
Raging Bull
City of God
Watching Grease with my brother and sisters in a cinema in Stoke Newington, which is now a Turkish mosque. At the time I thought the film was way too long and couldn't satnd all that singing.
I was very young and switched over the TV late one Christmas and accidentally came across Hitchcock's Vertigo - I'd missed the opening and started watching the film during the long sequence where James Stewart's character follows Kim Novak around San Francisco in his car; to the flower shop, the museum, to the Golden Gate. I don't know how long the sequence was, but I remember being aware that there was no dialogue, only music and images, Jimmy Stewart's eyes watching her, I knew was seeing something special but I didn't know quite what. Years later, I realised that it was my first experience of 'pure cinema'.
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'. Following the screening and talk I managed to speak to my hero and he signed my Scorsese on Scorsese book, as did the great Thelma Schoonmake.
Michael Haneke
Irrfan Khan
Gongli
Just before Christmas I was in Dubai at the film festival as I was on the jury there, and one evening I found myself sitting at a table with a group of young filmmakers, young men and women from the Middle East: from Lebanon, Palestine, Egypt, Syria and Jordan and I was so excited to hear them speaking about the films they were making, and others they hoped to make. They had such energy and passion and I feel that there is a brilliant new generation of filmmakers to come from the region. There is no shortage of finance there, and with the work of the new film festivals in Dubai, Abu Dhabi and Doha in particular, there will be a lot of chances for their work to be seen on the international stage.
I know it's not new but digital cinema projection is pretty amazing. 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. There is always a worry the framing might be wrong, there will be a bad reel change or the image is slightly out of focus. Hopefully with digital projection, a film will always look the way the filmmaker intended.
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.
No, ... but the Indians, Asians and Middle-Eastern filmmakers and industries are coming ... and they have their own languages and audiences, so are not so reliant on Hollywood.
Available to listen
The Family; Blue Is the Warmest Colour; Catching Fire; 47 Ronin
Francine Stock talks to Robert de Niro and Michelle Pfeiffer about mob comedy The Family.
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