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“Senna” made for an exhilarating experience, defying expectations of a traditional project composed of archival footage and interviews. Kapadia takes the same approach with “Amy,” and the end result is “heartbreaking and extraordinary,” as Kaleem Aftab raved in his glowing Indiewire review following the film’s world premiere at the 2015 Cannes Film Festival. The film is playing out of competition at the event. A24 opens it in July.
Indiewire sat down with Kapadia in Cannes to discuss the making of “Amy.”
I pretty much go into all of these films with a blank piece of paper — I don’t have a script, I don’t have an agenda, I don’t know anything. That’s my style of directing: I know nothing. I stumble through and then things happen, and then I’m like the audience, like, “Oh, that’s interesting, that’s not really interesting.” With this, you see that early footage: She was funny; she was happy; she was healthy; she has amazing eyes. Straight away, you can see this journey. How do you go from there to there in such a short space of time? That was a big part of it, and then another big revelation were the lyrics [of her songs]. Like, the answer was there in front of us the whole time. We just didn’t bother to listen carefully enough. Sometimes that’s really helpful: The audience doesn’t have this question mark of, “How are they going to finish this?” They’re not trying to second-guess it. They’re going with you. They know where it’s going, which actually brings more tension. It makes it heavier. Because you know, when you see her happy, where it’s going to go. For a shot moment, hopefully, you forget and then you go, “Oh, here we go.”
What’s fascinating with Amy’s story is, in the U.S., her first album didn’t get a release. So people only know “Back to Black.” For me, from the work that I’ve done and the research that I’ve done, sadly, the girl who released “Back to Black” is kind of the shell of the human being that she was before. The person that we all knew isn’t really even Amy. That becomes the story; that becomes the revelation. Everything you know is kind of wrong, or a skewed version. That’s not really her hair. That’s not what she really looks like. That whole iconic image is basically unwrapping. That becomes quite powerful, that they know the ending, because actually, you’ve already got a given.
With “Senna,” it was this idea that you fall in love with someone and you lose him — the shock of it. It was a shock, it was an act of God; it was this weird accident. With “Amy,” people knew. It was a slow, drawn-out death.
READ MORE: Watch: Amy Winehouse is Fearful of Fame in First Trailer for ‘Amy’
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