Exploring the abuse of power, the rise of the dictator, and the roles of corruption in society, Asif Kapadia’s gothic interpretation of Creature is – undeniably – a horror ballet for our times
Asif Kapadia: It’s embarrassing, I know, but yes. I knew Akram [Khan], but I’d never been to any of his shows. I’d never even been to Sadler’s Wells – I have no excuse. I’ve really gotten into the habit of making films about things I know nothing about, and I’m more and more thinking that every movie I make is like doing a degree in a subject that I like. It’s never too late to learn.
HK: Dance is designed to be seen from the front. Your camera swoops, shows dancers in close-up and, at one point, quite literally circles your two protagonists. AK: From first viewing, my thing was: I want to be on stage. I want to be in there, looking through holes, looking from above, to be under the dancers, experiencing impossible angles for theatre. The danger was, it’s always easier to come back to the big, wide shot. And easy is boring. That is what the theatre would do for a record. Remember, I came to ballet cold. I had no baggage. So, my whole thing was ‘we’re going to fuck this up and create something new’.
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