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ItвЂ™s very melodramatic in its colours and its presentations and the ways characters conflict with each other.

So if you look at Elizabeth, itвЂ™s very Indian. I donвЂ™t know how else I can be an artist. IвЂ™m not like that.В I have to bring myself to the film. SK: When I was doing Elizabeth, I asked myself, вЂњCan I be Ang Lee?вЂќ Because Ang Lee so easily made Sense and Sensibility, and I looked at it and I couldnвЂ™t tell it was a foreign director, I thought it has to be a British director. To you, what are the advantages making a film from a culture outside of your own cultural background? There are other directors who also successfully tackled subjects that are not from their own cultural background, such as Ang Lee, who did Sense and Sensibility, and Danny Boyle, who did Slumdog Millionaire. Q: You did a wonderful interpretation of Elizabeth I. In fact, before I became a filmmaker, how I became a filmmaker was that,В if I was coming to a party people would say, вЂњOh my God, Shekhar is coming and heвЂ™s going to tell a story, letвЂ™s leave.вЂќ ItвЂ™s just this addiction to keep telling stories.

My practice is to constantly tell stories, keep up with it and donвЂ™t lose the ability to tell stories. So I am constantly having to let go, like a singer always rehearses singing, or a painter can always paint, the problem with my art is that you canвЂ™t get all these people together.В ItвЂ™s very expensive. But thatвЂ™s why IвЂ™m on social media sometimes.В If you go on my Instagram I'll tell a short story, and I go on Twitter and tell a short story. Even if it is close to who you are at that time, then you just go make that film. You find one story that either someone gives you a story close to you that you really want to tell, or you sit with the writer andВ create your own story. SK: I canвЂ™t tell every story that I have because film is an expensive medium itвЂ™s a collaborative medium. Apart from having the passion to tell a story, you also talked about how essential chaos and panic are on set, because they help drive your creativity and energy.В What makes you want to keep telling stories over the years, whether as a director, producer or actor?

Some films are a personal judgement, some films you like sometimes more than others, but I didnвЂ™t see a single film that lacked passion. And there is a lot of passion in the films. I donвЂ™t think I could have made that kind of film in the beginning. The quality of the films was really amazing, considering they are first or second time directors. Each time I sit and look at a culture, I find that I learn something from each culture. When you do Asian films, the diversity of culture is so interesting. SK: I was surprised at the quality of the films. How haveВ you enjoyed the lineup this year? Q: You are the head of jury for this yearвЂ™s SGIFF Asian Feature Film Competition.

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We talked about how the first two Elizabeth films are conceptually Asian films in construct, and what the third chapter of the Elizabeth franchise will centre on (a movie featuring a fictional Elizabeth set in the future).В We also talked to him about his hopes of telling the story of a crucial Chinese female historical figure. SaysВ had the opportunity to sit down with Kapur for an in-depth interview after the session to explore the mind of a master. During the SGIFF Masterclass that took place last Saturday at the ArtScience Museum, Kapur talked about how narratives have changed over the years, his previous work, and shared his philosophy on filmmaking, offering valuable insights when asked about what advice he could give to aspiring filmmakers.Д¬ATCHPLAY ON DEMAND's Ed.

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