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He wanted to know about the person.’ Kapadia had never met Winehouse or seen her play live.

‘I generally make films about subjects that I don’t know too much about,’ he says.

Shymansky provided some early footage, which Kapadia says was ‘like gold’.

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In the end they conducted more than 100 interviews with Winehouse’s friends and collaborators, Kapadia recording but not filming.

‘I just sat there in a room with a microphone,’ he says.

‘There was a lot of stuff that was just too harsh to show.’ Nick Shymansky, Winehouse’s first manager and a close friend, was a key contributor.

But after the media furore surrounding her death he had never spoken on the record to anyone about her – ‘except a two-minute chat with her father, Mitch [for his 2012 book Amy, My Daughter], which I really didn’t want to do, and once for Radio 2 about the making of [her debut album] Frank’ – and he was reluctant to do so.

‘What pisses me off about Amy’s legacy is, considering the impact she made, it’s all been very lightweight,’ Shymansky tells me.

‘But when I met Asif it didn’t take long for me to realise that this guy is f***ing smart and was asking questions that I didn’t realise I wanted to be asked.’ Kapadia, Shymansky realised, was trying to get to the heart of Winehouse, ‘not what drugs she was taking or who she pissed off.

Mr Morris left Miss Winehouse at around 2.30am, before checking on her at 10am.

Seeing her face-down on her bed, fully clothed, he assumed she was sleeping but realised something was wrong when she was in the same position at 3pm.

‘You’re not going to get to the bottom of somebody’s issues, especially addiction [to heroin, crack cocaine and alcohol, in Winehouse’s case], in a two-hour movie –you could spend a lifetime trying to work out what’s going on there.

So we just tried to get the balance right by suggesting what factors may be at play, but we’re not psychotherapists, we’re filmmakers interpreting material. We didn’t want to focus only on the downside [of Winehouse’s life], which people are aware of, because it became important to spend time with the earlier Amy.’ ‘The longer version of the film that we had was really, really painful to view,’ Kapadia says.

Wouldn’t it be great if someone could make a film like that about Amy, he said. Would he like to make a film about Winehouse in the vein of Senna – a blend of archive footage and voiceovers – with full access?

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