A Quote by Nidhhi Agerwal

Farah ma'am is so technically strong. She is such a good director and one of the most fun directors. — © Nidhhi Agerwal
Farah ma'am is so technically strong. She is such a good director and one of the most fun directors.
With Farah ma'am on sets it's always fun.
I've worked with Farah Khan who is a competent woman director, and Farah and I had a great professional equation and we are still best of friends.
I don't think Farah and I will make a film together. She is a director in her own right.
I watch 'Entourage.' I aspire the good life that they live and lead. Honestly, I am just trying to be me by trying to do good films, have fun at it and trying to work with good directors, and, of course, I am a bit of a silent party boy, also. I have my share of fun sometime, too.
But, working with directors whose history is in performance, I feel like there's a different kind of focus, as opposed to directors who are more prone to being really technically proficient or visual. I feel like there are two schools of both, and a director needs to have both.
Then I usually leave the choice of the second assistant director and any other assistant directors to the first assistant director, who will choose because he or she is responsible for the conduct and the efficiency of the second assistant directors.
Most directors, I discovered, need to be convinced that the screenplay they're going to direct has something to do with them. And this is a tricky thing if you write screenplays where women have parts that are equal to or greater than the male part. And I thought, 'Why am I out there looking for directors?'—because you look at a list of directors, it's all boys. It certainly was when I started as a screenwriter. So I thought, 'I'm just gonna become a director and that'll make it easier.'
A strong film director does leave you to your devices. A strong director allows you to be free and you trust that he's there and he will tell you if you've gone too far. A strong director allows you to be much more experimental and take greater chances than a director who isn't secure within himself.
I like a lot of international people. Julie Taymore, the American director - she's one of the most exciting directors I've seen.
I'm not the only one; most people's mothers are the most influential person in their life. But my mother survived the camps, and she was very strong. She made me strong, but she wanted me to be strong. That's more important.
My ma says You can't unspill a stew." "She also says Undoing a wrong is greater than doing a right." "You know, Ma is very good at saying two things at once.
Don't die on me," she ordered. "You are not dying on me." "Yes, ma'am." He felt light-headed, but she was about the most beautiful thing he'd ever seen. Her hair was smoldering. Her face was smudged with soot. She had a cut on her arm, her dress was torn, and she was missing a boot. Beautiful.
Growing up in the South, we say 'Yes Ma'am' and 'No Ma'am.' Here in Hollywood, people get offended.
A lot of directors don't know what they want to do. Every director I've seen that was a good director that I've admired knew exactly what he wanted to do. They didn't sit there and think about it.
It really depends on the director. I think quite often, it's not what you expect. The most serious film can be the most fun. The one that's supposed to be fun can be the most serious. I don't think there are any hard-and-fast rules. I just think it really depends on your director and what the general vibe is.
I have worked with a lot of really great women directors: Ana Kokkinos; Cate Shortland, who just recently directed a film called 'Lore;' another director, Rachel Perkins - she's an Aboriginal director, and I've worked with her three times now, and she gave me my first film role, actually, back in 1997.
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