A Quote by Ruba Nadda

The secret is you need a director who refuses to walk away and you need a director willing to put their whole career behind the project. — © Ruba Nadda
The secret is you need a director who refuses to walk away and you need a director willing to put their whole career behind the project.
I hope that in another way we can move the need to say, instead of being a Black director, or a woman director, or a French director that I'm just a director.
I don't need to work right away. I'd rather wait for something really good; to be excited about a role, or a director, or a project.
Your actors need to trust you as a director, but normally, I think you just need to have an open communication between the actors and the director. I think the director needs to really paint his or her vision to the cast and let them know the kind of mood that he or she is making. I think that's very important.
I think the director is becoming more important. To work under rushed conditions, you need to have an extremely professional director. If the director's good than the end result will be good.
As the cinematographer is usually more visual than the director is and full cooperation is really the answer and to make a great film, you need a good director and you need a good cinematographer.
I had done it all in my career. I always felt, as a kid, that that's what a director needed to be. Hitchcock could do anything in my mind. He's the director. That person has to be the best actor, the best designer, the best cinematographer. Then I came to realize that isn't the case. You just need to surround yourself with the best.
You cannot sit at home at act. You need a story, a director, you need people to believe in you, to put you through that journey. It is not something you can attain within yourself.
So many features at Sundance seemed to be powered more on the director's need to be a director than any particular story.
Directors are our teachers, and I'm always craving to work with a great director. They're pretty much the first thing that interests me about a project. Let's put it this way: It'll take me a lot longer to read a script if there's no director attached.
When I sign on for a project, I'm there to give the director all the material he or she might need to tell their story, and that's the number one priority.
While the storytelling in games is getting so much better, you look at something like Grand Theft Auto V, which I thought was really beautifully written, it doesn't really need a movie because it is a movie. So I think you need a unique game - you either need an incredibly talented writer and director to come in and put together an amazing vision, or you need a game like Metal Gear, which is very cinematic, has a huge amount of history behind it, but whose cinematic experience is very different from what you'd get in a theater.
The director is the ultimate creative arbiter of what's going to happen. And as a director myself, you really appreciate collaborating with people who are trying to help you find what you need and what you want.
From my side, I don't put pressure on the director to cater to a certain image. I am happy to do different films, and I have to stick by my director. I like to completely surrender myself to the director - that way, I think, I don't get to do the similar roles.
Film’s thought of as a director’s medium because the director creates the end product that appears on the screen. It’s that stupid auteur theory again, that the director is the author of the film. But what does the director shoot-the telephone book? Writers became much more important when sound came in, but they’ve had to put up a valiant fight to get the credit they deserve.
In my career, I have played a gangster, an ex cop, a journalist and a film director. Yet, the label of a serial kisser refuses to leave me.
I've always laughed at the term "female director" or even "black director." A director's a director.
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