A Quote by Wamiqa Gabbi

Every night, I sit with an assistant director and learn my dialogues. — © Wamiqa Gabbi
Every night, I sit with an assistant director and learn my dialogues.
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.
I learn a lot from every director that I work with. I sit on set and watch them, every one.
We sit down with the kids every single night, not that I want to every night - sometimes I'd rather be out with my husband having a martini at a swanky restaurant - but we sit down with our kids every night at dinner.
Technically, you can learn everything on the set as an assistant director, and rather quickly.
I learn from everybody I work with, and you learn, every single day. I can learn from anyone. Being fortunate enough to perform in front of a changing live audience, every night, you learn from everybody. Everyone has an opinion and they'll let you know.
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.
Having anything to do with a hit film is great. Even if you're a third assistant to the director or second to the editor, if the film does well, every technician, every actor benefits from it.
Every film you work on is different, and that's part of what it's like for anybody who works on a film, is to learn how to work with others. Learn from top to bottom. Actors have to learn how to work with the director and the director has to learn how to work with actors, and that's not just those two departments.
As a former Assistant Secretary of State, Senior Director on the National Security Council, and Washington Director for Human Rights Watch, I hope to bring unique experience and knowledge to the Foreign Affairs Committee.
When I worked as an assistant director in 2007, Indraganti Mohan Krishna offered me a lead role. Now, the same director has made me a villain in 'Gentleman.'
You can't have assistant coaches who aren't loyal - but you can learn a lot from your assistant coaches.
You learn so much about yourself as an artist. I never would have thought that I could sing every night, you know? Travel and perform every single night, and travel to another city the next day and do it all over again? You learn a lot of new things about yourself, and you make a lot of connections with people.
When I became a choreographer, I was not assisting any choreographer. I was assisting the director Mansoor Ali Khan for 'Jo Jeeta Wohi Sikandar.' I was the fourth assistant director.
I proceeded to prove everybody right as to how bad an economics student I was by failing as an assistant manager in every theatre I went to that hired me, both as an assistant manager and as an actor. I lost money and tickets, and I couldn't keep track of anything. So eventually they fired me from assistant-manager jobs, but kept me on as an actor.
There always comes a moment where all the departments in a film need to work together. And if a director, his first assistant director, and cinematographer have a very clear vision, then everybody does work together.
Film is mostly a visual medium, and so the director has much more control in terms of painting pictures and painting a performance. For theater, the director does everything he can and then says, 'Out you go,' and the actors are in charge of that stage every night.
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