Nadia Chaabani talks about the First Assistant Director recognition and her successful career in the world of Cinema

Born in the small town of Hyères in south of France, from a Tunisian father and an Italian mother, both horticulturists, Nadia Chaabani flourished a passion for cinema when she was in high school. 

Far from the world of stardom and entertainments and without any connection in the business, Nadia grew the dream of being part of the industry over the years, and offered herself the best chances, in a country where arts are not as valued as in the U.S., and where career and training options are not as developed.

She passed a Master of Cinema at the Faculty of Performing Arts in Montpellier, France, and also obtained a diploma of projectionist operator. After graduating, she found her first job as a projectionist in a 4-screen cinema in Paris, and two years later at the largest cinema in France and the busiest in Europe, the UGC Ciné Cité des Halles, now the busiest in the world !

Nadia Chaabani then pursued her career as location manager, and evolved as Assistant Director on movie sets. She made a name for herself, knowing every aspect of the job, and demonstrating her passion and talent : directors such as Floriane ANDERSEN wouldn’t make a film without Nadia in the team. Writing the shooting schedule, running the set, working with the director, managing and communicating with the different teams, are part of Nadia’s work. Being an AD is not for everyone : you have to be well organized, have a good sense of time management, and be authoritarian.

The French AD Nadia Chaabani has worked on short movies, television sets, up to the biggest productions in France, being recently involved in the Netflix movie OXYGEN, directed by Alexandre AJA, on the awarded movie in Cannes, CLIMAX, directed by Gaspard Noé, and also EN FAMILLE (Our Crazy Family), directed by Thomas Lipmann, featured on national television in France.

She has been working with international French talents, such as the director Luc Besson and actors Gerard Depardieu and Catherine Deneuve, to name just a few.

After conquering France, new projects await Nadia on the other side of the world, in the very city of cinema : Hollywood.

We asked Nadia Chaabani few questions about becoming a successful first assistant director :

• What is the typical academic and professional journey nowadays to becoming  a first AD ?

» In France we have some Cinema Schools such as the FEMIS, the CLCF or ENSLL where you can learn the basics of making a movie. Most of them are focused on technical jobs (DoP, Director, Script Doctor, …) The students learn about the function of an Assistant Director while they shoot their final projects, which is not the best. There are some Professional Certification like the one I did (CEFPF, Paris), that are focused only on the work of an AD. 

But in all cases, you need to learn on the field. Find a 1stAD, who takes you as his trainee on a production. Then step by step, you should be hired as a Third AD, then as a Second AD, and finally a 1st AD.

This is not an easy journey. This usually takes years to become a 1st AD.

• What are the top 5 qualities a first AD should have ?

» 1- Organized (we schedule everything needed from pre-production to the final wrap)

2 - Empathic / Diplomat (90% of the work is dealing with human beings)

3 - Reactive (always have multiple options in case of unforeseen event)

4 - Super Self-control (you need to be able to work under pressure without showing it)

5 - Passionate by your work (being 1stAD on a project means that you are 24/7 at work)

• What is your best advice to the future AD and directors out there ?

» To the future ADs, I would say be aware that this is a tough job and a long journey. Be patient but goal-oriented. You don’t need to study for years. Try to meet as many 1st ADs as you can to grow your network and learn about the reality of the work. And if you find yourself on a project you want to quit due to the pressure, stay calm, hang on and tell yourself that the next one would be easier.

To the future Directors, I would say don’t consider your 1st AD as your personal assistant. We are here to help you realize your film and to manage the crew and its work. In order to do that, you must communicate to your 1st AD all your thoughts about your project. This would allow him/her to share those information with the concerned department. Knowing the director’s vision and priorities are vital to carry out a shoot. And in addition, this would free you more time to focus on your direction.

• What are the 3 things you wish someone told you before getting involved in the movie industry ?

» It’s a tricky question for me, because I knew the “bad aspects” of the movie industry before plunging into it. I was willing to work in a male-dominated field, with no work stability and outrageous competition to get the few seats available on a film crew. And yet, here I am ! 

The only thing I wasn’t prepared for, is the lack of sleep. To this day, when I’m working on a project, it takes all my time. Sometimes, I wish I could unplugged my brain once back home.

• What makes an outstanding first AD ?

» The team spirit ! As I said previously, the main aspect of our job is dealing with human beings. Should it be one’s need, one’s doubt, one’s lack of experience or one’s bad character, the 1st AD has to cope with all that and has to create a team spirit where everyone gets involved for the same purpose in a respectful and safe atmosphere.

Communication is key here and very often diplomacy, whether with the Director, the Producer, an Actor/tress or any Crew Member.

You need to have a very good understanding of the work of the other departments and to be aware of what they are up against during the production.

Besides major skills in organization, adaptability, flexibility and management, the 1st AD needs to know how to command with the necessary authority without showing any nerves. And above all, needs to truly love his job.

We hope you understand this job better, and maybe be inspired to become a first AD yourself.