Biography

Likes to use cigarettes, airports and a global international feeling in his films.

Usually uses Chaotic Female dramatic characters as lead characters in his stories.

Tends to use improvisation and no pre-storyboarding in his films

Most of his films do not use linear chronological story-telling

Has a great affinity to Digital over Film

Is been known to be a great fan of the TV Show Friends (1994) since its beginnings as well as follower of the TV Series The West Wing (1999).

Plays guitar since age 14. Has also played on occasions along with long-time friends Director Frandu Almeida and Engineer Javier Insausti.

Has been declared to be great fan and admirer of directors Stanley Kubrick, David Lynch, Darren Aronofsky, David Fincher, Christopher Nolan, Fernando Meirelles, Bryan Singer, Richard Linklater, and writers such as Charlie Kaufman, Guillermo Arriaga, and others.

Improvisation and intense deep human inter-relations emphasis are common trademarks for director Rodrigo Rueda. Also the non-usage of storyboarding for most scenes.

Brother of Cecilia Rueda Terrazas and son of Arturo Rueda Baron and Martha Rueda Terrazas.

From OFCS Admissions Letter: "My interests in films are not limited to a language, continent, genre or time period and writing and reviewing about films from numerous different national origins has also been one of my interests as a critic. Integration as well as comparison and inter-analysis of films from different cultural and national "schools" of filmmaking styles are, from my perspective a highly rich source for the fully understanding of this recent global integration of international styles and professionals from the film world. Therefore OFCS appeals to me as a magnificent proposal of which my possible contribution of writing and reviewing would be of the highest interest."

Some of the places, establishments and organizations in society that request these daily tasks from us, consider and expect one to be a pure creative intuitive genius when facing this tasks (such as airports or paper-work related tasks as taxes). When on the other side, others will assume one's a idiot, if not even abuse of one's ignorance on the matter [such as banks, car rental services, etc]. For some ---not surprising-- reason the first type of tasks relate to processes involving no gain for the service provider, whereas the second type relate to any type of service or product that represents a potential gain situation for the provider; In such cases our mind will then be exempted from any sweat and thinking for when its money- related they put our mind to rest. Films, unlike some would say must be an exception to this tendency. Gain is involved in the film industry as a service yes, but one must assume we face challenging, creative, innovative and smart audiences when it comes to providing films as products, for indeed the challenge has always been to entertain and touch, not to mute and underestimate.

On the Importance and Value of Improvisation during the Filming of "Poliamore" (2006): "$50 during the filming may just be $5000 in the end cut. Some takes one can re-do, others are just priceless magical dynamic moments in filmmaking and no matter how much money may be added in post-production one can never attain certain results (cheaper sometimes actually) that happen sometimes once at production."

Asking only an actor about a film is analogous to only asking a common person that just walked across a bridge what is their opinion about it, instead of asking the Civil Engineer, Architect, Hundreds of workers, Constructors, insurance company, Designers, Construction managers, or even Capital Investors.

Not asking a technical crew about their work is to demerit the effort and the true fully understanding of what a film really is.