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Robert Rodriguez Bio Data :
Rebecca (Villegas) and Cecilio G. Rodriguez are his parents. His ancestors came from Mexico. Rodriguez was captivated by the images of John Carpenter’s sci-fi picture Escape from New York when he was 12 years old (1981). Many people are inspired by movies to do new things. What made him special? “I’ll film,” she says. That was the start of his dream job. Robert grew up as the tenth child in a family of ten children in Texas. Robert was a very creative and busy young man, contrary to conventional assumption.
He’s probably penning something abstract (but great) on a scrap of paper. His mother is the one who introduces him to Sergio Leone, Charles Chaplin, and Buster Keaton’s “golden era” films, which he despises. As a result, Robert sets to work with the family’s old Super-8 film camera. Science fiction, horror, drama, and stop-motion animation. Household goods, local places, and his family make up the majority of his cast and crew. A VCR with a video camera is brought home by a salesman at the end of the decade (a gift from the manufacturer).
As a result, he will be able to continue making movies indefinitely. Ses’ friends all want to be a part of the next one. Because filming a video takes less time than writing an essay, he can submit “term movies” instead of term papers. He starts the “Los Hooligans” comic strip. He wins every local film festival. He films a film when his grades threaten to keep him out of UT Austin’s famous film program. “Austin Stories” trilogy starring his siblings It gets Robert in by beating out the school’s brightest students.
Robert spends $400 on Bedhead, a 16mm comedy/fantasy picture, which is his “largest” yet (1991). An award-winning short film made with every idea and camera trick he’s ever learned. Robert planned to sell the film to the Spanish video industry and use it as a springboard to a lucrative Hollywood career. The “guinea pig” money for El Mariachi is only $7,000. (1992).
At the Sundance Picture Festival, the film is a tremendous hit, earning Robert a distribution deal with Columbia Pictures and establishing him as an international film icon. Then he performed in Four Rooms and directed Roadracers (1994). (1995). (1995). (This will be the section that receives the greatest praise.) As a result, he earned the moniker “Southern John Woo.” sequel/remake (1995). Despite its failure, the film launched Antonio Banderas and Salma Hayek’s careers (the two would star in several of his movies from then on).
It also benefits the director’s cost-cutting reputation. Rodriguez’s “Desperado,” which cost around $7 million, was less expensive than films like Batman Forever (1995) and GoldenEye (1999). (1995). Another independent cinema genius, Quentin Tarantino, made an appearance. As a result, a lengthy friendship and a slew of initiatives began. From Dusk Till Dawn meets Buffy the Vampire Slayer (1996). George Clooney’s cinematic career began with this cult classic about two criminal brothers on the run from the Texas Rangers. Kevin Williamson returned to “Dusk till Dawn” terrain with The Faculty (1998).
Despite a small fan base, this is Robert’s least popular film. The film’s weak premise, strange casting, and overt commercialization were all criticized (due to a marketing deal with clothing designer Tommy Hilfiger). After a three-year hiatus, Rodriguez returns with his biggest (and most unexpected) hit (1995). Two prepubescent Latino kids realize their miserable parents (Antonio Banderas and Carla Gugino) are adept concealed spies in Spy Kids (2001). It was also well-received by critics. With Spy Kids 2: Island of Lost Dreams (2002) and Spy Kids 3-D: Game Over (2003), George Lucas introduced Robert to digital filmmaking after he left the Writers’ Guild of America (2003).
(2003). And the most profitable of the series, thanks to the long-forgotten 3-D movie gimmick. Rodriguez finished “El Mariachi” later that year, marking the end of his career. Once Upon a Time in Mexico is a tribute to Sergio Leone westerns (2003). Antonio Banderas, Johnny Depp, Salma Hayek, Mickey Rourke, Willem Dafoe, and Eva Mendes star in the film. Robert sought out renowned comic book writer/artist Frank Miller, who has been vocal in his opposition to any film adaptations of his work.
Despite this, he leaped at the chance to make a cinematic adaptation of Arthur Miller’s brilliant novel Sin City (2005). The film, which was set in a fictitious ghetto, featured Rodriguez’s largest cast to date. When Rodriguez insisted that Miller co-direct the picture John Carter (2012), the Director’s Guild of America dismissed Robert. Sin City has been compared to a noir version of Frank Miller’s comics by many commentators. Rodriguez collaborated on the film with Frank Miller, and Quentin Tarantino directed a scene.
In late 2007, Rodriguez and Tarantino worked on Grindhouse. (2007). Rodriguez directed an “action-packed” picture in Planet Terror (2007). Rodriguez paints a vivid image, drawing on his vast experience to generate an amazing adrenaline rush. At a local BBQ grill, Cherry (Rose McGowan) runs upon her ex-lover El Wray (Freddy Rodriguez). While fleeing to Mexico, they wind up fighting brain-eating zombies (here we go off to Mexico again). For his films, Rodriguez shoots, edits, and composes music (he wrote the primary theme for Planet Terror).
He also shoots action scenes to help his director realize his vision. El Mariachi was edited for hours on a pay-per-use computer (1992). As a result, he got the perfect shot. Rodriguez cooks for the cast and crew at home. As well as turning low-budget, small-crew films into masterpieces. “The movie I made for $700” is one of Rodriguez’s best works (receiving a rating of 92 percent on the Rotten Tomatoes film review site). By doing the job correctly, Rodriguez saves time and money.
In many ways, Rodriguez’s films are similar yet dissimilar. El Mariachi on the Go (1992). He did so for a variety of reasons. Because he couldn’t afford a tripod, he wanted to concentrate on the action. He was able to walk around and adjust the substandard action scenes with hand-held cameras (all special effects cost $600). Rodriguez could afford to spend more on visual effects for Sin City (2005) and Planet Terror (2007). (especially because both films employed green screen heavily). The filmmaker’s role was changed by Robert Rodriguez. Several directors’ careers have been cut short due to excessively enormous budgets, multi-picture deals, and two powerful unions. Rodriguez and other innovators have taken use of this.
|Robert Rodriguez Contact Address, Phone Number, Email ID, Website|
|Fanmail Address (residence address)||Robert Rodriguez |
4900 Old Manor Rd
Austin, TX 78723
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4900 Old Manor Rd
Austin, TX 78723
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