Robert Rodriguez

And when he goes to open it, I cut to the other one. Once the wood is, watch the edits, you'll see it open. Now it's a completely different case for the guns. And when he goes to cut it, When you close it, it cuts to the other one and he goes, oh, that's how I did that whole movie. Again, it was a practice film. I don't want to waste any money on it.

And when he goes to open it, I cut to the other one. Once the wood is, watch the edits, you'll see it open. Now it's a completely different case for the guns. And when he goes to cut it, When you close it, it cuts to the other one and he goes, oh, that's how I did that whole movie. Again, it was a practice film. I don't want to waste any money on it.

And when he goes to open it, I cut to the other one. Once the wood is, watch the edits, you'll see it open. Now it's a completely different case for the guns. And when he goes to cut it, When you close it, it cuts to the other one and he goes, oh, that's how I did that whole movie. Again, it was a practice film. I don't want to waste any money on it.

I don't know if it's going to be able to, I won't be able to make five bucks from it.

I don't know if it's going to be able to, I won't be able to make five bucks from it.

I don't know if it's going to be able to, I won't be able to make five bucks from it.

Right. It's from somewhere else. I have to say, that thing is freaking, I didn't get in its way, is basically what helps. And people say that, you know, don't get in your own way. This is a little bit easier to understand. It's like, keep the pipe clear. Don't block it with your ego. Don't say you're going to be shocked, but don't ever say, oh shit, how do I do that? I don't know if I can do that.

Right. It's from somewhere else. I have to say, that thing is freaking, I didn't get in its way, is basically what helps. And people say that, you know, don't get in your own way. This is a little bit easier to understand. It's like, keep the pipe clear. Don't block it with your ego. Don't say you're going to be shocked, but don't ever say, oh shit, how do I do that? I don't know if I can do that.

Right. It's from somewhere else. I have to say, that thing is freaking, I didn't get in its way, is basically what helps. And people say that, you know, don't get in your own way. This is a little bit easier to understand. It's like, keep the pipe clear. Don't block it with your ego. Don't say you're going to be shocked, but don't ever say, oh shit, how do I do that? I don't know if I can do that.

You didn't do it to begin with, except that it just came through you and try to get back into that headspace, especially when you go to make a second film or a third film or follow up a success. That's when artists get really crippled. Because sometimes they start tiptoeing around as an artist going like, oh shit, now it's my second film. My first one did really well.

You didn't do it to begin with, except that it just came through you and try to get back into that headspace, especially when you go to make a second film or a third film or follow up a success. That's when artists get really crippled. Because sometimes they start tiptoeing around as an artist going like, oh shit, now it's my second film. My first one did really well.

You didn't do it to begin with, except that it just came through you and try to get back into that headspace, especially when you go to make a second film or a third film or follow up a success. That's when artists get really crippled. Because sometimes they start tiptoeing around as an artist going like, oh shit, now it's my second film. My first one did really well.

They might not like my second one so much. that's not the headspace you were in when you made the first one. You weren't hesitant like that. You were just, so try to keep that very naive. And that's why I say commit to a body of work. Cause I know a lot of filmmakers get stuck on their second one and then go further because they get crippled by the success of the first one.

They might not like my second one so much. that's not the headspace you were in when you made the first one. You weren't hesitant like that. You were just, so try to keep that very naive. And that's why I say commit to a body of work. Cause I know a lot of filmmakers get stuck on their second one and then go further because they get crippled by the success of the first one.

They might not like my second one so much. that's not the headspace you were in when you made the first one. You weren't hesitant like that. You were just, so try to keep that very naive. And that's why I say commit to a body of work. Cause I know a lot of filmmakers get stuck on their second one and then go further because they get crippled by the success of the first one.

And they start asking, Oh shit, how did I do that? How can I do that again? And you get deeper and deeper in a hole you can't get out of.

And they start asking, Oh shit, how did I do that? How can I do that again? And you get deeper and deeper in a hole you can't get out of.

And they start asking, Oh shit, how did I do that? How can I do that again? And you get deeper and deeper in a hole you can't get out of.

I'll tell you something that my best advice I ever got early on. I was so fortunate. from an unlikely place. Because he's such a, he sounded like Clint Eastwood when he said it. It was funny when you said that. But I got Desperado and had Antonio Banderas. I brought Antonio to be in it from Europe. Big action movie. And so Spielberg saw it and he said, hey, I want you to do Zorro with Antonio.

I'll tell you something that my best advice I ever got early on. I was so fortunate. from an unlikely place. Because he's such a, he sounded like Clint Eastwood when he said it. It was funny when you said that. But I got Desperado and had Antonio Banderas. I brought Antonio to be in it from Europe. Big action movie. And so Spielberg saw it and he said, hey, I want you to do Zorro with Antonio.