Robert Rodriguez

But anyway, I had dinner with him once and it was in my journal because I keep a journal. At 2.40 a.m. when after I dropped him off at his house, I said, oh wait, how did your movie come out? You know, Pulp Fiction, he had just finished it and he went, nah, it still feels like a movie Quentin would make. It doesn't feel like a real movie. And I was like, That's fine. What does it mean?

It feels like one of those movies I would make, like Reservoir Dogs. It doesn't feel like a real movie. And I was trying to be the supportive friend going, oh, man, he was so excited about this movie. Now he's bummed about it. And I was like, well, it should be different. It should be like, he's like, wouldn't have it. Drove off. So I thought, oh, I guess that wasn't the one.

It feels like one of those movies I would make, like Reservoir Dogs. It doesn't feel like a real movie. And I was trying to be the supportive friend going, oh, man, he was so excited about this movie. Now he's bummed about it. And I was like, well, it should be different. It should be like, he's like, wouldn't have it. Drove off. So I thought, oh, I guess that wasn't the one.

It feels like one of those movies I would make, like Reservoir Dogs. It doesn't feel like a real movie. And I was trying to be the supportive friend going, oh, man, he was so excited about this movie. Now he's bummed about it. And I was like, well, it should be different. It should be like, he's like, wouldn't have it. Drove off. So I thought, oh, I guess that wasn't the one.

So I went home and I called some of the directors that were at the screening. And they go, yeah, this isn't the one for him. It's not. None of them saw it. None of them saw it, but that, I know you're like surprised. Yeah. But that happened with George Lucas too, with Star Wars. Everybody saw that movie and was like, poor George. They showed it to all his director friends.

So I went home and I called some of the directors that were at the screening. And they go, yeah, this isn't the one for him. It's not. None of them saw it. None of them saw it, but that, I know you're like surprised. Yeah. But that happened with George Lucas too, with Star Wars. Everybody saw that movie and was like, poor George. They showed it to all his director friends.

So I went home and I called some of the directors that were at the screening. And they go, yeah, this isn't the one for him. It's not. None of them saw it. None of them saw it, but that, I know you're like surprised. Yeah. But that happened with George Lucas too, with Star Wars. Everybody saw that movie and was like, poor George. They showed it to all his director friends.

Poor George, what did he waste all this time with this for? Only Spielberg was the one who said, it's naive and it's going to do really good because it's naive and kids will like it. But everyone else was like, what's he doing? We're artists. We're making art films. What's he doing this garbage for? Because nobody knows. It shows no one knows anything. Not even the filmmaker.

Poor George, what did he waste all this time with this for? Only Spielberg was the one who said, it's naive and it's going to do really good because it's naive and kids will like it. But everyone else was like, what's he doing? We're artists. We're making art films. What's he doing this garbage for? Because nobody knows. It shows no one knows anything. Not even the filmmaker.

Poor George, what did he waste all this time with this for? Only Spielberg was the one who said, it's naive and it's going to do really good because it's naive and kids will like it. But everyone else was like, what's he doing? We're artists. We're making art films. What's he doing this garbage for? Because nobody knows. It shows no one knows anything. Not even the filmmaker.

When you're being groundbreaking, you don't know what groundbreaking is. Not you or anyone around you. Except maybe one or two people. So he said, there's one person. I go, oh yeah? Who is your Spielberg? He goes, Catherine Bigelow. Without a doubt. She's the only one who said, there's something here. No one else was saying that.

When you're being groundbreaking, you don't know what groundbreaking is. Not you or anyone around you. Except maybe one or two people. So he said, there's one person. I go, oh yeah? Who is your Spielberg? He goes, Catherine Bigelow. Without a doubt. She's the only one who said, there's something here. No one else was saying that.

When you're being groundbreaking, you don't know what groundbreaking is. Not you or anyone around you. Except maybe one or two people. So he said, there's one person. I go, oh yeah? Who is your Spielberg? He goes, Catherine Bigelow. Without a doubt. She's the only one who said, there's something here. No one else was saying that.

He said, in fact, because he remembered suddenly, he'd forgotten the story. But if it wasn't in my journal, I would have forgot it too. He goes, in fact, one of my friends, Simon, said, I want to sit you down and tell you all the things that are wrong with your movie. But I'll wait till you get back from the Cannes Film Festival. And he goes and he wins the Palme d'Or.

He said, in fact, because he remembered suddenly, he'd forgotten the story. But if it wasn't in my journal, I would have forgot it too. He goes, in fact, one of my friends, Simon, said, I want to sit you down and tell you all the things that are wrong with your movie. But I'll wait till you get back from the Cannes Film Festival. And he goes and he wins the Palme d'Or.

He said, in fact, because he remembered suddenly, he'd forgotten the story. But if it wasn't in my journal, I would have forgot it too. He goes, in fact, one of my friends, Simon, said, I want to sit you down and tell you all the things that are wrong with your movie. But I'll wait till you get back from the Cannes Film Festival. And he goes and he wins the Palme d'Or.

Then his friend's like, what the hell do I know? I've only made one movie myself. So never mind. I guess we're all wrong. So even he didn't expect that at all. So that was a shock, you know, even to him. So think about that. Yeah. That means, what do you do? Commit to a body of work. Just do that. You don't know.

Then his friend's like, what the hell do I know? I've only made one movie myself. So never mind. I guess we're all wrong. So even he didn't expect that at all. So that was a shock, you know, even to him. So think about that. Yeah. That means, what do you do? Commit to a body of work. Just do that. You don't know.

Then his friend's like, what the hell do I know? I've only made one movie myself. So never mind. I guess we're all wrong. So even he didn't expect that at all. So that was a shock, you know, even to him. So think about that. Yeah. That means, what do you do? Commit to a body of work. Just do that. You don't know.

You don't know what's going to be a Pulp Fiction and what's going to be a Jackie Brown. What's going to be, you know, you don't know. And you'd like to think they know, but they don't know either. They feel it. Like I asked Jim Cameron, I said, do you see your movie really clearly? Like, can you see it like with, with hyper-focus? Cause it seems like that. And he goes, it's like really far.