Robert Rodriguez

I did another Trejo. I started doing a realistic. I finished out just one section of his face. and put the pen down because I did that. The same day. I got out of my way because seeing him get out of his own way, I think that's why sometimes people need to go to school for stuff like that. Because then now, well, I just did four years of school. So now I must know.

Now you're giving yourself permission. But you could give yourself permission right away and it's going to come through.

Now you're giving yourself permission. But you could give yourself permission right away and it's going to come through.

Now you're giving yourself permission. But you could give yourself permission right away and it's going to come through.

He's so expressive.

He's so expressive.

He's so expressive.

What was exciting about Desperados, I went to go make it, and there were no Latin actors working in Hollywood because no one was creating roles for them. I thought, wow, I got to go create my own stars. We'll bring Antonio from Europe because they know his name from the Almodovar movies.

What was exciting about Desperados, I went to go make it, and there were no Latin actors working in Hollywood because no one was creating roles for them. I thought, wow, I got to go create my own stars. We'll bring Antonio from Europe because they know his name from the Almodovar movies.

What was exciting about Desperados, I went to go make it, and there were no Latin actors working in Hollywood because no one was creating roles for them. I thought, wow, I got to go create my own stars. We'll bring Antonio from Europe because they know his name from the Almodovar movies.

And I saw him in Tie Me Up, Tie Me Down when I was in the hospital writing mariachi or watching TV while I was a patient. And there's a scene where he like headbutts Victoria Ablil, you know, he just gives her a headbutt. He goes like that. And I was like, whoa, I bet that guy would want to be in an action movie. He's got something inside.

And I saw him in Tie Me Up, Tie Me Down when I was in the hospital writing mariachi or watching TV while I was a patient. And there's a scene where he like headbutts Victoria Ablil, you know, he just gives her a headbutt. He goes like that. And I was like, whoa, I bet that guy would want to be in an action movie. He's got something inside.

And I saw him in Tie Me Up, Tie Me Down when I was in the hospital writing mariachi or watching TV while I was a patient. And there's a scene where he like headbutts Victoria Ablil, you know, he just gives her a headbutt. He goes like that. And I was like, whoa, I bet that guy would want to be in an action movie. He's got something inside.

So I called him when we were doing Desperado and I said, would you ever consider doing an action? Oh man, I'd love to do action. So I said, I got a movie for you. I got a movie for you. It was a sequel to mariachi. And so, Salma, I found in Mexico television, she couldn't get work in the US because of How did you find her?

So I called him when we were doing Desperado and I said, would you ever consider doing an action? Oh man, I'd love to do action. So I said, I got a movie for you. I got a movie for you. It was a sequel to mariachi. And so, Salma, I found in Mexico television, she couldn't get work in the US because of How did you find her?

So I called him when we were doing Desperado and I said, would you ever consider doing an action? Oh man, I'd love to do action. So I said, I got a movie for you. I got a movie for you. It was a sequel to mariachi. And so, Salma, I found in Mexico television, she couldn't get work in the US because of How did you find her?

It was one of the best stories. I was really determined to hire a real Latin, especially Hispanic, and then she's Mexican, actress to be the Mexican character. That's like as authentic as you can get. And there was no one who was getting any jobs because no one was creating any. So there was no one that had any movies under their name because there was no one.

It was one of the best stories. I was really determined to hire a real Latin, especially Hispanic, and then she's Mexican, actress to be the Mexican character. That's like as authentic as you can get. And there was no one who was getting any jobs because no one was creating any. So there was no one that had any movies under their name because there was no one.

It was one of the best stories. I was really determined to hire a real Latin, especially Hispanic, and then she's Mexican, actress to be the Mexican character. That's like as authentic as you can get. And there was no one who was getting any jobs because no one was creating any. So there was no one that had any movies under their name because there was no one.

It was a whole systemic problem, right? This was 94, 93. So I was watching a Paul Rodriguez show on Univision because I was trying to practice my Spanish because I was having to do all these Spanish interviews because Mariachi was in Spanish. That was the other part I didn't tell you. I didn't speak Spanish when I made that movie. We didn't grow up with it.