Robert Rodriguez

Yeah.

Yeah.

Yeah, it was shot here. So when you go see my city, I built it very resourceful. This is weird. It looks just like the town from Mariachi. It's in my backyard. I'm like, it looks better than the town from Mariachi. 90,000, it's the biggest, largest standing set in the country because sets are always mowed down for the next movie, but I just kept it there.

Yeah, it was shot here. So when you go see my city, I built it very resourceful. This is weird. It looks just like the town from Mariachi. It's in my backyard. I'm like, it looks better than the town from Mariachi. 90,000, it's the biggest, largest standing set in the country because sets are always mowed down for the next movie, but I just kept it there.

Yeah, it was shot here. So when you go see my city, I built it very resourceful. This is weird. It looks just like the town from Mariachi. It's in my backyard. I'm like, it looks better than the town from Mariachi. 90,000, it's the biggest, largest standing set in the country because sets are always mowed down for the next movie, but I just kept it there.

So we used to shoot it all the time for Mexico or South America or Europe or whatever. It's seven streets and we added digitally above it. The ceilings are 20 feet high. You gotta come see. You don't believe that it's here. It's unbelievable. Where is it north of Austin? It's where the old airport was. So it's like on 51st Street. It's like really close to town. I would love to visit.

So we used to shoot it all the time for Mexico or South America or Europe or whatever. It's seven streets and we added digitally above it. The ceilings are 20 feet high. You gotta come see. You don't believe that it's here. It's unbelievable. Where is it north of Austin? It's where the old airport was. So it's like on 51st Street. It's like really close to town. I would love to visit.

So we used to shoot it all the time for Mexico or South America or Europe or whatever. It's seven streets and we added digitally above it. The ceilings are 20 feet high. You gotta come see. You don't believe that it's here. It's unbelievable. Where is it north of Austin? It's where the old airport was. So it's like on 51st Street. It's like really close to town. I would love to visit.

You got to come see. You're not going to believe it. All my props, all my stuff from all my movies. So people who are investing in Brass Knuckle, that's why I say it's like a Willy Wonka movie because they're going to get to come check out all that stuff and be in proximity and see, oh, like me with that painter. It's not a trick. He's just doing it. Then you realize you can do it too.

You got to come see. You're not going to believe it. All my props, all my stuff from all my movies. So people who are investing in Brass Knuckle, that's why I say it's like a Willy Wonka movie because they're going to get to come check out all that stuff and be in proximity and see, oh, like me with that painter. It's not a trick. He's just doing it. Then you realize you can do it too.

You got to come see. You're not going to believe it. All my props, all my stuff from all my movies. So people who are investing in Brass Knuckle, that's why I say it's like a Willy Wonka movie because they're going to get to come check out all that stuff and be in proximity and see, oh, like me with that painter. It's not a trick. He's just doing it. Then you realize you can do it too.

But we thought, let's shoot mostly live action and we'll just replace her. But we still have to figure her out. You have to cast the right actress. And when I saw Rosa Salazar, she was just amazing. She made me cry in audition for the first time. I was like, oh my God, this person has some, if we can capture even a fourth of her facial expression, it'll bring so much life.

But we thought, let's shoot mostly live action and we'll just replace her. But we still have to figure her out. You have to cast the right actress. And when I saw Rosa Salazar, she was just amazing. She made me cry in audition for the first time. I was like, oh my God, this person has some, if we can capture even a fourth of her facial expression, it'll bring so much life.

But we thought, let's shoot mostly live action and we'll just replace her. But we still have to figure her out. You have to cast the right actress. And when I saw Rosa Salazar, she was just amazing. She made me cry in audition for the first time. I was like, oh my God, this person has some, if we can capture even a fourth of her facial expression, it'll bring so much life.

And they got it one-to-one. And it really helped Jim on the next Avatar and Weta because they got to try out a bunch of things. That's why Avatar, the second Avatar, Way of Water, looks so much more refined than the first Avatar because of that middle step of doing Alita. It was training ground for them.

And they got it one-to-one. And it really helped Jim on the next Avatar and Weta because they got to try out a bunch of things. That's why Avatar, the second Avatar, Way of Water, looks so much more refined than the first Avatar because of that middle step of doing Alita. It was training ground for them.

And they got it one-to-one. And it really helped Jim on the next Avatar and Weta because they got to try out a bunch of things. That's why Avatar, the second Avatar, Way of Water, looks so much more refined than the first Avatar because of that middle step of doing Alita. It was training ground for them.

Yeah, I have her in a suit for... capturing her body movements, but also facial capture. It's a performance capture of all her performance, all her emoting. And we have witness cameras around everywhere to pick up where she is and everything else is real. And we're just replacing her, but with someone even smaller in size. So you have to erase everything behind her.

Yeah, I have her in a suit for... capturing her body movements, but also facial capture. It's a performance capture of all her performance, all her emoting. And we have witness cameras around everywhere to pick up where she is and everything else is real. And we're just replacing her, but with someone even smaller in size. So you have to erase everything behind her.

Yeah, I have her in a suit for... capturing her body movements, but also facial capture. It's a performance capture of all her performance, all her emoting. And we have witness cameras around everywhere to pick up where she is and everything else is real. And we're just replacing her, but with someone even smaller in size. So you have to erase everything behind her.