Robert Rodriguez

And I liked that he was a writer director in a way, because he would not just wrote the comic, but he drew it too. A lot of times it's a different writer or a different comic artist. He's like a real, like a kinship, you know, this is someone who writes and directs his own thing. But I was looking at it and I went, oh shit, I know how to do this now. I just did it on the green screen.

And I liked that he was a writer director in a way, because he would not just wrote the comic, but he drew it too. A lot of times it's a different writer or a different comic artist. He's like a real, like a kinship, you know, this is someone who writes and directs his own thing. But I was looking at it and I went, oh shit, I know how to do this now. I just did it on the green screen.

And I liked that he was a writer director in a way, because he would not just wrote the comic, but he drew it too. A lot of times it's a different writer or a different comic artist. He's like a real, like a kinship, you know, this is someone who writes and directs his own thing. But I was looking at it and I went, oh shit, I know how to do this now. I just did it on the green screen.

If I shoot this on green screen, the actors on green screen, I can make the backgrounds look just like this and I can contrast up the actors and I could get this very graphic look, which sometimes for a window, it's just a white box. So it's even got a sliding scale for budget. If I run out of money, just put the actors in black and white, just put like a white dot behind them for a street light.

If I shoot this on green screen, the actors on green screen, I can make the backgrounds look just like this and I can contrast up the actors and I could get this very graphic look, which sometimes for a window, it's just a white box. So it's even got a sliding scale for budget. If I run out of money, just put the actors in black and white, just put like a white dot behind them for a street light.

If I shoot this on green screen, the actors on green screen, I can make the backgrounds look just like this and I can contrast up the actors and I could get this very graphic look, which sometimes for a window, it's just a white box. So it's even got a sliding scale for budget. If I run out of money, just put the actors in black and white, just put like a white dot behind them for a street light.

And that looks just like the book. So I'm going to bring the book to life. So- I'll show you how fast we go from development at Troublemaker. It was October. Once upon a time, Mexico had come out. I was like, oh shit, I know how to do this now. Sin City. I'm going to do a test. I went to my green screen here in my studio. You'll see my green screen where I shot all these movies.

And that looks just like the book. So I'm going to bring the book to life. So- I'll show you how fast we go from development at Troublemaker. It was October. Once upon a time, Mexico had come out. I was like, oh shit, I know how to do this now. Sin City. I'm going to do a test. I went to my green screen here in my studio. You'll see my green screen where I shot all these movies.

And that looks just like the book. So I'm going to bring the book to life. So- I'll show you how fast we go from development at Troublemaker. It was October. Once upon a time, Mexico had come out. I was like, oh shit, I know how to do this now. Sin City. I'm going to do a test. I went to my green screen here in my studio. You'll see my green screen where I shot all these movies.

And I shot my sister, myself, put it black and white. Looks just like the comic, but it's moving. So I called a comic book artist friend of mine, Mike Allred, and I said, do you have Frank Miller's number? He goes, yeah, I do. Okay, I'm going to call him up. So I called Frank Miller. Hey, this is Rob Rodriguez. I have a test I want to show you for Sin City. I'm going to be in New York tomorrow.

And I shot my sister, myself, put it black and white. Looks just like the comic, but it's moving. So I called a comic book artist friend of mine, Mike Allred, and I said, do you have Frank Miller's number? He goes, yeah, I do. Okay, I'm going to call him up. So I called Frank Miller. Hey, this is Rob Rodriguez. I have a test I want to show you for Sin City. I'm going to be in New York tomorrow.

And I shot my sister, myself, put it black and white. Looks just like the comic, but it's moving. So I called a comic book artist friend of mine, Mike Allred, and I said, do you have Frank Miller's number? He goes, yeah, I do. Okay, I'm going to call him up. So I called Frank Miller. Hey, this is Rob Rodriguez. I have a test I want to show you for Sin City. I'm going to be in New York tomorrow.

He's like, tomorrow? Okay, yeah, sure. Come by. Meet me at this bar. Okay. Book a flight for New York. I fly up there. I have my laptop just like this. I go to the bar. I show him what looks like an image from his comic and it starts moving. And he's like, wow, how did you do that? I said, I got my own studio and all this.

He's like, tomorrow? Okay, yeah, sure. Come by. Meet me at this bar. Okay. Book a flight for New York. I fly up there. I have my laptop just like this. I go to the bar. I show him what looks like an image from his comic and it starts moving. And he's like, wow, how did you do that? I said, I got my own studio and all this.

He's like, tomorrow? Okay, yeah, sure. Come by. Meet me at this bar. Okay. Book a flight for New York. I fly up there. I have my laptop just like this. I go to the bar. I show him what looks like an image from his comic and it starts moving. And he's like, wow, how did you do that? I said, I got my own studio and all this.

And then I started telling him, man, let's make this movie because no one had the rights to it. He never gave the rights to a studio. A lot of comics, oh, Warner Brothers bought this a while back, you know, or whatever. Then you got to go through the studio. He still owned his own rights.

And then I started telling him, man, let's make this movie because no one had the rights to it. He never gave the rights to a studio. A lot of comics, oh, Warner Brothers bought this a while back, you know, or whatever. Then you got to go through the studio. He still owned his own rights.

And then I started telling him, man, let's make this movie because no one had the rights to it. He never gave the rights to a studio. A lot of comics, oh, Warner Brothers bought this a while back, you know, or whatever. Then you got to go through the studio. He still owned his own rights.

In fact, he'd gotten burned by Hollywood so many times as a screenwriter that he said, fuck it, I'm going to go back and draw a comic that's so raw that can never be made into a movie. So of course I call him, hey, let's make a great movie. So I show him how we can do it. And I go, I know you don't know me and I have to earn your trust for you to give me your baby, but we can make this right away.

In fact, he'd gotten burned by Hollywood so many times as a screenwriter that he said, fuck it, I'm going to go back and draw a comic that's so raw that can never be made into a movie. So of course I call him, hey, let's make a great movie. So I show him how we can do it. And I go, I know you don't know me and I have to earn your trust for you to give me your baby, but we can make this right away.