Robert Rodriguez

Sometimes we'd be shooting with the kids and in the afternoon, Rudger Hauer would come and some of the Sin City girls to finish shooting stuff that we needed to film. It was just insane how fast we had to move. I was doing it in my head. I was editing. I just edited it. And then I would scan the artwork into the computer.

Sometimes we'd be shooting with the kids and in the afternoon, Rudger Hauer would come and some of the Sin City girls to finish shooting stuff that we needed to film. It was just insane how fast we had to move. I was doing it in my head. I was editing. I just edited it. And then I would scan the artwork into the computer.

Sometimes we'd be shooting with the kids and in the afternoon, Rudger Hauer would come and some of the Sin City girls to finish shooting stuff that we needed to film. It was just insane how fast we had to move. I was doing it in my head. I was editing. I just edited it. And then I would scan the artwork into the computer.

and I would edit the storyboards with the sound effects, and I would do the voiceover. I would imitate Mickey, and I would imitate Bruce, and lay out how fast it was gonna move. And you were like, wow, so now we have a template with the real drawings and the lighting on how we're gonna do it.

and I would edit the storyboards with the sound effects, and I would do the voiceover. I would imitate Mickey, and I would imitate Bruce, and lay out how fast it was gonna move. And you were like, wow, so now we have a template with the real drawings and the lighting on how we're gonna do it.

and I would edit the storyboards with the sound effects, and I would do the voiceover. I would imitate Mickey, and I would imitate Bruce, and lay out how fast it was gonna move. And you were like, wow, so now we have a template with the real drawings and the lighting on how we're gonna do it.

As funny as I can do pretty good in Bruce Willis, because I've known Chris so long, if you're doing his voiceover, and he would hear my guide voice for the timing, And he'd be like, is that me or is that you? Can't tell. That one was me, but just do that. It's like, man, it sounds like me.

As funny as I can do pretty good in Bruce Willis, because I've known Chris so long, if you're doing his voiceover, and he would hear my guide voice for the timing, And he'd be like, is that me or is that you? Can't tell. That one was me, but just do that. It's like, man, it sounds like me.

As funny as I can do pretty good in Bruce Willis, because I've known Chris so long, if you're doing his voiceover, and he would hear my guide voice for the timing, And he'd be like, is that me or is that you? Can't tell. That one was me, but just do that. It's like, man, it sounds like me.

Well, it's a very specific look because it went into that comic. The first piece of music I wrote for that was the main title and I called it Descent. I wanted the notes to descend because it felt like you were descending into this dark world and you don't come out to the end of the movie.

Well, it's a very specific look because it went into that comic. The first piece of music I wrote for that was the main title and I called it Descent. I wanted the notes to descend because it felt like you were descending into this dark world and you don't come out to the end of the movie.

Well, it's a very specific look because it went into that comic. The first piece of music I wrote for that was the main title and I called it Descent. I wanted the notes to descend because it felt like you were descending into this dark world and you don't come out to the end of the movie.

You're just like in this world where all these layers of unreality, like water doesn't photograph that way, snow doesn't, but it's there and you're seeing and you're seeing the actors. So you're just really, it's like a dream world. So I was really into it and I did tests for the most difficult shots first. Like how do I get his...

You're just like in this world where all these layers of unreality, like water doesn't photograph that way, snow doesn't, but it's there and you're seeing and you're seeing the actors. So you're just really, it's like a dream world. So I was really into it and I did tests for the most difficult shots first. Like how do I get his...

You're just like in this world where all these layers of unreality, like water doesn't photograph that way, snow doesn't, but it's there and you're seeing and you're seeing the actors. So you're just really, it's like a dream world. So I was really into it and I did tests for the most difficult shots first. Like how do I get his...

his tape to glow in the dark like in the comics, so it's still in the shadow and I realized, oh, I'll use fluorescent tape and a fluorescent light, that way I can keep it, we can still key it. I started just doing my own visual effects like that early on because I knew technology was changing so fast that I would need to just know how to do it like a magician.

his tape to glow in the dark like in the comics, so it's still in the shadow and I realized, oh, I'll use fluorescent tape and a fluorescent light, that way I can keep it, we can still key it. I started just doing my own visual effects like that early on because I knew technology was changing so fast that I would need to just know how to do it like a magician.

his tape to glow in the dark like in the comics, so it's still in the shadow and I realized, oh, I'll use fluorescent tape and a fluorescent light, that way I can keep it, we can still key it. I started just doing my own visual effects like that early on because I knew technology was changing so fast that I would need to just know how to do it like a magician.

Shooting digital, nobody wanted to touch digital back then. DPs were all afraid of digital. They didn't want to have to learn something new. So I had to DP it. So me photographing it, I'm like, it's so fun to cut because, I mean, to light, like you have to have that light out of frame right now. But I could bring the lights in right here as long as it was, they're not crossing it.

Shooting digital, nobody wanted to touch digital back then. DPs were all afraid of digital. They didn't want to have to learn something new. So I had to DP it. So me photographing it, I'm like, it's so fun to cut because, I mean, to light, like you have to have that light out of frame right now. But I could bring the lights in right here as long as it was, they're not crossing it.