Robert Rodriguez

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.

I'm just going to take it out of the green anyway. So I could have the coolest light on everybody. Cool edge lights. You could have an edge light back here, an edge light back here, a fill light here. I didn't even erase them. I just take him out.

I'm just going to take it out of the green anyway. So I could have the coolest light on everybody. Cool edge lights. You could have an edge light back here, an edge light back here, a fill light here. I didn't even erase them. I just take him out.

I'm just going to take it out of the green anyway. So I could have the coolest light on everybody. Cool edge lights. You could have an edge light back here, an edge light back here, a fill light here. I didn't even erase them. I just take him out.

Well, if you look at the drawings too, sometimes it's the absence of light. Like you would see this face, but then this would be completely black, but you would still see my eye, which is like impossible, right? But you believe it when you see it because it's there. So things like that were a lot of the tricks I tried first because I liked that about it.

Well, if you look at the drawings too, sometimes it's the absence of light. Like you would see this face, but then this would be completely black, but you would still see my eye, which is like impossible, right? But you believe it when you see it because it's there. So things like that were a lot of the tricks I tried first because I liked that about it.

Well, if you look at the drawings too, sometimes it's the absence of light. Like you would see this face, but then this would be completely black, but you would still see my eye, which is like impossible, right? But you believe it when you see it because it's there. So things like that were a lot of the tricks I tried first because I liked that about it.

It's like you have a guy completely backlit, so there's no light on his face, but yet his glasses are glowing white. So we'd put fluorescent tape in there, hit that with a light, then we could turn it white later. The black and white really helps. And then just upping the contrast. But I mean, it's just something that you have a feeling for, but you're able to try it.

It's like you have a guy completely backlit, so there's no light on his face, but yet his glasses are glowing white. So we'd put fluorescent tape in there, hit that with a light, then we could turn it white later. The black and white really helps. And then just upping the contrast. But I mean, it's just something that you have a feeling for, but you're able to try it.

It's like you have a guy completely backlit, so there's no light on his face, but yet his glasses are glowing white. So we'd put fluorescent tape in there, hit that with a light, then we could turn it white later. The black and white really helps. And then just upping the contrast. But I mean, it's just something that you have a feeling for, but you're able to try it.

In fact, when I took it to George Lucas, George Lucas said this to me early on, because we're the only guy shooting digital. He said, man, it's so good you live in Austin. That's why I'm in Marin County. Because when you live outside of this box of LA, Hollywood, you think outside of the box automatically. You're just going to stumble upon innovations. And he was right.

In fact, when I took it to George Lucas, George Lucas said this to me early on, because we're the only guy shooting digital. He said, man, it's so good you live in Austin. That's why I'm in Marin County. Because when you live outside of this box of LA, Hollywood, you think outside of the box automatically. You're just going to stumble upon innovations. And he was right.

In fact, when I took it to George Lucas, George Lucas said this to me early on, because we're the only guy shooting digital. He said, man, it's so good you live in Austin. That's why I'm in Marin County. Because when you live outside of this box of LA, Hollywood, you think outside of the box automatically. You're just going to stumble upon innovations. And he was right.

It was like, yeah, why aren't we shooting digital? Let's shoot digital. Why aren't we shooting digital 3D? Let's do that. Why don't we just use green screen for the background? You just start innovating because you're away from anyone saying, hey, you can't do it that way, which they would say if I was in LA. So we just came up with a whole other method.

It was like, yeah, why aren't we shooting digital? Let's shoot digital. Why aren't we shooting digital 3D? Let's do that. Why don't we just use green screen for the background? You just start innovating because you're away from anyone saying, hey, you can't do it that way, which they would say if I was in LA. So we just came up with a whole other method.

It was like, yeah, why aren't we shooting digital? Let's shoot digital. Why aren't we shooting digital 3D? Let's do that. Why don't we just use green screen for the background? You just start innovating because you're away from anyone saying, hey, you can't do it that way, which they would say if I was in LA. So we just came up with a whole other method.

So I took him to Sin City to check out the first thing I was going to show at Comic-Con. He said, yeah. Now, this will really show people what digital is capable of. This really shows how avant-garde you can get with that shit, that you could never have done that on film. And so by me versing myself in that technology early, I was able to make a movie like that.

So I took him to Sin City to check out the first thing I was going to show at Comic-Con. He said, yeah. Now, this will really show people what digital is capable of. This really shows how avant-garde you can get with that shit, that you could never have done that on film. And so by me versing myself in that technology early, I was able to make a movie like that.

So I took him to Sin City to check out the first thing I was going to show at Comic-Con. He said, yeah. Now, this will really show people what digital is capable of. This really shows how avant-garde you can get with that shit, that you could never have done that on film. And so by me versing myself in that technology early, I was able to make a movie like that.

And then everyone had to play catch-up. So you should always just follow your... That's why some people say, don't use those curtains, that's not going to work. Just blow past those guys. Go innovate your own thing because... Sometimes not knowing is better, you know, being too naive to, like, don't you know you shouldn't have been able to make that movie that way?