Robert Rodriguez
speaker
1,180 appearances
3 recordings
3 series
first heard Apr 2025
last heard 16 Nov
Robert Rodriguez’s voice in public audio — every appearance, attributed to the second.
Trend
recordings per month · last 12 monthsRecordings per month over the last 12 months — 1 in all, peaking in Nov 2025 with 1.
Appearances
I have five kids and I have from nine siblings. They're from different planets. Right. And so you realize that the soul is on a communication level with some of the thing that our human bodies are just very primitive beings.
To do so when we get a voice We can't tell if it's come from the universe if it's for our own mind or if it's just because it all sounds like fucking Morse code Because the brain is so prim. It's a three-pound meat computers why we can't remember It's like we're limited by the body our soul got put into just like we'd be limited if we're putting a fish Because they got even smaller brain.
They you know, I need to only go forward and back That's why a lot of people say you have to learn how to get out of your own way. I Because you think I'm so limited.
Yeah, because that's beginning your own way in a different way.
It's a false – where you think I can do anything because I'm just so cool. No, you can do anything because you're just a pipe. Right. Be that, and then you'll see much more flow happening. You'll see things just falling in your lap.
Yeah, get you out of it. You have to be very humble. It's a very humbling thing. The more humble you are, the more shit happens, not just for you, but everyone around you. Being creative. I figured this out one year. There was a book called The One Thing, a business book called One Thing. Do one thing and just do that well. I thought, okay, that book's not for me.
And I was doing this talk where they introduced me and said, Robert Rodriguez, writer, director, editor, composer, long list of all the jobs I do. And I went up there like, wow, I get tired just hearing that list. And I keep seeing that book, The One Thing. And I thought, at first I thought, that's not me. But I realized, you know what? I don't just do all those things.
There's one thing I really do that ties all those together. When you think about it, I do one thing, and it's I live a creative life. And if you commit to living a creative life, like literally applying creativity to everything you do, your workout in the morning, how you interact with your kids, the meal you cook, what you're going to do that night, a business call you take, be creative.
I love my business meetings now the most. I make people pizza. I make them my chocolate. We talk about creativity and they want to be in business with you. It's like so good because you're adding creativity. It enriches your life and everyone around you. And that way, anything that touches creativity, whether it's painting, drawing, sculpture, music,
is available to you because what 90% of that job is just being creative. And if you're doing it all day, you're always going to be in a flow. If you don't embrace that and you go about your daily life and you don't apply creativity, well, when you go home that night to write your novel or something, you're going to be blocked because you're not in a creative flow.
But if you've just been applying creativity all day long to everything, I'm going to do this talk creatively. I'm going to bring some cards. I'm going to go do this. You're applying creativity. You're always in a flow. So when you go back to go do your main job, You've already been doing it. And you're living your best life.
Because I found I was most successful, happiest, and most fulfilled when I was being creative. So why not just do that 24-7? And it's been a life changer. It's been doing that like 15 years with consciousness. Like consciously say. Because people don't like to say they're creative. Like when I ask, are you creative? And Lexi goes, well... Yeah, you know, like stumbling through.
Because people think being an artist means you have to have the mustache and the hat. And it's like, no, artists are regular people. And regular people are flawed. And that's why you relate to something that they do because it's flawed. If you made it perfect, they couldn't relate to it because humans are flawed. And if you think of it that way, you go, well, I can create flawed stuff.
I can do that all day long. And then that gets out of your way because then somebody who comes to you and they go, really love that part where the explosion is. Oh, well, that was an accident because I didn't get what I really wanted. And I had to make this work. And that was an accident. They like those acts. They respond to those accidents in a big way. because they're from another universe.
They're the part that's magic. The part you didn't know and the part you couldn't have predicted. And so if you set up, I purposely make my budgets smaller and my shooting schedules shorter so that more of that stuff happens because that's the stuff people will relate to and it gives you complete creative freedom. Like you have a lot of creative freedom here.
I probably the director who's worked with the most outcast, ostracized or people who are considered difficult than any other filmmaker, mainly because I'm independent and I don't have to listen to a studio if they're like, oh, you can't work with that person. So like Mel Gibson. Couldn't get a job back when I hired him on. I was just always a big fan of his.
I always look at creativity first and talent first. Bullshit controversy. Not even distance. It's not even considered. And I get to work with these amazing people. Steven Seagal, Charlie Sheen, Lindsay Lohan. And then people who are considered difficult were like Michael Parks. I got this from Quentin. Michael Parks was in... Dustle Dawn, he's the sheriff at the beginning. The Texas Ranger.
Quentin said, man, I love this guy, Michael Parks. He was going to be the next James Dean. He had a show on TV in the 70s called Then Came Bronson. But then he kind of got difficult for people to work with, and so he was relegated to these low-budget grindhouse films. But check him out. He's always really great. I want to put him in Dustle Dawn. But here he's my difficult to work with.
You work with him first. And if he's great to work with... I'll work with him. I was like, all right, sure. So I worked with him. It was a dream. It was amazing. He was really great. No bullshit. Of all the people like that, and then we both kept putting him in movies. Mickey Rourke was considered, he couldn't work, he couldn't get a job. I gave him Once Upon a Time.
But once I met him, I was like, oh my God, he's just like Mickey. In the old days, you know, Quentin and I actually wanted him in Dust Till Dawn. We both wanted Mickey Rourke in the lead role. But he'd retired from acting. He was just boxing. He didn't even want to even look at the scripts. We're like, oh, man, we can hire Mickey Rourke, and there's no Mickey Rourke now. We're just so bummed.
Showing 481–500 of 1,180 · page 25 of 59
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