Robert Rodriguez

And it looks like that in the drawing. And I just wanted to, my whole idea was, because I'm so respectful of someone's artwork. You read Sin City and you realize that art is half of it. If anyone else in Hollywood were to make that into a movie, they would just make it like a gritty crime thriller. Right.

And it looks like that in the drawing. And I just wanted to, my whole idea was, because I'm so respectful of someone's artwork. You read Sin City and you realize that art is half of it. If anyone else in Hollywood were to make that into a movie, they would just make it like a gritty crime thriller. Right.

And it looks like that in the drawing. And I just wanted to, my whole idea was, because I'm so respectful of someone's artwork. You read Sin City and you realize that art is half of it. If anyone else in Hollywood were to make that into a movie, they would just make it like a gritty crime thriller. Right.

And take out the whole visual element, which is that stark black and white where people's eyes glow in the dark. Yeah. And it has all these layers of unreality. And I went to Frank Miller. I said, I want to just make this move. I went, this is like the coolest movie never made.

And take out the whole visual element, which is that stark black and white where people's eyes glow in the dark. Yeah. And it has all these layers of unreality. And I went to Frank Miller. I said, I want to just make this move. I went, this is like the coolest movie never made.

And take out the whole visual element, which is that stark black and white where people's eyes glow in the dark. Yeah. And it has all these layers of unreality. And I went to Frank Miller. I said, I want to just make this move. I went, this is like the coolest movie never made.

And he actually wrote it because he had been in Hollywood writing a couple of screenplays and he got shit on and screwed around, the whole Hollywood thing.

And he actually wrote it because he had been in Hollywood writing a couple of screenplays and he got shit on and screwed around, the whole Hollywood thing.

And he actually wrote it because he had been in Hollywood writing a couple of screenplays and he got shit on and screwed around, the whole Hollywood thing.

Oh, this is Bruce Willis and the yellow guy.

Oh, this is Bruce Willis and the yellow guy.

Oh, this is Bruce Willis and the yellow guy.

And yeah, so he he went and made this comic. He said, fuck Hollywood. I'm going to go make a comic that can never be made into a movie because it's so dark, so sexy. And so every time I call him up, man, let's make a great movie. God, it's so interesting. Bruce loved this. I tell you, it's funny. So this is the fastest I think any Hollywood movies ever gotten made. Really?

And yeah, so he he went and made this comic. He said, fuck Hollywood. I'm going to go make a comic that can never be made into a movie because it's so dark, so sexy. And so every time I call him up, man, let's make a great movie. God, it's so interesting. Bruce loved this. I tell you, it's funny. So this is the fastest I think any Hollywood movies ever gotten made. Really?

And yeah, so he he went and made this comic. He said, fuck Hollywood. I'm going to go make a comic that can never be made into a movie because it's so dark, so sexy. And so every time I call him up, man, let's make a great movie. God, it's so interesting. Bruce loved this. I tell you, it's funny. So this is the fastest I think any Hollywood movies ever gotten made. Really?

Yeah, I'll show you the process. It's kind of like this cards thing. It's going to blow your mind. What is it now? It's April? Okay, so imagine. If this is 2004, April. Last year, I had two movies out. In the summer, it was Spy Kids 3D. It was the number one movie. A couple months later, Once Upon a Time in Mexico, another number one movie, but also both of them ended a trilogy that I had started.

Yeah, I'll show you the process. It's kind of like this cards thing. It's going to blow your mind. What is it now? It's April? Okay, so imagine. If this is 2004, April. Last year, I had two movies out. In the summer, it was Spy Kids 3D. It was the number one movie. A couple months later, Once Upon a Time in Mexico, another number one movie, but also both of them ended a trilogy that I had started.

Yeah, I'll show you the process. It's kind of like this cards thing. It's going to blow your mind. What is it now? It's April? Okay, so imagine. If this is 2004, April. Last year, I had two movies out. In the summer, it was Spy Kids 3D. It was the number one movie. A couple months later, Once Upon a Time in Mexico, another number one movie, but also both of them ended a trilogy that I had started.

So I was looking for my next thing, and I opened up Since Cities again, I was like, oh, shit, I know how to do this now. I just did a whole movie on green screen, which was really new back then for Spy Kids 3D because I wanted it in 3D. It was the first digital 3D movie. Because when you're in Austin, you just innovate a lot. George Lucas told me that. He said, it's a good thing you're in Austin.

So I was looking for my next thing, and I opened up Since Cities again, I was like, oh, shit, I know how to do this now. I just did a whole movie on green screen, which was really new back then for Spy Kids 3D because I wanted it in 3D. It was the first digital 3D movie. Because when you're in Austin, you just innovate a lot. George Lucas told me that. He said, it's a good thing you're in Austin.