Robert Rodriguez

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.

That's why I'm in Marin County. When you live outside of that box, you think outside of that box automatically. You're just going to stumble upon innovations. Yeah. So I thought, I'm going to go take this process and utilize it to make Sin City. So I did a test, a little test of it. I went, oh shit, this is going to work. So it was October when I got that idea. I filmed it.

That's why I'm in Marin County. When you live outside of that box, you think outside of that box automatically. You're just going to stumble upon innovations. Yeah. So I thought, I'm going to go take this process and utilize it to make Sin City. So I did a test, a little test of it. I went, oh shit, this is going to work. So it was October when I got that idea. I filmed it.

That's why I'm in Marin County. When you live outside of that box, you think outside of that box automatically. You're just going to stumble upon innovations. Yeah. So I thought, I'm going to go take this process and utilize it to make Sin City. So I did a test, a little test of it. I went, oh shit, this is going to work. So it was October when I got that idea. I filmed it.

I contacted Frank Miller, met him in New York. I showed him my laptop. It looks like his art, but then it starts moving. It's an actor. And he's like, wow. And he gets all into it, right? It's November. And he goes, um, Oh, no, but then we have to write a script and the studio's going to have notes. No, that's not how it works. I got my own studio. I'll write the script.

I contacted Frank Miller, met him in New York. I showed him my laptop. It looks like his art, but then it starts moving. It's an actor. And he's like, wow. And he gets all into it, right? It's November. And he goes, um, Oh, no, but then we have to write a script and the studio's going to have notes. No, that's not how it works. I got my own studio. I'll write the script.

I contacted Frank Miller, met him in New York. I showed him my laptop. It looks like his art, but then it starts moving. It's an actor. And he's like, wow. And he gets all into it, right? It's November. And he goes, um, Oh, no, but then we have to write a script and the studio's going to have notes. No, that's not how it works. I got my own studio. I'll write the script.

It's going to be unremarkable. I'm going to copy it right out of your book and I'm going to edit it down. I'm going to edit three of the stories together. I'll write it this month. I'll show it to you in December. And then in January, we'll get a couple of actor friends and we're going to shoot the opening scene as a test. You don't give me the rights yet because I understand this is your baby.

It's going to be unremarkable. I'm going to copy it right out of your book and I'm going to edit it down. I'm going to edit three of the stories together. I'll write it this month. I'll show it to you in December. And then in January, we'll get a couple of actor friends and we're going to shoot the opening scene as a test. You don't give me the rights yet because I understand this is your baby.

It's going to be unremarkable. I'm going to copy it right out of your book and I'm going to edit it down. I'm going to edit three of the stories together. I'll write it this month. I'll show it to you in December. And then in January, we'll get a couple of actor friends and we're going to shoot the opening scene as a test. You don't give me the rights yet because I understand this is your baby.

You've never given up the rights. I know what it's like for an artist to make something. Let me take all the risk. I'll go ahead and write the script and We'll shoot the opening scene. I'm going to fly you down so you can watch. We brought Josh Harnett, Marlee Shelton. That opening scene in Sin City, that was our test, 10-hour shoot day.

You've never given up the rights. I know what it's like for an artist to make something. Let me take all the risk. I'll go ahead and write the script and We'll shoot the opening scene. I'm going to fly you down so you can watch. We brought Josh Harnett, Marlee Shelton. That opening scene in Sin City, that was our test, 10-hour shoot day.

You've never given up the rights. I know what it's like for an artist to make something. Let me take all the risk. I'll go ahead and write the script and We'll shoot the opening scene. I'm going to fly you down so you can watch. We brought Josh Harnett, Marlee Shelton. That opening scene in Sin City, that was our test, 10-hour shoot day.

And Marlee Shelton comes up to me and says, why did I hire this guy to kill me? I don't know. Let's go ask Frank. He should know. It's not in the book, but I'm curious myself. So Frank answered her question and said, I want to do this movie. And we had a whole process. I'm going to shoot the opening. I'm going to cut it together. I'm going to put in the effects. I'm going to put in the music.

And Marlee Shelton comes up to me and says, why did I hire this guy to kill me? I don't know. Let's go ask Frank. He should know. It's not in the book, but I'm curious myself. So Frank answered her question and said, I want to do this movie. And we had a whole process. I'm going to shoot the opening. I'm going to cut it together. I'm going to put in the effects. I'm going to put in the music.

And Marlee Shelton comes up to me and says, why did I hire this guy to kill me? I don't know. Let's go ask Frank. He should know. It's not in the book, but I'm curious myself. So Frank answered her question and said, I want to do this movie. And we had a whole process. I'm going to shoot the opening. I'm going to cut it together. I'm going to put in the effects. I'm going to put in the music.

I'm going to put in fake titles. Then we're going to watch it. And if you like what you see, then we do the rights and we make the movie. If you don't like it and you're still on the fence about it, just keep it as a short film. Keep the gift. So we committed to the process. We make the opening sequence. He loves it. He wants to do it.

I'm going to put in fake titles. Then we're going to watch it. And if you like what you see, then we do the rights and we make the movie. If you don't like it and you're still on the fence about it, just keep it as a short film. Keep the gift. So we committed to the process. We make the opening sequence. He loves it. He wants to do it.

I'm going to put in fake titles. Then we're going to watch it. And if you like what you see, then we do the rights and we make the movie. If you don't like it and you're still on the fence about it, just keep it as a short film. Keep the gift. So we committed to the process. We make the opening sequence. He loves it. He wants to do it.

I take it to Bruce Willis first, which was cool about doing it that way, which is unheard of. When I went to his agent, his agent was like, wait, He leans forward very dramatically. You brought actors down. Oh, because I told him, this is Frank Miller. He's one of our greatest artists. He wrote in Hollywood and he got screwed around. And the guy goes, welcome to Hollywood. You know, like that.