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.
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recordings per month · last 12 monthsRecordings per month over the last 12 months — 1 in all, peaking in Nov 2025 with 1.
Appearances
And they said, we have a problem. You want them to throw the cards out, the playing cards out, but it's so slick. They go sliding off the table. And we both look at it and we both got the solution at the same time. Oh, we just have them throw them wherever they go. And then we'll place them.
And then digitally, it's even better that he looks like he gets them all perfectly laid out to show what a card shark is. But that's what we have to do. We can't hope here all day. If we're going to worry about where they go, just go bum, bum, bum, bum, bum, bum, bum. And then we'll place the cards down and everyone will pick them up. and then we'll marry the two in post.
You just come up with creative solutions better, easier, because you were just solving crazy creative solutions in the other one, like what paint medium do I use? What kind of gel am I gonna use? So when you come back to your main job, which is filmmaking, you're like, oh, I can figure this out in two seconds. So it helps you create a problem solve.
So that's basically working with my kids made me realize, oh, now I know exactly what I want to do for the next 10 years. I only want to make movies with my kids because I'm mentoring them, but they're teaching me shit because they're the age I was when I made Mariachi and Desperado. And their ideas are really sharp. So the mentoring goes both ways. And it's like the greatest parenting experience.
you can do because you're building a project together and in the same boat together figuring it out and it's family time you're like checking all the boxes so i thought my filmmaking going forward is going to be checking all the boxes in life so i'm not not spending time with my family we're actually giving them lessons that they can go do anything they want in life because they're going to have different interests but now it's kind of like going to college and this college is like the best college because it pays you to learn you get to do these crazy skills like my son is
conducting the James Bond Orchestra in London for the Spy Kids score, the score he wrote, because I can't write at his level because he was always our best piano player. You get the charge out of working with them. By making a label, there's a weird phenomenon that happens. You guys want to take your game to another level. I stumbled upon this idea.
My son, that was my counterpart on that movie, Racer, he was my sound guy, like I said, came up with Sharkboy and Lava Girl when he was little. He became my writer, co-writer, co-producer. He had come to me and said, I want to do VR type movie. And I said, oh, let me show you as an example of creativity and manifesting. I said, let me show you how it works. Let's make a company.
We'll make a company called Double R. Double R Productions, because we all have Double R names, all the kids. So if anyone ever wants to do anything, we can use our company. So let's make a logo and I'll make t-shirts and notepads and stuff. Because once you have a company, you now have to make things for that company.
Just like the advice I gave to people, stop aspiring, make a business card that says, writer, director, cinematographer, I did, editor, because then now you have to conform to that identity. So now if I create a label like Double R, we're going to come up with ideas. We'll call up VR companies and say, hey, we have a company, a VR company.
Would you like us to make you a film for your, sell your headset? So yeah, they gave us a budget. They're dying for content. They gave us a budget. We shot a 20-minute action movie called The Limit with Michelle Rodriguez and Norman Reedus, where you're in an action movie with them. And it was killer. They made us a big double R logo, animated logo. Later that year, we did Red 11, same logo.
That movie went to directors Fortnite and Cannes. Festivals were paying us to come talk about how we made that movie. That's when we were doing the cards, throwing the cards out, because they wanted their audiences, they knew they would love that. So we could have had a whole gig just continuing to get paid to go to the festival. Usually you pay to go to a festival. You don't get paid.
That's how, what a success that was. But then we had to make We Can Be Heroes. So we had to stop. But We Can Be Heroes was a Netflix movie. where they asked me to make a Spy Kids type thing. And so I thought, oh, okay, I'll just do it with superheroes. I wrote it with my kids, based it on some of their personalities.
It's the most watched and rewatched movie in Netflix history, like nothing can touch it, because kids just keep watching it over and over, because it's kids with superpowers. No one's ever done that before. And they couldn't believe it. I'd heard anecdotally, that's how the Spy Kids, people said, oh, the kids watch it over and over on video, but you can't keep track of that. You can't on Netflix.
Because their biggest thing is people completing a movie. A lot of people don't complete a movie and it still counts as a view. They may watch five minutes and change the channel. So do you complete a movie? That's really where they really value. Not only do they complete, but re-watch, re-watch, re-watch per household so many times. That one has a double R logo as well.
And my kids are like, dad, that really worked. I was like, I know better than I thought. I didn't know that me manifesting that company What's going to turn into that? And we just keep making stuff. So I want to do that with Brass Knuckle Films now with the audience because it works. So I said, as soon as you have a logo and a company, your brain starts coming up with all kinds of ideas.
And it's a filter. Like I said, sometimes the freedom of limitations changes. is all freeing. When I had to do four rooms and it's like, we have to use one hotel room. Oh, well then there's going to be a dead body. There's going to be, you can do a lot with limitations. They said you could use the whole city. It would have been harder to come up with something.
Well, Brass Knuckle Films has a filter, only action. Action movies, because that's the stuff that there's always an appetite for. If you ask Netflix right now, what do you need more of? They'll say action, action, action. We don't have enough action. The last regime didn't leave us enough action. We need action. They'll pay a premium for an action film that we can make at a lower cost.
A $20 million action film is very cheap. Studios don't know how to make them that cheap. That's why they'll pay for an independent to go do it. Right now, that's the key is to be independent because a lot of studios, they can't even green light anything because things are so expensive. They don't want to lose their ass, but they need action films.
Let's make something that everybody needs and let's make it at a price. We'll make it in my studio because I have my own studio and I can keep all the costs down because we have all the costumes and props and sets from 25 years of filmmaking to keep the cost down. and we'll have the audience gets to invest. It's not crowdfunding or Kickstarter. You're actually an investor.
Anyone who puts money in can pitch their idea for an action film to me. And I'm going to make one of the four films in that slate from one of those ideas because I want the audience to win. I want the audience to win and be a part of it because the audience is an afterthought in Hollywood. They make a movie. They show the audience the movie.
Showing 781–800 of 1,180 · page 40 of 59
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