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 to be a craftsman, you have to learn all those crafts.
Sound is so important. Sound is half the picture. And if you cut sound, you realize how important sound is. I would learn so much by doing those movies like Desperado, action movies where you go, wow, the sound. I can add an extra sound effect of an extra punch he didn't even throw. And it sounds like he's beating the shit out of this guy.
And you only need to see one or two hits and you can hear five. You know where you can push your limits because you've done it. You've done it and you've got the experience.
And that's why that's so important, because if you don't know that, you'll be on the set shooting 10 takes of that. Because you're like, no, I didn't see him click it back. I didn't see him click it back. That's really needed. I can do that with sound. Let's just go. Let's just keep moving. When you say sound close-up, was that... All the other sound dropped away, and all you hear is...
Like the sound, like the mic's right on that thing so that you hear it so big in your ear that you swear it was in close-up too, but just the sound was close-up.
I'm playing in post a lot. So I have a whole library of sound effects from all my movies. So I can pull up the gun sound we created for Bruce Willis in Sin City and use that and mix it with Antonio's gun from Desperado. I remember in Four Rooms, there's a scene where the bell hopped. goes into the hotel room, jams his key into it, and clicks it.
I used all gun sounds for the sound of the key, instead of key sounds, because it wasn't sound close enough. So if you listen to it, you hear... You hear all these sounds from Gunn to do the key. It's like that conveys the sound better. I'll use different kinds of sounds that just have impact and put it somewhere, like when he hits the ground.
So I like playing with all that in post when I'm editing because it makes my editing job easier. Sometimes it's like, oh, the sound is covering me. I don't need to keep trying to massage this. The sound is actually selling it. And so I keep those sound effects into the final movie. So it's just all part and necessary. It's like being a chef.
You're there cooking and you're going like, I know the recipe says this, but I think it really could use jalapenos and some extra pepper and maybe a little more salt. And then it needs an acid of some kind, so I'm going to add some lemon juice.
I think there was like a- My little kid with his car. Yeah, one of those little zzzz.
And then we're playing with these little cars, filming ourselves playing with the cars.
but then i replace it with real car sounds and it just your brain links the reality of the real thing crazy and you realize how unimportant the visual is and how important the sound is actually sound is everything that's what i was really lucky in mariachi that my camera didn't work for sound because then i got really good sound that i would have gotten with a shitty mic out of frame because that's the first telltale sign of a low budget movie is bad sound
Bad sound right away, you can already hear all this hiss and all this, mic was too far and you're like, low budget movie. Before your eyes even tell you, the sound gives it away.
I'll probably direct more than one because there's already several that I want to do. I'm going to direct at least one, but I'm producing all four. They're at my studio. It does draw you in. It draws you in and it makes you go now think of ideas you never would have thought of for mainly because it has a filter. Well, now I don't have to think of all these ideas.
I can only, I actually have like that, like me on that set. There's only very few things I can actually come up with that are just action driven. First, we'll have a great character. You'll get to it a lot faster with a filter. That's the beauty of a filter is that now you've just shrunk your, your target and, And now you can hit that target.
And people are coming up with ideas because now they've got proximity and they've got a reason to come up with the idea. And they've got a deadline, which is the best thing you can do is have a deadline. Because when you have a deadline, you can freaking move mountains. You know, I had a Spy Kids in the theater every year, three years in a row, not being pre-planned.
Every year there was a Spy Kids. Now the third one was the biggest one. Biggest cast, mostly green screen, video game, and the first digital 3D movie ever. So, Getting visual effects companies to make that, we realized, oh, I shot it with two cameras. That means each effect shot has to be done twice from a different angle.
I went to the studio midway through that and said, there's not going to be a movie in the theaters in time. You're going to have to push the date back. They said, okay, we've never heard you panic. We'll push the date back for you. They called back 10 minutes later. I was like, oh, thank God, because it's really complicated.
I didn't know it was going to be this complicated, but I wanted a challenge. And they said, McDonald's will sue us for $20 million if you move the date. You have to have a movie in the theater. We started shooting that movie in January of 2003. It was in 3D in theaters by July. That's the fastest any effects movie has ever been done. Because you had no choice.
So deadline makes you do things and make decisions really quickly. And it was the biggest of the three. Deadlines are good. And it's hard for us to self-impose a deadline sometimes because we know it's a bullshit deadline and your brain knows it's bullshit. But why do deadlines work? Because when the deadline's coming up, what do you do?
Showing 961–980 of 1,180 · page 49 of 59
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