Robert Rodriguez

His cousin, his brother-in-law has a bar and he owns a ranch. So the bad guy lives at the ranch, the fight scene's gonna be in the bar, he's gonna hit a bus at one point, the girl's gonna have a dog, and a turtle's gonna cross the road. It gives you all this production value, so you write backwards. So for Bedhead, I even did that with a camera.

So I'd been shooting video all this time, and one thing I wished I could do on video, I never could, was slow motion. or stop motion even. So when I got that crappy World War II camera they gave us in film school, I mean, I was so pissed. Like, this is the camera I've been trying to get my hands on. I could have bought this for 50 bucks at a bond shop.

So I'd been shooting video all this time, and one thing I wished I could do on video, I never could, was slow motion. or stop motion even. So when I got that crappy World War II camera they gave us in film school, I mean, I was so pissed. Like, this is the camera I've been trying to get my hands on. I could have bought this for 50 bucks at a bond shop.

So I'd been shooting video all this time, and one thing I wished I could do on video, I never could, was slow motion. or stop motion even. So when I got that crappy World War II camera they gave us in film school, I mean, I was so pissed. Like, this is the camera I've been trying to get my hands on. I could have bought this for 50 bucks at a bond shop.

Old Bill and Hal wind up, you couldn't even see through the lens. You were seeing through an approximation of the lens. But you could shoot slow motion, I could do reverse photography if I filmed upside down. I could do, because if I do a fast push into her, I'll never get the focus in right. So I started with it in focus.

Old Bill and Hal wind up, you couldn't even see through the lens. You were seeing through an approximation of the lens. But you could shoot slow motion, I could do reverse photography if I filmed upside down. I could do, because if I do a fast push into her, I'll never get the focus in right. So I started with it in focus.

Old Bill and Hal wind up, you couldn't even see through the lens. You were seeing through an approximation of the lens. But you could shoot slow motion, I could do reverse photography if I filmed upside down. I could do, because if I do a fast push into her, I'll never get the focus in right. So I started with it in focus.

went back, pulled backwards on a chair, and then reversed it, flipped it, and now it looks like it stops on a dime in focus.

went back, pulled backwards on a chair, and then reversed it, flipped it, and now it looks like it stops on a dime in focus.

went back, pulled backwards on a chair, and then reversed it, flipped it, and now it looks like it stops on a dime in focus.

You have to morph time. You start putting it together, right? So I've got this different camera. Now I go, I don't want to shoot the same kind of movie. If I got a camera now that can do that, I can do stop motion. So that's why there's an animated title sequence at the beginning. I go, wow, I'm a cartoonist. If I set the camera up here, I can slow it down enough.

You have to morph time. You start putting it together, right? So I've got this different camera. Now I go, I don't want to shoot the same kind of movie. If I got a camera now that can do that, I can do stop motion. So that's why there's an animated title sequence at the beginning. I go, wow, I'm a cartoonist. If I set the camera up here, I can slow it down enough.

You have to morph time. You start putting it together, right? So I've got this different camera. Now I go, I don't want to shoot the same kind of movie. If I got a camera now that can do that, I can do stop motion. So that's why there's an animated title sequence at the beginning. I go, wow, I'm a cartoonist. If I set the camera up here, I can slow it down enough.

It's not a frame by frame, but if I get it down like two frames a second, I can just tap it and it'll maybe get one frame off. So I did 300 drawings by hand for that opening title sequence. Holy shit. That was you doing it by hand.

It's not a frame by frame, but if I get it down like two frames a second, I can just tap it and it'll maybe get one frame off. So I did 300 drawings by hand for that opening title sequence. Holy shit. That was you doing it by hand.

It's not a frame by frame, but if I get it down like two frames a second, I can just tap it and it'll maybe get one frame off. So I did 300 drawings by hand for that opening title sequence. Holy shit. That was you doing it by hand.

So you watch that, and this is a throwaway title sequence, but I really want this thing to win awards. Okay, hold on a second. How long did that take to draw? That seemed like a lot of work. I remember I drew it over, I was a daily cartoonist by then, so I was pretty fast, but still, that's why it's only penciled, it's not inked, but it looks great.

So you watch that, and this is a throwaway title sequence, but I really want this thing to win awards. Okay, hold on a second. How long did that take to draw? That seemed like a lot of work. I remember I drew it over, I was a daily cartoonist by then, so I was pretty fast, but still, that's why it's only penciled, it's not inked, but it looks great.

So you watch that, and this is a throwaway title sequence, but I really want this thing to win awards. Okay, hold on a second. How long did that take to draw? That seemed like a lot of work. I remember I drew it over, I was a daily cartoonist by then, so I was pretty fast, but still, that's why it's only penciled, it's not inked, but it looks great.

I mean, the camera's going around and all kinds of crazy stuff, but it's just all faked by paper. It took me all night to shoot it, because I remember I walked into the film school the next day, like all sleeping and I told one of the fellow students, wow, I was up all night doing this animated title sequence and he went, why are you putting so much work in this?