The Films of Robert Rodriguez are very much embraced by Hollywood even though they are made independently of the studio norm

‘El Mariachi is a $7000 wonder. For less money than it costs to film a major television commercial, Robert Rodriguez took his crew to Mexico and filmed a gripping, tautly-paced action flick that outdoes most of Hollywood's similar output. This is clear evidence that film quality often has little to do with a production's budget.’

(Berardinelli, 1993, www. movie-reviews.colossus.net)

Rodriguez signed a two year writing and directing contract with Columbia pictures after the success of his debut feature although refused to move out to Hollywood and work within the restrictions of the studio. ‘One thing that kind of discouraged me from going to Hollywood is that you have to split up the work, you can’t operate your own camera if you’re the Director, you can only do one little thing. That has always bugged me, because I love the whole process. Directing on its own is not that much fun.. Pretty boring actually. All the fun is with the camera, the editing room and the writing.’ () The first feature Rodriguez made, after signing with Columbia was Roadracers (1994). Made on a budget of $1 million, although not a huge hit by any means, it still made a considerable profit and confirmed Rodriquez’s status as a competent filmmaker. The film also proved he had what it took to make a more conventional American Action movie. Since the initial hype of El Mariachi had died down. Columbia pictures thought it would be a good idea to remake the low budget Spanish speaking movie for a more mainstream American audience. Rodriquez agreed, but again he had his own agenda. Whilst planning the original he had always intended on making a trilogy of Mariachi films. Rodriquez used this opportunity to make his sequel Desperado (1995), with similar characters and plots, in the script the studio bosses were under the impression it was a straight forward remake and because Rodriquez only asked for $7 million, still considered a low budget for a mainstream action film, Columbia pictures left him be to get on with his project. Desperado was shot well under schedule and within budget, recalling on his previous independent experiences to make the most out the money available. Rodriquez once more took on the role of a one man crew and “Directed, shot and chopped” the film. He saved on film stock by making editorial decisions on set and essentially cutting on camera, rather than doing multiple takes and hired experienced Latino actors, notably Antonio Banderas and Salma Hayek for the lead roles instead of expensive American stars. The film subsequently launched both of their mainstream Hollywood acting careers. Rodriquez also had cameo roles from two other well known independent icons  and . The Movie was co produced by Rodriquez’s own production company Los Hooligans productions. Upon its release Desperado did well at the box office, giving the feeling of a huge budget explosive action movie. Rodriquez was quickly becoming well known for his fast paced filming method and was gaining a reputation within the industry as a man who could deliver the “goods cheap and on time”. Also due to the trashy style and well orchestrated action within his films, influenced by many of John Woo’s earlier pictures and the reoccurring motifs, comical exaggerated weapons, such as rocket launcher guitar cases and “the crotch gun”, Rodriguez was developing a loyal cult following among audiences.

His seemingly maverick way of filmmaking, although Rodriquez refers to it as “frantic” filmmaking hasn’t always served him well. On the set of From Dusk Till Dawn (1998) a retake on the B-movie horror, exploitation genre, a few of his crew threatened a strike which meant the eight week shooting schedule and the $20 million budget of the film could have been in jeopardy. The situation was caused because he was over doing much of what he is known for, with a minimum crew many people were doubling up on roles, to try and meet the tough deadline. The work load got too much for many of the crew and they felt like they were being exploited, consequently threatening to strike. The situation was amicably resolved when producer Lawrence Bender bought in additional crew, to relive the pressure. Rodriquez defended his position ‘I wouldn’t tell someone they had to do four jobs, unless they saw me doing twenty. You have to lead by example’ () . More recently his status as a member of the Guild of Directors has been questioned, as he co-directed his latest project Sin City (Rodriguez, Miller, 2005) with the author of the original comics Frank Miller. The Directors guild of America have a strict policy of one Director per film, as a result Rodriquez graciously resigned, and continued collaborating with Miller. Arguing that he didn’t just want to adapt the comic books, he wanted to translate them and to do that he wanted Miller involved, due to this; he has also had to be replaced on a future project The Princess of Mars which he was signed to direct.

Rodriquez makes no secret of his dislike for Hollywood bureaucracy and often refers to it as an “uncreative beast”. He sees the lack of communication and too many uncreative but technical people involved in a project as it’s down fall and the cause of many of Hollywood features ridiculous budget. Although he admits himself to being creative he has made a point of understanding and learning to use much of the equipment that surrounds his work so that he isn’t reliant on anybody but himself to portray his vision. ‘To many creative people don’t want to learn to be technical, so what happens they become reliant on technical people, Become technical, you can learn that. If you’re technical you’re unstoppable’ (Rodriquez, 10 minute film school,1998) This is the message he conveys to want to be filmmakers all over the world through his documentaries on not just the theory, but the realities of working within the film industry. He also makes a point of embracing and experimenting with new technology. Since George Lucas introduced him to the art of Hi definition video in 2001 he hasn’t shot a movie on film since, stating the only advantage of using film nowadays is for nostalgic reasons only, another one of his short teaching documentaries Film is Dead(Rodriguez 2003) gives us a practical demonstration of the advantages of using this new format. The ability for more actor improvisation where he can leave the camera rolling gaining a more natural performance, also the increased ability to shoot quickly, which is true to his style and add the often expensive special effects required, later during editing at a fraction of the cost. Rodriquez has utilized these advantages in his latest films, Spy Kids 3-D (Rodriquez, 2003) and the Sergio Leone inspired Once upon a time in Mexico (Rodriquez 2003) the final Chapter in his Mariachi trilogy. He compares the quality of the new video format to the difference between vinyl and CD.

Rodriquez is very much an independent filmmaker and always has been. His style of Producing and executing a project is exceptionally fast in terms of turn around time. Since 1992 with the initial success of El Marachi he has produced and directed over 10 feature films, (inclusive of taking 3 years away from the industry to concentrate on his family) and built up his own production company Los Hooligans productions and owns his own studio Troublemaker studios, which is situated in his converted “garage” giving him the ability to work day or night and have complete control over his projects. Even though he may not fully conform to many of Hollywood’s practices there is an element of give and take. He is fully aware that he has the ability to produce good products at a reasonable cost for the studios to sell on a conveyer belt system. His films are marketed like other mainstream films because they look like mainstream films. He attracts mainstream stars, many of whom want to work with Rodriquez purely because of his reputation, and the speed and quality of his work. In many respects he is regarded with similar attributes to Tarantino with his films capturing and reinventing the ebb of popular youth culture, the two independent auteurs collaborated on From Dusk till Dawn (1995) launching popular TV star George Clooney’s film career. Because of his low budget techniques he is a safe bet for many mainstream studio projects. Worst case scenario the films at least make their money back, best case scenario they break box office records Once upon a time in Mexico (2003) ($25 million in the opening weekend). Rodriquez, whatever the mainstream populace view on his unorthodox practices, he is a valuable commodity. His films make money and unlike other filmmakers he has successfully crossed genres from the Mariachi films action films, to science fiction The Faculty (1998) to family entertainment of kids films Spy Kids (2001) and back again, each time taking a dedicated audience along with him. Whether or not Rodriquez can be considered a major Hollywood player or an Independent Auteur is debatable, it seems he is somewhere in between, having a foot in each camp. However it clearly goes without saying that he is very much an inspiration to many up and coming filmmakers with his independent successes and regarded somewhat as a financial asset by Hollywood.

‘Don’t give me money, Don’t give me people, but give me freedom, and I’ll give you a movie that looks gigantic’

(Rodriguez, 2003, Total Film)

 

 

Biography

Books, Articles and Journals

Buscombe. E (2003) Border Control, Sight and Sound magazine

Delaney. S (2003) Drop the Desperado, guardian unlimited

Magnusson, T. (1999)Total Film, issue 28

Rodriguez. R. ( 1996) Rebel Without a Crew: Or How a 23-Year-Old Filmmaker With $7,000 Became a Hollywood Player, Faber and Faber

Filmography

Bed Head (1991, Rodriguez)

Desperado (1995, Rodriguez)

El Mariachi (1992, Rodriguez)

Film is Dead (2003, Rodriguez)

From Dusk Till Dawn (1996, Rodriguez)

Full Tilt Boggie (1997, Kelly)

Ten Minute Film School (1998, Rodriguez)

 (2004, Rodriguez)

Web Addresses

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Accessed 09/03/05