The Truth About Robert Rodriguez
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"PJR" sonny...@NOSPAM.hotmail.com
The Truth About Robert Rodriguez by Peter John Ross It's been 10 years since El mariachi hit video and it's still as prevelant in the filmmaking community as ever. How many Indie Filmmakers have been effected by reading "Rebel Without a Crew" or by watching the DVD extra "Ten Minute Film School"? Hundreds? Thousands? I know I was. I remember renting the Laserdisc back in 1994 and seeing the movie made "for $7,000" and even listening to the rare pre-DVD COMMENTARY TRACK, which Robert himself dubbed "How to make a feature film for under $10,000". I can say that without a doubt, I felt empowered by the commentary, and everything you read about Robert & his epic adventure on how he became a major Hollywood player with his movie that was meant to be a Spanish Video release.
After having been down the path of making my own movies now for a little over four years, I recently re-read the book "Rebel Without a Crew" and I rewatched "Ten minute Film School" with a new set of experienced eyes. Let's just say that a few clarifications are in order...
#1. $7,000 is only kinda-sorta the budget. Robert never hided it, but Columbia Pictures & ICM Talent did. The $7,000 got RR a 3/4" master tape of his movie, and that's it. Columbia spent a hell of a lot more money to get a 35mm print made of it that could screen at festivals. The $7,000 bought 16mm film stock & transfer to video and a few dollars of props. This is important to note because there is a misconception about what the movie costs and what that means. It means saying that the movie costs $7,000 is a great marketing ploy that paid off well.
#2. One of the only reasons you, me, or anyone has ever heard of Robert Rodriguez is because the state film commissioner of Texas gave RR a referral to Internationl Creative Management. The dicotomy of Hollywood is that you cannot get in unless you know someone. It's an insiders club, and RR got a free p***. This is underplayed by the book, REBEL WITHOUT A CREW, but it's crucial to understand that the 2nd largest talent agency in the world can manipulate the studios. I do not mean to denegrate Robert's obvious talents, but based on seeing movies like "GLITTER" and "FROM JUSTIN TO KELLY", there is evidence that talent is not a prerequisite for getting a movie made.
Robert is lucky that he had the talent & skills to back up the promise the EL MARIACHI displayed.
#3. No one seems to remember that Robert had made well over 200 movies on video from the time he was 9 years old. How many other filmmakers, even in our cheap DV 1394, Non Linear World, can claim to have made over 200 movies?
I've been making movies for 4 years, and I'm barely over 30 movies. Let's just say that Robert has a distinct advantage when it comes to making movies at the stage he was at when he made El Mariachi. EXPERIENCE. It's greatly undervalued if you went solely by the descriptions made in the book and in the Ten Minute Film School.
#4. "All you need to know about filmmaking, you can learn in about 10 minutes". I have never heard anything more dishonest in my entire life. This coming from a guy who had been making movies, and honing his skills, and mastering his craft for over ten YEARS, not ten minutes. I think if Robert had never made a movie before, and this was his first or second effort, then maybe I could take this at face value - instead we get a lot of alleged "Rebels" that have no clue how to tell a story with a camera or the slightest concept of editing and story. Too many people feel like they can do as good their first time out - try ten years later or 200 movies after and then MAYBE you can pull off El Mariachi.
#5. Robert suggests NOT using a film crew. A film crew, specifically a Cinematographer is NOT a bad thing. Yes, Hollywood big budget movies spend too much money, but honestly having a sound guy or a camera man who has a clue can enhance your movie. A good PRODUCTION ***ISTANT can save serious $$$ when you need something fast. Robert preaches not to use a crew at all if you can help it (which caused him serious union problems on FROM DUSK TO DAWN) and I think it's a choice, and not usually the right one. A good crew can bring a lot of support to a director's vision, not a detraction.
Shooting your own movies also can shut off the input of someone who can offer options you never considered. Again,a bit misleading is that Robert shot all of his own movies and knew more about framing a shot than most NYU film grads. A wise friend of mine constantly reminds us all that Filmmaking is a COLLABORATIVE ART, and it takes several people to make a movie. Even Robert had actors. They are collaborators and bring soemthing different to the table than a one man show. Also fo note, Robert has never made a movie minus a crew since El Mariachi.
When I watched the "Ten Minute Film School" all I could think was how this guy really, really knew what the hell he was doing. When he made his choices of shots & describes how he would edit it all together, I was in awe. There is no way in hell a person who has never shot before would have a clue what he was REALLY doing. It's taken me 9 years to start to get a grasp on the genius of what Robert pulled off. RR had barely a 1.5 to 1 shooting ratio (if you don't know what shooting ratio is, then you need to take more than Ten Minutes to learn). The kind of risk and gamble shooting on 16mm presented was only viable because he had a great deal of preplanning and experience. Not everyone, I daresay hardly ANYONE could have done what Robert did and had results that good.
I am not saying that everything in these resources by Robert Rodriguez are bad. The advice of writing a script for the locations and props that are already availalble to you is very true. There are tons of wisdom in what he writes and says, but be aware that this came from someone who already learned what NOT to do from 200 prior movies he wrote and directed. Don't expect the same quality results if you've never made a movie before.
I don't dislike or disrespect Robert Rodriguez. As a matter of fact, I have met him twice and found him to be the most unpretentious and modest filmmaker on Planet Earth. But, I cannot count how many "filmmakers' quote this book or that clip on the DVD as the inspiration for kickstarting a DV endeavor. It's just that he has started a trend of "anyone can direct" and it's misleading. Everyone CAN direct, but not many people can direct WELL.
The inspirational words from "TEN MINUTE FILM SCHOOL" and "REBEL WITHOUT A CREW" are great, but you have to read between the lines. There was a lot more too it than the way it is presented. I stil believe everyoen should go out & make their movie, but I think a more realistic approach is required.
- PJR www.sonnyboo.com
"lr" lrey...@earthlink.net
I have RR book "Rebel without a Crew" and it is autographed by him in LA. I have not read it because I do not think I will ever have the chance of doing a film movie much less editing one since I am more into digital.
I have talked to RR wife while RR was in New York promoting his "El Mariahi" with David Letterman. I also know that RR did some of his editing for "El Mariachi" in Austin, Texas while he was doing show for public access ( I am from Austin and had a public access show the same time that RR was doing his thing).
You are correct that reading about RR inspires a lot of people like my self to keep on plugging away in doing some type of movie or even a documentary, and that a lot of what RR says is may not be completly all true, but never-the-less he did some good directing that puts a lot of people to shame, epecially in the Mexican movie genre, these Mexican movies were so stereotyped and mostly silly that makes one want to throw-up, so when RR movie "El Mariahi" was viewed, it was a God Sent!
I read your article with interest, and felt that I should also put my "two-cents"....I admire RR and at times I hate him for not been me that is doing all those movies, but I still glad he is doing it his way, I just hope he keeps doing movies his own way and not get influenced by the suits.
L ...
"PJR the JR of PJ" sonny...@NOSPAM.hotmail.com
At no time did I EVER say that what Robert wrote "may not be true". Just MISLEADING is all, not in a deceptive, evil way - but in an unrealistic way.
Getting people's hopes up, but without a dose of reality.
"lr" lrey...@earthlink.net
Poor choice of words on my part.
"PJR the JR of PJ" <sonny...@NOSPAM.hotmail.com> wrote in message ...
Nogami n...@spam.com
On Thu, 24 Jul 2003 00:01:35 -0400, "PJR" $7,000 were his out-of-pocket expenses. That's what he said.
Additional costs were paid by the distributer who picked up his film.
Funny, I thought it was entirely accurate. He's not talking about the various techniques that he demos in the 10 minute film school. That was just demo'ing how simple things are.
What he's talking about is (to coin the phrase) "JUST DO IT". Making a movie these days can be done for a few hundred, or a few thousand dollars. If you have a creative vision, DO IT. That was his message.
It's not rocket-science!
Sure, a 100 million dollar Hollywood special looks great, but it's entirely possible for an amateur to make something every bit as emotionally moving as the best hollywood drama, on a tight budget.
Sure they can, but if they're not volunteers, they can increase the price of the production enormously. What he's saying is that you CAN do it all yourself. Not that you should. If it's the deciding point between making your movie and not doing it, do the jobs yourself and make the damn movie!
It was clever, yes, but I don't think it was all that amazing. It was creativity influenced by a tight budget. When you are GOING to make a movie, and you have $7,000 in your pocket to do it, you get smart, or you get broke (with no movie).
It was a lot of planning, but I don't know that it was anything that anyone else couldn't have done with the proper inspiration/desperation.
I think the approach is that with a $500 camera, $100 of tape, and a cheap computer, anyone can make a movie. It might not be a good movie, and it probably won't be at first, but practise makes perfect.
I think the book and the video are great "motivators". Will they help you make a great movie on the first attempt? Probably not.
Will they motivate people to just go out and shoot and edit, and practise their skills to make something that's better and better with each attempt? Sure!
N.
"Richard Crowley" rcrowl...@xprt.net
"PJR" wrote ...
Lets not forget that the audio track most (all?) of us have heard was a complete Hollywood (pro) loop job done AFTER the "$7K" was tallied.
When I first saw it, I marveled at how he could get that audio within a $7K budget (for about 5 minutes, at least!)
johnfro ...@excite.com (John Fromes)
Read this online..
http://internetvideomag.com/articles2003/RobertRodriquez.htm
"Robert Morein" nowh...@nospam.com
Yes, and Rodriguez had one more advantage that most of us will never have.
He had the production values inherent in a foreign location.
That, I believe, is why filming nonsync worked.
We've all been conditioned to nonsync in myriad sphagetti westerns and other subtitled, foreign films.
Hence, we are not offended by it.
"Tom Elliott" telli...@bellsouth.net
In the interest and hoping all the other posts have been read I deleted all the other posts.
So, here is my 2 cents too.
I read "Rebel with out a crew" about....well I lost count, and I will have to buy the one with the comentary.
It was given to me on my 65th birthday.
I am primarily a still photographer working in several areas, photojournalism, corporate portraits and now sliding into "film making" by way of video.
What struck me in this order: 1: Be p***ionate about what you want to do with your life.
While in the USAF I discovered photography because I was a tourist in Europe and had a secret job I could not talk about. When it came closer for me to get discharged I realized I loved taking pictures and knew no matter what civilian job I would get, I would still take pictures. So I figured out that I might as well make a living in photography. My step dad put me through The Art Center College of Design for Advertising Photography. Even though he was a "Businessman" he felt that I should atleast get a good background/tools. I went to school and worked full time for other photographers as their ***istant.
2: BE P***IONATE ABOUT WHAT YOU WANT TO DO WITH YOUR LIFE!
After school and working in Hollywood, Miami, I moved to New York and worked for Arnold Newman as his ***istant for about 2 years. I was the longest working ***istant he ever had. One I heard about lasted one day, or just long enough to put Arnold on the plane to Europe to do special photography on "The Mad Woman of Chilot". When he came back from that ***ignment I started working for him. He "tested" me every second of every day I worked for him. To quote Arnold "You, young man, are my right arm, and my right arm does what I want it to do." He never let me forget that he was the photographer and I was the ***istant. It came to a head one day when he came in the darkroom and proceeded to re-arrange the work flow. I went up to Arnold and gently put my hands on his shoulders, turned him around, and gently pushed him out of the darkroom saying, "Arnold, get the **** out of MY darkroom." Looking back over his shoulder, puffing on the ever present cigar, twinkle in his eyes, said, "Oh....ok".
The twinkle got to me. That is when I realized that he was waiting for this moment, this moment when I was willing to take responsibility for the job and that no one would dare get in the way of me and my p***ionate love of the entire process of photography. He wanted me to "BE" there 100 percent. From that moment on, we were a team, along with his wife Augusta.
3: BE P***IONATE ABOUT WHAT YOU WANT TO DO WITH YOUR LIFE!! ! ! ! !
Selling my body to science is now a new source of funds for my future projects. RR made very good use of that time in the medical centers to fine tune the story board/script. Stories abound illustrating that "P***ION". RR wanted and wants to make films, just about any films. It shows he is p***ionate about the film making process.
Yes, on first blush the book seems like a con and that lowly me/you can never do what RR did. That was his whole point YOU CAN MAKE FILMS. If you are P***IONATE enough. I am sure that just as there are millions of "trunk novels" that there are millions of "trunk films" out there. The main difference is that not only did RR have a lot of "trunk films" his ultimate goal was to make money in Hollywood making films. Everyone has different paths and "realities" to being a film maker, RR was not only able to do it, he has the talent to p*** it on to others. For that I am thankful that he did the 300 films (2 minutes to 2 hours) and the talent to communicate to others on how to do it. There is a mini manual of film making in his book, if you just take the time to highlight the how to parts. Just those highlighted portions by themselves is boring the other stuff makes for good story telling. Isn't that what film making is all about: ENTERTAINING STORY TELLING.
In closing BE P***IONATE ABOUT WHAT YOU WANT TO DO WITH YOUR LIFE!! ! ! ! !
Have fun.
Yours truly, Tom Elliott Photographer Film Maker http://www.tom-elliott-photography.com
johnfro ...@excite.com (John Fromes)
No one claimed to debunk Robert Rodriguez. If anything, I think it was trying to debunk the fantasy of the the first time filmmaker who thinks they can churn out something that good their first time out.
"nappy" jos...@sbcglobal.net
bottom line.. it was all hype.. He SUCKS as a director.
...
johnfro ...@excite.com (John Fromes)
You completely missed the point. It has nothing to do with his directing skills. It has to do with delusional filmmakers that get inspired without knowing what all making a movie entails.
Who cares what kind of filmmaker he is?
johnfro ...@excite.com (John Fromes)
Agreed. Most people "hope", but not everyone can handle it when they do NOT make a good movie the first time out. That was the point of the article (methinks)
elro ...@pop.uky.edu (Eric R.)
Did "Spy Kids 3-D" leave any room for doubt?
-Eric
Nogami n...@spam.com
Who cares if delusional filmmakers get inspired though? So what if their movie doesn't work out, what are they out, maybe a couple grand in gear and tapes if they don't sell it off, and some free time?
Hell, a movie means different things to different people. For some people it's a hollywood epic. For other people it's a skateboarding video at the local park, or a historical documentary.
And anything that even starts to get people fired up about putting a vision on tape (or film), is absolutely great!
Hollywood has been producing such utter mindless drivel for the last decade that perhaps a new breed of filmmakers is emerging who want to try something new and do it themselves, without going through the crusty, old fashioned "film school" to start their eduction.
N.
Martin Heffels mheff...@nwesguy.com
Film school is good, because:
- it teaches you the rules you need to know, in order to break them.
- networking, which is important to get work
-m-
--
filmmaker/DP/editor, Sydney, Australia "ON ENTRE OK, ON SORT KO"
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