How to contact Robert Rodriguez? Robert Rodriguez Contact Address, Email ID, Website, Phone Number, Fanmail Address
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Today I will tell you about HOW TO CONTACT ROBERT RODRIGUEZ?
It’s hard to imagine anyone being as spellbound as 12-year-old Rodriguez and his friends were by the sights in John Carpenter’s 1981 sci-fi tale, Escape from New York (1981). “I can do that” is an egotistical statement many individuals make after watching a film. It was a different story with this young man, however: “The answer is YES. I intend to make films.” His dream profession was born on that day. Robert was up in a large household of ten children in Texas. He was the middle kid. A Jan Brady-like sense of getting lost in the crowd was never an issue for Robert. He was always a creative and dynamic young guy.
When he wasn’t doodling on a sheet of paper with a pencil in his hand, he was more likely to be found in a creative state of mind. Although his mother disliked the “dreary” films of the 1970s, she nevertheless instils a love of cinema in her children by taking them to the Olmos Theatre in San Antonio on a weekly basis to see classics like Sergio Leone and Charles Chaplin & Buster Keaton’s silent comedies.
Shortly after he finds his parents’ old Super-8 camera, Robert begins making his first short films. Stop-motion animation can be used in a wide variety of ways, from action movies to horror films. In addition to using sets and locations he has around the house, he also takes advantage of the largest cast and crew available: his own family. A VCR and a video camera are brought home by his father’s salesman father at the end of the decade as the latest home-made technological miracle. He will be able to make movies for the rest of his life now that he has this new gear. All of his buddies are keen to star in the next film that he screens for them. This boy becomes known around the neighbourhood as “the kid who makes movies”.
Teachers recognised he’d put more effort into a movie than they would into an essay, so he was allowed to submit “term movies” instead of term papers. “Los Hooligans” is the name of his new comic strip. Every local film festival and competition awards his films. When his mediocre grades threaten to keep him out of UT Austin’s prestigious film programme, he does the only thing he can to establish his worth: he makes a film. In fact, there are three: a series of short films starring his siblings called “Austin Stories.” Robert is able to get into the programme because he outperforms the other top pupils. A 16mm short comedy/fantasy called Bedhead is the “largest” film Robert has ever made after being admitted into the school’s film programme (1991).
The short won several accolades after he used every idea and camera technique he could think of. In order to fund his first feature-length film (a Mexican action adventure about a guitarist with no name looking for work but getting caught up in a shoot-em-up adventure), Robert comes up with the crazy idea that he will sell his body to science and use that as an entry point to a lucrative Hollywood career (after meeting and marrying fellow Austinite Elizabeth Avellan). Robert will sell his body.
El Mariachi is the result of his $7,000 “guinea pig” investment (1992). Instead of languishing in the shadows, the film reaches the Sundance Film Festival, where it becomes an instant hit, and Robert secures distribution with Columbia Pictures, making him a household name among aspiring filmmakers around the world. Roadracers (1994) and Four Rooms (1995) are the first two films he directs after winning the Best Director award at the Cannes Film Festival in 1992.
People began to refer to him as “John Woo from South of the Border” after his first “real” studio attempt. Desperado is the “Mariachi” remake/sequel to this film (1995). The picture, while not a big hit, earns fair revenue and launches the American cinema careers of Antonio Banderas as the guitarist-turned-gunslinger and Salma Hayek as his girlfriend (the two would star in several of his movies from then on). The director’s reputation as a low-budget filmmaker is further bolstered by this film. Even though films like Batman Forever (1995) and GoldenEye (1995) had budgets over $100 million, Rodriguez managed to make just under $7 million on “Desperado.”
During the same year. Tarantino also appeared in a cameo role in the film’s final scene. The two would go on to have a long and fruitful friendship, punctuated by various projects together. With regard to Vampire schlock films, famous examples are Quentin Tarantino’s From Dusk Till Dawn (1996). ER (1994) star George Clooney got his big break in this cheesy flick about two criminal brothers who are on the run from the Texas Rangers and end up in a vampire-infested Mexican bar.
During a two-year gap from filmmaking (mainly to spend time with his family, but also to develop story ideas and decline Hollywood offers), he returned to the “Dusk Till Dawn” zone with The Faculty (1998), scripted by Scream (1996) author Kevin Williamson. Despite the fact that it has a little following, Robert’s least-successful picture is this one. With a mediocre narrative, off-kilter casting, and obvious commercialization, the film was widely panned by critics and fans alike” (due to a marketing deal with clothing designer Tommy Hilfiger).
A three-year hiatus from the limelight saw Rodriguez return to the big screen with his most successful (and unexpected) film to date (1995). Nobody expected him to create and direct Spy Kids (2001), a film about two prepubescent Latino siblings who find that their pathetic parents (Antonio Banderas and Carla Gugino) are actually two of the world’s top secret spies. The movie was a big hit with both the general public and the critics.
Due to his intense personal involvement, director Robert Rodriguez is able to get exactly what he wants from the start, saving both time and money. Despite their variations, the films of Robert Rodriguez have a number of common threads and themes. He utilises a hand-held camera for El Mariachi (1992). For a variety of reasons, he made this choice. Because he couldn’t afford a tripod, and because he wanted to draw attention to the action, he opted to film without a standard camera mount.
Because the film’s special effects cost a total of $600, it was possible to distort the unprofessional action sequences by using a hand-held camera. Even though both films were shot largely on green screen (which allowed Rodriguez to spend more on special effects), he didn’t need to hide for mistakes in Sin City or Planet Terror because the budgets were significantly larger.
Robert Rodriguez has rewritten the book on what a filmmaker can and cannot achieve by following his own set of standards, or without following any rules at all. Many directors’ careers would be ruined if they chose to ignore Hollywood’s absurdly high budgets, multi-picture deals, and the two most powerful unions in the industry in order to preserve their artistic freedom. Rodriguez has used this to his advantage, resulting in some of the most innovative films to ever hit the big screen.
Robert Rodriguez Fan Mail address:
San Antonio, Texas, United States
(1)Full Name: Robert Rodriguez
(2)Nickname: Robert Rodriguez
(3)Born: 20 June 1968 (age 54 years), San Antonio, Texas, United States
(4)Father: Not Available
(5)Mother: Not Available
(6)Sister: Not Available
(7)Brother: Not Available
(8)Marital Status: Unmarried
(9)Profession: American filmmaker
(10)Birth Sign: Not Available
(12)Religion: Not Available
(13)Height: Not Available
(14)School: Not Available
(15)Highest Qualifications: Not Available
(16)Hobbies: Not Available
(17)Address: San Antonio, Texas, United States
(18)Contact Number: Not Available
(19)Email ID: Not Available
(23)Youtube Channel: https://m.youtube.com/c/RealEstateTrainingByRobertRodriguez