FROM DUSK TILL DAWN television series adaptation (2010s decade)
NOTE -
1. This is all opinion based; so if you disagree with some of my picks, comment below and cast the people you think would be perfect to play whichever characters I didn't cast.
2. I'm not going to cast ALL of the characters from the franchise; so if I happen to forget some, like I said, comment below and cast the actors/actresses you think would be perfect to play these roles.
1. This is all opinion based; so if you disagree with some of my picks, comment below and cast the people you think would be perfect to play whichever characters I didn't cast.
2. I'm not going to cast ALL of the characters from the franchise; so if I happen to forget some, like I said, comment below and cast the actors/actresses you think would be perfect to play these roles.
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- Actor
- Writer
- Producer
D.J. Cotrona was born on 23 May 1980 in New Haven, Connecticut, USA. He is an actor and writer, known for G.I. Joe: Retaliation (2013), Shazam! (2019) and Dear John (2010).Seth Gecko- Actor
- Producer
Zane was born in Vancouver, British Columbia, Canada, where he began modeling at 5 years of age. He shot one of his first commercials on his 10th birthday. He relocated to California, in 1999, with his mom, Laura Mary Clarke and his three younger brothers; Beau, Harrison and Mackenzie Holtz. Zane continues to thrive in his career and has been seen in principal roles, both in Television and Film.Richard Gecko- Actress
- Soundtrack
Madison Danielle Davenport was born in San Antonio, Texas. She started her career in 2005 when she had a small role in Conversations with Other Women (2005). Soon after she appeared in the television series Numb3rs (2005), Close to Home (2005), CSI: NY (2004), and Hot Properties (2005). In 2006, Davenport's voice could be heard in Over the Hedge (2006) as Quillo, one of the porcupines in the film. She also had a guest starring role in Bones (2005) as Megan, a little girl who helps Temperance Brennan and Seeley Booth. Davenport appeared in Legion of Super Heroes (2006) and The Sitter (2006) in 2007. In 2008, Davenport was seen in ER (1994) and also had a voice over appearance in Special Agent Oso (2009) as Stacey & Fiona. She also had many film credits in 2008 including Humboldt County (2008), Kit Kittredge: An American Girl (2008), The Attic Door (2009), and Christmas Is Here Again (2007). In 2010, Davenport starred in the Lifetime television movie Amish Grace (2010) as Mary Beth Graber, a little girl who dies in a school shooting. She also played Destiny in Jack and the Beanstalk (2009) and had a leading role in the television movie Dad's Home (2010) as Lindsay Westman. In 2011, Davenport had a guest appearance in CSI: Crime Scene Investigation (2000) as Camryn Pose, and began a recurring role in the U.S. television series Shameless (2011). She played the supporting role of Hannah in the 2012 film The Possession (2012). Davenport played Na'el, a potential romantic partner of Ham (Logan Lerman), in the biblical epic film Noah (2014), alongside Russell Crowe, Anthony Hopkins, Jennifer Connelly, and Emma Watson. The 2014 film was directed by Darren Aronofsky.Kate Fuller- Brandon Soo Hoo was born on 2 November 1995 in Pasadena, California, USA. He is an actor, known for Tropic Thunder (2008), G.I. Joe: The Rise of Cobra (2009) and Ender's Game (2013).Scott Fuller
- Actor
- Producer
- Director
Wilmer Valderrama has amassed an extensive acting resume in film and television that solidified him in Hollywood as a sought-after leading man. Valderrama starred in Fox's sci-fi series Minority Report (2015) as Will Blake, a new police detective on the force. The series, which also starred Meagan Good and Stark Sands, was a sequel to the Steven Spielberg-directed movie set 10 years after the end of Pre-crime in D.C. Valderrama also starred as Carlos Madrigal, the main villain in Robert Rodriguez and Quentin Tarantino's first original series From Dusk Till Dawn: The Series (2014) on El Rey Network. Valderrama voiced Prince Charming in the John H. Williams animated film Charming (2018), opposite Ashley Tisdale, Avril Lavigne, and Demi Lovato. Valderrama starred in the indie dramas To Whom It May Concern (2016), from French director Manu Boyer, and The Adderall Diaries (2015), opposite Amber Heard and James Franco, which premiered at the 2015 Tribeca Film Festival. His other film credits include Larry Crowne (2011), From Prada to Nada (2011), and Summer Catch (2001). Most recognized for his role as Fez on Fox's Emmy-nominated series That '70s Show (1998), a role that garnered him numerous Teen Choice Awards and an ALMA Award nomination. Valderrama also lent his voice to the character Manny on the Disney Channel's animated children's program Handy Manny (2006). His other television credits include Awake (2012), Raising Hope (2010), Suburgatory (2011), Royal Pains (2009), and Wizards of Waverly Place (2007). Behind the camera, Valderrama created and produced the MTV series Yo Momma (2006), also serving as the host for all three seasons, in addition to producing other MTV series such as Punk'd (2003), Blowin' Up (2006), and Trippin (2005). As for his philanthropic efforts, Valderrama has directed several PSAs for multiple organizations such as Voto Latino, where he stands as co-chair, and the Environmental Media Association, where he is an executive board member. Valderrama is the spokesperson for CHCI, the Congressional Hispanic Caucus Institute, and is the founder of their Ready 2 Lead program, which educates and empowers the Latino youth. He also worked with President Barack Obama's Organizing for Action campaign on future efforts involving immigration reform and education. Born in Miami, Valderrama moved to Venezuela with his family at the age of 3. Valderrama is fluent in both Spanish and English. When Valderrama was 13, his family relocated to Los Angeles.Border Guard / Chet Pussy / Carlos- Actress
- Soundtrack
- Music Department
Eiza González Reyna is a Mexican actress and singer. She was born on January 30, 1990 in Mexico City, Mexico, to Carlos González and Glenda Reyna. Her mother is a yesteryear Mexican model. She has one elder brother, Yulen. She lost her father in a motorcycle accident when she was just 12. Later in September 2015, she revealed that due to this trauma, she suffered from compulsive overeating and depression from 15 to 20 years of age.
Eiza studied at the 'American School Foundation' and at the 'Edron Academy', both in Mexico City. In 2003, Eiza joined Mexico City based acting school 'M & M Studio', run by renowned actress Patricia Reyes Spíndola. She attended the school till 2004. She was then allowed to take up a three years course at the renowned entertainment educational institution of Televisa, 'Centro de Educación Artística', in Mexico City, when she was 14. It was there that she got noticed by producer-director Pedro Damián.
Her real breakthrough came with an adaptation of Floricienta (2004) titled Lola: Érase una vez (2007), a Televisa produced teen-oriented Mexican melodrama telenovela. Lola: Érase una vez (2007), that premiered in Mexico on February 26, 2007, and ran for two seasons till January 11, 2008, saw her essaying the starring role of Dolores "Lola" Valente, the lead female protagonist. As a result of the huge popularity of the show, it was shown in many other countries across Latin America and the US. In spring 2008, she went to New York City with her mother to take up a three months acting course at the 'Lee Strasberg Theatre and Film Institute' and returned to Mexico City upon its completion. That year, cosmetic brand Avon in Mexico selected her as the new face of 'Color Trend de Avon'. EMI Televisa signed a deal with her in late 2008 that led her to release her debut album 'Contracorriente' on November 24, 2009 in Mexico/Latin America through EMI Televisa Music and on January 26, 2010 in the US through Capitol Latin. The album climbed at #13 on the Mexico Top 100 Albums chart. Meanwhile, she shared screen space with Mexican actress Susana González in April 2009 in the episode Tere, desconfiada (2009) from the popular Mexican drama and psychological thriller television series Mujeres asesinas (2008). She essayed the role of Gaby, a teenage antagonist.
She then landed up with dual roles in the musical tween telenovela Sueña conmigo (2010), as the lead protagonist Clara and her alter-ego Roxy Pop. For filming of the series, she had to stay in Buenos Aires for a year since April 2010, visiting Mexico only during breaks. Produced by Televisa, Illusion Studios and Nickelodeon Latin America, Sueña conmigo (2010) aired on Nickelodeon Latin America from July 20, 2010 to April 1, 2011 covering Mexico, Argentina and other Latin American nations. The popularity of the series led the cast to perform concerts across Argentina between March and July 2011. Her second album 'Te Acordarás de Mí' released digitally on June 5, 2012. It debuted at # 66 on the México Top 100 Albums charts and peaked at #14 on the US Billboard Latin Pop Album chart. The comedy drama flick Almost Thirty (2014) that premiered at different film festivals in 2013 marked her debut on big-screen. The film however released in Mexico much later on 22nd August 2014.
Her next big role on TV was that of Nikki Brizz Balvanera, a female protagonist, in the Mexican telenovela Amores verdaderos (2012) that aired on Canal de las Estrellas from September 3, 2012 to May 12, 2013.
She then went on to play Sheila "Jetta" Burns in the 2015 film Jem and the Holograms (2015). Since 2014 she features in the American horror TV series From Dusk Till Dawn: The Series (2014) essaying the character of Santanico Pandemonium played by Salma Hayek in the original flick. The series that airs on the El Rey network marks her first English-speaking part. In February 2015, Neutrogena announced her as the newest ambassador of their skincare line. She can be seen playing the role of Darling in the action film Baby Driver (2017), released in June 2017.Esmeralda a.k.a. Santanico Pandemonium- Producer
- Writer
- Director
Robert Anthony Rodriguez was born and raised in San Antonio, Texas, USA, to Rebecca (Villegas), a nurse, and Cecilio G. Rodríguez, a salesman. His family is of Mexican descent.
Of all the people to be amazed by the images of John Carpenter's 1981 sci-fi parable, Escape from New York (1981), none were as captivated as the 12-year-old Rodriguez, who sat with his friends in a crowded cinema. Many people watch films and arrogantly proclaim "I can do that." This young man said something different: "I WILL do that. I'm gonna make movies." That day was the catalyst of his dream career. Born and raised in Texas, Robert was the middle child of a family that would include 10 children. While many a child would easily succumb to a Jan Brady sense of being lost in the shuffle, Robert always stood out as a very creative and very active young man. An artist by nature, he was very rarely seen sans pencil-in-hand doodling some abstract (yet astounding) dramatic feature on a piece of paper. His mother, not a fan of the "dreary" cinema of the 1970s, instills a sense of cinema in her children by taking them on weekly trips to San Antonio's famed Olmos Theatre movie house and treats them to a healthy dose of Hollywood's "Golden Age" wonders, from Sergio Leone to the silent classic of Charles Chaplin and Buster Keaton.
In a short amount of time, young Robert finds the family's old Super-8 film camera and makes his first films. The genres are unlimited: action, sci-fi, horror, drama, stop-motion animation. He uses props from around the house, settings from around town, and makes use of the largest cast and crew at his disposal: his family. At the end of the decade, his father, a salesman, brings home the latest home-made technological wonder: a VCR, and with it (as a gift from the manufacturer) a video camera. With this new equipment at his disposal, he makes movies his entire life. He screens the movies for friends, all of whom desperately want to star in the next one. He gains a reputation in the neighborhood as "the kid who makes movies". Rather than handing in term papers, he is allowed to hand in "term movies" because, as he himself explains, "[the teachers] knew I'd put more effort into a movie than I ever would into an essay." He starts his own comic strip, "Los Hooligans". His movies win every local film competition and festival. When low academic grades threaten to keep him out of UT Austin's renowned film department, he proves his worth the only way he knows how: he makes a movie. Three, in fact: trilogy of short movies called "Austin Stories" starring his siblings. It beats the entries of the school's top students and allows Robert to enter the program. After being accepted into the film department, Robert takes $400 of his own money to make his "biggest" film yet: a 16mm short comedy/fantasy called Bedhead (1991).
Pouring every idea and camera trick he knew into the short, it went on to win multiple awards. After meeting and marrying fellow Austin resident Elizabeth Avellan, Robert comes up with a crazy idea: he will sell his body to science in order to finance his first feature-length picture (a Mexican action adventure about a guitarist with no name looking for work but getting caught up in a shoot-'em-up adventure) that he will sell to the Spanish video market and use as an entry point to a lucrative Hollywood career. With his "guinea pig" money he raises a mere $7,000 and creates El Mariachi (1992). But rather than lingering in obscurity, the film finds its way to the Sundance film festival where it becomes an instant favorite, wins Robert a distribution deal with Columbia Pictures and turns him into an icon among would-be film-makers the world over. Not one to rest on his laurels, he immediately helms the straight-to-cable movie Roadracers (1994) and contributes a segment to the anthology comedy Four Rooms (1995) (his will be the most lauded segment).
His first "genuine" studio effort would soon have people referring to him as "John Woo from south-of-the-border". It is the "Mariachi" remake/sequel Desperado (1995). More lavish and action-packed than its own predecessor, the movie--while not a blockbuster hit--does decent business and launches the American film careers of Antonio Banderas as the guitarist-turned-gunslinger and Salma Hayek as his love interest (the two would star in several of his movies from then on). It also furthers the director's reputation of working on low budgets to create big results. In the year when movies like Batman Forever (1995) and GoldenEye (1995) were pushing budgets past the $100 million mark, Rodriguez brought in "Desperado" for just under $7 million. The film also featured a cameo by fellow indie film wunderkind, Quentin Tarantino. It would be the beginning of a long friendship between the two sprinkled with numerous collaborations. Most notable the Tarantino-penned vampire schlock-fest From Dusk Till Dawn (1996). The kitschy flick (about a pair of criminal brothers on the run from the Texas Rangers, only to find themselves in a vamp-infested Mexican bar) became an instant cult favorite and launched the lucrative film career of ER (1994) star George Clooney.
After a two-year break from directing (primarily to spend with his family, but also developing story ideas and declining Hollywood offers) he returned to "Dusk till Dawn" territory with the teen sci-fi/horror movie The Faculty (1998), written by Scream (1996) writer, Kevin Williamson. Although it's developed a small following of its own, it would prove to be Robert's least-successful film. Critics and fans alike took issue with the pedestrian script, the off-kilter casting and the flick's blatant over-commercialization (due to a marketing deal with clothing designer Tommy Hilfiger). After another three-year break, Rodriguez returned to make his most successful (and most unexpected) movie yet, based on his own segment from Four Rooms (1995). After a string of bloody, adult-oriented action fare, no one anticipated him to write and direct the colorful and creative Spy Kids (2001), a movie about a pair of prepubescent Latino sibs who discover that their lame parents (Antonio Banderas and Carla Gugino) are actually two of the world's greatest secret agents. The film was hit among both audiences and critics alike.
After quitting the Writers' Guild of America and being introduced to digital filmmaking by George Lucas, Robert immediately applied the creative, flexible (and cost-effective) technology to every one of his movies from then on, starting with an immediate sequel to his family friendly hit: Spy Kids 2: Island of Lost Dreams (2002) which was THEN immediately followed by the trilogy-capper Spy Kids 3: Game Over (2003). The latter would prove to be the most financially-lucrative of the series and employ the long-banished movie gimmick of 3-D with eye-popping results. Later the same year Rodriguez career came full circle when he completed the final entry of the story that made brought him to prominence: "El Mariachi". The last chapter, Once Upon a Time in Mexico (2003), would be his most direct homage to the Sergio Leone westerns he grew up on. With a cast boasting Antonio Banderas (returning as the gunslinging guitarist), Johnny Depp (as a corrupt CIA agent attempting to manipulate him), Salma Hayek, Mickey Rourke, Willem Dafoe and Eva Mendes, the film delivered even more of the Mexican shoot-'em-up spectacle than both of the previous films combined.
Now given his choice of movies to do next, Robert sought out famed comic book writer/artist Frank Miller, a man who had been very vocal of never letting his works be adapted for the screen. Even so, he was wholeheartedly convinced and elated when Rodriguez presented him with a plan to turn Miller's signature work into the film Sin City (2005). A collection of noir-ish tales set in a fictional, crime-ridden slum, the movie boasted the largest cast Rodriguez had worked with to that date. Saying he didn't want to mere "adapt" Miller's comics but "translate" them, Rodriguez' insistence that Miller co-direct the movie lead to Robert's resignation from the Director's Guild of America (and his subsequent dismissal from the film John Carter (2012) as a result). Many critics cited that Sin City was created as a pure film noir piece to adapt Miller's comics onto the screen. Co-directing with Frank Miller and bringing in Quentin Tarantino to guest-direct a scene allowed Rodriguez to again shock Hollywood with his talent.
In late 2007, Rodriguez again teamed up with his friend Tarantino to create the double feature Grindhouse (2007). Rodriguez's offering, Planet Terror (2007), was a film made to be "hardcore, extreme, sex-fueled, action-packed." Rodriguez flirts with his passion to make a showy film exploiting all of his experience to make an extremely entertaining thrill ride. The film is encompassed around Cherry (Rose McGowan), a reluctant go-go dancer who is found wanting when she meets her ex-lover El Wray (played by Freddy Rodríguez) who turns up at a local BBQ grill. They then, after a turn of events, find themselves fending off brain-eating zombies whilst trying to flee to Mexico (here we go off to Mexico again). Apart from directing, Rodriguez also involves himself in camera work, editing and composing music for his movies' sound tracks (he composed Planet Terror's main theme). He also shoots a lot of his own action scenes to get a direct idea from his eye as the director into the film. In El Mariachi (1992), Rodriguez spent hours in front of a pay-to-use, computer editing his film. This allowed him to capture the ideal footage exactly as he wanted it. Away from the filming aspect of Hollywood, Rodriguez is an expert chef who cooks gourmet meals for the cast and crew. Rodriguez is also known for his ability to turn a low-budgeted film with a small crew into an example of film mastery. El mariachi was "the movie made on seven grand" and still managed to rank as one of Rodriguez' best films (receiving a rating of 92% on the Rotten Tomatoes film review site).
Because Rodriguez is involved so deeply in his films, he is able to capture what he wants first time, which saves both time and money. Rodriguez's films share some similar threads and ideas, whilst also having differences. In El Mariachi (1992), he uses a hand-held camera. He made this decision for several reasons. First, he couldn't afford a tripod and secondly, he wanted to make the audience more aware of the action. In the action sequences he is given more mobility with a hand-held camera and also allows for distortion of the unprofessional action sequences (because the cost of all special effects in the film totaled $600). However, in Sin City (2005) and Planet Terror (2007), the budget was much greater, and Rodriguez could afford to spend more on special affects (especially since both films were filmed predominately with green screen) and, thus, there was no need to cover for error.
Playing by his own rules or not at all, Robert Rodriguez has redefined what a filmmaker can or cannot do. Shunning Hollywood's ridiculously high budgets, multi-picture deals and the two most powerful unions for the sake of maintaining creative freedom are decisions that would (and have) cost many directors their careers. Rodriguez has turned these into his strengths, creating some of the most imaginative works the big-screen has ever seen.showrunner #2- Producer
- Writer
- Director
Robert Anthony Rodriguez was born and raised in San Antonio, Texas, USA, to Rebecca (Villegas), a nurse, and Cecilio G. Rodríguez, a salesman. His family is of Mexican descent.
Of all the people to be amazed by the images of John Carpenter's 1981 sci-fi parable, Escape from New York (1981), none were as captivated as the 12-year-old Rodriguez, who sat with his friends in a crowded cinema. Many people watch films and arrogantly proclaim "I can do that." This young man said something different: "I WILL do that. I'm gonna make movies." That day was the catalyst of his dream career. Born and raised in Texas, Robert was the middle child of a family that would include 10 children. While many a child would easily succumb to a Jan Brady sense of being lost in the shuffle, Robert always stood out as a very creative and very active young man. An artist by nature, he was very rarely seen sans pencil-in-hand doodling some abstract (yet astounding) dramatic feature on a piece of paper. His mother, not a fan of the "dreary" cinema of the 1970s, instills a sense of cinema in her children by taking them on weekly trips to San Antonio's famed Olmos Theatre movie house and treats them to a healthy dose of Hollywood's "Golden Age" wonders, from Sergio Leone to the silent classic of Charles Chaplin and Buster Keaton.
In a short amount of time, young Robert finds the family's old Super-8 film camera and makes his first films. The genres are unlimited: action, sci-fi, horror, drama, stop-motion animation. He uses props from around the house, settings from around town, and makes use of the largest cast and crew at his disposal: his family. At the end of the decade, his father, a salesman, brings home the latest home-made technological wonder: a VCR, and with it (as a gift from the manufacturer) a video camera. With this new equipment at his disposal, he makes movies his entire life. He screens the movies for friends, all of whom desperately want to star in the next one. He gains a reputation in the neighborhood as "the kid who makes movies". Rather than handing in term papers, he is allowed to hand in "term movies" because, as he himself explains, "[the teachers] knew I'd put more effort into a movie than I ever would into an essay." He starts his own comic strip, "Los Hooligans". His movies win every local film competition and festival. When low academic grades threaten to keep him out of UT Austin's renowned film department, he proves his worth the only way he knows how: he makes a movie. Three, in fact: trilogy of short movies called "Austin Stories" starring his siblings. It beats the entries of the school's top students and allows Robert to enter the program. After being accepted into the film department, Robert takes $400 of his own money to make his "biggest" film yet: a 16mm short comedy/fantasy called Bedhead (1991).
Pouring every idea and camera trick he knew into the short, it went on to win multiple awards. After meeting and marrying fellow Austin resident Elizabeth Avellan, Robert comes up with a crazy idea: he will sell his body to science in order to finance his first feature-length picture (a Mexican action adventure about a guitarist with no name looking for work but getting caught up in a shoot-'em-up adventure) that he will sell to the Spanish video market and use as an entry point to a lucrative Hollywood career. With his "guinea pig" money he raises a mere $7,000 and creates El Mariachi (1992). But rather than lingering in obscurity, the film finds its way to the Sundance film festival where it becomes an instant favorite, wins Robert a distribution deal with Columbia Pictures and turns him into an icon among would-be film-makers the world over. Not one to rest on his laurels, he immediately helms the straight-to-cable movie Roadracers (1994) and contributes a segment to the anthology comedy Four Rooms (1995) (his will be the most lauded segment).
His first "genuine" studio effort would soon have people referring to him as "John Woo from south-of-the-border". It is the "Mariachi" remake/sequel Desperado (1995). More lavish and action-packed than its own predecessor, the movie--while not a blockbuster hit--does decent business and launches the American film careers of Antonio Banderas as the guitarist-turned-gunslinger and Salma Hayek as his love interest (the two would star in several of his movies from then on). It also furthers the director's reputation of working on low budgets to create big results. In the year when movies like Batman Forever (1995) and GoldenEye (1995) were pushing budgets past the $100 million mark, Rodriguez brought in "Desperado" for just under $7 million. The film also featured a cameo by fellow indie film wunderkind, Quentin Tarantino. It would be the beginning of a long friendship between the two sprinkled with numerous collaborations. Most notable the Tarantino-penned vampire schlock-fest From Dusk Till Dawn (1996). The kitschy flick (about a pair of criminal brothers on the run from the Texas Rangers, only to find themselves in a vamp-infested Mexican bar) became an instant cult favorite and launched the lucrative film career of ER (1994) star George Clooney.
After a two-year break from directing (primarily to spend with his family, but also developing story ideas and declining Hollywood offers) he returned to "Dusk till Dawn" territory with the teen sci-fi/horror movie The Faculty (1998), written by Scream (1996) writer, Kevin Williamson. Although it's developed a small following of its own, it would prove to be Robert's least-successful film. Critics and fans alike took issue with the pedestrian script, the off-kilter casting and the flick's blatant over-commercialization (due to a marketing deal with clothing designer Tommy Hilfiger). After another three-year break, Rodriguez returned to make his most successful (and most unexpected) movie yet, based on his own segment from Four Rooms (1995). After a string of bloody, adult-oriented action fare, no one anticipated him to write and direct the colorful and creative Spy Kids (2001), a movie about a pair of prepubescent Latino sibs who discover that their lame parents (Antonio Banderas and Carla Gugino) are actually two of the world's greatest secret agents. The film was hit among both audiences and critics alike.
After quitting the Writers' Guild of America and being introduced to digital filmmaking by George Lucas, Robert immediately applied the creative, flexible (and cost-effective) technology to every one of his movies from then on, starting with an immediate sequel to his family friendly hit: Spy Kids 2: Island of Lost Dreams (2002) which was THEN immediately followed by the trilogy-capper Spy Kids 3: Game Over (2003). The latter would prove to be the most financially-lucrative of the series and employ the long-banished movie gimmick of 3-D with eye-popping results. Later the same year Rodriguez career came full circle when he completed the final entry of the story that made brought him to prominence: "El Mariachi". The last chapter, Once Upon a Time in Mexico (2003), would be his most direct homage to the Sergio Leone westerns he grew up on. With a cast boasting Antonio Banderas (returning as the gunslinging guitarist), Johnny Depp (as a corrupt CIA agent attempting to manipulate him), Salma Hayek, Mickey Rourke, Willem Dafoe and Eva Mendes, the film delivered even more of the Mexican shoot-'em-up spectacle than both of the previous films combined.
Now given his choice of movies to do next, Robert sought out famed comic book writer/artist Frank Miller, a man who had been very vocal of never letting his works be adapted for the screen. Even so, he was wholeheartedly convinced and elated when Rodriguez presented him with a plan to turn Miller's signature work into the film Sin City (2005). A collection of noir-ish tales set in a fictional, crime-ridden slum, the movie boasted the largest cast Rodriguez had worked with to that date. Saying he didn't want to mere "adapt" Miller's comics but "translate" them, Rodriguez' insistence that Miller co-direct the movie lead to Robert's resignation from the Director's Guild of America (and his subsequent dismissal from the film John Carter (2012) as a result). Many critics cited that Sin City was created as a pure film noir piece to adapt Miller's comics onto the screen. Co-directing with Frank Miller and bringing in Quentin Tarantino to guest-direct a scene allowed Rodriguez to again shock Hollywood with his talent.
In late 2007, Rodriguez again teamed up with his friend Tarantino to create the double feature Grindhouse (2007). Rodriguez's offering, Planet Terror (2007), was a film made to be "hardcore, extreme, sex-fueled, action-packed." Rodriguez flirts with his passion to make a showy film exploiting all of his experience to make an extremely entertaining thrill ride. The film is encompassed around Cherry (Rose McGowan), a reluctant go-go dancer who is found wanting when she meets her ex-lover El Wray (played by Freddy Rodríguez) who turns up at a local BBQ grill. They then, after a turn of events, find themselves fending off brain-eating zombies whilst trying to flee to Mexico (here we go off to Mexico again). Apart from directing, Rodriguez also involves himself in camera work, editing and composing music for his movies' sound tracks (he composed Planet Terror's main theme). He also shoots a lot of his own action scenes to get a direct idea from his eye as the director into the film. In El Mariachi (1992), Rodriguez spent hours in front of a pay-to-use, computer editing his film. This allowed him to capture the ideal footage exactly as he wanted it. Away from the filming aspect of Hollywood, Rodriguez is an expert chef who cooks gourmet meals for the cast and crew. Rodriguez is also known for his ability to turn a low-budgeted film with a small crew into an example of film mastery. El mariachi was "the movie made on seven grand" and still managed to rank as one of Rodriguez' best films (receiving a rating of 92% on the Rotten Tomatoes film review site).
Because Rodriguez is involved so deeply in his films, he is able to capture what he wants first time, which saves both time and money. Rodriguez's films share some similar threads and ideas, whilst also having differences. In El Mariachi (1992), he uses a hand-held camera. He made this decision for several reasons. First, he couldn't afford a tripod and secondly, he wanted to make the audience more aware of the action. In the action sequences he is given more mobility with a hand-held camera and also allows for distortion of the unprofessional action sequences (because the cost of all special effects in the film totaled $600). However, in Sin City (2005) and Planet Terror (2007), the budget was much greater, and Rodriguez could afford to spend more on special affects (especially since both films were filmed predominately with green screen) and, thus, there was no need to cover for error.
Playing by his own rules or not at all, Robert Rodriguez has redefined what a filmmaker can or cannot do. Shunning Hollywood's ridiculously high budgets, multi-picture deals and the two most powerful unions for the sake of maintaining creative freedom are decisions that would (and have) cost many directors their careers. Rodriguez has turned these into his strengths, creating some of the most imaginative works the big-screen has ever seen.creator #1- Writer
- Cinematographer
- Camera and Electrical Department
Marcel Rodriguez was born on 3 August 1974 in San Antonio, Texas, USA. He is a writer and cinematographer, known for The Adventures of Sharkboy and Lavagirl 3-D (2005), Spy Kids (2001) and Machete Kills (2013).creator #2