Really, children will support anything that is empowering to them.
The studios don't finance anymore, they get outside funds.
Creative people are notoriously the slowest to adopt new technology.
What I love about new technology is that it really pushes the art. It really pushes it in a way that you can't imagine until you come up with the idea. It's idea-based. You can do anything.
I get a lot done considering I spend half my day sleeping.
The only thing I ever wanted to do is never have to work a day in my life.
I wish I could freeze time or go back in time and watch my kids grow up all over again because it is just going by too fast.
For me, Mexploitation seemed like something that should have existed, but didn't.
Sometimes I feel like I'm in a dream world, because it doesn't always seem too logical how things work out.
I like to keep my budgets at a certain price when I work for someone else, and even more so now that I'm working for myself, and use new technologies to deliver films that look like they have high production levels.
Television series always have a lot of characters because you want people to identify with someone on the show, who will be your eyes.
I always wanted to be a stay-at-home dad making art, making movies.
When you use the same actors a lot, you get to know them and you realize that one movie can't explore all the talent that they have. You really have to give them several different kinds of roles, in completely different movies, to push them and to push yourself.
We [Rodriguez and Frank Miller] wanted to take the movies and turn them into a graphic novel, so that people wouldn't even know what they were looking at. It's still visual storytelling, but it's approached completely different. The two mediums don't have to be separate mediums. They can be one and the same.
There are real issues going on in just about any movie that's got fun elements to it.
Don't give me any money, don't give me any people, but give freedom, and I'll give you a movie that looks gigantic.
It's easier making a smaller film like El Mariachi. There are no budget worries because there is no budget. There is no crew problem because there is no crew. And if you screw up, no one is around to see you screw up -- so it's no longer a screw up.
Make DV movies so you can learn how to make films, but don't try to distribute them until they are fantastic.
Exploitation films were famous for taking an issue an exploiting it because they could move much faster than a studio could. If there was any hot topic, they would run out and make a quick movie and make a buck on it, by changing it around and using it, in some way, to give some relevance.
I do like strong women in my movies. I have five sisters, so I've just grown up with that model.
I was a cartoonist when I was at university, but I decided to go into movie making knowing that I could still draw by doing movies, design work, story boards, and such.
When you go off in the world and make your life, and you come back to your home town, and you find your old high-school friends driving in the same circles, doing the same things, that's what Hollywood's like. It's a little block, little town. It doesn't really grow or change.
If you do a film with a studio, agents step in, they start saying, 'My actor has to get this amount of money', and it becomes about deals.
Very few people have a lot of time to dedicate to one hobby. I was fortunate to have started so young, because when you're young you have nothing but time. Hours and hours to burn up on something as silly as a movie.
Everyone applauds each other's success in Hollywood because they know how tough it is, but it really comes down fundamentally to the process.
