I love applying technology to how I work. I think people will be really thrilled by the advances that have happened, with all of the effects.Īs an independent filmmaker, how important is technology to how you’re doing your TV show? What are you doing differently with TV, as opposed to film? I was really captivated, and I was the one holding the camera. And the make-up from KNB and Greg Nicotero, who does The Walking Dead, is just technology different than in the old days. We got to really dive into the mythology of these vampires that we’re creating here, and they have some unique differences to what was there before. RODRIGUEZ: They will be, but it’s a lot different than you expect. When we finally get to encounter the vampires, are they going to be nasty vampires? It’s a little nerve-wracking, at first, because you start casting it and it’s going so perfectly that you don’t want to drop the ball with one character. I think things just unfold the way they’re supposed to. To fill the shoes of Salma Hayek, we saw probably 50 or 60 girls until we found her, and she couldn’t be more perfect. We got a really fantastic cast to rival the original. We got Wilmer Valderrama, who is just bonkers awesome in this, to take the Cheech Marin role. Robert Patrick is great for Harvey Keitel’s character. Once we had him and Don Johnson secured, playing Earl McGraw, the rest was easy. That’s what drew a lot of our cast, as well was just getting the chance to play Quentin Tarantino characters in a television series, which has never been done before. Quentin writes the best characters, so to take those characters and expand on them and see where else they could have gone or come from, was really, really exciting and fun to work with. So, the challenge was really finding a new writing team, and me writing the original script to the first episode to show how it would be expanded, so that they could emulate that style for other episodes. And now, years and years later, when I have the El Rey Network, I thought that would be a great first show to do that would be a known title to lead people to the network and show them what the network was about, but also give a chance to re-explore some of those ideas that I had researched, way back in the first film, and expand Quentin’s story to include new characters, new trajectories and new storylines for the original characters, and really build that mythology up more with the Santanico cult, so that we could follow that in more seasons, later on. So, I always thought that was a cool idea that we didn’t get to explore further in the film because it just wasn’t written that way, but I left it there, just to tickle people’s imagination about what it could be. Have there been any special challenges, in taking this cult classic film and adapting it to be a TV show? And was there anything you were looking to do in the TV format that you haven’t been able to do in film? It was a once in a lifetime opportunity to be able to own your television network and create it from the ground up to be different from anything that Hollywood was doing. So for that reason, I really jumped at doing it. That’s a huge difference between being just a filmmaker, and being someone who has a network to be able to communicate to your audience directly without any interference. But, what if you owned your own distribution channel? That would give you a lot of freedom to be able to allow a lot more voices and filmmakers to come and tell stories directly to their audience because you’d have a direct pipeline to that audience. You have to go through a distributor, like a network or a movie distributor, to get people to see your product. As a filmmaker, even if you make TV, you’re only a content provider.
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