بیوگرافی Robert Rodriguez:
Robert Rodriguez کارگردان سینما و تلویزیون است. وی سال 1347 چشم به جهان گشود. از مهمترین آثار Robert Rodriguez میتوان به کارگردانی فیلم روزی روزگاری در مکزیک، فیلم ماچت و فیلم دسپرادو اشاره کرد.
Robert Rodriguez کار حرفهای خود را از سینما آغاز کرد و سال 1371 در 24 سالگی در فیلم نوازنده دوره گرد به عنوان کارگردان فعالیت داشته است. گرچه موفقیت این اثر نسبت به آثار شاخص بعدیش مانند فیلم روزی روزگاری در مکزیک، بیشتر نبود اما تجربه خوبی برای Robert Rodriguez محسوب میشود و همکاری با هنرمندانی همچون Carlos Gallardo، Consuelo Gómez، Jaime de Hoyos و Peter Marquardt را تجربه کرد.
Robert Rodriguez در سال 1382 دورهی پرتلاشی را در عرصه سینما و تلویزیون گذراند و در تولید آثار مهمی حضور داشته است. او در این سال در 2 فیلم مهم سینما حضور داشت و خود را به جامعه هنرمندان معرفی کرد. آثار مهم Robert Rodriguez در این سال، فعالیت در فیلم بچه های جاسوس ۳: بازی باخته به عنوان کارگردان و فعالیت در فیلم روزی روزگاری در مکزیک به عنوان کارگردان محسوب میشود.
شاید یکی از مهمترین بخشهای بیوگرافی Robert Rodriguez فعالیت در فیلم روزی روزگاری در مکزیک بوده است. Robert Rodriguez سال 1382 در 35 سالگی فیلم روزی روزگاری در مکزیک را کارگردانی کرد که توانست خود را میان اهالی فضای سینما مطرح کند. از Robert Rodriguez نقل قول شده است که برای کارگردانی در فیلم روزی روزگاری در مکزیک و همکاریش با عوامل و بازیگران اعلام رضایت کرده است. Robert Rodriguez توانست با فعالیت در فیلم روزی روزگاری در مکزیک تجربه حرفهای موفقی برای خود رقم بزند و همکاری در کنار بازیگرانی نظیر آنتونیو باندراس، Salma Hayek، جانی دپ و میکی رورک توانست سطح کاری او را متحول کند.
Robert Rodriguez علاوهبر فیلم روزی روزگاری در مکزیک، سال 1389 در 42 سالگی فیلم ماچت را کارگردانی کرده است. Robert Rodriguez اینبار با هنرمندانی چون دنی ترجو، Michelle Rodriguez، رابرت دنیرو و جسیکا آلبا همکاری داشت.
با اینکه Robert Rodriguez را بیشتر بعنوان کارگردان میشناسیم، اما در حرفههای دیگر نیز فعال بوده است. Robert Rodriguez علاوهبر کارگردان بهعنوان نویسنده نیز در سینما و تلویزیون فعالیت داشته است. مهمترین آثار Robert Rodriguez در حرفهی نویسنده، فیلم ماچته می کشد، فیلم Spy Kids: All the Time in the World in 4D، فیلم ماچت، فیلم Shorts، فیلم سیاره ترور، فیلم گرایندهاوس، فیلم پسر کوسه ای، دختر گدازه ای، فیلم بچه های جاسوس ۳: بازی باخته، فیلم روزی روزگاری در مکزیک، فیلم بچه های جاسوس 2: جزیره رویاهای گمشده، فیلم بچه های جاسوس، فیلم دسپرادو و فیلم نوازنده دوره گرد است.
در مجموع در کارنامه 50 ساله و بیوگرافی Robert Rodriguez آثار مهمی وجود دارد. اگر میخواهید با بیوگرافی Robert Rodriguez و زندگی حرفهای و آثار او بیشتر آشنا شوید، حتما به صفحه هر یک از آثار Robert Rodriguez در منظوم سر بزنید. همه 17 اثر مهم Robert Rodriguez در منظوم یک پروفایل اختصاصی دارند که اطلاعات کامل معرفی آنها تهیه شده است. امتیازی که هر یک از آثار Robert Rodriguez در منظوم دارند، نمره و امتیازی است که مردم از یک تا ده به آنها دادهاند. در واقع هر چقدر Robert Rodriguez در آثار ارزشمندتری فعالیت کرده باشد، توانسته نمرهی بیشتری از سوی مردم بگیرد، در نتیجه سوابق کاری و بیوگرافی Robert Rodriguez درخشانتر خواهد شد. مثلا اثری که در بیوگرافی Robert Rodriguez بیشترین امتیاز را از مردم گرفته است، فیلم روزی روزگاری در مکزیک محسوب میشود و اثری که در بیوگرافی Robert Rodriguez کمترین امتیاز را گرفته است، فیلم نوازنده دوره گرد محسوب میشود.
اگر در مورد بیوگرافی Robert Rodriguez نکات بیشتری میدانید حتما برای ما ارسال کنید تا کمکی بزرگ به همه مخاطبان و طرفداران Robert Rodriguez کرده باشید. مثلا اگر اطلاعاتی دقیقتر در مورد بیوگرافی Robert Rodriguez، آثار Robert Rodriguez، جوایز Robert Rodriguez، همکاران Robert Rodriguez، گالری عکس Robert Rodriguez، قد Robert Rodriguez، وزن Robert Rodriguez، رنگ چشم Robert Rodriguez، وضعیت تأهل و همسر Robert Rodriguez، فرزندان Robert Rodriguez، حواشی Robert Rodriguez و کودکی Robert Rodriguez میدانید حتما برای ما ارسال کنید.
بیوگرافی / زندگینامه Robert Rodriguez
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." The young man in question is Robert Rodriguez and this 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 neighbourhood 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 programme. 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 favourite, 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 single-handedly 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 favourite 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 colourful 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-D: 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 (2005) was created as a pure film noir piece to adapt Miller's comics onto the screen. Co-directing with Frank Miller and 'Quentin Tarantino' (who guest-directed in That Yellow Bastard) allowed Rodriquez to again shock Hollywood with his talent.In late 2007, Rodriquez again teamed up with his friend Tarantino to create the double-episode film, The Grindhouse featuring Rodriquez's offering of Planet Terror (2007). Planet Terror (2007) was a film shot in the specific genre of "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, Rodriquez also involves himself in camera work, editing and composing music for his movies sound tracks (he composed the Planet Terror (2007) 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), Rodriquez 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. Rodriquez is also known for his ability to turn a low-budgeted film with a small crew into an example of film mastery. El mariachi (1992) 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 Rodriquez 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 Rodriquez 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 is and is not for a film-maker to 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.
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