Rebel without a crew by Robert Rodriguez

Author:Robert Rodriguez,
Language: eng
Format: azw3, mobi
Tags: Rodriguez, 1968-, Robert (Robert Anthony), Mariachi (Motion picture), Motion picture producers and directors
Publisher: New York Plume
Published: 1995-03-14T18:30:00+00:00

Columbia Pictures 121

I met Michael Nathanson and then Mark Canton, who told me that he saw Mariachi finally, and can happily say he is in agreement with everyone else that was raving about it. He mentioned that this doesn't always happen. He likes stuff they don't, and vice versa. He told me that he hadn't been this excited about new talent since he saw Tim Burton's first film Frankenweenie and gave him Pee Wee's Big Adventure to do. He made a few suggestions about the Mariachi remake and told me he thinks that the remake should definitely be my first film project there at Columbia because it's such "a great fucking story." The guitar player, the guns in the case ... all that, he told me.

He asked Stephanie if I had received the Columbia leather jacket yet, and she said no. He told her to send me one quick! He also told Nathanson to get right on securing the rights for the original Mariachi. Since we're remaking it, they want to control the rights on the original. He asked me if I sold the distribution rights to the Spanish video market. I told him I hadn't. I had come close to selling it, but that I still controlled all the rights. He said the last thing they want is to spend five or six million remaking El Mariachi and then have the original pop up on videotape somewhere.

He also said that he's getting a copy to Peter Guber to watch this weekend. Steph said that Canton called her on the car phone to tell her he was really psyched.

Friday, April 24, 1992

Richard Lewis and I talked about the story, about crew choices, about the logistics, etc. He told me that he's going to make sure Columbia sends me a PowerBook so I can get started on the writing.

At Columbia I met with Sid Ganis. He is head of marketing and told me the thing he loved the most was the editing in Mariachi. "Who did the editing, was it you?" I nodded, and told him that if he looks at the credits real close, he'd notice that my name creeps up quite a bit. I stuffed the credits with a bunch of made-up names in an effort to disguise the fact that we didn't have a crew. We were afraid that if the Spanish

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