There were a handful of filmmakers that I was obsessed with as a teenager in the mid ‘90s – Sam Raimi, John Woo, Quentin Tarantino, Kevin Smith, Kevin Williamson and Robert Rodriguez. Rodriguez, who made “El Mariachi” for $7,000, gave me hope that I too could make a movie that’d launch me to Sundance and beyond. (I didn’t.) He followed this up with the one-two punch of “Desperado” (a $7 million reimagining/sequel of “El Mariachi”) and the Tarantino-scribed “From Dusk Till Dawn.” These two flicks blew my mind when I saw them theatrically at the ages of 13 and 14 respectively. I was young enough that I probably shouldn’t have been seeing these movies and yet they were perfectly suited to my early adolescent sensibilities. A few years later Rodriguez collaborated with Williamson on “The Faculty,” a movie that not only made Josh Hartnett and his self-inflicted haircut seem cool but extolled the virtues of drugs to such an extent that they saved the world.
We Can Be Heroes
We Can Be Heroes
We Can Be Heroes
There were a handful of filmmakers that I was obsessed with as a teenager in the mid ‘90s – Sam Raimi, John Woo, Quentin Tarantino, Kevin Smith, Kevin Williamson and Robert Rodriguez. Rodriguez, who made “El Mariachi” for $7,000, gave me hope that I too could make a movie that’d launch me to Sundance and beyond. (I didn’t.) He followed this up with the one-two punch of “Desperado” (a $7 million reimagining/sequel of “El Mariachi”) and the Tarantino-scribed “From Dusk Till Dawn.” These two flicks blew my mind when I saw them theatrically at the ages of 13 and 14 respectively. I was young enough that I probably shouldn’t have been seeing these movies and yet they were perfectly suited to my early adolescent sensibilities. A few years later Rodriguez collaborated with Williamson on “The Faculty,” a movie that not only made Josh Hartnett and his self-inflicted haircut seem cool but extolled the virtues of drugs to such an extent that they saved the world.