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“I happened to be reading my book again, and that chapter where I was a human lab rat,” Rodriguez says. So for my mind he goes there and he never gets out.” And when Cheech says, ‘Seth, it’s time to go,’ it’s like he’s beckoning him to go to Hell. So when she asks to go with him and he says, ‘Do you know El Rey is? Do you know where I’m going?’ It means you don’t want to go there. You get there and you never can leave it’s like Hotel California. But I remembered at the very end why I had Cheech show up three times, because he kind of plays the Devil, and El Rey is known for being in the Jim Thompson book as this place where criminals go, but it’s kind of like Hell. We didn’t realize it was like that the whole movie.’ They really enjoyed it, and I hadn’t seen it on the big screen in a long time, in a long time. And they’re like, ‘Oh my God, we knew the scenes people always talk about. “They hadn’t seen it yet and we just watched it like two days ago. “I just watched it with my kids,” Rodriguez recalls.
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Given El Rey-a name Rodriguez got out of Jim Thompson’s The Getaway novel from 1958-is what the filmmaker named his TV network after, we were curious of how he views the original Seth’s fate after leaving the bloodsuckers behind.
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Seth’s headed to a town called El Rey with a crime boss played by Cheech Marin, and he wants to get there solo. This is the 1996 cult classic that starred George Clooney and Quentin Tarantino (who also wrote the script) as a pair of small-time criminals turned big-time vampire slayers when their strip club south of the border is discovered to be a nest for the Undead.Īs we’ve always been curious about what Rodriguez’s exact thoughts were on that film’s ending, it was a good time to bring up the final moments where Clooney’s Seth Gecko get into a car, leaving the newly orphaned Kate (Juliette Lewis) to fend for herself.
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In this vein, he and his children just watched From Dusk Till Dawn for the first-time together-and not the TV series either.
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Thus his trip was one practically across the street when he begins to reflect on the making Red 11, a new thriller intrinsically linked to his first film El Mariachi, plus those early days that’ve become something akin to filmmaking legend. Whereas most other filmmakers descend onto Austin in early March for a whirlwind of press and festivities, Rodriguez lives here and will remain long after the banners come down. When Robert Rodriguez comes by our studio during SXSW, he’s maybe a little nostalgic.