Feeling the Rush with Michelle Rodriguez
Michelle Rodriguez is that rare combination of beauty, brains, and brawn that Hollywood can’t help but exploit. Since bursting onto the indie film circuit in 2000, as the lead in the award-winning Girlfight, Michelle’s ability to play authentically tough, yet smart and sexy characters has kept her busy. Although her film credits now include studio blockbusters such as Avatar and Fast and Furious, the forthright actor is still enthusiastic about bringing her talents to indie flix such as Robert Rodriguez’s recently released Machete.
IFQ: What drew you to accepting the role of Luz in Machete?
Michelle Rodriguez: Two reasons. I knew it was about time to explore a little bit more of the sexy side of things since I’ve been so focused on the warrior-princess-kick-ass-take-names aspect of action filmmaking. The second reason is, I liked the venue/format of communication used for such a relevant topics as race wars, border patrols, and the American-Mexican politics of it all. I believe exploitation has always had a similar level of potential to penetrate unbeknownst markets with original, and sometimes very relevant, content through the use of translation into comedic, or in this case, exploitative content.
IFQ: When preparing for the role, did you channel or draw on any historical or political revolutionaries?
MR: Not Really.
IFQ: Hypothetically speaking…
MR: If I did, it would have been a smart, intelligent millionaire revolutionary—like a mixture of Jane Goodall meets Jane Fonda meets Hillary Clinton, with a hint of Angelina Jolie attitude for my hero inspiration.
IFQ: Which of your own qualities did you bring to the table in this particular role, if any?
MR: I just pretended that the immigrants Luz cared for so much were really children and animals. It’s what I have to do to actually care about the lives of people, in this very desensitizing generation I’m surrounded by, on a daily basis. I have a heart for old people, too. It helps my character a lot to empathize, and I have a hard time empathizing with most people.
I like the wisdom and fragility I find in older people in their 70s and 80s. In children, I love the playfulness, the open-minded, clean mind. In animals, I empathize with their innate connection to the planet. I replaced the immigrants with these images so you can sense some empathy from me. Otherwise, it’s hard for me to care or project any sense of caring.
IFQ: What was your initial reaction when you first read the script?
MR: Wow! Count me in Robert, you genius you! This exaggerated exclamation, from both sides of the border, is going to reach the types of people who never watch a documentary on the subject! Interesting! No nudity, no death, and no sex for me? Let’s go kick some ass!
IFQ: While shooting, did Robert make everyone stick to the script, or was there any room to improvise?
MR: I believe the script had some very awesome, almost mandatory, classic one-liners that one could not, or would want to deviate from acting out. Otherwise, I believe the script served as a basic map or skeletal structure to the final product ’cause I did find ample room to play at Troublemaker Studios while playing Luz/ She.
IFQ: Were you previously familiar with the B/grindhouse/exploitation films that Robert is a fan of?
MR: I was well aware of the pop culture versions of exploitation films through both Robert and Quentin’s work in the past. But, I find that both Robert and Quentin translate all the exploitation into pop culture’s Rated R, taking their versions of exploitation filmmaking out of the B-class altogether. I love that about their work; the envelope is pushed to its very limit every time in this genre for them. John Waters and Frankie Latina are the extent of my experience exploring the exploitation B-film genre.
IFQ: Did you research before shooting?
MR: I never researched anything other than how to make tacos specifically for Machete. It’s the only thing Robert suggested I study.
IFQ: How was your experience working with Robert, and your impression of him on set?
MR: Cool cat. Really quiet, to the point. Quick, professional, spontaneously creative, and innovative.
IFQ: What was it like working alongside such a diverse cast: Danny Trejo, Jessica Alba, Don Johnson, Steven Seagal and Robert De Niro?
MR: I worked with Trejo—amazing, clean soul. Sweet, sincere. Wasn’t expecting him to be so damn cool ’cause, in most of his films with the exception of Spy Kids which I saw for the first time recently, he seems to be a pretty mean guy. Not true at all—for people he gets along with anyway! Jessica Alba—an awesome woman. Lots of respect for her. She’s a tough cookie, sticks to her guns. Her kid is an angel. Worked with Don Johnson. Gosh, he looks great after all these years! Big flirt, but nice guy.
I didn’t work with Steven Seagal, but he’s a really cool and intimidating tall man to say the least. Daryl Sabara from Spy Kids has become a good friend of mine through Machete. The kid’s way older in his mentality than his 18 years of age gives off at first sight. He plays guitar. We jam out ’cause we both love music so much. Real curious about life, that one. That’s about it. I was working on two films at the same time, so I didn’t have an opportunity to do my scene with De Niro, my acting hero, ’cause I was in Louisiana shooting Battle: Los Angeles. [Frowns.]
IFQ: What are your thoughts on how the film turned out when you finally saw it completed?
MR: I thought the film was overall amazing—unseen before. Fresh. A very adult, cult-classic and off-the-top. I believed it would sell really well in the underground circuit and within the massive Latin community. At the end of the day, I see a political POV translated into the most powerful underground language known to man, for its underground reach across the world. Sad, but true: sex and violence. The highest grossing business is sex and war. If I had a message of love, and I wanted to preach it to those guys who make war and sex so powerful, I would translate my message of love or peace into an exploitation film [Smiles.] The dichotomy we live in.
IFQ: Since Machete deals with immigration, what’s your stance on Arizona’s controversial law?
MR: I feel immigration is a problem not only for the place being penetrated, but its neighboring countries and continents. Governments should accurately start thinking globally when tackling citizenship overall because it’s the smartest way to start tackling economy, population control, and education. I think all governments need to think about the plus in having a loyal, low-maintenance, blue-collar refugee work force to relocate to various developing countries that are in need of such services instead of overwhelmed by the abundance of blue-collar citizens.
For me, a perfect example of such a small case was in Vancouver, Canada. Four years ago, they seemed to be in massive need of blue-collar labor as they announced it on the news for almost three months straight while I was working on Battle in Seattle. The government was speaking of importing farm hands from Mexico to fill the void in the blue-collar work force there.
IFQ: In your upcoming film, Battle: Los Angeles, what can we expect from you and the film itself?
MR: Expect a lot of shooting, lots of first-man shooter angles. Expect a rush. Expect to feel like you’re with the soldiers as an evacuated Los Angeles is invaded by alien creatures. Black Hawk Down meets District Nine meets the video game, Modern Warfare.
IFQ: You are known for your tough action roles. Which role was the most challenging to date and why?
MR: Girlfight ’cause I had to really dig into the acting aspects of things for the first time.
IFQ: Since most of your films are action driven, do you ever feel an adrenaline rush while shooting your films?
MR: I feel my adrenaline rush in every action scene. Love it.
IFQ: Off-screen, what gets your adrenaline flowing?
MR: Fast cars, flying out of planes, and shooting guns at the range.
IFQ: If given the chance, what type of role would you like to tackle next?
MR: I’ve never had a director challenge me as an actress, really. I’m always hired to do what I’ve proven already that I can do. I’d like to meet the kick-ass director who understands the potential and brings that out, without me having to sacrifice my integrity to tell a heartfelt story. I believe that day will come soon.
Also, I’d like to balance out the masculine with a sexier femininity. It’s a delicate alchemical balance between the man in a woman, and the woman in a woman. I think I may have to write it ’cause when I mention it, you should see the looks I get from people. [Laughs.] Funny stuff.
IFQ: Have you ever thought about directing and/or screenwriting?
MR: That’s what I got into the business ten years ago to do, to become a writer. I’m doing it now, all about it.
IFQ: Avatar was a big breakthrough in the history of film. In what ways do you think that film helped propel your career?
MR: Avatar helped me in so many ways ’cause it’s not every day you come across leader mentality like James Cameron in this business. Most men put on a massive leader front, but they are mostly chart and graph followers. When a leader with clout comes along and says, “Hey, I want you on my team,” people follow. Why? ’Cause most people don’t have the eyes to see potential, or the balls, to go against a system of polls and opinions. Most guys in production base their entire careers on these oracle tactics. I’m glad there are people out there who can see potential in uncharted territory, or against all odds. It’s the attitude that I believe will change the business back into an art form. Anarchal capitalism. [Smiles.]
IFQ: Aside from acting, you’ve been spotted DJing at some parties in LA, and at our mutual friend Oscar Generale’s party in Cannes. Who are your musical influences? What are you listening to at the moment?
MR: I love music! Can’t live without it. My biggest musical influences are from the past: Elvis, Nina Simone, Iggy Pop, Led Zeppelin, Rolling Stones, etc… I love House, Guetta, Dead Mouse (Deadmau5), Erick Morillo…
IFQ: Do you have any projects on the horizon?
MR: I’m going to silence myself ‘til my actions answer that question. It’s better that way, right?