When making 'Machete', I wanted to pay tribute to the character I never got to create, and the trailer we shot was a fun way to finally bring that idea to life. People kept asking for the 'Machete' movie for five years, even though it wasn't real at first, and we finally made it because the demand was so high.

Lady Gaga expressed interest in acting after seeing 'Machete', and I was able to cast her in a sequel because I could shoot her scenes quickly.

I shot 'El Mariachi' on a 16mm camera without knowing how to use it, relying on phone calls for guidance.

I shot 'El Mariachi' in one take to save costs, expecting that some parts might not come out, but I was willing to reshoot if necessary.

I made Bedhead, an award-winning short film, using a windup camera, which opened my mind to making a feature film for $8,000, leading to El Mariachi.

I realized I could use reverse photography and stop motion to create special effects that enhanced the story.

While editing Desperado, I was also working on From Dusk Till Dawn, cutting both movies simultaneously, which was a hectic but rewarding experience.

Movies like 'Predator' are hybrids, combining sci-fi and action, but sometimes it's hard for the audience to know what they're buying into based on trailers.

For the opening scene of From Dusk Till Dawn, I wanted George Clooney and Quentin Tarantino to walk out of a gas station while the whole place blew up, all in one take.