The main characters of the epic, known as the Hero Twins, encounter Camazotz in the House of Bats, a section of the Maya underworld, Xibalba. The Camazotz is a bat deity associated with night and death, and one of the antagonists in the central sacred history text of the Maya, the Popol Vuh. The Titty Twister could also be one of the crossroads, but Maya mythology presents another inspiration for the film. Santanico Pandemonium (Salma Hayek) certainly resembles one of these malevolent deities, especially considering her tactic of luring lascivious truckers to their demise. On five specific days of the Aztec calendar, they traveled down to the earthly realm at supernatural crossroads to hunt children and seduce men. These pale-skinned "Divine Women", as the name roughly translates to, usually escorted the sun as it made its journey to dusk. Aztec mythology tells of the Cihuateteo-angry, undead spirits of women who died in childbirth-compared to warrior men who had died in battle. There is a rich well of Mesoamerican tradition that Rodriguez was most likely thinking of when imagining the ancient history of the monsters. In an interview with Creative Screenwritingmagazine, he lamented that, despite the fact that " Mexico is such a vampire-rich culture," there has never been a movie about Mayan and Aztec bloodsuckers. This backstory seemed to be one of Rodriguez's primary areas of interest regarding the original film, but because Tarantino's script didn't specify the exact origins of the vampires, the director never got to fully explore the creatures' Mesoamerican roots. Related: "This Is A Tasty Burger!": Every Big Kahuna Burger Appearance In Tarantino's Moviesįrom Dusk Till Dawn: The Series , created and developed by Rodriguez for his El Rey Network on television, was a golden opportunity to expand on the Aztec and Mayan mythologies of the vampires. The filmmaker hung the painting on his wall for eighteen years until he finally got an opportunity to return to that imposing pyramid. Even though Quentin Tarantino wrote the script for From Dusk Till Dawn, the matte shot of the Aztec temple at the end was Rodriguez's idea, no doubt in an attempt to connect the film's vampires to a Mesoamerican identity rather than the traditional European image. As one of the genre world's preeminent Mexican-American filmmakers, Robert Rodriguez is known for creatively incorporating his Latino background into his work.
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