Guillermo is extremely fond of Del Toro, his namesake, and for an edgy cinematographer with all sorts of cutting-edge prospects, seems almost inordinately excited about a comic book adaptation. "I'm thrilled about Hellboy 2. The whole point of shooting a comic book film is to try and match the visuals of the comic, be loyal to the fans and give them a visual rush." It's true, Hellboy was spectacular in terms of comic-book faithfulness.
That loyalty, however, has been stretched to the very limit by directors like Rodriguez with his critically-acclaimed Sin City. "Sure, but it was a badly shot film," shrugs Navarro. "There wasn't any real shooting involved. I think they did exceptional compositing work, but the cinematography wasn't anything special." Navarro, who shot From Dusk Till Dawn and Spy Kids seems disenchanted by the cult director.
And his mentor. "Quentin was great when I worked with him," says the man who shot Tarantino's underrated Jackie Brown and merits a special thanks on the Kill Bill Vol 2 credits, "but we hardly talk anymore." That's probably because you are both so unbelievably busy, I offer, feebly attempting to placate. "No," Guillermo smiles. "He's changed. He's become quite insufferable today. They both have, actually."
Okay, so it's safe to assume Navarro isn't queuing up to watch QT and RR's double feature Grindhouse this summer.
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