Director of Photography Guillermo Navarro has shot nearly every one of Guillermo del Toro’s films, at least the important ones (“Mimic” and “Blade II” are distinct outliers) and for a cinematographer so closely associated with a master of effects-driven cinema, the upcoming “Pacific Rim” marks a noteworthy departure: It’s Navarro’s first digital movie.
“I’ve been holding onto film as long as I can,” said Navarro who, like Del Toro, is a native of Mexico and has been working with the “Pan’s Labyrinth” director and creature-wrangler since 1993’s revelatory “Cronos.” He took home the Oscar for “Pan’s Labyrinth.”
Navarro backed into his change in format: “Pacific Rim” was originally supposed to be shot in 3-D — not transferred in post production, as happened — so all of the cinematographer’s research and planning were in the digital realm, which he’s not quite cottoned to. There’s a potential lack of control in a medium “where everyone can tweak and change what you’re doing,” he said. So a DP has to stay on top of things, to make sure that what he brings to a picture — in Navarro’s case, a rarely matched elegance-amid-sensory-chaos – is properly maintained.
But there’s also, he said, far more collaboration between departments on a film like “Pacific Rim”–not that there are many films like this futuristic story about a time when rampaging monsters rise from the seas, destroy global cities, and are only beaten back by enormous robots, piloted by the tag-team melding of human minds. (It’ll be clearer when you see it.)
Navarro said the enormous scope of the movie and its overload of stimuli meant the art departments, production designers, et al., had to be even more in synch than usual. “All those elements connect with each other and then come the rain, steam, sparks, fog, lightning, maybe snow falling, etc., etc., and sometimes we hit the nail and sometimes we don’t, but that is a privilege: We like to imagine things and see them and recreate them and give them to everybody.”
He pointed out that he and Del Toro never make a movie in the present: They are always in an imagined past or future, but the goal, regardless of the visual magic, is to make audiences believe.