T: With The Hobbit being such an epic, will you approach it differently from work you've done with Del Toro in the past?
GN: We are creating parallel realities and putting together visuals and story-telling aspects that are not done elsewhere. It's not like we can find them elsewhere and then bring them in, there's a whole genesis of that in the relationship. So, it will be a complete banquet to deal with The Hobbit in that sense.
T: Out of all the films you've done, which bares your trademark the most clearly?
GN: To the contrary, I don't see myself as having a trademark. I feel that I contribute with a film language that fits what the story requires. I've done movies that go from Jackie Brown to Stuart Little to Pan's Labyrinth, and every movie is completely different from one another. So, in that sense I've done many that are so different that it's hard to define which one is...I have many favorite ones.
T: Other than working with Del Toro, you've been cinematographer on Stuart Little, Zathura, and Night At the Museum. You seem to be a go-to guy for movies that are big visually.
GN: I don't know if I'm the go-to guy for that. But I started acquiring a lot of experience doing visual effects. And I think it has to do with a capacity for dealing with alternate realities and things...to re-create and create, not just capture. So, there's a whole know-how in this position to come up with new stuff.