T: The movies you've been working on have more and more green screen shots. How do you deal with that as a cinematographer?
GN: It has to do with the conceptual aspect of understanding how your characters are interacting with things that are not actually there, and how you can place them and make them belong to that reality. For that you have to have interactive ingredients that will allow them to ground themselves in that (reality). It has many layers. It really comes down to understanding what the ultimate image that you are trying to come up with, and then for all the rest of the crew to understand all the layers that are required to get there. Then, it is just really a matter of making the actors belong to that.
T: On a film like Hellboy II I imagine there is a lot of green screen work. Is there any tricks or recipes you use for green screen shooting?
GN: There's no tricks or recipes. You're dealing with images that nobody has seen before, so there's no trick to it. It's really understanding what your doing. There's not a recipe for it either. It's a little more abstract than making an omelet.
T: Are you looking to direct something anytime soon?
GN: I have. I'm just trying to look for the right story for me to deal with. But yeah, I've been considering that.
T: What advice do you have for those trying to break into the movie industry as cinematographers?
GN: Prepare yourself. It is an absolute privilege to be in this position and by the time you get to be in this position you have to be completely in control of what you're doing. The technical knowledge has to be at your hand as a tool, not the driving force. The driving force has to be the story-telling and the creative aspect to it, and then use the tools to achieve it. But for that you have to be very well prepared to do it. It's not something to improvise or just expect someone else to come up with it.