>>3364
G. Del Toro, one of the mexican emigrants from the mid-90's / early 00's. Great creative director, not very good narrative director, pretty bad spokesman. Shit-tier camera knower, good screenplay maker.
>>3365
>pathological liar or just stupid?
Stupid enough not to realize his web of ideas collide with each other
The problem these guys told me, a producer and a light technician who came here to impart a talk which at its conclusion we moved to a bar and we started drinking half a month's wage each is that he has a lot of knowledge from various fields but he learned them seemingly in separate environments and contexts, so when he talks he contradicts himself constantly and he's not very good at backtracking. Major problems, and the jokes written by themselves, appear when the differences in ideology are so obvious his drinking pals start a cross-examination at which point he gets frustrated and doesn't want to continue talking, thus everyone laughing and having to change the topic.
One example we heard was the nature of ground-bound cameras (with rails for dolly, trucking or raising/boom) with their limiting but consistent positioning giving place to a certain realism or "being there", this while also saying a script should showcase fantastical displays of movement. When asked how the fuck are you supposed the flying sequence you did dude with the camera moving like a maniacal crane, and not only doing it but how does it work aesthetically with the rest of the talking head scenes, his reply was something around "well, it's complicated... uhm... eh".
Obviously with a few drinks over him this oversight might happen but because the guy privately does say he has experience to talk he got shat on by the more technical men who are much more bound to not use SFX tricks, the massive shift in aesthetic and technical nature of the camera make people say his editor at the CGI studio of his choice is practically the second director, joking by saying he actually works for them.
Then there's the spokesman shenanigans, supposedly he really got agitated for that, because they were at him in this particular night they asked him why he shat on "gueritos" (white people) so bad in that woke interview some years ago, did they took his initial jobs at the beginning of his career?: He replied with the usual privilege inspecting and how they took anything by force and didn't help the real mexicans and such. Amidst a small silence the producer buddy said something along the lines "i bet you really hate us Torito, i didn't know that", when he replied no not really, why are you saying that? the producer replied "everyone here is white, Toro, even your entire family are spaniard immigrants who ate at the spaniard casino (famous euro-centric spot in the city)".
After a very short reply trying to imply spaniards aren't white but hispanic everyone laughed and tried to steer the conversation away to avoid him get mad as fuck.
My personal beef is when the first Hellboy movies appeared, he said many movies relied to much on CGI while i was watching a teaser with unholy amounts of CGI, that always stuck with me, not to mention the Pan's Labyrinth reliance on that. I think he's a master in some crafts but honestly he never nailed the narrative center of his own works, not to mention his jobs are laced with his left-leaning politics which i am not surprised, his background is communist/anti-fascist but even so he was always on the elite part of the medium, even as a youngster. A champagne commie, so to say, who has maybe accidentally dosed himself with the poison of identity politics which are a cognitive dissonance.
It's the kind of guy you would think twice about asking directions to the lake, particularly because he's the very kind of guy that would use AI/machine learning to do his SFX and camera work.