1 00:00:03,546 --> 00:00:06,633 Okay, this is episode 402, "Breathe." 2 00:00:06,716 --> 00:00:11,513 It was written by Thomas Schnauz and directed by... Michelle MacLaren? 3 00:00:11,596 --> 00:00:12,681 It can't be. 4 00:00:12,764 --> 00:00:17,352 I'm Peter Gould, the co-creator and executive producer of the show. 5 00:00:18,019 --> 00:00:20,689 I am Tom Schnauz, the writer of this episode. 6 00:00:20,772 --> 00:00:23,525 I'm Mark Johnson, one of the executive producers. 7 00:00:23,608 --> 00:00:25,652 I'm Michael Mando. I play Nacho. 8 00:00:25,735 --> 00:00:28,113 Patrick Fabian. I play Howard Hamlin. 9 00:00:28,196 --> 00:00:31,449 Michelle MacLaren, and I was lucky enough to direct this episode. 10 00:00:31,908 --> 00:00:36,204 We were lucky enough to get you. This is your second return engagement. 11 00:00:36,913 --> 00:00:39,791 And... So, Tom, what's going on in this scene? 12 00:00:39,874 --> 00:00:41,793 I don't know. I don't remember any of this. 13 00:00:43,378 --> 00:00:46,506 This is our doctor, who appears in Breaking Bad 14 00:00:46,589 --> 00:00:51,469 in the great episode after "Salud," right? 15 00:00:51,553 --> 00:00:52,762 - "Crawl Space." - That's right. 16 00:00:52,846 --> 00:00:57,767 He takes care of Gus and Jonathan Banks. 17 00:00:58,560 --> 00:01:02,439 And here he is examining Hector Salamanca in his hotel room. 18 00:01:02,981 --> 00:01:06,735 And right now we don't know why, what he's doing, but there's Victor. 19 00:01:07,736 --> 00:01:10,363 I like the fact that it starts in silence. 20 00:01:10,822 --> 00:01:13,742 And you... It's pieces, and you have no idea what's going on. 21 00:01:13,825 --> 00:01:16,619 And you see people in the background, but they're in shadow. 22 00:01:16,703 --> 00:01:18,455 So it's a very disorienting scene. 23 00:01:21,916 --> 00:01:23,251 Who keeps track of all of that? 24 00:01:23,334 --> 00:01:25,462 It's all in the computer. The computer does everything. 25 00:01:25,545 --> 00:01:27,756 Every stat gets converted into points. 26 00:01:27,839 --> 00:01:30,467 I don't know. Sounds kind of dumb, to be honest. 27 00:01:30,550 --> 00:01:31,634 I just wanna watch the game. 28 00:01:31,718 --> 00:01:33,720 You're just afraid to lose 20 bucks. 29 00:01:33,803 --> 00:01:35,555 You want to bet on the game? Let's do it. 30 00:01:35,638 --> 00:01:37,432 Why do we got to mess with all this metric stuff? 31 00:01:37,515 --> 00:01:40,143 Trust me, it's fun. You end up... 32 00:01:40,226 --> 00:01:44,439 Did you direct JB Blanc on Breaking Bad? 33 00:01:45,273 --> 00:01:46,733 I don't think so. 34 00:01:47,108 --> 00:01:50,320 - What about Jeremiah? - Jeremiah, yes. For sure. 35 00:01:51,112 --> 00:01:52,030 Absolutely. 36 00:01:52,113 --> 00:01:54,824 There's so many returning faces on this episode. 37 00:01:54,908 --> 00:01:57,494 It was very exciting for me to see everybody. 38 00:01:57,577 --> 00:01:59,454 And, of course, we know who that is. 39 00:01:59,537 --> 00:02:02,123 - This is our Exorcist shot. - Exorcist shot, absolutely. 40 00:02:02,207 --> 00:02:05,210 I actually did... Tom, you wrote that reference in the script. 41 00:02:05,293 --> 00:02:09,297 And I went and got the movie box, and we copied it. 42 00:02:09,380 --> 00:02:12,425 I love this shot so much, and the lighting. The reveal's just great. 43 00:02:12,509 --> 00:02:16,012 You know, this was a shot that I came up with when we were scouting. 44 00:02:16,095 --> 00:02:18,181 We went to the hospital to see what it's like at night, 45 00:02:18,264 --> 00:02:21,226 and we're walking back to the car, and I saw the reflection in the car, 46 00:02:21,309 --> 00:02:22,977 and I went, "Wait a minute. This is beautiful." 47 00:02:23,061 --> 00:02:26,689 So that's how we picked the exact spot where we were gonna park the car. 48 00:02:27,524 --> 00:02:29,400 Might it be different if he was... 49 00:02:29,943 --> 00:02:32,654 This teaser used to be set at an airport. 50 00:02:33,363 --> 00:02:37,909 There was a whole set-up of how Gus Fring meets the doctor 51 00:02:37,992 --> 00:02:41,663 who eventually... takes care of Hector. 52 00:02:42,247 --> 00:02:46,334 And it was deemed too large to do, I think, which was probably correct. 53 00:02:46,417 --> 00:02:50,046 It was going to be set in an airport in, like, Germany or somewhere, 54 00:02:50,129 --> 00:02:51,589 and it became more interesting. 55 00:02:51,673 --> 00:02:56,719 Instead of seeing how he gets the doctor to the discussion you hear here about... 56 00:02:58,263 --> 00:03:00,765 When did it become Johns Hopkins? 57 00:03:02,141 --> 00:03:03,685 The doctor they bring in. 58 00:03:03,768 --> 00:03:06,020 It was always going to be a doctor from Johns Hopkins. 59 00:03:06,104 --> 00:03:11,150 Originally, Gus was going to go out and convince this doctor to be part of it. 60 00:03:11,234 --> 00:03:14,028 Which he does somewhere off-screen now. 61 00:03:14,112 --> 00:03:17,615 Originally, we were going to see his methods of how he did it. 62 00:03:17,699 --> 00:03:20,201 I love that we get to see why... 63 00:03:20,285 --> 00:03:27,292 Well, we get to understand why Gus is so obsessed with Mark Margolis's health. 64 00:03:27,375 --> 00:03:30,879 And I never knew that during Breaking Bad, 65 00:03:30,962 --> 00:03:34,007 that he actually influenced and was controlling it. 66 00:03:34,090 --> 00:03:37,218 I think that was the best reason to change up those teasers 67 00:03:37,302 --> 00:03:43,474 is just to reset and to deepen what Gus is feeling about Hector. 68 00:03:44,225 --> 00:03:47,145 I have a question. What's that thing that he does under the foot? 69 00:03:47,228 --> 00:03:48,688 Why does he... 70 00:03:48,771 --> 00:03:52,442 Oh, it's checking to see if there's any reflexes on the foot. 71 00:03:52,525 --> 00:03:54,360 Reflexes, that's what it is. 72 00:03:57,447 --> 00:04:02,535 And so, Rhea had to put this cast on for real, every day, for months. 73 00:04:02,619 --> 00:04:04,454 - For seven episodes. - That's right. 74 00:04:04,537 --> 00:04:06,748 - That's brutal. And then... - Did not complain. 75 00:04:06,831 --> 00:04:08,499 I have to say, she rarely complained. 76 00:04:08,583 --> 00:04:11,753 Every now and then she'd be like, "It's itchy, it's hard." But she was... 77 00:04:11,836 --> 00:04:14,547 Tom just gave me this eye, like, "Yeah, she complained every day." 78 00:04:14,631 --> 00:04:17,842 - There was... There was... - No, never. Never. 79 00:04:17,926 --> 00:04:22,680 I gave you an aside because I feel like my microphone is making a noise, but okay. 80 00:04:24,390 --> 00:04:26,100 We did something fun with the camera here, 81 00:04:26,184 --> 00:04:27,894 because Bob was moving back and forth, 82 00:04:27,977 --> 00:04:31,356 and he was kind of not focusing on reality and stuff. 83 00:04:31,689 --> 00:04:33,232 It's... We used part of it. 84 00:04:33,316 --> 00:04:36,194 Not part of it, but... I like it. 85 00:04:36,277 --> 00:04:37,111 It's pretty cool. 86 00:04:37,195 --> 00:04:39,864 I think Marshall came up with that idea. 87 00:04:39,948 --> 00:04:45,286 The camera moves sort of like a pendulum with Jimmy in parts of this. 88 00:04:45,370 --> 00:04:48,998 - Exactly. - 'Cause you've got all his energy, 89 00:04:49,082 --> 00:04:51,250 and you're reflecting it with the way you shoot, 90 00:04:51,334 --> 00:04:52,794 which is so wonderful. 91 00:04:52,877 --> 00:04:55,213 Was it on a dolly or was it handheld? 92 00:04:56,005 --> 00:04:59,759 I think that part of it, we actually took out that back wall. 93 00:04:59,842 --> 00:05:02,845 And I think we put it on some type of track on the counter, 94 00:05:02,929 --> 00:05:04,305 if I remember correctly. 95 00:05:04,389 --> 00:05:07,100 Or we might've taken the whole thing out and put it on a dolly. 96 00:05:07,558 --> 00:05:11,270 Paul Donachie, our "A" camera operator, is a genius with a slider, 97 00:05:11,354 --> 00:05:12,772 which is basically... 98 00:05:12,855 --> 00:05:14,649 It was actually Paul's idea. Yeah. 99 00:05:14,732 --> 00:05:19,320 It's like a little piece of track, but it's very small, 100 00:05:19,404 --> 00:05:22,448 and he just allows him to slide the camera from place to place. 101 00:05:23,366 --> 00:05:26,911 Which really works well in some circumstances. 102 00:05:29,038 --> 00:05:30,665 I'm gonna pick up dinner on the way back. 103 00:05:30,748 --> 00:05:33,543 Jimmy, you know, Jimmy is really... 104 00:05:33,918 --> 00:05:37,463 It's an interesting episode and an interesting point in the season 105 00:05:37,547 --> 00:05:40,299 because he is really a puzzle to Kim here. 106 00:05:41,300 --> 00:05:43,845 It's... He just... 107 00:05:44,387 --> 00:05:46,639 In the last episode he just buried his brother, 108 00:05:46,723 --> 00:05:49,100 and now he seems to have a spring in his step, 109 00:05:49,183 --> 00:05:52,812 which seems strange, I think, to Kim. 110 00:05:57,358 --> 00:05:59,819 This was a surprisingly difficult shot to get 111 00:06:00,611 --> 00:06:03,281 with a big truck coming like that at the camera. 112 00:06:03,364 --> 00:06:07,535 Even though it's obviously going very slow, you have to be really careful. 113 00:06:07,618 --> 00:06:08,995 We had to do this a few times. 114 00:06:09,078 --> 00:06:11,706 You'll notice, when the truck comes up, the camera's not in front of it. 115 00:06:11,789 --> 00:06:15,710 It's very simple looking, but it's actually kind of complicated to shoot. 116 00:06:15,793 --> 00:06:21,424 It's one of the things I love about your eye, Michelle, is the Z-axis. 117 00:06:21,507 --> 00:06:26,137 You love to put things moving right up to camera and back and forth. 118 00:06:26,220 --> 00:06:30,475 You just have such a wonderful, unique way of staging things. 119 00:06:30,558 --> 00:06:34,270 And the way you use lenses is also very, very you. 120 00:06:34,353 --> 00:06:35,772 - Thank you. - It's just wonderful. 121 00:06:35,855 --> 00:06:38,274 You can just pick out a Michelle MacLaren scene. 122 00:06:38,357 --> 00:06:41,235 Look at that. It's all laid out so beautifully. 123 00:06:41,319 --> 00:06:44,781 We wanted to scare you a little bit. 124 00:06:44,864 --> 00:06:48,367 We wanted it to be a reveal that Michael is there waiting for him. 125 00:06:48,785 --> 00:06:51,162 And I have to say, to echo what Peter was saying, 126 00:06:51,245 --> 00:06:54,373 there's such a rhythm to your directing 127 00:06:54,457 --> 00:06:56,501 that you see within the actors and the camera, 128 00:06:56,584 --> 00:06:59,420 there's like a unison between what the camera's doing 129 00:06:59,504 --> 00:07:04,342 and the rhythm that the actors are doing that is so unique and engaging. 130 00:07:04,425 --> 00:07:07,178 Well, thanks, you guys. I'll give you your $20 after. 131 00:07:07,261 --> 00:07:11,933 So, Michael, did you and Juan Carlos get together beforehand 132 00:07:12,016 --> 00:07:12,850 to work on this scene, 133 00:07:12,934 --> 00:07:15,937 or are you seeing each other for the first time when you get to set? 134 00:07:16,020 --> 00:07:17,313 How does that work? 135 00:07:17,396 --> 00:07:22,068 I think Juan Carlos and I like to meet up to talk and just hang out, 136 00:07:22,151 --> 00:07:25,738 but we never talk about the scene until we start shooting. 137 00:07:26,489 --> 00:07:29,450 We very rarely discuss it. 138 00:07:29,534 --> 00:07:32,995 I think we both think that if we discuss it, 139 00:07:33,079 --> 00:07:35,498 then we won't be able to surprise each other. 140 00:07:36,457 --> 00:07:40,670 I love how Tom wrote this scene. There's very little dialogue. 141 00:07:40,753 --> 00:07:45,007 And it's all in the visuals, and it's what's not said. 142 00:07:45,091 --> 00:07:48,386 And the tension between the two of you is wonderful. 143 00:07:49,011 --> 00:07:52,890 And I love the callback to the previous season. 144 00:07:52,974 --> 00:07:55,017 When Hector lays the money out, he... 145 00:07:55,101 --> 00:07:56,394 - Into threes. - Into threes. 146 00:07:56,477 --> 00:07:58,604 He puts it out this very same way. 147 00:07:59,522 --> 00:08:01,149 And I saw... In the podcast, 148 00:08:01,232 --> 00:08:04,861 I saw Vince Gilligan talking about how this is one of his favourite shots, 149 00:08:04,944 --> 00:08:09,740 having Juan Carlos's character in the light and Nacho in the darkness. 150 00:08:10,074 --> 00:08:11,826 And then it turns into a two-shot. 151 00:08:13,452 --> 00:08:17,331 Yeah, it's wonderful how you guys hold the screen. 152 00:08:17,415 --> 00:08:19,083 It takes a little while. 153 00:08:19,542 --> 00:08:22,753 But every moment is worth seeing, to me. 154 00:08:23,296 --> 00:08:27,550 And, of course, Michelle gave us... Michelle, you know... 155 00:08:27,633 --> 00:08:30,761 With Michelle's footage, you always give us a lot of options. 156 00:08:31,179 --> 00:08:35,808 And you have a lot of options yourself, but you were so right to hang on that. 157 00:08:37,351 --> 00:08:40,521 How much money was that? It doesn't look like that much. 158 00:08:42,607 --> 00:08:45,943 - I don't remember. - This is a producer question. 159 00:08:47,320 --> 00:08:49,155 "How much money was that?" 160 00:08:50,031 --> 00:08:51,199 There were a lot of 50s there. 161 00:08:51,282 --> 00:08:53,492 The producer answer is "too much." 162 00:08:54,076 --> 00:08:55,786 Quick, somebody get me a producer. 163 00:08:55,870 --> 00:08:57,955 I think it was like a first payment. 164 00:08:58,039 --> 00:09:00,708 I don't think it was what he would've paid for, for the whole... 165 00:09:00,791 --> 00:09:01,918 I'm sure that's true. 166 00:09:02,460 --> 00:09:04,378 - It was a little taste. - Yeah. 167 00:09:05,296 --> 00:09:07,590 I loved how graphic this location was 168 00:09:07,673 --> 00:09:11,385 with the ceiling and the posts and everything. 169 00:09:11,469 --> 00:09:16,349 This location was a great find, and what a job Judy Rhee does. 170 00:09:16,432 --> 00:09:17,850 This was empty when we walked in. 171 00:09:17,934 --> 00:09:20,478 - Really? - Just cement, and nothing was in here. 172 00:09:20,561 --> 00:09:21,395 That's amazing. 173 00:09:21,479 --> 00:09:24,941 I love those turnstiles, I mean, the turntables there. 174 00:09:25,942 --> 00:09:28,402 This is Judy and also an amazing crew, 175 00:09:28,486 --> 00:09:33,824 led by her art director, Paula Dal Santo, 176 00:09:33,908 --> 00:09:36,327 and Steve Brown, our construction coordinator. 177 00:09:36,410 --> 00:09:40,039 Literally, I think the first time I saw this place 178 00:09:40,122 --> 00:09:43,960 was just a week or so before you guys shot, and there was nothing there. 179 00:09:44,252 --> 00:09:48,589 And now, for me, it looks like a place that's been there for a long time. 180 00:09:48,673 --> 00:09:50,967 And what a weird location. 181 00:09:51,509 --> 00:09:54,011 A very weird location that was selected 182 00:09:54,095 --> 00:09:55,888 because of what happens in the next episode. 183 00:09:55,972 --> 00:09:57,223 Yes, that's true. 184 00:09:57,306 --> 00:10:02,520 This actor, Michael Naughton, is a good friend of Bob's, 185 00:10:02,603 --> 00:10:06,148 and the actor who plays Mr Neff, Andrew Friedman. 186 00:10:06,857 --> 00:10:08,401 All three of them are good friends. 187 00:10:08,484 --> 00:10:10,027 They did an amazing job here. 188 00:10:10,111 --> 00:10:12,571 'Cause there's such subtlety in the scene. 189 00:10:12,655 --> 00:10:17,910 I feel like Bob... Jimmy's really starting to become Saul. 190 00:10:17,994 --> 00:10:19,161 And in this scene, 191 00:10:19,245 --> 00:10:23,541 we start to see a little bit of Saul starting to come through. 192 00:10:24,208 --> 00:10:26,168 For years, I've been seeing Michael and Andrew 193 00:10:26,252 --> 00:10:30,172 at the UCB Theatre here in Los Angeles, the comedy theatre. 194 00:10:30,256 --> 00:10:33,509 They're both... They're actually a team. 195 00:10:33,592 --> 00:10:35,636 They write together and they act together. 196 00:10:35,720 --> 00:10:40,349 And they also do individual work, and they're just wonderful. 197 00:10:40,433 --> 00:10:46,564 And so, when they came in to audition, there was just great chemistry. 198 00:10:46,939 --> 00:10:50,693 So when these guys were in Albuquerque doing this episode, 199 00:10:50,776 --> 00:10:52,278 they did an improv night. 200 00:10:52,361 --> 00:10:55,114 - And you went, Michael, didn't you? - I think so. 201 00:10:55,197 --> 00:10:57,992 Yeah, I think so, yeah. And it was amazing. 202 00:10:58,075 --> 00:11:00,911 Clearly, these guys have a lot of improv experience. 203 00:11:00,995 --> 00:11:02,621 And Bob did it too, with them. 204 00:11:03,497 --> 00:11:07,376 This sequence is... 205 00:11:08,836 --> 00:11:12,923 I'm so happy with the way this whole sequence is laid out. 206 00:11:13,007 --> 00:11:16,385 It's so psychological 207 00:11:16,469 --> 00:11:19,764 that this guy, he works so hard to get this job, 208 00:11:19,847 --> 00:11:21,891 and then when he gets it, he doesn't want it. 209 00:11:22,391 --> 00:11:26,812 It just feels like it encapsulates so much of what goes on in this season. 210 00:11:26,896 --> 00:11:28,272 It's all in his head, 211 00:11:28,356 --> 00:11:30,483 because he doesn't know he's gonna turn it down. 212 00:11:30,983 --> 00:11:33,110 You know, you can just see it all... 213 00:11:33,194 --> 00:11:35,029 And then he feels like he doesn't deserve it. 214 00:11:35,112 --> 00:11:36,989 - So he's gonna sabotage it. - Yes. 215 00:11:37,573 --> 00:11:40,493 You didn't shoot this all in one day, did you? 216 00:11:41,369 --> 00:11:43,788 I... don't think so. 217 00:11:43,871 --> 00:11:45,247 I don't remember. 218 00:11:45,915 --> 00:11:49,377 - I feel like Neff was two days. - Two days. I think so, yeah. 219 00:11:49,460 --> 00:11:52,922 All three of these guys are, like, at the top of their game. 220 00:11:53,255 --> 00:11:57,259 I could hold on a close-up of either one, any one of them throughout this scene. 221 00:11:57,343 --> 00:11:59,553 It's just so... It's both funny, 222 00:11:59,637 --> 00:12:02,723 and you scratch your head, "Where's this going?" 223 00:12:02,807 --> 00:12:04,767 We actually did rehearse this ahead of time. 224 00:12:04,850 --> 00:12:06,936 When the guys flew in, we had a prep day, 225 00:12:07,019 --> 00:12:09,397 and we rehearsed, which was invaluable. 226 00:12:11,273 --> 00:12:12,691 You're right, Tom. It was two days. 227 00:12:12,775 --> 00:12:14,985 What did you do when you rehearsed with them? 228 00:12:15,069 --> 00:12:17,238 What was your process? 229 00:12:17,780 --> 00:12:22,326 Well, we had... The set was dressed, so we rehearsed on location. 230 00:12:22,868 --> 00:12:27,498 And we talked about what was really going on in the scene. 231 00:12:27,581 --> 00:12:32,795 And then we read it a few times, and... 232 00:12:33,546 --> 00:12:35,131 I think we roughly blocked it out, 233 00:12:35,214 --> 00:12:38,801 and we got to have a conversation about each of the characters 234 00:12:38,884 --> 00:12:40,594 and their relationships to one another 235 00:12:40,678 --> 00:12:42,638 and what we were going for at any given moment. 236 00:12:42,721 --> 00:12:44,974 These guys are such pros that, 237 00:12:45,808 --> 00:12:49,895 you know, they always come, as you guys, as Patrick and Michael do, 238 00:12:49,979 --> 00:12:53,149 they come prepared, and they come having thought what the scene's about 239 00:12:53,232 --> 00:12:55,734 and where their character's at and everything. It's great. 240 00:12:55,818 --> 00:12:58,821 I really like it when directors rehearse on set. 241 00:12:58,904 --> 00:13:01,782 Because I find if you rehearse outside of the set, 242 00:13:01,866 --> 00:13:05,619 the distance of the furniture and all that kind of stuff 243 00:13:05,703 --> 00:13:07,788 really impacts the rhythm of a scene. 244 00:13:07,872 --> 00:13:10,583 So it's really useful to do it on set. 245 00:13:10,666 --> 00:13:13,419 Which is a luxury in episodic television. 246 00:13:13,502 --> 00:13:14,420 It's great when you can. 247 00:13:14,503 --> 00:13:16,839 It's amazing that there was a set there the day before. 248 00:13:16,922 --> 00:13:17,923 It was amazing. 249 00:13:20,426 --> 00:13:23,220 And actually, we added a piece of furniture at Bob's request, 250 00:13:23,304 --> 00:13:26,390 which was the copier in this office for this coming scene. 251 00:13:27,516 --> 00:13:29,018 - That worked out great. - It did. 252 00:13:29,101 --> 00:13:31,604 I couldn't quite picture it when it was pitched. 253 00:13:31,687 --> 00:13:33,022 But seeing it now, it's just... 254 00:13:33,105 --> 00:13:35,274 - Having him stand over it... - It worked really well. 255 00:13:35,357 --> 00:13:38,027 And pitch how important the machine is too. 256 00:13:38,110 --> 00:13:40,237 take some time and consider your options... 257 00:13:40,321 --> 00:13:41,989 So there wasn't, as conceived originally, 258 00:13:42,072 --> 00:13:43,782 there wasn't a copier there for him to... 259 00:13:43,866 --> 00:13:45,868 - No. - for him to reference physically. 260 00:13:45,951 --> 00:13:48,787 And when we were rehearsing, Bob said, "Could we do this?" 261 00:13:48,871 --> 00:13:53,167 And we brought it in and it was like, it helps a lot, it looks great. 262 00:13:53,626 --> 00:13:55,127 But what are the chances one of them... 263 00:13:55,211 --> 00:13:59,590 This was a challenging scene for Bob because it's very subtle. 264 00:13:59,673 --> 00:14:04,136 As you guys were saying, he goes from selling and really wanting this job 265 00:14:04,220 --> 00:14:08,891 and being really positive and enthusiastic, to doing a complete 180. 266 00:14:08,974 --> 00:14:12,102 I worked in the mail room. I know how important the copy machine is. 267 00:14:12,186 --> 00:14:14,563 And it almost feels like he doesn't even know 268 00:14:14,647 --> 00:14:15,731 exactly why he's doing it. 269 00:14:15,814 --> 00:14:19,401 It's that snatching defeat from the jaws of victory. 270 00:14:19,485 --> 00:14:20,319 Yeah. 271 00:14:20,402 --> 00:14:22,905 And this happens a few times this season. 272 00:14:23,822 --> 00:14:27,701 Because I think he's a little bit of a mystery to himself. 273 00:14:27,785 --> 00:14:30,704 Or at least that's the way we intended it. 274 00:14:30,788 --> 00:14:32,373 And I think that was tricky. 275 00:14:32,456 --> 00:14:36,627 It was tricky for all of us to try to understand 276 00:14:36,710 --> 00:14:38,587 why he's doing what he's doing at each moment, 277 00:14:38,671 --> 00:14:43,634 and also it was tricky for Bob because it wasn't obvious. 278 00:14:43,717 --> 00:14:48,514 There was a lot of imagination and thinking that had to go into 279 00:14:48,597 --> 00:14:53,811 what does it feel like to do something that you didn't intend a second earlier? 280 00:14:56,480 --> 00:14:58,357 Boy, all the work paid off. 281 00:14:58,440 --> 00:15:00,317 There's not a logic to it. 282 00:15:00,401 --> 00:15:03,279 It's completely emotional. He's... 283 00:15:03,362 --> 00:15:06,782 He does it twice in this episode... Here he gets accepted, 284 00:15:06,865 --> 00:15:09,827 and he can't take it, so he sabotages it. 285 00:15:09,910 --> 00:15:15,082 Then later on, he has lovely, lovely sex with his lady, 286 00:15:15,583 --> 00:15:19,128 and the first thing he does is go out and get on the computer 287 00:15:19,211 --> 00:15:23,632 and go look up a potential crime here after seeing the Hummels in the office. 288 00:15:23,716 --> 00:15:25,551 I think he feels so bad about himself, 289 00:15:25,634 --> 00:15:27,970 blames himself for Chuck's death... 290 00:15:29,305 --> 00:15:30,973 but doesn't realize that, 291 00:15:31,056 --> 00:15:35,853 and so he's actually more comfortable doing bad things than he is doing good. 292 00:15:36,353 --> 00:15:38,647 Tom, how did you know so much about copiers? 293 00:15:39,106 --> 00:15:41,150 Seriously, did you research it, or... 294 00:15:41,233 --> 00:15:43,319 I mean, I've worked at an office 295 00:15:43,402 --> 00:15:45,738 and had to deal with copiers, and you know. 296 00:15:46,530 --> 00:15:50,409 - So, I just... - No, but it sounds so genuine. 297 00:15:50,492 --> 00:15:53,078 It sounds like somebody who's actually had his hands in there... 298 00:15:53,162 --> 00:15:55,497 - You actually do your work, Tom? - with the ink and rollers. 299 00:15:55,581 --> 00:15:57,207 I've had a problem with copiers... 300 00:15:58,208 --> 00:15:59,293 in my life. 301 00:15:59,710 --> 00:16:03,922 Michelle, how... When do you decide on your... 302 00:16:04,006 --> 00:16:06,634 Do you read a script and then start deciding, 303 00:16:06,717 --> 00:16:10,721 "This is gonna be a great place for a pan, this is gonna be in a wide." 304 00:16:10,804 --> 00:16:13,515 - Do you break it down while reading it? - I do. 305 00:16:14,350 --> 00:16:17,102 But it's always rough, because you want to... 306 00:16:17,186 --> 00:16:20,481 You go in and you have a suggestion of how to block it with the actors, 307 00:16:20,564 --> 00:16:23,692 but the actors might have other ideas, 308 00:16:23,776 --> 00:16:27,196 something out of the rehearsal might change, might evolve. 309 00:16:27,279 --> 00:16:28,864 So you have to be prepared for that. 310 00:16:28,947 --> 00:16:31,075 So I definitely go in with a plan. 311 00:16:31,617 --> 00:16:33,661 Mostly because we don't have a lot of time. 312 00:16:33,744 --> 00:16:35,329 And so you go in with a plan, 313 00:16:35,412 --> 00:16:37,998 and then you're prepared for that plan to change. 314 00:16:38,082 --> 00:16:41,460 But if you have a rough plan, then you know what you want to say in the scene. 315 00:16:41,543 --> 00:16:44,880 You know the purpose, whose point of view, the arc, all those kind of things. 316 00:16:48,300 --> 00:16:50,928 And it ends with the "suckers" line, which... 317 00:16:51,011 --> 00:16:54,306 Just that feeling he has about his own father... 318 00:16:55,933 --> 00:16:58,644 being a sucker, being taken advantage of by con artists. 319 00:16:58,727 --> 00:17:01,730 He just... He just can't stand it. 320 00:17:03,982 --> 00:17:07,277 In this scene, I think, this little beat at the end is so important 321 00:17:07,361 --> 00:17:09,905 to know that he doesn't walk out of there and stay mad. 322 00:17:09,988 --> 00:17:12,908 - He just goes back. - Right. 323 00:17:12,991 --> 00:17:15,327 It's so revealing of who he's becoming. 324 00:17:15,411 --> 00:17:17,079 He just goes back to it. 325 00:17:18,372 --> 00:17:21,917 It's like when you have a tooth that hurts and you can't stop playing with it. 326 00:17:22,000 --> 00:17:25,379 And it keeps hurting, but you just can't let it go. 327 00:17:25,462 --> 00:17:30,300 I think it's drained, weirdly, of humanity, right? 328 00:17:30,384 --> 00:17:32,010 It's so detached. 329 00:17:33,053 --> 00:17:35,305 And that's frightening because then there's nothing. 330 00:17:35,764 --> 00:17:37,099 Like, what's tethering him? 331 00:17:37,891 --> 00:17:41,228 It's interesting, 'cause I think it's very human, 332 00:17:41,311 --> 00:17:44,231 the way he's dealing with Chuck's death. 333 00:17:44,982 --> 00:17:48,861 You know, in movies and drama, people feel things instantly, 334 00:17:48,944 --> 00:17:50,487 'cause that's more dramatic. 335 00:17:50,571 --> 00:17:52,114 You feel it right away. 336 00:17:52,197 --> 00:17:54,825 In my life, I've seen that, oftentimes, 337 00:17:54,908 --> 00:18:00,914 I don't feel the reaction to events until much later and in surprising ways. 338 00:18:00,998 --> 00:18:05,794 And I think that we were trying to find that way to do that with Jimmy. 339 00:18:06,128 --> 00:18:08,046 Now that shot seems familiar somehow. 340 00:18:08,130 --> 00:18:11,717 That's a Tom Schnauz special. 341 00:18:11,800 --> 00:18:15,888 It's a direct callback to Breaking Bad, episode 507. 342 00:18:15,971 --> 00:18:16,930 Which Tom directed. 343 00:18:17,014 --> 00:18:19,892 "Say My Name," where Kaylee is swinging in the park. 344 00:18:19,975 --> 00:18:23,729 It's the last time Mike sees Kaylee. 345 00:18:23,812 --> 00:18:24,646 Right. 346 00:18:24,730 --> 00:18:27,483 - So, I did go back to 507... - Spoiler alert. 347 00:18:27,983 --> 00:18:30,652 If you haven't watched Breaking Bad, sorry I ruined it. 348 00:18:30,736 --> 00:18:34,907 But we lined up the shot exactly to match the Breaking Bad shot. 349 00:18:34,990 --> 00:18:36,784 - It's the same park? - No. 350 00:18:37,159 --> 00:18:39,703 We looked at the same park, and for some reason... 351 00:18:39,787 --> 00:18:43,040 It was a scheduling thing 'cause we were going to the other location. 352 00:18:43,123 --> 00:18:47,336 And this park, this was freezing cold on this day. 353 00:18:47,419 --> 00:18:49,463 I can't believe we don't see his breath. 354 00:18:50,672 --> 00:18:53,133 A lot of people don't realize that it gets incredibly... 355 00:18:53,217 --> 00:18:56,053 - It snows in Albuquerque. - Really cold. 356 00:18:56,136 --> 00:18:58,597 And all those people in the background running around, 357 00:18:58,680 --> 00:19:00,599 they have jackets on in between takes. 358 00:19:01,934 --> 00:19:04,061 Did Jonathan complain the entire time about the cold? 359 00:19:04,144 --> 00:19:05,938 No, he was actually pretty good. 360 00:19:06,021 --> 00:19:08,857 Are you kidding me? I don't believe that for a second. 361 00:19:10,234 --> 00:19:12,986 And where is this? What's this crazy location? 362 00:19:13,070 --> 00:19:16,073 This is Hotel Chaco. Is that how you say it? 363 00:19:16,156 --> 00:19:17,741 - I think it's Chaco. - Chaco. 364 00:19:17,825 --> 00:19:20,035 So, when I landed in Albuquerque, 365 00:19:20,118 --> 00:19:22,079 I was on my way to the hotel and the driver said, 366 00:19:22,162 --> 00:19:24,331 "There's a new hotel in town. It's beautiful. Check it out." 367 00:19:24,414 --> 00:19:26,500 So we scouted it the next morning. 368 00:19:26,583 --> 00:19:28,460 And I looked at it and I thought, 369 00:19:28,544 --> 00:19:30,838 "This would be great for where Lydia's staying," 370 00:19:30,921 --> 00:19:34,216 'cause I thought... I loved the idea that 371 00:19:35,133 --> 00:19:39,221 Jonathan... Mike has to go to a location that he's not comfortable in. 372 00:19:39,513 --> 00:19:41,181 And that Lydia, where she would stay, 373 00:19:41,265 --> 00:19:45,727 is so different from the world that Better Call Saul mostly takes place. 374 00:19:46,061 --> 00:19:48,856 And then I moved into the hotel 'cause it's really nice. 375 00:19:49,356 --> 00:19:50,899 It's a nice hotel. 376 00:19:52,109 --> 00:19:56,280 I think... I love it, because as we originally conceived it, 377 00:19:56,363 --> 00:20:02,327 it was like a Holiday Inn conference room more or less. 378 00:20:03,036 --> 00:20:08,542 And you just elevated Lydia's world, which I think just makes a statement. 379 00:20:08,625 --> 00:20:12,546 It's also, by the way, it's so damn funny when Banks walks in there. 380 00:20:12,629 --> 00:20:15,549 - It's great. - And they're playing whale songs, or... 381 00:20:15,632 --> 00:20:18,844 I forget what the... The music is really good. 382 00:20:18,927 --> 00:20:21,889 Well, that noise he makes after he sees the sculpture. 383 00:20:21,972 --> 00:20:23,724 Yeah. It's great. 384 00:20:23,807 --> 00:20:25,809 He's so out of place. 385 00:20:25,893 --> 00:20:28,687 We did look at the other location. 386 00:20:28,770 --> 00:20:30,772 I just thought, "Lydia wouldn't stay here. There's no way." 387 00:20:30,856 --> 00:20:33,650 - That was a great move on your part. - That was a great add. 388 00:20:33,734 --> 00:20:36,153 And this was originally the first scene of the act. 389 00:20:36,236 --> 00:20:39,281 And as we... were looking at the script, 390 00:20:39,364 --> 00:20:42,784 I just felt like, "I have no idea where Mike's head is at." 391 00:20:42,868 --> 00:20:46,663 And it just felt like it needed the scene that we added with his granddaughter. 392 00:20:46,747 --> 00:20:49,291 It just sort of helped set him in place. 393 00:20:49,374 --> 00:20:54,546 - That's smart, yeah. - You come up with those a lot, Tom. 394 00:20:54,630 --> 00:21:00,052 Where it feels like sometimes you have a sense of where 395 00:21:00,135 --> 00:21:03,597 we really need a place-setting scene like that or something, 396 00:21:03,680 --> 00:21:05,807 or a little slice of life. 397 00:21:06,224 --> 00:21:08,018 It's something that's really good. 398 00:21:08,101 --> 00:21:11,897 Just going back to the original method of breaking stories. 399 00:21:11,980 --> 00:21:13,649 Where's the character's head at? 400 00:21:13,732 --> 00:21:16,443 If you're reading the script, and you get into it and you're like, 401 00:21:16,526 --> 00:21:18,487 "What is he thinking as he enters this place?" 402 00:21:18,570 --> 00:21:19,780 "I don't know." 403 00:21:19,863 --> 00:21:21,573 Something is wrong. 404 00:21:21,657 --> 00:21:26,161 So either you add something or change something, and it helps. 405 00:21:26,244 --> 00:21:29,331 I also love the contrast between this dangerous character 406 00:21:29,414 --> 00:21:30,749 and the sweet grandpa. 407 00:21:32,167 --> 00:21:34,795 - Absolutely. - The two faces of Mike. 408 00:21:35,963 --> 00:21:39,675 Is the painting part of... When you guys use paintings like that, 409 00:21:39,758 --> 00:21:42,803 are they always part of the set or do they have to be ours? 410 00:21:42,886 --> 00:21:46,056 I think it has to be ours or we have to clear it. 411 00:21:46,139 --> 00:21:47,307 I think it's covering something. 412 00:21:47,391 --> 00:21:49,393 - Yeah, I think there was a TV there. - Yeah. 413 00:21:49,476 --> 00:21:51,311 So, it's a nice painting. 414 00:21:53,063 --> 00:21:55,732 But every time you see art, we do have to have it cleared. 415 00:21:55,816 --> 00:21:56,858 Or a tattoo. 416 00:21:56,942 --> 00:21:59,361 - Or a tattoo. - Or graffiti. 417 00:21:59,444 --> 00:22:00,946 - Yeah. - Or graffiti, yeah. 418 00:22:03,699 --> 00:22:07,244 We see the show as a story. 419 00:22:07,953 --> 00:22:10,455 Lawyers see it as a bundle of rights. 420 00:22:14,292 --> 00:22:16,545 This was so fun for me to... 421 00:22:16,628 --> 00:22:18,839 I know you guys do this on Better Call Saul every day, 422 00:22:18,922 --> 00:22:24,428 but to come in and learn and work with this story, 423 00:22:24,511 --> 00:22:29,016 which is a prequel to Breaking Bad, and see where their relationship started. 424 00:22:29,099 --> 00:22:30,392 It's so weird. 425 00:22:30,475 --> 00:22:32,352 This is such a funny moment. 426 00:22:32,936 --> 00:22:35,772 - I love this... - He did a great job. 427 00:22:35,856 --> 00:22:38,150 This actor's just wonderful. 428 00:22:38,233 --> 00:22:40,235 - John Jaret. - He's very funny. 429 00:22:40,819 --> 00:22:43,780 And we named him Dr Diseth after our own Peter Diseth, 430 00:22:43,864 --> 00:22:47,159 who plays ADA... or DDA Oakley. 431 00:22:47,242 --> 00:22:48,285 Oakley, yes. 432 00:22:49,578 --> 00:22:53,123 'Cause we love him, and we were thinking of him as a character here. 433 00:22:53,206 --> 00:22:58,211 "Let's just try to get a Peter Diseth type to play the doctor." 434 00:22:58,295 --> 00:23:01,465 cases in the ward, including Mr Salamanca. 435 00:23:01,548 --> 00:23:04,634 - Johns Hopkins? - Yes, a generous grant came through. 436 00:23:04,718 --> 00:23:06,344 So our cousins are back. 437 00:23:06,428 --> 00:23:07,387 That's always fun. 438 00:23:07,471 --> 00:23:11,808 This is such a great set-up, how Gus drops... 439 00:23:12,476 --> 00:23:14,853 They have the conversation about Johns Hopkins, 440 00:23:14,936 --> 00:23:16,438 and then she shows up. 441 00:23:16,521 --> 00:23:19,566 I was so happy to see the cousins when I got there. 442 00:23:19,649 --> 00:23:21,359 You worked so well with them. 443 00:23:21,818 --> 00:23:23,862 They're so scary-looking, and they're the sweetest guys. 444 00:23:23,945 --> 00:23:25,197 Sweetest guys. 445 00:23:25,739 --> 00:23:28,492 - We can co-manage care if you like, we... - No, no. 446 00:23:30,160 --> 00:23:32,204 "Here's the chart. Thank you very much." 447 00:23:32,829 --> 00:23:34,414 - He did a good job. - Poorna's really good too. 448 00:23:34,498 --> 00:23:37,459 - She is this doctor. She is terrific. - She's fantastic, yeah. 449 00:23:37,542 --> 00:23:42,672 And she just brings this authority to this scene. 450 00:23:42,756 --> 00:23:47,469 It was such a great casting get, getting her, 451 00:23:47,552 --> 00:23:50,305 because we needed somebody, right, who had that authority, 452 00:23:50,388 --> 00:23:54,059 who sort of could command the room, and also speak fluent Spanish. 453 00:23:54,476 --> 00:23:56,686 And she just comes in and just nails it. 454 00:23:56,770 --> 00:24:00,357 I love how un-threatened she is with the cousins. 455 00:24:02,859 --> 00:24:06,822 Yeah, we needed somebody to come in and just sort of handle these guys. 456 00:24:07,239 --> 00:24:09,449 And she's operating on, like, three cylinders. 457 00:24:09,533 --> 00:24:12,536 She's an expert doctor, she's compassionate, 458 00:24:12,619 --> 00:24:14,621 and she's fearless at the same time. 459 00:24:14,704 --> 00:24:15,831 Powerful, yeah. 460 00:24:16,832 --> 00:24:20,293 And, of course, she's getting something out of it, I guess. 461 00:24:20,377 --> 00:24:23,463 We find out later in the season. No spoilers. 462 00:24:23,547 --> 00:24:26,341 Although you should watch the whole season before the commentary. 463 00:24:26,424 --> 00:24:28,927 And then come back and listen to us bozos. 464 00:24:29,010 --> 00:24:31,429 Or don't listen to us at all. Just watch the show again. 465 00:24:32,347 --> 00:24:34,891 I... Michael did such a great job with this. 466 00:24:34,975 --> 00:24:37,686 'Cause you realize when he's walking into this room 467 00:24:37,769 --> 00:24:39,563 and he knows that the cousins are here, 468 00:24:39,646 --> 00:24:42,607 he's the reason that Mark Margolis is in the bed. 469 00:24:42,691 --> 00:24:46,570 So, it's that subtle thing of not showing any fear, 470 00:24:46,653 --> 00:24:49,948 but he's thinking, "Oh, my God, are they going to find out it was me?" 471 00:24:51,116 --> 00:24:53,160 What were you thinking, Michael, at this moment? 472 00:24:53,660 --> 00:24:56,413 It was the first time that I see... 473 00:24:57,622 --> 00:24:59,666 You know, I don't know if I should go into this, 474 00:24:59,749 --> 00:25:02,794 but the first time I ever saw a dead body in my life, 475 00:25:02,878 --> 00:25:04,838 I was about eight, nine years old. 476 00:25:04,921 --> 00:25:07,799 And it felt like that for me. 477 00:25:07,883 --> 00:25:12,220 It was kind of that feeling of seeing someone that was animated 478 00:25:12,304 --> 00:25:14,055 kind of still like that, 479 00:25:14,139 --> 00:25:18,268 and feel, in a very weird way, sort of responsible 480 00:25:18,351 --> 00:25:22,314 and maybe a little sad and guilty that I had to hurt somebody. 481 00:25:22,939 --> 00:25:25,650 But at the same time, wanting to hurt him. 482 00:25:26,067 --> 00:25:29,487 It's kind of like both of those axes are happening at the same time. 483 00:25:33,617 --> 00:25:35,827 I have to say, Tom, when I read this scene, 484 00:25:35,911 --> 00:25:38,663 I knew exactly where I was putting the camera at this moment. 485 00:25:41,041 --> 00:25:45,003 And I'll admit, I was a little worried of this scene as being an act-out. 486 00:25:45,086 --> 00:25:47,339 Because it's a comedic moment, 487 00:25:47,422 --> 00:25:50,717 but then it has this dramatic turn 488 00:25:50,800 --> 00:25:53,428 where you're seeing Nacho's worry at the end of it. 489 00:25:53,511 --> 00:25:57,390 You know, usually we do something more definitive at the end of an act. 490 00:25:57,474 --> 00:26:00,810 - Right. - But the way you guys did it was perfect. 491 00:26:00,894 --> 00:26:04,814 Well, we did something that Vince started in the pilot, 492 00:26:04,898 --> 00:26:06,775 and that was using a zoom. 493 00:26:06,858 --> 00:26:08,026 And... 494 00:26:08,860 --> 00:26:11,947 And I did it in 102. 495 00:26:12,030 --> 00:26:13,907 And so when we were doing this, 496 00:26:13,990 --> 00:26:17,410 there was a couple of times I thought that we could incorporate it, 497 00:26:17,494 --> 00:26:19,663 and this was actually one of them. 498 00:26:19,746 --> 00:26:20,789 It was a perfect moment. 499 00:26:20,872 --> 00:26:22,999 It's interesting how you keep it wide. 500 00:26:23,083 --> 00:26:25,710 You have four faces to look at. 501 00:26:26,253 --> 00:26:31,341 You don't cut to anybody in particular, and it makes it... 502 00:26:31,925 --> 00:26:35,887 Interestingly, the audience seems to be in Hector's mind. 503 00:26:36,388 --> 00:26:39,182 But then you do this great pan, 504 00:26:39,266 --> 00:26:40,725 it's coming up here, 505 00:26:40,809 --> 00:26:46,022 from the cousins, these two guys, over to these two. 506 00:26:46,106 --> 00:26:48,400 - This was completely contrived. - On the spot. 507 00:26:50,610 --> 00:26:53,321 That was really fun. 508 00:26:54,739 --> 00:26:57,284 I think, Michael, there was a couple of... 509 00:26:57,367 --> 00:26:59,494 breaking the moment, bursting out laughing, wasn't there? 510 00:26:59,577 --> 00:27:02,789 - There was... We had a couple of... - It was a little bit... 511 00:27:02,872 --> 00:27:06,084 For those who don't know, Michelle was off camera saying, 512 00:27:06,167 --> 00:27:08,753 "Look... Look now!" 513 00:27:11,798 --> 00:27:13,174 And here's your zoom. 514 00:27:13,717 --> 00:27:15,010 That's right. 515 00:27:15,427 --> 00:27:19,764 One of my favourite Michelle moments is in episode 510 of Breaking Bad 516 00:27:20,557 --> 00:27:25,020 where Laura's down in the underground super-lab, 517 00:27:25,103 --> 00:27:26,980 and the guns are going off upstairs, 518 00:27:27,063 --> 00:27:29,899 and you're off camera going, "Bang! Bang, bang! Bang, bang, bang!" 519 00:27:31,192 --> 00:27:32,402 That's true. 520 00:27:32,485 --> 00:27:35,572 That was a great look that you gave, Michael, 'cause it was one of those things 521 00:27:35,655 --> 00:27:38,033 where everybody's looking and you can't give away what you're thinking, 522 00:27:38,116 --> 00:27:40,076 but you have to give away what you're really thinking. 523 00:27:40,160 --> 00:27:41,369 And you did an excellent job. 524 00:27:41,453 --> 00:27:46,124 It helps, what you did with the camera, when you zoomed away from everybody else 525 00:27:46,207 --> 00:27:48,835 and then Nacho was the only person on camera. 526 00:27:48,918 --> 00:27:50,920 The audience felt like no one else could see him. 527 00:27:51,004 --> 00:27:52,881 - Exactly. Yeah. That's great. - So that helps. 528 00:27:52,964 --> 00:27:54,507 I remember when we scouted this location 529 00:27:54,591 --> 00:27:57,385 there was all this construction right behind where the camera is. 530 00:27:57,469 --> 00:28:00,180 - Was it still there when you shot? - Oh, it was still there. Yep. 531 00:28:02,015 --> 00:28:05,643 This was tricky because there was... It looked very different. 532 00:28:05,727 --> 00:28:07,479 If you did a reverse, it looked very different 533 00:28:07,562 --> 00:28:09,314 'cause of massive construction, but we were able to shoot. 534 00:28:09,397 --> 00:28:10,857 That's where we had our wrap party. 535 00:28:10,940 --> 00:28:13,568 This is the roof of the Hotel Chaco. 536 00:28:13,651 --> 00:28:17,030 It's one of the most beautiful locations in Albuquerque, New Mexico. 537 00:28:17,113 --> 00:28:18,615 It really is. 538 00:28:18,698 --> 00:28:20,700 We had our wrap party for the season there. 539 00:28:20,784 --> 00:28:22,911 Yeah, I think when we scouted this, 540 00:28:23,787 --> 00:28:25,497 Melissa or somebody saw it and said, 541 00:28:26,331 --> 00:28:29,000 "Let's have our party," or Robin, "Let's have our wrap party here." 542 00:28:29,084 --> 00:28:30,960 It worked. It was one of the best wrap parties too. 543 00:28:31,044 --> 00:28:32,253 Oh, good. 544 00:28:32,629 --> 00:28:34,923 - But you were missing. - I wish I could've been there. 545 00:28:35,006 --> 00:28:36,508 I love that... 546 00:28:36,966 --> 00:28:40,553 I said, "We gotta get the Louboutins back for Laura." 547 00:28:40,637 --> 00:28:42,680 And so that low-angle shot where she's in the chair 548 00:28:42,764 --> 00:28:44,474 and you see the red under the shoes, 549 00:28:44,557 --> 00:28:45,767 that was for Louboutin. 550 00:28:48,603 --> 00:28:49,813 They're so Lydia. 551 00:28:51,231 --> 00:28:53,274 So right below us is a construction site. 552 00:28:55,235 --> 00:28:56,361 That's amazing. 553 00:28:57,070 --> 00:28:58,613 Nephews were in his room all day. 554 00:28:58,696 --> 00:29:01,241 Bruckner saw him three times, a couple of specialists with her... 555 00:29:01,324 --> 00:29:05,745 Something so interesting about this little set of Gus's office 556 00:29:05,829 --> 00:29:10,208 is if you walk into this on the stage when no one's shooting, 557 00:29:10,291 --> 00:29:12,502 it really looks like nothing at all. 558 00:29:12,585 --> 00:29:13,795 It just looks like... 559 00:29:13,878 --> 00:29:18,258 It's just the most boring little space you could ever imagine. 560 00:29:18,716 --> 00:29:21,845 And then when Marshall comes in and lights it... 561 00:29:22,345 --> 00:29:26,683 - It's beautiful. Look at that. - It suddenly comes to life. 562 00:29:26,766 --> 00:29:29,060 Is it not connected to anything? 563 00:29:29,144 --> 00:29:32,188 No, it's a stand-alone, little, tiny box. 564 00:29:32,272 --> 00:29:36,317 And Marshall comes in and just makes it look beautiful. 565 00:29:36,943 --> 00:29:39,863 There's a little, tiny return outside, and that's about it. 566 00:29:40,238 --> 00:29:42,365 Which is a little area outside the door, 567 00:29:42,449 --> 00:29:45,910 so there's a little something you see when the door opens, and that's it. 568 00:29:45,994 --> 00:29:49,581 When we shot this, the wall that the camera's on right now, 569 00:29:49,664 --> 00:29:51,166 that whole wall was out the entire time, 570 00:29:51,249 --> 00:29:53,418 so you really are working with a three-walled set. 571 00:29:57,589 --> 00:30:00,550 And, of course, that was just... 572 00:30:00,633 --> 00:30:04,471 I don't think I could ever move that slowly. There's just no way. 573 00:30:04,554 --> 00:30:08,975 I watch him and I'm like, "No way. Is blood even moving through his body?" 574 00:30:11,561 --> 00:30:13,688 And then, five seconds earlier, he's joking. 575 00:30:14,355 --> 00:30:16,357 Yes, exactly. 576 00:30:18,359 --> 00:30:20,820 This is a totally new angle on this location 577 00:30:20,904 --> 00:30:22,697 we've been to a hundred times before. 578 00:30:22,780 --> 00:30:24,407 I love that our flag is at half-mast. 579 00:30:24,491 --> 00:30:25,783 Yep. It's so great. 580 00:30:25,867 --> 00:30:27,452 This was up in a Condor... 581 00:30:28,828 --> 00:30:30,038 putting the camera in. 582 00:30:30,121 --> 00:30:32,040 Did you put the flags at half-mast? 583 00:30:32,123 --> 00:30:33,124 We did. 584 00:30:33,541 --> 00:30:36,085 Well, Chuck's dead. Of course they're at half-mast. 585 00:30:37,462 --> 00:30:40,924 Yeah, so here we come to the scene that everybody's looking forward to. 586 00:30:41,007 --> 00:30:41,966 Thanks, Tom. 587 00:30:42,050 --> 00:30:43,843 Everyone's been waiting for three and a half years 588 00:30:43,927 --> 00:30:45,803 to have Rhea yell at me. 589 00:30:46,429 --> 00:30:48,473 - She should've hit you too. - Yeah. 590 00:30:48,556 --> 00:30:53,895 But this is a difficult scene because it was so freighted with a lot of history. 591 00:30:53,978 --> 00:30:56,981 And there definitely is a sense of injustice 592 00:30:57,065 --> 00:31:00,068 that people feel that Howard has visited upon Kim. 593 00:31:00,777 --> 00:31:02,570 And I think she speaks for a lot of the audience 594 00:31:02,654 --> 00:31:04,197 to sort of a catharsis here on it. 595 00:31:04,280 --> 00:31:06,866 But attacking it as an actor, as well, 596 00:31:07,700 --> 00:31:12,539 I had to be careful of my own pitfalls and tendencies to want to overreach, 597 00:31:12,622 --> 00:31:17,293 play an emotion that is larger than life as opposed to appropriate for the scene. 598 00:31:17,377 --> 00:31:19,504 That's why it was really great having Michelle there. 599 00:31:19,879 --> 00:31:23,424 'Cause she was a real great thermometer. 600 00:31:23,883 --> 00:31:27,011 And she was gentle in the way that she would try to convey, 601 00:31:27,095 --> 00:31:29,097 "Yeah, Patrick, that's too big. Bring that down." 602 00:31:29,973 --> 00:31:34,018 And it soothed my ego, and I think got us to exactly the right spot, 'cause Rhea, 603 00:31:34,644 --> 00:31:36,563 Rhea can throw, you know... 604 00:31:36,646 --> 00:31:38,815 She can use a stiletto, she can use a sledgehammer. 605 00:31:38,898 --> 00:31:42,360 She's really great at her tactics and how she attacks me in this. 606 00:31:42,443 --> 00:31:43,611 And it was... 607 00:31:44,988 --> 00:31:47,615 It was hurtful. She's not here to speak for herself. 608 00:31:47,699 --> 00:31:53,037 I know it was hurtful for me because, both as an actor and as a friend, 609 00:31:53,121 --> 00:31:55,373 it's hard to have your friend yell at you like this. 610 00:31:55,456 --> 00:31:58,251 And I felt like she was wrong and she was wrong for attacking me. 611 00:31:58,334 --> 00:32:01,713 And it really brought up a lot of... It brings up a lot of feelings 612 00:32:01,796 --> 00:32:03,464 when you're working with your friends on set 613 00:32:03,548 --> 00:32:05,008 and they're saying nasty things to you. 614 00:32:05,091 --> 00:32:06,426 I know people out there are like, 615 00:32:06,509 --> 00:32:09,345 "She's not saying nasty things. She's saying what deserves to be said." 616 00:32:09,429 --> 00:32:12,390 But there's two sides to every argument on this one, trust me. 617 00:32:13,141 --> 00:32:16,686 - Sorry, I'm going on and on. - No, I love this. 618 00:32:16,769 --> 00:32:21,024 I think Patrick did such a great job, especially in this moment here. 619 00:32:21,107 --> 00:32:23,067 It's awkward. It's very, very awkward. 620 00:32:23,151 --> 00:32:27,947 And you have the mastery of being a lawyer with a lot of experience. 621 00:32:28,031 --> 00:32:32,660 But it's personal. There's emotion here, and you're handling the awkwardness great. 622 00:32:32,744 --> 00:32:37,957 One of my favourite moments in this episode is when Ann Cusack leaves 623 00:32:38,041 --> 00:32:40,960 and Rhea turns around and attacks you for the first time. 624 00:32:41,044 --> 00:32:45,840 And the look of hurt on your face, and not understanding what's going on, 625 00:32:45,923 --> 00:32:49,636 but at the same time being professional and knowing you have to take this, 626 00:32:49,719 --> 00:32:51,512 I thought was fantastic. 627 00:32:51,596 --> 00:32:53,431 'Cause there are things that Howard, 628 00:32:53,514 --> 00:32:55,725 if they were really to unleash on each other, 629 00:32:55,808 --> 00:32:59,395 there are things he could say back to Kim. 630 00:32:59,479 --> 00:33:00,396 Absolutely. 631 00:33:00,480 --> 00:33:02,440 For sure. They could go toe-to-toe. 632 00:33:02,523 --> 00:33:07,236 We're back in the office, and we're talking about Chuck and Jimmy, 633 00:33:07,320 --> 00:33:13,868 but this is where manners, mores, and social norms are how he operates. 634 00:33:14,535 --> 00:33:17,413 And so when she steps out of that, it... 635 00:33:17,497 --> 00:33:20,667 - It discombobulates him. - It does. It takes him off balance. 636 00:33:20,750 --> 00:33:22,502 Sounds like you need a hug, Patrick. 637 00:33:23,670 --> 00:33:26,381 - Howard needs a hug, you're right. - Howard needs a hug. 638 00:33:28,716 --> 00:33:30,927 - That's the spin-off. - Is Howard married? 639 00:33:31,010 --> 00:33:33,388 - He has a ring on his finger. - So he is. 640 00:33:33,471 --> 00:33:35,807 But he has no picture of kids or his wife on his desk. 641 00:33:35,890 --> 00:33:37,892 So far we haven't seen that, no. 642 00:33:37,975 --> 00:33:40,311 - But... - But he has a wedding ring. 643 00:33:40,395 --> 00:33:41,979 He has a wedding ring, yeah. 644 00:33:42,605 --> 00:33:45,775 I just think the problem is Beyoncé's been on tour for so long, 645 00:33:46,484 --> 00:33:48,778 and it's hard to get her schedule opened up. 646 00:33:48,861 --> 00:33:52,156 So fingers crossed for the future, Michael. Thanks for asking. 647 00:33:53,616 --> 00:33:56,160 I don't want to keep you. Let me walk you out. 648 00:33:56,744 --> 00:34:00,164 Just a side note, honestly, when I see myself doing those sort of gestures, 649 00:34:00,248 --> 00:34:03,626 that is, if you've never met my father, Tom Fabian, that's exactly what he does. 650 00:34:03,710 --> 00:34:05,336 That's exactly his mannerisms. 651 00:34:05,670 --> 00:34:09,173 Well, I just love the subtlety of you so badly want to get out the door. 652 00:34:09,257 --> 00:34:14,429 I also want to say here, the moment here between Rhea and Ann is so genuine. 653 00:34:14,512 --> 00:34:16,931 There's so much tension and it's all uncomfortable, 654 00:34:17,014 --> 00:34:19,016 but when those two women say, "It was nice to see you," 655 00:34:19,100 --> 00:34:21,686 it was such a genuine moment, I loved it, I thought it was great. 656 00:34:21,769 --> 00:34:25,565 I think Ann, in this scene, is so delicate 657 00:34:25,648 --> 00:34:29,152 and... tender and profound at the same time, 658 00:34:29,235 --> 00:34:32,155 the way she's mourning Chuck, it's so graceful. 659 00:34:32,238 --> 00:34:33,531 What were you thinking? 660 00:34:35,116 --> 00:34:36,242 About? 661 00:34:36,826 --> 00:34:38,536 What were you thinking when you came to Jimmy 662 00:34:38,619 --> 00:34:40,621 on the day of his brother's funeral and laid that shit... 663 00:34:40,705 --> 00:34:43,207 I saw you walking around after that scene, Patrick. 664 00:34:43,291 --> 00:34:46,878 You indulged a little bit more in junk food that day. 665 00:34:46,961 --> 00:34:49,630 I ran to some cupcakes. 666 00:34:49,714 --> 00:34:52,341 And when we came up with this scene in the writers' room, 667 00:34:52,425 --> 00:34:54,719 I immediately had this feeling of, 668 00:34:54,802 --> 00:34:57,805 "Oh, my God, we are going to love..." Sorry, Patrick. 669 00:34:57,889 --> 00:35:00,725 - "We're gonna love Kim for doing this..." - Sure. 670 00:35:01,893 --> 00:35:05,062 for just standing up and defending Jimmy. 671 00:35:05,146 --> 00:35:07,815 set himself on fire. 672 00:35:07,899 --> 00:35:10,067 This is really one of her finest moments in the show. 673 00:35:10,151 --> 00:35:11,819 She's got a number of fine moments. 674 00:35:11,903 --> 00:35:14,405 Again, I think because of the writing 675 00:35:14,489 --> 00:35:18,493 and the way you guys have crafted the story, it is such an earned moment. 676 00:35:18,576 --> 00:35:21,579 - Yeah. - You didn't come to it too soon. 677 00:35:21,954 --> 00:35:24,874 It's a gun that's been loaded with all six chambers, 678 00:35:24,957 --> 00:35:26,584 and she fires them all. 679 00:35:27,752 --> 00:35:30,171 - She's wonderful. - I will say this, Michelle. 680 00:35:30,254 --> 00:35:33,090 I appreciate you for making me look pretty in this scene though. 681 00:35:33,174 --> 00:35:34,884 As always, that's my first concern. 682 00:35:34,967 --> 00:35:37,595 Because it's so hard not to make Patrick look pretty. 683 00:35:38,554 --> 00:35:39,972 It's a lot of filters. 684 00:35:41,015 --> 00:35:44,727 What was your biggest surprise, Patrick, when you guys read it? 685 00:35:44,811 --> 00:35:47,355 'Cause you guys rehearse at home, right? You guys all live together? 686 00:35:47,438 --> 00:35:49,482 Yeah, we rehearsed at home, 687 00:35:49,565 --> 00:35:54,195 but the thing is there was a ferocity that was unleashed on the day. 688 00:35:54,278 --> 00:35:57,573 You can see it right here. She's almost splitting her skin. 689 00:35:57,657 --> 00:36:02,703 And there was a depth there that was... alarming. 690 00:36:02,787 --> 00:36:05,540 And also, Rhea and I talked a lot about... 691 00:36:06,123 --> 00:36:08,584 it should... keeping it right up to the brink of breaking. 692 00:36:08,668 --> 00:36:12,964 So she's hanging on to control, but she's about to crack. 693 00:36:13,047 --> 00:36:18,135 And so it's even that much more emotionally disarming, I think, 694 00:36:18,219 --> 00:36:19,804 for Patrick. 695 00:36:19,887 --> 00:36:23,266 And then I love that she brings it all together at the end here. 696 00:36:23,766 --> 00:36:25,434 That final, "There's nothing you can do," 697 00:36:25,518 --> 00:36:27,687 it really leaves me holding the bag of everything. 698 00:36:28,396 --> 00:36:30,022 Although, it's a very nice office, I have to say. 699 00:36:32,859 --> 00:36:36,070 And I'll admit, there's a worry as a writer when you write things, 700 00:36:36,153 --> 00:36:39,407 like where his brother died screaming. 701 00:36:39,490 --> 00:36:44,161 You know, that could be too big, that could be... That's really pushing it. 702 00:36:44,245 --> 00:36:47,874 But in the hands of these actors, it's just... it all works. 703 00:36:47,957 --> 00:36:51,127 It's amazing. That was a great scene. That was awesome. 704 00:36:52,879 --> 00:36:54,046 Couch is good. 705 00:36:54,547 --> 00:36:58,843 We pitched the first three episodes of the season to... 706 00:37:00,094 --> 00:37:02,054 Sony and AMC, once they were broken. 707 00:37:02,138 --> 00:37:04,348 And we all pitched our individual episodes. 708 00:37:04,432 --> 00:37:06,309 And when I was pitching my episodes, 709 00:37:06,392 --> 00:37:10,813 you kind of just... sort of reading it off the board, sort of improvising. 710 00:37:10,897 --> 00:37:12,565 And when I got to this scene, 711 00:37:13,190 --> 00:37:15,693 I, for whatever reason, just kind of blanked out. 712 00:37:15,776 --> 00:37:18,487 And when they meet on the couch, 713 00:37:18,571 --> 00:37:21,073 and I said out loud to these Sony executives, 714 00:37:21,157 --> 00:37:23,242 "And then it's go time for sex." 715 00:37:24,368 --> 00:37:29,457 It was, for whatever reason, the phrase that popped into my head. 716 00:37:29,540 --> 00:37:32,919 And luckily they all laughed when I said that. 717 00:37:33,002 --> 00:37:35,796 That perked up everybody. That got everybody's attention. 718 00:37:35,880 --> 00:37:37,131 I remember that. 719 00:37:38,090 --> 00:37:39,926 Wait, you guys have to... 720 00:37:40,009 --> 00:37:43,971 Every season, you pitch an episode to Sony? 721 00:37:44,055 --> 00:37:46,474 Yeah, we break the episodes, 722 00:37:46,557 --> 00:37:51,729 and then, as... because they are giving us the money and everything, 723 00:37:51,812 --> 00:37:54,231 they want to know, "What's going to happen this season?" 724 00:37:54,315 --> 00:37:58,110 So we all get together and pitch out. 725 00:37:58,194 --> 00:38:00,613 And it actually goes on longer 726 00:38:00,696 --> 00:38:02,990 than the actual episodes take to watch, I think. 727 00:38:03,074 --> 00:38:06,786 We spend about an hour per episode pitching everything that happens, 728 00:38:06,869 --> 00:38:08,913 because we pitch in incredible detail. 729 00:38:08,996 --> 00:38:11,666 For anybody who's ever seen our index cards 730 00:38:11,749 --> 00:38:13,376 and all the detail we put into them, 731 00:38:13,459 --> 00:38:17,755 we tend to give the network everything that's going on 732 00:38:18,214 --> 00:38:19,757 so they have a full picture. 733 00:38:20,549 --> 00:38:22,009 So, yeah, we do that. 734 00:38:22,093 --> 00:38:24,762 Every season, it's at least a three-hour phone call. 735 00:38:24,845 --> 00:38:27,974 And we try to pitch what's going on with the characters, 736 00:38:28,057 --> 00:38:30,810 and what's going on in their inner lives, 737 00:38:30,893 --> 00:38:34,021 all the things that we think are gonna come through on-screen. 738 00:38:34,438 --> 00:38:36,524 - So it's not just their... - We give some direction. 739 00:38:36,607 --> 00:38:39,276 Where it's going after the... There it is, go time for sex. 740 00:38:39,360 --> 00:38:40,820 Go, go, go! 741 00:38:41,696 --> 00:38:44,573 - And that's to Sony or to AMC? - Both. 742 00:38:44,657 --> 00:38:47,785 Everybody's on the phone call. It's just us in the writers' room. 743 00:38:47,868 --> 00:38:50,788 Everybody wants to know, how did you get the fish to do that? 744 00:38:51,372 --> 00:38:53,082 I just said, "Fish, go." 745 00:38:54,125 --> 00:38:58,129 That's a real Kim Manners-type direction. 746 00:38:58,879 --> 00:39:00,923 There's a famous X-Files story, 747 00:39:01,007 --> 00:39:03,968 him with the cockroaches, where he walked up, 748 00:39:04,051 --> 00:39:06,178 and right before the camera rolled, he said, 749 00:39:06,262 --> 00:39:09,306 "You cockroach go left, you go right, and you come out straight." 750 00:39:09,390 --> 00:39:13,853 They rolled cameras, and the cockroaches did exactly what he said. 751 00:39:13,936 --> 00:39:16,605 I love it. That is a Kim moment. 752 00:39:16,689 --> 00:39:19,483 No, I was off camera, though, begging the fish, 753 00:39:19,567 --> 00:39:21,610 "Come on, fish. Swim now." 754 00:39:22,028 --> 00:39:24,196 - So it was luck then? - It was. 755 00:39:24,280 --> 00:39:26,115 - How many takes? Do you remember? - Just a few. 756 00:39:26,198 --> 00:39:28,743 Because the fish was going around and around the tank. 757 00:39:28,826 --> 00:39:31,996 And it's a union fish. You can't make it do it too many times, so... 758 00:39:32,079 --> 00:39:33,164 Underage fish. 759 00:39:35,166 --> 00:39:37,293 So where'd you guys get an idea like this? 760 00:39:37,376 --> 00:39:41,422 I've never thought about something like this costing money 761 00:39:41,505 --> 00:39:44,425 or someone steal... Where does that idea come from? 762 00:39:45,926 --> 00:39:48,721 A lot of coffee and banging our heads against the wall. 763 00:39:49,764 --> 00:39:51,432 - Peter collects Hummels. - We always look... 764 00:39:51,515 --> 00:39:55,478 As we're moving forward, we always look into the past and things we've come from. 765 00:39:56,228 --> 00:40:00,858 And Hummels is always a thing that's been in Jimmy's life, and it felt like... 766 00:40:00,941 --> 00:40:02,526 We got... Sorry, I didn't mean to interrupt. 767 00:40:02,610 --> 00:40:04,278 - We gotta talk about this. - Go. 768 00:40:04,695 --> 00:40:07,364 This location is on stage, 769 00:40:07,448 --> 00:40:12,036 and we just could not fit in our schedule going on location. 770 00:40:12,119 --> 00:40:14,622 So we looked at this and said, "Let's give it a try." 771 00:40:14,705 --> 00:40:18,751 And we put a little wind in Bob's hair, and those streetlights are... 772 00:40:18,834 --> 00:40:21,504 Marshall put lights on the Translight. 773 00:40:21,587 --> 00:40:24,840 - Little LED bulbs. - LED bulbs. In one take, they fall off. 774 00:40:25,591 --> 00:40:26,509 That's right. 775 00:40:26,592 --> 00:40:30,179 And Peter and Tom, we talked about it, and we were like, 776 00:40:30,262 --> 00:40:32,973 "Okay, if it doesn't work, we won't use it," but it worked. 777 00:40:33,057 --> 00:40:35,726 - It works great. - This take here... 778 00:40:35,810 --> 00:40:39,146 That was the Translight that's outside the windows. 779 00:40:39,230 --> 00:40:42,733 - It's not meant to be shown that way. - I had no idea that it was on stage. 780 00:40:42,817 --> 00:40:44,777 - Good. I'm so glad to hear that. - No idea. 781 00:40:44,860 --> 00:40:45,736 And now this shot... 782 00:40:45,820 --> 00:40:48,656 I was going to say, this shot, it did take us a few times to do, 783 00:40:48,739 --> 00:40:52,368 and the camera getting that close to the car and swinging out, 784 00:40:52,451 --> 00:40:54,453 that was actually a mistake. 785 00:40:54,537 --> 00:40:57,957 Somebody over-drove or the camera over-drove or something, 786 00:40:58,040 --> 00:41:02,211 and the cameraman, Paul, saved it by doing that swing. 787 00:41:02,294 --> 00:41:04,839 And I went, "Oh, my God, that's really cool. Let's use it." 788 00:41:05,798 --> 00:41:09,635 It's great, and that's the third time this episode 789 00:41:09,718 --> 00:41:12,221 that a vehicle's driven right up to camera. 790 00:41:12,304 --> 00:41:13,514 And every single time it's great. 791 00:41:13,597 --> 00:41:15,724 I tried to take the camera crew out, but we couldn't. 792 00:41:15,808 --> 00:41:17,560 I'm kidding, just kidding. 793 00:41:17,643 --> 00:41:20,771 Jeremiah's wife, who plays Victor, 794 00:41:20,855 --> 00:41:24,400 was supposed to give birth this particular night. 795 00:41:24,483 --> 00:41:26,902 Oh, my gosh, Michael, you're right. Remember we had to shoot... 796 00:41:26,986 --> 00:41:28,696 - We shot everything... - She did give birth. 797 00:41:28,779 --> 00:41:30,030 It was a couple of days later. 798 00:41:30,114 --> 00:41:32,616 - Was it? She went into labour. - She was going into active labour. 799 00:41:32,700 --> 00:41:34,743 - We thought he was gonna be a daddy. - We brought a double in. 800 00:41:34,827 --> 00:41:36,954 We shot his coverage first. That's right. 801 00:41:37,496 --> 00:41:43,544 I love this scene because you got three badass dudes. 802 00:41:43,627 --> 00:41:45,880 - Yeah. - And there's a lot going on here. 803 00:41:45,963 --> 00:41:50,134 And what, of course, Vincent and Michael don't know 804 00:41:50,217 --> 00:41:53,512 is the plan that Ray and Jeremiah have for them. 805 00:41:53,596 --> 00:41:57,224 So it's really a great fake-out. 806 00:42:00,644 --> 00:42:05,107 And Michael, of course, you're two-timing it here, really. 807 00:42:05,191 --> 00:42:08,569 You're pretending to be with Vincent, 808 00:42:08,652 --> 00:42:12,990 but you're the reason Mark is in the bed in the first place. 809 00:42:13,073 --> 00:42:13,949 Yeah. 810 00:42:14,033 --> 00:42:16,660 Well, I think I'm two-timing it, 811 00:42:16,744 --> 00:42:18,787 but at the same time, I really am with Vincent 812 00:42:18,871 --> 00:42:22,958 in the sense that once I pull my gun, I know that I might have to use it. 813 00:42:23,542 --> 00:42:25,294 I think that's the... 814 00:42:25,377 --> 00:42:28,797 That's why Nacho hates this situation, because he has to go through with it. 815 00:42:28,881 --> 00:42:31,425 And he's hoping these guys don't pull out their guns 816 00:42:31,508 --> 00:42:33,427 'cause then we'll all end up dead. 817 00:42:35,512 --> 00:42:38,849 Yeah, there's a sense I get, I don't know if you get it with Nacho, 818 00:42:38,933 --> 00:42:42,102 - I feel like he's doing what he has to do. - Completely. 819 00:42:42,186 --> 00:42:45,272 It's not like he's taking... He's like, "I want to be a badass." 820 00:42:45,356 --> 00:42:47,024 It's not what he wants to do. 821 00:42:47,107 --> 00:42:51,362 "I feel like I enjoy being a badass," which some of the other characters might. 822 00:42:51,445 --> 00:42:56,450 He's doing the things... He sees, "This is the only way forward." 823 00:42:56,533 --> 00:42:57,952 There's no arrogance, I think. 824 00:42:58,035 --> 00:43:00,162 What I like about the way you guys wrote the character 825 00:43:00,246 --> 00:43:03,707 is there's no arrogance in his show of power. 826 00:43:03,791 --> 00:43:07,544 It's never coming from a place of wanting to dominate. 827 00:43:07,628 --> 00:43:10,464 It's coming of a place of, "I need to do this to survive." 828 00:43:11,799 --> 00:43:14,927 - Another zoom, terrific one. - Yeah. 829 00:43:20,182 --> 00:43:21,809 Great music by Dave Porter. 830 00:43:21,892 --> 00:43:24,436 You're looking a little shaky on the inside, baby. 831 00:43:28,607 --> 00:43:31,443 - I mean, he's just like... - Bullet dodged. 832 00:43:31,527 --> 00:43:34,071 This is such a beau... Look at the full moon up there. 833 00:43:34,154 --> 00:43:36,740 - That was a huge moon. - This is a beautiful sequence, Michelle. 834 00:43:36,824 --> 00:43:39,368 - Thanks. - Love this overhead shot. 835 00:43:39,451 --> 00:43:40,536 Thank you. 836 00:43:41,412 --> 00:43:43,622 Oh! Oh, shit, I forgot. 837 00:43:46,583 --> 00:43:48,460 Yeah, this is what we were talking about. 838 00:43:48,544 --> 00:43:50,587 How would Gus take care of Arturo? 839 00:43:51,338 --> 00:43:54,383 'Cause we couldn't do a box cutter again, obviously. 840 00:43:55,301 --> 00:43:59,138 And for whatever reason I said, "He puts a bag over his head with a zip tie" 841 00:43:59,221 --> 00:44:02,099 "and lets him suffocate," and it stuck. 842 00:44:02,182 --> 00:44:03,934 'Cause that's how your mind works. 843 00:44:04,018 --> 00:44:06,645 All those shots of Nacho, the reaction shots, 844 00:44:06,729 --> 00:44:10,858 were shot three months later with none of the original actors. 845 00:44:10,941 --> 00:44:12,568 Thomas, you were there, right? 846 00:44:13,235 --> 00:44:14,445 That is correct. 847 00:44:14,987 --> 00:44:16,363 We had to get some inserts. 848 00:44:16,447 --> 00:44:19,158 - This shot, this angle. - Yeah, all these angles. 849 00:44:19,241 --> 00:44:23,787 And some of the close-ups on Arturo, the breathing bag. 850 00:44:24,830 --> 00:44:26,915 Why was that? Why didn't you do them on the day? 851 00:44:26,999 --> 00:44:29,585 'Cause we couldn't get everything on the day. 852 00:44:29,668 --> 00:44:33,005 - We didn't have enough time. - It was just too big for one night. 853 00:44:34,089 --> 00:44:38,302 Yeah, and this is just behind... It's a whole other location too. 854 00:44:38,385 --> 00:44:40,304 - That we... - Behind Q Studios. 855 00:44:40,387 --> 00:44:43,891 We actually had less than a day 'cause we started at another location. 856 00:44:43,974 --> 00:44:48,270 We started at the chicken place, Los Pollos. 857 00:44:48,354 --> 00:44:52,149 I love the way you use camera angles, Michelle, honestly. 858 00:44:52,232 --> 00:44:53,859 It tells the story so well. 859 00:44:54,610 --> 00:44:55,569 Thank you. 860 00:44:55,652 --> 00:44:57,613 How is he not actually suffocating? 861 00:44:57,696 --> 00:45:02,701 We had a hole in the back of the bag, so he's actually sucking the bag in. 862 00:45:02,785 --> 00:45:06,288 But with his face, making it look like he can't breathe. 863 00:45:06,663 --> 00:45:09,917 And Tom and I, I would say, have very similar styles. 864 00:45:10,000 --> 00:45:15,255 So Tom got the close-ups of Nacho there, and I think it blended together well. 865 00:45:15,339 --> 00:45:16,924 - Thanks, Tom. - Thank you. 866 00:45:17,007 --> 00:45:21,428 I was very lucky to follow Michelle on several episodes, 867 00:45:21,512 --> 00:45:24,598 'cause she directed everything I wrote on Breaking Bad, 868 00:45:24,681 --> 00:45:26,183 so I was always learning from her. 869 00:45:26,266 --> 00:45:28,394 - Is that true? Everything? - Most things. 870 00:45:28,477 --> 00:45:30,687 - Oh, wow. - Well, the first... 871 00:45:30,771 --> 00:45:33,440 I still remember when I read "One Minute" of Breaking Bad, 872 00:45:33,524 --> 00:45:37,611 and I was sitting in bed and I finished the script that Tom Schnauz wrote, 873 00:45:37,694 --> 00:45:40,489 and I thought, "Wow, I get to direct this? Don't screw it up." 874 00:45:40,572 --> 00:45:42,908 Tom's a great writer, and this was another awesome script. 875 00:45:42,991 --> 00:45:44,493 Thanks so much for having me, you guys. 876 00:45:44,576 --> 00:45:45,911 - Hey, thank you. - Thank you. 877 00:45:45,994 --> 00:45:48,497 - Good episode. - Yay.