Original subtitles

- Action! - He's ordering me ...

... to stay and check your system,

And I can't get away

We are going back to the beginning

to a defining era of Breaking Bad.

Before the series ended, we wanted to make sure

to see the origin of the story we saw,

everything that happened, in the end.

Sorry, I'll be late today.

I don't know what happened to Bogdan.

After chapter 514, we shot two more.

But since we had to shave Bryan and change Jesse's appearance,

Due to logistics, we had to film this trailer at the end.

So this is the last day, not just episode 514,

but the last day the series is filmed.

- Thanks, honey. I love you. - I love you too.

- Cut! - It is the day of the farewell.

El ltimo d'a de filmacien de Breaking Bad.

It's like 23, 24 degrees. It's a fantastic day.

So many hundreds of people worked on this,

putting work, love and art,

that some days I think that I am just one more.

Today I feel a little like that.

This day is terrible. Frightening. This is horrible.

I had no idea, at first, that the show would go that far.

Who would have thought we would go this far and have so many fans?

NO HALF INKS. Creating the final season of Breaking Bad

In February 2004, Vince and I were talking on the phone,

and mentioned a New York Times article

About a guy cooking meth in an apartment.

And we end up saying: "it's a good idea,

Maybe we should cook meth in a motor home

to make extra money. "

And before I knew it, a Breaking Bad script came out.

They came with the idea of ​​the program to my desk

and I said: "sounds interesting, a little risky,

but we are like that, we go for the interesting and risky idea ".

And I know it was big and interesting and different.

The time had come for Breaking Bad

it wasn't just a script, words on paper.

We wanted it to be a reality.

And we wanted to make it happen with our partners at AMC.

We met with studio president Michael Lynton,

to give us his blessing.

They described the program to me, and I said: "Let's see if I understand:

He is a middle-aged chemistry teacher with children.

He has cancer and decides to become a methamphetamine dealer. "

And they said, "That's right!"

If it had been a movie, it would have been a scratching record.

There was only silence. Michael looked up.

He listened to everything, but didn't make eye contact. And said:

"It's the craziest and worst idea I've ever heard for a show.

I don't care who writes it. It's crazy. "

You have to understand that, at that point, we were very involved.

And the story we told was made with such conviction

that there was no way they would reject her.

They said, "We really believe in this, we believe in Vince,

and we think it can be a fantastic show. "

I replied, "Guys, it's your careers.

If you really think this is that good, do it. "

I don't know if another head of study would have accepted it.

That is a compliment to this place.

I don't think it would have aired elsewhere.

Before I started Breaking Bad, I had finished casting

for La Jolla Playhouse

and Bryan Cranston came to try out for the lead role.

And we were impressed.

Bryan Cranston has what it takes to make Walter White.

It was the perfect combination.

When we talk to Vince about some ideas,

We couldn't stop talking about Bryan Cranston

who Vince had in mind when he started casting.

So there was a coincidence, and it was very useful,

because when you go to a chain

and you say that for your new drama series

quieres al padre de "Malcolm in the Middle"

you can imagine the reaction you will get.

I thought, "This is an incredible piece of literature."

I wanted to spread my scent on that character.

I wanted to mark it as mine

So when Vince Gilligan saw the character,

He could smell my particular smell and say:

"I don't know why Bryan is leaving the page"

But that's what happened.

Filming of the pilot episode.

When we walked on set, they all flocked

uniquely and seamlessly.

And Bryan and I had that chemistry from the start

that really worked.

R�pidamente te dabas cuenta de que el equipo era de primera.

Ten�amos a John Toll, ganador de dos Oscars.

�l era el director de fotograf�a.

Hab�a gente que se ofrec�a a trabajar gratis

s�lo para estar en su equipo.

Recuerdo que era una ma�ana fr�a en To'hajiilee

Sal�, apart� a Bryan y le dije: "�C�mo te sientes con los calzoncillos?"

Dijo: "�Qu� es lo m�s vergonzoso que puedo ponerme?"

Le dije: "Prueba los calzoncillos blancos", y dijo: "Es lo que me voy a poner,

eso es lo que pide el personaje".

Quer�a tener sobrepeso. Quer�a ser un tipo a quien ya no le importara nada.

Salir de la casa rodante en el piloto

y tener mi miembro doblado en mi ropa interior blanca y apretada

no era la imagen que quer�a que el mundo tuviera de m�.

Y a�n as� hay que tener el coraje de hacerlo.

Este es un momento que no olvidar�.

We were filming in the desert and he danced in his shorts

And I was like, "My God, I love this man."

The idea of ​​our star was so amused and not taken very seriously

Especially while we are doing very intense scenes, it is something wonderful.

Corte!

Luckily, for the pilot's first show,

I already knew that Sony and AMC liked it.

I remember John saying, "If you add 20 minutes to that pilot,

It will be perhaps the best independent film of the year. "

We spent it at Sony, just for the crew and the cast.

And we were all impressed, by how beautiful it looked,

and by how it was directed.

We all started screaming and clapping

we were so proud and surprised.

And I thought, "I can't believe I'm part of this."

I still did not understand how they were going to transform it into a series,

and I still didn't know what Vince had in mind.

I can't honestly say that I saw it and said, "Oh my God! Eureka!"

What worried them when they finished seeing it

It was: "This is great, but what will the series be like?"

I'm not sure Vince or anyone else knew what it was going to be like.

When we stopped, we said, "Oh, God! Now we must finish it."

The Breaking Bad journey was wild.

We didn't know what we got ourselves into.

The first season aired.

We had seven episodes to show the world

of the original nine, due to the writers' strike.

If you wonder why there were only seven in the first season,

It's because of the writers' strike that year.

Vince managed to do it in just seven episodes.

We had a low audience. I wondered: why?

Why aren't more people looking at it?

He was perplexed because it was not registered in the environment.

There were very low measurements and few followers, but faithful.

Dean was talking about measurements, and I was wondering if I saw them.

I said, "No. What can you do? Act harder?"

Like: "I'm trying. But if you need better numbers,

I will really concentrate. "

Thanks to the critics and journalists, because they liked us.

I must give them the credit. They kept us in the air in the beginning.

They told me there were no bad reviews. We didn't have a bad review.

That first season culminated with Bryan winning the Emmy for Best Actor.

Suddenly, people said, "Wait, what is this Breaking Bad?"

In the second, we had our first full season.

In season two, we were excited about the scenes with Walt and Jesse.

It was morphing into a two-character show.

In other words, the series is about Walter White,

but it's also pretty much about Jesse Pinkman.

Michael Slovis entered the second season,

and I think I improved the show in terms of its appearance.

He made it even darker, more provocative.

- He brought Odenkirk ... - Better call Saul!

...y a Jonathan Banks.

The program evolved and expanded.

The third season gets darker.

He introduces us to these well-dressed cousins ​​who turn out to be very dangerous.

In the third, I began to feel that our little program was taking flight.

At the end of the third season,

Time magazine ran the top 10 TV episodes of the year.

"One Minute," directed by Michelle MacLaren, was No. 1.

When Gus Fring arrived, we were working at a level impossible to foresee.

Giancarlo Esposito brought the most intense villain in television history.

Mass production and the super laboratory ...

The laboratory was a turning point visually and physically.

The third season was the loss of innocence for Jesse.

The last scene of the season is him pulling the trigger

and proving that he was the bad guy.

The Emmys kept coming.

Bryan won for season three, Aaron won for season three.

It was very exciting, a confirmation of that partnership.

Three Emmys in a row got people talking about Breaking Bad.

People, who otherwise would not have known the program.

Just after the third season I was able to say:

"Well, quite a few people watch the show."

The success of the program was evident.

Vince and the show won for the third season

el Writer's Guild Award.

Stephen King called it "one of the best shows ever."

Bryan Cranston and Aaron Paul were featured on the cover of Rolling Stone.

And what a memorable moment that was!

By season four, it got very dangerous.

Now it's about his ego and being respected, and greed and power.

Every season more people watch the show, more awards, more tension,

the reviews are still wonderful.

And that's partly why Vince thought, "We don't want to stay longer than we want."

I won.

We reached the fifth season.

Unfortunately, I realized, with the help of my writers,

that we only had about 16 episodes left in the story.

From the beginning Vince said he wanted to finish the show

when it was good. And only those episodes remained.

It was a difficult decision, but I knew it had to end.

Better to finish a little early than too late.

Breaking Bad writers room. December 2012.

My most important task as head of the show is lead writer.

It is the most important thing.

I run the writers room and make sure the story is told.

- You don't think we'll get there? - I think, as we said last week,

there's a lot to do before it takes off.

Like what? Seriously, because I'm too close now.

The last 8 were challenging, in part because people loved the series.

And we really wanted it to go well.

Skylar ... has to stay strong for her children, or she won't be able to do it anymore.

There was also pressure because the series was praised by critics.

And that can create a creative vertigo.

Something has to happen with Junior, to force this issue ...

There were so many pieces to this puzzle that had to fit.

There are two options: either they leave the city with him, or they leave the city

to another different side.

We wanted to be one of the few shows that ends the way they started,

you know ... kicking ass.

First day of the final season.

I have mixed feelings on this latest shipment.

I'm not as nostalgic as you might think.

I do feel nervous. I am a sentimental type.

I will miss this so much when I'm done.

Everyone who works here feels

that this must end on the crest of the wave.

I don't want to end, I want this to go on forever,

because I think we have formed a family here.

- How are you? How is everything going? - Very good!

- Did you come at night? - Yes, at 3:30.

The end is coming. What sadness!

We're in Q Studios, and we're going to read episode 509.

The first of season 5b.

- Look at this! - How are you? How good to see you!

- How are things? - Very good!

Every season is like going back to summer camp.

You want to go back and see your friends and they will all come back.

Anna Gunn, girl!

C mo est s? Bien?

- You look good. - Thank you!

Nuestro acercamiento estuvo liderado por Bryan.

Los chicos saboreaban y disfrutaban cada segundo juntos.

Y disfrutaban cada minuto, porque �ramos tan afortunados.

- Gracias. Qu� bueno verte. - �Condujiste?

No, tom� un vuelo ayer.

Antes de comenzar, que hable Vince Gilligan.

Bienvenidos a nuestra lectura final para este episodio... �D�nde est� Peter?

Que Peter Gould escribi�, y que dirigir� Bryan Cranston.

Breaking Bad, episodio "Blood Money", 509.

�Por qu� Kaylee Ehrmantraut?

Necesita alguien que la cuide.

Mike es capaz de cuidar a su propia nieta.

Es incre�ble estar en una lectura del gui�n con actores

despu�s de 4 � 5 meses de vacaciones.

Ver a estos actores brillantes sentados y hacer sus papeles

como si los hubiesen estado viviendo estos 5 meses.

Si Mike estuviera vivo,

tendr�as que estar cuid�ndote la espalda por el resto de tu vida.

T� no eres as�.

I think he's dead and I think you know it.

- The astringent is placed first. - Yes, astringent.

All the moisture left my face.

I knew Bryan Cranston was the right guy to play Walter White.

He knew he was the man for the part.

What we are doing is aging it and deteriorating it in some way.

�Pobre Walt!

The way he rose to the occasion was astonishing.

He is very interested in this character and adding the correct details to him.

It was the role for him. It was his destiny, for me.

Bryan is absolutely different from Walt.

And when he puts on that skin, that makeup, he turns into Walter White.

And it's a true transformation

of a man who loves life, happy and optimistic by nature,

to Walt, who is so dark, so damaged.

They couldn't be more different.

I realized the dynamic aspect of Walter White from the beginning.

Now is the time to say goodbye.

He was a beaten man, and even in his physical decay,

he was able to concentrate on what to do.

When highlighting the cheeks, it seems that the cheeks sink,

and it looks like you lost weight.

And of course, with the turkey neck,

It seems like I lost a lot of weight in a short time.

Because of the way the series are made, each episode has a different director.

Sometimes it's a guest director, sometimes it's me,

or Vince Gilligan, or another of the writers.

Sometimes it's our cinematographer, Michael Slovis.

And sometimes Bryan Cranston.

I liked discovering in pre-production

It was the destruction of the White house,

And how depressing it was to see him for the first time.

It was like trampling on a grave when you see the house in those conditions.

We have two dads in the series:

one is Bryan Cranston and the other is Michael Slovis.

Michael Slovis, is our director of photography

and, as such, he is responsible for the image of the series.

The only reason I see is that you're against the wall

It is always said of cinematographers

that you get them either good or fast. Never both ways.

Michael Slovis is a rare case as he is excellent and fast.

Look at me from both sides ... because ...

- So, you go in ... - We have the subjective shot ...

- I have the subjective and then you go ... It has something interesting behind.

- I have your reaction ... - Contrary to ... this.

In the beginning, Vince and I had a plan

where the series should go in terms of tones and colors.

As Walt turned into this evil being,

I was watching the darkest program.

With material this good, I can paint with a wider brush,

because he can take it.

Now we are doing the subjective ...

... of Heisenberg walking through his old burned-out house

I'm Andrew Voegeli, cameraman A from Breaking Bad, from season 2 to season 6.

As it is a series with a camera in hand, it is an exhausting process,

from start to finish, every day.

Acci n!

It is a very physically demanding program, and very difficult.

And ... cut!

The first day of filming 509,

we did brainstorming for 510.

- C mo est n? - C mo moment?

- We're parking cars on board. - Bien!

- We'll see how many survive when you guys come back.

We are in pre-production of episode 510,

written by Tom Schnauz.

Tom is perhaps my oldest friend.

We met in 1986, at the Tisch School of the Arts,

at New York University, at film school.

- Great job with the script, very well written. - Thank you.

Everybody likes it.

Diane, I think they talked

about doing something with the visual field, with the point of view.

Conoc� a Michelle a fines de los '90s, en "The X-Files".

In these run-down neighborhoods, which are visually fantastic,

they all have fences.

Every time she directs an episode, I can be calm,

because I know you will ask the right questions.

I don't think another neighborhood is necessary for your episode and Bryan's ...

... That he doesn't have the fences and stuff.

The good thing about Vince is that he doesn't change.

He likes that everyone is comfortable, that we have fun.

It's professional, but let's have fun.

We have a lot of work to do, let's get it right,

but that is our strategy.

Tom, Diane, Mand, do you want to dress in overalls and no shirt?

And now this comes, yeah. Correct?

When Dean Norris comes out of the bathroom in act one,

he carries the weight of discovery on his shoulders.

Hab�a muchas ideas en juego. La audiencia se pregunta:

�C�mo se sentir� Hank cuando salga del ba�o? �Qu� har�?

El proceso del pensamiento para m� es: �Ahora qu� digo?

�Debo decir c�mo me siento?

Y te fijas que nadie venga porque llevas el libro.

Est�s listo para esconder el libro tras tu espalda

Es genial que Hank finalmente atrape a la ballena blanca que est� cazando,

con su propio libro.

Y despu�s de eso, todo se desata, por desgracia.

56.6. Y... �acci�n!

�Corten!

�Har�as algo de manera diferente? �Alguno de ustedes?

Ahora est� pensando "�d�nde est� Walt...?".

En cierto modo, est� como un zombie. En su propia mente...

Ni siquiera sabe ad�nde ir�. �Tiene sentido?

Hay un mont�n de an�lisis en cada momento de Breaking Bad.

Y cuando dirige Bryan Cranston, �l est� abierto a sugerencias de los escritores.

Eso siempre me impresiona.

Do you think he's waiting for Walter to come in ...?

I would say that when he walks into the living room, he could hear it ...

- There the kitchen. - ... I could hear it, but until then it's like ...

- �Sabes? Intent�moslo. - OK.

Dean?

Let's pretend you're stunned on this one, okay?

Part of you is working, and part of you is stuck here.

Yes, we'll see ...

And ... action!

You have to accept the collaborative nature of this.

If you don't, you'll be in trouble.

They will hate working with you because you are a dictator,

type "it is done as a command or it is not done", and that is not true.

You have to allow other different opinions.

Take a deep breath ... and go.

Corten!

I think that level of collaboration

it's what makes Breaking Bad work.

It's what makes these scenes work.

"What do you think, Dean-O?"

Okay. It feels different. It is something different.

How many takes do we have? Three? Do you like it?

I think it was fantastic.

I really liked it.

They think very fast.

And they can take one of my ideas and get something concrete out of it.

very quickly. And that's the fun.

This person is the one who works the most on the team.

- Lady Helen Caldwell. - Hello.

Our script supervisor. It is a one-man department.

So when they have department meetings, she should go.

We control things.

We control each shot, what is printed, what is not,

what line did they say when they stopped and walked,

where did they stop, whether they moved left or right,

and if they forget a line, I subtly tell them ...

- It does. - ... you screwed up.

He comes up and says, "Would you like to skip this line? Is that what you wanted?"

And I say, "Oooh ...!"

The last talk at the end of episode 509

It is something we expected from the end of the pilot.

Ever since Walt decides to be a criminal, and to put himself in the crosshairs of his brother-in-law ...

It is this. This is the moment.

So the idea is ...

It's a bit different working with a leading man that I also direct.

It's a little more stressful, because it has its vision,

Know exactly what you want.

You want to play it safe, but also give him what he asks for.

And then you go back to your position,

- ... just that fraction of a second ... - Looks fantastic.

Come here.

In this scene I hit Bryan, Walter White. But he doesn't know.

And ... action!

Are you good?

I must say I don't like the way you're looking at me.

In most fights,

It is not that they go on and on. It's a fake Hollywood thing.

Giving up and giving up ... Overall, it's a punch and ... album!

It's over. It is violent, fast.

- T ! - C lmate.

- You drove the wrong way ...! - Listen to me ...

- ... so she wouldn't go to that laundry! - Listen to me ...

That call from Marie ... that she was in the hospital!

That wasn't Pinkman! You had my number!

I am pleasantly surprised by the pain that comes out of Hank's expression,

of his mood. He is enraged. They betrayed him, he is tormented.

You killed 10 witnesses! You planted a bomb in an asylum!

I don't know where you got that from. Listen to yourself.

He won't hit me again, but ... he grabs my head ...

vibrating with this anguish. It's ... heartbreaking.

If that's true, if you don't know who I am,

So your best bet is ... be careful.

In episode 510,

we got this meth / bus lab

that W. Gilpin built and Mark Freeborn designed for us.

This is the team from the first half of season 5,

that Todd grabbed.

It's the equipment used in the Mobile Pest Control alibi Let's go.

They made a deal with Todd, so I took it and Walt went out of business.

Mark Freeborn in a cross between Santa Claus and a Hell's Angel.

In a show full of characters in front of the camera,

behind the camera he is a character par excellence.

A lot of these items are ... found.

This kitchen mixer used for chemicals.

All connected to this 80 cm hole with a hatch in front of the bus.

The effect is to create a sinister, gloomy, uncomfortable, unhealthy environment,

compared to hygienic, safe, clean ... nothing from Walt and Jesse.

It is fantastic, it has so much detail. The windows are made of Plexiglas.

They did graffiti on them.

The earth is contained in the Plexiglas behind the windows. Are you ready, Anna?

OK Laura. I'm going to give you the signal to duck down, OK?

Then I'll say "bullet." Maybe we will do it a couple of times.

Michelle MacLaren directs action better than anyone I've ever worked with.

The shooting happens off camera. And that drove her crazy when she read it.

He said, "When are we going to see the shooting?"

"Because we don't want to do it like that.

We want to do it from the point of view of Lydia Rodarte-Quayle

while listening to the shots above her. "

"But can't we see a little of that?

Can't we cut a little to that, just a little bit? "

He said: No!

Cap Bang!

�Bang! �Bang, bang!

One of the things I like about Michelle is that while still limited,

he is still able to make the most of those moments.

Land. Lower your head. Look up, Laura.

Look at the cap. Bang! Bang bang!

We're on a bus as a stage, and there's no shooting upstairs.

But the actor is on stage, alone, and you want to help him set the mood.

You can't say, "Earth. Bullet. Bang, bang, bang."

Because it doesn't work for the actors!

Look at the board, go there.

Put your head down! Bang! Bang bang!

And ... hatch noise ...

Get in position! It's "bang, bang, bang"! It's really happening!

Cut! Good job. Thank you very much, it was very good.

Laura, you can go home and soak your feet.

I was scared, but I was also ...

... delighted to have such a great role.

Luckily I was able to immerse myself in character.

We broke up with Laura, people. Give him a round of applause.

Although this scenario appeared for only 2 and a half minutes,

it is a link in the chain that tells a story.

The best way to tell a story is with a complete chain.

So, only 2 and a half minutes on screen? What does it matter?

It was worth every second.

OK guys. The first team entered. Let us be silent. Be quiet.

There is talk of great moments in Breaking Bad.

But it can be said that the heart of the program

are the quietest moments.

Like when Walt is passed out on the bathroom floor.

These silent moments, when we understand

where are the characters and what do they believe,

they are the heart of the series.

Jes s!

It's great working with an actress like Anna Gunn.

We develop a very deep friendship between us, and a trust.

We knew we were going to take care of ourselves and protect ourselves,

as actors and as people, onstage and offstage.

And ... action!

Oh my!

How long was I unconscious?

Like four or five hours.

Skylar started out as the moral center of the show,

The one that said, "Wait, what are you doing? You can't do that."

And that angered the public.

Does it make you happy?

- I don't remember the last time I was happy. - When they tell me: "I hate her, she's a bitch",

I think, "Why do you say that? You don't understand what he's going through?"

And I take it very personally.

And what we concluded is that in each series there is a protagonist

and an antagonist. And here the protagonist is Bryan.

But he is an antihero. He's a guy who does very bad things.

Vince never wanted a weak woman who would wring her hands and cry.

If I got tearful in the first few seasons,

He told me: "Don't do it."

I wanted it to be made of steel.

Very strong, a column of steel from the beginning.

He was very specific on that.

If you surrender, you will have to surrender the money.

this is how it works.

Maybe your best option ...

... is not talking.

Cut! Very good.

One of the reasons this has so much power,

is that the writers have been very consistent

with Skylar's characterization throughout the series.

And Anna has been brave not to loosen up.

Anna is a brilliant and brave actress to see the real Skylar.

Michael Slovis directed episode 511.

There are two things that I love about his directing.

One is his emphasis on acting.

How did we get there?

"Hank, this video has only lies," and let's see where it takes us.

Let's see where it takes us.

Watching Michael deal with the actors is wonderful.

It has that magical touch.

- What if I say "shit, will you ask me"? - Exactly!

- Okay, I like it. - I will wonder, I know, and I do not want to say ...

It was a difficult scene. In general, they get it fast.

Small movements, the volume of the voice, in a scene like this.

That is why it can be difficult to solve.

It's very interesting to see her down, tied up,

she looking so small.

I feel very small now.

I always do my emotional scenes with Betsy,

it is very comfortable. Seriously! It has been very good to do it with you.

I told Dean that it is a privilege and an honor to be his wife.

This is another scene with Betsy, Walt's confession.

And we chose to see it for the first time while recording,

This is how we reacted as if it were the first time.

My name is Walter Hartwell White.

I live at Negra Arroyo Lane 308,

Albuquerque, New Mexico, 87104.

This is my confession.

If you're watching this recording, he's probably dead.

Killed by my brother-in-law, Hank Schrader.

Who have you shown this to?

To nobody. It's a threat.

It's what I'll do if I don't back down.

Deber�as mostr�rselo a Ramey.

Adelantértele.

This video is a bunch of lies. Anyone who knows you will know.

Yes, yes, I already know. They are not stupid.

177,000?

What are you talking about?

- Marie? - And ... cut!

That was more ... that was wonderful.

It's a difficult scene, full of twists and turns.

These guys were fantastic.

Don't you think we are the ones you work with the most comfortable?

- You are the best. - And the most talented.

Yes. Absolutely.

God, he's a fucking liar!

Acci n!

Agent Schrader, did you hit any suspect lately?

Alto y M s Alto, ask him his story with my client.

Last time, I knocked the poor boy out.

What will it be, a big lawsuit like Montana? Because it will force them.

The invitation to participate in the program took me by surprise.

I was shocked, surprised, I never saw it coming.

Goodbye, Rocky! Keep left up!

Detectives, I invite you to stand down.

In the second season I was in three episodes,

and in the third I was 10 out of 13.

And he hadn't seen the show yet. Still.

I didn't see her from the beginning.

So in my second season, the third you saw,

I didn't know what was happening or who I was talking about in my monologues.

especially if it was Gus or another character

with whom he did not share the scene or interact, but knew him.

Bryan sometimes looked at me because I was wrong in emphasis,

he said something in the wrong way ...

He was like, "Gus is the guy I work with, you know ..."

And then he would say to me: "You never saw the show, did you?"

And I said ...

I never answered him.

Do me a favor. Tell me exactly what happens to you.

My boys break their ass

Trying to hide Walt's money from the feds

And you throw it out the window, and should I find out from the news?

Certain aspects of comedy are difficult,

and good comedy is ... difficult. You know, it takes an effort.

I feel like this is much more difficult.

I screwed up. Seriously, I screwed up three times.

I backed up a lot, didn't turn towards the camera. I invented my lines.

Is that a problem here? Do you like that in Breaking Bad?

- No. They don't like it. Not at all.

Sometimes I feel like he thinks he doesn't deserve this character.

And he totally deserves it, playing Saul Goodman.

Because you know it's funny. And it is.

But he does not realize what a good dramatic actor he has become.

It is, and it always was.

- You will, you will. - But when?

- At the end of the eighth. - In the eighth season?

Yes, you'll be fine. Oh, do I have to be here?

I have to have a memory aid like that Odenkirk doesn't screw it up?

Yes, exactly.

Another thing Michael Slovis does well is picking locations.

And seen in episode 511:

the dunes where Saul, Walt and Jesse meet.

Vince siempre dijo que ve�a a Breaking Bad como un western.

A veces, cuando filmamos en el desierto, se siente como que es un western.

Estamos en las dunas de pajarito. Hace mucho fr�o ahora, como 3 grados.

Estamos filmando a Walt, Jesse y Saul en el desierto.

En esta escena Walt convence a Jesse de irse de Albuquerque.

Saul conoce a un hombre que se especializa en dar identidades nuevas.

Te mudar�a a un lugar muy lejano, y te dar�a una vida nueva.

Filmamos en muchos lugares desolados

que son el reflejo de c�mo se sienten estos personajes a veces:

muy solos y desconsolados.

S�lo p�deme un favor.

Dime que no te importo una mierda, y que es esto...

Es esto o me matar�s, como mataste a Mike.

Me siento m�s c�modo haciendo de alguien que no soy.

Me aterra hablar en p�blico, estar frente a multitudes.

Pero frente a c�mara,

as long as it's someone completely different from me,

there I feel confident.

I mean, isn't that what we're here for?

Gathered in this remote place,

in case I get to say no?

When you see Bryan and Aaron together,

you see the situation of a mentor.

Aaron became a better actor

for being with Bryan.

Bryan Cranston can't get much better

but he realizes that he reached his best performance with Aaron.

These two guys are good for each other.

Corten!

Corten!

Handsome.

Search for the complex.

I knew the series would end at this particular complex.

It was very important to determine it and prepare it well.

The writers told us we had to find this complex

that appeared in a previous episode

but that would play a very important role in the end.

It was quite a challenge, but by God's hand,

Or the gods of Breaking Bad

we find this perfect environment

which is an old molding plant.

A lot is going to happen here by the time we finish.

Here we are going to film ... I hope so, probably.

This barrel-shaped building may be Todd's laboratory.

It has truck doors on both sides, it looks fantastic inside.

And this brown building, right in front of us,

It's probably Uncle Jack's headquarters.

Originally, the barracks, the lab, Jesse's cell,

it was all a great atmosphere.

And now we have all these buildings to use.

And this horrible and fantastic well.

My team and I found this wonderful place.

We will bring Jesse here, my writers and I,

and, surely, in the end, we will get it out.

I think he's more worried about him, but no more than that.

- I think you're right. - It seems to me that ... yes, exactly.

Today is a very exciting day for us

because it is the first time that the writer Sam Catlin has directed.

Give him something, like "I won't", something like that.

I like to give people a chance on Breaking Bad

so that they grow, learn and do new things.

The first test for a writer to lead

is that I have the enthusiasm to do it and come and ask me.

I did not make it public that they asked me.

I wanted them to do it because they wanted to,

not because they heard that other writers wanted to.

Is it all?

Do you want to see it?

Is good?

- You want to maintain tension all the time, right? - He will. So it will be.

Let's get this over with. Let's record, let's record.

Although I was not mad at the idea,

because I wanted them in the writers room with me.

But I couldn't tell them no

Because they wanted it, they deserved it, they earned it.

And, as head of the show, sometimes you have to allow them

follow their instincts and do things they consider important.

He had an advantage because he had written the episode,

I know the tone of the show, and I know the actors personally.

So he had an advantage.

Jesse, turn off the lighter.

I poisoned a little boy.

An 8-year-old boy.

Just because ... you know ...

... it was a play!

Walt is a son of a bitch. The secret was discovered.

We will talk.

And ... cut!

That was beautiful ... beautiful.

Sam was an actor. And I knew it would be great working with the actors.

He came prepared, confident. He knew exactly what he wanted.

I did not try to do more than necessary,

And he did a terrific job.

In college I met a young man named Takahiko Kitazawa.

Ten�a par�lisis cerebral.

His condition was severe and he needed crutches to walk, like Walter Jr.

I knew him well, and he was a wonderful person.

One of those people who enrich you for having met them.

He was around 25 years old when he passed away, shortly after college.

And I thought of him when I thought of Walter Jr and his illness.

When he wrote the character, he had in mind his physical qualities,

what it really was like. And when I saw that in the script, I thought:

"Exactly! Got it!"

Even if the character has cerebral palsy,

we knew he wasn't going to treat the character differently,

just as RJ is not treated differently in real life.

Hopefully if that sends a message to the public

how to integrate people with an apparent disability,

I think we contributed a little to that.

- I love you friend. - Me too.

I am the luckiest in the world to work with this man.

I thought it was Bob Odenkirk you wanted to work with.

- No, actually Bob is ... - Don't give me that crap!

You wanted to work with Bob Odenkirk, not with me.

I've been working with you since I was 13!

- So you're sick of me. - You know, you have to spread your wings.

The bird has to leave the nest at some point.

You have to take a moment and think:

"Well, I'm going to jump off the highest diving board." And then you go.

We have not been much in this series in the office environment.

In the script, this was a park.

Christian, our exterior manager, came up with the idea for this plaza,

that it is not a park,

but that it is so busy is what we need.

Can you get to the phone?

Espera all ! Espera!

We used one of these ... these headphones.

I put them in my ears, he puts them in his.

We listen to each other because we also have microphones.

Aaron est� con su di�logo. La est� pasando mal con su di�logo.

Es s�lo esto. S�lo un pedacito de di�logo...

�No me sale!

�l se enorgullece de saber sus l�neas perfectamente.

Yo me enorgullezco de no saberlas.

- Peg� sus l�neas al tel�fono, para leerlas. - Ahora no lo voy a hacer.

- �Est� bien! - No, no lo har�.

�Eh! Brando lo hac�a.

Yo no soy Brando.

Quise decir Bob Brando.

No lo hice, que lo vean todos.

La c�mara est� aqu� y t� est�s mirando el tel�fono.

�S�lo pon las l�neas...! "�No, no, no, no!", dijo.

�Por qu� no?

Espera, espera, espera.

�Es as�?

�Helen?

"La pr�xima vez, te atrapar� donde realmente vives"

Bryan se comporta como un tipo inmaduro en el set.

Y lo digo de la manera m�s suave posible.

�Corten!

Casi me sale bien. �Carajo!

�Carajo!

Estamos contando una historia muy intensa y oscura.

Pero cuando no filmamos, est� bien romper la tensi�n con humor.

Ahora est�n discutiendo la cobertura de Bryan Cranston.

La m�a ya est� hecha.

As� que lo m�s importante del d�a ya est� hecho. Pero ahora...

Te puedo oir. Tengo percepci�n...

- �Oh, puedes escucharme! - ... con el ojo de mi mente.

Y con el micr�fono en mi o�do.

Olvid� que ten�amos estos micr�fonos en los o�dos.

Pero est� bien. �l ten�a que escucharlo.

�l ten�a que escucharlo.

�Por qu� no digo mis l�neas fuera de c�mara?

As� eclipso tu desempe�o en c�mara.

Seguro. T� puedes leerlo, Helen puede leerlo.

Puedes agarrar a alguien de la calle para que lo lea.

- No har� ninguna diferencia. - Aqu� vamos, muchachos. Grabemos.

Amo lo que hago, me divierto.

Y cuando la gente est� lista, ya sea los actores o el equipo,

trabajan mejor.

Est�n m�s contentos. La gente m�s feliz trabaja mejor.

Dir�n que estoy loco, pero intentar� esta toma sin leer mis l�neas.

�Listo? OK, aqu� va.

�Ambiente!

No prev� que la filmaci�n de Breaking Bad fuera tan divertida.

Nunca pens� que fuera un lugar tan divertido.

�Acci�n!

Buen intento, idiota.

Jesse, �d�nde est�s? S�lo quiero hablar contigo.

No, har� m�s nada de lo quieras. �OK, idiota?

- OK, s�lo c�lmate. - �Oh! Estoy s�per calmado, Walt

Esto es s�lo un aviso de que ir� por t�. Ves...

Y... �corten!

Si tengo que se�alar a una persona, es Bryan Cranston.

Y Bryan Cranston ha hecho este trabajo por mucho tiempo,

es un gran profesional. Ha estado en sets buenos y malos,

en situaciones buenas y malas, y creo que tom� la decisi�n

de que todos vamos a pasarla tan bien como podamos.

Todos vamos a trabajar a destajo, pero vamos a tratarnos bien,

a ser amables con todos, y podemos ser una familia feliz.

Hag�moslo, �s�?

Sesi�n de fotos para la tapa de Enterteinment Weekly.

�Lindo!

Tr�elo, entra.

Vamos a lanzarnos sangre. �Est�s listo?

T� hazlo primero.

S�calo, s�calo todo, hermano.

D�jalo salir. Seis a�os.

Cuidado.

�Me veo bien?

Estamos en To'hajiilee. Aqu� es donde Walt enterr� su dinero.

Este es el momento cuando Walt es arrestado donde est� su dinero.

Debemos prepararlo para los autos, pero quiz�s tengamos que salir por aqu�

y hacer la toma desde arriba aqu� tambi�n.

Cuando supimos que �bamos a tener este tiroteo

en el episodio 513

que iba a resultar en la muerte del pobre Hank y del pobre Gomez,

me asegur� desde el principio

de que Michelle MacLaren dirigiera ese episodio.

�l toma su celular y su bater�a.

Busca un lugar para esconderse.

Hab�a tanto que filmar, tanta gente

y hab�a tantas referencias a miradas

y a la conexi�n entre distintos grupos,

I thought we'd study all the scenes

so that everyone knew the geography.

- Now the car has to get in. - It's when I see G mez leave, right?

It's when you see Hank and you think, "don't come, don't come."

- If I see Gomez ... - Well, you know. Is Jesse ...

Wait a second. No no no no...

- Dean, give your dialogue! - What dialogue?

"I know you're here." That.

And am I going to give myself to you? You must be kidding!

This man is responsible for making us look so good.

It always makes us look good. This man here.

Always take care of your cameraman. If not, you are dead.

- It's all I'm saying. - For some it is more difficult to make them look good.

I know. That's why you have the difficult job. I thank you.

Andy Voegeli, nuestro cameraman,

has a unique intimate relationship with our actors.

He's the guy who sees you, tells you if it's a good shot

if it's going to look like this or like this. I always go to him first.

And he adapts to our movements, he doesn't waste time, he makes you look good.

It's like you're dancing with him.

Sometimes they have even literally tied us up.

And I feel like we're always tied up

Start looking around you.

�Sal, Walt!

I got it!

Walt never thought Jesse would be working with Hank.

Heisenberg always seemed to be one step ahead of everyone.

I was thinking of all the possibilities, all the solutions.

This never crossed his mind.

Bryan and I said, "This is the hardest time

Walt has had this far. "

It's the end of the road for him. His only way out is to kill everyone.

And I was prepared to kill Jesse

but he's not ready to kill Hank.

Alto!

Turn around!

Hank started out as the focused and in control guy.

And then it fell apart.

Entonces volvi� a ser el que era antes, cuando hac�a su juego,

y ah� atrapa a Walt, porque vuelve a su juego.

Es como que se cierra el c�rculo.

�De rodillas!

Este es el momento de la victoria para Hank.

Hay una sensaci�n de deber cumplido,

porque lleg� el momento en que este sujeto,

que sacrific� su trabajo, su matrimonio,

todo lo que le costo atrapar a este tipo que cocina metanfetamina...

Lo amo, lo amo.

Nos conocimos con Steven el primer d�a que fuimos al estudio.

Conocimos a Vince y a nuestro asesor de la DEA.

Y nos llevamos bien.

�C�mo les fue con el entrenamiento de la DEA?

- Arrestamos a unos adictos al crack, �recuerdas? - S�, seguro.

- �Pudieron patrullar juntos? - No, no nos dejaron.

- S�lo fuimos nosotros y los arrestamos. - �S�!

Nosotros solos.

Fue lindo conocer a mi mejor amigo en la serie el primer d�a.

Y adem�s somos compa�eros.

Just being with him on film is exciting.

I like how he treats everyone around him.

I am learning how to do it.

- It's another lesson I'm learning. - How would you define it?

- That, you bastard. How would you define it? - It's easy. In the morning you tell them:

"What's up, fagots?"

Are you here already? Do you get up at 6 like us?

What a fucking fag.

Buen d a!

Good morning from Dean Norris.

Mr. Norris, was that what you were talking about when I was at Harvard University?

Was that how he spoke?

He is the most unlikely Harvard graduate I have ever met.

- Do you understand? - Graduated with a full scholarship!

Harvard University Graduate with Full Scholarship!

I don't need a fucking brand, bitch.

- Today is on fire. - That means "thank you, I'm fine."

"Thanks, I'm ok".

I always feel like I have to do a little show when I film.

Me hace sentir m�s c�modo.

Quiero que est�n de mi lado,

as�, cuando hacemos algo serio, est�n conmigo.

Siento que cuando llego a la filmaci�n, tengo que hacer un bailecito,

hacer re�r a la gente a mi modo.

- Es dif�cil. - Es dif�cil decir "hijo de puta"

tantas veces como yo sin ofender a nadie.

En realidad, les gusta cuando les digo "hijos de putas".

Hay un mont�n de gente sentada haciendo nada.

M�ralos... Hijos de puta. Mira...

Nada, nada, nada...

Vinieron a trabajar en equipo hoy. Y nada.

Es como Jes�s les dijo a los camioneros:

"no hagan nada hasta que yo vuelva".

Entonces empieza con lo que tenemos.

Empieza con la tienda de aspiradoras,

con este tipo que espera a una dama.

�l es muy bueno con las aspiradoras...

"�D�nde demonios estamos?"

Mientras film�bamos el tiroteo en To'hajiilee,

Vince estaba en Albuquerque preparando el episodio 5-16,

pero todav�a estaban diagramando y escribiendo el 5-15.

Hay un problema, lo de Saul y Walt y c�mo desaparecer a Walt.

Se siente como...

Intentamos asegurarnos de que se sienta distinto...

...pero se siente parecido.

Escribimos los dos �ltimos cap�tulos hasta �ltimo momento.

De los seis escritores quedaron dos, Peter Gould y Tom Schnauz.

Y trabajamos a destajo en una oficina en Albuquerque

e hicimos lo posible para que la historia fluyera.

Pero esos momentos son dif�ciles.

No tienes tantos cerebros en la sala

y una sala con la que no est�s familiarizado,

as� que haces lo que puedes.

�Y si los juntamos a todos en una escena

y hacemos de eso el avance?

Un avance bien largo.

Mi idea inicial era dirigir los dos �ltimos episodios, 515 y 516.

pero se hizo evidente que no podr�a hacerlo.

Y estoy contento de que fuera as�,

porque nos permiti� tener a Rian Johnson por un rato m�s.

- Esto es un ensayo. - Acci�n, Michael.

Es el tercer episodio que dirige Rian.

Hizo el memorable episodio de la mosca,

quiz�s uno de los m�s controvertidos,

y el a�o pasado hizo el episodio en que Skylar camina hacia la pileta.

Es un gran director. Y est� trayendo esa clase de br�o aqu�.

La escena de hoy, que es un acto entero,

es importante porque perdemos a dos de nuestros personajes.

�Acci�n!

Cuando empieza la escena, Gomez est� abatido tras el tiroteo

y Hank est� herido, aunque no mortalmente.

Y hoy morir�.

C�lmate, travieso.

- �Corte! - �Hermoso!

�Hecho! �Buen trabajo, gente!

Fue raro. Sabes que se viene, y se viene...

Y est�s ah�.

Fue una prueba, es dif�cil filmar ah�.

Est�s haciendo una escena y se te viene la arena al rostro.

No eran las mejores condiciones para grabar.

Eso tambi�n le agregaba algo.

Listos... �acci�n!

�En qu� nos metimos?

Por mucho tiempo, las cosas para Hank fueron negras o blancas.

Y se volvi� el centro moral.

Esta cacer�a de Heisenberg puso a prueba de qu� est� hecho �l.

Pero al final Hank elige lo correcto.

Soy el agente especial Schrader...

...y t� te puedes ir a la mierda.

�Hank!

Vamos, tienes que hacerme caso, �OK?

Hank sabe desde el principio que se acab�.

Y Walt les implora que no maten a Hank,

pero Hank sab�a lo que pasaba.

Eres el hombre m�s listo que conozco.

Y no puedes verlo.

�l ya tom� la decisi�n hace 10 minutos.

Ves a Dean a los ojos, y sabes lo que est� poniendo,

esa fuerza interior que fue el coraz�n de Hank por toda la serie,

y la ves resplandecer en el momento final.

As� es como uno debe irse.

�Corte!

Es hermoso, se siente bien,

y, aunque sea triste, es el final justo para ese personaje.

�Qu� m�s decir? Ya termin�. Nos vemos.

- Un placer. - Gracias. Te veo ma�ana.

Gracias a Dios se fue.

Es un dolor de culo, mi Dios...

Nunca lo dir�a frente a �l,

y no quiero que lo graben.

�Dios!

Las vidas de todos nosotros est�n un poco mejor ahora.

�No te parece?

- Oh, Dios... - S� t� mismo, s�lo s� t� mismo.

�brete, estamos s�lo nosotros. Es una charla segura.

�Y la c�mara?

La ma�ana siguiente.

Matar a Hank nos llev� dos d�as.

Lo matan un d�a y al siguiente lo arrastran y lo tiran a un pozo.

Este es el tipo. Una bala en la puta cabeza, ahora. Corey...

Ahora se ve como un grano.

"El Grano del Agente Hank Schrader".

M�renme en el canal 2, hijos de puta.

OK, ah� vamos. Ah� vamos, alej�ndose.

Ustedes lo arrastran cuando oigan "acci�n".

�Acci�n!

- �Corten! - Sigan arrastr�ndolo.

Usteden sigan.

OK, es el momento que todos esper�bamos, tras 60 episodios.

60 episodios despu�s.

Te vas a CBS, donde millones de personas m�s ver�n tus deficiencias,

que las que te vieron aqu�.

Te deseamos la mejor de las suertes.

- Gracias. - Te extra�aremos.

- Ha sido un placer... - �Qu� carajo es esto?

Y para t� tambi�n.

�Gracias!

Muchas gracias.

Si me hubieses dicho el primer d�a de filmaci�n

qu� triste iba a ser despedir a Hank, me habr�a sorprendido.

No prev� lo interesante que iba a ser el personaje.

Pens� que era un tipo amistoso, masculino, fanfarr�n,

que era todo lo que Walter White no era.

Pero le dimos el papel a Dean Norris. Y Dean es mucho m�s que eso.

�l es un hombre complejo y maravilloso, con muchas aristas,

No me imagino c�mo habr�a sido el programa

sin Dean Norris haciendo de Hank.

Tienes una sensaci�n de final.

Cada ves que paramos hay puertitas que se cierran.

�Oh, Dios!

Ha sido un placer.

It's getting more unpleasant, sadder, you know?

Correct. Ready? Rolling,

3... 2... 1... Acci n!

Please!

Please!

- Walt! - Cut! Beautiful beautiful.

That scene was the combination of the six-year series.

He knew how difficult and demanding it would be.

So they prepared the bedroom and I stayed there,

and then they came and told me it was snowing.

I had to sit and wait.

Later they said that it was no longer snowing and that they were ready.

�Acci�n, Anna!

Please stop! Please!

Please!

Please!

Please, please, please ...!

Please, please ...!

OK, cut it up.

Sometimes it is time for an actor to give himself up,

and your body says: "I don't want to, I don't want to", because it's scary.

Rian came up to me after the first few takes

and he said, "Don't worry about falling into the street," and I told him I was scared.

Said, "Yeah. Okay, okay."

He realized that he needed someone

to take my hand and say "you're safe."

He looked at me and realized that. He turned and said, "Come on."

I looked away and we were ready. And we did it.

Please!

Please!

Please, please ...!

Oh, God, please ...!

It feels real because Anna put herself in Skylar's place

and got on that roller coaster of emotions.

Ok I have it.

I want to honor that wink and that character

putting everything there is to put.

Later, when I thanked him for helping me,

He said, "You don't have to thank me, you did."

But he helped make it happen.

Casi!

Sometimes I get up, shoot a few shots at the basket,

and I am inspired by rest.

The program has two centers:

the production center in Albuquerque,

where cast and crew are most of the time,

and the post-production and writing center here in Burbank, California.

Look, Mr. Natural. I won't let you sabotage this.

This guy won't take you if you show up high

So stop wasting time or we'll both screw up.

A TV episode is done three times: it is written, filmed and edited.

You tell the story three times.

33% of the story is told in the editing room

de Skip MacDonald y Kelley Dixon.

- I love this. How long does it go? - 1:44.

And I only focus on this because it's the only time

I see that he has drugs and that he puts it in his pocket.

"S cala" would be side A. Side B would be "Mr. Natural."

So we cut it, I think you have a break in your mind here ...

Vince has a unique sense of rhythm.

Many times he looks at the cuts when he works,

and he says, "Can you pass it again? Can you pass it again?

I'm trying to get the beat. "

When Jesse realizes that Huell took the marijuana out of his pocket

On Saul's orders, the principal decided that we surround Jesse.

The camera spins around Jesse, and he searches his pockets.

Instead of having only one camera, one shot, we decided to cut it,

to be able to create a little tension and nerves.

It's a more confusing shot.

- OK, it's a ... what time do you think it is? - At dawn.

It's early morning ... 5:00 to 5:30 in the morning. It is very calm.

As for the ambient sound, there are no cars ...

The detection session is when everything is filmed,

and we see scene by scene,

and we discuss what is needed to complete the process.

- Is that a production engine? - No, it's added.

Is very good. Yes, it is very good.

In our detection sessions we always have Vince, of course,

Michelle MacLaren is often there,

next is our sound editing supervisor, Nick Forshager,

our dubbing supervisor, Kathryn Madsen,

our composer, Dave Porter,

our music supervisor, Thomas Golubic,

and our music editor, Jason Newman.

I am there, as well as the editor of the episode,

and we discuss where music should be added or not,

what sound effects do we want,

what background sounds do we want,

if any dialogue needs to be fixed.

The only thing with the squeak is ... It sounds like a swing.

I like a lower sound. I would add a higher squeak ...

- Yeah, yeah ... - It's like saying, "Did I hear something? What was that?"

And heels ... It doesn't always,

but let's put some sound effects

by the dragging of the feet on the ground.

Look at the line his feet left on the ground. He hadn't noticed.

Mr. Porter, what do you think of music?

No estoy seguro de qu� m�sica agregar aqu�,

a no ser que pienses en algo que le agregar�a m�s a la escena,

en cuanto a su surrealismo.

Dave entiende perfectamente que la historia es lo principal,

y que la m�sica sirve a la historia.

Para m� est� bien, en silencio, a las 4 AM... - S�, creo que tienes raz�n.

Si me preguntaras qu� emoci�n le agregar�a la m�sica, no lo sabr�a,

la escena es bastante silenciosa, misteriosa.

El silencio del carousel, el pie de Jesse arrastr�ndose,

la simplicidad de ese sonido, te dicen todo lo necesario en ese momento.

...y al final, si fijas c�mara en ese momento, �qu� querr�a decir?

La post-producci�n de Breaking Bad es un centro de arte.

El programa se mejora de todas la maneras posibles.

El programa se convierte en Breaking Bad en post-producci�n.

Eso est� bien, est� bien.

Saul es un tipo que quiere ser un playboy,

as� que debe tener pelo atr�s y arriba.

Cuando tienes un pelo como el de Donald Trump,

cualquier cosa puede pasar.

- �Hola, Bryan! - �Qu� tal, Bobby?

- �C�mo te va, amigo? - Esto es todo, �eh?

- S�. - No puedo creerlo.

- Dif�cil de creer, �no? - S�.

Pero, tu sabes...

Es una gran escena, me encanta.

Esta es la �ltima escena de Bob Odenkirk en Breaking Bad.

Para m� es muy importante.

Tuve la suerte de presentar a Bob en la temporada 2.

Estaba en el set cuando empezamos a crear a Saul Goodman

y filmamos su primer comercial.

La he pasado muy bien con Saul y con Bob Odenkirk

y lamento mucho que se termine.

Echar�n a tu esposa y a tus hijos de la casa por la ley RICO.

Ese condominio ya no est�, las cuentas bancarias est�n congeladas.

La foto de tu esposa ya debe estar en las noticias, junto a la tuya.

�Qui�n la contratar�?

Vince, en el programa, no evita las consecuencias de esta conducta.

Casi todas las otras series y pel�culas esquivan las consecuencias,

s�lo por diversi�n.

�Crees que yo quer�a huir?

�Crees que yo quer�a dejarla as�? �Era lo �ltimo que quer�a!

Es habitual en cualquier drama que le disparen al padre de alguien,

y despu�s es como si nada hubiera pasado.

La vida real no funciona as�.

Es importante que en esta peque�a recreaci�n de la vida

llamada Breaking Bad se refleje la vida m�s precisa.

Matar� a Jack y a toda su banda.

Recuperar� lo que es m�o y se lo dar� a mis hijos.

Y entonces, s�lo entonces, habr� acabado.

Con una gran direcci�n y una especie de ambientaci�n sexy,

que es extremadamente oscura,

Vince embauca a la gente para que vea un programa,

una historia sobre gente que toma malas decisiones

y las consecuencias que �stas acarrean.

No se termina hasta que yo...

Se termin�.

Terminamos con Bob Odenkirk.

Muchas gracias, gracias.

Lo dije muchas veces y lo seguir� diciendo.

Estar aqu� ha sido un regalo incre�ble para m�,

de todas las formas posibles. Es dif�cil dec�rlo,

porque tendr�a que contarles una historia muy larga.

Gracias por su profesionalismo, su calidad,

su gran �nimo, sus personalidades, por ser tan acogedores.

Este papel ha sido un regalo para m�,

nunca podr� agradecerlo lo suficiente.

�Acci�n, Robert!

Una cosa muy interesante del pen�ltimo episodio

es que uno esperaba que cerr�ramos las cosas,

y, en lugar de eso, presentamos un nuevo personaje,

y lo present�bamos en un escenario nuevo.

Sr Lambert, bienvenido a New Hampshire.

�Corten!

Estamos en la cima de Sandia Crest.

Los exploradores espa�oles le pusieron as�

porque, por la tarde, estas monta�as se iluminan

de un hermoso rojo y anaranjado

and they look like a big slice of watermelon, hence the name.

We are at the top now.

You can see Albuquerque from up here, it's not that far in a straight line,

we are not far from the sound studios.

I feel like I'm playing David Lean or Stanley Kubrick.

We built this cabin outdoors, and the interior is in a studio.

Similar to the Overlook hotel. I think it looks fantastic.

I don't think I can close the door in the time you ask.

Let's see how it comes out.

I love tough guys.

The old-school, old-school tough guys.

Not the poster and flag guys, but the quiet guys.

Mike Ehrmantraut was one of those tough guys.

Robert Forster represents another one of those guys.

See you in a month.

The actor starts from scratch with each new dialogue,

and try to hit ten by the time he's done filming.

You have to go from zero to ten each time.

It is not an advantage to have acted before.

You must start with new material and learn it,

unravel it, understand it, and then try to mean it.

You paid a lot for this. You have two acres here

lots of wood, a nice and warm place.

It seems like an ideal place for a man to rest and think.

Look around, it's ...

- ... handsome. - It has been very helpful. Thanks.

I'll be back in a month.

It was six years in this room.

- 2007. - S .

- Hard to believe. - Eisenhower was president.

They are the last two cards of episode 516, episode 62,

or the last episode of Breaking Bad.

Do you want to put these there?

"Last visit to your precious".

OKAY. Last card. - Last card.

- Very well. - Don't do it!

We celebrate every time we finish a season on Breaking Bad.

We usually celebrate with champagne. In the writers room

We put the last card and it is a special occasion.

We have a long tradition, we put the episode number.

This is 516.

We put it on, it's the last thing we do.

We place it in this corner. AND...

... bingo!

This is the end of the Breaking Bad writers room.

This time it was sadder than other times

because we knew for sure it was the last time.

I thought he would be sad, but he was numb, like in shock.

I still haven't processed it, months later.

I still haven't realized it's over.

It was an important final moment, that last card up there.

It's the hardest thing of all, and when the last one is on

you realize the labor is over.

A toast to the best writers, actors, producers

and television crew of now and forever.

It is because of all of you that this program is what it is.

- God bless you. Thanks. - Cheers!

Oh my God! I can not believe it.

It's March 10, 2013.

We are at my house in Albuquerque. We are Aaron and Bryan.

We are reading the latest episode of Breaking Bad.

We haven't read it yet. No...

We don't know ... and we're having beer.

I am so incredibly depressed about this.

I know you guys get it.

It was a personal experience to receive the scripts every other week.

You read it and you have your own impression, how it impacts you.

And since this was the last season, I thought:

"What if we read the last script cold, on camera?"

This is all.

Go there, pick up the beer, drive there, park ...

I was appalled at every moment.

"The whole room explodes in machine gun fire.

Shots go through walls like Star Trek phasers

through Jack's gang like hot knives to butter.

The M16 was placed alongside, on the platform made by Walt.

It rattles back and forth like Satan's windshield wiper. "

Get ready, because it is happening.

Say it. Say you want this.

Nothing will happen until I hear you say it.

I want this".

Jesse thought the same. Drop the gun to the floor.

"Then do it yourself."

After which, it turns and exits.

He and Jesse take a long look at each other for the last time.

Jesse puts first and accelerates. The car gets lost at night.

Walt is standing, watching him go.

Jesse accelerates against the padlocked door. Bam!

He breaks it like nothing. I'll leave the complex behind.

Jesse's tight angle, determined and unafraid of anything.

Accelerate into the dark.

It is up to us to imagine where it is going.

I'd like to say "something better" and leave it at that.

Take from above.

Vemos a Walt, que entra en cuadro tropezando.

Yace en el piso sobre su espalda.

Sus ojos nos miran, sin vida.

Y, sin embargo, su expresi�n final es una de leve satisfacci�n.

Continuamos yendo hacia arriba, observando a Walt.

Nos elevamos tanto como podemos.

La imagen lentamente se funde a negro. Fin de la serie".

Supongo que no habr� secuela... Pero Jesse queda vivo.

�C�mo te sientes?

Hombre, me siento triste.

Es excelente, es... t� sabes.

Es perfecto.

- Listos. - �Acci�n!

T� quieres esto.

No me habr�as tra�do hasta aqu� si no lo quisieras.

�Qui�n m�s iba a dirigir el �ltimo episodio?

�Qui�n iba a terminar la historia si no Vince Gilligan?

M�s como un murmullo, m�s r�pido.

S�lo ll�vame a casa. Yo har� el resto.

�l es la mente maestra,

�l es el alma y el coraz�n de esto.

S�lo puedes ver una silueta, pero puedes ver un tipo en el asiento de atr�s.

Vince Gilligan deserves most of the praise.

I am the face

but he and the writers are the column.

For us, that's how we were able to say goodbye,

knowing that every decision, in the end, was up to him in that episode.

And that filled us with a lot of confidence, emotion and pride in what we did.

She is not sorry enough.

And you're the one who lost everything, not her.

You don't mind that she lives in an ugly apartment.

You lost your husband.

Not only was it the last episode, but because it was the last,

We will see the characters for the last time.

I think the life of an actor is unpredictable.

In the last scene, you can find yourself alone,

with the assistant director reading you lines.

At Betsy's parting, that was the case.

Now we cannot serve you. Leave your message after the beep.

It's me.

A truce, okay?

It is a complicated emotional scene that she does alone.

- It was fantastic. - It's so sad!

- It is. It's sad. - It's too sad.

It broke my heart to film that. I told vince

that Hank and Marie would have done anything for Walt and Skylar.

It's what I think, they would have done anything for them.

And that Walt and Skylar did what they did ...

The only way Marie could forgive them was for Hank to come back.

And that is not going to happen.

- Do you want to do it or for me to do it? - It's not an option. Thanks.

No problem.

Court. Handsome. Beautiful job.

I felt so weird.

Very well done.

Betsy, we all want to give you this ...

Our sincere sentiment is reflected in what I wrote:

"I would totally sleep with her."

- I think that says it all. - Thank you.

I thank you for giving me the opportunity six years ago.

I'm serious.

It is the best experience of my career and also of my life.

Working with you has been wonderful. I will miss you all.

We are lucky to have met you. God bless you.

Can you give me a real hug?

Squeeze me tight!

Bad news for the most acclaimed series on television,

Breaking Bad, whose final season is about to begin.

Actor Bryan Cranson, known for his role as Walter White,

reported a robbery in which one or two super secret scripts

were stolen from his car.

There is no bad publicity.

- Oh God. It is unbelievable. - They opened my car.

They took my bag with the script.

Now it exploded. Will the secret be revealed?

Qu suceder ?

It was disproportionately inflated.

It was not the final episode.

Okay, we're safe.

We have the recording of the 911 call. Stay tuned.

They won't believe what we find out.

This is RJ Mitte's last day in the series.

It's Walter Jr.'s last day.

We are filming in an apartment complex

which plays an important role in the final episode.

We'll shoot the last take and fire RJ.

- Oh God. - Lean forward a little.

Melissa Bernstein was on the school bus in the pilot,

and it's there in the last episode.

We're playing it to see when RJ gets off the bus.

I am on 4 pads, this is the fifth.

Just so you know this is ridiculous.

Melissa Bernstein was a phenomenal producer,

all the cast and crew think the same.

She is a pleasure to work with, we are lucky that she is the producer.

He has been there from the beginning and will rule this city somewhere.

It is fantastic.

It ends where it started, the circle closes. School bus.

Acci n!

The last episode is an elegy.

We see all the sadness and carnage that Walter's actions produced.

And we see it most clearly in Walter Jr. and Holly.

Can you imagine losing your father, your home, everything you have?

Their entire lives were destroyed.

They are the innocence of the show.

All the victims can be summed up in these two children.

Cut! Very good.

Mr. Mitte, please come.

C mo est s?

- I want to thank you very much ... - Thank you.

... for growing up on our set,

And become such a good young actor and do such a good job.

God bless you, you did a wonderful job for 6 years.

Walter Mitte!

I am giving you this check.

I accept it!

Take it to any bank and they will pay you.

I haven't signed it yet. Do they have an indelible marker?

I knew we would get along. In the pilot,

when Anna improvised in the clothing store,

cuando �l se prueba el vaquero y dice: "Como el de los skaters",

y t� dices: "�Acaso luzco como un skater para t�?".

Pens�: "Esto ser� divertido".

"El mejor hijo del peor padre de la televisi�n"

Eso es buen�simo.

Eres una gran persona. Te amo.

Bryan y yo hicimos nuestra �ltima escena juntos y fue maravilloso

porque nos dijimos adi�s como personajes.

Las cosas que hice...

- Debes entender por qu� las hice. - Oh, Dios...

Si dices otra vez...

- ... que hiciste esto por la familia... - Lo hice por m�.

Es el final de una monta�a rusa muy emocionante de 6 a�os.

No se necesit� mucho para hacer las emociones

que te pusieran en el estado de �nimo correcto.

�Puedo verla?

Por favor.

�Corte!

�Estupendo!

Despu�s tuvimos ese tramo en el cuarto de la beb�.

Y fue sorprendente porque deb�amos estar en silencio,

y era la primera vez que la beb� estaba realmente dormida.

Puso en todo el set esta sensaci�n de calma pl�cida, hermosa.

Y Bryan dijo: "Deber�amos hacerlo as� todo el tiempo".

Listos. Acci�n.

Mientras miro a mi hija, lleno de emoci�n, debo decir adi�s.

Yo quer�a hacer esa escena sin llorar,

pero no estaba emocionalmente preparado para eso,

por el impacto que me produjo todo lo que suced�a.

Andy Voegeli, el cameraman, ten�a la c�mara sobre sus hombros

y lo ten�a as� de cerca, porque quer�a un primer plano.

Mientras miraba a mi hija, escuchaba a Andy, que es padre reciente:

Estaba llorando detr�s de la c�mara,

y trataba de mantenerse quieto mientras la sosten�a.

Es una escena muy emocionante.

Me saltaron las l�grimas mientras miraba por la lente.

Creo que se escucharon algunos suspiros y resoplidos m�os.

El equipo tambi�n estaba diciendo adi�s.

Era el final de la serie

y afloraban emociones honestas.

Segu� por el resto de ese d�a,

pero cuando apareci� Aaron, todo termin�.

Eso me mat�.

Ah� me di cuenta de que en cuesti�n de minutos,

tras unas tomas, terminar�a todo.

Fant�stico. Cierren la puerta.

Terminamos la escena, y era la �ltima toma de Anna en Breaking Bad,

y todos en la sala se emocionaron r�pidamente.

Cuando terminamos con la toma final de Anna,

nuestra asistente de direcci�n nos llev� a otra parte del estudio

para que todos nos junt�ramos y disfrut�ramos del momento

y Anna dijo un "adi�s y gracias" incre�blemente sincero y emocionante.

Como dije, fue como hacer arte con artistas y amigos,

y estar� agradecida eternamente, les agradezco mucho a todos.

Los amo y los extra�ar�.

Anna, haciendo ese papel, y era un papel muy dif�cil,

estuvo excelente, es una actriz maravillosa.

Hizo un papel dif�cil y, a veces, ingrato.

No me imagino a nadie haci�ndolo mejor.

Hola Jack. �Jack, est�s en casa?

Jack, quiero hablarte un segundo. �Tienes un minuto?

�Est� interesado en The Watchtower?

Y... �acci�n!

Cielos, m�rate con esa cabellera.

�Es de verdad?

S�.

�No es una peluca? �Qu� hac�as antes, te rasurabas?

S�.

Dios, pero qu� buena cabellera.

Aparte de eso te ves como la mierda, pero...

Hola a ti tambi�n, Jack.

Espero que cuando todo est� hecho,

ser� una escena apasionante, excitante y dram�tica.

Pero filmar en este cuartel nazi fue un infierno.

Odi� cada minuto.

Esta escenograf�a te da claustrofobia.

Era muy peque�a, oscura, estaba llena de humo,

te sonabas la nariz a la noche y sal�a una mancha de Rorschach.

Dec�as: "�Cu�ndo terminar� esto? Esto es un martirio".

No pod�a esperar a que terminara.

Lo que la hizo posible fue los grandes actores que ten�amos.

We had Bryan and Aaron

And we had the Nazis: Uncle Jack, Kenny, Todd.

They are the most lovable Nazis I've ever been with.

I'm kidding, but it was a pleasure working with these actors,

and they made it easier.

See what I'm talking about, you son of a bitch?

Does this look like a partner to you?

Walt has reason to be mad at Jesse, to hate him.

But in the final moment, he can't pull the trigger.

Wonderful, wonderful.

Aaron, do you want to try something else?

It is not a trick question.

- I liked it, but let's do it again. - OK, again.

You have that pressure every time you film.

Is there something else? Are we forgetting something?

Some detail, some nuance, something,

"Do you want to try something?", "Any ideas?",

we do that constantly.

And then he looks at it and takes a few steps back ...

- ... and he's kind of scared and then he's ... - Yeah.

Try to use your muscle memory. OK, let's do it.

I don't ask if they want another take because I think it's not right.

Just like this is the last time,

I want you to be as happy as possible.

And I'm happy there was one more take

because I took it as thoroughly as the previous one.

And ... action!

Corten!

The final shooting scene

It was a long, exhausting, tortuous few days ...

Dos, one, bang!

... but super fun. It really was.

En "acci�n", cont�n la respiraci�n.

Va a ser bang, bang, bang, bang, bang, bang!

Filming this sequence was more than intense.

And he's going to ram this thing too,

and then they try to hold on to whatever it is,

And all they'll do is wait

We have a sequence with doubles

in which Jesse hangs Todd and throws him to the ground,

and we have to see when the doubles come in

and at what moment do the actors re-enter

We have a jerk vest.

It's a stunt jacket.

We tie some chains that the other double can pull very hard.

And ... action!

We made the actors start the sequence

did the hanging.

Halt, cut!

We stopped everyone, we put the doubles in

to do all the action,

we made sure no one got hurt,

they hit the table and the floor hard.

Alto!

We stopped it, we put the actors back,

seamless, and in post-production it will look great.

Acci n!

And all of that must happen at the same time that Walt shoots Jack.

Jack crawls and maybe gets up a bit.

And then we put the camera behind you for the final moment.

And then we'll take it from that corner and it'll be a great shot.

And we still have to finish the day. And they are very, very long days.

It is not very difficult to make these types of characters.

You take a take

and Bryan is joking, you are joking with Aaron, do you understand?

We prank each other ... it doesn't affect me.

I don't bring home anything dark.

You want your money, right?

Do you want to know where it is?

If you pull that trigger, you never ...

Corte!

While Aaron does his thing up front, we can ...

put it to the left of the frame, facing the other side,

looking at the keys, or better, testing the keys,

and Walt is coming towards us ...

- ... junt moslo a little. - OK.

We'll do a shot of Aaron up front ...

- ... and Bryan in the background. - That was one of the most difficult scenes,

because it was just me trying to stay in control.

Me, Aaron, trying not to break down.

Also because Jesse finally escapes,

And I'll never see this guy again.

Acci n!

And he hates it so much ...

... but he was very fond of him.

I was struggling to find a father figure

and found it in Mr. White.

Aaron tiene un gran coraz�n,

y sab�a que esta ser�a la �ltima vez que ver�a a Walt.

Todos esos �ltimos momentos fueron muy emocionantes para �l.

�Y... corte! Eso estuvo muy bien. Gracias.

- �Qu� te pareci�, Andy? - Creo que fue la mejor.

- Me pareci� lo mismo. - Cuando Jesse se aleja de esta locura,

me lo imagin� larg�ndose a toda velocidad...

...quiz�s yendo a ver a Brock.

Es la �nica persona a la que �l ir�a a ver,

para despedirse.

Cuando se despide de Brock,

lo imagino convirti�ndose en carpintero en Alaska,

o en piloto de zonas salvajes en Nueva Zelanda. �Qui�n sabe?

Jess saldr� del negocio de la droga, eso es seguro.

Lo intentar�, le llevar� tiempo,

pero tratar� de sanar sus heridas.

Le veo un futuro auspicioso, no le llevar� mucho tiempo.

Los escritores y yo pasamos por muchas permutaciones para el final.

Nos llev� muchos meses,

maybe we started talking about it a year ago,

before conceiving and writing it.

Do we see him die for real or not?

�Se termina como "Butch Cassidy and The Sundance Kid"?

Does he commit suicide? Is it this or that?

We finally come to the question: what does Walt want?

Where is your head at that moment?

And we said to ourselves: it wouldn't be moving and weird,

In a way that only Breaking Bad can do

that his "precious", with whom he will spend his last moments of life,

be your meth lab?

His laboratory, which he designed and which he made bear fruit.

It is the last scene of Breaking Bad, of the entire series.

Ready. And ... action!

The laboratory equipment became a talisman.

He's touching it, remembering his time with Jesse ...

This moment gave him enough adrenaline

to live a couple more minutes,

and put a touch more to your existence before leaving.

Handsome.

That was great. Print and let's do one more.

The last shot Vince wanted was Walt on the lab floor,

and he's dying, and the camera goes up, up, up ...

And we wanted to solve that.

We turned to Michael Slovis, our cinematographer,

and we asked him: "Do you have any ideas?"

And he said, "You know what? We shouldn't do it here.

We should do it in a studio. "

As we cannot get to the top with a crane in the complex,

we recreate the stage here, in one of our studios,

because the ceiling is high enough

to take the shot that Vince wants.

So we have a huge crane behind me.

which is not high enough,

so we put it on a giant scaffolding, so that it reaches the top.

This will be where Walt gave his final sigh.

- I would like you to open your eyes. - What? I don't know if I should ...

No, I really would like you to open them well.

What you are doing now is very good.

I want to maintain an ambiguity about his gaze.

- Will your eyes be closed? - Open. We talk about it.

I think we deserve it, we need you to keep them open.

When they are closed, there is a feeling that you are at peace.

And I don't want to imply one thing or the other.

- Ready. - Ready and ... action.

We explore not only physical danger

of what Walt exposed his family, friends and himself,

but also moral danger,

what happened to him as a human being.

The degradation of his soul,

the inclusion of the ego and hubris

developed in the nature of greed,

that he never had before.

Those negative emotional characteristics came into play.

There is an element of victory here.

Es sutil, pero est� all�.

Termin� las cosas cuando �l quer�a, en sus propios t�rminos.

Creo que tiene mucho de lo que arrepentirse,

y tiene muchos pecados en su haber,

cosas que lamenta y que desea nunca haber hecho.

Pero en este punto ya no hay vuelta atr�s.

Todo lo que puede hacer es ocuparse de sus asuntos,

hacer que el dinero que le queda les llegue a su mujer y a sus hijos,

e irse como un maldito hombre. Y eso es lo que hace.

- Corte. - �Corte!

Muchas gracias a la polic�a de Albuquerque. Bien hecho.

Buen trabajo.

Ch�cala.

Gracias, muchachos. Ah� vamos.

D�a final de filmaci�n de la serie. Avance de "Ozymandias".

Es el �tlimo d�a.

Nuestro valeroso l�der.

Estoy empezando a sentirme triste.

Este es el �ltimo d�a de Breaking Bad.

Se terminar� probablemente en una hora, o antes.

Est� empezando a pegarme, me estoy poniendo...

Nadie est� feliz por terminar el programa,

porque nos queremos mucho.

Estamos orgullosos del trabajo,

y amamos a estos personajes, amamos esta historia.

Pero el hecho de que lo estemos haciendo aqu�,

y que terminemos con este flashback, en el que volvemos al piloto,

desde mi punto de vista creativo y sentimental, es maravilloso.

Estaba pensando en que quiz�s podr�amos

tener un poco de tiempo familiar este fin de semana.

Hab�a una raz�n pr�ctica para que estuvieramos aqu�

en el �ltimo d�a de filmaci�n, donde empezamos.

Nuestras barbas.

No pod�a tener barba para filmar este segmento.

Me siento afortunado, privilegiado por hacer este episodio.

Walt y Jesse lucen como en el piloto,

la casa rodante est� en este lugar...

No s�... me siento privilegiado.

- Caballeros, estamos listos para ustedes. - S�.

�Nosotros no estamos listos para ellos!

�No estoy listo!

Aaron was joking with a bout of depression.

�Oh, no!

Oh my!

"This is horrible! This is horrible!"

And it looked like that.

Frightening.

I was so sweet, maybe not so innocent

But as sweet as the day we started

This is terrible.

Am I ready to drop this? I think so.

But obviously I have a personal relationship with Jesse Pinkman,

and I love him very much.

And it's sad that I never do Jesse Pinkman again.

Now what?

We wait.

Don't you have eight more details to review first?

Aaron is so emotional, with his feelings on the surface,

is love personified,

who feels things immediately and deeply,

And I think it will help her get through this day having Bryan for her support.

- I loved it. - Now we turn around.

Incidentally, I have to go.

Can we get Sean here?

I would like to go out on the road.

You know, getting into traffic would be great.

Do you have any objection to that?

Okay. Goodbye Thank you.

Final take for this scene.

I'm in the final shot. That's it!

It's a nightmare!

Bryan set the tone.

"It's going to be OK".

It's a long road, and this is something to be happy about.

To keep joy at the forefront of this experience.

And I think his perspective helped us all.

We are about to film the last shot of Breaking Bad.

I have glasses on because I am crying.

Rian Johnson is the director of this episode,

but he asked me to say "cut" in the last take,

and I am moved by that.

I should say that I feel like doing it, but I don't,

Because when I do, I mean we are officially over.

But it was a nice gesture, I want to do it. It will be cute.

I would like to film again that scene we did before,

if possible.

The image is already there.

OK...

Ready ... action.

Well, if we had a freezer ...

... the condensed liquid will cool more quickly ...

... because this is an exothermic reaction ...

... which means that it gives off heat ...

Put me in a coma, please.

In here, no.

What did you say? What happens?

- Oh my God! - They're filming, right?

Acci n!

Aqu� no.

Like I'm an idiot.

Yes. Like you're an idiot.

Imb cil.

Say it, boss.

Corten!

Vince is one of my best

discoveries as a producer, if not the best.

I knew he had a special and unique voice.

I couldn't be more proud

I can't tell you how proud I am of him.

Thank you very much to all.

We are like a family and ... Wow!

Let's drink it like a family here.

I will never forget this experience,

nor to any of you.

Thank you very much for ... I don't know ...

Thank you. God bless you. Thanks.

We know how lucky we are to be on this journey,

especially with this man,

that has created an atmosphere ...

... such a unique storytelling style

and that he has obtained this reaction that we all know.

He brought us here.

Not only did it change my life, personally and professionally,

and Aaron and all the actors, and the writers,

and the directors who were on the show.

You do that all that and more.

You gave credibility to filming here in New Mexico

With a team that is first class, as you said.

My heart is full of your love and support, your talent,

and we thank you very much. God bless you.

Oh my! Look at this!

- From the cast and crew! - Oh, thank you!

I'm going to miss them so much.

It's terrible, this is awful.

Really, I refuse to accept it.

You come every day with so much passion

and excitement for this job, like all of us.

We appreciate it.

Vince Gilligan... �Dios!

Thank you for creating such a brilliant, crazy, dangerous and brave show.

I can not thank you enough.

Bryan...

S ...

I love you man you know Damn!

I love you man you know

We are very fortunate to have him as number one on this show.

We applaud this guy again.

You have made me improve as an actor

and I think also as a person, so thank you.

Thanks.

I remember we were filming in the first season,

And we were rolling on the ground somewhere

and we walked to lunch,

And you said, "Isn't this cool?"

And you were all sweaty and full of sand.

And I remember telling you, "I hope you remember this.

That we are the luckiest in the world. "

We really know and understand that.

And we will be forever united.

With gratitude, with affection.

- I love you. - Me too.

I don't think I am the owner.

I consider myself a shareholder, more than an owner,

if that means anything.

I go through so many hands to get here,

many people in front of and behind the camera contributed

... and made this what it is. - Thank you.

Last photo, next to the motorhome.

There is a great feeling of family, of cohesion,

all these people getting together, I don't remember how exactly it happened ...

...s lo sucedi .

Translated and synced by Garompman for SubDivX.