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 decisive era of Breaking Bad.

Before the series ended, we wanted to make sure

of seeing the origin of the story we saw,

Everything that happened, in the end.

I'm sorry, I'll be late today.

I don't know what itchy Bogdan.

After chapter 514, we filmed two more.

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

For logistics, we had to film this breakthrough at the end.

So this is the last day, not only of episode 514,

but the last day the series is filmed.

- Thanks sweetie. I love you. - I love you too.

- Cut. - It's farewell day.

The last day of filming of Breaking Bad.

There are like 23, 24 degrees. It is a fantastic day.

So many hundreds of people worked on this,

putting work, love and art,

That some days I think I'm 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 program would go so far.

Who would have said we would go so far and have so many fans?

In February 2004, Vince and I talked on the phone,

and I mentioned a New York Times article

about a guy who cooked methamphetamine in an apartment.

"It's a good idea,

maybe we should cook methamphetamine 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

"It sounds interesting, a little risky,

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

And yes it was big, 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 AMC partners.

We met with the president of the study, Michael Lynton,

to give us his blessing.

They described the program to me, and I

"Let's see if I understood:

He is a middle-aged chemistry teacher with children.

He has cancer, and decides to become

a methamphetamine trafficker."

"That's right."

If it had been a movie, a scratching

record would have been heard.

There was only silence. Michael looked up.

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

"It's the most delusional and worst

idea I've ever heard for a program.

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

We must understand that, at that point, we were very involved.

And the story we told was made with such conviction,

that there was no way to be rejected.

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

and we think it can be a fantastic program."

"Guys, it's your careers.

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

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

That is a compliment to this place.

I don't think it would have aired anywhere else.

Before I started with Breaking Bad, I finished casting

for La Jolla Playhouse

and Bryan Cranston came to be tested for the lead role.

And we were impressed.

Bryan Cranston has everything necessary to do Walter White.

It was the perfect combination.

When we talk to Vince about some ideas,

we couldn't stop talking about Bryan Cranston,

whom Vince had in mind when he started to form the cast.

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

you want the father of "Malcolm in the Middle"

You can imagine the reaction you will get.

"This is an incredible literary piece."

I wanted to spread my scent on that character.

I wanted to mark it as if it were mine

so that when Vince Gilligan saw the character,

he could feel my particular smell and say:

"I don't know why Bryan leaves the page"

But that is what happened.

Filming of the pilot episode.

When we entered the set, everyone gathered

in a unique and perfect way.

And Bryan and I had that chemistry from the beginning

That really worked.

You quickly realised that the team was top notch.

We had John Toll, winner of two Oscars.

He was the director of photography.

There were people who offered to work for free

Just to be on your team.

I remember it was a cold morning in To'hajiilee

I went out, pulled Bryan aside and said,

"How do you feel with your underpants?"

"What is the most embarrassing thing I can wear?"

I said, "Try the white underpants," and

"It's what I'm going to wear,

that's what the character asks."

I wanted to be overweight. I wanted to be a

guy who didn't care about anything any more.

Get out of the motor home on the pilot

and have my member folded in my tight white underwear

It was not the image I wanted the world to have of me.

And yet you have to have the courage to do it.

This is a moment I will not forget.

We were filming in the desert and he danced in shorts

"My God, I love this man."

The idea of our star would have so

much fun and not be taken very seriously

especially while we were doing very

intense scenes, it is a wonderful thing.

Cut.

Luckily, for the pilot's first display,

I already knew that Sony and AMC liked it.

"If you add 20 minutes to that pilot,

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

We had it at Sony, just for the team and the cast.

And we were all impressed by how beautiful it looked,

and by how it was directed.

We All start screaming and clapping,

We were so proud and surprised.

"I can't believe it's part of this."

I still didn't understand how they were

going to transform it into a series,

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

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

What worried them when they finished watching it

"This is fantastic, but what will the series be like?"

I'm not sure Vince or anyone knew how it was going to be.

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

Breaking Bad's trip was wild.

We didn't know what we were getting into.

The first season aired.

We had seven episodes to show the world,

of the original nine, by the writers strike.

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

It is because of the strike of writers of that year.

Vince managed to do it with only seven episodes.

- We had low audience. - Why?

Why don't more people look at it?

He was perplexed because he didn't register it in the environment.

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

Dean talked about the measurements,

and wondered if I saw them.

"No. What can you do? Act with more determination?"

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

I will really concentrate"

Thanks to critics and journalists, because we liked them.

I must give them the credit. They

kept us in the air in the beginning.

They told me there were no bad

reviews. We did not 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 the second season, we were excited

about the scenes with Walt and Jesse.

It was transforming into a two character show.

In other words, the series is about Walter White,

but it's also quite about Jesse Pinkman.

Michael Slovis entered the second season,

and I think it improved the program

in terms of its appearance.

It made it even darker, more provocative.

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

And Jonathan Banks.

The program evolved and enlarged.

The third season becomes 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 program took flight.

At the end of the third season,

Time magazine published the best 10 TV episodes of the year.

"One Minute", directed by Michelle MacLaren, was number 1.

When Gus Fring arrived, we worked at an impossible level to predict.

Giancarlo Esposito brought the most intense

villain in the history of television.

Mass production and the super lab...

The laboratory was a point of visual and physical inflection.

The third season was the loss of innocence for Jesse.

The last scene of the season is he pulling the trigger

and proving that he was the bad guy.

The Emmy kept coming.

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

It was very exciting, a confirmation of that society.

Three Emmys in a row made people talk about Breaking Bad.

People, who otherwise would not have known the program.

Only after the third season I could say:

"Well, quite a few people watch the program"

The success of the program was evident.

Vince and the show won for the third season

the Writer's Guild Award.

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

Bryan Cranston and Aaron Paul appeared

on the cover of Rolling Stone.

And what a memorable moment that was.

For season four, it got very dangerous.

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

Every season more people watch the

program, more prizes, more tension,

The reviews are still wonderful.

And partly because of that Vince thought: "We

don't want to stay longer than desired."

I won.

We reach the fifth season.

Unfortunately, I realised, 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 program

When I was doing well. And only those episodes remained.

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

It was better to finish a little soon than too late.

Breaking Bad writers room. December 2012.

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

It is the most important.

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

- Don't you think we'll get there? - I think, as we said last week,

There is a lot to do before it takes off.

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

The last 8 were a challenge, partly

because people loved the series.

And we really wanted it to go well.

Skylar... you have to stay strong for your

children, or you can't do it any more.

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

And that can generate creative vertigo.

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

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

There are two options: either they leave

the city with him, or they leave the city

to a different side.

We wanted to be one of the few programs that end as they started,

You know... Kicking asses.

First day of the final season.

I have mixed feelings in this last shipment.

I don't feel as nostalgic as it would be.

Yes I feel nervous. I am a sentimental guy.

I will miss this a lot when I finish.

Everyone who works here feels

This must end at the crest of the wave.

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

because I think we have formed a family here.

- How are you? How is everything? - Very good.

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

The end is coming. How sad.

We are in the Q Studios, and we will read episode 509.

The first of season 5b.

- Watch this. - How are you? Good to see you.

- How is everything? - Very good.

Every season is like going back to summer camp.

You want to go back and see your

friends and everyone will come back.

Anna Gunn, people.

How are you? Good?

- You look good. - Thank you.

Our approach was led by Bryan.

The boys savoured and enjoyed every second together.

And they enjoyed every minute, because we were so lucky.

- Thank you. Good to see you. - Did you drive?

No, I took a flight yesterday.

Before you begin, let Vince Gilligan speak.

Welcome to our final reading for this episode... Where is Peter?

That Peter Gould wrote, and that he will direct Bryan Cranston.

Breaking Bad, episode "Blood Money", 509.

Why Kaylee Ehrmantraut

You need someone to take care of you.

Mike is able to take care of his own granddaughter.

It's amazing to be in a script reading with actors

after 4 or 5 months of vacation.

See these bright actors sitting and do their roles

as if they had been living these 5 months.

If Mike were alive,

you should be taking care of your back for the rest of your life.

You are not like that.

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

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

All the moisture in my face went away.

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

I Knew he was the man for the role.

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

Poor Walt.

The way he stood up to the circumstances was amazing.

He is very interested in this character

and add the correct details.

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

make-up, he becomes Walter White.

And it is a true transformation,

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

to Walt, who is so dark, so damaged.

They could not be more different.

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

Now is the time to say goodbye.

He was a beaten man, and still in his physical decline,

He could concentrate on what he should do.

By highlighting the cheekbones, it seems that the cheeks are sinking,

and it seems that you lost weight.

And of course, with the turkey neck,

It seems that he lost a lot of weight in a short time.

Because of the way the series is made,

each episode has a different director.

Sometimes he'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 preproduction

it was the destruction of the White's house,

and how depressing it was to see it for the first time.

It was like trampling a grave when you

see the house in those conditions.

We have two parents in the series:

one is Bryan Cranston and the other is Michael Slovis.

Michael Slovis, is our director of photography

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

The only reason I see is that you are against the wall

It Is always said of cinematographers

You get them either good or fast. Never in both ways.

Michael Slovis is a rare case since it is excellent and fast.

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

- Then, you enter... - We have the subjective take...

I have the subjective and then you go.

.It has something interesting behind.

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

At first, Vince and I had a plan

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

As Walt became this evil being,

I watched the program darker and darker.

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

Because he can stand it.

Now we are making the subjective...

from Heisenberg walking through his old burned house

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

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

From beginning to end, every day.

Action.

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

And cut.

The first day of filming 509,

We held an ideas meeting for 510.

- How are they? - How are they doing?

- We are parking cars on board. - Good.

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

We are in the preproduction 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 the University of New York, at the 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.

I met Michelle in the late '90s, in "The X-Files."

In these neighbourhoods come less, which are visually fantastic,

They all have fences.

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

because I know he will ask the right questions.

I don't think another neighbourhood is

necessary for your episode and Bryan's...

Don't have the fences and that.

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

He likes everyone to be comfortable, to have fun.

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

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

But that is our strategy.

Tom, Diane, Mand, do you want to dress in overalls and shirtless?

And now this comes, yes. Right?

When Dean Norris leaves the bathroom in the first act,

carries the weight of discovery on his shoulders.

There were many ideas at stake. The audience asks:

How will Hank feel when he leaves the bathroom? What will he do?

The thought process for me is: Now what do I say?

Should I say how I feel?

And you see that nobody comes because you carry the book.

You are ready to hide the book behind your back

It's great that Hank finally catches

the white whale he's hunting,

With his own book.

And after that, everything breaks loose, unfortunately.

56.6. And... action.

Cut.

Would you do something differently? One of you?

Now he is thinking "where is Walt...?"

In a way, it's like a zombie. In his own mind...

He doesn't even know where he will go. Makes sense?

There is a lot of analysis at every moment of Breaking Bad.

And when he directs Bryan Cranston, he

is open to suggestions from writers.

That always impresses me.

Do you think he is waiting for Walter to enter...?

I would say that when he enters the

living room, he could hear it...

There the kitchen.

I could hear it, but until then it's like...

- You know? Let's try it. - Okay.

Dean?

Let's pretend you're stunned, ok?

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

Yes, we will see...

And... action.

You have to accept the collaborative nature of this.

If you do not, you will be in trouble.

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

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

You have to allow different opinions.

Take a deep breath... and leave.

Cut.

I Think that level of collaboration

It's what makes Breaking Bad work.

It Is what makes these scenes work.

What did you think, Dean-O?

It's okay. It feels different. It is something different.

How many shots do we have? Three? You like?

I think it was fantastic.

I really liked it.

They think very fast.

And you can take an idea from me and

get something specific out of it

very quickly. And that is the fun.

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

- Lady Helen Caldwell. - Hi.

Our script supervisor. It is a sole proprietorship.

So when they have department meetings, she must go.

We control things.

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

what line they said when they stopped and walked,

where they stopped, if they moved left or right,

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

- It does. - You screwed her up.

He comes and tells you: "Did you want

to skip this line? Did you want that?"

"Oooh..."

The last talk at the end of episode 509

It's something we expected from the end of the pilot.

Since Walt decides to be a criminal, and

to be targeted by his brother-in-law...

It is this. This is the moment.

So the idea is...

It is a bit different to work with a protagonist who also directs.

It's a bit more stressful, because he has his vision,

Know exactly what you want.

You want to be safe, but also give him what he asks.

And then you return to your position,

just that fraction of a second...

Looks fantastic.

Come here.

In this scene I hit Bryan, Walter White. But he does not know it.

And... action.

You're good?

I must say that I don't like how you're looking at me.

In most fights,

It's not that they keep on and keep

sticking. It's a fake Hollywood thing.

Giving and giving... In general, it's a punch and... boom.

Was over. It is violent, fast.

- Your. - Take it easy.

You drove in the opposite direction...

Listen to me...

- Not to go to that laundry. - Listen to me...

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

That was not 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 put 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 is... heartbreaking.

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

So your best option is... to be careful.

In episode 510,

we have this methamphetamine / bus lab

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

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

that grabbed Todd.

It is the equipment used in the alibi

of the Mobile Pest Control Let's Go.

They made a deal with Todd, so he

took it and Walt left the business.

Mark Freeborn in a mix 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 elements 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 the hygienic, safe,

clean... nothing from Walt and Jesse.

It is fantastic, it has so many details.

The windows are made of Plexiglas.

They made graffiti.

The land is contained in the Plexiglas

behind the windows. Are you ready, Anna?

Ok Laura. I'm going to give you the signal to bend over, ok?

Then I'll say "bullet." We may do it a couple of times.

Michelle MacLaren directs action better

than anyone with whom I have worked.

The shooting occurs off camera. And

that drove her crazy when she read it.

"When are we going to see the shooting?"

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

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 that a little, just a little?"

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.

Earth. Lower your head. Look up, Laura.

Look at the cap. Bang. Bang bang.

We are on a bus as a stage, and there is no shooting up.

But the actor is on stage, alone, and

you want to help him create the mood.

"Earth. Bullet. Bang, bang, bang."

Because the actors do not work.

Look at the board, go there.

Head down. Bang. Bang bang.

And... hatch noise...

Get in situation. It's "bang, bang",

bang". It's really happening.

Cut. Nice job. Thank you very much, it was very good.

Laura, you can go home and soak your feet.

I was afraid, but I was also...

delighted to have such a great role.

Luckily I was able to immerse myself in the character.

We finish with Laura, people. Give it 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? Does matters?

It was worth every second.

Ok guys. The first team entered. Let's be silent Silence.

There is talk of great moments in Breaking Bad.

But it can be said that the heart of the program

They are the quietest moments.

Like when Walt is passed out on the bathroom floor.

These silent moments, in which we understand

where are the characters and what do they believe in,

They are the heart of the series.

Jesus.

It's great to work 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, on stage and out of it.

And... action.

Oh God.

How long was I unconscious?

Like four or five hours.

Skylar began as the moral centre of the program,

"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.

"I hate her, she's a bitch",

"Why do you say that? Don't

you understand what is going on?"

And I take it very personally.

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

and an antagonist. And here the protagonist is Bryan.

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

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

If I got teary in the first seasons,

"Don't do it."

I wanted it to be steel.

Very strong, a steel column from the beginning.

He was very specific in that.

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

Is that how it works.

Perhaps your best option...

be not talking.

Cut. Very good.

One of the reasons that this has so much power,

is that writers have been very consistent

with the characterisation of Skylar throughout the series.

And Anna has been brave not to loosen.

Anna is a bright and brave actress for seeing the real Skylar.

Michael Slovis directed episode 511.

There are two things that I love the way he leads.

One is its emphasis on acting.

How do we get to that?

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

Let's see where it leads.

Watching Michael deal with the actors is wonderful.

It has that magic touch.

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

Exactly.

Ok, I like it.

He'll ask me, I know, and I don't want to say it...

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 complicated to solve.

It's very interesting to see her below, you above,

She looking so small.

I feel very small now.

I always do my emotional scenes with Betsy,

it's very comfortable. Really. It has

been very good to do it with you.

I told Dean that it is a privilege and an honour to make his wife.

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

And we chose to see her 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 in Negra Arroyo Lane 308,

Albuquerque, New Mexico, 87104.

This is my confession.

If you are watching this recording, it is probably dead.

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

Who would have shown this?

To nobody. It's a threat.

It's what he will do if I don't retract.

You should show it to Ramey.

Go ahead.

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

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

177,000?

What are you talking about?

- Marie? - And... cut.

That was more... that was wonderful.

It is a difficult scene, full of comings and goings.

These guys were fantastic.

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

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

Yes absolutely.

God, he's a bullshit liar.

Action.

Agent Schrader, did you hit any suspect lately?

Tall and Higher, ask him his story with my client.

Last time, he fainted the poor boy with a punch.

What will it be, a big lawsuit like

Montana? Because I will force them.

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

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

Bye Rocky. Keep the left up.

Detectives, I invite you to retire.

In the second season I was in three episodes,

and in the third one I was in 10 of 13.

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

I didn't see her from the beginning.

So in my second season, the third one you saw,

I didn't know what was going on or who

I was talking about in my monologues.

Especially if it was Gus or another character

with whom I did not share a scene or interact, but I knew him.

Bryan sometimes looked at me because

I was wrong in the emphasis,

He said something wrong...

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

"You never saw the show, right?"

And I said...

I never responded.

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

My boys break their asses

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 requires an effort.

I Feel this is much more difficult.

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

I backed up a lot, I didn't turn towards

the camera. I invented my lines.

Is that a problem here? Does Breaking Bad like that?

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

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

And he totally deserves it, playing Saul Goodman.

Because he knows it's funny. And it is.

But he doesn't realise 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?

Do I have to have a memory aid so Odenkirk doesn't screw it up?

Yes, exactly.

Another thing that Michael Slovis does well is to choose locations.

And it is seen in episode 511:

the dunes where Saul, Walt and Jesse meet.

Vince always said he saw Breaking Bad as a western.

Sometimes, when we shoot in the

desert, it feels like it's a western.

We are in the dunes of little bird.

It's very cold now, like 3 degrees.

We are filming Walt, Jesse and Saul in the desert.

In this scene Walt convinces Jesse to leave Albuquerque.

Saul meets a man who specialises in giving new identities.

I would move you to a very distant

place, and I would give you a new life.

We film in many desolate places

which are the reflection of how these characters feel sometimes:

Very lonely and disconsolate.

Just ask me a favour.

Tell me you don't give a shit, and that is this...

Is this or you will kill me, as you killed Mike.

I feel more comfortable playing someone I am not.

I'm terrified of speaking in public, being in front of crowds.

But facing camera,

while someone is completely different from me,

I feel confident there.

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

Gathered in this remote place,

In case I say no?

When you see Bryan and Aaron together,

You see the situation of a mentor.

Aaron became a better actor

for having been with Bryan.

Bryan Cranston can't get much better

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

These two types are good for each other.

Cut.

Cut.

Beautiful.

Search of the complex.

I knew that the series would end in this particular complex.

It was very important to determine and prepare it well.

The writers told us that 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 a challenge, but by the work of God,

or of the gods of Breaking Bad,

we find this perfect environment

That is an old moulding plant.

A lot of things are going to happen here, when 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 Is probably Uncle Jack's barracks.

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

It was a great atmosphere.

And now we have all these buildings to use.

And this horrible and fantastic well.

My team and I found this place wonderful.

We will bring Jesse here, my writers and I,

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

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

- I think you're right. - I think... yes, exactly.

Today is a very exciting day for us.

Because it's the first time that writer Sam Catlin directs.

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

I like to give people opportunities in Breaking Bad

so that they grow, learn and do new things.

The first test for a writer to direct

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

I did not make public that they asked me.

I wanted them to do it because they wanted to,

not because they heard that other writers wanted to do it.

That's it?

Do you want to see it?

It's okay?

You want to keep the tension all the time, don't you?

He will do it. So shall.

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

Although I wasn't crazy about 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 program, sometimes you must allow them

follow your instincts and do things

that you consider important.

I had an advantage because I had written the episode,

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

So I had an advantage.

Jesse, turn off the lighter.

He 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.

Wine prepared, confident. I knew exactly what I wanted.

He did not try to do more than necessary,

And he did a great job.

In college I met a young man named Takahiko Kitazawa.

I had cerebral palsy.

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 about 25 years old when he died, shortly after college.

And I thought about him when I thought

about Walter Jr and his illness.

When he wrote the character, he had

in mind his physical qualities,

how it really was And when I saw that in the script, I thought:

"Just. I already have it."

Although 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

of how to integrate people with an apparent disability,

I think we contributed a little to that.

- I love you friend. - I also.

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 come with that crap.

You wanted to work with Bob Odenkirk, not me.

I work with you since I was 13 years old.

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 trampoline." And then you go.

We haven't been much in this series in the office environment.

In the script, this was a park.

Christian, our outdoor manager, came

up with the idea of this place,

which is not a park,

but that is so busy is what we need.

Can you reach the phone?

Wait there. Wait.

We use one of these... these headphones.

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

We hear each other because we also have microphones.

Aaron is with his dialogue. He's

having a bad time with his dialogue.

It is just this. Just a little bit of dialogue...

Do not leave me.

He takes pride in knowing his lines perfectly.

I Pride myself on not knowing them.

He pasted his lines to the phone, to read them.

Now I won't do it.

- It's okay. - No, I will not.

Hey. Brando did it.

I am not Brando.

I meant Bob Brando.

I Didn't do it, let everyone see it.

The camera is here and you are looking at the phone.

Just put the lines... "No, no, no, no." He said.

Why not?

Wait wait wait.

Is that so?

Helen?

"Next time, I'll catch you where you really live"

Bryan behaves like an immature guy on set.

And I say it as smoothly as possible.

Cut.

I almost did well. Fuck.

Fuck.

We are telling a very intense and dark story.

But when we don't film, it's okay to break the tension with humour.

Now they are discussing the coverage of Bryan Cranston.

Mine is already done.

So the most important thing of the day is already done. But now...

I can hear you I have perception...

- Oh, you can listen to me. - With the eye of my mind.

And with the microphone in my ear.

I forgot that we had these microphones in our ears.

But it's okay. He had to hear it.

He had to hear it.

Why don't I say my lines off camera?

So eclipse your performance on camera.

Insurance. You can read it, Helen can read it.

You can grab someone from the street to read it.

- It won't make any difference. - Here we go, guys. Let's record.

I love what I do, I have fun.

And when people are ready, either the actors or the team,

they work better.

They are happier. Happier people work better.

They will say that I am crazy, but I will

try this shot without reading my lines.

Ready? Ok, here it goes.

Ambient.

I didn't anticipate that the filming

of Breaking Bad was so much fun.

I never thought it was such a fun place.

Action.

Nice try, idiot.

Jesse, where are you? I just want to talk with you.

No, I will do nothing more than you want. Ok idiot?

- Ok, just calm down. - Oh. I'm super calm, Walt

This is just a warning that I will go for you. You see...

And... cut.

If I have to point to a person, it's Bryan Cranston.

And Bryan Cranston has done this job for a long time,

He is a great professional. He has been in good and bad sets,

in good and bad situations, and I think he made the decision

that we are all going to have as much fun as we can.

We are all going to work piecework, but

we are going to treat each other well,

To be kind to everyone, and we can be a happy family.

Let's do it, yes?

Photo session for the cover of Enterteinment Weekly.

Cute.

Bring it in, get in.

Let's throw blood. Are you ready?

You do it first.

Take it out, take it all out, brother.

Let it go. Six years.

Watch out.

I look good?

We are in To'hajiilee. This is where Walt buried his money.

This is the time when Walt is arrested where his money is.

We have to prepare it for the cars,

but we may have to go out here

and make the shot from above here too.

When we knew we were going to have this shooting

in episode 513

that it would result in the death of poor Hank and poor Gomez,

I made sure from the beginning

that Michelle MacLaren directed that episode.

He takes his cell phone and his battery.

Find a place to hide.

There was so much to film, so many people

and there were so many references to looks

and to the connection between different groups,

that I thought we studied all the scenes,

so That everyone knew the geography.

Now he has to get in the car.

It's when I see Gomez leave, isn't it?

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

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

Wait a second. No no no no...

- Dean, say your dialogue. - What dialogue?

"I know you are here". That.

And I'm going to give myself to you? You must be kidding.

This man is responsible for us looking 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 say.

Some people find it harder to make them look good.

I know. That's why you have hard work. I thank you

Andy Voegeli, our cameraman,

It 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

that way. I always go to him first.

And he adapts to our movements, does

not waste time, makes you look good.

It is as if you were dancing with him.

Sometimes they even tied us up, literally.

And I feel like we are always tied.

Start looking around.

Get out, Walt.

I have it.

Walt never thought Jesse would be working with Hank.

Heisenberg always seemed to be one step ahead of everyone.

I thought of all possibilities, all solutions.

This never crossed his mind.

"This is the most difficult time

Walt has had here."

It is the end of the road for him.

Your only way out is to kill everyone.

And I was prepared to kill Jesse,

but he is not prepared to kill Hank.

Tall.

Turn around.

Hank started as the guy focused and in control.

And then it crumbled.

Then he was back to what he was before, when he played his game,

and there he catches Walt, because he returns to his game.

It's like the circle is closed.

On knees.

This is the moment of victory for Hank.

There is a sense of duty fulfilled,

because the moment came when this subject,

who sacrificed his work, his marriage,

all it took to catch this guy who cooks methamphetamine...

I love it, I love it.

We met Steven the first day we went to the studio.

We met Vince and our DEA advisor.

And we get along.

How did it go with the DEA training?

We arrested crack addicts, remember?

Yes, sure.

- Could you patrol together? - No, they didn't let us.

It was just us and we arrested them.

- Yes. - Only us.

It was nice to meet my best friend in the series the first day.

And we are also partners.

Just being with him in the shoot is exciting.

I like how he treats everyone around him.

I am learning how it is done.

It's another lesson that I'm learning.

How would you define it?

That, bastard. How would you define it?

It is easy. In the morning you tell them:

"What's up, fags?"

You are here already? Do you get up at 6 like us?

What a fucking fag.

Good day.

Good morning, from Dean Norris.

Mr. Norris, did you talk like that when I was at Harvard University?

Did he talk like that?

He is the most unthinkable Harvard graduate I met in my life.

- You understand? - Graduated with full scholarship.

Graduated from Harvard University with full scholarship.

I Don't need a fucking mark, bitch.

It's on fire today.

That means "thank you, I'm fine."

"Thanks, I'm ok".

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

It makes me feel more comfortable.

I want them to be on my side,

So, when we do something serious, they are with me.

I feel that when I get to the

filming, I have to do a little dance,

make people laugh my way.

It's hard.

It's hard to say "son of a bitch"

as many times as me without offending anyone.

Actually, they like it when I say "motherfuckers."

There are a lot of people sitting doing nothing.

Look at them... Sons of a bitch. Look...

Nothing, nothing, nothing...

They came to work as a team today. And nothing.

It's like Jesus told truckers:

"Do nothing until I return."

Then start with what we have.

Start with the vacuum cleaner shop,

With this guy waiting for a lady.

He is very good with vacuum cleaners...

"Where the hell are we?"

While filming the shooting in To'hajiilee,

Vince was in Albuquerque preparing episode 5-16,

but they were still diagramming and writing 5-15.

There is a problem, about Saul and Walt and how to disappear Walt.

It feels like...

We try to make sure you feel different...

but it feels similar.

We wrote the last two chapters until the last moment.

Of the six writers there were two, Peter Gould and Tom Schnauz.

And we work piecework in an office in Albuquerque

and we tried our best to make the story flow.

But those moments are difficult.

You don't have so many brains in the room

and a room you're not familiar with,

So you do what you can.

What if we bring them all together in one scene

and do we make that progress?

A very long advance.

My initial idea was to direct the last two episodes, 515 and 516.

But it became clear that he could not do it.

And I'm glad it was like that,

because it allowed us to have Rian Johnson for a while longer.

- This is an essay. - Action, Michael.

It is the third episode directed by Rian.

He made the memorable episode of the fly,

perhaps one of the most controversial,

and last year he did the episode in

which Skylar walks towards the pool.

He is a great director. And he's bringing that kind of verve here.

Today's scene, which is an entire act,

It is important because we lose two of our characters.

Action.

When the scene begins, Gomez is dejected after the shooting

and Hank is hurt, though not mortally.

And today he will die.

Calm down, naughty.

- Cut. - Beautiful.

Done. Good job, people.

It was weird. You know it's coming, and it's coming...

And you are there

It was a test, it is difficult to film there.

You are making a scene and the sand comes to your face.

They were not the best conditions to record.

That also added something.

Ready... action.

What did we get into?

For a long time, things for Hank were black or white.

And it became the moral centre.

This Heisenberg hunt tested what he is made of.

But in the end Hank chooses the right thing.

I am the special agent Schrader...

and you can go to hell.

Hank.

Come on, you have to listen to me, ok?

Hank knows from the beginning that it's over.

And Walt implores them not to kill Hank,

but Hank knew what was happening.

You are the smartest man I know.

And you can't see it.

He already made the decision 10 minutes ago.

You see Dean in the eyes, and you know what he is putting,

that inner strength that was Hank's

heart throughout the series,

and you see her glow in the final moment.

This is how one should leave.

Cut.

It's beautiful, it feels good,

and, even if it's sad, it's the right end for that character.

What else to say? It's over See you.

- A pleasure. - Thank you. See you tomorrow.

Thank God he left.

It's an ass pain, my God...

I would never say it in front of him,

and I don't want to be recorded.

God.

The lives of all of us are a little better now.

Don't you think

- Oh, God... - Be yourself, just be yourself.

Open up, it's just us. It is a safe talk.

And the camera?

The next morning.

Killing Hank took us two days.

They kill him one day and the next they

drag him and throw him into a well.

This is the guy. A bullet in the fucking head, now. Corey...

Now it looks like a grain.

"The Grain of Agent Hank Schrader".

Watch me on channel 2, motherfuckers.

Ok, there we go. There we go, walking away.

You drag it when you hear "action."

Action.

- Cut. - Keep dragging it.

You follow.

Ok, it's the moment we all expected, after 60 episodes.

60 episodes later.

You go to CBS, where millions more people will see your deficiencies,

than those who saw you here.

We wish you the best of luck.

- Thank you. - We will miss you.

- It was a pleasure... - What the fuck is this?

And for you too.

Thank you.

Thank you.

If you had told me the first day of filming

how sad it would be to fire Hank, I would have been surprised.

I didn't anticipate how interesting

the character was going to be.

I thought he was a friendly, masculine, braggy guy,

That was all that Walter White was not.

But we gave Dean Norris the paper. And Dean is much more than that.

He is a complex and wonderful man, with many edges,

I can't imagine how the program would have been

Without Dean Norris playing Hank.

You have a feeling of end.

Every time we stop there are little doors that close.

Oh God.

It has been a pleasure.

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

Right. Are you ready? Rolling,

3... 2... 1... Action.

Please.

Please.

- Walt. - Cut. Beautiful beautiful.

That scene was the combination of the six years of 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 it was no longer snowing and they were ready.

Action, Anna.

Please stop. Please.

Please.

Please.

Please please please...

Please please...

ok, cut.

Sometimes, it is time for an actor to surrender,

"I don't want, I don't want", because it's scary.

Rian approached me after the first shots

"Don't worry about falling into

"the street," and I told him I was afraid.

"Yes. It's fine, it's fine."

He realised that he needed someone

To take my hand and say "you are safe."

- He looked at me and realised that. - "Let's go."

He 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 he got on that roller coaster of emotions.

Ok I have it.

I want to honour that script and that character

putting everything to put.

Later, when I thanked him for helping me,

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

But he helped it happen.

Almost.

Sometimes I get up, throw some shots into the basket,

and I was inspired by rest.

The program has two centres:

the production centre in Albuquerque,

where cast and crew are most of the time,

and the post-production and writing

centre here in Burbank, California.

Look, Mr. Natural. I will not let you sabotage this.

This guy won't take you if you get high,

So stop wasting your time or we'll both get screwed.

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

by Skip MacDonald and Kelley Dixon.

I love this. How long is it going?

1:44.

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

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

"Take it out" would be side A. Side B would be "Mr. Natural."

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

Vince has a unique sense of rhythm.

Many times he looks at the cuts when he works,

"Can you pass it again? Can you pass it again?

I'm trying to catch the beat."

When Jesse realises Huell took the weed out of his pocket

By order of Saul, the director decided to surround Jesse.

The camera revolves 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 some tension and nerves.

It is a more confusing take.

Ok, it's a... what time do you think it is?

At dawn.

It's early in the morning... 5:00 or

5:30 in the morning. It's very calm.

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

The detection session is when everything was filmed,

and we see scene by scene,

and we discuss what it takes to complete the process.

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

Is very good. If it is too good.

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

Michelle MacLaren is often there,

Then there is our supervising sound editor, Nick Forshager,

our dubbing supervisor, Kathryn Madsen,

our composer, Dave Porter,

our music supervisor, Thomas Golubic,

and our music editor, Jason Newman.

I'm there, as well as the episode editor,

and we discuss where music should be added or not,

what sound effects we want,

what background sounds we want,

If you need to arrange a dialogue.

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

I like the most serious sound. I would add a sharper squeak...

Yes, yes...

"Did I hear something? What was that?"

And heels... He doesn't always,

but let's put some sound effects

by Dragging the feet on the ground.

Look at the line that left their feet

on the ground. I had not noticed.

Mr. Porter, what do you think of the music?

Not sure what music to add here,

unless you think of something that would add more to the scene,

As for his surrealism.

Dave perfectly understands that history is the main thing,

and that music serves history.

It's fine for me, quietly, at 4 a.m...

Yes, I think you're right.

If you asked me what emotion music would add, I wouldn't know,

The scene is quite silent, mysterious.

The silence of the carousel, Jesse's foot crawling,

the simplicity of that sound, they tell

you everything necessary at that moment.

And in the end, if you set camera at that time, what would you mean?

The post-production of Breaking Bad is an art centre.

The program is improved in every possible way.

The program becomes Breaking Bad in post-production.

That's fine, it's fine.

Saul is a guy who wants to be a playboy,

so you must have hair back and up.

When you have a hair like Donald Trump's,

anything can happen.

- Hello Bryan. - How are you doing, Bobby?

- What's up buddy? - That's all, huh?

- Yes. - I can't believe it.

- Hard to believe, right? - Yes.

But you know...

It's a great scene, I love it.

This is the last scene of Bob Odenkirk in Breaking Bad.

For me it is very important.

I was lucky to introduce Bob in season 2.

I was on set when we started creating Saul Goodman

and we filmed his first commercial.

I had a great time with Saul and Bob Odenkirk

And I'm so sorry it's over.

Your wife and your children will be

thrown out of the house by the RICO law.

That condo is gone, bank accounts are frozen.

Your wife's photo should already be in the news, next to yours.

Who will hire her?

Vince, in the program, does not avoid

the consequences of this behaviour.

Almost all other series and movies dodge the consequences,

just for fun.

Do you think I wanted to run away?

Do you think I wanted to leave her like

this? It was the last thing I wanted.

It is common in any drama that someone's father is shot,

and then it's as if nothing had happened.

Real life does not work that way.

It is important that in this small recreation of life

called Breaking Bad reflect the most accurate life.

I will kill Jack and his entire band.

I will recover what is mine and give it to my children.

And then, only then, will I be done.

With a great address and a kind of sexy atmosphere,

which is extremely dark,

Vince tricks people into watching a show,

a story about people who make bad decisions

and the consequences that these carry.

It doesn't end until I...

Was over.

We finished with Bob Odenkirk.

Thank you so much.

I said it many times and will keep saying it.

Being here has been an incredible gift for me,

In all possible ways. It's hard to tell

because I would have to tell you a very long story.

Thank you for your professionalism, your quality,

his great spirit, his personalities,

for being so welcoming.

This paper has been a gift for me,

I can never thank you enough.

Action, Robert.

A very interesting thing from the penultimate episode

is that one expected us to close things,

and, instead, we present a new character,

and we presented it in a new scenario.

Mr. Lambert, welcome to New Hampshire.

Cut.

We are on top of Sandia Crest.

Spanish explorers put it like this

because, in the afternoon, these mountains light up

of a beautiful red and orange

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

We are on top now.

Albuquerque is seen from above, it is not so far in a straight line,

We are not far from 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 at the time you ask.

Let's see how it comes out.

I love rough guys.

Rude old-fashioned, old-school guys.

Not the poster and flag types, but the silent types.

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 tries to reach ten by the time he finishes 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 to me an ideal place for a man to rest and think.

Look around, it's...

beautiful.

It has been very helpful. Thank you.

I will be back in a month.

It was six years in this room.

- 2007. - Yes.

- Hard to believe. - Eisenhower was president.

It's the last two cards of episode 516, episode 62,

that is the last episode of Breaking Bad.

Do you want to put these there?

"Last visit to your precious."

okAY. Last Card - Last card.

- Very good. - Do not do it.

We celebrate every time we finish a season at 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, it's the last thing we do.

We put it in this corner. Y...

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 I would be sad, but I was numb, as if in shock.

I haven't processed it yet, months later.

I have not yet realised that it is over.

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

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

You realise that the delivery is over.

A toast to the best writers, actors, producers

and television equipment now and forever.

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

- God bless you. Thank you. - Health.

Oh my God. I can not believe it.

It is 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. Do not...

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

I am so incredibly depressed about this.

I know you understand it.

It was a personal experience to receive the scripts week through.

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 panicking every moment.

"The whole room explodes in machine gun fire."

The shots go through the walls like Star Trek phasers,

going through Jack's band like hot knives to butter.

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

It rattles sweeping from side to

"side like Satan's windscreen wiper."

Prepare yourself, 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 leaves.

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

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

Walt stands watching him go.

Jesse accelerates against the locked door. Bam.

He breaks it like nothing. It will leave the complex behind.

Jesse's closed angle, determined and without fear of anything.

Accelerate to the dark.

We have to imagine where it goes.

I would like to say "something better", and leave it that way.

Take from above.

We see Walt, who enters the box stumbling.

He lies on the floor on his back.

His eyes look at us, lifeless.

And yet, his final expression is one of mild satisfaction.

We keep going up, watching Walt.

We rise as much as we can.

The image slowly melts to black. End of the series...

I guess there will be no sequel... But Jesse is alive.

How you feel?

Man, I feel sad.

It's excellent, it's... you know.

It is perfect.

- Ready. - Action.

You want this.

You wouldn't have brought me here if you didn't want to.

Who else was going to direct the last episode?

Who would end the story if not Vince Gilligan?

More like a murmur, faster.

Just take me home. I will do the rest.

He is the mastermind,

He is the soul and heart of this.

You can only see one silhouette, but

you can see a guy in the back seat.

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 could say goodbye,

knowing that each decision, in the

end, depended on him in that episode.

And that filled us with a lot of confidence,

emotion and pride in what we were doing.

She is not grieved 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 episode,

We would 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 farewell, that was the case.

Now we cannot attend it. Leave your message after the signal.

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 is what I believe, they would have done anything for them.

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

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

And that will not happen.

- Do you want to do it or me? - It is not an option. Thank you.

You are welcome.

Cut. Beautiful. Beautiful job.

I felt so weird.

Very well done.

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

Our sincere feeling is reflected in what I wrote:

"I would sleep with her totally."

- 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 fortunate to have met you. God bless you.

Can you give me a real hug?

Squeeze me tight.

Bad news for the most acclaimed television series,

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

They were taken from his car.

There is no bad publicity.

- Oh God. Is incredible. - They opened my car.

They took my bag with the script.

Now it exploded. Will the secret be revealed?

What will happen?

It inflated disproportionately.

It was not the final episode.

Okay, we are safe.

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

They will not believe what we discover.

This is the last day of RJ Mitte in the series.

It's Walter Jr.'s last day

We are filming in an apartment complex

It plays an important role in the final episode.

We will film the last shot and say goodbye to 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 are putting it to see it when RJ gets off the bus.

I'm on 4 pads, this is the fifth one.

So you know this is ridiculous.

Melissa Bernstein was a phenomenal producer,

The whole cast and team think the same.

It is a pleasure to work with her, we

are lucky that she is the producer.

He has been from the beginning and will govern this city someday.

Is fantastic.

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

Action.

The last episode is an elegy.

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

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

Can you imagine losing your father,

your house, everything you have?

Their entire lives were destroyed.

They are the innocence of the program.

All victims can be summed up in these two children.

Cut. Very good.

Mr. Mitte, please come.

How are you?

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

For growing in 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 give you this check.

I accept it.

Take it to any bank and they will pay you.

I did not sign it yet. Do they have an indelible marker?

I knew we would get along. In the pilot,

when Anna improvised in the clothing store,

when he tries on the cowboy and says: "Like the skaters,"

"Do I look like a skater for you?"

"This will be fun."

"The best son of the worst father on television"

That is great.

You're a great person. I love you.

Bryan and I did our last scene together and it was wonderful

because we said goodbye as characters.

The things I did...

You must understand why I made them.

Oh God...

If you say again...

that you did this for the family...

I did it for me.

It is the end of a very exciting 6-year-old roller coaster.

It Didn't take much to make emotions

They put you in the right mood.

I can see her?

Please.

Cut.

Great.

Then we had that section in the baby's room.

And it was surprising because we should be silent,

and it was the first time the baby was really asleep.

He put on this whole set this feeling of calm calm, beautiful.

"We should do it like this all the time."

Ready Action.

While I look at my daughter, full of emotion, I must say goodbye.

I wanted to make that scene without crying,

but I wasn't emotionally prepared for that,

for the impact that everything that happened to me produced.

Andy Voegeli, the cameraman, had the camera on his shoulders

and I had it this close, because I wanted a close-up.

While looking at my daughter, I listened

to Andy, who is a recent father:

I was crying behind the camera,

and tried to remain still while holding her.

It is a very exciting scene.

My tears jumped as I looked through the lens.

I think some sighs and snorts of mine were heard.

The team was also saying goodbye.

It was the end of the series

and honest emotions surfaced.

I continued for the rest of that day,

but when Aaron appeared, it was all over.

That killed me.

There I realised that in a matter of minutes,

After a few shots, everything would end.

Fantastic. Close the door.

We finished the scene, and it was Anna's last shot in Breaking Bad,

and everyone in the room got excited quickly.

When we finish with Anna's final shot,

our assistant director took us to another part of the study

so that we all get together and enjoy the moment

and Anna said an incredibly sincere

and exciting "goodbye and thanks".

As I said, it was like making art with artists and friends,

and I will be eternally grateful, I thank you all very much.

I love you and I will miss you.

Anna, playing that role, and it was a very difficult role,

She was excellent, she is a wonderful actress.

He played a difficult and sometimes ungrateful role.

I Can't imagine anyone doing better.

Hi Jack. Jack, are you home?

Jack, I want to talk to you for a second. You got a minute?

Are you interested in The Watchtower?

And... action.

Heavens, look at you with that hair.

Is it real?

Yes.

Isn't it a wig? What did you do before, you shaved?

Yes.

God, but what a good hair.

Other than that you look like shit, but...

Hello to you too, Jack.

I Hope that when everything is done,

It will be an exciting, exciting and dramatic scene.

But filming in this Nazi barracks was hell.

I hated every minute.

This scenery gives you claustrophobia.

It was very small, dark, it was full of smoke,

you blew your nose at night and a stain of Rorschach came out.

"When will this end? This is a martyrdom."

I couldn't wait for it to end.

What made it possible was the great actors we had.

We had Bryan and Aaron,

Uncle Jack, Kenny, Todd.

They are the most adorable Nazis I have ever been with.

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

and they made it easier.

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

Do you think this is a partner?

Walt has reason to be furious with 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 trickster question.

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

Ok, again.

You have that pressure every time you film.

Is there anything 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 scared and then it's... - Yes.

Try using your muscle memory. Ok, let's do it.

I don't ask if they want another

take because I think it's not right.

Only as it is the last time,

I want you to be as happy as you can.

And I'm happy that there was one more take,

because he took it as thoroughly as the previous one.

And... action.

Cut.

The scene of the final shooting

they were long, tiring, tortuous days...

Two, one, bang.

But super fun. It really was.

In "action," hold your breath.

It's going to be bang, bang, bang, bang, bang, bang.

Filming this sequence was more than intense.

And it will also ram against this thing,

and then try to hold on to anything,

And all they will 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 enter

and when the actors come back in

We have a jerk vest.

It is a jacket for risky scenes.

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

And... action.

We made the actors start the sequence,

do the hanging.

Stop, cut.

We stopped everyone, we doubles

to do all the action,

we make sure nobody gets hurt,

They hit the table and the hard floor.

Tall.

We stopped him, we put the actors back,

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

Action.

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

Jack crawls and maybe gets up a little.

And then we put the camera back for the final moment.

And then we will take it from that

corner and it will 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 make a take,

and Bryan is kidding, you kidding with Aaron, do you understand?

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

I don't take anything dark home.

You want your money, right?

Do you want to know where it is?

If you pull that trigger, you never...

Cut.

While Aaron does his thing in the front, we can...

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

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

and Walt is coming towards us...

- Let's put it together a little. - OkAY.

We will make a shot of Aaron in front...

and Bryan in the background.

That was one of the most difficult scenes,

because it was just me trying to keep control.

Me, Aaron, trying not to collapse.

Also because Jesse finally escapes,

and will never see this subject again.

Action.

And he hates him so much...

but he was very fond of him.

I Struggled to find a father figure

and found her in Mr. White.

Aaron has a big heart,

and I knew this would be the last time I would see Walt.

All those last moments were very exciting for him.

And cut. That was very good. Thank you.

- What did you think, Andy? - I think it was the best.

I thought it was the same.

When Jesse walks away from this madness,

I figured it out at full speed...

maybe going to see Brock.

He is the only person he would go to see,

to say goodbye.

When he says goodbye to Brock,

I imagine him becoming a carpenter in Alaska,

or in wildland pilot in New Zealand. Who knows?

Jess will leave the drug business, that's for sure.

He will try, it will take time,

But he will try to heal his wounds.

I see an auspicious future, it won't take long.

The writers and I went through many permutations for last.

It took us many months,

maybe we started talking about it a year or more ago,

before conceiving and writing it.

Do we see him die really or not?

Does it end as "Butch Cassidy and The Sundance Kid"?

Does he commit suicide? Is this or that?

We finally arrive at the question: what does Walt want?

Where is your head at that time?

Wouldn't it be touching and weird,

in a way that only Breaking Bad can do it,

that his "precious", with which he

will spend his last moments of life,

Is Your methamphetamine laboratory?

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

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

Ready And... action.

The laboratory team became a talisman.

He is playing 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.

Beautiful.

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 turn to Michael Slovis, our director of photography,

"Do you have any ideas?"

"You know what? We shouldn't do it here.

We should do it in a studio."

Since we can't get well up with a crane in the complex,

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

because the roof is high enough

as To make the take 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 gives his final sigh.

I would like you to open your eyes.

That? I don't know if I should...

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

What you are doing now is very good.

I want to keep an ambiguity about your look.

- Will your eyes be closed? - Open. We talked about that.

I think we deserve it, we need you to have it 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

from what Walt exposed to his family, friends and himself,

but also the moral danger,

what happened to him as a human being.

The degradation of his soul,

the inclusion of ego and hubris

developed in the nature of greed,

He never had before.

Those negative emotional characteristics came into play.

There is an element of victory here.

It is subtle, but it is there.

He finished things when he wanted, on his own terms.

I think he has a lot to regret,

and he has many sins to his credit,

things he regrets and wishes he had never done.

But at this point there is no turning back.

All you can do is deal with your affairs,

make the money he has left to his wife and children,

And leave like a damn man. And that's what he does.

- Cut. - Cut.

Thank you very much to the Albuquerque police. Well done.

Nice job.

Chócala.

Thanks guys. Here we go.

Final day of filming of the series. Advance of "Ozymandias".

It is the last day.

Our courageous leader.

I am starting to feel sad.

This is the last day of Breaking Bad.

It will probably end in an hour, or sooner.

It's starting to hit me, I'm getting...

No one is happy to finish the program,

Because we love each other very much.

We are proud of the work,

And we love these characters, we love this story.

But the fact that we are doing it here,

and that we finish with this flashback,

in which we return to the pilot,

From my creative and sentimental point of view, it is wonderful.

I was thinking that maybe we could

Have some family time this weekend.

There was a practical reason for us to be here

on the last day of filming, where we started.

Our beards

I couldn't have a beard to film this segment.

I feel lucky, privileged to do this episode.

Walt and Jesse look like the pilot,

the mobile home is in this place...

I don't know... I feel privileged.

- Gentlemen, we are ready for you. - Yes.

We are not ready for them.

I am not ready.

Aaron was joking with a depression attack.

Oh no.

Oh jesus.

"This is horrible. It's awful."

And it looked like this.

Frightening.

I was so sweet, maybe not so innocent,

but as sweet as the day we started.

This is terrible.

Am I ready to leave 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.

And now that?

We wait.

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

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

is love personified,

that feels things immediately and deeply,

and I think it will help you spend

this day having Bryan as your support.

- I loved. - Now we turn around.

Incidentally, I have to go.

Can we bring Sean here?

I would like to go on the road.

You know, getting into traffic would be great.

Do you have any objection to that?

It's okay. Goodbye. Thank you.

Take final for this scene.

I am in the final shot. That same.

It's a nightmare.

Bryan set the tone.

"It's going to be ok".

It is a long road, and this is something to rejoice.

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 Wear glasses because I am crying.

Rian Johnson is the director of this episode,

but he asked me to say "cut" on the last shot,

and I'm touched by that.

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

because, when it does, it means we officially finish.

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.

OkAY...

Ready... action.

Well, if we had a freezer...

the condensed liquid would cool faster...

because this is an exothermic reaction...

which means it gives off heat...

Put me in a coma, please.

In here, no.

What did you say? What happens?

- Oh my God. - They are filming, aren't they?

Action.

Not here.

As if he were an idiot.

Yes. As if you were an idiot.

Fool.

Say it, boss.

Cut.

Vince is one of my best

discoveries as a producer, if not the best.

I knew I 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 as a family here.

I will never forget this experience,

Not to any of you.

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

Thank you. God bless you. Thank you.

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

especially with this man,

that has created an environment...

such a unique narrative 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 in the program.

You do that all that and more.

You gave credibility to filming here in New Mexico,

with a team that is top notch, as you said.

I have a heart full of his love and support, his talent,

and we thank you very much. God bless you.

Oh God. Watch this.

- From the cast and crew. - Oh thanks.

I'll miss you so much.

It's terrible, this is scary.

I really refuse to accept it.

You come every day with so much passion

and excitement for this work, like all of us.

We appreciate it.

Vince Gilligan... God.

Thank you for creating such a brilliant,

crazy, dangerous and brave program.

I can not thank you enough.

Bryan...

Yes...

I love you, man, you know? Fuck.

I love you, man, you know?

We are very fortunate to have him as the number one in this program.

We applaud this guy again.

You have made me improve as an actor,

and I think also as a person, so thanks.

Thank you.

I remember we were filming in the first season,

and we were rolling on the ground somewhere,

and we walked for lunch,

"Isn't this great?"

And you were all sweaty and full of sand.

"I hope you remember this.

That we are the luckiest in the world."

We Know and really understand that.

And we will be forever united.

With thanks, with love.

- I love you. - I also.

I don't think I'm the owner.

I consider myself a shareholder, rather than an owner,

If that means anything.

I pass 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 motor home.

There is a great feeling of family, of cohesion,

all these people coming together, I don't

remember how it happened exactly...

only happened.