All language subtitles for 92st0703

>> WOW.

>> GOOD EVENING.

>> THANK YOU.

AND RIGHT ABOUT NOW, WE SHOULD

BE JOINED BY VIEWERS ONLINE.

AND WE WANT TO THANK --

>> I DON'T SEE THEM.

>> [ CHUCKLES ]

THEY'RE OUT THERE.

THEY'RE OUT THERE, WE CAN FEEL

THEM.

AND WE WANT TO THANK

NEW YORK MAGAZINE'S vulture.com

FOR PARTNERING WITH "THE 92Y"

ON THE LIVE STREAM.

SO, WELCOME, EVERYBODY.

>> THANK YOU.

>> THANK YOU.

>> THANK YOU ALL.

>> THANKS, VULTURE.

[ LAUGHTER ]

DON'T BE MEAN TO US.

>> DON'T SAY THINGS LIKE THAT.

>> SO, YOU'RE A COUPLE DAYS OUT

FROM PREMIERE.

I KNOW YOU HAVE BEEN IN THE

SWIRL OF PROMOTION AND TALKING

ABOUT "BETTER CALL SAUL."

CAN YOU TELL US, WHAT DO YOU

THINK ARE PEOPLE GOING TO BE

MOST SURPRISED ABOUT, TO LEARN

ABOUT SAUL GOODMAN?

PEOPLE, YOU KNOW -- I'M GUESSING

THERE'S A FEW RABID

"BREAKING BAD" FANS IN THE

HOUSE.

[ SCATTERED CHEERS ]

>> THAT HE'S JUST A SOFT-HEARTED

SWEETHEART.

[ LAUGHTER ]

LOVEY-DOVEY PLUSH TOY.

AND NOT A MEAN JERK.

HE'S A REALLY -- THEY'VE GIVEN

HIM SO MANY SIDES AND SO MANY

DIMENSIONS IN THIS NEW SHOW.

AND I THINK -- I LIKE HIM A LOT.

AND IN "BREAKING BAD," I

WOULDN'T SAY I LIKED THAT GUY

THAT MUCH.

I MEAN, I LIKE PLAYING HIM.

BUT IF I MET HIM, I WOULDN'T

HANG OUT WITH HIM.

BUT I DO LIKE JIMMY McGILL A

LOT, AND I THINK AUDIENCES WILL,

TOO.

BUT SAUL GOODMAN WAS ALWAYS JUST

THE PUBLIC FACE OF THIS GUY.

HIS REAL NAME WAS JAMES McGILL.

WE LEARNED THAT THE FIRST TIME

WE MET HIM.

THAT SILLY FACADE OF AN OFFICE,

THAT RIDICULOUS COLUMNS...

[ LAUGHTER ]

...AND THE CONSTITUTION...

IT WAS ALWAYS A SHOW HE WAS

DOING.

AND JUST A BLOWN-UP VERSION OF

WHAT ANYONE DOES WHEN THEY GO

OUT IN PUBLIC AND BE THE PUBLIC

FACE OF THEMSELVES.

AND NOW WE'RE GONNA MEET HIM

WHEN HE'S WITH HIS FAMILY --

MICHAEL PLAYS MY BROTHER -- YOU

KNOW, OFF THE STAGE, SORT OF,

AND WE'RE GONNA SEE A LOT MORE

SIDES TO HIM.

SO, I THINK THEY'LL BE SURPRISED

AT HOW MUCH THEY LIKE HIM.

I THINK THEY'LL BE INTERESTED

AND SURPRISED BY HOW MUCH IT'S

LIKE "BREAKING BAD," AND YET

ISN'T "BREAKING BAD."

I MEAN, SAME WRITERS, PRETTY

MUCH.

>> MM-HMM.

>> AND YOU KNOW WHAT I'M

TALKING ABOUT 'CAUSE YOU'VE SEEN

A COUPLE EPISODES.

I MEAN, THERE'S "BREAKING BAD,"

THAT EXCELLENT, TAUT, TRUE

STORYTELLING THAT THESE GUYS ARE

GREAT AT, AND YET IT'S ITS OWN

THING.

SO, THEY'RE GONNA FEEL FAMILIAR

WITH IT, AND YET IT'S GONNA FEEL

FRESH.

IT'S A UNIQUE SHOW.

>> YOU REALLY DO MEET JIMMY.

IT IS REALLY -- IT IS...

>> YEAH, AND SOMETIMES EVEN WHEN

WE TALKED ABOUT IT AND HOW MANY

NEW DIMENSIONS THERE WERE, WE

TALKED ABOUT, IS IT STILL SAUL,

THOUGH?

BUT YOU ALSO KNOW THAT IT IS.

I MEAN, YOU JUST SEE SAUL

EVERYWHERE IN IT.

YOU SEE...

IN A SCENE, THERE'LL BE A RUN,

OR THE WHOLE SCENE SOMETIMES

WILL BE THAT SAUL.

JUST, HE HASN'T FOUND HIMSELF

YET.

>> YEP.

>> IT'S PRETTY COOL.

>> ABSOLUTELY.

AND WE ARE MINDFUL OF THE FACT

THAT, YOU KNOW, PEOPLE HAVEN'T

SEEN THE EPISODES YET.

SO WE'RE GONNA BE VERY CAREFUL,

'CAUSE NONE OF US REALLY WANT TO

DELIVER OUT A LOT OF SPOILERS.

>> THEY'RE VERY STRICT ABOUT

THAT OVER AT CHEZ GILLIGAN.

>> YOU KNOW, THESE EPISODES ARE

SO BEAUTIFULLY CRAFTED THAT YOU

WANT TO WATCH THEM AS THE

WRITERS INTENDED.

>> YEAH.

>> JONATHAN, CAN YOU TALK

ABOUT -- YOU KNOW, WE'RE SEEING

MIKE, ALSO, IN A VERY DIFFERENT

CONTEXT AND VERY DIFFERENT, YOU

KNOW, PLACE THAN WE CAME TO KNOW

AND LOVE HIM, EVEN AS BAD AS HE

WAS, IN "BREAKING BAD."

CAN YOU TALK ABOUT THAT?

>> YOU SEE HIM IN A DIFFERENT

PLACE.

MICHAEL'S HAD A HARD EDGE FOR A

LONG TIME.

YOU WILL LEARN HOW THAT EDGE GOT

SO HARD.

YOU KNOW, I'VE ALWAYS SAID THAT

HE'S THE ONE CHARACTER WHO KNEW

THAT HE SOUL WAS LOST.

AND HE DOESN'T FORGIVE HIMSELF.

AND...YEAH.

>> IN THE COURSE OF THIS SHOW,

YOU LEARN A LOT ABOUT MIKE.

AND WITHOUT GIVING TOO MUCH

AWAY, THERE'S SOME VERY INTENSE

STORY WHERE WE JUST FOLLOW MIKE

AND LEARN HIS PAST.

AND IT'S AN INCREDIBLE,

INCREDIBLE STORY.

>> WELL, HE WAS ALWAYS A STUDY

IN CONTRASTS.

YOU KNOW, THE HARD FIXER, BUT

ALSO THE ONE WHO CARED FOR HIS

GRANDDAUGHTER.

>> AND HE'S VERY SELF-AWARE.

I MEAN, HE'S VERY AWARE OF WHAT

HE'S LOST.

AND YET HE CAN'T KIND OF GET IT

BACK, ANYWAYS.

DON'T YOU THINK?

TALKING ABOUT YOUR CHARACTER.

>> YEAH, YOU ARE.

[ LAUGHTER ]

>> WE ALREADY KNOW HOW IT COMES

OUT.

>> WHAT DO YOU THINK, MICHAEL?

>> I HAVE NO THOUGHTS.

I THINK IT'S GREAT.

IN BOTH CASES, I WAS A BIG FAN.

[ LAUGHTER ]

I WAS JUST GONNA SAY, I WAS A

BIG FAN OF "BREAKING BAD,"

OBVIOUSLY.

AND JUST -- NO MATTER WHAT A

CHARACTER IS, YOU ALWAYS WONDER

WHAT MADE HIM THAT WAY.

AND THAT'S WHAT THIS SHOW IS

ABOUT.

IT'S ABOUT AS FAR AS JIMMY GOES

AND AS FAR AS MIKE GOES.

AND IT'S JUST FASCINATING TO

READ.

>> MM-HMM.

>> I DON'T INTERACT MUCH WITH

THIS GUY, BUT I DO A LOT OF WORK

WITH HIM.

>> MIKE HAS ALWAYS BEEN A

SEPARATE ENTITY AND AWAY FROM

THINGS WHILE EVERYTHING ELSE

HAPPENED, WHETHER IT'S

"BREAKING BAD" OR, AT THIS

POINT, WHETHER IT'S "CALL SAUL."

HE'S OFF IN HIS OWN WORLD WITH

HIS OWN DEMONS AND THE LOVE OF

HIS GRANDDAUGHTER.

AND THAT'S PRETTY MUCH -- YOU

KNOW, THAT'S HIS ONLY CONTACT

WITH THE WORLD OR ANY KIND OF

NORMALCY, IS THROUGH HIS

GRANDDAUGHTER.

>> MM-HMM. MM-HMM.

WE'RE ANXIOUS TO GET DEEPER INTO

THAT.

NOW, MICHAEL, YOU ARE THE NEW

ACT INTO THIS WORLD.

>> YEAH, THE NEW KID.

>> HOW HAS IT BEEN FOR YOU TO

COME INTO A SETTING THAT IS

SOMEWHAT SPECIFIC BUT ALSO

STILL FORMING?

>> WELL, IT'S REALLY FUN TO

FOLLOW IN THE BACK DRAFT OF THE

HUGE HIT, OBVIOUSLY.

>> [ LAUGHS ]

THAT'S A GOOD WAY TO START.

>> ALSO, I HAD WORKED WITH

VINCE GILLIGAN ON "X-FILES."

HE CREATED A CHARACTER THAT I

DID FOR STRAYING UP.

WE'LL ALWAYS HAVE DREAMLAND.

[ LAUGHTER ]

AND IT WAS ABOUT THE HARDEST

SHOOT I'VE EVER BEEN A PART OF.

IT WAS JUST ONE OF THOSE, "YEAH,

WE'RE GOING INTO HOUR 16 NOW.

YOU'RE NOT GOING ANYWHERE JUST

YET."

IN THE DESERT ALL NIGHT.

AND I SAID, "OH, THIS IS SO

GRUELING.

I LOVE THIS GUY," YOU KNOW?

AND VARIOUS TIMES WE TRIED TO

WORK TOGETHER, GEOGRAPHICALLY

IT DIDN'T WORK OUT.

AND, SO, WHEN THIS CAME DOWN THE

PIKE, I SAID, "YEAH! ODENKIRK?

GILLIGAN? WHAT'S NOT TO LIKE?"

>> BANKS.

[ LAUGHTER ]

>> THAT WAS A SECRET.

THEY DIDN'T TELL ME THAT.

IF THEY HAD TOLD ME THAT...

I DON'T KNOW.

>> BUT THERE IS, AGAIN, WITHOUT

GIVING TOO MUCH AWAY, I MEAN,

YOUR CHARACTER IS A MAN WITH

DEMONS AND NEUROSES AND, YOU

KNOW...

>> SOMETHING GOING ON, YEAH.

>> IT'S ONE OF THOSE FINE LINES

LIKE, YOU KNOW, IF IT WEREN'T IN

THE HANDS OF A GREAT ACTOR, IT

COULD REALLY -- SOME OF THE

STUFF YOU HAVE TO PLAY COULD

LOOK RIDICULOUS.

>> WELL, WHEN I FIRST HEARD THAT

THE CHAR-- I ACCEPTED, OF

COURSE, WITHOUT READING A THING.

I JUST, "YEAH, OF COURSE I WANT

TO WORK WITH YOU GUYS."

AND HE HAS AN AFFLICTION.

THAT'S ALL I KNEW.

AND MY NIGHTMARE WAS, AFTER I'D

ACCEPTED THE ROLE, "OH, THANK --

WE'RE GOING TO ALBUQUERQUE.

YEAH!"

I WAS AFRAID THAT I'D GET A CALL

FROM VINCE SAYING, "WELL, IT'S

RAMPANT PSORIASIS.

HE'S COVERED FROM HEAD TO TOE

IN RUNNING SORES.

NOW, FIRST DAY MAKEUP WILL BE

ABOUT 6h HOURS, MAYBE 7.

BUT WE'LL GET IT DOWN TO 3h, 4

BY THE END OF THE SERIES.

THAT WAS MY -- WHEN I FOUND OUT

WHAT IT WAS, I WAS RELIEVED.

>> IT'S A LOT FOR YOU TO SINK

YOUR TEETH INTO.

>> BUT IT'S REAL.

>> IT'S FANTASTIC.

>> ONCE YOUR LEARN WHAT IT IS,

REMEMBER IT'S NOT A FAKE THING.

IT'S A REAL THING.

>> YEAH.

AND THE TIME FRAME WAS ALSO

INTERESTING.

>> YEAH.

>> IT'S SIX OR SEVEN YEARS

PRIOR.

>> BEFORE THE EVENTS OF

"BREAKING BAD," YEAH.

AND IT SKIPS AROUND EVEN MORE

THAN THAT.

>> YEAH, IT DOES.

IT DOES JUMP AROUND IN TIME,

WHICH IS INTERESTING.

AND LIKE "BREAKING BAD," IT JUST

WONDERFULLY GIVES THE AUDIENCE

CREDIT FOR BRAINS, AND IT

DOESN'T HIT YOU OVER THE HEAD

WITH EVERYTHING.

YOU HAVE TO PAY ATTENTION, BUT

YOU ALSO REALLY -- IT'S JUST A

WONDERFUL JOURNEY.

>> I'LL TELL YOU SOMETHING I WAS

THINKING.

I MEAN, THERE'S TWO THINGS

THAT --

FIRST OF ALL, BOB'S WORKLOAD IN

THE BEGINNING.

BECAUSE JIMMY'S MOUTHY ANYWAY,

AND SAUL'S MOUTHY.

AND THEN YOU WRITE MONOLOGUES ON

TOP OF THAT.

AND I LOOKED AT BOB'S WORK LOAD,

AND I THOUGHT, "HOW IN THE NAME

OF GOD IS ANYBODY EVER GONNA DO

THAT?"

AND THEN YOU LOST YOUR VOICE FOR

A WHILE.

>> I DID, YEAH.

>> AND I'M TELLING YOU --

>> IT WAS DURING THE MIME

EPISODE.

[ LAUGHTER ]

WORKED OUT OKAY.

>> WE JUST DID IT.

>> BUT I'LL TELL YOU WHAT HAS

HAPPENED OVER A PERIOD OF YEARS

WITH VINCE, 'CAUSE WE WATCHED

THE OPENING EPISODE.

VINCE LEARNED -- VINCE ALWAYS

WAS HUMBLE, HE TRULY WAS, AND HE

ALWAYS ADMIRED THE DIRECTORS

THAT CAME ON.

HE LEARNED FROM THEM.

AND ALL OF A SUDDEN, VINCE

REALLY LEARNED IN THE EDITING

ROOM.

THAT FIRST SCENE IN "CALL SAUL"

IS JUST -- IT'S A GEM.

>> YEAH.

>> I MEAN, I THOUGHT IT WAS

GOOD.

I HONESTLY THOUGHT IT WAS GOOD.

AROUND THE THIRD OR FOURTH SHOW,

I THOUGHT, "THIS IS PRETTY

NICE."

AND THEN WE SAW IT THE OTHER

NIGHT.

AND IT'S REALLY GOOD.

[ LAUGHTER ]

WELL, YOU MENTION, OF COURSE,

VINCE GILLIGAN AND PETER GOULD,

WHO, YOU KNOW, NONE OF US WOULD

BE HERE WITHOUT --

>> REALLY?

>> THE SHOW WOULD NOT BE HERE

WITHOUT --

>> I WAS GONNA SAY, "NONE OF US

WOULD BE HERE?"

KIND OF A DEEP STATEMENT, THERE.

>> IN THIS PARTICULAR CONTEXT.

[ LAUGHTER ]

WELL, YOU KNOW, I MEAN,

VINCE GILLIGAN IS A MAN OF MANY

TALENTS.

>> OH, YOU'RE RIGHT.

>> BUT, I MEAN --

>> YOU WERE ASKING ME, BEFORE WE

CAME OUT, IS THERE ANYTHING I

WANTED TO TALK ABOUT?

AND IT'S VERY HARD TO TALK ABOUT

THE SHOW WITHOUT HAVING A WRITER

HERE, OR TALK ABOUT WHAT'S GOOD

ABOUT THE SHOW WITHOUT THE

WRITERS TALKING BECAUSE IT ALL

STARTS WITH THAT, AND MORE,

EVEN, THAN THAT.

BECAUSE THESE GUYS, WHATEVER --

WE ALL SAW WHAT WAS IN THOSE

SCRIPTS, AND WE SAW WHAT AN

OPPORTUNITY WE HAD.

AND WHEN I GET THESE

COMPLIMENTS, AS I'VE GOTTEN

QUITE A FEW, I IMMEDIATELY THINK

OF THE WRITERS TRUSTING ME WITH

THAT MATERIAL AND GOING THAT FAR

INTO A CHARACTER AND A MOMENT.

AND IT'S ASTOUNDING.

SO...YEAH.

>> PROPS TO VINCE GILLIGAN AND

PETER GOULD.

>> AND JENNY.

>> AND TO THE PROPS DEPARTMENT.

[ LAUGHTER ]

>> HEY, YOU KNOW...

>> HERE I'M TRYING TO BE

HONEST...

>> WE ARE SO CLOSE WITH THAT

CREW THAT, I'M TELLING YOU, THE

PROPS DEPARTMENT HEARS THAT...

>> YEAH.

>> ...YOU'RE GONNA KNOW.

>> I MEAN, JONATHAN, THAT MUST

BE A NICE ELEMENT, THOUGH, FOR

YOU, 'CAUSE FROM WHAT I

UNDERSTAND, A LOT OF THE

BELOW-THE-LINE PEOPLE WHO HAD

ALSO WORKED ON...

>> THERE'S NOT BEEN ONE AWARDS

SHOW, WHETHER IT WAS VINCE OR IT

WAS BRYAN OR IT WAS AARON OR IT

WAS ANNA, WHOEVER WAS GETTING

THE AWARD, THAT THEY DID NOT

MENTION THE CREW.

AND YOU HEAR -- YOU KNOW, IT WAS

IN A BOOK REVIEW THAT I READ

THAT WAS TALKING ABOUT

HOLLYWOOD, AND ABOUT EVERYBODY

ALWAYS SAYS HOW NICE IT IS, AND

IT'S GOOD, AND THEY WENT, "WELL,

YOU GET THE IDEA."

I'VE DONE THIS PROFESSIONALLY

FOR 47 YEARS, SINCE I GOT MY

FIRST PAYCHECK, AND OVER AND

OVER AGAIN, WE'VE SAID ABOUT

THAT CREW, "BEST CREW I'VE EVER

WORKED WITH."

>> HANDS DOWN.

>> MICHAEL'S DONE IT A LONG

TIME.

MICHAEL'S JUST COMING TO

ALBUQUERQUE RIGHT NOW, AND IT'S

AS YOU SAY...

>> WORLD-CLASS.

NO, INCOMPARABLE.

>> YEAH.

>> SO, LUCKY. LUCKY US.

>> YOU BECOME FRIENDS.

BUT I'LL TELL YOU WHAT I DO

THINK -- AND I'M JUST THINKING

ABOUT IT TODAY -- IS THAT WE

ALL -- EVERYBODY GOT A LITTLE

BETTER.

I MEAN, MOST PEOPLE SAY ABOUT

"BREAKING BAD," THE SHOW GOT

BETTER AND BETTER AND BETTER AS

IT GOES ON.

BUT I SEE THESE WRITERS, AND I

FEEL LIKE, TOO, AS GREAT AS THEY

ARE, I WATCH THEM.

THEY'RE NOT AFRAID TO LEARN, FOR

ONE THING.

I DON'T CARE HOW TRITE THAT

SOUNDS.

THEY LEARN AND THEY MOVE AND

THEY GO FORWARD.

AND HOW LUCKY WE ARE TO BE ABLE

TO WORK WITH THEM.

>> YEAH.

AND WHEN YOU TALK ABOUT THE

PROPS AND THE OTHER DEPARTMENTS,

WHAT YOU SEE IS THAT, YOU KNOW,

THE WRITERS ARE BRINGING IT HARD

AND SWEATING EVERY DETAIL.

AND OFTENTIMES YOU HAVE

QUESTIONS ABOUT A LINE -- "WHY

AM I SAYING IT THAT WAY," OR,

YOU KNOW...

AND THEY'LL HAVE AN ANSWER.

9 TIMES OUT OF 10, THEY'LL GO,

"OH, WELL, HERE'S WHY WE DIDN'T

SAY A SIMPLER WAY."

THEY THOUGHT IT THROUGH EVERY

WORD AND HOW IT WAS LAID OUT.

SO THEY'VE THOUGHT THROUGH IT

ALL.

AND THAT EXCELLENCE AND

COMMITMENT GOES ACROSS THE

BOARD ON THIS CREW.

AND THE PROPS GUYS, THEY DON'T

EVER PHONE IT IN.

THEY'VE GIVEN ALL THIS THOUGHT,

AND THEY'RE RIGHT THERE READY TO

MAKE CHANGES AND MAKE THINGS

BETTER.

AND SO THAT JUST...

TO LOOK AROUND YOURSELF ON A SET

AND SEE ALL THAT EXCELLENCE IN

PLAY, IT'S ENCOURAGING TO YOU

AND CHALLENGING TO YOU.

AND IT'S A WONDERFUL EXPERIENCE,

AND SUPER RARE, SO...

>> MM-HMM.

>> TRINA, MADDIE, JOHN ARE THE

THREE PEOPLE YOU WORK WITH IN

PROPS MOST OF THE TIME.

>> YEAH.

GOOD JOB, BUDDY.

>> THAT'S GOOD.

[ LAUGHTER ]

>> I HAD TRIA.

>> TRINA.

>> WHAT -- TRINA!

>> COME ON.

>> WELL, I MEAN, THERE IS SUCH,

JUST INTRICATE TO THE WORLD.

YOU KNOW, JIMMY'S OFFICE IS IN

THIS WONDERFUL, YOU KNOW, NAIL

SALON THAT JUST HAS ALL THESE

ELEMENTS --

>> YOU FOUND IT WONDERFUL?

>> I MEAN, YOU JUST FELT LIKE

YOU WERE IN A, YOU KNOW, STRIP

MALL.

>> WELL, YOU WERE.

THAT'S WHERE WE SHOT IT.

BUT I KNOW WHAT YOU MEAN, YEAH.

AND WHAT A -- YEAH.

AND THAT TIES INTO

"BREAKING BAD," OF COURSE.

'CAUSE WHEN HE WANTS TO LAUNDER

MONEY IN "BREAKING BAD," HE

IMMEDIATELY THINKS OF THAT KIND

OF BUSINESS.

SO, THAT'S WHERE PEOPLE HAVE

ASKED ME, "DO YOU NEED TO KNOW

'BREAKING BAD'?"

AND I LEAVE IT TO YOU TO ANSWER

THAT.

I DON'T THINK YOU DO TO CARE

ABOUT THIS SHOW AND TO LIKE THIS

SHOW.

IN FACT, MY DAUGHTER, WHO HAS

NEVER SEEN "BREAKING BAD," SHE

LOVED THE PILOT AND REALLY LOVED

THE CHARACTER.

BUT IF YOU'VE SEEN

"BREAKING BAD," A CHOICE LIKE

THAT, WHICH IS ORGANIC TO THIS

SHOW AND FUN IN THIS SHOW ON ITS

OWN, AGAIN, RESONATES EVEN MORE

WITH YOU.

>> MM-HMM.

WHAT I FOUND INTERESTING WAS, BY

EPISODE THREE, YOU'RE SO DEEP

INTO THAT WORLD THAT YOU'RE NOT

SO MUCH THINKING ABOUT

"BREAKING BAD" AS MUCH.

YOU'RE REALLY -- THERE'S LITTLE

BITS THAT COME IN.

>> WHEN YOU THINK ABOUT DOING A

SHOW AFTER SUCH A MASSIVE

PHENOMENON AS "BREAKING BAD"

THAT'S SO LOVED, AND YOU ASK

YOURSELF, "ARE WE DOING THIS FOR

THE RIGHT REASONS?" MULTIPLE

TIMES AND THE ANSWER WAS YES,

FROM VINCE AND PETER ORGANICALLY

COMING UP WITH THE CHARACTER AND

THE CURIOSITY FOR THE STORY

HERE, THEN YOUR CHOICE IS, I

GUESS, TO SIT AROUND ADDRESSING

"BREAKING BAD" ALL DAY OR JUST

FORGET IT AND TELL YOUR NEW

STORY.

AND THAT'S WHAT THEY DID.

THEY JUST SAID, "LET'S JUST HIT

THE GROUND RUNNING."

WHICH THEY DO, RIGHT?

>> ABSOLUTELY.

AND THEY'RE -- YOU KNOW, IT'S

OUR CLOSE COUSIN.

CLOSE COUSIN'S ALWAYS GONNA BE

LIVING JUST DOWN THE ROAD,

THERE, SOMEWHERE.

AND, I MEAN, YOU KNOW, AGAIN,

YOU TALK ABOUT --

DEAN NORRIS, THE OTHER NIGHT,

DROVE UP FROM TEMECULA WHEN THEY

DID THE PREMIERE.

NOW, THAT'S TWO HOURS, HEAVY

TRAFFIC, L.A...

>> IN LOS ANGELES.

>> ...JUST TO COME TO PAY

RESPECT, AS DID EVERYBODY ELSE.

>> IT WAS AMAZING.

WE HAD THE CAST OF

"BREAKING BAD" AT THE PREMIERE.

IT WAS GREAT.

THAT WAS AMAZING.

>> YEAH?

>> TOO BIG, THOUGH.

IT WAS WAY TOO BIG.

>> TOO BIG A CAST?

>> YEAH.

IT'S TOO BIG FOR A TV.

>> OH, THE SCREENING.

>> THE SCREENING OF THE EPISODE.

>> YEAH.

>> HOW...

>> IT'S PERSONAL.

[ LAUGHTER ]

>> GIVEN THE DEPTH OF

CAMARADERIE, BUT VINCE HAS BEEN

VERY VOCAL ABOUT SAYING THAT,

YOU KNOW, "SAUL" IS ITS OWN

ENTITY.

AND HE'S EVEN SAID THAT HE DOES

NOT SEE, IN THE FIRST SEASON, A

CAMEO FROM BRYAN CRANSTON OR

AARON PAUL, THAT THERE'S A REAL

FEELING THAT THIS --

>> WELL, BUT JESSE WOULD BE IN

MIDDLE SCHOOL, REMEMBER.

>> YEAH.

>> IT'S 2002.

>> BUT HE'D STILL BE IN TROUBLE.

>> AARON PAUL'S A BRILLIANT

ACTOR, BUT HE CAN'T PLAY 11.

>> YEAH.

[ LAUGHTER ]

GOTCHA. TRUE.

>> DON'T BE SO SURE.

>> YEAH!

[ LAUGHTER ]

>> LITTLE CGI...

>> I MEAN, HE PLAYED 20, RIGHT?

CHRIST ON A CRUST.

[ LAUGHTER ]

>> WHAT'S ALSO INTERESTING IS IT

VERY MUCH HAS ITS OWN PACE.

>> WELL, I'VE BEEN TOLD BY THE

PRODUCERS, WHO'VE SEEN THEM

ALL -- I'VE ONLY SEEN ONE.

YOU'VE SEEN MORE THAN ME -- THAT

EVERY EPISODE, THE WHOLE 10,

EACH FEELS DIFFERENT THAN THE

OTHERS.

BUT NOT IN A KITCHEN-SINK WAY,

BUT, LIKE, EACH IS MOLDED

CAREFULLY WITH A DIFFERENT PACE,

TONE.

THAT SECOND ONE IS, TO ME, THE

MOST LIKE "BREAKING BAD," BUT

I'M GOING OFF REMEMBERING

READING IT.

BUT THEY'RE ALL A LITTLE

DIFFERENT, AND THEY ALL WORK

TOGETHER.

BUT THERE'S NO FORMULA HERE.

HERE, I THINK, THE WRITERS...

BECAUSE I'M HERE, WHY NOT

CONJECTURE?

LET'S ALL CONJECTURE.

>> EMMY OR NOT.

>> HERE, I REALLY KIND OF FEEL

LIKE VINCE AND PETER -- ALL

THESE PEOPLE LOVED

"BREAKING BAD."

THEY'RE GONNA GIVE US A CHANCE,

HERE.

WE DON'T HAVE TO DANCE TOO FAST

FOR THEM.

THEY'RE GOING TO WATCH.

SO, NOW LET'S JUST GO FAR.

LET'S GO AS FAR AND FAST AS WE

CAN BECAUSE IT'S RARE THAT YOU

GET TO START A SHOW WITH AS MUCH

GOOD WILL AND PEOPLE BEING --

THEY'RE INFORMED AS TO THE

PACING OF THEIR STORYTELLING,

AND THE SORT OF TEMPERATURE OF

IT.

AND THEY'RE CUED INTO IT BECAUSE

THEY WATCHED "BREAKING BAD."

SO, YOU CAN -- THE CONFIDENCE

THAT THEY TELL THE STORY WITH IS

AMAZING.

THAT OPENING...

I MEAN, I DON'T WANT TO GIVE --

I WISH I COULD SAY.

[ LAUGHTER ]

>> IT'S -- I'M TELLING YOU,

YOU'RE GONNA...

>> I MEAN, BUT THE CONFIDENCE OF

THAT IS CRAZY.

>> WELL, IT JUST STRIKES SUCH A

CHORD.

CAN YOU TALK ABOUT THE --

YOU KNOW, BECAUSE IT DOES HAVE

ITS OWN UNIQUE, YOU KNOW, JUST

VERY UNIQUE PACING AND

STORYTELLING STYLE THAT IT'S

NOT CLEAR TO ME, EVEN AFTER

THREE EPISODES -- WILL THERE BE

ANY ELEMENT OF, LIKE, "CASE OF

THE WEEK" FOR JIMMY IN THIS?

OR IS IT YOU'RE LAYING TRACK FOR

A LONGER PART?

>> THE ANSWER'S NO.

NO, THEY'RE TELLING A STORY ON A

WHOLE NOTHER LEVEL.

>> YEAH.

>> YOU KNOW, THERE'S NOTHING

PROCEDURAL ABOUT THIS SHOW.

AND...YEAH.

BUT HOPEFULLY THE AUDIENCE IS

READY FOR IT.

>> IT'S GONNA BE FUN RIGHT ALL

THE WAY THROUGH THE SEASON.

'CAUSE BOBBY WAS SO KNEE-DEEP IN

WORK, AND I'D STAND BACK, AND

I'D WATCH HIM.

YOU WERE. YOU JUST WERE.

AND I'M THINKING, AND I'M

THINKING, AND I'M THINKING, I'M

WATCHING.

AND THE GHOSTS WERE LINGERING

OUT IN, YOU KNOW, THE SOUND

STAGES ABOUT WHO'S COMING AROUND

THE CORNER.

AND SOMEWHERE AROUND THE THIRD

OR FOURTH SHOW, I WENT, "THIS IS

REALLY GOOD."

AND AT THE VERY END OF THE

SEASON, THEY, AS THEY ALWAYS DO,

THEY WILL MAKE IT A GREAT RIDE

FOR YOU.

AND AWAY YOU GO, EVEN AT THE END

OF THE SEASON.

AT THE END OF THE SEASON, YOU

WANT TO SEE THE NEXT SHOW.

>> YEAH. GOOD.

>> AND, OF COURSE, IT'S VERY

GREAT TO KNOW THAT YOU DO

HAVE -- THERE IS A SECOND

SEASON.

>> YEAH, WE GET TO DO ANOTHER

SEASON.

[ CHEERS AND APPLAUSE ]

AMC. AMC.

AMC AND SONY HAVE PLACED A LOT

OF FAITH IN US.

THEY ORDERED THAT SECOND SEASON

AFTER THEY'D SEEN A COUPLE WEEKS

OF DAILY, SO THEY DIDN'T --

BUT THAT'S STILL AMAZING.

BUT THEY'D SEEN SOMETHING, AND

SORT OF, I THINK, PROBABLY FELT

LIKE, "OKAY, THERE'S SOMETHING

GOING ON HERE."

AND, OF COURSE, THEY TRUST VINCE

AND PETER.

AND THEY'VE JUST BEEN AMAZING

FOR US.

AMC AND SONY, THE TRUST THEY'VE

PUT IN US...

EVERYONE'S TAKING THAT TRUST

FROM THE AUDIENCE AND FROM THE

PRODUCERS, THE COMPANIES

PRODUCING, AND TRIED TO GO

SOMEWHERE SPECIAL WITH IT.

>> MM. MM-HMM.

HOW HAS IT BEEN FOR YOU,

TRANSITIONING FROM A SUPPORTING

PLAYER TO, YOU KNOW, BEING THE

LEAD?

>> WELL, THIS IS GONNA SOUND

LIKE A WISE-ASS COMMENT, BUT I

JUST -- I DID TREAT IT LIKE IT'S

JUST A BIGGER PART.

I HAVE MORE LINES THAN I USUALLY

HAVE.

BECAUSE I THINK I WOULD JUST GET

INTIMIDATED.

I'VE HAD SO MANY PEOPLE ASK ME,

"WHAT'S IT LIKE TO BE THE STAR?"

AND I'M LIKE, "I DON'T KNOW.

I'M AN ACTOR, AND MY PART TALKS

MORE."

THAT'S THE ONLY -- I DON'T...

>> I LIKE THAT.

>> WHAT IS THE OTHER THING I

HAVE TO DO?

I DON'T SEE ANY OTHER JOB HERE

THAT'S CALLED "BEING A STAR."

>> BUT YOU DO HAVE A TON TO SAY.

>> I HAVE A LOT OF WORDS TO

REMEMBER.

[ LAUGHTER ]

NO, I HAD --

>> YEAH, YOU DO.

[ LAUGHTER ]

>> LISTEN.

HE'S -- I HAD SO MANY WORDS.

OKAY, A COUPLE THINGS ABOUT

THAT.

ONE -- THERE CAME A POINT WHERE

I SAID, "I NEED ANOTHER DAY," ON

AN EPISODE.

I THOUGHT, "I CAN'T DO THIS."

I THINK I HAD 30 PAGES OF

DIALOGUE IN THREE DAYS.

AND I GO, "I CAN DO THIS POORLY,

IF YOU WANT THAT."

AND THE PRODUCERS AND SONY SAID,

"WE'LL GIVE YOU ANOTHER DAY."

>> WHICH IS A FINANCIAL DECISION

FOR THEM.

>> IT'S A FINANCIAL CHOICE.

>> ALWAYS.

>> IT'S NOT JUST A TIME...

>> NO.

>> BUT I REALLY -- I HIT A WALL

THERE.

BUT I WANTED TO DO IT WELL, AND

I -- LUCKY WE WERE IN

ALBUQUERQUE.

I'VE GROWN TO LOVE ALBUQUERQUE.

BUT....

[ LAUGHTER ]

I DO LOVE ALBUQUERQUE.

>> YEAH, I LOVE ALBUQUERQUE,

TOO.

>> MY FAMILY ISN'T THERE.

[ LAUGHTER ]

MY FAMILY ISN'T THERE.

YOU JERKY-ASS NEW YORKERS.

[ LAUGHTER ]

MEAN. YOU'RE MEAN.

YOU'RE MEAN.

[ LAUGHTER ]

LISTEN --

>> BOBBY, WHAT IS IT YOU LOVE

ABOUT ALBUQUERQUE?

[ LAUGHTER ]

>> WELL, THERE'S THAT ONE

RESTAURANT.

>> THE THAI PLACE, YEAH.

IT'S NICE.

>> IT'S NICE.

>> NO.

THE BOSQUE TRAIL, ALL THE BIKE

PATHS...

>> THE GRAVEYARDS.

>> ...IT'S MELLOW.

>> THE TURQUOISE TRAIL UP TO

SANTA FE.

>> STOP IT.

THE SKY, WHICH YOU CAN SEE.

YOU GUYS OUGHT TO SEE THE SKY

SOMETIME!

>> BEAUTIFUL THUNDER STORMS.

>> YOU'D BE SURPRISED!

>> PRETTY AWESOME.

>> IT IS.

>> AND WE'VE GOT TIRE STORES,

WALMARTS, COSTCOS AS FAR AS YOU

CAN SEE.

>> SCORPIONS, TARANTULAS.

WHAT DO YOU LOVE?

[ LAUGHTER ]

>> WE HAVE TO GO BACK THERE.

>> I LOVE IT. I LOVE IT.

>> LOVE IT.

>> I ALWAYS HAVE A GOOD TIME

THERE.

>> BUT THE SKY IS BEAUTIFUL.

>> SKY IS AWESOME.

>> BUT I DIDN'T HAVE MY

FAMILY -- IT IS AMAZING!

OKAY.

>> HOW ABOUT THAT SKY?

>> WHOO!

I'LL TELL THE WORLD.

>> I'M NOT KIDDING.

I WAS ABLE TO WORK.

CONCENTRATE ON MY WORK.

THERE WAS NOTHING GOING ON THERE

FOR ME.

[ LAUGHTER ]

SHUT UP.

SHUT UP!

[ LAUGHTER ]

I DIDN'T FIND THE INDEPENDENT

BOOK STORE UNTIL THE NINTH WEEK.

SO, I DIDN'T EVEN KNOW THEY HAD

ONE, AND THEN I FOUND IT.

ANYWAY, I WAS ABLE TO WORK --

>> THEY HAD A HISTORY SECTION

ABOUT THAT BIG.

THAT WAS THE HISTORY SECTION.

>> YOU'RE GONNA CUT ALL THAT

OUT, RIGHT?

>> [ SNORTS ]

[ LAUGHTER ]

>> I WAS ABLE TO FOCUS AND DO

THIS HUGE JOB.

AND I HAD A LOT TO MEMORIZE, AND

ONE PART OF IT WAS, WHEN IT WAS

NEARING THE END, WE HAD TO DO

DVD COMMENTARY, AND I COULDN'T

REMEMBER WHAT HAPPENED.

THEY WERE LIKE, "OKAY, WE'RE

DOING SHOW FOUR NOW."

AND I'D BE LIKE, "UH...WHAT --

I DON'T KNOW. WHAT?"

>> WELL, THEY WERE BETTER TO

YOU.

>> THEY HAD TO TELL ME --

>> I'M GONNA SAY THIS.

WHEN THEY GIVE ME STUFF, MY

WRITERS, AND ALL OF A SUDDEN I

REALIZE THE MAKEUP DEPARTMENT

HAS THE SCRIPT, THE WARDROBE

DEPARTMENT HAS THE SCRIPT, MY

TEAMSTER BROTHERS HAVE THE

SCRIPT.

AND I'M GOING, "DO YOU THINK I

COULD SEE IT?

BECAUSE THERE'S A LOT TO SAY

HERE."

"YEAH, YEAH, YEAH. IT'S COMING.

DON'T WORRY."

>> IT'S AMAZING.

>> IT'S TRUE.

IF YOU'D LAUGH A LITTLE MORE AT

THAT, I'D APPRECIATE IT.

[ LAUGHTER ]

>> HOW MUCH -- I MEAN, WHAT'S

GREAT ABOUT JIMMY -- I GUESS WE

SHOULD REALLY CALL HIM JIMMY

'CAUSE THAT'S, YOU KNOW, THAT'S

THE CHARACTER -- ARE THOSE GREAT

RAPID-FIRE, ALMOST

SCREWBALL-COMEDY-ESQUE...

>> YEAH.

>> IS THERE ANY PART OF THAT

THAT'S IMPROVISED EVER?

>> NO.

I DON'T IMPROVISE ANY OF IT.

NONE OF IT.

>> EVERY WORD COMES OUT OF THE

WRITER'S BRAINS?

>> EVERY SINGLE WORD.

NOT ONLY THAT, I TRY TO DO IT

EXACTLY AS WRITTEN.

I DON'T DO IT EXACTLY AS

WRITTEN, BUT I COME PRETTY DAMN

CLOSE, AND THAT'S MY GOAL EVERY

TIME.

IT'S SOMETHING I LEARNED ON

"BREAKING BAD," WHERE I HAD THE

SCRIPT, AND I HAD SAUL GOODMAN,

AND I HAD SO MANY MONOLOGUES IN

THERE, AND I THOUGHT --

YOU KNOW, I'VE DONE SO MUCH

COMEDY, AND IN COMEDY, YOU DO

CHANGE THE SCRIPT.

THERE'S EVEN, ON SET, LIKE,

"WHATEVER YOU WANT TO SAY, JUST

AS LONG AS YOU TELL HIM TO GET

OUT OF HERE."

>> AND YOU ARE A WRITER.

I MEAN, YOU HAVE A LONG HISTORY

AS A WRITER.

>> I'M A WRITER, AND I'VE

WRITTEN A LOT OF THINGS.

AND I LIKE WHEN THEY'RE DONE

AS-WRITTEN, BUT THERE'S A LOT OF

PLAY IN COMEDY.

AND, SO, I GOT THE SCRIPT.

I DIDN'T BOTHER TO MEMORIZE IT

BECAUSE I FIGURED THE BLUE PAGES

WERE GONNA COME AND ALL THESE

MONOLOGUES WERE GONNA BECOME TWO

LINES.

AND I GOT THE BLUE PAGES, WHICH

ARE THE LAST CHANGES BEFORE, YOU

KNOW, YOU GO SHOOT, AND ONE WORD

HAD BEEN CHANGED -- A DAY.

LIKE, A "THURSDAY" WAS CHANGED

TO "WEDNESDAY."

AND I WAS LIKE, "OH, SO YOU

REALLY WANT ME TO LEARN THIS.

ALL RIGHT."

AND I STARTED THINKING ABOUT A

LOT OF THINGS, LIKE...

ONE OF THE THINGS I DID WAS, I

DID IT IN A ROBERT EVANS VOICE.

YOU KNOW [ Deep voice ]

ROBERT EVANSSSS.

[ INHALES SHARPLY ]

TELL YOU A STORYYY.

>> I DON'T THINK THEY DO.

>> WORST DAY OF MY LIFE...

WAS ACTUALLY THE BEST DAY OF MY

LIFE.

[ Normal voice ] LIKE, HE DOES

ALL THIS SINGSONG-Y STUFF, AND

HE STOPS AND GOES, AND IT MAKES

HIM REALLY FUN TO LISTEN TO.

AND THAT JUST MADE ME THINK

ABOUT, YOU KNOW, CADENCE AND ALL

YOU CAN DO WITH A LONGER

MONOLOGUE TO MAKE IT

INTERESTING.

>> MM-HMM.

>> AND SO I PLAYED WITH THAT.

BUT I ALSO -- WHILE I WAS DOING

IT, I WAS LIKE, "EHH, MAYBE I

SHOULD ASK TO CHANGE THIS LINE,"

OR, "I SAY IT EASIER -- IT COMES

OUT OF MY MOUTH THIS WAY."

AND IT JUST OCCURRED TO ME,

LIKE, "WELL, THIS ISN'T ME."

THIS IS A GUY NAMED

SAUL GOODMAN, AND HE SAYS IT

LIKE THIS, AND WHAT WOULD IT BE

LIKE IF I TRIED TO REALLY ACT?

[ LAUGHTER ]

WHAT WOULD THAT BE LIKE?

WHAT WOULD IT BE LIKE?

A WHOLE NEW WORLD.

[ LAUGHTER ]

BUT, REALLY, AS A CHALLENGE.

AND SO I'VE CARRIED THROUGH WITH

THAT, AND I'VE GOTTEN A LOT OF

COMPLIMENTS ON THE FUNNY LINES

HE SAYS.

AND PEOPLE ALWAYS ASSUME, 'CAUSE

I DID COMEDY AND DO COMEDY, THAT

I WRITE THOSE.

I DON'T WRITE ANY OF IT.

AND I'M PROUD OF THAT.

I'M PROUD OF WHAT I -- OF

WORKING AS AN ACTOR AND MAKING

THAT SOUND LIKE IT CAME OUT OF

THAT CHARACTER.

>> MM-HMM.

AND JUST DELIVERING IT, I MEAN,

YOU KNOW, IS --

>> ALSO, YOU KNOW WHAT, YOU

LEARN ABOUT A CHARACTER BY DOING

IT EXACTLY AS WRITTEN.

BECAUSE IT DOESN'T SPEAK THE WAY

YOU SPEAK, YOU BECOME THAT OTHER

PERSON.

AND YOU ASK YOURSELF, "WHO DOES

SAY THAT LIKE THAT?"

AND, "WHAT ARE THEY GETTING AT

IF THEY TALK IN THAT CADENCE AND

THAT STRING OF WORDS IN THAT

ORDER?"

AND IT MAKES YOU CONJURE UP A

DIFFERENT PERSON THAN YOURSELF.

>> MM-HMM.

>> YEAH.

>> AND BOTH OF YOU TWO -- I

MEAN, AND YOUR CHARACTERS ARE

SO DIFFERENT, OR SUCH CONTRASTS

TO JIMMY.

I MEAN, MIKE IS THE MASTER OF,

YOU KNOW, MENACE WITH JUST A FEW

WORDS.

>> WE'RE A GREAT TEAM.

AND, AGAIN, I WISH I COULD GIVE

IT AWAY, BUT WE HAVE SOME SCENES

WHERE WE'RE IN VERY CLOSE

PHYSICAL PROXIMITY...

[ LAUGHTER ]

...AND THE TENSION IS HILARIOUS.

IT'S LAUREL AND HARDY IF THEY

WANTED TO KILL EACH OTHER.

[ LAUGHTER ]

>> WELL, SOMETIMES HE DID WANT

TO KILL HIM.

>> I'M THE MOUTH, HE'S THE

MUSCLE, AND THERE'S NO BRAIN.

[ LAUGHTER ]

THERE'S THE BRAIN.

THE BRAIN'S AT HOME.

>> AFRAID TO LEAVE THE HOUSE.

>> AFRAID TO LEAVE THE HOUSE.

WHAT A TEAM WE WOULD MAKE, THE

THREE OF US.

>> I GOT THE DESK JOB.

>> WHAT DO YOU -- BUT, AGAIN,

GIVEN THAT YOU DO HAVE THAT

WRITING GENE, DO YOU EVER

ANTICIPATE WRITING AN EPISODE OF

"BETTER CALL SAUL"?

>> NO.

NO, I DON'T WANT TO.

I'VE DIRECTED, AS WELL, AND

I WOULDN'T DIRECT, EITHER.

>> IF THEY LET YOU WRITE AN

EPISODE, I WILL FALL OVER DEAD.

THEY ARE SO PROTECTIVE.

THEY ARE SO PROTECTIVE OF THEIR

WRITING.

>> IT WOULD BE RIDICULOUS.

>> OH, MY GOD.

[ LAUGHTER ]

>> GOING AND ACTING AND JUST

COMMITTING TO THAT JOB FULLY,

COMPLETELY, HAS BEEN A CRAZY

GIFT, SO...

>> MM-HMM.

WELL, AND HIGH PRAISE TO YOU,

BOB.

YOU KNOW, THE SHOWRUNNERS, IN

THEIR ROUNDS OF PROMOTING THE

SHOW, HAVE REALLY GIVEN YOU A

LOT OF CREDIT FOR -- JUST AS

BRYAN CRANSTON SET A VERY, YOU

KNOW, STRONG AND PROFESSIONAL

TONE ON "BREAKING BAD," THAT YOU

HAVE JUST EASILY STEPPED INTO

THAT, AND JUST SETTING THE TONE

OF IT BEING ABOUT THE WORK AND

NOT MUCH ELSE.

>> I WEAR SHOES ON THE SET.

YEAH, THEY'VE BEEN VERY NICE.

I MEAN, CRANSTON SET THE

STANDARD FOR PROFESSIONALISM AND

EXCELLENCE, SO...

I'M JUST [LAUGHS] DOING MY JOB.

ALSO, I GOT THESE GUYS, SO

THEY'D KICK MY ASS IF I DIDN'T

DO IT RIGHT.

BUT, I MEAN, SERIOUSLY, THESE

GUYS --

>> WOULD KICK HIS ASS.

>> THEY WOULD KICK MY ASS.

>> YOU WOULD KICK HIS ASS.

>> BANKS WOULD KICK MY ASS.

HE WOULD DO IT JUST FOR LAUGHS,

SO...

I DON'T HAVE TO DO ANYTHING

WRONG.

>> JUST FOR FUN.

>> AND MICHAEL McKEAN IS ONE OF

THE GREAT PROS IN AMERICAN

ACTING, AND WORKING OPPOSITE

HIM...

[ APPLAUSE ]

AND HE KNOWS HOW GOOD THIS ROLE

IS, TOO.

BELIEVE ME.

>> OH, YEAH.

>> THERE'S A LOT FOR YOU TO SINK

YOUR TEETH INTO.

>> YOU SAID -- DID YOU REALLY

SERIOUSLY SAY YES TO IT OFF

JUST, LIKE, THE TEAM?

>> YEAH.

>> SO, WHEN YOU GOT IT...

>> YEAH.

>> ...THAT MUST HAVE BEEN

ANOTHER REVELATION OF, LIKE,

"HOLY..."

>> [ LAUGHS ] OH, YEAH.

"HOLY...THIS DOESN'T HAPPEN

EVERY DAY."

>> YEAH.

>> YEAH, YEAH.

>> WHAT WAS THAT LIKE?

>> IT WAS GREAT.

IT WAS LIKE -- I STILL DIDN'T

KNOW WHAT THE HELL IT WAS, YOU

KNOW?

>> RIGHT.

>> I USED TO HAVE THIS

NIGHTMARE -- GUY CALLS AND HE

SAYS, "WE'RE DOING 'KING LEAR.'"

"OH, THAT'S GREAT."

"WE WANT YOU TO PLAY LEAR."

"OH, MY GOD. THAT'S GREAT."

"IT TAKES PLACE IN OUTER SPACE."

[ LAUGHTER ]

"YOU SAID YES TO THE WRONG

THING."

THERE WAS NO WORRY LIKE THAT

HERE.

I KNEW IT BECAUSE I KNEW VINCE'S

WORK, AND BECAUSE I KNEW THE

WORLD IT WAS COMING FROM,

OBVIOUSLY, AND I KNEW

SAUL GOODMAN.

YEAH, OF COURSE I SAID YEAH.

AND IT WAS JUST GREAT.

THE MORE I FOUND OUT ABOUT IT,

THE MORE WEIRD AND LOVELY IT

SOUNDED LIKE, SO...

>> YEAH.

>> VERY HAPPY.

>> THIS WAS YOUR FIRST

COMMITMENT TO A REGULAR SERIES

ROLE, NOT JUST GUEST SHOTS AND

RECURRING ROLE, IN A LONG TIME.

>> IN A LONG TIME, YES.

YEAH, I'D HAVE TO SAY.

>> SO, AGAIN, HIGH PRAISE.

WELL, I MEAN, JUST THE FACT THAT

THAT, YOU KNOW, MURDERERS' ROW

OF WRITERS, THAT COULD'VE ALL

GONE ON TO RUN THEIR OWN SHOW

AND DO THEIR OWN -- THAT MANY OF

THEM CAME BACK BECAUSE IT'S

LIKE, YOU KNOW, THEY DIDN'T WANT

TO BREAK UP THE BAND, KIND OF.

>> REALLY, WE GET SCRIPTS

SOMETIMES WHERE THINGS ARE

MARKED OUT COMPLETELY, WHERE YOU

DON'T KNOW WHAT'S COMING YET

UNTIL THE VERY END.

I MEAN, WHEN DID THEY -- THE

LAST TWO SHOWS, RIGHT?

>> YEAH.

STUFF'S BLACKED OUT LIKE CRAZY.

>> THAT'S HOW PROTECTIVE --

>> "DID WE GET CANCELED?"

[ LAUGHTER ]

>> WE GOT CANCELED ON PAGE 24.

>> SONY CALLS AND GOES...

>> THAT'S THE WORST WAY TO GO.

>> ..."YOU CAN SHOOT IT, BUT

JUST CUT EVERY OTHER LINE.

SAVE SOME MONEY."

>> I MEAN, THAT'S JUST TO

PROTECT THE PLOT POINTS...

>> IT'S TO KEEP THE STORY A

SECRET.

TO -- YEAH. MM-HMM.

>> WOW.

NEED-TO-KNOW BASIS, I GUESS.

>> YEAH.

>> GOTCHA. ALL RIGHT.

BUT APPARENTLY MY TEAMSTER

BROTHERS NEED TO KNOW BEFORE I

DO.

>> HE'S GOT A BEE IN HIS BONNET

OVER THIS.

WELL, I MEAN, YOU KNOW THAT I

CAN'T GIVE IT AWAY, BUT OH, MY

GOD.

>> HE'S -- OH.

>> NEVER MIND. WE CAN'T.

[ LAUGHTER ]

ANYHOW, CYNTHIA...

>> LET'S TALK ABOUT...

>> ...HOW ARE THINGS AT VARIETY?

>> YOU KNOW, WE'RE PRETTY GOOD,

THANK YOU.

THANK YOU VERY MUCH.

>> DO YOU STILL COME OUT ON

WEDNESDAY?

>> TUESDAY.

>> OHH.

SEE, IT USED TO BE WEDNESDAY

WHEN I WAS GROWING UP.

>> IT USED TO BE WEDNESDAY,

YEAH.

IT MOVES AROUND.

USED TO BE, THOUGH.

[ LAUGHTER ]

LET'S TALK ABOUT YOUR OTHER CAST

MEMBERS, YOU KNOW...

>> RHEA SEEHORN.

>> RHEA SEEHORN, THANK YOU.

YEAH, SHE'S -- SHE PLAYS -- I

MEAN, I THINK WE CAN DISCLOSE A

LITTLE, YOU KNOW.

HER CHARACTER IS KIM.

SHE'S A LAWYER.

>> SHE COMES FROM COMEDY, BY

THE WAY.

DONE A LOT OF COMEDY.

>> COMES FROM A LOT OF SITCOMS,

YEAH.

DID YOU KNOW HER?

>> NO, I NEVER KNEW HER.

NEVER KNEW HER AND NEVER WORKED

WITH HER.

AND...

>> AND SHE PLAYS YOUR LOVE

INTEREST.

>> SHE PLAY MY LOVE INTEREST,

AND SHE'S BEAUTIFUL AND SMART AS

HELL, AND HER CHARACTER IS SMART

AS HELL.

>> SHE'S GREAT.

>> AND SHE'S TOUGH.

YOU KNOW, SHE'S LIKE HER

CHARACTER IN A LOT OF WAYS.

AND SHE'S AMAZING.

YOU'RE GONNA LOVE HER.

AND YOU'LL FIND HER FUNNY AND

VERY INTELLIGENT CHARACTER.

>> I THINK THERE'S -- IT SEEMS

LIKE, JUST FROM WHAT I'VE SEEN,

THAT THERE'S GONNA BE A GOOD

STORY AS TO HOW THESE TWO EVER

GOT TOGETHER IN THE FIRST PLACE,

BECAUSE THERE'S KIND OF THAT

QUESTION, LIKE, "WHAT WOULD SHE

SEE IN HIM?"

>> YOU KNOW WHAT'S REALLY GREAT

ABOUT IT?

I DO THINK PEOPLE WILL RELATE TO

THE RELATIONSHIP.

ARE THEY RIGHT FOR EACH OTHER

OR ARE THEY JUST GREAT PARTNERS?

ARE THEY JUST KIND OF SPARRING

PARTNERS?

IF YOU'VE EVER HAD THAT IN YOUR

LIFE -- AND I HAVE -- WHERE IT'S

SOMEBODY YOU CONNECT WITH, BUT

MAYBE YOU SHOULDN'T BE TOGETHER,

OR MAYBE YOU SHOULD JUST BE

FRIENDS.

I DON'T KNOW.

IT'S HARD TO TELL WHEN YOU HAVE

A GREAT CHEMISTRY.

AND THESE TWO CHARACTERS HAVE

THAT STRUGGLE OF, LIKE, "WE'RE

JUST GREAT TOGETHER, BUT SHOULD

THIS GO FURTHER?"

AND THEN THEY HAVE OTHER

COMPLICATIONS THAT KEEP THEM

TRYING TO SORT THAT OUT, AS

WELL.

AND PATRICK FABIAN IS WONDERFUL

IN A CHARACTER THAT WOULD, IN

MOST SHOWS, BE A PURELY EVIL,

THIN, JUST SPECTER OF BADNESS.

AND HE PLAYS HIM WITH A KIND OF

OPEN-EYED, LIKE,

STRAIGHTFORWARD --

>> ARE YOU DELIBERATELY NOT

SAYING "WHITE BREAD"?

>> HE IS WHITE BREAD.

>> WHITE BREAD AND WHITE SHOE.

>> WHITE SHOE.

>> YEAH.

AND IT'S WHAT VINCE WANTED, THIS

GUY WHO, TO MY CHARACTER'S MIND,

IS HIS NEMESIS, BUT TO THE

AUDIENCE'S MIND MIGHT BE NOT A

NEMESIS AT ALL.

LIKE, IT'S HARD TO SAY.

YOU KNOW, THERE'S -- YOU LOOK AT

THE INTERACTION BETWEEN ME AND

PATRICK -- AND THIS IS A TRIBUTE

TO HOW PATRICK PLAYED IT --

THERE DOESN'T SEEM TO BE ANY

ANIMOSITY, AND YET WHAT HE'S

DOING IS...ME OVER.

BUT THERE'S JUST NONE IN HIS

FACE.

HE'S JUST, "HI! YEAH!"

AND SO YOU'RE NOT SURE IF HE'S

PUTTING ON A SHOW OR IF HE'S

GENUINE ABOUT HIS INTERACTION,

AND THEREFORE MY CHARACTER IS

JUST READING EVERYTHING WRONG.

>> MM-HMM.

>> AND IT'S REALLY WONDERFULLY

PLAYED.

>> RIGHT.

>> IT'S WONDERFULLY WRITTEN AND

PLAYED.

AND THEN THERE'S MICHAEL MANDO,

WHO'S ON A SHOW CALLED

"ORPHAN BLACK."

>> RIGHT, RIGHT.

SOME PEOPLE HERE HAVE SEEN IT.

>> AND I'VE NEVER SEEN THAT

SHOW, BUT I'VE HEARD HE'S

WONDERFUL.

AND I THINK HE'S VERY PROUD OF

HIS WORK HERE.

AND HE PLAYS -- YOU'VE SEEN

VINCE WRITE A LOT OF VERY SCARY

BAD GUYS, AND PETER AS WELL --

VINCE AND PETER AND ALL THE

WRITERS.

BUT THIS CHARACTER, THERE'S

STUFF GOING ON IN HIS HEAD, AND

YOU CAN SEE IT IN HIS EYES.

SO, HE BECOMES A CHARACTER

WHO...

YOU CAN'T PUT HIM IN A BOX SO

EASILY.

>> MM-HMM.

>> AND HE'S ALMOST MORE SCARY,

YEAH, BECAUSE YOU CAN SEE HIM

THINKING.

>> AND THEY'RE ALL THREE REALLY

NICE PEOPLE -- RHEA, PATRICK,

MICHAEL.

AND THAT'S ENOUGH ABOUT THEM.

GO ON.

[ LAUGHTER ]

YEAH, THAT'S NICE.

THEY'RE NOT HERE.

[ LAUGHTER ]

>> AGAIN, MINDFUL OF SPOILERS,

IN WHAT I'VE SEEN, THE THREE

EPISODES I'VE SEEN SO FAR, WE

REALLY HAVEN'T SEEN MIKE IN

HIS -- YOU KNOW, IN THE ROLE

THAT WE KNEW HIM IN

"BREAKING BAD."

WITHOUT GIVING TOO MUCH AWAY,

DOES MIKE HAVE THAT DIMENSION AS

"BETTER CALL SAUL" GOES ON, OR

IS THIS REALLY...?

>> I SAID IN THE BEGINNING,

MIKE'S HAD HIS HARD EDGE A LONG

TIME.

>> RIGHT.

>> AND SOMETIME YOU'LL LEARN

ABOUT JUST HOW HARD HE GETS.

NOW, I CAN'T SAY ANYTHING

BECAUSE BOTH MICHAEL AND I HAVE

NEVER BEEN TO MEDIA TRAINING.

NEITHER ONE OF US.

>> MEDIA TRAINING IS LIKE A

"TED TALKS" THAT THEY GIVE

ACTORS.

"NOW, DON'T TELL THEM THIS, TELL

THEM THAT."

>> IF THEY SAY THE WRONG THING,

THEY TAKE AWAY OUR BOWL OF FOOD,

THEY PUT US IN THE BACKYARD, AND

THEY SWAT US WITH THE NEWSPAPER.

[ LAUGHTER ]

>> DID --

[ LAUGHTER ]

>> YES, CYNTHIA? GO AHEAD.

>> DO YOU -- I MEAN, BECAUSE

YOU'VE GOT THE FAMILIARITY WITH

THE SHOWRUNNER AND THE CREATORS,

IS THERE ANYTHING ABOUT THIS

THAT IS VERY DIFFERENT FROM THE

WAY "BREAKING BAD" WORKED?

I MEAN, IT SOUNDS LIKE, YOU

KNOW, THE SCRIPTS ARE COMING TO

YOU VERY, VERY INTRICATELY --

>> YOU'RE TALKING ABOUT GREAT

WRITERS WHO WILL THEN GIVE

YOU -- IT'S LIKE LOOKING AT

ANOTHER NOVEL COMING ALONG.

AND THEY'RE WRITING DOES UNFOLD

LIKE A NOVEL, OVER AND OVER

AGAIN.

AND THEY DON'T HAVE -- THEY

DON'T HAVE A 6:00 HOUR WHERE

THINGS DUMP.

IT GETS BETTER AND BETTER AND

BETTER AS IT GOES FORWARD.

THAT'S WHAT I'M SEEING, ANYWAY.

>> MM-HMM.

>> I THOUGHT THE EXPERIENCE WAS

SIMILAR, IN A LOT OF WAYS, AS

FAR AS JUST MAKING THE SHOW, TO

"BREAKING BAD."

BUT I SUPPOSE THERE WAS...

[ SIGHS ]

I MEAN, I CAME TO "BREAKING BAD"

AT THE END OF THE SECOND SEASON,

AND THERE WAS A LOT OF DISCOVERY

ON THAT SHOW.

>> AND, YOU KNOW, IT WAS ONE OF

THOSE CASES WHERE YOU WERE SO

GOOD IN THE ROLE THAT WAS MEANT

TO BE MUCH SMALLER THAN IT

TURNED OUT.

>> YEAH.

IT WAS SUPPOSED TO BE THREE OR

FOUR EPISODES.

AND, DID YOU KNOW, BECAUSE I WAS

DOING "HOW I MET YOUR MOTHER"

AND COULD NOT DO THAT FOURTH

EPISODE --

>> WOULDN'T WANT TO MISS THAT

JOB.

[ LAUGHTER ]

>> DID YOU HAVE LEMON PIE FOR

DINNER?

[ LAUGHTER ]

BECAUSE I COULDN'T DO THAT OTHER

EPISODE, THEY ADDED THIS

CHARACTER OF MIKE.

SO, THANK GOD.

>> OH, WHO OWES WHO NOW?

>> THANK GOD.

[ LAUGHTER ]

>> THAT'S SERENDIPITY.

>> I'LL TELL YOU ONE OF THE FUN

THINGS ABOUT DOING IT.

I CAME IN, IT WAS SNOWING, IT

WAS DA, DA, DA, DA,

AND I SAW IT.

I SAID TO JENNY, MY WIFE, I

SAID, "YOU KNOW, I THINK I WORK

WITH THIS KID THAT'S REALLY

GOOD.

I THINK HE'S GOOD."

AARON, RIGHT?

BUT THERE'S A THING IN THAT

SCENE, WHERE I'M DOWN THERE AND

HIS GIRLFRIEND HAS O.D.'d.

AND I REACH DOWN AND I SLAP

THE PISS OUT OF HIM.

WHICH WASN'T IN THE SCRIPT.

[ LAUGHTER ]

>> IT WAS IN YOUR CONTRACT,

THOUGH.

>> BUT IT SEEMED -- YOU'RE

TRYING TO GET SOMEBODY'S

ATTENTION.

SEEMS REASONABLE.

[ LAUGHTER ]

YEAH.

AND HE NEVER HAS FORGIVE ME.

HE ALWAYS BRINGS IT UP.

HE WHINES ABOUT IT TO THIS DAY.

[ LAUGHTER ]

>> AND WAS IT HARD?

>> YEAH, IT WAS PRETTY GOOD.

[ LAUGHTER ]

>> OKAY, UM...

[ LAUGHTER ]

I'M SORRY, I'M JUST PROCESSING.

POOR AARON PAUL.

>> I'VE GOT TO SAY, I'VE BEEN

DOING THIS, TOURING AND TALKING

TO PEOPLE, AND I AM ASTOUNDED,

THE GOOD WILL WE'RE GETTING FROM

PEOPLE.

AND I TOLD VINCE AND PETER, I

THINK IT'S 'CAUSE PEOPLE CAN

TELL HOW HARD THEY WORKED, AND

IT'S AN HONEST OFFERING.

>> MM-HMM.

>> SO, I APPRECIATE IT SO MUCH.

I CAN'T TELL YOU. THANK YOU.

[ APPLAUSE ]

THANKS FOR COMING OUT.

>> BUT THERE IS, FOR ALL OF YOU,

FOR THE WRITERS AND THE ACTORS,

I MEAN, THERE'S A CERTAIN, YOU

KNOW, COURAGEOUS ASPECT.

'CAUSE YOU ARE GONNA BE

COMPARED, INEVITABLY, TO...

>> RIGHT.

>> ...THE "CITIZEN KANE" OF TV

DRAMAS.

>> YEAH.

[ LAUGHTER ]

>> IT'S THE ONE WHERE ROSEBUD

TURNS OUT TO BE A SHARK, RIGHT?

[ LAUGHTER ]

>> HOW MANY TIMES HAVE YOU SAID

THAT TODAY?

>> THREE.

>> MAYBE THERE'S SOMETHING WRONG

WITH ME, BUT I'M JUST NOT --

>> YOU'RE NOT NERVOUS ABOUT IT?

>> WELL, NO, I'M NOT THAT SCARED

OF IT.

I HOPE PEOPLE LIKE THIS SHOW.

AND I HOPE THEY'LL GIVE IT A

CHANCE, 'CAUSE I DO THINK IT'S A

UNIQUE SHOW THAT WILL TAKE A

LITTLE WHILE TO REALLY FIGURE

OUT.

BUT...I JUST...I CAN'T WORRY

ABOUT THAT.

>> OKAY, I'M GONNA SAY IT,

BECAUSE I'VE BEEN SITTING HERE

THINKING ABOUT IT.

AND NOW I'M GONNA BE TRITE, AND

I'M GONNA BE MAUDLIN, AND I'M

GONNA SOUND HOWEVER.

BOBBY DOESN'T KNOW HOW GOOD HE

IS, AND I REALLY BELIEVE THAT.

[ APPLAUSE ]

>> WELL, DON'T TELL ME --

DON'T...

DON'T EVER TELL ME.

IT'LL GO RIGHT TO MY HIPS.

>> BUT THAT'S JUST OUR OPINION.

[ LAUGHTER ]

>> THANK YOU, BUDDY. THANK YOU.

THANK YOU.

>> BUT, I MEAN, THE GOOD WILL IS

JUST INCREDIBLE FOR THE SHOW AND

FOR THE CHARACTERS IN IT.

>> IT IS.

WELL, WE -- YEAH.

I MEAN, IT'S -- I DON'T KNOW

WHAT TO SAY.

IT'S HARD TO...

IT'S LIKE A...IT'S WEIRD.

>> SO, YOU'RE DONE NOW?

YOU'RE DONE WITH THE FIRST...?

>> WE SHOT THE FIRST 10, AND WE

FINISHED THEM A FEW MONTHS AGO,

ACTUALLY.

>> MM-HMM.

>> YEAH.

>> SO, YOU GUYS REALLY HAVE --

YOU DO KNOW HOW TO KEEP A

SECRET.

>> ALTHOUGH, I RECORDED A LINE

LAST NIGHT.

>> DID YOU?

>> YEAH, THAT THEY'RE GONNA LAY

OVER JUST ON MY PHONE.

>> YOU'RE SO EXCITED.

>> CAN YOU TELL -- WILL IT BLOW

ANYTHING?

CAN YOU TELL US WHAT THE LINE

WAS?

>> OH, IT WOULD BLOW A JOKE.

>> NO, NO, NO.

>> IT'S A GREAT, FUNNY LINE.

>> ALL RIGHT.

>> IT'S GREAT.

>> IT'S GREAT.

>> AH, GO ON AND TELL IT.

[ LAUGHTER ]

>> DO YOU -- I MEAN...

JIMMY HAS SO MANY GREAT LINES.

I KNOW THAT IT MUST BE

OVERWHELMING TO YOU.

BUT DO YOU EVER GET THE SCRIPTS

AND JUST SAY, LIKE, "I CAN'T

WAIT TO GO INTO THIS

PARTICULAR..."?

>> ABSOLUTELY.

I HAD SO MANY WONDERFUL SCENES,

AND I THINK YOU BOTH PROBABLY

HAD THE SAME FEELING OF, LIKE,

"HOLY...I GET TO DO THIS?"

>> YEAH.

>> AND THEN YOU --

>> RIGHT AFTER THE TEAMSTERS

READ IT.

[ LAUGHTER ]

>> AFTER THE TEAMSTER SAYS TO

YOU, "HOLY...YOU GET TO DO THAT?

>> "JOHN, HAVE YOU SEEN THAT

SCRIPT?"

"NO, I HAVEN'T."

[ LAUGHTER ]

>> YOU KNOW, YOU NEED TO GET

YOUR TEAMSTER'S CARD.

YOU'LL GET THE SCRIPTS.

>> I GOT ONE.

>> YEAH. I MEAN...WOW.

AND, YOU KNOW, THEN I JUST START

TO THINK ABOUT, "HOW DO I DO THE

SCENE WELL?"

AND THAT BECOMES ALMOST LIKE...

ATHLETIC THING WHERE IT'S LIKE,

"OKAY, ON THIS DAY, I'M GONNA DO

THIS MONOLOGUE, SO I'M GONNA EAT

THIS FOOD THE NIGHT BEFORE.

AND I'M GONNA WORK OUT HERE

'CAUSE I WANT TO SLEEP WELL AND

HAVE GOOD ENERGY FOR..."

AND, YOU KNOW, AND THEN YOU

REALLY JUST WANT TO MANAGE THIS

THING SO YOU CAN DELIVER ON

EVERY TAKE, AND THAT YOU CAN GET

TO IT.

'CAUSE, YOU KNOW, WE DON'T --

WE'RE NOT THE FASTEST SET IN

THE WORLD, BUT WE CAN'T TAKE

FOREVER TO SHOOT A SCENE.

AND SO YOU CAN'T SHOW UP

UNREHEARSED.

I MEAN, YOU NEED TO NAIL IT.

LIKE, AT LEAST THE LINES.

AND YOU HAVE TWO OR THREE TAKES

TO GET TO, I THINK, WHERE YOU'RE

ON SOLID GROUND, AND THEN YOU

CAN DIG, DIG, DIG.

AND, SO, YOU REALLY HAVE TO PLAN

AND FOCUS.

AND I'VE FELT REAL GOOD ABOUT

WHEN I WALKED AWAY FROM THAT

SET.

I'VE FELT LIKE I LEFT IT BEHIND.

I LEFT IT ON THE FIELD, RIGHT?

THAT'S THE TERM, AND I DID FEEL

THAT WAY.

SO, I WAS ABLE TO WALK AWAY

GOING GOOD.

>> MM-HMM.

>> YOU KNOW?

>> YEAH.

IT'S AMAZING, SOME OF THESE

PIECES THAT THEY LET ME DO.

>> MM-HMM. THAT'S FANTASTIC.

WELL, BEFORE WE OPEN IT UP --

WE'RE GONNA OPEN IT UP TO

AUDIENCE Q&A, BUT I HAVE TO

ASK -- IS THERE ANY ROOM, IS

THERE ANY ROLE FOR DAVID CROSS?

[ LAUGHTER ]

[ CHEERS AND APPLAUSE ]

>> WOULDN'T THAT BE GREAT?

>> HE'S GOT THE TATTOOS.

>> IT WOULD BE SO GOOD.

IT WOULD BE SO GOOD.

WELL, VINCE IS A HUGE "MR. SHOW"

FAN, PETER TOO, SO...MAYBE.

MAYBE. MAYBE.

I WOULD LOVE TO SEE THAT, AND

DAVID CERTAINLY COULD DO IT.

HE'S A GREAT ACTOR.

>> MM-HMM.

ALL RIGHT.

THERE ARE PEOPLE RUNNING AROUND

WITH MICROPHONES.

>> OH, THERE YOU ARE.

>> YEAH.

>> I'M GONNA ASK YOU TO WAIT

TILL THE MICROPHONE COMES.

>> WHAT A NICE THEATER.

>> JUST DON'T ASK US WHAT

HAPPENS.

>> YEAH.

>> HMM.

>> YEAH?

>> I HAVE A QUESTION FOR

MICHAEL, ACTUALLY.

I WAS JUST WONDERING HOW MUCH OF

YOUR PREPARATION FOR THE ROLE

CAME FROM JUST THE WAY YOU WOULD

PREPARE FOR ANY ROLE, WHERE YOU

READ A SCRIPT AND TRY TO GET

INTO IT, AND THEN HOW MUCH OF IT

CAME FROM "BREAKING BAD" AND

KNOWING THAT WHOLE UNIVERSE?

>> VERY LITTLE OF THE LATTER.

QUITE A BIT OF THE FORMER, WITH

THE COROLLARY THAT I DIDN'T SEE

A SCRIPT UNTIL VERY LATE.

BUT THAT'S -- I LOVE THAT.

I LOVE THAT KIND OF LATE

DELIVERY, "HERE'S WHAT YOU DO

HERE."

JUST HAVING A NICE GENERAL

THREAD THROUGH.

I DID A LITTLE RESEARCH ON

CHUCK'S PROBLEM, OR INTERLOCKING

SERIES OF PROBLEMS, AND JUST

TRIED TO FIND A WAY TO GET INTO

A GROOVE, AND COUNTED ON

PROFESSIONALS TO TELL ME, "YEAH,

THAT'S THE GROOVE WE WANT YOU

IN," OR "PBHT! YOU'RE WAY OFF."

SO, YEAH.

PREPARATION WAS JUST -- LIKE

ANYTHING ELSE, THE MAIN THING IS

TO FIND OUT WHAT YOUR CHARACTER

WANTS AND THEN GO GET IT.

THAT'S HOW TO ACT, YOU KNOW, IN

A NUTSHELL.

THE MORE STORY THAT IS POURED ON

HAS SOMETHING TO DO WITH ANY

OTHER SHOW THAT MY CHARACTER

MIGHT HAVE SEEN ON TV, 'CAUSE I

DIDN'T -- YOU KNOW.

BUT THIS IS 2002, AND, YOU KNOW,

IT'S A BRAND-NEW THING AS FAR AS

I'M CONCERNED.

IT'S LIKE ANYTHING ELSE.

>> BOB OR JONATHAN, DID YOU

WATCH OLD EPISODES OF

"BREAKING BAD" IN PREPARATION?

>> NO. I DON'T EVEN LIKE TO...

I REALLY LIKE TO BE FRESH WITH

THE SCENE I'M DOING, AND I'VE

BEEN WORRIED ABOUT EVEN WATCHING

THIS SHOW AT ALL BECAUSE I DON'T

WANT TO PICTURE MYSELF DOING THE

LINES, EVER.

I ALWAYS WANT TO JUST BE THAT

GUY AND NOT SEE MYSELF AS THE

CHARACTER.

I HAVE TO DO IT 'CAUSE THE DVD

COMMENTARY.

BUT, REALLY, I GOT A LOT

OF...FOR SAYING, YOU KNOW, I

DIDN'T SEE "BREAKING BAD" UNTIL

THE THIRD SEASON, BUT I HAD

LITTLE KIDS AT HOME.

AND I ALSO REALLY APPROACHED

IT -- I TOOK IT VERY SERIOUSLY,

AND I...

I APPROACHED IT THAT, YOU KNOW,

"MY JOB HERE IS TO BE THIS

CHARACTER IN THIS MOMENT,

WANTING WHAT HE WANTS, TRYING TO

GET IT, AND NOT CARING OR

KNOWING WHAT HAPPENS OFF-SCREEN

WITH OTHER CHARACTERS."

AND I DIDN'T WANT THAT TO INFORM

ME AT ALL.

>> OR WHAT HAPPENS IN THE

FUTURE.

>> YEAH.

>> YOU KNOW, WE'RE LIVING OUR

LIVES WITHOUT A REAL CLEAR

PICTURE OF THE FUTURE, AND

THAT'S WHAT EVERYBODY'S LIFE IS.

AND THAT'S WHAT EVERY CHARACTER

IS AS YOU'RE DEVELOPING THEM

OVER THE COURSE OF THE SEASON.

>> I DIDN'T EVEN READ THE

OUTLINES.

THEY SEND YOU OUTLINES.

WELL, I FIND THEM WITH THE

TEAMSTERS, BUT THEY SEND ME

OUTLINES.

I DIDN'T READ THEM.

IT'S LIKE I JUST -- I WANT TO

KEEP IT AS TO-THE-MOMENT AS

POSSIBLE.

>> AND I DON'T GO BACK.

>> YOU NEVER LOOK BACK.

>> I MEAN, 20 YEARS FROM NOW,

I'LL STILL BE WORKING ON MIKE'S

BACK STORY, ABOUT WHO MIKE WAS.

SO, THAT'S MY ANSWER.

I'LL NEVER FIGURE IT OUT.

BUT I JUST TRY TO RESPECT IT.

AND MICHELLE MacLAREN, ONE OF

THE DIRECTORS, I THOUGHT --

I WILL TELL YOU SOMETHING THAT'S

FUNNY.

WE'RE DOING "CALL SAUL," AND THE

ONLY DIRECTION I'VE GOTTEN FROM

VINCE GILLIGAN IN THREE YEARS

THAT I CAN REMEMBER, I'M IN THE

BOOTH AND HE'S BEHIND THE

MONITORS OVER THERE SOMEWHERE,

AND HE LOOKS OUT, I LOOK OUT,

AND HE GOES, "LESS STINK EYE."

[ LAUGHTER ]

AND I KNEW EXACTLY WHAT HE

MEANT.

THAT WAS IT.

AND AWAY WE WENT.

>> YOU WERE SQUINTING JUST A

LITTLE TOO MUCH?

THAT KIND OF THING?

>> YEAH, A LITTLE. A LITTLE.

YEAH. YEAH.

>> GOTCHA.

>> SO, MY QUESTION'S KIND OF FOR

ALL OF YOU, BUT FOR BOB, THANK

YOU SO MUCH FOR EVERYTHING

YOU'VE DONE FOR SO LONG.

I THINK THE FOUNDATIONS OF

COMEDY THAT YOU AND DAVE BUILT

IS PROBABLY WHY SO MANY OF US

ARE HERE, I THINK.

>> THAT'S NICE. THANK YOU.

>> I MEAN, YOU DO SO MUCH

BETWEEN "SAUL" AND

"BIRTHDAY BOYS" AND THE BOOK YOU

PUT OUT LAST YEAR --

>> DON'T FORGET, I MAKE CHILI.

>> YEAH, SORRY, SORRY.

[ LAUGHTER ]

>> AND I TAKE THE DOG TO THE DOG

PARK.

>> THAT'S RIGHT.

BUT FOR THE MAJORITY OF WHAT

YOU'VE DONE, YOU'VE KIND OF

FLOWN UNDER THE RADAR.

ARE YOU PREPARED FOR WHAT'S

POTENTIALLY PROBABLY GONNA BE

ONE OF THE BIGGEST PREMIERES OF

ALL TIME, AND THE ATTENTION

THAT'S GONNA BRING?

>> NO PRESSURE THERE.

>> NO.

>> KID STUFF.

>> NOPE.

[ LAUGHTER ]

I DON'T KNOW. I...

I AM...WAKING UP IN A DREAM

EVERY DAY.

THAT'S WHAT IT FEELS LIKE.

AND IT'S A GOOD ONE.

YOU KNOW WHAT THE GREAT THING

IS?

I TOLD MY MOM, PEOPLE SMILE AT

YOU.

STRANGERS.

THAT IS A WEIRD AND WON--

[ LAUGHTER ]

...AND WONDERFUL DREAM TO WALK

THROUGH.

EVEN IF IT'S ONLY FOR A SHORT

TIME, I'LL TAKE IT.

BUT THAT'S -- IT'S A CRAZY THING

TO WALK THROUGH LIFE AND HAVE SO

MANY PEOPLE KIND OF RECOGNIZE

YOU AND SMILE AT YOU.

AND IT'S A WONDERFUL THING.

AND I WISH EVERYONE COULD

EXPERIENCE IT.

AND EVEN IF IT ONLY LASTS A

SHORT TIME, I'LL TAKE IT.

>> JONATHAN, DOES THAT HAPPEN TO

YOU MUCH?

DO PEOPLE SMILE AT YOU?

[ LAUGHTER ]

>> THEY ACTUALLY DO.

>> THEY DO SMILE.

>> IT'S AMAZING.

>> I MEAN, BECAUSE I'M ONE OF

THOSE PEOPLE -- YOU KNOW, I LEFT

NEW YORK IN 1974, AND MY

FAMILY -- I GREW UP IN D.C., BUT

MY FAMILY WAS SOUTH -- I SAY

HELLO TO EVERYONE.

I GO, "HI, HOW ARE YOU?

GOOD TO SEE YOU."

I'M LIKE, "OH, THEY'RE HAVING A

BAD DAY."

I GET ON THE ELEVATOR AND PEOPLE

JUMP.

[ LAUGHTER ]

IT'S JUST -- I MEAN, I FIND IT

VERY HARD NOT TO SAY GOOD

MORNING.

I JUST DO.

AND SO I LEFT NEW YORK.

[ LAUGHTER ]

>> I DO JUST WANT TO RETURN TO

ONE THING.

>> OKAY.

>> I MEAN, CAN YOU IMAGINE DOING

THIS -- AS MUCH AS YOU WERE

JOKING ABOUT ALBUQUERQUE, CAN

YOU IMAGINE DOING THIS ANYWHERE

ELSE BUT --

>> NO.

>> WHO WAS JOKING ABOUT

ALBUQUERQUE?

>> I DON'T KNOW.

>> THESE TWO.

HI, ALBUQUERQUE.

I WILL BE BACK, AND I LOVE YOU.

>> NO MATTER WHAT BOBBY SAYS, HE

LOVES ALBUQUERQUE.

>> THESE TWO ROTTEN APPLES...

>> PLEASE FORGIVE HIM.

>> I LOVE IT, AND I -- YEAH.

I'M GOOD WITH IT.

>> THE VISTAS, THE LANDSCAPE.

>> NO, I'M WITH YOU.

I'M TOTALLY WITH YOU.

IT'S GOT TO BE THERE.

>> NOW I GOT TO BE SERIOUS.

YEAH, YOU GOT TO DO IT THERE.

IT'S MAGNIFICENT.

>> AND IT'S ONE OF THOSE

WONDERFUL "BY NECESSITY,"

BECAUSE, YOU KNOW, THE DECISION

TO PUT IT IN ALBUQUERQUE WAS A

FINANCIAL DECISION.

>> WELL, YEAH, BUT ALBUQUERQUE

IS A CHARACTER IN

"BREAKING BAD."

>> I PROMISE YOU, VINCE AND

PETER -- IT WAS A CREATIVE

DECISION, TOO.

AND CERTAINLY EQUAL, AT LEAST.

>> BUT YOU GO AT OUR SOUND

STAGES, YOU GO TO THE FRONT

GATE, AND YOU GO DOWN THE ROAD,

AND YOU LOOK, AND IT'S VAST

DESERT, THE PERSPECTIVE THAT YOU

SEE, FOREVER.

IT'S PRETTY COOL.

>> YEAH.

AND IT INFLUENCES THE PIECE.

I MEAN, LOOK AT THIS.

THIS IS VINCE AND PETER'S

CHOICE, AS WELL.

AND I WAS WORRIED ABOUT THE

PROMOTION, AND YOU ALWAYS WANT

TO MAKE SURE THAT YOU DON'T

MISLEAD THE AUDIENCE, AND YOU

TRY TO GIVE A SENSE OF WHAT

YOU REALLY MADE.

AND WHEN I SAW THIS, I WAS SO

HAPPY.

IT'S FUNNY, IT'S KIND OF SCARY,

IT SUGGESTS, YOU KNOW, A LOST

PERSON.

>> A LEVEL OF DESPERATION.

>> I MEAN, IT'S JUST GOT

EVERYTHING THAT THE SHOW'S GOT.

>> WHERE DO YOU SEE THAT'S

SCARY?

[ LAUGHTER ]

>> THAT GUY -- THERE'S A --

>> HE'S STRANDED IN THE DESERT.

>> THERE'S A COYOTE JUST OFF

BEHIND THAT BUSH.

YOU DON'T SEE IT, BUT I WAS

THERE.

BUT YOU KNOW WHAT I MEAN?

I MEAN...THIS IS...IT'S...

IT'S THAT.

>> YEAH, ABSOLUTELY.

ALL RIGHT, WELL, ON THAT NOTE, I

THINK WE WILL SAY GOODNIGHT.

THANK YOU SO MUCH.

>> THANK YOU, GUYS.

[ CHEERS AND APPLAUSE ]