A chat with Bryan Cranston and Aaron Paul, Bryan Cranston and Aaron Paul Interview, Breaking Bad
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As you may already know, Bullz-Eye recently had the opportunity to visit the set of “Breaking Bad” as the cast and crew were on the verge of wrapping up the filming of the show’s third season. Now that Season 3 is finally premiering on March 21st, we’re rolling out more of our coverage from that trip. In addition to a great lunchtime chat with Vince Gilligan, we had a lovely dinner with Bryan Cranston and Aaron Paul. We waited until after we’d all finished our meals before turning on the recorder, however, so here’s a bit of stage-setting: as we enter the conversation, Bryan is in the midst of discussing Walt’s metamorphosis as a character over the course of the series to date and how long it might take him to fully go – as Bryan and series creator Vince Gilligan are both fond of saying – from Mr. Chips to Scarface.

Bullz-Eye: I asked Vince today if he had any sort of time frame in mind, and he kind of sees where Walt’s going to end up, but the getting there is still unfolding.

Bryan Cranston: It is. I mean, we still have to be hopeful because there’s no guarantee about anything. So we have to hope that AMC still wants to have us. We have to hope that Sony still feels, from a business point of view, that it makes financial sense. And then we have to hope that from a creative sense that it makes sense. I mean, they think that…I don’t think any of us would… (Takes a breath) What I would much, much prefer is to end this sooner rather than go too long. This type, this conceit of this story doesn’t lend itself to any real longevity. There’s no eight years here. There’s no seven years. I don’t see seven.

Aaron Paul: Seven, eighth, no? Really? Six..?

Bryan: "What I would much, much prefer is to end 'Breaking Bad' sooner rather than go too long. This type, this conceit of this story doesn’t lend itself to any real longevity. There’s no eight years here. I don’t see seven. It might be able to go six, but if that’s true, then we’re halfway. But are we halfway through the telling of the story?"

BC: It might be able to go six, but if that’s true, then we’re halfway. But are we halfway through the telling of the story? Maybe. But is the telling of the story over when he completely transforms into this other person? Probably, right? I mean, once he becomes this other person and lives this life, is there anything else? I don’t know. Maybe there is more to tell. I don’t know.

BE: Vince was talking today about how great it was that the producers of “Lost” had been able to nail down an end date, so they knew how much time they had left exactly.

BC: Yeah. I hope we get that.

AP: Yeah.

BC: I really do. That would be…

BE: You, too, Aaron?

AP: Oh, yeah, it would be so nice to know. I mean, if we were guaranteed to have that, absolutely.

BC: Just from a story sense, you’d know where it is. You’d see that end, and then you can design it.

AP: I think it would be easier for them.

BC: Yeah, and all the television series. They don’t know if they’re going to get picked up or not. I’d hate to have us just cut off right in the middle of our…

AP: Not be able to finish the story, yeah.

BC: Story, yeah.

BE: We were talking about the gender appreciation of it earlier, male vs. female. For instance, during the first episode, my wife was just, like, “I can’t watch this,” whereas I’m looking at it kind of like you were saying a minute ago, where I’m imagining, “What would I do in this situation?” Her reaction, though, was more along the lines of, “I don’t want to have to think about what I would do in that situation.” I don’t know if that’s the typical female reaction or not, but I could see where it could be.

BC: And maybe that is a manly thing. Women present a problem and…after 21 years of marriage, it’s finally sinking in…when women present a problem, the way they deal with the problem is by airing it, getting it off their chest, and sharing it. They get it out there. Men start listening and instantly start figuring out, “How can I solve this problem?” We just approach problems from a completely different perspective. We always will. That’s just the way we’re wired. You know, I keep thinking, “How can we solve this? What could we do? Oh, here’s what we should do with it…” And she’s, like, “Well, just listen, okay? Just listen!” And I have to remind myself, “Just listen, just listen, be sympathetic, hug. Just let her talk. Let…her…talk.” And I want to solve it, but… (Mimes a struggle) No! Just listen!

BE: Yeah, the first big fight my wife and I ever had came when she finally just had to yell at me, “You can’t fix everything!”

Breaking BadBC: “Yes, I can!” (Laughs) But it’s the perspective issue. Fixing the problem for women, by and large, is to have that…I mean, that’s why I am absolutely envious of women. I have always said that, as far as business, the greatest thing about women is the depth to which they feel, but the thing that holds women back is the depth to which they feel. They get so emotional. We men can kind of categorize it. How many times do you see a buddy or something? My wife will always say, “What did you talk about?” And then it’s, like, “Ummmmmmm…I don’t know.” And she’s amazed. It’s, like, “How can you see someone who you haven’t seen in awhile and not…? How is his girlfriend?” “Um…good? Yes, I guess he said she’s good.” It’s not like we really go through things. “How are things?” “Good, good, good.” “Okay!” (Laughs) We’re not into that. Not unless there’s a big problem like, “Oh, man, I got a girl pregnant.” “Oh, shit, dude. Okay, what’s up?” Then…well, then you have to figure out how to get the hell out of there, right? (Laughs) “Well, it’s her fault for not using protection!”

AP: (Buries his head in his hands) Oh, my God.

BE: (Laughs) First step is pointing fingers, right?

BC: Yeah, pointing fingers. “You tell that bitch she totally set you up!”

BE: (Points to the recorders) You know these are on, right? (Laughs)

BC: No, No, no, no. I’m kidding. (Directly into the recorders) Obviously, I’m kidding. I can say that because I’m a faithful guy for 23 years now. It was just…you know, people are wired differently. And this show is not…Vince is not a guy who appeals to women in that sense. He doesn’t write to attract women. This show is not about that, I don’t think. I mean, we have women in the show, and I personally would love to see them become more integrated. And I think you’ll see that coming up, definitely coming up in this year. You’ll see them becoming more integrated in the story lines.

BE: More specifically, Skyler is going to have a lot of thrust in the season.

BC: “Thrust.” (Snickers) Yeah, I mean, I think we talked about this, but I think it’s very brave of the writers to be able to throw out the thing that they were holding so precious. She can’t find out, she can not find out. Oops, let’s make her find out. Oh, my God! And I think the courageousness of writers in general, of fiction like this, is to write purposefully, knowingly write themselves into a corner, and then panic and scratch and go, “What the hell did I do? I can’t get out, I can’t get out!” And by listening to that, and maybe you believe you can’t, but at some point you’ll figure out how to justifiably get out of that corner, somehow, some way. And it’s brilliant, because if you’re agonizing over it, then I think the audience will, too, right?

BE: I asked Vince about this today, actually. As an actor, did you feel the same sense? Like, “How are they going to get me out of this one? Where am I going from here?”

BC: Yeah. I mean, after the end of last season, when the mid-air collision happens and as soon as Walt…in the first season, he knew what happened and his culpability to that, and…how do you deal with yourself, you know? And I think that’s what the whole thing is. This show is about this man coming to grips with who he is. As he said in the first episode, “I’m the bad guy.” And Walt is still in that. “Deny, deny, I can’t be, I can’t be, I can’t be the bad guy.” (Mimes the weighing of his options) “Three million for three months, three million for three months.” And, again, it’s an exploration of the human frailties. You say, “No, no, no,” but I bet I could make you say, “Yes.” With the right amount of temptation, I could turn that “no” into a “yes.” And where is that in people, and why does that sense of morality change? I think it’s possible. If I said, “Well, let me slug you in the face.” “No.” “Oh, come on. Bryan, I’ll give you a hundred dollars.” “No, no.” “I’ll give you 250 dollars.” “No, no, no.” “I’ll give you 10,000 dollars if you let me slug you in the face.”

BE: “Well, how hard are you going to hit me?” (Laughs)

BC: Yeah! The questions come! So it’s really…the idea is, let’s start over at the beginning. You will let me slug you in the face…for the right amount of money.

BE: For the right amount of money and the right circumstances. I could take my glasses off, tell him to hit like a pansy…

Aaron: "When I read ('Breaking Bad'), I was, like, 'This is quite possibly the best thing I’ve ever read.' But I’m, like, 'AMC is never going to pick this up,' you know? 'How are they going to make this a series?'"

BC: “Let’s get some ice ready because you’re going to have to…” Right, so we have the “no” into a “yes” already. It’s just the amount of money on most things. Now, murder, I don’t… I mean, there’s that movie that came out, right? Push this box and I’ll give you a million dollars. Someone will die because of it, but you don’t even know them. “I don’t know him…? Too bad for him.” That’s why you can’t dictate morality. It’s very subjective. And because you can’t do it, that’s why the show is attractive. Because it plays with that. It fondles that. As he says, “I’m out, I’m not this guy, I can’t be the bad guy,” the other guy says, “Three million for three months of your time,” and he says, “Holy shit!” You know, all of a sudden, that adamant point of view is now, “Oh, wait a minute, I’m not so sure.” I think it’s really human, I think it’s really honest to be able to say that.

BE: When I was talking to Vince earlier, I said that the only constant on the show is change. Would you say that’s valid?

BC: Yeah, yeah.

BE: Especially this season, it sounds like, right?

AP: Yeah, absolutely.

BC: Yeah, when you look at this…I mean, I’ve never, ever experienced, and this is why I was so keen on doing this, the idea that you’re going to change the lead character from one person to another is like mind bending to me. And I honestly don’t know if he really means Scarface. Does he really mean that I’m going to be able to just come up and, if someone’s in my way or bothering my business, just take them out? I mean, that’s, like, wow!

BE: Aaron, it almost sounds like you’re going from Z to A, at least right now. You’re going from the dealer, the hard core druggie, to the clean one. You’re the one with maybe higher morals than Walt has at this point.

BC: Well, I thought it was really interesting when…do you remember hearing at our session at TCA what Vince said about Jesse being the moral compass of the show?

BE: Yeah.

BC: I was flabbergasted at that. I think all of us on stage went, “He’s the moral compass? We’re in trouble.”

BE: And then your mom called to congratulate you on being the moral compass.

BC: (Laughs) And then he answered it!

AP: (Looking chagrined) That was very awkward.

BE: I think one thing that is constant through the seasons, though, is that we can count on seeing you in your underwear.

AP: Thank God.

BE: And I know you’ve joked about this, but when I saw you in the second episode, I was just thinking, “Okay, maybe he really is serious. Maybe this really is in his contract.” I mean, that scene…you could have been brushing your teeth while they were sitting out there, but you were in the shower. Frankly, we expected you to show up tonight in your underwear.

BC: I am in my underwear. (Laughs) And, actually, in that scene, I wasn’t even in underwear, I was naked. In fact, there was a shot where I dropped the soap, but… (Waves dismissively, then laughs) Well, see, the first thing is that, being naked, you’re vulnerable. And it was the right thing to do. If I was in a robe or in pajamas…? Not as vulnerable. A man about to face his impending death and he’s also naked…? It’s just…it’s compounded, you know? In the first season, there was a shot…first episode of the first season, I think, after the pilot…and I was curled up on the tile floor of the bathroom. And I was the one that suggested I’ve got to be naked in this. “Do you think so?” “Yeah. I’ve got to be naked.” Just imagine that shot from there. This poor son of a bitch curled up and he didn’t even know how he got there. It’s vulnerable. But it’s also calculated in a sense, because when you see someone vulnerable, you embrace them. And that’s what we wanted. We wanted to be the one to offer a towel to wrap him…put something on him. Human beings want to help. They want to cover someone if they’re naked. Look at what’s happening in Haiti. It comes out in us, that’s who we are. We’re social beings and we want to embrace someone. If someone shows vulnerability to us… (Trails off) I wish I had learned this as a teen. You know, as a teen you’re kind of, like, “Ah, I’ve got to…” But show the vulnerability and you’ll be embraced. I mean, the sooner an actor can learn that, the better. A teacher was telling me that to be a successful actor you really first have to be willing to expose yourself, emotionally and physically, if need be.

Breaking Bad

BE: Are we going to see more of Jesse’s back story this year? I love the stuff with your family. I think you said that there’s some stuff with your parents…?

AP: Oh, yeah, you haven’t seen it yet. Yeah, that’s when it happens. Did you hear what happens in the second?

BE: I caught bits and pieces of it. So we do see more of that…? Because I would love to see more of Jesse’s back story.

AP: Yeah, a little bit.

BE: You get a new car too, right? At some point?

AP: No, I still have the same car from last season.

BE: Oh, okay. I thought someone mentioned it at the lot today, when we were looking at your old car, that you had gotten a new one.

AP: Yeah, no.

BC: Oh, not the one that was shot up. Not that one. Was it an Impala?

AP: Yeah, not the Impala.

BE: The red one.

AP: The Toyota Tercel.

BE: Yeah, the Tercel.

AP: No, I’m still driving that beautiful car.

BC: That rockin’ car.

AP: It’s amazing how we always have problems with our door handles.

BC: Yeah.

AP: Like getting into the car, we’re always like struggling. It always just gets stuck.

BE: You just need the “Dukes of Hazards” car at that point then, right? You don’t even have to worry about the handle. Just slide right in.

AP: We did that in the first season. With my car, the old Impala, the scene where you’re chasing me down the steps and I threw the meth out of the window because we were, like, trying to tackle for the bag of meth and I threw it out the window…?

BC: Oh, yeah, yeah, yeah.

AP: You’re chasing me down and we have this just yelling match outside and then I try and open the door. And it was just jammed, but the window happened to be down, and I just decided to crawl through the window. And that’s the take that they decided to keep.

BC: And then it happened again in the Aztec.

AP: Yeah, when you’re picking me up.

Bryan: "('Breaking Bad') is an exploration of the human frailties. You say, 'No, no, no,' but I bet I could make you say, 'Yes.' With the right amount of temptation, I could turn that 'no' into a 'yes.' And where is that in people, and why does that sense of morality change?"

BC: DJ’s episode. Remember, we were in there ,and he tried again, and he can’t open the door.

AP: When he drops me off, he’s, like, “Get out of the car, get out!” and I’m, like, “What are you doing?” He’s, like, “I’ll figure it out, just go tell him he’s on the wrong bench.” I’m, like, “Okay.” So he goes and he blocks their view from me, and I’m, like, “Wrong bench, wrong bench.” And then he meets me on the corner and I try and get in, and it’s just jammed.

BC: It just wouldn’t open.

AP: It would not open.

BC: He’s supposed to just get in.

AP: And you could hear the people in the crew…

BC: The crew laughing.

AP: Like, the folks holding the camera were just trying to hold in their laughs. And it then happened again when I was meeting you at the Chicken Shack!

BC: Yeah, that’s right.

AP: I’m getting out of the car, and it just gets stuck, but I think my jacket got stuck, and I was trying to open it up…and then the car just starts rolling backwards. And he turns, and because the camera’s inside, he’s at a booth, and he’s, like, “What the hell is he doing?” It’s so great.

BC: We should totally show you the outtake reel too.

AP: I wish I had it.

BE: Put that on the DVD.

AP: They should.

BC: I think it’s going to be on the DVD.

AP: Is it?

AMC: I don’t know. Sony does the DVD. But it should be.

AP: Because I mentioned it to Vince and, you know, you can tell when he doesn’t necessarily like the idea. He’s, like, “No, yeah.”

BC: Yeah. “I like how you’re thinking.” When he hates the idea, he goes, “I like how you’re thinking there.” You go, “Oh, you hate it.” (Laughs)

AP: But, yeah, people need to see that.

BC: The scene you mentioned, when I force him to deal with it, with a gun, when I talked about handling it. I pull out the gun and I go, “Handle it.” And that’s the end of that episode. The first take, he didn’t know this and I got the prop guys together and I said, “All right, handle it.” And I take out this long dildo.

AP: And it’s like a squirt gun dildo.

BC: It squirts. “Handle it.” (Mimes squirting)

AP: And he just starts squirting me. I’m just trying to stay calm, but then I just lost it. I lost it.

BE: That’s awesome.

AMC: That would be popular.

AP: And then the blowfish episode, where he’s, like, “Jesse, you’re a blowfish.”

BC: Yeah, “You’re a blowfish. What does a blowfish do?”

AP: But you kept calling me…

BC: I think “Jeff” or something.

AP: He’s like “Jeff, blow…” “Who the hell is Jeff? Who is Jeff? Why do you keep calling me Jeff?”

BC: I called him Jeff maybe three times. I went, “What the hell? Jeff?” (Laughs)

AP: Oh, man.

Breaking BadBC: It’s fun.

BE: So what are you guys doing now that…you’re, what, done tomorrow, right?

AP: Yeah, done tomorrow.

BC: Well, we have pickups on Wednesday. Did they tell you that?

AP: No.

BC: Oh, yeah, you do.

AP: Am I a part of it for sure?

BC: I think so.

BE: Is it down time for you? Or is it more work, but just on different projects?

AP: He’s jumping on to a project right away, right?

BC: Yeah, I’m doing a movie for Disney called “John Carter of Mars.”

BE: Oh, yeah?

BC: Do you know “John Carter”?

BE: Oh absolutely. Burroughs.

BC: Yeah. Edgar Rice Burroughs, who wrote “Tarzan.” He started this series in, like, 1913, I believe, and it’s about a guy during Civil War America who finds a portal to Mars. So we have the whole Martian thing and then the Civil War thing. I did play a small role. And for some reason, I met with Andrew…I can’t remember his last name. Very smart guy, very good guy. He did “Wall-E” last year.

BE: Stanton.

BC: Yeah. (Turns to Aaron) Aaron, keep your eye on Will. I need him.

BE: That’s why they keep me.

BC: Anyway, I told my wife…what did I tell my wife Will? What was it again? He knows. I know he knows. (Laughs) Yeah, I’m going to go to London for a week and start that, and then do some other things. You know, the thing is that I think…and I have it, and I know he has it, too…we have a love of what we do. And we feel very, very lucky and fortunate to do it. That, y’know, why would you not want to do it? (Laughs) there’s enough down time, and I make sure that…like, for instance, during my daughter’s spring break, I won’t accept any work that conflicts with that, so that we as a family can go do the college tour and do that. And that’s important. I make sure I block out times like that. Otherwise, I like to do work. I mean, it’s fun for me. And when it stops being fun, that’s when I retire.

BE: What about you, Aaron? Anything?

AP: No.

BE: No?

AP: I’ve got nothing.

BC: He’ll have something.

BE: Yeah, Vince actually said you were going to be a breakout star soon. He said, “I don’t want to name names,” then he promptly compared you to some other people who are stars now and…well, the implication was that if those guys were stars, then you’re definitely going to be a star.

AP: Well, that’s nice.

AMC: He’s going to be the next big movie star.

AP: Well, Vince writes movies. Maybe he should put me in some of them. (Laughs) “Yeah Vince, let’s do this, buddy!” But that’s very nice. And, yeah, hopefully the right project will come along.

BE: So it sounds like you’re done with “Big Love,” then, if Amanda’s done?

AP: Yeah, I think so. I mean, she’ll come back possibly if her schedule, you know, allows it, to do, like, some guest appearances here and there. But who knows?

BE: It’s so funny that the difference between Jesse on “Breaking Bad” and Scott on “Big Love” are…I mean, it’s just night and day.

AP: Yeah! It’s so much fun. This season, they try to get me in towards the end of the season of “Big Love” to kind of put, I think, a close maybe on our characters, on, like, what they do or where they go or whatever, but we just weren’t able to work it out. They just weren’t able to really work out the schedule. But who knows?

BE: But it’s got to be great almost simultaneously playing on or being in two shows with such great ensemble casts. “Big Love” is bigger just because the freaking family is so big, but…

AP: Yeah, it’s definitely very fun. But I feel…I mean, it’s a little better now, but I always felt, with that show, because the appearances were so sporadic, I felt kind of like the new kid in school all the time. Like, here it’s really like family. I’ve never been on a set quite like this at all, ever. And I’ve been doing it for, like, 13 years now. And it’s truly like a family here. And this guy’s pretty cool.

BE: It’s going to suck when they kill you off, then.

AP: (Laughs) It is, it is. Damn it!

BC: No, it won’t. Just picture Justin Timberlake. Jesse’s replacement is Justin Timberlake. Talk about ratings, man, we’ll bust through. I think that’s what we really need. That’s what we need. Take one for the team, Aaron, come on. Don’t be so selfish.

AP: Oh, man.

BC: Let it go.

BE: You could just pull a Darren and have Justin totally replace him as an actor.

BC: (Laughs) You’re not Dick York.

AP: That’s what they did on “Big Love” with little Teenie. This season, all of a sudden she’s just gone. I’m, like, what happened? It was very strange.

BE: Yeah, it’s like “The Cosby Show,” when they just got rid of the oldest sister.

AP: Yeah, the did that a lot. “The Cosby Show,” “Family Matters, “Fresh Prince,” “Roseanne.” It’s so weird.

BC: In “Mad Men,” they replaced that little Bobby kid.

AMC: Yeah.

BC: Is it four times now? Is this the fourth Bobby?

AMC: No, this is the second Bobby.

BC: No, no, no.

AMC: Really? I don’t think there’s been three. Really?

BC: Yes, at least three.

AMC: There’s probably going to be four.

BC: Oh, really?

AP: Sorry, buddy.

BC: (Laughs) Basically, you’d better be right in the scene, or Matt Weiner is going to go, “You disappointed me. You call yourself an actor?”

BE: Are you guys big “Mad Men” fans?

BC: I am.

AP: Yeah.

Breaking BadBC: I like watching it. That’s partially the reason that I signed on. I talked to AMC, and I actually talked to Rob Sorcher, who was the vice president at the time, and I was so intrigued and in love with this script, and AMC to me was an anomaly. I didn’t know, because they didn’t have a series on television. And I said, “Are you seriously going to do this? Because it’s enormously expensive, it takes a tremendous amount of patience and support. Are you really doing this? Or are you just trying something where you’re going to go, ‘Oh that didn’t work, let’s just stop and go back to movies’?” And he said, “Let me send you something,” and he sent me the pilot to “Mad Men,” which had not aired yet. And I watched that pilot and I thought, “Okay.” I called him back and said, “I’m in. Let’s go.”

BE: That was one of the main reasons I first started watching. I mean, “Breaking Bad,” I liked you and I liked the premise, and then I’m, like, “Well, God, they did ‘Mad Men,’ so this has got to be sweet, too, right?”

AP: It was the only pilot they did that season, right? Was it?

AMC: Yeah, I think so.

AP: It was the only pilot they did. When I read it, I was, like, “This is quite possibly the best thing I’ve ever read.” But I’m, like, “AMC is never going to pick this up,” you know? “How are they going to make this a series?”

BC: We even talked to Zack van Amburg and Jamie Erlicht at Sony. And they were given the autonomy to do this. They took this to Michael Lynton, their big boss at Sony, CEO, and they pitched this story. They said, “Here’s what we want to do: a story about a high school chemistry teacher who becomes a drug dealer, you know, crystal meth.” And he said to them, “This is probably the worst idea for a show I’ve ever heard. Go make it. Good luck.” Because, and, I mean, to their credit, it needed that. It needed that kind of blind support. Because if you just took it on the face of it, you wouldn’t make it. You had to go on the enthusiasm of the people behind it, not…at the studio level, at the network level, and say, “I don’t know, this is crazy. We’re certifiably insane by doing this, but there’s something about this.” And you get a sense of that passion, and that’s why Sony was willing to do it and why AMC wanted to do it. You know, Jeremy Elice, one of the executives over at AMC, was the guy who had this in mind. Because he was at FX at the time when it was being developed, and it was let go by FX.

BE: Oh, really?

BC: Yeah. And so they picked up “Dirt,” I think, instead. They said, “No, we’re not going to do that, we’ll pick up ‘Dirt,’ and so we’ll let this one go.” Jeremy, before that, happened to go over to AMC, and the first call he made was to ask, “That ‘Breaking Bad’ show, did you pick that up?” “No, we let it go.” Boom! And he brought it in to Rob and the people at the East coast of AMC and said, “I know, I know it’s kind of…just read it. Just read it. You’ve got to trust me.” And they read it, and they said, “Wow! Can we do this? Would this work?” But, I mean, I think the mandate from AMC was, “Look, if we do the same thing that you can see on NBC, no one is going to tune into us. We have to do things that are risky. We have to. We can’t do the same old fare. We can’t do safe.” If you do safe, it’s just not going to go anywhere for you. There’s too many choices. There’s way too many things. So they had to do something like this. And, you know, you look at “Mad Men,” that’s risky. Period piece, ad men? Is this really…and is it something where you go, “Oh, man, I’ve got to see that”? No, not on the face of it.

BE: See, but “Breaking Bad” to me was. I mean, the idea of a high school chemistry teacher who starts cooking and selling meth, that was, like, “Oh, sweet!” But when I first heard of “Mad Men,” I’m, like, “Really? Why is everyone so hyped up about 1950’s ad execs?”

BC: I think there’s a romantic sense to “Mad Men.”

BE: Sure, once you start watching it, you’re definitely intrigued by what you’re seeing. But at face value, to me, “Breaking Bad” vs. “Mad Men” to me…

BC: Because you’re a little odd.

BE: Right. Well, y’know, so are you for taking a part like Walter White.

BC: (Laughs) “So are you.” “You are, too!”

BE: Exactly. I’m rubber, you’re glue.

BC: Yeah, it’s a lot of fun, and, y’know, the only hope that I have is that Sony and AMC want to have us tell our story for the duration that we should, however long that is. If it’s four years, if it’s five years, whatever. I mean, it would be great if they said, “Okay, let’s go one more and then that’s it.” Then, you know, you’re working toward that end and you could write to that point. And it would be so neat to be able to walk away and go, “Okay, look at that. Five years, so proud of that package. There it is, forever. And now we all scatter and we’ll do other things.”

BE: Is it a little disconcerting not knowing how long you’ve got?

BC: No, because that’s the norm. That’s what we’re used to.

BE: Well, sure, but, I mean, in terms of the story you want to tell, it’s almost like this fear of death. “Am I going to get the story out before they pull the plug?”

BC: That’s the hope. Yeah, the hope. And maybe because it’s become…I’m thoroughly invested in this. There’s a certain amount of sacrifice that I’ve done. I’m away from my family for six months at a time. That’s not a good thing. It’s something that I have to endure. And we do and make the best of it. Now, it helps that my wife is an actor and my daughter is an actor, so they get it. But that doesn’t excuse the fact that I’m not there at night. But I’m emotionally invested, physically, financially. Everything invested in this project and I want to see it succeed. And so, we’ll do all we can and hopefully, you know, we’ll get that continued support from the network and the studio and we’ll be able to do it. But like a proud athlete, I would much rather walk away after a solid amount of shows that come to that natural end and let go, let it go then to hang on. Or to have Walt’s French cousin come over who looks just like him. (Affects a French accent) “Walter, how are you, my friend? You are in the drug selling business, no?”

BE: Oh, but you’re cool with Jesse’s cousin coming in, right?

BC: Well, sure, that’s different.

AP: (Throws up his hands in defeat) Oh, sure, ‘cause that’s Justin Timberlake!

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