You directed last year's premiere with the Gene from Omaha sequence and in this episode, you have a flashback opening to Don Eladio's hacienda. They're both almost these little standalone shorts. How did this one compare to Gene from Omaha in terms of whole-different-show-ness?
I had the great advantage that I was on the set with Michelle McLaren for two days when she was directing the hacienda sequences for the episode "Salud" back in Breaking Bad. I had been around the actors and I knew the location. It felt like I was doing a Breaking Bad episode of Better Call Saul. We shot it the first day of Daylight Savings Time and the day was shorter and we were really running and gunning and getting all these shots and so the cameras kind of have a little bit of that looseness that we did in Breaking Bad, whereas when we shoot Better Call Saul they're a little more locked off and a little steadier. On Breaking Bad, the camera had a little bit more life to it and I didn't actually intend it to be that, but it just sort of happened because we were rushing so much to beat the sunlight. It's fun to do these other little individual films on their own outside of the episode itself.
Having been on the set for that episode, did you need to go back and re-watch the Breaking Bad hacienda stuff to find specific moments you wanted to foreshadow or echo?
I didn't re-watch anything, because I tend to have a pretty good memory. I knew right away that the last time we see Don Eladio's face is face-down in a pool, so I immediately thought, "The first time we see him now, I want to see his face in the pool," so I knew I had to get that underwater shot of him diving in. That was one thing from Breaking Bad that influenced the shooting of this episode.
You came onto the writing staff of Breaking Bad just as Mike was going from being introduced as Saul's fixer to being revealed to also work with Gus. What do you remember about how that relationship was initially kicked around in the writing room and what's it like now getting to play out the early stage of the relationship?
Yeah, there was a point where we had the Cousins going to Walter White's house and my head's a little hazy on some of the details, but Mike was watching Walter for Saul and we thought, "Well, if the Cousins show up, wouldn't it be interesting if Mike had a connection to Gus?" We needed to have Gus know that these killers were showing up to Walter White's house and Gus needed to stop them. That was the germ of the Mike-Gus connection and then it just blossomed from there, that Mike was working for two sides. Saul always had that gray line of "I know a guy who knows a guy who knows another guy" and once we started putting pieces together it was like, "Mike is one of the guys who knows another guy." It blossomed.
Now as we're going backwards, there are a lot of puzzle pieces we're trying to fit together and have make sense, so it's a great challenge to make sure that all the stuff we're doing logically tracks for what we know happens in the future of Breaking Bad. It's not a perfect science, but we're doing the best we can. I'm sure we'll make some mistakes along the way, but we've got a great team who keeps track of all of the timelines and what happens when and if we do try to do something, have a character cross paths with another character that does make sense in the Breaking Bad universe, somebody will usually flag it and say, "Guys, we can't do this."
In terms of tracking and arcing, do you think the scenes with Gus and Hector and then Gus and Mike show differences between Breaking Bad Gus and Saul Gus?
Gus, he plays a long game and he moves at an iceberg pace. I don't know how different he is in the Better Call Saul universe as compared to the Breaking Bad universe. He plays a very long game and I think we're just seeing him, in this episode, setting up some pieces that he needs to set up as far as having Mike screw with Hector's supply chain and forcing Hector to come to him and demand that Gus carry his product. When he crumples up that aluminum foil and makes that basketball shot, we sort of know that he's manipulating this, that everything he wanted to happen has happened. He goes to Mike and says, "What you did for me was a great service, more than you can know."