“The tricky part actually was getting a camera on the head inside that drain pipe and we had to have running water down it. At one point, he takes refuge inside a drain pipe, first as a place to grab a much-needed drink of water, and then to get protection from the shadows inside. While The Cousins are busy scouring the compound for signs of him, Nacho (Michael Mando) makes his way through the desert on his way to a safe hiding place. So it was critical that we set that up and look at it and make sure we could iron the bugs out,” Adams said. Those all had to be at one specific moment. The timing of that day was very critical with the shadows on the deck and the shot looking up at the two Cousins with the flare. “That shot specifically, Michael and I had set up on stage during our prep, just to see how it was gonna lay out and if we could make it happen. Even on a tight production day, they were able to capture that crime scene from all the necessary angles. A quarter of an inch when you’re that tight is a huge move, so that that always ends up being the tricky part.”įortunately, this is an example of what the team was able to accomplish with a little extra time beforehand for Season 6 logistics.
“The tricky part, when you’re starting on something that tight is starting the move-off gently. I’m not gonna not gonna risk it,'” Adams said. And then, all of a sudden, everything just happened to land perfectly in one take. “That ant was not being cooperative at all. But on the day, the star of the shot wasn’t exactly the best at hitting its mark. It’s an impressive technical achievement, done in a single practical take. A slow pullback reveals that the hired gun is now a corpse, lying in the middle of a crime scene. Maybe the most striking visual moment of the episode is an extreme close-up of the tip of a finger, with an ant crawling along the hand of one of the mercenaries sent to assassinate Lalo Salamanca (Tony Dalton). I’m hoping they’ll include that stuff on the Blu-ray later on,” Adams said. The guy pulls it out of the water and he walks through the whole house with it attached to it, with Bob’s face in the foreground, which was a lot of fun. “They trimmed it down for time, but we actually had a camera attached to that standee. Originally, that bit of cardboard was going to be the tour guide of sorts through the rest of the interior. Later, there’s a floor-eye view of the house’s indoor pool as a Saul Goodman standee floats like Joe Gillis, facedown on the surface.
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It was a lot of trial and error, but I just thought that was such a cool idea.” But you had to get the placement just right for them to fall at the right time in the right sequence. So the placement was critical and obviously, it was random how they fell. The ties were being fed from from two different conveyor belts, one on each side. So that entire shot only lasts about three quarters of a second. “We shot that at 480 frames, I think they ended up playing it back at 240.
When we shot that, I had a separate unit working on the tie sequence pretty much all day,” Adams said. “Michael had that idea about starting with the ties, and I just thought it was fantastic. Getting that clump to tumble in just the right way required its own bit of technical choreography with a Photo-Sonics camera. The very first glimpse of Saul Goodman’s belongings is a cascade of ties, falling down into frame. While the dancers were busy executing their routine elsewhere, there was another group perfecting their own moves, off-camera. It’s also far from the only tricky challenge in the opening chapter of Season 6. It’s the kind of elegant execution and visual storytelling that has marked “Better Call Saul” and its predecessor projects - Adams was the DP on “El Camino” and multiple “Breaking Bad” episodes as well - over the years.
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