Pratica di Shadowing: Bryan Cranston on "Breaking Bad" - Impara a parlare inglese con i video
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On a clear day, how it will astound you.
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Mr. White!
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Hey!
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Hold it!
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Hold it steady!
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Now!
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Peace and good brotherhood
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Crystal blue persuasion
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Yeah The methylamine keeps flowing no matter what
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Crystal blue persuasion
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Ah -ah -ah -ah
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Hey, happy birthday!
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Crystal Blue persuasion
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Crystal Blue persuasion
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Crystal Blue persuasion
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Crystal Blue persuasion
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Crystal Blue persuasion
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How do you leave a role like
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Walter White behind?
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Kicking and screaming.
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It's been the role of my career.
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So to see it come to an end is satisfying in one sense that I think Vince Gilligan, the creator of the show,
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didn't have to dilute any of the storylines by going too long.
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You never want to see a show get the reaction like, Breaking Bad, is that still on the air?
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Yeah.
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You want people to say, I missed that show.
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And we did six seasons, 62 episodes all together.
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And I think they're concentrated and tightly woven and brilliantly written.
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When you sit down at that final episode, how'd that feel?
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There's a part of you that doesn't want to read it because there's a finality to it.
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You know, once you read that last one, you realize, oh, there's not going to be any more episodes to be written.
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And there's a bit of sadness to that.
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In 34 years that I've been doing this, coming together as an acting troupe and as a crew,
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working intimately together and passionately on a story,
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and then voluntarily trying to let go of that grip that you've become so fond of,
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and both the execution of the show and also the people
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and you have to just kind of let go and allow yourself to back off and seek other opportunities.
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And as accustomed to that practice as I am, it still affects you emotionally, and it should.
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It should.
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And so there'll be a lot of tears shed.
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Do you have to leave roles like
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Walt behind for a while for fear of somebody saying, oh, he's just reprising
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Walter White from Breaking Bad?
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I try not to be redundant on any of the characters I do.
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It's difficult.
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I did a show called Malcolm in the Middle for seven years.
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And when that was ending, I was offered two television shows that were very similar.
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They said, well, he's a goofy, fun -loving dad.
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And I said, I just did that for seven years.
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And so, no thank you.
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And it wasn't a temptation for me because I've never been in it for fame and recognition or money.
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My juice is the thrill and the empowerment
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that I get out of making people laugh or making people angry or scaring people or whatever the case may be.
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that's where I get my excitement from it.
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So it was easy for me to turn that down,
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and then all of a sudden coming across my plate is this odd show called Breaking Bad.
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And Vince Gilligan had said that it couldn't sound worse if you put it on paper and pitched it to someone,
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but it really came together for him.
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And one of the things that is interesting is
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that he knew you from this episode of The X -Files
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that you did where you played this character with this monster arc in one episode.
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Talk to me a little bit about that experience and how that led presumptively into working with Vince again.
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Well, I think that in order to have a successful career.. in this business, in the entertainment business, whether you're writing,
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directing, acting, or producing, or whatever the case may be.
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There are components that are necessary for that to come about.
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One is talent.
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You really do.
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You have to work hard and get educated and learn your craft and learn your business.
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Aside from that is personal development, patience, and perseverance.
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But there's also a component that is necessary that's kind of the wild card, and that's luck.
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You have to have a healthy dose of luck to become successful.
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That's just the way it is.
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You can't prepare for it, but you can be ready for it if it does come to you.
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I was very lucky to get that role on X -Files, simply because I was physically in the city where it was casting,
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and I was out of the city for three weeks prior, and I very could have easily not been in town
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and they just go on and someone else would have got the role and who knows where I would have been.
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I certainly, odds are very high that I wouldn't have gotten
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Breaking Bad had I not met Vince Gilligan before.
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So it's one of those things where you have to just do your work, do the best you can,
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and hope for the lucky breaks here and there.
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As you worked with Vince to create the character of Walter White over the first couple of seasons, I mean, did you kind of,
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did you know that you had it locked in at some point, or were there those days where you're thinking to yourself,
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I nailed it, and you look over and they're like, no, no, you didn't.
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Well, I don't think they would go, no, no. Yeah, right.
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Even if they felt that, it was like, what do we do?
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That's the joy of well -written material.
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It moves you immediately.
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When I read the pilot script of Breaking Bad,
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it conjures up thoughts and ideas and inspiration within an actor that moves you along involuntarily.
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I wake up from a dream and go, oh, you know, it would be great is if he had this
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and he weighed this much and his hair was kind of, and I'm writing notes the whole time.
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And then I pitch Vince on these ideas and he's going, oh, that's a great idea.
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And so you start keying off each other, and pretty soon you're developing together the look of the character,
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the tone of the character, the pace. And I wanted
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Walter to feel like the weight of the world, so his posture was kind of round -shouldered,
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and his head was kind of bowed for the weight of this tension and depression that he was carrying with him.
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Is he more upright now?
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He is more upright.
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And that's conscious.
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When he took on this persona of Heisenberg where he is this desperate desperado,
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his shoulders are back, his posture is much greater,
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because he felt more comfortable and more in control and powerful.
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And I think I just wanted to have that manifest in his stateliness this.
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Looks like you're about a thousand gallons light here, Mike.
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Where's the juice?
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Methylamine isn't coming.
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Why is that?
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Who the hell are you?
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I'm the man who's keeping it.
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It must be tremendously both challenging and fun for you to be able to play a character with this kind of arc.
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I mean, there were almost slapstick moments in your, in your tighty -whities in the pilot,
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and then, you know, to these really dark episodes at the beginning of this, of this last season.
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It's the role of my career, playing Walter White, and I will forever be grateful to Vince Gilligan for being my champion to get this role.
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There was some interest, concerns,
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I should say, about the goofy dad from Malcolm in the Middle transferring now and becoming
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Walter White, this mastermind chemist who creates this awful drug and puts it out in society.
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And who would want to watch this?
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It's crazy.
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And yet, if you see
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Breaking Bad, you realize that it's not about glorification of drug use or drug manufacturing.
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No one would, in their right mind, would want to trade places with Walter White.
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He is a troubled, troubled, despicable man now, and caught up in his own ego and hubris,
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and that's what happens.
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It's a story, it's a cautionary tale about poor decision -making and what could happen.
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The methylamine keeps flowing no matter what.
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We are not ramping down.
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We're just getting started.
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Nothing stops this train.
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Nothing.
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When you go to those really dark places, and this is a question you've had before,
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I'm sure, but are you just kind of making that up?
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Are you tapping into personal stuff?
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Do you want to keep a line between those two, that it's not just your life is on display?
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No,
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I mean, I think the success of an actor is being willing to go into those dark places and display them publicly.
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We have to have that kind of courage and vulnerability to do that.
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In high school, all the way through school, I remember trying to stay the same as everyone else.
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I didn't want to stand out.
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Oh, we're wearing that, and this is what everybody else is wearing.
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I kind of want to, I don't want to be isolated or ostracized, certainly.
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I don't want to be embarrassed or have someone point the finger at you.
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Look at that guy, you know.
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Oh no. What happens is that we think that if you are vulnerable and sensitive and open,
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that you'll be ridiculed.
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And, but as adults, when we mature, what we realize is that if you have the audacity to display those human,
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honest emotions, that the opposite is what happens.
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People embrace someone who is in trouble, someone who is vulnerable, someone who is frightened.
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They have a tendency to come forward and put their emotional arms around you.
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So once actors learn that,
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it's like, oh, oh, the finger pointing is only by the uneducated and the immature the ones who truly count,
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who ones who enjoy literature and well -crafted storytelling are anything but that.
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They're open and welcoming to that type of personality.
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I've read interviews with Aaron Paul where he just seems mystified at the fact that people still love
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Walt, despite, like, all these unbelievably awful things that he does.
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Is that sort of part of it?
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Well, my job is to be honest when I depict
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Walter White and not to judge him,
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but to justify his actions so that I can honestly play him when I step into his shoes.
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It's difficult because the sensibility of Brian looking at that is abhorrent behavior,
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and And yet, you realize that we as human beings are fully capable of a wide spectrum of emotions.
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I believe that if we chose the sweetest,
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meekest person, that person, given the right set of circumstances, can become dangerous.
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Any human being is potentially a dangerous person if the right buttons are pushed,
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if the conditions of that person's life are in such despair, it is humanly possible.
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Only you never told me that kid would wind up in the hospital.
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You know, take that thing and get the hell out of here.
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You and me, we're done.
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What are you...
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Come on.
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Hey.
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Hey.
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We're done when I say we're done.
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I believe that we are all living in a, in truthful, a gray area.
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It's not black and white like television shows of the past used to show us.
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It's all about the gray, shades of gray.
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I believe it's possible for a man, Walter White, to go out and to kill a rival of his and yet wash his hands,
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go home, and gently and lovingly pick up his baby daughter and caress her and love her as a father.
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We are capable of that, of those wide swings as human beings.
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It's frightening in a way.
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Is there some measure of the show's success in that that we're not asked to judge
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Walt or really any of the characters?
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It doesn't seem like Vince has put that forward and he's dwelt in that gray area that you were talking about.
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Yeah, and all the characters have...
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have touched upon some of that gray area.
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In fact, it's odd.
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When we put the hook in viewers early on in Breaking Bad, where we presented this man who was depressed from missed opportunities in his life,
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I think people can relate to that.
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You know, I missed the boat or I didn't do what I wanted to do
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when I was a kid and now I'm doing some job that I'm not really passionate about.
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But you make the best of it.
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You put your, you know, your best foot forward and you move forward.
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And that's what
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Walter White was doing.
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And even though depressed, he was, he took his responsibilities seriously.
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He has a special needs son who has, needs physical therapy that is not covered by medical insurance.
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So he requires
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Walter White to have a second job at a car wash, for instance.
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It also, you know, it highlights perhaps the need in this country for valued, basic health care.
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It also illustrates the talking points about how everyone respects and reveres the role of a teacher in our lives,
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but yet they're not always paid the same amount of actual money as they are in respect.
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Right.
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So there's social, political issues that have come out from the series, and I think valuable.
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You've directed a few episodes.
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You've directed for Malcolm in the Middle, too, right?
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What do you like about directing for TV, and do you want to move past that or add to that by doing filmmaking?
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I did a film that I wrote back 12 years or so ago, and I had a great time doing it.
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A tremendous amount of work.
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Much more work than my acting jobs have been.
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Because as an actor, and you're trained to do this, you're self -centered, and you should be.
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What does my character want?
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What does my character, who's in my character's way?
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How does my character get these things?
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You know, what does my character feel about something?
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And actors find themselves in trouble if they take that self -centered nature that is good and works well for their craft,
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if they take that out into their personal life.
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What do I want?
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Who's in my way?
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How do I?
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But as a director, you have to take on the mantle of all of the concerns of a production,
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not the least of which is each individual actor's points of view, their temperaments, how they approach a character, what motivates them.
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So I might say to you as an actor, come on, Matt, let's go.
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Let's pick it up.
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You're a little lazy this morning.
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Let's go.
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And you might go, he's right.
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I got to go.
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You know, it might be that rah -rah coach point of view.
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With someone else, I might say, are you OK?
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How are you feeling today?
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You know, I think we can go further with.
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I might be softer.
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I might be more calm.
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I always try to plant an idea that is suggestive so that instead of me telling the actor, I need you to be angrier,
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I want to get to the point of this guy just came on to your wife big time.
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How does that make you feel?
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And let you go.
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That would really upset.
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Well, okay, bring it out.
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Let it go.
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And it's like, whoa, whoa, okay. And it's fun.
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It's fun to do that.
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I also have been known to manipulate people because if I need an actor to show remorse,
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let's say, and they're not, they're fine about things.
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And it's like, oh, I'm just not I'm not I'm not giving the right direction for this actor to get it.
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I will then resort to manipulation.
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I'll go up to the actor and I go, Matt, the way you showed tremendous remorse was just fantastic.
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Keep that.
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That's working really well.
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And go off.
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And then I'd plant the seed in you like, oh, yeah, oh, good.
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I was glad.
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Yeah, I kind of felt that too.
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And then you may not know it, but in that next take, you will have some remorse just in there.
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Are there stories that you like to tell when you're directing?
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Are you attracted to a particular, you know, real strong characters or, or, um, I, I think, you know, again, I just,
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I rely heavily on the writing.
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It's all about that.
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I know for a fact that if something is well -written, whether it's a play or a television series or a movie,
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if something is well -written, it has the potential to being and becoming a good production.
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If something is not well written, it has no chance to be a good production.
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No chance.
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You might have explosions and things and pretty girls and all these things going on, but, you know, buzzes and whistles going off,
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but it's not going to be good.
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So, and what's good, as we spoke of before?
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It just has to please my sensibilities.
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It has to be in that high water mark.
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And for instance, Argo or Breaking Bad, the writing is so good that it hits that level.
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It's hard to find consistent writing at
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that level where the characters are well developed and the story is just terrific and compelling.
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But if you find it, it's a joy.
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So I don't want and I don't need any more work in my life.
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I don't need to work for a living.
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I've been very fortunate in this business.
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So I don't make financial considerations when I'm deciding on what to do.
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and that has guided me well.
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So I directed a Modern Family episode, and I'm going to go back and do another one because it's so well -written, and it's fun.
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It's fun to do, and they're good actors, and it's just a nice place to be.
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It's a nice environment.
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I did an episode of The Office last year, their final year in production, and just terrific people and good cast,
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And I want to be around that.
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I want to be around people in the arts who appreciate the gift that they've been given.
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I don't have, the older I get, the less tolerance I have for moaning and complaining.
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And I realize, you realize that you could actually be working for a living?
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Right.
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Be thankful that we are in this position.
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That high standard, do you think that that's why we see, you know, so many shows like
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Breaking Bad or something like
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The Wire that have this five,
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six season run, and that's really as far as the people who are running the show feel like they can push it.
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Personally, I felt that
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Breaking Bad could probably go another season of 13 episodes and see where it takes Walt.
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But Vince Gilligan didn't think so, and that's far more important than my opinion on it.
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And I didn't want, and I'm glad that Vince is ending it where he wants to end it,
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because now I don't feel that it's been watered down.
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It hasn't been diluted.
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We haven't been redundant in the stories.
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And we're ending it at the right time, and I think that's a good thing um it's
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and the great thing about a film should be as long as it needs to be to tell
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that story thoroughly and so too is a television series
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or a play or a book you know
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and that's the the writer's constant worry and we agonize
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and i'm i'm a writer as well is how much is too much and how much is not enough.
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We agonize not only over the whole telling of the story, but also each individual paragraph or moment.
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How much description am I, because you don't want to bore the reader and go, I got it, I got it, move on.
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And you don't want to confuse them either.
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Like, wait a minute, what?
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I don't, I don't, I have to go back and I didn't catch something.
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It's always walking that edge, which is the challenge.
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So you move on from Walter, you move on from Albuquerque, at least for the time being.
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But you stayed and you got involved and you bought a house.
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What happens to all that stuff?
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Oh, I'll keep my house.
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I enjoy this area.
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I enjoy the culture of New Mexico.
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I enjoy the food.
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When I leave here, I start jonesing for the chiles.
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I'm like, oh.
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And you go around and you have some Mexican food or something and it's like, do you have any green or red chiles?
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You know what I mean?
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Hot sauce?
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No, not, not.
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Well, okay, you bring me the hot sauce, but it's like, hmm, it's missing something.
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What is it missing?
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I know exactly what it's missing.
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You know, the pozole, the sopapillas at the end of the meal with a little honey on it.
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I love that.
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And I love the wide open spaces.
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I was born and raised in Los Angeles.
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I'm grown up in this business.
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I lived in New York City for five years.
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So I'm used to city life.
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And coming out here, it's very rural to me.
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And I welcome that.
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I welcome the open spaces, being able to ride my bike down the Basque, the Rio Grande.
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And it's been fun.
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And then when visitors come, I tell you, come and see if you can spend seven days.
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Seven days and they're going.
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seven days what i go please you'll need more
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but just come for seven days and i'll give them a route
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if i'm working i'll say okay go through rio doso go down to roswell see the fun stuff of roswell
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then go down to carlsbad you got to see the caverns
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there zip on up to alamogordo go to the white sands you got to see
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that and then come on up there's a lot of wetlands all the way up see
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that if it's the right year you can see all the birds migrating um and that's just the southern loop.
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Right?
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And then I said, you know, of course you want to go up the Taos Pueblo is a really cool place.
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Get some authentic Indian flatbread and it's just great.
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The art in New Mexico and, you know, even modern art in Canyon and Santa Fe.
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It's fun for us.
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There are a lot of actors who don't have that experience, you know, who come here for Transformers, something like that.
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And it's a lot studio stuff, and then they're out and they're like, oh, what a dustbin that place was.
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But it takes some time to explore it.
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Did it take you a couple years to get into it?
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I think the benefit for me to discover
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New Mexico, and Albuquerque in particular, was the fact that we were going to be here for a while.
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We were able to set down and calm ourselves and grow some roots.
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When you're doing a movie, you come in for two months, and you're still working 14 hours.
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And there are many, many, many, in fact, most days for me, I work 14 hours.
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I come home and I have a piece of chicken
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and I get my script out and I read the lines or I take a bath and it's very exciting.
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And I get to bed by 9 .30 and then I'm up at 5 .30.
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So it's, you know, that's for the most part, that's my life.
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But when I have a day off, I can go for a bike ride,
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do some exploring, go for a drive up to Madrid or further or go the other way, you know, to Harris or whatever, any place.
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And I like to discover new places.
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And I do now because I try to put on my hood and kind of keep a low profile.
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It affects your personality somewhat, I'm sure.
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So you said the house stays, but you've also, you've gotten involved.
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You've done charity events out at Isotopes Park, working with YDI.
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What catches your interest and why?
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I think when I was a little boy, I remembered hearing a phrase whenever we went camping.
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And my family went camping often, primarily because we didn't have a lot of money.
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So that was our outing, that was our vacation a lot.
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And the phrase was, you know, leave your campsite better than you found it.
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And I thought that that makes a lot of sense. So we did.
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And so I take that and, you know, translate that to a little larger picture.
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And it's like, try to leave someplace better than you found it.
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If everyone can do that, can you imagine what can be accomplished? as opposed to coming to a place
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and raping it for what it has to offer me, I want to be able to say, what can I offer you?
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So we come here and Albuquerque has been a terrific character on Breaking Bad.
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New Mexico has created a sensibility and a look
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and a feel to it that has not been overused at all in television series.
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And now, internationally, they will see Albuquerque and New Mexico.
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Instead of just playing some other...
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Instead of another city, another
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Los Angeles suburb or something.
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Right.
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They get to see something that's very specific.
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And we use the specific names in the street names and the car washes and the things like that.
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And people have started coming from all over the world to Albuquerque to see some of the places that
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Breaking Bad has created.
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And that's a good thing.
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On top of that, I try to reach out.
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I've been so fortunate.
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I've gotten more great luck than I ever thought I deserved.
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And I think, you know, in retrospect, the irony is that since I didn't have any money when I was a kid,
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there was no way of developing a sense of entitlement that I deserve anything.
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No, you have to work for it.
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You have to work for it.
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And the idea of becoming a working actor, making a living as an actor, a director, writer, even as I say it,
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I go, are you kidding me?
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I get to go play for a living.
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I get to go and create characters and goof around and use my imagination.
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I mean that's just
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That's just amazing.
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So I need to help out.
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So the last couple of years at Isotope Stadium, John Traub, who's the general manager of the Isotopes, is a friend and had this idea.
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And I said, what about this?
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Yeah, let's raise some money.
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So we've raised, over the last two years, we've raised $60 ,000, $70 ,000 for local charities.
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And that was the stipulation.
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I wanted to keep it local.
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I didn't want to raise some money and then have it leave the state.
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Great.
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So we're doing a lot with returning veterans, which is great.
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Our show is leaving, and I want this to be able to continue on.
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So I'm going to talk to Lou Diamond Phillips.
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Lou, if you're watching, I'm coming after you.
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I want you to continue with the charity game at Isotope Stadium while you're shooting Longmire here in New Mexico.
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And then you turn it over to the next guy who steps in.
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Come on, buddy.
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Do that for me.
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The gauntlet has been thrown down.
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Handing off the baton.
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And speaking of the isotopes, you're a Dodgers fan?
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Big Dodgers fan.
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I knew you were good people.
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I love the Dodgers.
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I remember going, when I was five, six years old, going to the L .A.
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Coliseum before Dodger Stadium was opened in 1962 and seeing baseball.
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The Brooklyn Dodgers are now the Los Angeles Dodgers.
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Wow, that's fantastic and seeing these major league baseball players, my eyes just lit up
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and I wanted to be a baseball player for most of my life until I realized
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I was missing one major component, talent.
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And that made me realize, okay, I have to choose a different career.
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Excellent.
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Well, you've been really generous with your time.
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We appreciate it.
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Thank you.
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Vocabolario e note di pronuncia per questa lezione
Questa lezione di conversazione si basa sul video “Bryan Cranston on "Breaking Bad"”. Questo video contiene 150 frasi e 4571 parole da ripetere con lo shadowing. Il parlato dura 31:40. Chi parla mantiene un ritmo costante di circa 144 parole al minuto, comodo per lo shadowing. Il 84% delle parole rientra nelle 3.000 più comuni dell’inglese; conviene studiare le altre prima di iniziare. 36 delle sue 150 frasi sono domande: un buon esercizio per l’intonazione interrogativa e le risposte brevi.
Vocaboli chiave di questo video
15 parole del video che vale la pena imparare, con pronuncia e significato:
| Parola | Pronuncia | Significato |
|---|---|---|
| gray aggettivo | /ɡɹeɪ/ | grigio |
| charity sostantivo | /ˈtʃæɹɪti/ | ente di beneficenza, organizzazione benefica |
| component sostantivo | /kəmˈpoʊ.nənt/ | componente |
| terrific aggettivo | eccezionale, stupendo | |
| finger sostantivo | /ˈfɪŋɡɚ/ | dito, dita |
| awful aggettivo | /ˈɔːfʊl/ | pessimo, terribile |
| pitch sostantivo | /pɪt͡ʃ/ | tiro, lancio |
| discover verbo | /dɪˈskʌvə/ | scoprire, trovare |
| juice sostantivo | /d͡ʒuːs/ | succo |
| script sostantivo | /skɹɪpt/ | scritto |
| explore verbo | /ɪkˈsploɹ/ | esplorare, investigare |
| phrase sostantivo | /ˈfɹeɪ̯z/ | espressione, polirematica |
| vulnerable aggettivo | /ˈvʌln(ə)ɹəbl̩/ | vulnerabile |
| emotion sostantivo | /ɪˈməʊ.ʃən/ | emozione |
| depressed aggettivo | /dɪˈpɹɛst/ | depresso, abbattuto |
I phrasal verb che sentirai
| Parola | Significato |
|---|---|
| go back verbo | tornare |
| go off verbo | esplodere |
| come across verbo | dare l'impressione, avere l'aria |
| come on to verbo | flirtare |
| go out verbo | uscire, andare fuori |
| go through verbo | attraversare |
| help out verbo | essere d'aiuto |
| look over verbo | esaminare |
La grammatica di questo video
Le strutture che chi parla usa di più, con le parole esatte del video:
| Struttura | Nel video |
|---|---|
| Present perfect have/has + participio passato — un’azione passata che conta ancora adesso | It's been · you've become · I've never been |
| Forma passiva be + participio passato — conta ciò che accade, non chi lo fa | be written · was offered · be isolated |
| Frasi relative who / which + frase — un’informazione in più su una persona o una cosa | someone who is · ones who truly · ones who enjoy |
Pronuncia a cui fare attenzione
Chi parla usa 108 contrazioni e forme ridotte, come I'm, you're, don't. Pronunciale nella forma breve, così come le senti.
- I suoni “th”: bath /bɑːθ/, thoroughly /ˈθʌɹ.ə.li/, authentic /ɔˈθɛn.tɪk/, thankful /ˈθæŋkfəl/, thrill /θɹɪl/
- I suoni “sh” e “zh”: emotion /ɪˈməʊ.ʃən/, recognition /ˌɹɛkəɡˈnɪʃ(ə)n/, inspiration /ˌɪn.spɪˈɹeɪ.ʃən/, vacation /veɪˈkeɪ.ʃən/, potentially /pəˈtɛnʃ(ə)li/
- Parole lunghe — attenzione all’accento: primarily /ˈpɹaɪ.mə.ɹə.li/, recognition /ˌɹɛkəɡˈnɪʃ(ə)n/, inspiration /ˌɪn.spɪˈɹeɪ.ʃən/, potentially /pəˈtɛnʃ(ə)li/, execution /ˌɛk.sɪˈkjuː.ʃən/
I suoni difficili per chi parla italiano:
- /h/ — va soffiata, non è muta: honey /ˈhʌni/, hook /hʊk/, highlight /ˈhaɪˌlaɪt/
- Consonante finale — senza aggiungere una vocale dopo: component /kəmˈpoʊ.nənt/, craft /ˈkɹæft/, pitch /pɪt͡ʃ/, juice /d͡ʒuːs/, script /skɹɪpt/
- /æ/ — più aperta della “e”: charity /ˈtʃæɹɪti/, craft /ˈkɹæft/, sand /sænd/, imagination /ɪˌmæd͡ʒəˈneɪʃən/, attract /əˈtɹækt/
Come esercitarsi con questo video
- Ascolta tutto il video una volta senza parlare e annota le parole che non conosci.
- Fai shadowing frase per frase a velocità normale, ripetendo ognuna finché il tuo ritmo coincide con quello di chi parla.
- Registrati e confronta con l’originale, facendo attenzione a parole come gray, charity, component.
Cos'è la tecnica dello Shadowing?
Shadowing è una tecnica di apprendimento delle lingue supportata da studi scientifici, originariamente sviluppata per la formazione dei traduttori professionisti e resa popolare dal poliglotta Dr. Alexander Arguelles. Il metodo è semplice ma potente: ascolti un audio in inglese di madrelingua e lo ripeti immediatamente ad alta voce — come un'ombra che segue il parlante con un ritardo di solo 1–2 secondi. A differenza dell'ascolto passivo o degli esercizi di grammatica, lo shadowing costringe il tuo cervello e i muscoli della bocca a elaborare e riprodurre simultaneamente i modelli di discorso reale. La ricerca dimostra che migliora significativamente la precisione della pronuncia, l'intonazione, il ritmo, il discorso connesso, la comprensione dell'ascolto e la fluidità del parlato — rendendolo uno dei metodi più efficaci per la preparazione alla prova di speaking dell'IELTS e per la comunicazione reale in inglese.