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Interview: 'Breaking Bad' Writer/Producer George Mastras Talks Wrapping Up The Series & Much More

Interviews
by Cory Everett
August 15, 2013 2:05 PM
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One of the other interesting things about the show is how it deals with time. Outside of the opening tags, the pink bear teaser and jumping ahead to Walt's 52nd birthday, there are almost no shortcuts. Each episode and each season leads right into the next one. So when you do choose to jump forward in time, I imagine that those decisions don't come about lightly?
No, not at all. You're right. For much of the show, often episodes take place within a day or two days, maybe a week. We've been on for five seasons and the number of years that the show spans is a fraction of that. We move very slowly and when we do jump time it's only because time needs to pass for the next part of the storytelling. That's the only reason that we would skip time.

And you obviously have to consider what you would be missing by doing so, what taking that jump gives you versus what you'd be giving up.
Yeah and more often than not, when we thought about skipping time, we decided that we weren't going to do it. Because there is stuff that we wanted to address in that interim.

For a show as intense as yours is, it's kind of a feat to arrive at the final eight episodes with all six of the central characters still alive. Did you ever strongly consider taking out one of those characters earlier on or was that off the table?
I can only speak for myself but I thought everything was always up for grabs. Big decisions like that, Vince is the final arbiter. The one that Vince always talks about is in the first season when we started shooting—and I don't recall this ever being openly discussed in the room at the time—but when he had written Jesse into the pilot, he thought that would not be a long term character. But boy, that quickly changed from the very first episode. The chemistry between these two guys made us immediately change that.

I don't know whether anything else was ever in Vince's mind, but for our purposes I think setting up those kinds of ground rules probably would've been more restrictive to the writers. In the writers room you always say, 'No idea is a bad idea' because you want people to pitch out bad ideas because they can sometimes turn into good ideas. So when you start saying, "This can't happen and this can't happen," and laying out ground rules—though obviously you're not going to kill off your lead—because you're going to restrict yourselves and you want people thinking outside the box.

When I watch the show I sense a real jump in quality from Season 1 to Season 2. I know that the writer strike had cut that short and gave you guys a chance to regroup. Was there any sense behind-the-scenes around that time that you guys were really hitting your stride?
I'm not sure. I love our Season 1 too, so I didn't sense anything like that [laughs]. I think everything just started working well on the production side. It was more of a well oiled machine where Season 1 was definitely more barnstorming. In the first season, we were facing the strike, so there was a certain craziness going on but I don't know storytelling-wise if we changed our approach [after that]. I think we added some great heads in the room: Sam Catlin, Moira Walley-Beckett, and then Season 3 we added Tom Schnauz, and we had that core group which has been pretty consistent throughout. I think that we all function very well together.

How much pressure did the writers feel approaching the final season to wrap up all of the loose threads?
I don't know. I can't speak for everyone else but I think we just wanted to do the best job possible. It wasn't about rushing the loops to tie things up, it was just about how does each day end. I'm not sure I really want to talk too much about it. [laughs] We were just trying to do the best job we possibly could to end the series.

Have you seen the final eight episodes?
Oh sure, yeah. They're great.

For the next seven weeks, millions of people will be watching to see how this all plays out and you're one of maybe a few dozen people on the planet that already know. What's it feel like to walk around with a secret like this?
[Laughs] Oh, I don't know. It's fun. I think most people around me know not to ask. My parents asked once or something and I said I couldn't tell them so they've left me alone. This isn't our first season so everyone knows at this point [not to bother]. Every year they ask how does this season end, so I've gotten pretty good at sort of ignoring it. I'm definitely interested to see how the world takes it and how everyone responds. I'm excited.

It must be especially thrilling now that it's the end of the series.
It is fun and it's very gratifying to be working on a show that people know [laughs], and people watch, something people are excited about. I've definitely worked on short-lived shows that no one had ever heard of. You give your all to those shows and do the best job you can, take pride in your work as you would on anything. But it is very nice that people are eagerly anticipating this. It doesn't fall on deaf ears, it's exciting to be recognized.

Looking back on it all, do you have a favorite episode or season that you think really encapsulated the best of what the show could be?
I love them all, I really do. I feel like every episode has its own quality, they're all unique. Even the first half of Season 5, I thought they were all really great episodes. Any one of them could've been nominated [for Emmys]. I have favorites of the ones I wrote, I have favorites of the ones that others wrote. And they're all just so different. Season-wise they're all very different, it's hard to say.

I have to ask: what's with Walt Jr. and breakfast?
[Laughs] A lot of breakfast in there, yeah. I'm not sure how he got so into breakfast.

What's next for you? Are you interested in returning to TV?
Yeah, I am. I'm taking some time now to write a movie for Universal [Editors note: "90 Church" is a true-to-life account of the early years of the DEA that Mastras is adapting for Rupert Sanders to direct]. So that's what I'm doing right now. And then I'm working on developing my own shows and stuff too. But I'm under deadline now on the movie so that's what I'm doing right this moment.

"Breaking Bad" airs Sundays at 9 p.m. on AMC.

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