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I love this shot so much. The camera does not change its angle on Saul and Bill; it only moves vertically. They could have framed both of them together, but instead they use the stairwell to show only one character at a time. Even the camera refuses to let... show more

best of better call saul

12,346 subscribers

12,337 次观看 • 2 个月前 •via X (Twitter)

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Bob Odenkirk reveals how a cameraman's joke accidentally inspired Better Call Saul. "The first scene that I did in Breaking Bad when Saul has Walter White in his office somewhere after half an hour, 40 minutes of shooting, the director yelled cut. And one of the cameramen said, Can I get a job on the sequel? And everyone laughed because I guess everyone was thinking this character is pretty great, pretty fun to see." "From that point on, it was a joke that are they going to make a sequel with Saul? And every year, one time a year, Vince Gilligan would pull me aside somewhere and say, what do you think about that? Do you think there could be a show in Saul? And every time he'd ask me, I'd say, I have no idea. Only you know that. And if you want to write that, I'll do it." "It really wasn't until the finale of Breaking Bad, I want to say a year after that Vince Gilligan and Peter Gould, who wrote the first episode that featured Saul, called Better Call Saul, they took me to a lunch at the Chateau Marmont, famous Hollywood place, and said, We're thinking about creating that show, and what do you think?" "I said, First of all, you're going to have to make him likable. Saul isn't sort of fun on his own. He's fun in the context of Breaking Bad. And the other thing I said to them was, and don't forget I'm 50 years old. So, you know, please don't write him as a 30-year-old cause I'm not 30. And of course, then they went and wrote him as like 30. So, yeah. You know, they had to CGI the bags from under my eyes in like three scenes on Better Call Saul."

Bob Odenkirk reveals how a cameraman's joke accidentally inspired Better Call Saul. "The first scene that I did in Breaking Bad when Saul has Walter White in his office somewhere after half an hour, 40 minutes of shooting, the director yelled cut. And one of the cameramen said, Can I get a job on the sequel? And everyone laughed because I guess everyone was thinking this character is pretty great, pretty fun to see." "From that point on, it was a joke that are they going to make a sequel with Saul? And every year, one time a year, Vince Gilligan would pull me aside somewhere and say, what do you think about that? Do you think there could be a show in Saul? And every time he'd ask me, I'd say, I have no idea. Only you know that. And if you want to write that, I'll do it." "It really wasn't until the finale of Breaking Bad, I want to say a year after that Vince Gilligan and Peter Gould, who wrote the first episode that featured Saul, called Better Call Saul, they took me to a lunch at the Chateau Marmont, famous Hollywood place, and said, We're thinking about creating that show, and what do you think?" "I said, First of all, you're going to have to make him likable. Saul isn't sort of fun on his own. He's fun in the context of Breaking Bad. And the other thing I said to them was, and don't forget I'm 50 years old. So, you know, please don't write him as a 30-year-old cause I'm not 30. And of course, then they went and wrote him as like 30. So, yeah. You know, they had to CGI the bags from under my eyes in like three scenes on Better Call Saul."

Mr. Mayor

343,501 次观看 • 21 天前

Shawn on his “shut your fuckin’ mouth” line in 2x14: “I knew the camera wasn’t on me, and I said it completely out of character as a joke! But then when it aired, they kinda cut the lead up to it… I think it was still in character, but it was very much me and not so much Abbot.”

Shawn on his “shut your fuckin’ mouth” line in 2x14: “I knew the camera wasn’t on me, and I said it completely out of character as a joke! But then when it aired, they kinda cut the lead up to it… I think it was still in character, but it was very much me and not so much Abbot.”

tina 💜

452,071 次观看 • 4 个月前

This man was on a long flight in Asia. He always sets up a camera to do a time lapse for his social media. He claims to have caught one of the flight attendants going through his bag and stealing his bank card and other belongings. The flight attendant denies it, but something about their demeanor seems off. They refuse to call the police, but instead they are telling him they will have customer relations contact him instead. Could it be the flight attendant does this often and they are covering up for him?

This man was on a long flight in Asia. He always sets up a camera to do a time lapse for his social media. He claims to have caught one of the flight attendants going through his bag and stealing his bank card and other belongings. The flight attendant denies it, but something about their demeanor seems off. They refuse to call the police, but instead they are telling him they will have customer relations contact him instead. Could it be the flight attendant does this often and they are covering up for him?

SonnyBoy🇺🇸

7,134,524 次观看 • 4 个月前

Some camera work moments from Japan D2 that gave me a headache TDKBU - switching to 5 different angles trying to show Jimin Fake love - something that happened in D1 but the camera seems to love Jimin's back even though they have a good front view Merry go round - during this part they always show Jimin and Jungkook harmonizing but this time they switched to Jin, realized it's not him singing then switched to Jimin who just finished his part and left the camera on him (not the only time that happened) Not today - not showing Jimin's part twice should be punished by law Body to body - in the traditional part of the song they do a close up of each member but this time they show Jimin on the stage screens and only some members after, it's a nice moment showing the crowd singing but has to be done right Butter - you have cameras all around the stage, how could you not know where a member is?! And then show him just walking Into the sun - idk what's worse, being able to see Jimin only on fancams doing the adlib or the live camera ignoring him until the end We had 5 shows already, this shouldn't be happening please fix it!

Some camera work moments from Japan D2 that gave me a headache TDKBU - switching to 5 different angles trying to show Jimin Fake love - something that happened in D1 but the camera seems to love Jimin's back even though they have a good front view Merry go round - during this part they always show Jimin and Jungkook harmonizing but this time they switched to Jin, realized it's not him singing then switched to Jimin who just finished his part and left the camera on him (not the only time that happened) Not today - not showing Jimin's part twice should be punished by law Body to body - in the traditional part of the song they do a close up of each member but this time they show Jimin on the stage screens and only some members after, it's a nice moment showing the crowd singing but has to be done right Butter - you have cameras all around the stage, how could you not know where a member is?! And then show him just walking Into the sun - idk what's worse, being able to see Jimin only on fancams doing the adlib or the live camera ignoring him until the end We had 5 shows already, this shouldn't be happening please fix it!

Seren

24,973 次观看 • 4 个月前

This is how Palestinian journalism has been targeted for years: An occupation soldier opens the door of a military vehicle and fires dozens of bullets directly at a Palestinian journalist’s camera, simply because it conveys the truth. Sniping the lenses, silencing the image, and attempting to kill the truth… But the truth does not die, even if they smash the cameras.

This is how Palestinian journalism has been targeted for years: An occupation soldier opens the door of a military vehicle and fires dozens of bullets directly at a Palestinian journalist’s camera, simply because it conveys the truth. Sniping the lenses, silencing the image, and attempting to kill the truth… But the truth does not die, even if they smash the cameras.

Sameh Ahmed 𓂆 🇵🇸

211,476 次观看 • 7 个月前

Listen to #PriyankaGandhi “This new #NEET committee has a Gau Mutra Expert - what does he know about education. #PMModi instead of changing Camera angle - should change the angle of his heart You can remove this Gen Z from streets, but not their questions Every baton was not on the back of a student but on the intent of govt Youth asking for justice not pittance They didn’t come to topple the govt but rather to secure their trust”

Listen to #PriyankaGandhi “This new #NEET committee has a Gau Mutra Expert - what does he know about education. #PMModi instead of changing Camera angle - should change the angle of his heart You can remove this Gen Z from streets, but not their questions Every baton was not on the back of a student but on the intent of govt Youth asking for justice not pittance They didn’t come to topple the govt but rather to secure their trust”

Tamal Saha

18,681 次观看 • 21 天前

Might of found a way to use this mechanic in comp. I've seen people do this on the floor a couple times but not really on the wall in this way. I do think this could be used in comp because of the sharp change in trajectory of the ball and it could seriously bait out players. Not to mention it can be done on any part of the wall so even off the ceiling. I'm already getting fairly consistent at it on one side and I've practiced it for a day. It feels like doing the breezi flick for the first time but this could be a more practical mechanic. If it can be done on command consistently it has ridiculous potential for passes and other stuff Not saying this is a new mechanic btw nor is it guaranteed to become meta but I love the idea of seeing innovation and new things in the game because there isn't much of it these days so I hope people aren't closed minded about it. Would love to hear opinions on it

Might of found a way to use this mechanic in comp. I've seen people do this on the floor a couple times but not really on the wall in this way. I do think this could be used in comp because of the sharp change in trajectory of the ball and it could seriously bait out players. Not to mention it can be done on any part of the wall so even off the ceiling. I'm already getting fairly consistent at it on one side and I've practiced it for a day. It feels like doing the breezi flick for the first time but this could be a more practical mechanic. If it can be done on command consistently it has ridiculous potential for passes and other stuff Not saying this is a new mechanic btw nor is it guaranteed to become meta but I love the idea of seeing innovation and new things in the game because there isn't much of it these days so I hope people aren't closed minded about it. Would love to hear opinions on it

Breezi

372,865 次观看 • 2 年前

Bring back that tension we used to have the way one small touch felt like a spark the way they looked at each other, wanting but trying so hard not to show it. She felt butterflies the moment she realized how much he cared how even a tiny burn on her hand made him worry like she’d been seriously hurt the way It hit him then because he was losing control he couldn’t stand the idea of anything hurting her not even the smallest thing. And still… they both stepped back they were too scared of what would happen if they let themselves fall so they backed away and pretended it meant nothing when really they were just running from feelings that scared them both.

Bring back that tension we used to have the way one small touch felt like a spark the way they looked at each other, wanting but trying so hard not to show it. She felt butterflies the moment she realized how much he cared how even a tiny burn on her hand made him worry like she’d been seriously hurt the way It hit him then because he was losing control he couldn’t stand the idea of anything hurting her not even the smallest thing. And still… they both stepped back they were too scared of what would happen if they let themselves fall so they backed away and pretended it meant nothing when really they were just running from feelings that scared them both.

Ella

12,466 次观看 • 9 个月前

Bob Odenkirk as Saul Goodman in Breaking Bad (2008) is flawless casting. He was only meant to appear in a handful of episodes, and scheduling conflicts almost cost him the role, but the performance hit so hard it led to Better Call Saul.

Bob Odenkirk as Saul Goodman in Breaking Bad (2008) is flawless casting. He was only meant to appear in a handful of episodes, and scheduling conflicts almost cost him the role, but the performance hit so hard it led to Better Call Saul.

cinesthetic.

248,335 次观看 • 5 个月前

Zack Snyder: "When you make a movie, a lot of times you take a second camera, and if the actors are talking, you stick a second camera in there to try and get a close up or something like that to make it move along faster. "That second camera normally suffers a little bit in its composition design just because it's not the primary focus, but for this movie, it's a one camera show." Larry Fong: "His shots are so designed, so it's hard to kind of get a B camera just somewhere to get another shot. He won't use it. When you're doing 180 degree dolly moves and stuff, I mean, where do you put the other camera? "It's great for me because that means I can make each shot the way I want it to without compromising, which you usually do when you have two."

Zack Snyder: "When you make a movie, a lot of times you take a second camera, and if the actors are talking, you stick a second camera in there to try and get a close up or something like that to make it move along faster. "That second camera normally suffers a little bit in its composition design just because it's not the primary focus, but for this movie, it's a one camera show." Larry Fong: "His shots are so designed, so it's hard to kind of get a B camera just somewhere to get another shot. He won't use it. When you're doing 180 degree dolly moves and stuff, I mean, where do you put the other camera? "It's great for me because that means I can make each shot the way I want it to without compromising, which you usually do when you have two."

Zack Snyder Film

88,556 次观看 • 7 个月前

MINGYU TALKING ABOUT THE FOOTAGE OF HIM, DOKYEOM, AND JEONGHAN DURING THE MATCH😂🤍 so those 3 actually did bad challenge with the palm cheering stick. He had a feeling that he might get caught on cam, but it turned out the clip looks like he was getting upset over food😭 #도겸 🐶 I had that kind of feeling. I was worried I might get caught on camera at least once. But Lee Dokyeom and Yoon Jeonghan, these guys, suddenly, while San was doing the Bad challenge, they looked at me. So the three of us got together, and there was that palm shaped cheering stick that sounds tatatata, so three of us did it together like this 🐶But the problem? In the Coupang Play clip, the footage of San doing it was filmed right in front with the camera and shown. But on the big screen we were watching, instead of being shown through the live broadcast camera, they showed it in a full shot. We were like, what is that? They should show that properly to the audience with the main camera 🐶It was so funny. After it was over, I checked to see if maybe we had been caught on camera or if any sightings of us had come up, but that was the only video going around

MINGYU TALKING ABOUT THE FOOTAGE OF HIM, DOKYEOM, AND JEONGHAN DURING THE MATCH😂🤍 so those 3 actually did bad challenge with the palm cheering stick. He had a feeling that he might get caught on cam, but it turned out the clip looks like he was getting upset over food😭 #도겸 🐶 I had that kind of feeling. I was worried I might get caught on camera at least once. But Lee Dokyeom and Yoon Jeonghan, these guys, suddenly, while San was doing the Bad challenge, they looked at me. So the three of us got together, and there was that palm shaped cheering stick that sounds tatatata, so three of us did it together like this 🐶But the problem? In the Coupang Play clip, the footage of San doing it was filmed right in front with the camera and shown. But on the big screen we were watching, instead of being shown through the live broadcast camera, they showed it in a full shot. We were like, what is that? They should show that properly to the audience with the main camera 🐶It was so funny. After it was over, I checked to see if maybe we had been caught on camera or if any sightings of us had come up, but that was the only video going around

⁽̨̡ ¨̮ ⁾̧̢🌻

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He didn't even think twice about it, good boy. They weren't rich, but they had the heart of a billionaire. Great mom ! Thats where we need more moms from ! Lv yu mom ma That smile on her face is showing how happy her by accepting that much money. The people looking in the background at the boys cash 🤦‍♂️ hope they made it home Staged. But good to teach us all. The boy looked at the camera, and they had agreed beforehand not to trick me—this is just a stunt for hype. Lucky the camera was there recording the whole thing. The kid might have a future at acting though 😉 I think Honesty is found only in the poor. What you think?

He didn't even think twice about it, good boy. They weren't rich, but they had the heart of a billionaire. Great mom ! Thats where we need more moms from ! Lv yu mom ma That smile on her face is showing how happy her by accepting that much money. The people looking in the background at the boys cash 🤦‍♂️ hope they made it home Staged. But good to teach us all. The boy looked at the camera, and they had agreed beforehand not to trick me—this is just a stunt for hype. Lucky the camera was there recording the whole thing. The kid might have a future at acting though 😉 I think Honesty is found only in the poor. What you think?

GABRIEL 🪽

75,443 次观看 • 3 个月前

Better Call Saul almost ended on that quiet shot of Saul and Kim sharing a cigarette in the visitation room but Peter Gould scrapped it. He felt it was more honest to end with their prison-yard goodbye, to show that Jimmy will spend his life behind bars.

Better Call Saul almost ended on that quiet shot of Saul and Kim sharing a cigarette in the visitation room but Peter Gould scrapped it. He felt it was more honest to end with their prison-yard goodbye, to show that Jimmy will spend his life behind bars.

Emir Han

1,244,583 次观看 • 8 个月前

He's the best at what he does 🍿🎬* Better Call Saul (2015 to 2022) Even though Better Call Saul looks like a slow burn prequel about a lawyer finding his footing, the series actually explores identity, compromise, and the quiet math of moral drift. It follows Jimmy McGill, a hustling attorney with a gift for persuasion and a hunger to be taken seriously, as he circles the life that will eventually harden into Saul Goodman. Patient, meticulous, and darkly funny, the show treats every small choice like a camera close up, turning ordinary moments into loaded turning points.*

He's the best at what he does 🍿🎬* Better Call Saul (2015 to 2022) Even though Better Call Saul looks like a slow burn prequel about a lawyer finding his footing, the series actually explores identity, compromise, and the quiet math of moral drift. It follows Jimmy McGill, a hustling attorney with a gift for persuasion and a hunger to be taken seriously, as he circles the life that will eventually harden into Saul Goodman. Patient, meticulous, and darkly funny, the show treats every small choice like a camera close up, turning ordinary moments into loaded turning points.*

DailyFacts 🕸️

19,333 次观看 • 4 个月前

(rough trans for the nc scene in fukuoka) - they only have one hour to film - so he wants them to focus really hard - they tried do blockings quickly even though they know they been tired from filming all day - they divided into 3 tones, they have keep the emotion throughout - there were no cut, so the cameraman have to prepare the camera, and fight with time, basically he moved the camera and they would act again. it was really tiring - p’kla checked lighting and p’aof on the monitor - when they finished there were only 10-5 minutes left, teepor were hugging each other, p’kla on the floor, cameraman also on the floor, everyone was so tired - finally he got to announce the camera closing fr - everyone was crying, hugging each other crying that finally they success that it finally finished

(rough trans for the nc scene in fukuoka) - they only have one hour to film - so he wants them to focus really hard - they tried do blockings quickly even though they know they been tired from filming all day - they divided into 3 tones, they have keep the emotion throughout - there were no cut, so the cameraman have to prepare the camera, and fight with time, basically he moved the camera and they would act again. it was really tiring - p’kla checked lighting and p’aof on the monitor - when they finished there were only 10-5 minutes left, teepor were hugging each other, p’kla on the floor, cameraman also on the floor, everyone was so tired - finally he got to announce the camera closing fr - everyone was crying, hugging each other crying that finally they success that it finally finished

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66,985 次观看 • 3 个月前

Wait both her hands are on the bed and one of his hands is holding the camera so how did he.. Were they having... Oh.. Man I know I wanted to be on beyblade TikTok but not like this LMFAOOOO WHAT DID HE USE TO PULL THE .. NEVERMIND

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Wait both her hands are on the bed and one of his hands is holding the camera so how did he.. Were they having... Oh.. Man I know I wanted to be on beyblade TikTok but not like this LMFAOOOO WHAT DID HE USE TO PULL THE .. NEVERMIND

delty

173,707 次观看 • 1 年前

Dredd says Sky Bri has the rare “it factor” and believes she’s destined to become one of the biggest names in c0rn. 👀 He admitted he wasn’t sure such a new performer could deliver, but says she exceeded every expectation from their first sc3n3 together. Dredd praised her natural on-camera presence, saying some performers simply can’t be taught what she has. According to him, the way she connects with the camera is what separates future stars from everyone else. 😳

Dredd says Sky Bri has the rare “it factor” and believes she’s destined to become one of the biggest names in c0rn. 👀 He admitted he wasn’t sure such a new performer could deliver, but says she exceeded every expectation from their first sc3n3 together. Dredd praised her natural on-camera presence, saying some performers simply can’t be taught what she has. According to him, the way she connects with the camera is what separates future stars from everyone else. 😳

💥

40,566 次观看 • 20 天前

$Michelangelo Antonioni on the Final sequence of 'The Passenger' (1975): "Interviewer: How long did it take to do the final scene of The Passenger? Antonioni: 11 days. But that was not because of me but because of the wind. It was very windy weather and so difficult to keep the camera steady. Interviewer: One critic has said that the final seven-minute sequence is destined to become a classic of film history. Can you explain how you conceived it? Antonioni: I had the idea for the final sequence as soon as I started shooting. I knew, naturally, that my protagonist must die, but the idea of seeing him die bored me. So I thought of a window and what was outside, the afternoon sun. For a second, just for a fraction-Hemingway crossed my mind: "De@th in the Afternoon." And the arena. We found the arena and immediately realized this was the place. But I didn't yet know how to realize such a long shot. I had heard about the Canadian camera, but I had no first-hand knowledge of its possibilities. In London, I saw some film tests. I met with the English technicians responsible for the camera and we decided to try. There were many problems to solve. The biggest was that the camera was 16mm and I needed 35mm. To modify it would have involved modifying its whole equilibrium since the camera IS mounted on a series of gyroscopes. However. I succeeded in doing it. Interviewer: Did you use a zoom lens or a very slow dolly? Antonioni: A zoom was mounted on the camera. But it was only used when the camera was about to pass through the gate. Interviewer: It's interesting how the camera moves toward the man in the center against the wall but we never get to see him, the camera never focuses on him. Antonioni: Well, he is part of the landscape, that's all. And everything is in focus-everything. But not specifically on him. I didn't want to go closer to anybody. The surprise is the use of this long shot. You see the girl out side and you see her movements and you understand very well without going closer to her what she's doing, maybe what her thoughts are. You see, I am using this very long shot like closeups, the shot actually takes the place of closeups. Interviewer: Did you cover that shot in any other way or was this your sole commitment? Antonioni: I had this idea of doing it in one take at the beginning of the shooting and I kept working on it all during the shooting." [Filmmakers Newsletter, I975]$

Michelangelo Antonioni on the Final sequence of 'The Passenger' (1975): "Interviewer: How long did it take to do the final scene of The Passenger? Antonioni: 11 days. But that was not because of me but because of the wind. It was very windy weather and so difficult to keep the camera steady. Interviewer: One critic has said that the final seven-minute sequence is destined to become a classic of film history. Can you explain how you conceived it? Antonioni: I had the idea for the final sequence as soon as I started shooting. I knew, naturally, that my protagonist must die, but the idea of seeing him die bored me. So I thought of a window and what was outside, the afternoon sun. For a second, just for a fraction-Hemingway crossed my mind: "De@th in the Afternoon." And the arena. We found the arena and immediately realized this was the place. But I didn't yet know how to realize such a long shot. I had heard about the Canadian camera, but I had no first-hand knowledge of its possibilities. In London, I saw some film tests. I met with the English technicians responsible for the camera and we decided to try. There were many problems to solve. The biggest was that the camera was 16mm and I needed 35mm. To modify it would have involved modifying its whole equilibrium since the camera IS mounted on a series of gyroscopes. However. I succeeded in doing it. Interviewer: Did you use a zoom lens or a very slow dolly? Antonioni: A zoom was mounted on the camera. But it was only used when the camera was about to pass through the gate. Interviewer: It's interesting how the camera moves toward the man in the center against the wall but we never get to see him, the camera never focuses on him. Antonioni: Well, he is part of the landscape, that's all. And everything is in focus-everything. But not specifically on him. I didn't want to go closer to anybody. The surprise is the use of this long shot. You see the girl out side and you see her movements and you understand very well without going closer to her what she's doing, maybe what her thoughts are. You see, I am using this very long shot like closeups, the shot actually takes the place of closeups. Interviewer: Did you cover that shot in any other way or was this your sole commitment? Antonioni: I had this idea of doing it in one take at the beginning of the shooting and I kept working on it all during the shooting." [Filmmakers Newsletter, I975]

DepressedBergman

39,125 次观看 • 1 年前