Breaking Bad - The visual "Elements" that make it what it is.

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Shot after shot, Breaking Bad Season 2 amazes me as I wander back through it a 2nd or 3rd time.  On these viewings, because I am past the initial suspense and drama, and have memorized the story line, I see the nuances that made the brilliance stand out in the first place.  They are the carefully placed side elements, the blocking, the subtle movements of the camera gently nervous in the foreground, the framing, the pauses in the pace and the dialogue, the acting, yes of course, but also the post production that made that all cadence together in a rhythm sublime, a dance of cinema, on paid television.  This is as close to the realm of cinema that TV has gotten, and has set a new bar for drama production in the future.  For those not paying attention, another day at the office.

It’s hard to pick a favorite episode out of Season 2, but I’d have to say cinematically, it would be “Mas”, the 5th installment.   One particular shot that stands out to me is the dinner scene.  Walt is at home for once, on the left end of the shot.  Walter Jr. Is seated on the long side of the table, facing the camera, and Skyler is opposite, to the right.  There is a construction element in the foreground that creates a fairly large separation, a barrier, between Walter and the other 2, and one other important member of the family, the new baby in the foreground, just inside the window at the bottom of the screen.  It feels like we’re outside looking in here because of the obstruction.  This places Walter in the cold and isolated position, the warmth of even the lamp on the right side, over and against him.  Walter Jr. attempts smiles and rapport back and forth across that barrier, but it does not waver, and the shot does not edit or change.  It was meant to be done in one take to allow the space to produce the impact, and the timing and direction of the dialogue and glances to create the implied meanings.  This was very complex, and pulled off with what looks to be ease in the end result.  Of course, it’s not.  And then the camera moves, and the barrier moves into the center when Walter Jr. Leaves the room.  This is also after an edit, so there is a natural break in the scene, and we have Jr. Get up to go and work on his homework and video games, “multitasking” he says. 

Now that the barrier is in the middle, and the child in the bassinet is split in half, there sit Skyler and Walt at opposite ends, picking away at what is left of dinner.  The baby fusses.  Skyler looks with what must be pity at Walt who is looking away into his lap.  She asks if he wants to take her, and he of course replies with a nod.  The tenderness of his holding the baby is enough for an oscar performance.  Skyler exits and Walt is left alone with his child.

This could have been shot any other of 6 or a dozen ways, but it was not.  The blocking and mise-en-scene was so well done, invisible, yet so purposeful and powerful.  But this one scene is not an anomaly on the show.  Almost every moment of the show is shot the same way, with careful precision and planning, and thoughtfulness; another reason why I so love this series. It helps that the writing is exquisite, but the camera work delivers, and should be looked at again by the folks at the Emmys.