Vince Gilligan, creator of “Better Call Saul” at the end of the series

Vince Gilligan will be the first to tell you it’s a bad scheme. It’s not just that the creator The best of Saul on demand He missed his special show wrap party because he and partner Holly had already scheduled a birthday getaway in Palm Springs for that night. That was his entire time working with both of them Too bad And the Saulhe and his subordinates (including Saul Co-creator Peter Gould was not able to pinpoint the story’s beats very early on. Like the characters they wrote, they always found themselves trapped in corners and had to find an explosive way out.

But at least there is no more planning to worry about this franchise. Gilligan wrote and directed the penultimate Saul The episode, which we’ve summarized here, says that next week’s series finale will likely be the conclusion to the entire fictional universe that began with Too bad.

speak with rolling stones About how long it took to discover Kim Wexler’s fate, and the ongoing challenge of reconciling Saul A conspiracy with what we know Too badWhy is the show called? The best of Saul on demand He ended up barely showing up for Saul Goodman at all.

You and Peter always say you can only see two inches in front of your face while drawing the show. So at what point and how did you know what would happen to Kim?
The same way we always did. We’re only working two inches before our noses. I think it could have gone any way, but there was also probably an element of our hatred for killing her character. There were a lot of elements of this story that were pre-ordered. You can’t kill Jimmy McGill on his own show, and you can’t kill any character whose fate we know. Too bad. But with Kim, the sky was the limit. I think it is not right to kill her. That might not have been on the table, honestly. Sure enough, we just kept smiling silently as people stopped us in the street and said, “You’re not going to kill Kim, are you?” We let people think we might, but none of us wanted to. But knowing where you got in, it was in small steps, small fits and starts, like any other piece of planning we do.

BTS, Executive Producer Peter Gould, Bob Odenkirk as Jimmy McGill, Executive Producer Vince Gilligan - Better Call Saul - Season 3, Episode 10 - Image source: Michele K. Short / AMC / Sony Pictures Television

From left: co-creators Peter Gold, Bob Odenkirk, and Vince Gilligan co-star in Season 3.

Michelle K. Short / AMC / Sony Picture

Was juggling the end of this show and what we know it was more challenging in the final season than in previous seasons Too bad?
I do not think so. I think it was really tough in the first season and in the first seasons. But I have to say it’s been two years since I was in the writers room prior to this season. I remember in the early days, when we were trying to figure out, “Jimmy McGill, where did Saul Goodman come from? We can’t kill him! He can’t lose an eye!” Too bad Put on this character. But this season, man, not so much. I mean, it’s always hard. But it seemed like it was more difficult at first. Fortunately, we had plenty of time to come up with these things. Peter Gould might give you a different answer, but that’s how I look at it again.

If you can go back in time to Too bad years and ask your younger self to change one thing to make your life easier on this show, what would it be?
Oh man, you ask all those strong adults. Let me think about it, and I promise to have an answer by the end of this interview.

We’ve talked before about how you intended to get to Saul Goodman by the end of Season 1, and instead found yourself in love with Jimmy McGill. As it turns out, we got less than a full episode built from the real Saul, and I basically skipped from Jimmy straight to Gene Takovic. How did you decide that you wanted to get past that era of Saul?
It was not about desire. And you’re right. In the early days, we talked about, “Yeah, Jimmy’s going to be for a while, but you obviously can’t do bait and switch with the public! You can’t sell them a bill of goods. You’ve got to give them Saul Goodman.” And damned if we don’t finish doing that! We didn’t start that way to be corrupt or mischievous. I think it finally showed up on us – but this thing about us we only see two inches in front of our noses, and that really applies when you break a story like this. I think we’ve finally come to the realization that we know what Saul Goodman looks like. I’ve seen him in many episodes Too bad, so we didn’t need to tell that story again, and we all had this really interesting story. We were fascinated by Jimmy McGill, what would turn a guy like that, who is basically a good guy, into a bad guy. Then we wanted to see more of Gene Takovich in Omaha, so we ran out of time without meaning to, and then we realized, man, the first thing that could happen was Sol Goodman. This is the name of the show! For fans who watched The best of Saul on demand I didn’t watch Too bad If you want to get your Saul Goodman fix, I suggest you go into iTunes or wherever, find the most expensive way possible, and buy the series with the highest quality resolution and stereo sound.

Vince Gilligan directed by Rhea Seehorn in the third season.  - Image source: Michele K. Short / AMC / Sony Pictures Television

Vince Gilligan directed by Rhea Seehorn in the third season.

Michelle K Short / AMC / Sony Pictures

This is the last time I channeled Rhea Seehorn in this role. In a lot of this episode, you just leave the camera on her face and she interacts with things, including the adorable scene where she crashes into an airport shuttle bus. How did it feel to work with her for the last time with this character?
It was great! I love Rhea. Ria is wonderful. And the camera loves it as much as I do. So just sticking with those shots, on that actual moving bus was a challenge. The two viewers as she was driving in Florida, and the scene where Jane was driving in Omaha in the snow, were filmed on an audio platform in an immobile vehicle with a burnt-out panel. But the stuff on the bus was a veritable rental car shuttle that circled within sight of Albuquerque Airport. We just turned off four cameras and let her roll, and I sat there trying to get as much of her eye line as possible. I had the pleasure of watching it. We did two. We didn’t need to. But I’m the anxious type, and I would have had more than one shot. I think we used the second one, but it was just as great as the first. It is a pleasure to see her do what she does.

Why did you want to put Kim and Jesse Pinkman together in a scene?
I just love them both so much. It’s that easy. We try to tell these stories as organically as possible, and we do. But a scene like that, I hate to admit, is just so fun to write, fun to direct. It doesn’t really move the plot forward. In strict, organic terms to storytelling, they are not “essential.” But it was just fun. And yes, I love these two. I think we all wanted – I don’t remember who came up with the idea – that we wanted to see these two worlds collide. We couldn’t help ourselves.

These episodes happen next Too bad and after El Camino. As of now, they represent the serial end of this story. Do you see this as in this fictional universe, or can you imagine revisiting it?
I can certainly imagine revisiting it. Selfishly, I would do it, for this thing to continue. But without naming any names, I look around at some of the worlds, the universes, the stories I love, whether they’re on TV or in the movies. And I think there’s a point, and it’s hard to pinpoint, where I’ve done so much in the same universe. Just leave him alone. And some universes are much larger and more fluid. Our country is very small, Albuquerque, New Mexico, against some of these worlds and movie series and TV shows. The main thing I’m afraid of is becoming a one-trick pony. Yes, I can do more with this universe. And maybe one day I will, especially if I fail at everything that comes next. Then I’ll be creeping back. But right now, whether or not there’s more room for growth — and maybe there is — I feel like it’s time to do something new.

After I just made these offers and El Camino Over 15 years ago, how do you feel as this end draws near?
this is funy. A lot of people have asked me lately, and it didn’t really hit me. the end of Too bad It was a very shiny font, and clear definition. I remember being on set the last day, and everyone was so emotional. That was great many years ago. It’s been 15 years now, and that was only the sixth year or something, and it just felt more important, more important. It may not be a satisfactory answer. Maybe you haven’t shocked me yet. I think it hit Peter, I think it hit the writers and the actors. Maybe it will be a late reaction. I hope it’s not quite as intense and general as what Kim goes through on the rental car shuttle. But maybe it’s like the reaction she had, six years later, crying for Howard Hamlin and whatever else she’s crying for — her lost soul. I hope to be home alone if that happens.

Well, I promised to answer the time machine question before we go. Is there anything you want to change Too bad Just to make your life easier The best of Saul on demand?
yes. Well, you know, I’ll probably think of a good answer after I hang up. But I guess I obviously can’t think of a good answer out of my head, even after thinking about it for a few minutes here. There are certain moments where we thought, “Oh my God, it would be better if this character lived” or “It would be better if we could kill this character.” But none of that is to our determination, as I recall. It’s a challenge: would you like a Rubik’s Cube to be easier, if you were a solver of Rubik’s Cube puzzles? No, don’t. Especially in hindsight once it’s resolved. I don’t really regret anything we did.

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