Bob Odenkirks Long Road to Serious Success – The New York Times

    “maybe the camera should not move until i touch the urn?” odenkirk suggested.

    “yeah,” replied gilligan, “but first let’s perfect this version, where we see it before you. that’s how the coens would do it, and I love those guys.”

    Reading: Bob long road serious success

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    Like the Coen Brothers movies, “You Better Call Saul” is a show about bold schemers, some of them drug lords, some thieves, some hit men, some policemen, a vet, and a lot of lawyers, who They put elaborate plans into action. that those of us at home are routinely kept in the dark, letting them guess where they’re headed.

    saul is first and foremost a rhetorical safecracker. odenkirk realized early on that practically every time the character speaks, his goal is to charm people with a clever word spell until he gets what he wants. “He’s trying different tactics, looking at the person he’s talking to, going down a path, seeing if he’s working,” Odenkirk told me. But one of the dramatic tensions of “You Better Call Saul” is that his mouth rarely stops running when he should, even when he gets him into trouble. “It’s almost like he thinks the more complicated his scheme is, the better,” Odenkirk said. “As Huck Finn: I know how we’ll sneak into the house: First, you pretend to be a widow. …” Odenkirk laughed. “Like, wait, why don’t you just go through the window?”

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    However, filming that night required more than just verbal acrobatics. gilligan showed me an ipad with a schematic of the set, on which he had diagrammed odenkirk’s circular path through the house and the camera angles he devised to capture it. “I think it’s going to be a very shocking and daunting sequence for the audience and one that doesn’t have the benefit of dialogue,” Gilligan told me. “Bob doesn’t say a single word, and he’s known by his mouth,” but “he really became indispensable to this show because we realized there’s so much more to him than his mouth.”

    Like its predecessor, “Better Call Saul” is about a man who stumbles down to his worst possible self, and finds that descent irresistible compared to a simple, narrow life, as Henry Hill puts it. . at the end of “goodfellas”, like “a schnook”. or, as saul himself says at the end of “breaking bad”, as “yet another idiot with a job and three pairs of longshoremen”, managing “a cinnabon in omaha”. One of the darkest “better to call Saul” jokes comes in a series of flash-forwards, when we discover that, after fleeing New Mexico, Saul lives under an assumed identity in Omaha, overseeing a Cinnabon food court, a drab and joyless existence, shot in black and white.

    Both shows feel like updated westerns, depicting anarchy on the old frontier of an empire now fading. and both suggest that the urge to cheat, cut corners, and run over fools, if not directly harm them, is far from an aberrant pathology in American identity, but rather a constitutive force. one of the most provocative implications of “better call saul” is that jimmy’s truly unforgivable transgression is not that he behaves unethically, but that he behaves like a rude underdog: he drives a yellow junk car, wears flashy suits, and has no the decency to wash your selfish behavior behind a fancy law school diploma.

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