Both with that and the one where he’s going for the shotgun, where Hank’s going for the shotgun, we got this special rig. So the camera’s on a techno crane that arms out to make that move and then we got a periscope lens which is this long periscope that lets you get the lens right down at ground level and move along the ground. And that ended up being really useful.
- Rian Johnson

There’s a thing–it cuts away from it pretty quick, but I like how it lined up there. When he’s pointing the gun at Dean’s head it’s also pointing straight at Walt’s heart when he’s in the background
- Rian Johnson

This was something that Dean came on the day and the one thing he said to me about this scene was, “I’d really like to have just a moment to myself before he pulls the trigger. One moment where it’s not engaging with Walt and it’s not looking up at the Nazis, where it’s just Hank kind of gathering himself and that moment of dignity.” And then he does it and it’s a really beautiful moment. At the end I think he goes out with quite a bit of dignity.
- Rian Johnson

This side of the conversation, with Anna, was shot about a month previous. We shot this when we shot the rest of the episode.
- Rian Johnson

We shot her packing the crying clown in several different positions so that I could do a direct match-cut from Walt’s position. So if you look when it cuts from him standing in the desert to the crying clown they’re in the exact same position.
- Rian Johnson

Q: Walt Jr. (RJ Mitte) didn’t just find out the truth in this episode, he took charge of a dangerous situation and called 911. Was that his reward for having to wait so long to be in the know?

It’s so entirely tragic for him as the scales drop from his eyes and he tries so very hard to continue to believe in his dad and continue to not accept the truth. And it’s such a powerful moment for the character when you have [director Rian Johnson’s] forced perspective on the shot from Walt’s POV of Skyler and Junior sitting on the floor and he’s protecting his mother. In that moment, here’s the pivotal thing: Not only does he pick up the phone and call the police, which means he understands that his father is the enemy, but he lies to protect his mom. And that’s the turning point for Junior and that’s the turning point for Walt, where he realizes he’s lost his family and he grabs Holly, which is the last little piece that he thinks he has left.
- Moira Walley-Beckett

Q: What was the most challenging thing to get right in the episode?

Walt’s speech was really a challenge, how to lay the track for the subterfuge for the lie, finding all the beats for when you think Walt just slipped and become a Heisenbergian monster on the phone, to dropping in the little moments of Skyler’s rage and indignation, and the process of the lie, and Skyler’s acceptance of the lie. That was a really tricky scene to write. But it was all kind of tricky because it was so fraught emotionally. There wasn’t any downtime in this episode.
- Moira Walley-Beckett

Walt snaps the phone in half and removes the battery exactly how Gus did in Season 3 Episode 8 “I See You”

The fire station is only 5 miles from the actual location of Walt’s house

The Koala Kare changing station is also seen in Season 5 Episode 1 “Live Free Or Die”

We did not know the product would air in last night’s show. I’m a fan of the show and watched as our logo came into frame on the screen. The writing, acting and cinematography on the show is unparalleled and last night’s episode did not disappoint.
- Bonnie Yatkeman, Koala Kare’s marketing category manager

When Mad Men mentioned Hershey’s during Don’s brothel, the cast members were sent boxes full of product. Yatkeman revealed that her company too has something up its sleeve

Our commercial (and beautiful) baby changing station may not be the gift the cast is craving, but we have other thoughts in mind.