I did every odd job you could possibly imagine: Holding a sign in the rain for 14 hours straight, sweeping up cigarette butts, pouring coffee, running around - anything I could to be on a film set. I wanted to be in the business. So I'd say, 'You need that job done? Fine,' and I became indispensable to people.
In 'Breaking Bad,' we have a lead character who definitely finds himself in a situation he would never have expected to find himself in normally.
After I directed for the first time, I wanted to call every director I'd ever worked with and apologize. In television you are tasked with shooting 42 minutes, or whatever, in eight days. That's not a lot of time.
I approach an action sequence almost like a mathematical problem. Sometimes you get these action sequences that you read and go, 'Oh my God, this is huge, how do I do it?' and I go, 'Just a step at a time. Sit down and plot each piece of it out.'
I really want to be part of things from the ground up wherever possible. Not to say that I'm not open to being a gun for hire - I am, absolutely - but I really enjoy developing.
A montage is incredibly challenging. When I can, I'd like to know what the music is going to be ahead of time because that will affect the beat, the pace of the montage.
My feeling is, from when I started on 'Breaking Bad,' there's no reason to pick and choose because every episode is great. Whatever episode you get, you're lucky to do it.