8 Things We’ll Sorely Miss About Breaking Bad When It Draws To Its Conclusion

5) The Impeccable Cinematography

From time-lapses to POV shots, every episode of Breaking Bad is infused with a rich and heavily stylised sense of imagery; an all style, all substance means of approach. The result is a visceral viewing experience that is hard to tear your eyes away from. And though he isn’t the sole instigator of the show’s visual language, much of this elegant camerawork can be attributed to Breaking Bad’s cinematographer and recurring director, Michael Slovis. Having joined the show mid-way through season one, Slovis has choreographed much of the visual storytelling – which is artfully captured using 35mm film.

From drug-induced hallucinations to frenetic handheld sequences, each take in Breaking Bad dovetails masterfully with the context. Perhaps the one factor that helps retain the power of these shots is their scarcity. If the risk of novelty is overuse, then Slovis and his VFX team air on the side of efficiency; for every time-lapse and wide shot serves the story organically, rather than feeling like a clichéd quirk. It’s a testimony to the meticulous detail that the director of photography encourages, and it’s a formula that Vince Gilligan doubles down on. For instance, Season 3’s much-loved bottle episode “Fly” is a fantastic example of an episode that is resourceful, visually astute, and all the more gripping for its minimalistic approach. In this sense, the show’s production value and attention to detail is almost unparalleled. A repeat viewing of any given episode allows you to pour over the minutia with a fine-toothed comb, unearthing clever plot devices and foreshadowing motifs as you go –the pink teddy bear that fell from the doomed flight 737, anyone?

With that said, it’s in the harsh terrain of the Albuquerque outback where the show’s astute visual language really comes to the fore. With the desert as his proverbial palette, Slovis utilises a bold, almost glaring use of light to emphasis the unforgiving nature of the surrounding terrain. It’s an environment that the illustrious DP has wholly embraced, resulting in an impeccable sense of place that is knowingly reminiscent of cinematic auteur Sergio Leone – the Italian godfather of the Western genre.

The atmospheric yellows, the striking meth-tined blues; heck, even Marie’s obsession with purple has become a recurring motif. Above all, though, these stylistic tendencies layer the show with added significance. From the aforementioned, perfectly executed desert scenes, to the montage sequences which, in particular, illustrate the manufacturing of crystal meth with such precision, you almost have to remind yourself that it is, in fact, a dramatisation.

You know, whenever someone asks you what makes Breaking Bad so special, it’s easy to praise the phenomenal acting by the central cast coupled with the riveting story. With that said, perhaps one undervalued element that absolutely sets the show apart is the at times flawless cinematography.