Cranston: He’s remarkably calm. I always look for someone who has a clear vision, and yet is malleable, so that the vision isn’t set in stone, rigid, ‘my way or the highway’ kind of thing, which you do run up against sometimes. I think it would be shooting yourself in the foot, because the triumvirate of writer, actor and director is what you want. You want everybody working at that level, so by having a director who welcomes dialogue, in this case from the actor to director, ideas, input and that sort of thing, and embraces it, then it just spawns more of that. It gives actors a sense that they are valued. Not just that, ‘You know, you can do this and step here,’ but that your opinions are valued coming in. So, before I even signed on, I had two very lengthy conversations over the phone when I was still shooting Breaking Bad. At first I was a little reticent, just because of the overall nature of it, and I think I was also feeling a little bit of, ‘Oh, I have to protect this now,’ because I was coming off of a very well-written show with a very compelling storytelling, that it’s going to be compared, whatever I do. Then I thought that I didn’t want to be a prude about it either. I want to be able to embrace the largness of it, the uniqueness of it, and the fun! I don’t want to say, ‘Oh no no, that’s not high-brow in any regard!’ But what won me over is the story-line and Gareth’s commitment. He came after me, we talked, and I told him the initial problems I had with the script, and then we started talking some more, and then pretty soon, if you are not careful, as an actor you start to take ownership of it, and then you are sunk.