Univisión anuncia versión latina de ‘Breaking Bad’
Univisión ha anunciado este viernes que prepara una versión latina de Breaking Bad sin el permiso de Sony, estudio que debería dar el permiso para cualquier adaptación de la serie de la cadena AMC, y que en este caso no lo ha concedido.
Lo que SÍ existe es un piloto latino de la serie, de carácter exclusivamente interno, para venderlo en el mercado latinoamericano –la serie ni siquiera se llama Breaking Bad: su título es Metástasis–, pero en modo alguno han cerrado ninguna clase de acuerdo.
“Hemos hecho un piloto para una versión hispana de Breaking Bad, pero no está en desarrollo con Univisión ni nada parecido”, informaron fuentes de Sony a The Wrap.
Gus: Orale, vuelvan al trabajo huevones, ganense la plata
Jesse: La rechida vaina, déjeme el sesular Sr Blanco, debo platicar con la virgensita de guadalupe
Hank: Maria Dolores Fuentes, haga la sena ya, nesesito mis burritos ahorita mismo carajo!
Mitsui escribió:
Gus: Orale, vuelvan al trabajo huevones, ganense la plata
Jesse: La rechida vaina, déjeme el sesular Sr Blanco, debo platicar con la virgensita de guadalupe
Hank: Maria Dolores Fuentes, haga la sena ya, nesesito mis burritos ahorita mismo carajo!
On a crisp January morning, the Breaking Bad crew huddles against a concrete spillway in Albuquerque. They're here to get one shot: It's at this location where Jesse will come to a decision that, as the episode's director Michael Slovis tells me, "pushes all the stories forward" in the final eight episodes. But first, the sun has to rise.
Aaron Paul emerges from his trailer wearing a fur-lined parka, which he'll shed before filming starts. (Gennifer Hutchison, the episode's writer, explains that the show maintains a constant "spring" look, meaning the actors always wear light jackets. "So in the summer they're sweltering," she says, "and now they're freezing.") His hair has grown longer since last we saw him, as has his beard. "Jesse's so haggard," Paul laughs. "I feel bad for him."
"We've got sun!" a crew member shouts, sparking a frenzy of activity. Paul quickly sheds the parka and positions himself on top of a crate. At his feet is what Hutchison calls the "smallest circular track ever," which will carry a camera 360 degrees around Paul as the scene develops. Slovis calls "action" and Paul's demeanor instantly shifts as he becomes Jesse, right before everyone's eyes.
Between takes, the police allow traffic to pass along Juan Tabo Boulevard (coincidentally home to the late great Gale Boetticher). Some drivers honk their horns; others open their windows and shout "Yeah Breaking Bad!" The crew has noticed more and more of this as the seasons have progressed. Whereas once signs directed crew members to shooting locations using the iconic Breaking Bad periodic table logo, now they use more obscure arrangements of letters -- code, I'm told, to prevent locals from stealing the signs. "I think everybody in Albuquerque watches Breaking Bad now," Paul says.
The final shot of the morning takes place across the street, where Jesse appears as just a small speck against the concrete edifices that look like tombstones. Camera Operator Andy Voegeli is perched 10 feet above the ground on an enormous tripod. Between the camera and Paul, a street dead-ends into the dam with left- and right-turn only arrows painted onto the lanes. "I love this shot," Slovis says of the panorama. "It's like Jesse could go either way."
Whichever way Jesse goes, Paul at least is finished for the day. The production quickly packs up and heads to its second location: A family-style Mexican restaurant where red and green bare light bulbs hang from the ceiling and the wait-staff sport Cozymel blouses and long purple skirts -- so kitschy it just has to be real.
Originally, the script called for the Whites (Skyler and Walt) and the Schraders (Hank and Marie) to meet at a national chain restaurant. But last-minute cold feet on the restaurant's part forced the production to find a new location -- a turn of luck that Line Producer Stewart Lyons couldn't be more thrilled about. "I'm a big believer in happy accidents," he tells me. "Look at this place. It's a family restaurant with just that little twist that makes it uniquely Breaking Bad."
Also present in the scene will be over 60 extras -- waiters, busboys and most importantly, families -- all enjoying a pleasant outing while the White family sits through yet another of the show's now-signature family meals nearby. "That's the whole point," Hutchison tells me. "They're surrounded by families."
Of course, having all those people eat and interact with each other while trying to pick up whispered dialog presents certain challenges. As the extras take their seats at tables throughout the restaurant, First Assistant Director Nina Jack addresses them: "I'm going to ask you to do one thing," she says. "It sounds easy now, but it's going to get really hard later on: No talking." Throughout the scene -- and for the rest of the day -- the extras will be eating, smiling, laughing and chatting with each other all in complete silence.
The cameras are set up on a stage separating the dining area from the bar. Typically, the stage would be set for a live band, but in a bizarre role reversal the stage is ready to watch the performance in the audience. When the cast arrives, the extras cheer. Bryan Cranston walks around the tables introducing himself. When he gets to a family with two young boys, he pretends to sneeze in their food.
The actors take their seats while Arthur Albert -- filling in for Slovis as this episode's Director of Photography -- measures light levels. Dean Norris is seated across from Bryan Cranston; Anna Gunn faces Betsy Brandt.
When Slovis yells "Action," the principal actors drop into character. The background actors begin silently mouthing to each other, smiling and taking bites from their meals. They've begun what will become an eight-hour marathon performance of four pages of script.
A Day on the Set of Breaking Bad - Part II
Over lunch, Michael Slovis tells me that the seriousness and heightened stakes of these final episodes of Breaking Bad has had a noticeable effect on the crew. "This set is usually a very congenial, easy-going place to work," he says. "Now there's a wistfulness that indeed we're in the last episodes, and after this we're all going to go our separate ways."
What's more, he says, there's a stress level that comes with a desire to stick the landing; to make sure the ending is what the writers envisioned and the fans are hoping for. "It's been the credo of this show to not leave any open ends at all," he says. "Everything gets summed up. All actions have consequences, and every action will be met with an even greater reaction. So something you saw in Season 3 and maybe forgot about may just resurface in Season 5."
Endings are indeed on the forefront of peoples' minds. Between takes, Anna Gunn wipes a tear as she tells me, "It's been so intense. I feel like my head is going to explode." Aaron Paul swears he's OK for now, but knows that when the wrap date gets closer, "I'm gonna be a mess." Bryan Cranston admits that after six years and sixty-two episodes, he could even go for another season -- "But I respect Vince Gilligan's decision not to draw the story out and dilute it," he adds. "And now that it's ending, every episode is just..." Here he slaps his hands together and then shoots his right arm forward, mimicking a car speeding away at full throttle.
By late afternoon, cast and crew are in a rhythm. The cameras have moved from the stage to the floor and are circling the cast like prey. They'll focus on one character for a number of takes, then Slovis will cut and reposition on the next character to do it all over again. Throughout, Hutchison watches each performance and gives notes. Even though the scene's been acted out dozens of times, it's not until she sees an actor's face close up in a monitor that she can truly gauge how a line is being delivered.
Slovis calls cut and the action stops. Outside, lighting techs are shining huge lights through the windows to replace the fading daylight. Bryan Cranston doesn't even notice the switch. "It's like a casino!" he tells me when I remark how natural the streaming rays look.
The extras -- even the ones who paced themselves -- are becoming visibly exhausted at the sight of the food in front of them. Dean Norris leans back in his chair and stretches his arms wide. "Guys," he announces, surveying the restaurant, "the good news is we're about a third of the way done." Everybody laughs.
Albert and Slovis take a seat in "video village" -- where director's chairs face an array of monitors that stream the camera angles. They're two veterans enjoying a brief respite from the frenzy. Tomorrow, production on the episode will wrap and Albert will leave Albuquerque for another job while Slovis resumes his duties as DP. "We're both due for new adventures," Albert tells Slovis.
"That's the way I look at it," Slovis agrees. "I'm looking forward to seeing what doors open for me."
That is, after one more door opens -- or rather bursts open. It's the following day and the crew is back to the relative comfort and ease of Albuquerque Studios, where Breaking Bad resides across two different sound stages that house the White house, Jesse's house, portions of the car wash, remnants of the Superlab (RIP) and Saul's office among other interior sets.
The level of detail in the sets is astounding: Sitting on Saul's desk (in front of the infamous U.S. Constitution wallpaper) are stacks of legal briefs all with Saul's name on them. Hanging on the wall is a fully-written newspaper article extolling the virtues of one of Albuquerque's finest litigators. Stewart Lyons explains the reason is two-fold: First, the era of HDTVs has fundamentally changed the way set designers approach their craft: "It used to be you could get away with less detail," he says, "now everything has to stand up to scrutiny." The other factor is Vince Gilligan's meticulousness. Even if viewers can't see it, Gilligan wants the details done right.
Slovis needs to film only one more scene to complete his episode: one of the lead actors kicking down a door (you'll have to wait 'til this summer to find out which actor, and which door). The construction crews have prepared the door and Slovis has positioned the camera low inside the room. Though I'm standing behind the camera, I'm asked to leave -- they're not sure exactly how many splinters the doorframe will break into or which way they'll go, so it's safer for me to be behind the monitors.
Off-camera, the actor begins grunting loudly, psyching himself up. Slovis asks if he's ready; the actor grunts louder: He's ready. Slovis yells "Action!" The door explodes on its hinges as wood splinters indeed fly everywhere. The actor storms into the room. The cameras cut. "There's one for [his] action reel," Slovis laughs.
And just like that, the episode is in the can.
Dentro de varios días pondré mas cosas, para hacer más amena la espera xD
Eres muy malo Mitsui me haces usar un traductor para enterarme jajaja si lo se el ingles y yo nos llevamos mal xD Cada vez tengo mas ganas de que empieze y espero que sea una serie para recordar.
Estare atento por si pones mas cosillas xD Sobre la imagen jajaja son todos clavaos y hay tienes to el resumen de lo que llevan echo , aunque hay personajes que ahora mismo no asimilo xD
Walt con los ojos cerrados, con las manos en esa peculiar posición...parece estar en un ataúd. El libro puede ser la causa y la calavera refuerza esa idea de muerte. Ahora bien, ¿Jesse hace de verdugo? ¿de sucesor?
I will, Walter, be sure I will remember your name!
Joder que ganas. A parte del suceso del baño, creo que también tendrían que explicar un poco como es que Walter ha dejado su trabajo, si es que lo ha dejado, y cómo se lo ha tomado Lydia que su negocio se haya acabado así de primeras. Eso no me acabó de convencer.
