00:00I love my crew. I love the crew, many of whom I've been working with since the early days of
00:07Breaking Bad. That means almost 20 years.
00:23I'd like to start from the genesis of the series. How did you come up with the idea
00:27for this wonderful and scary story? Thank you, Antonio. Nice to meet you, and I appreciate that.
00:36About eight or nine years ago, I started thinking about this show. I don't know where the idea came
00:41from exactly, but I know I had just started working. Peter Gould and I, my partner on Better
00:46Call Saul, had just started working on that show, and we're having a good time, but during our lunch
00:52breaks every day from the writer's room, I would wander around the neighborhood around our building
00:58in Burbank, California, and I would daydream about a character, a male character, who everybody was
01:07very nice to. Everybody loved him, and they were kind to him, and no matter how mean he could be
01:13to
01:13them, they would still love him and would do anything for him. And I thought, why does that
01:20fascinate me? And still to this day, I don't understand, but I thought to myself, maybe there's
01:25a TV show in this. And as the months went by, and I started to flesh out, you know, the
01:32story,
01:32the first thing I had to ask myself was, why would everybody be so nice? I had to figure that
01:36out
01:36plot-wise. Then I started to think, you know, I really like this actor we're working with, Ray Sehorne.
01:44She's so good, and I like her so much, and she's so dramatic, but she's so funny. She can do
01:51everything. And I thought to myself, you know, why do I have to write a show about a man? Why
01:56can't I
01:56write a show where the woman is the protagonist? So that's sort of where it came from. And I'm so
02:02happy that Ray is our star. She is so good, I can't even tell you. I'm so proud of her.
02:09Part of the series is set in Albuquerque. So you went back there after Breaking Bad and
02:16back in Super Soul. Why is that? How do you choose your locations? Very simple, very boring reason. I
02:23love my crew. I love the crew, many of whom I've been working with since the early days of Breaking
02:30Bad. That means almost 20 years. But I love the crew in Albuquerque. They know me very well. I know
02:37them very well. We have a shorthand. We have a very instantaneous communication.
02:45I like working with people that I like, and I like working with people who know how I work,
02:50and I know how they work. We don't have to waste a lot of time talking through things. I can
02:55say
02:56to, for instance, my special effects creator, Werner Handlein, I can say,
03:02I wanted the explosion we want to do here. I want it like in episode blah, blah, Breaking Bad,
03:08and he'll say, got it, and then he'll go off and do it. It saves so much time, and also
03:12I wanted to
03:13keep these folks working. And so that's why Albuquerque, I was resistant to the idea of shooting
03:19yet again in Albuquerque. It seemed like potentially a pitfall instead of a benefit. But then I thought,
03:26I love this crew, so I'm going to, I'm just going to go ahead and do it.
03:31Talking about music, instead, we have an intriguing selection of songs for the end titles. Can you
03:39tell me something about these choices?
03:42I am so lucky. The two gentlemen who are more responsible for the music than anyone else
03:50are Dave Porter, our composer, and then Thomas Goliabich, our music supervisor. I have been
03:56blessed to be working with Dave and Thomas now since almost 20 years now. They worked on Breaking
04:02Bad. They worked on Better Call Saul. Yet again, Dave composes the music for Pluribus. Thomas Goliabich
04:09finds the music, the pre-existing music. But Thomas and Dave is doing the best work of his career,
04:15I think, of Pluribus. I love his composed music. For the first time ever, Dave gets to work with real,
04:22honest-to-goodness orchestras and choirs. He's working with real human beings in Scotland and in
04:29Vienna, Austria. And that's been wonderful. And then Thomas Goliabich is doing the best work of his
04:37career because he is now, not only is he finding pre-existing songs that are wonderful for Pluribus,
04:44he, we have now the time and the budget, thanks to Apple television, Apple TV, we have the time and
04:52the
04:52budget for Thomas to go out and basically commission songs. So some of those, I'm glad you picked up on
05:00that because some of those songs at the end of episodes of Pluribus were created specifically for
05:07Pluribus. They are known pop songs, except done in languages, you know, typically American pop songs
05:15that we're doing in Turkish or we're doing in Portuguese. And I love that. To me, it helps
05:24the audience understand that this is intended to be a show about the world and not just where it takes
05:31place in the United States. And I want it to be a show that everyone on earth can hopefully enjoy.
05:39And the music selections are a big part of that. Thank you so much. And again, congratulations.
05:47Thank you so much. Nice talking to you. I like your officer. Very nice.
05:50Thank you.
05:58Puoi alzarti quando desideri, Carol.
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