6. "White House Visit" (season 5, episode 9)
"This cue opens the final eight episodes of the series, and is a flash forward. It follows Walt returning to his family home in a bleak future in which it is abandoned and vandalized. Since it is very important in these scenes not to give anything away from the story, I concentrated solely on the range of emotions that Walt goes through as he walks through the house. The cue starts melancholy, then slowly shifts to anger as he takes in the extent of what has become of his family’s home. Next, the tone changes to determination and resolve as he retrieves the hidden ricin, and finally ends on the shock of his own reflection in the broken mirror, at what he has become."
7. "Gas Can Rage" (season 5, episodes 11 and 12)
"One of the greatest things about working on Breaking Bad is that because the story is constantly evolving, so is the music. While the majority of the score I’ve written over the past six years has been purposefully understated, having the story reach its conclusion and the plot boil over has given met the chance to make some bolder choices in this final season. 'Gas Can Rage' is an example of that. The genesis of this cue was a piece of music that I wrote underneath Jesse tossing his money out of his car window in the previous episode. These cues are all in a meter of five, with the intention of having them feel a bit unexpected and off-kilter. Emotionally, I wanted to reinforce the raw and primal anger that Jesse feels towards Walt."
8. "Dimple Pinch Neat" (season 5, episode 15)
"The final cue in the penultimate episode of the series ends with a statement of the show’s main title theme, something that has never previously appeared in the series. Writer and director Peter Gould has said that the episode was about nearly everyone hitting rock bottom, and that in Walter White’s case a huge part of that is finding himself in this most desperate of situations. Even his Heisenberg persona has let him down. This is purely my own interpretation, but I view Walt’s transformation as complete when he hauls himself off the bar at the brink of turning himself in. He no longer needs the hat or the persona. There is no longer a differentiation between Walt and Heisenberg. And since the show’s theme has always been designed to preface that occasion, it seemed like the ideal moment to bring it into the story."
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