Series composer Dave Porter uncovers the geographical influences on his music and his uncanny ability to predict the season's ending through sound.

Q: It feels as though the Southwest is a big influence on the score.

A: Definitely.

Q: Have you spent much time in the desert?

A: I actually haven't, outside of a few solitary journeys to Joshua Tree. But that plays into how I feel about the desert. I'm an East Coast kid, and what I love about the use of the desert in the show is that it seems so beautiful, and yet so inhospitable and alien at the same time. It's similar to how I feel about the ocean. It's an easy conduit to internal self-examination because you're forced to go there by the magnitude of what you're surrounded by.

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Emmy-award nominated cinematographer Reynaldo Villalobos (who also shot Risky Business) talks about shooting bright vistas and dank basements for AMC's exclusive interview.

Q: How did you enjoy shooting Breaking Bad?

A: It's a funny question you say "enjoy" because that's my work. When you're working you don't enjoy you're working. You're just always solving problems and trying to make the lighting fit the story, etc. Enjoyment never comes until maybe months later and you look at the product and go, "Oh yeah, that worked," or "Man, that didn't work."

Q: Was it intimidating to take over for Oscar-winning cinematographer John Toll, who shot the pilot?

A: No. He's a friend of mine. We used to work together so we came from the same place. And I know exactly what he's doing when I look at the show, and I do the same thing. We have the same way of looking at things already. So I just looked at it, great, and then you're off and running. Theoretically you're kind of doing the same things, but then the show is changing, so you've gotta change with it. The harder part is that pilots usually have twice as much time to shoot. So you try to maintain the quality with less time.

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