Breaking Bad Star Giancarlo Esposito Keeps The Cast Of Dead Gus Fring In His House
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Warning: This article contains 10-year-old spoilers for Breaking Bad and some graphic images
It was one of the most iconic scenes from one of the most iconic series ever made, and just like most of the deaths in Breaking Bad, Gus Fring's was pretty brutal.
Fans last saw the Los Pollos boss and drugs kingpin stumbling out of Hector Salamanca's hospital room after having been blown to hell, with half of his face missing. Yikes.
It's an image that sticks with you, even all these years later.
But speaking to gangster flick legend Chazz Palminteri on his podcast, the actor who played Gus, Giancarlo Esposito, revealed that he still has the cast of himself that was used to make the gory prosthetics for that scene.
The 63-year-old said: "Four-and-a-half-hour make-up, Chazz, I sat in the chair. Done by a guy named Howard Berger.
"It was make-up, it was a prosthetic, so I have a bust of myself."
Esposito then popped into another room to grab said bust.
He told the host: "It used to be in my daughter Ruby's room for a long, long time and then she walked in and went, 'Aarggh!' She was so freaking scared, so I boxed it up and put it away.
"So this is the cast of my head and shoulders, and they used this to make the prosthetic that they put over here.
"So that was all prosthetic and they applied it, and then afterward, they did do CGI, where they made the mouth, if you remember, at the end, the mouth moved, right, the inside of my jaw.
"That's the only piece of this that was CGI, everything else was four-and-a-half hours of application. How about that?"
Giancarlo was then asked about his favourite scene from the series.
He singled out a nail-biting moment in season four opener 'Box Cutter' where Gus looks like he's about to violently kill Walt and Jesse, but ends up murdering his henchman Victor instead.
He said: "I love 'Box Cutter', and there's a reason I love it, because if you're an actor, and you come from theatre as I do, 30 Broadway musicals, 10 plays, there's something about pauses.
"And in the theatre, we used to talk about Harold Pinter, and the Pinter pause, also in Godot, Waiting for Godot, there are long pauses where you wonder what the actor's doing.
"It leaves space for the audiences, and that's part of how I created Gus. I would look and listen before I spoke. I would check someone out, which makes people uncomfortable. That was something I used.
"So for me, 'Box Cutter' is excellent because there are no words. You know, you see Gus and he comes down into the superlab and he says nothing, he starts looking for something.
"First he goes and changes his clothes and he gets into the fishing gear. Then he start looking for something, right in front of these guys who are sitting there tied up.
"There's no words ever said until the end. He does the deed, he goes back and washes off, he changes his clothes back, he walks back up the stairs, then turns around and says, 'Get back to work'.
"Those are the only words, 10 minutes, so to me, it's my favourite."