The Cinematic Magic of Better Call Saul: Why It’s the Best-Looking Show on TV

When “Better Call Saul” premiered in 2015, it had some big shoes to fill. As a spin-off of the critically acclaimed “Breaking Bad,” expectations were sky-high. But over the course of its six-season run, “Better Call Saul” has proven itself not just a worthy successor, but a masterpiece in its own right. And a big part of that success? The show’s absolutely stunning visual style.

In this deep dive, we’re going to explore why “Better Call Saul” isn’t just great television—it’s a visual feast that puts most movies to shame. From its cinematic presentation to its noir-inspired lighting and playful camera work, we’ll uncover the secrets behind what makes this show the best-looking series on television.

So grab your favorite snack, settle in, and let’s embark on this visual journey through the world of Saul Goodman. And remember, in the immortal words of the man himself: “It’s all good, man!”

Setting the Stage: A Spin-off That Spins Gold

Before we dive into the nitty-gritty of cinematography, let’s take a moment to appreciate the sheer audacity of “Better Call Saul.” Spinning off a beloved character from one of the most acclaimed shows ever? That’s a risky move. But creators Vince Gilligan and Peter Gould didn’t just play it safe—they doubled down on quality.

From the razor-sharp writing to the gripping performances (Bob Odenkirk, take a bow!), “Better Call Saul” is a masterclass in television. But today, we’re here to talk about what you see on screen. Because, let’s face it, this show looks different. In the best possible way.

Chapter 1: More Than Just TV – The Cinematic Presentation of Better Call Saul

Have you ever watched a show and thought, “Wow, this doesn’t look like TV at all”? That’s the exact reaction the creators of “Better Call Saul” were going for. According to cinematographer Arthur Albert, Gilligan and Gould were adamant: they wanted “Saul” to stand out visually from the crowded TV landscape.

But how do you make a TV show look like a movie? Simple: you shoot it like one. As DP Marshall Adams puts it, “Vince from the very beginning of ‘Breaking Bad’ really shot that show as a feature in a feature film style. He wasn’t going to pander to small screens.”

Drawing from the Masters: Bertolucci and Coppola

When it comes to visual inspiration, the “Better Call Saul” team didn’t mess around. They looked to cinematic giants like Bernardo Bertolucci, particularly his film “The Conformist.” What’s so special about Bertolucci’s style? It’s all about unconventional framing.

Peter Gould explains: “There are some very unusual, striking compositions where characters will not be framed the way one would expect. It’s not classical good composition, but the compositions all had good meaning.”

Take the season one finale, for example. Gilligan points out a shot where Jimmy (Saul’s original identity) is placed low and to the far right of the frame, with a massive building looming in the background. It’s not your typical framing, but it perfectly captures Jimmy’s mood and inner turmoil.

And then there’s the influence of Francis Ford Coppola, particularly “The Godfather.” What did they borrow from this cinematic classic? Patience. As Gilligan puts it, “Coppola had the confidence to hang back wide and not cut until it was damn well time to cut. ‘The Godfather’ teaches you restraint. We try to emulate that on ‘Better Call Saul’.”

This means long, wide shots that let scenes breathe. It’s a bold move in an age of rapid cuts and close-ups, but it pays off. As cinematographer Paul Donachie notes, “You actually listen to the dialogue more intently watching these wide shots… rather than cutting from close-up to close-up to close-up like you would in a regular show.”

The Tools of the Trade: Cameras and Lenses

Of course, to get that cinematic look, you need the right tools. “Better Call Saul” doesn’t skimp here. According to Adams, they use a variety of cameras, all “Panavised”—that is, modified with Panavision accessories. Pair these with top-notch lenses from Angenieux, Zeiss, and Panavision, and you get images that scream “big screen.”

Chapter 2: Shadows and Light – The Noir Influence in Better Call Saul

Now, let’s talk about one of my favorite aspects of the show’s visuals: its noir-inspired lighting. If you’re not familiar with film noir, it’s a style from the ’40s and ’50s that often deals with the criminal underworld. But what really sets it apart is the lighting—high contrast, with bright lights and deep, deep shadows.

Why does this work so well for “Better Call Saul”? Because just like those noir anti-heroes, our man Saul (or Jimmy, or Gene) is always wrestling with moral dilemmas. The lighting mirrors his inner struggle.

From Hopper to High Contrast

One key inspiration here is Edward Hopper’s painting “Nighthawks.” Gilligan loves it: “We love that image of an island of light surrounded by an ocean of darkness. Two lonely people sitting at a counter drinking coffee, surrounded by loneliness and gloom. We’ve emulated that shot a great many times.”

And as the show’s subject matter darkens over the seasons, so does the lighting. But how do you achieve this without it looking artificial? The secret is in the light sources.

The Power of Practical Lights

In “Better Call Saul,” they often rely on what’s called “ambient light” (any light not brought in by the crew) and “practical lights” (lights you see in the shot, like lamps or neon signs). As Adams explains, “I’ve really gravitated towards much more kind of natural-looking stuff. Things that feel like they’re driven by a practical in a much more naturalistic way.”

But working with less light can be tricky. That’s where advanced digital cameras come in. With each season, they used more sensitive cameras that could handle low-light situations. By season 3, they were using the Panasonic Varicam 35, which can shoot at a whopping 5000 ISO without much grain.

This tech was a game-changer, especially for those wide night shots where you can’t hide extra lights. As Peter Gould puts it, “This technology enabled Marshall to use a combination of our lights and the light out in the world to create a beautiful available light look for night. A look that wasn’t like anything we’d seen before.”

And here’s a pro tip from Adams: focus on the eyes. “I feel like you can get away with a lot less light on somebody’s face if you have a little twinkle in their eye.” It’s these little details that make the darkness in “Better Call Saul” not just dark, but emotionally resonant.

Chapter 3: From Drama to Comedy – The Playful Camera Work of Better Call Saul

Now, I know what you’re thinking. “All this talk of noir and darkness—isn’t ‘Better Call Saul’ supposed to be funny?” You’re absolutely right. One of the show’s greatest strengths is how it balances gut-wrenching drama with moments of pure comedic gold.

And a big part of that balance? The camera work. As Peter Gould says, “There’s a comic element to both shows, and we always say that it’s a little bit like peanut butter and chocolate. They make each other taste better. The drama makes the comedy funnier, and the comedy certainly makes the drama more dramatic.”

Cameras in Crazy Places

One way they inject humor through visuals is by putting cameras in the most unexpected places. As Gilligan puts it, “As a storyteller, Vince has always wanted to get into places that you wouldn’t normally be able to put a camera.”

We’re talking mailboxes, cup holders, and yes, even talking toilets. (“Fill me up, Chandler. Put it in me.” Never forget.) These unconventional angles add a layer of playfulness that keeps the show from getting too heavy.

To pull off these quirky shots, they use compact cameras like the Sony A7R II or Blackmagic Pocket Cinema cameras. Small, but mighty.

Framing for Laughs

But it’s not just about where the camera is—it’s about how it frames the action. Ever notice how during one of Saul’s outbursts, he’s often tiny at the bottom of the frame? That’s not an accident. It makes his grand declarations (“I travel in worlds you can’t even imagine!”) even funnier.

Or those low angles that make Saul look like a sardonic hero, even when he’s in way over his head. It’s visual comedy at its finest.

Tying It All Together: The Unique Visual Language of Better Call Saul

So, what makes “Better Call Saul” the best-looking show on TV? It’s not just one thing—it’s the way all these elements come together. The cinematic wides inspired by westerns and “The Godfather.” The noir lighting that echoes Saul’s moral grey areas. The playful camera work that keeps us laughing even in dark moments.

It’s a love letter to classic cinema, from Bertolucci to film noir to visual comedy. But it’s also thoroughly modern, using cutting-edge cameras and lenses to achieve looks that would’ve been impossible a decade ago.

And let’s not forget the meticulous planning. As Adams notes, “Vince has envisioned every moment that he wants.” That level of foresight is why every frame feels intentional, meaningful.

In a world where so many shows look the same, “Better Call Saul” dares to be different. It shows us that TV can be more than just a small-screen medium—it can be high art.

So the next time you’re watching Saul navigate the treacherous waters of Albuquerque’s underworld, take a moment to really look at what’s on screen. The wide shots that make characters feel small in a big, unforgiving world. The shadows that hint at the darkness within. The playful angles that remind us not to take it all too seriously.

Because in the end, that’s what makes “Better Call Saul” not just great TV, but a visual masterpiece. It uses every tool in the cinematic toolbox to tell its story. And in doing so, it doesn’t just show us the rise (and fall) of Saul Goodman—it makes us feel it, in every beautifully composed frame.

So here’s to you, “Better Call Saul.” Thanks for raising the bar and reminding us that when it comes to visuals, TV can absolutely go toe-to-toe with the movies. Now, if you’ll excuse me, I’ve got some more episodes to re-watch. After all, as a wise man once said, “S’all good, man!”