Q: The last shot of that scene, the close-up on Hector's hand, it's such a potent image both because we know what that hand will later do with the bell and with Gus, but also because we're trained to think that that shot in that context is going to end with a twitch of movement, and we don't get that here. What was your approach to the tension of that shot?
A - Andrew Stanton: There was actually debate! When I first got the script, it was scripted to have the finger twitch. Then, if I heard correctly, there was a little bit of debate about whether that was too much and too far, and then they took it out. Then I asked, “Can I shoot two versions just so we have it in the bank?” But I’ve gotta tell you, the minute we were shooting, and it tends to reveal itself to you when you're actually looking through the lens, it was like, “Oh. It is too much.” And everybody gets it. All of Better Call Saul is the “b” in “subtle,” and it would have been, for that show, too much. Everybody's smart. It's a really smart audience and they'll get it.
– from Finding Nemo Director Andrew Stanton’s ‘Better Call Saul’ Debut Goes Dark (Literally) by Dan Fienberg, THR