<p>This 2012 photo released by AMC shows cinematographer Michael Slovis, left, and Bryan Cranston on the set of "Breaking Bad." (AP Photo/AMC, Ursula Coyote)</p><p>More than anyone except Vince Gilligan, director of photography Michael Slovis may be responsible for the greatness that is Breaking Bad. (more on that in a moment.) A resident of Montclair, N.J.he lives down the block from my daughter's best friendSlovis joined the crew in the second season, bringing the visual brilliance that Oscar-winner John Toll applied to the pilot to the show on a weekly basis.</p><p>A 34-year industry veteran who's worked on projects great and awful, Slovis has a special insight into what makes Breaking Bad special. Find out about the backhanded benefits of 35-mm film, how the rise of HDTV boosted Breaking Bad, and how he created distinctive looks for the Super Lab, The White House, and Albuquerque's widescreen vistas. He clues us in about his two favorite Breaking Bad momentswhich had nothing to do with photographyand why Sunday's series finale won't disappoint.</p><p>ASJ: Like me, you were smart enough to marry a woman who's smarter than you, and I gather that your wife Maria convinced you to take the Breaking Bad job.Michael Slovis: I had been traveling a lot for work, I had just gotten back from working on a movie in Romania or Poland, I forget which. I got a call from Christina Wayne and Vlad Wolynetz at AMC, and they said, "A director named Adam Bernstein recommended you to our show and we'd like you to come to New Mexico."We talked for a while and I said "To be honest, I don't want to travel any more. Thank you very much."</p><p><a href="http://www.forbes.com/sites/allenstjohn/2013/09/26/working-bad-cinematographer-michael-slovis-on-35mm-film-hdtv-and-how-breaking-bad-stuck-the-landing/">Keep reading...</a></p>