On March 11th, I had the chance to interview RJ Mitte of Breaking Bad for my Business of Film class. This blog post will serve as the "text version" of said interview. I’m planning on editing the interview down into a full video, but I’m still polishing that up at the moment...

PREFACE

Firstly, you might be wondering how this interview was even possible in the first place...

My mom's Visual Arts position in my hometown's school district gave me an advantageous connection to a certain Manager that happened to know RJ Mitte's agent. After a week or so, we heard back that he would "love to do it." Things happened to work out, and we established contact and built the bridge towards scheduling a Zoom Meeting... and that was it!

I made sure to do my homework, and researched the hell out of his previous work and life experience... Leading up to the interview, I compiled a list of questions and watched a handful of his recent podcast appearances to make sure I was avoiding any frequently repeated questions.
Hopefully this can serve as inspiration for you to keep sending cold emails, because you never know who's gonna respond with a yes...

INTRODUCTION

So, I have a mandated informational interview for my Business of Film class. And, there's really like... 2 BIG questions, but it's mostly for my classmates.

RJ: Okay.

I'm a Junior at Texas State in the film department, but I'm also minoring in art. So I'm between the art and the film building a lot.

RJ: Amazing!

Well, I just wanted to thank you for making the time to meet with me. It's really great to speak with you. We've actually met once before.

RJ: Yeah.

It was at the Mitte in Motion event in 2023, when I was a senior in high school, and uh, I didn't have this mustache. I was much younger.

RJ: Haha, no well I-

I forgive you if you don't remember me... I feel like you meet every theater kid in Brownsville at those things.

RJ: I didn't exactly. But, when I talked to Daniella (Executive Director of Mitte Cultural District) she told me, and I was like "Okay, okay. I remember."
Did you have a good time at the event?

Yeah! I remember it being really influential, and inspiring for me and my classmates. To see, "Okay, people that have made it are HERE in Brownsville." To inspire us, and give us their wisdom. One of the most informational field trips I've been on.
But we have a really unique connection through... well, my mother, actually.

RJ: Yes!

And we both have shared roots in Brownsville. And I recognize you have family there, and are currently living there?

RJ: Yes sir, my grandfather's from there and I've been going to the Valley my whole life. I'm a big believer in the area. I think Brownsville is the future. It's always been the future, if you go through history.
One of the reasons we brought in Mitte in Motion and all of these actors, advocates, and performers is to inspire. To be able to show what it really means to get out there and work. And I love it. I've been living in Brownsville now since 2019 fulltime, but I've been going my whole life. I think it's one of the most special places on earth.

GRANDPARENTS & BROWNSVILLE

Well, you mentioned your Grandfather. Can you tell me more about the Mitte Foundation and your effort to lead it?

RJ: Yeah, so my Grandfather and Grandmother... who actually had a degree in art history. She was big into art, while my Grandfather focused more on the finance and business side. They were able to create the Roy F. and Joann Cole Mitte Foundation, which I'm now the president of.
The Foundation's main focus is education, disability services, youth development, aging... things that pretty much affect everyone.
One of my big goals is: How do we get people to stay in Brownsville? How do we get people to open businesses? How do we get people inspired? How do we change the perspective from "you have to leave somewhere to make something of yourself," y'know?
When it comes to Brownsville, I think it comes down to having more access to resources, culture, and art... and feeling safe in your community. Where you feel like you're being heard.

No, for sure. Yeah. It means a lot to hear about Brownsville. I mean, that's where I spent most of my life. I barely left two years ago.

RJ: Oh, awesome.

You were talking about the way Brownsville's changing and evolving. I'm curious if there's a certain restaurant that has stayed the same? Do you have a favorite spot in Brownsville?

RJ: I mean, Rutledge Burgers, man. That place never changed. I was also a big Cobbleheads fan. They recently sold, and sold again, but I've always loved the red tortilla soup there. That place is still kinda the same, it's sick.

Cobbleheads, yeah! That's where I had my graduation party, that's where my sister turned 21. That's where parties happen.

RJ: Oh, awesome! Brownsville is so deeply rooted in culture, that if there's a staple there, it doesn't change. And people will try to protect it, y'know?
Things will always change with time, but what Brownsville has is that timestamp of culture and a community that works to protect it.

TEXAS STATE & THE ARTS

I believe that your grandmother got her degree here, back when it was Texas Southmost College.

RJ: Well, that was my Grandfather.

Right. Cause, there's a building named after them, I believe.

RJ: They helped develop that building, yeah.

Me and my partner actually call it the Mitte, for short, haha.

RJ: Ha, well, I actually went and visited that building a few months ago.

Really?

RJ: Yeah, I drive, most of the state of Texas. I'll leave Brownsville at 7AM, get to Austin (his office) at noon. I'll have a meeting from 1PM-4PM and turn around all the way to Brownsville.

All the way back??

RJ: I don't do that often, but...

That's not easy. My parents can only do that trip... twice a year.

RJ: There was a time I was doing it quite often. Once or twice a month doing that, and at a certain point I said, "never again." I stay the night now.
But there is that art building at Texas State. My grandmother loved art. I firmly believe art transcends everything. It creates that balance.

Yeah, art is powerful. I know how that is. I've been surrounded by art my whole life. My dad is a graphic designer, and my mom's an art teacher -- now the advisor of the district. I didn't have a choice. I HAD to get into illustration and painting... Could you name a specific memory from your childhood that led you to pursuing a career in the arts?

RJ: As a young kid, I have memories of seeing all these wonderful paintings and sculptures, and when I started acting, I never really related to art. Which is a weird thing. I didn't see myself as an artist until I was a little older.

BREAKING INTO THE INDUSTRY

RJ: We were living in Houston at the time, and an agent casted my little sister at a waterpark at 1 and a half years old. That's what brought us to California. I just started working as an extra, to meet kids my own age. That's when I realized, "this is what I should be doing." A few years later, I booked Breaking Bad.
That's when my perspective on my craft changed. I truly discovered the "Artist's Life" after Breaking Bad, working in Modelling and Independent Films.

Yeah. One of the two things I HAVE to ask you, because the rest is up to me, is "How did you break into the biz?" And I feel like you just coincidentally answered that. I have a follow-up question-

RJ: Yeah, well, one of the main recommendations I tell every young actor is to try "extra" work. When you're actually doing it, it becomes very different.

It shows you what a set is like.

RJ: Yeah. Well, it shows you how to behave on a set. It teaches the lessons you need to learn once you get that bigger job.

What would you say is the best way to help an actor, even someone with a minor supporting role or a non-speaking role feel at home on-set?

RJ: Well, see, that varies. I think that's something an individual has to find for themself. I find my comfortability in uhm... pressure. When there's a ton of things happening, that's where I'm most comfortable in. Some people are the opposite. I find, if you're feeling nervous, the best thing you can do is step back and listen. Find that self in you, and listen to what's happening around you.
On set specifically, listen to your ADs. They're the ones that know what's happening around you. Don't rush to frustration. There's LOTS of frustrating things on set that you can't control. Breaking Bad, we had a cast & crew of 500 people. So, there's a lot of things happening. But, you have to trust in your team. Focus on your part -- your character, or your role on set.

TIPS FOR ACTING MAJORS

Yeah. I feel like that goes for a lot of- I mean, there's so many moving parts on set. Specifically, for the actor, do you have any tips for the Acting Majors that might be reading?

RJ: Auditions are hard. I'm not a big fan of self-tapes. Regardless of how you feel about it, if you feel like that's your take, send it in. Don't second guess yourself. Sometimes your perfect takes aren't perfect, and there's character in that. It's easy to equate or compare your success when you look at giants like Bryan Cranston, Leonardo DiCaprio, or Denzel Washington... but in reality, there's only a handful of people that have that. And that's decades of work, failure, and success. It's okay to fail, or not to be who you think that person is.
I never carry my auditions with me, I either hear back or I never think of it again. All that matters is that you feel good about what you've done with it.

We had a casting director come into our class, and she screenshared what it looks like on HER END. I don't know if you've ever seen what their side of those casting websites looks like. It's thousands and thousands of faces and names. You can open their tapes if you want to, but she told us the reality is she'll just look at the faces and names and decide to watch a hundred tapes.

RJ: Mhm.

Or sometimes even less than that. It seemed very discouraging, but she told us specifically: "I'm the person that tells you No. That doesn't mean you're a bad actor or actress." It's just commitment, and dedication. I have a sister who's an actress. She's 24, and she's been auditioning for an onscreen role for years. She just got her first feature film role -- a speaking role, and it's indie, it's incredible, and I'm so happy for her.

RJ: Congratulations. No, that's amazing. That's so amazing.

I see stardom in her future. And we're not discouraged because she hasn't accomplished that yet. We see that for her because we see her commitment, like you were saying.

RJ: I'm a firm believer that THAT's what it comes down to. It comes down to the grind and the commitment, auditioning-
Y'know, I do... at least 2 or 3 auditions a month. I get NONE OF THEM, haha. Most of my work is generated from relationships. And most of my projects take anywhere from 3-7 years to finish. That Casting Director you mentioned, she's scrolling through the faces... but she remembers those faces. She'll be like, "Oh, I've seen that person before." That repetitive nature is where you take that big step into booking a role.

Yeah, especially if you're memorable, she'll be like, "I've said no to you too many times. I should say yes to you at some point."

RJ: Yeah.

Um, there were some people with stars next to their names, which means that she had worked with them before. But, she's been in the business for decades, so it'll be like: "when this 21 year old actress was four years old, I did a commercial with her." So, she'll have that connection somehow.

CRITIQUES & THICK SKIN

I did want to ask about critiquing. Because sometimes, it won't be your fault if you're not casted, but there might be specific critiques you get on-set once you are. I was wondering how you deal with critique, and how someone might get better at it -- growing thicker skin.

RJ: Dude. It's so hard.
It's so difficult, especially when you're trying. I do my best not to take it personally. I put my "job hat" back on, and what I ask is: "What do you want of me?" or "What do you want of this character?" Usually, before I'm even on-set, I have an alternate back-up route of how my character behaves. A lot of it comes down to communication.
Communication with the director, communication with the writer... and even communication with your fellow actors. It is our job to communicate, and listen. Usually directors are telling you what they want, without telling you what they want.

For sure. We had a screening from alumni of Texas State back in February. And, something that stuck with me the most that they said... their biggest piece of advice for us, was to "kill your ego." Something like that. Basically, "you are not the smartest in the room." Does that resonate with you?

RJ: 100%. For sure. I think killing your ego goes with that "standing back to listen." I do my best to always maintain being humble. We have to stay grounded and focus on what we want to achieve with our lives, and ego would only get in the way of that.

TIPS FOR ASPIRING DIRECTORS

What are your biggest pet peeves on set as an actor? What might get in the way of you spreading your wings?

RJ: Lack of vision. If they don't know what they want. I think, as the director, it is their job to have that vision. Directors, and even writers, need to be able to see the story in their head. Camera angles. "Maybe, we go from a wide into a close-up." Having that mindset is a great asset to have.
In a lot of my projects, I work with actors and performers with disabilities -- writers, and directors as well, and they have a vision. They know what they want out of their characters, their stories, and their representation.

What would you say is the best note you've been given?

RJ: Haha, "be better." That note.

I feel like there's so many unloaded notes. Like, "give me more."

RJ: "Give me more." No, I think it really varies depending on the project. Most of my projects are independent, so I'll make sure to take notes as we read through them and ask questions to the director. There’s really not a great way to tell an actor, “Hey, do it differently.” “We didn’t like that take.” It’s not really fun to hear. Again, communication... remaining calm.
You see a lot of actors, very rarely, but you see them in the media-- having outbursts, and stuff like that. Usually there’s more to that story than just that one scene. It’s stepping back before you get to... whatever that meltdown is, and having communication.

GROWING UP ON BREAKING BAD

So, I know you grew up on Breaking Bad. You started around 13 or 14, and you wrapped around 21?

RJ: Yes, sir.

You’re reaching adulthood on the show. What did that time prepare you most for in life?

RJ: Ummm... having a drug kingpin as a Father.
No, haha... I think what it prepared me most for is my love for acting. As a young kid I wanted to be in the military like my family. I wanted to work in airplanes and engineering when I was around seven, eight, nine, ten... And once I got into acting, I found this love for it, but I didn’t have a full understanding of what it WAS to be an actor. I mean, I was TWELVE -- I was a child. Breaking Bad really homed in my love for acting. Working on that show for eight years really taught me that love for my craft.

Yeah, I mean... yeah, that’s crazy. It feels like you grow so much. I mean, not just you, but everyone in the cast. It’s eight years of their lives. I looked it up last night. I saw a timeline someone made on Reddit? All the episodes in a square, It’s only two years in-universe.

RJ: Yeah. But it was six months out of the year for seven years.

Wow. That’s like, half your year.
You’re going to school at the same time, right?

RJ: Yeah, so... I was on-set, and I had a private teacher. I loved my private teacher. I was already kinda in a homeschool-type program because of my grandparent’s situation, and I would do school three, four hours a day. On the weekends too. I wanted to make sure I banked in my hours of education, so I could work longer hours.
So, I mean, it’s something that shaped me. It was my whole teenage life. Literally my whole teenage existence was on Breaking Bad. It just truly was the best cast I ever worked with. The best scripts I ever read. The best team of people, in my opinion, that are in the industry. Pluribus, Game of Thrones, Better Call Saul, El Camino... a lot of the crew went back and forth between them. It’s a very small-knit industry. The more you see it, the smaller it gets.

Oh man, yeah. It’s the same crew coming back and forth. It’s great when they know each other. I love nothing more than knowing most people on a set, but in college it's very much... “you’re going there to learn.” You’re not there to get paid, and it’s typically strangers. That’s what was the scariest for me starting out at film school.

VOICE ACTING

I was curious if you’ve dabbled in voice acting, or if you were curious in exploring that in the future. I know you played yourself (Walt Jr.) on Robot Chicken.

RJ: No, yeah. So, I did the Robot Chicken episode, which was such a blast playing Walt Jr. I actually have a series right now called HCH Rules (I think he meant “HCBS Final Rule?”) It’s an animated series. Mark Hamill actually just joined the cast. It’s an advocacy animated show where we talk about housing, and getting housing in the state of California for people with disabilities. It’s kind of an animated series meets PSA type thing, an educational show for people trying to get into the Center of Independent Living.
But I love voice acting. I’ve done some stuff, but nothing truly crazy.

What are your thoughts on Independent YouTube animation? Because that’s been on the rise the past couple of years.

RJ: I mean, look at Red vs. Blue. As a young filmmaker, it’s so important to get your content out there. Y’all are working on scripts, movies, it’s... I think now more than ever, with social media, and the rise of YouTube and streaming platforms, people are watching. People spend more time on their screens than ever before. But, as a young filmmaker, being able to get your art out there and set the tone and style -- “these are the types of projects that I want to make,” once you graduate or even now.

Yeah, you could just do it in your free time.

RJ: You can do it in your free time.

And then those independent projects will blow up. And these novice voice actors will become celebrities overnight. They’re going to conventions and suddenly they’re wanted by Amazon. I was wondering if you were interested in dabbling in indie animation? (the YouTube kind.)

RJ: I have a couple projects in the works right now. That’s all I can talk about, but I’m a big fan of stop motion, clay animation. That sort of thing. Robot Chicken, I’ve been a big fan of since forever. I love it, I think it’s a great and malleable artform. I mean, it takes a lot of time, but yeah, I work in animation.
Well, I mean- for most of my projects, before anyone sees it, there’s seven years behind it. Y’know?

Yeah, that’s how music is too. I’m an illustrator and animator, but I’m also a music producer. And, I’ve been sitting on projects for like three years. I don’t know when that’ll see the light of day. By the time it’s out, people think that’s your best work, but it’s really a representation of who you were three years ago, or however many years...

RJ: Just a small fragment.

Something’ll come out, a friend will say, “You’ve improved so much!” but I just feel like, “You should see what I’m doing right now that I CAN’T share.” I think that’s so fun.

RJ: Yes.

DISABILITY REPRESENTATION

You mentioned portraying disabilities and playing characters with disabilities. They’re often overlooked and misrepresented in media, and mischaracterized. Occasionally, a show will infantilize mental and physical disabilities and treat them like a problem or something childish. With cerebral palsy, does it usually fall on you to steer the ship, or is it up to the director? What can they do OTHER than research?

RJ: I think it’s a fine line to really ground your disability. At the same time, as a director, you have to do your research and know what you want your character to represent and how you’re going to portray that character. That responsibility is not just for the movie and the role, but it also falls to the impact that’s gonna have on the community itself. Because, be it positive or negative... you’re gonna hear about it.

Yeah.

RJ: And so, one: being an actor with a disability, having that accountability on you and always making sure you’re doing characters that accurately portray people, that aren’t going to negatively impact someone. But I think it’s so important to always maintain that. It’s not a character with a disability, it’s a character who happens to HAVE that disability. Making sure it’s not an “inspirational burp.” A well rounded character that has hopes and goals. That falls on the actor, but also the director and writer.

I’ve seen, for sure with novice writers or directors, (and this isn’t a jab at them,) but I’ve seen people countless times telling stories that aren’t theirs. Especially by using physical disabilities or mental health disorders as a plot device. Saying, “Oh, I need this character to be sad here. I’m gonna give them depression. I’m gonna put themes of self-harm as a big ‘plot moment’ in extremely bad taste.” I’m curious what the writers and directors of Breaking Bad got right with disabilities.

RJ: Vince Gilligan, who wrote the pilot, was involved with every single episode with the writing. He wrote from experience. Walt Jr. was based on a friend of his he had in college, who sometime after college passed away. So, it’s almost in memory of him and what he went through. Taking knowledge from real things, not just pulling it out of the sky and saying “here ya go!” I find when you write characters from the heart, your characters are so much stronger. Go live a life. Get out there and meet everyone you can, every type of person. Never meet an enemy, or use hate as a tool. But get to know as many people as possible, because that gives you a better understanding of how people are.

One of my first assignments for Intro to Dramatic Writing, which is playwriting to screenwriting, was to go outside and listen to a conversation and then write that conversation down. I didn’t understand that, but once I finally did it, it was “what was this person saying at this coffee shop, what did I overhear while I was walking outside..." You understand what people are like.
I was overhearing this guy, we had just won a football game, and he was yelling about... We killed the roadrunner, that was the other mascot, and he was yelling: “BIRDBRAIN!” Using all of these crazy words, and I was like... “Man, people talk like this?” He inspired a character I wrote down the line. If you’re pulling from reality, those are the most influential stories that end up being remembered the most. Especially with how grounded of a location Albuquerque was. I remember reading somewhere that it wasn’t the original plan, but it was more budget friendly to film there?

RJ: It was originally gonna be in Riverside, CA. That was the original landscape, but then Albuquerque had tax incentives, and that’s what brought us there.

I mean, it’s shot beautifully. I think Albuquerque is made into a character almost, in this show. (I’m quoting Vince Gilligan here unintentionally.) I remember being so enthralled, like “This parking lot is so beautiful, these buildings are so unique.” I love grounded shows like that.

RJ: Michael Slovis, who was our cinematographer, did such an amazing job in capturing the light there. Albuquerque itself is such a beautiful city, and it's one of those cities that’s ~5,000 feet above sea level, so you’re getting a lot of good light. I think it’s about learning to work in your environment, and then getting your environment to work for those characters. Some of the most enjoyable times I’ve been on set is when the set reflects the story.

I love when the location is justified. Sometimes people just go somewhere for the sake of it looking good.

RJ: Yeah. Beautiful.

It looks good! It’s good, but it’s like... why are we in this park with all these pillars and fountains right now? Speaking of character, I think earlier you were saying you were interested in telling more stories that portray disabilities, I was curious what you meant by that.

RJ: No I meant, I like to create stories that push the norm, I like creating characters that people might not necessarily understand, that might not have the ability to be seen. We have an obligation as filmmakers to create those characters and make that impact known. One of my favorite things as an actor is doing my best to create these lived experiences that challenge the viewer, that change their perception and how they see and treat people.

Yeah, I agree with all of that. Representation matters. It’s something special to see culture, disability, and to see that represented in media. It’s videos of kids reacting to... “Hey, that’s my hometown in this movie,” or “That character looks or acts like me.”

(It was at this point that RJ glitched out of my zoom call for his SXSW obligation he had after my interview.):

ON THE HORIZON FOR RJ MITTE

RJ: Hey, I’m so sorry. I’m getting blown up for my other meeting right now.

You’re good! Could we really quick, go over what’s on the horizon for RJ Mitte, what can we look forward to?

RJ: Yeah!

Do you have anything to promote?

RJ: I always got stuff to promote. First and foremost, I’m very proud to live in Brownsville. I have quite a few projects over there. I work with the film commission there, and talk with them quite often. We’re looking to have more film and television in The Valley. And then, I have three movies coming out this year, actually. I have one called Westhampton. We just got distribution for that back in December. I have another called “Talking to Strangers” that’s in the works of being distributed. And then, I have another one called “Love Me Dead,” but they just did reshoots last week, so I’m a little unsure about it. I got two more movies that I signed up for, and I’m auditioning regularly.

That’s so exciting. Well thank you so much for taking time out of your day to meet with me, yeah. I really appreciate it.

RJ: My pleasure, man. Dude, no, hey. It’s great to see you, and I’m happy that you’re doing well. Keep working hard, and look. Any other questions you have, you reach out. You know how to find me.

Of course, thank you. Hope you have a good one.

RJ: Good to see you, Diego.

OUTRO

So, this wasn’t the usual type of thing I post on here, but I thought it went well, and I wanted to share my true, unfiltered experience interviewing RJ. This is one of the coolest things I’ve done over my undergrad career and I think I enjoy interviewing more than I thought?

There were certain transitions or questions that weren’t phrased perfectly, but I thank him for his patience and assistance in working through those things. I had a lot of fun doing this, and I hope you got something out of reading it. Eventually, an edited down cut of this very interview WILL (hopefully) RELEASE, but I need to continue editing it down over the next couple weeks.

Next time... I will finally share more behind the scenes content from my film YOU & MIRA. It’s fully written, I’ve just got a couple audio and video files to collect and I still need to arrange and format the post’s pictures. Goodbye :)