, of “the guy that you would not expect to shoot someone.” His Todd Alquist, the cold-blooded white supremacist gang member who imprisons and tortures “El Camino’s” hero, Jesse Pinkman , also listens to yacht rock, collects snow globes and paints his apartment in perky pastels. It is the definition of a scene-stealing performance: unexpected, profoundly strange, impossible to turn your eyes from. And it’s the sort of role Plemons remains most eager to play.
“I’m drawn to characters that there’s more space to fill in and more room to explore — where it’s not so cut-and-dried ... People are pretty good at putting on a face.”“I’d forgot what it was like to read a ‘Breaking Bad’ script,” Plemons says of his first encounter with the scene. “There’s no one that writes quite like Vince. He uses the stage direction in a way that — he’s almost just, like, stringing you along with little bits of information.
“The first season, I was getting the scripts a few days in advance,” he remembers. “I had a few sentences from Vince to sort of base the entire character on and had to trust my instincts and hope for the best and try not to mess this show up that everyone was loving so much. … I had no idea Todd was going to shoot this kid two episodes in!”Seven years later, “El Camino” suggests the confidence that comes with experience.
That leap of faith has since nabbed him two Emmy nominations, for “Fargo” and “Black Mirror” , not to mention a memorable moment opposite screen legend Al Pacino in Martin Scorsese’s highly anticipated Netflix saga, “The Irishman.”
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