writer Logan Hill interpreted Walter's speaking into the mirror as a symbol for self-reflection: "He stares at a mirror reflection of himself, studying his own image, wondering if the Walt other people see gives any hint of what he’s carrying inside." The scene when Walter approaches Gus' house with plans to kill him ends with an extremely high crane shot of Walter standing alone in the middle of the street. MacLaren wanted that shot to be extremely effective because she believed it conveyed Walter's helplessness, insignificance and lack of experience. Although the normal crane used for such overhead shots in Breaking Bad was only 30 feet tall, MacLaren rented a 180-foot-tall crane specifically for that shot. Since the crew had only about four hours to shoot before losing the night-time hours, the crane shot was the first one they filmed. It was shot by camera operators Andrew Voegeli, with dolly grip David Jaxx Nagro and gaffer Steven Litecky. Later, for the scene when Walter meets with Mike at a bar, MacLaren backlit Walter as he entered so only his silhouette would be visible when he entered. When the shots of Mike punching Walter was originally filmed, the staging involved Mike standing up, then Walter standing up, then Mike suddenly punching him. Vince Gilligan edited the scene to have Mike simply punch Walter instead to make the action faster and more surprising. The scene was arranged by stunt coordinator Al Goto, and actors Bryan Cranston and Jonathan Banks performed the stunts themselves. Mike kicks Walter several times after he falls, and Goto placed a large sandbag against Cranston's torso for Banks to kick during those scenes. The party scenes at Jesse's house sought to illustrate Jesse's internal guilt and self-hatred for having murdered Gale Boetticher in the third season finale, "Full Measure". Gilligan said these scenes were written because he wanted to demonstrate that the actions of the characters in Breaking Bad have major consequences. The writing staff spent weeks discussing how Jesse would react to having killed Gale and went with the course of events in "Thirty-Eight Snub" in part because they felt it would be the most unexpected for the audience. Bryan Cranston praised these scenes, saying "I thought it was a great way to show a person going through a private hell. That everybody suffers, deals with their own personal loss in many different ways." The scenes were