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They're naughty, all those writers - they mess around with people. I know James Gandolfini got a bit fed up on 'The Sopranos': if he said anything in front of a writer, told them a story from his life, it could make its way into the script.
The government itself is running exactly like the Sopranos and they sit back and they make deals. And they say okay, 'I'm going do this: France, you're getting the pipelines.'
'24' and 20th Century Fox and Sky TV are not responsible for training the U.S. military. It is not our job to do. To me, this is almost as absurd as saying, 'The Sopranos' supports the mafia, and by virtue of that, HBO supports the mafia.'
There's no disputing that for pols, the Internet is a great way to connect with people and raise some cash and post 'Sopranos' parodies or play your opponent's macaca moments. But in a 'net root' sense, it's pretty useless for getting someone elected.
'The Sopranos' gets praised as novelistic, but it follows the most banal of life patterns, showing the sheer tedium of being a mobster. It has dead spots, boring plotlines, weak episodes. Characters develop slowly, or don't. Like viewers, a gangster might get bored, fade out of the action, then come back to find none of his debts forgotten.
Our amour fou with 'The Sopranos' is headed for long-term parking, like so many of its most memorable characters. We'll never see a show like this again.
There was certainly less profanity in the Godfather than in the Sopranos. There was a kind of respect. It's not that I totally agreed with it, but it was a great piece of art.
I think that the difference between 'The Sopranos' and the shows that came before it was that it was really personal. There had been a lot of dramas, a lot of really good ones, a lot of really bad ones, but they were always franchise shows about cops, or doctors, or lawyers. They weren't about the writer himself.
And then you have the classical ballerinas, they're like sopranos. Applied to the dance.
Ninette de Valois
When we were doing 'The Sopranos', I used to love that about it. There were rules, Mafia codes you had to go by, but the code is ridiculous. It's a code among sociopaths.
Working with HBO was an opportunity to experience creative freedom and 'long-form development' that filmmakers didn't have a chance to do before the emergence of shows like 'The Sopranos.'
I can't actually believe how good 'The Sopranos' is. I genuinely am dumbfounded by it. It's like when you realize how good The Beatles are, and you think, 'How did they do that?'
'The Sopranos' all came down to the writing. I wouldn't have been on for as long as I was if the writing weren't so good.
HBO churn out some unbelievable stuff. They really got me with things like 'Band of Brothers.' But you can't beat 'The Sopranos.'
Like many other touchstones of twenty-first-century pop culture, 'The Sopranos' was hatched in the late Nineties, predicting a future that never arrived. It was designed for a decade that would be just like the Nineties, except more so, in an America that enjoyed seeing itself as smarter and braver and freer than ever before.
Watching Italian opera, all those male sopranos screeching, stupid fat couples rolling their eyes about. That's not love, it's just rubbish.
I wanted to play a good guy after doing this lunatic on The Sopranos for two years. And then they did the sequel to Bad Boys, where I get to play the barking captain again.
When I was doing 'The Sopranos', I liked putting music together with the film; that was my favorite part of it.
The way that Dickens structured his books has a form that we most readily recognize now from, say, the great T.V. series, like 'The Wire' or 'The Sopranos.' There's one central plot line, but then from that spin off all kinds of subplots.
John Ventimiglia, who was on 'The Sopranos,' was in my first acting class and we have been friends since that time. Alec Baldwin was in my class back then, Sean Young and Andrew McCarthy.
It's funny - I was a big fan of 'The Sopranos.' It became kind of a threat to 'The X-Files' in a way because they could play with language, character, and story in ways that we never could because of the limitations of network television.
'The Sopranos,' for instance, is arguably the best cable show of all time. They could have made a movie, but that show ended so perfectly, it would almost be a disadvantage to make a movie like that. Then again, if you made a 'Sopranos' movie, people would be lined around the block to go see it.
One FBI agent told us early on that on Monday morning, they would get to the FBI office, and all the agents would talk about 'The Sopranos', having the same conversation about the show, but always from the flip side.
Very often at the end of 'The Sopranos' you get the feeling that its not under control, you should be very worried, and life is kind of really, really messed up at lot of times. It leaves you feeling very disconcerted. That was kind of the point of it.
I was on a show called '12 Miles of Bad Road' with Lily Tomlin - it was an incredible HBO show. We shot 6 episodes, previewed it before the finale of 'The Sopranos;' it was written up as a 'Great New Show on HBO,' and then the whole thing was canned. Gone. Disappeared. That's when I realized anything can happen in this business.
John F. Kennedy
Martin Luther King, Jr.
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