Terms Of Service
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Terms Of Service
Ralph Waldo Emerson
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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 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.
Not to toot our own horn, but when 'The Sopranos' was on, it was as good as any movie that was coming out in the theater. I think that goes for a lot of shows today.
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.
I'm very, very proud to have been at what I feel are two of the pivotal moments in this whole new Golden Era of television - one being 'The Sopranos' with HBO and now with Netflix expanding that whole HBO concept to the world and making it more of a global thing. It's been wonderful to witness that from those two vantage points.
Steven Van Zandt
I remember turning 'The Sopranos' on once and within two minutes nearly throwing a brick through the screen.
When I read the pilot of 'The Sopranos,' I wasn't terribly blown away by it.
Sunday is like this entertainment scrum for me, because I've only got a day, one day of fun. So I want to have brunch, and I want to see a movie, and I want to watch 'Game of Thrones,' and I'm trying to watch 'The Sopranos' from the beginning, and I want to play four hours of video games. So, it's, like, as regimented as my work life.
I think 'The Sopranos' probably solidifies the misconception that people have about New Jersey to begin with. Because you're from Jersey, and everybody has an accent, you are perceived a certain way. I don't know if they are jealous or in awe or look down their nose at you, but that's the way life is. If you don't like it, change the channel.
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.
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.
I had some experience when I joined 'The Sopranos' in the last season. My character married Christopher, and everyone loved Adriana. I knew what it was like to join a very beloved, secretive show and following a very iconic character.
I can't say I have enough experience with Hollywood to feel that I've encountered racism there. I can tell you that I did about five fruitless years of auditioning for voiceovers where I did variations on tacos and Latin accents, and my first screen role was as a bellhop on 'The Sopranos.'
If something sticks around long enough that it makes it to seasonal D.V.D. release, I'll watch it. That's how I watched 'The Sopranos'.
I didn't start making a real living until eight or nine years in. Even after 'Goodfellas' came out, I was still working as a waiter, and people would recognize me - that was an odd experience. But when 'The Sopranos' hit, that was like an exponential leap.
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.
I think a lot of people who didn't know my work before 'The Sopranos' think I came from the Jersey Shore, like they picked us out of the mall and put us on television.
I don't know if I would have had the same career had I not done 'GoodFellas.' Probably not. Would I have been cast on 'The Sopranos?' Who knows if there would have been a 'Sopranos?'
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 best of American television is thought-provoking, original, brilliant, exciting - from 'The Sopranos' on, whether it's 'The Wire' or 'Breaking Bad' or 'House of Cards,' they're fantastic pieces of art.
I watched 'The Sopranos,' I saw a couple of episodes of 'Mad Men.' I loved 'Seinfeld.' In fact, I got some CDs of 'Seinfeld.' 'Seinfeld' was hilarious. Oh, boy. The Nazi soup kitchen? 'No soup for you!'
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.'
I don't want to see a 'Sopranos' movie. This is just me. I like to think the end is where it was on TV as opposed to becoming a movie.
I never know what I'm going to get. A 'Sopranos' fan is very different from a 'Big Lebowski' fan.
In 'The Sopranos,' these guys know their best years are behind them. They have nostalgia for their old traditions. In their minds, they're looking for a time when loyalty mattered, community mattered. E Street is about community, too. People are looking for something real.
Steven Van Zandt
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