Sepinwall: It was like being the music writer for the Liverpool Times in 1962. Seitz: It took a few months for the New York Times and other papers to get on the Sopranos train, and then they were all over it. They planted a flag on The Sopranos as cinema — which echoes some of the recent writing on Twin Peaks. J., just a few miles from North Caldwell, where David Chase grew up. I recognized all the places they were going to, all the local references.When Carmela says she can get Tony some sweat socks at Sports Authority, I knew exactly which Sports Authority she meant.Before Tony, there had been a belief that audiences would reject anything that was truly harsh or complex.Tags: As Level Coursework ChemistryCritical Lens Essay Into The WildConcluding Tok EssayDescribing People EssaysPublish Research Papers OnlineThesis Statement On War On DrugsCreative Writing Classes BostonGuests Of The Nation Thesis Statement
In this exclusive excerpt, series creator David Chase, screenwriter Terence Winter, and episode director Steve Buscemi talk about the classic season three episode “Pine Barrens” (aka, the one where Christopher and Paulie try to dump the Russian mobster and get lost in the woods).. Now, we didn’t do folktales every week, but it seemed appropriate for this.
How much of that humor, those jokes, those gags were on the page, and how much of those came about when you were on location? The point I remember, reading the script and just laughing so hard, was, “He killed Czechoslovakians and he’s an interior decorator! Matt Zoller Seitz: Terry, do you share that interpretation about why we don’t care what happens to the Russian? And even over the years, I lobbied for it, saying, “It’d be cool to finally pay it off.” I think at one point, I almost had David agreeing with me, and I made the cardinal [mistake] of saying, “People will love it! We shouldn’t do it for ] This was absolutely the right way to go, and we never should have known what happened.
”  At that point, I just laughed so hard and I went, “Oh my God, I’d better not f*ck this up. Terence Winter: I do, but I have to confess that ultimately, it’s hard for me. David Chase: That was the other thing—we didn’t want to do a thing where Tony fought the Russians.  I should’ve had the Russian walk into Holsten’s!
This is the funniest thing.” I don’t know if anything was made up, it was all written.  Dickens couldn’t describe that, it wouldn’t be as funny as when you see it! There just isn’t any combat between the Italian and Russian Mobs. Matt Zoller Seitz: When I wanted to do a -related panel, my first thought was, of course, “We’ll show the finale.” And then I thought, “We can’t do that, because David will never come out for that.” You’ve explained what you were trying to do in that finale—generally, not specifically—so many times that I didn’t want to inflict that on you again. This is not important.” You’re not just being obstinate about it. Terence Winter: One thing we talked about was that at some point, Christopher, way late in the game in the series, would walk into Slava’s club and the Russian guy would be there mopping the floor and they’d just meet eyes, and then the camera would come around to the back of the Russian’s head and you just see that a big chunk of his head is missing and he can’t communicate.
It showed a different way “to be all things to all people” than what you had before: aiming for the common denominator, taking the low road. We never learn what happens in the notorious final episode — the screen just goes black.
Sepinwall: If you go back and look, the show’s famous penchant for anticlimax tended to upset the audience the most. I want to see what happens to the Russian in ‘Pine Barrens’! In Season Three, the FBI, after a lot of effort, finally succeeds in planting a bug in the Soprano home, in a lamp in the basement …TV writers Matt Zoller Seitz and Alan Sepinwall met as critics at the Newark Star-Ledger in 1997 — the newspaper Tony picks up from his North Jersey driveway in the morning — where they followed The Sopranos from the start.Now, they’ve written a book to mark the anniversary. Abrams, ) offers new essays on each of the show’s 86 episodes, plus a back-and-forth on what “really” happened in that last scene.The Sopranos also streams on HBO Go/Now and Amazon Prime.) Sepinwall now writes on TV for Rolling Stone, and Seitz is a TV critic for New York Magazine and editor-at-large of Roger The Inquirer and Daily News spoke with them about the show and their book. Mark Di Ionno, another columnist, had gone to Rutgers with James Gandolfini and put the famous dent in the Gandolfini forehead when both of them were in college together.On this date in 1999, the first episode opened on HBO with that grainy, jagged, hand-held camera sequence of North Jersey landscapes.We met the Soprano family, starting with the monumental James Gandolfini as Tony Soprano and including wife, Carmela, kids Meadow and A. Addicting millions as it went, The Sopranos ran until June 10, 2007, with that enigmatic cut to black.Melfi, some loved the family stuff, and some just loved the blood and guts.In all these areas, the show broke rules in different ways. Seitz: Rewatching Sopranos this time, I was impressed with just how brutal they were with audience expectations.Sepinwall: More than anything since I Love Lucy, it rewrote what a TV show could look like, what an audience could expect.Tony was the first completely bad main character in a long-running TV show.