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Ishamael posted:I predict that I will soon be told that this view makes me a bad Sopranos fan. Only if you also made a prediction that Meadow would take over the family business. I read the archived episode threads and some of the predictions people made, like that one, really made me shake my head. My guess for the Russian is that he ditched his life of crime and went on to be a very successful interior decorator.
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Feb 22, 2008 21:55
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jerkstore77 posted:Only if you also made a prediction that Meadow would take over the family business. hahaha, I imagine Meadow as boss would make a great sitcom. And I think the Russian drove all the way back to Russia, underwater, in Paulie's giant car.
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Feb 22, 2008 22:41
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does anyone have that link to the Sopranos/Annimal House alternative ending - with the lat 3 unseen min.s done like Annimal House's 'Where Are They Now?' credits? I'd kill to see that again
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Feb 22, 2008 23:18
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Dead Snoopy posted:does anyone have that link to the Sopranos/Annimal House alternative ending - with the lat 3 unseen min.s done like Annimal House's 'Where Are They Now?' credits? I can't find it.  I did find this one, which made me laugh:http://www.youtube.com/watch?v=7EwUG2nSLdw
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Feb 22, 2008 23:41
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So am I the only guy whose favourite Sopranos moments are to do with Chris in acting classes? http://www.youtube.com/watch?v=AxKI4DuZp7c I wish I could find a clip of that scene where he gets really into the scene and gets really emotional...
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Feb 23, 2008 00:18
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My favorite moment is the scene with Paulie and the gardener. The absurdity of Paulie wheeling away the lawnmower as collateral and slamming it in his trunk gets me every time. Another moment that makes me laugh each time I think of it is when Uncle Jun is in the mental hospital with that Chinese kid. The Chinese kid introduces him to his mom, and Uncle Jun keeps repeating "They put me on a new medication. It makes me salivate."
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Feb 23, 2008 00:54
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Popcorn posted:So am I the only guy whose favourite Sopranos moments are to do with Chris in acting classes? The only other scene from Christopher's acting classes I could find is his improvisation where he tells the guy reaching for his gun, "Whoa, what are you doin'? You're droppin' your fuckin' oranges!" And one of my favorite Christopher scenes is his intervention. I can't imagine many other shows that would've been able to pull off something like that so well. jerkstore77 posted:My favorite moment is the scene with Paulie and the gardener. The entire Feech/Paulie landscaping war is absolutely loving hysterical. Feech beats down landscaper Paulie does the gardeners Paulie has it out with Feech
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Feb 23, 2008 17:59
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Pope Corky the IX posted:
"You're the guy who broke into Stu Leonard's that time and stole all those pork loins." "Yeah, that's....not why I'm here today."
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Feb 23, 2008 22:21
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One of my favorite scenes with chris is when he sits on the dog... A bit slapstick but it gets me every time.
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Feb 23, 2008 23:31
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Pope Corky the IX posted:And one of my favorite Christopher scenes is his intervention. I can't imagine many other shows that would've been able to pull off something like that so well. Best part of this scene is when Adrianna says that Chris can no longer fucntion as a man and the camera briefly flashes over to Paulie who is giving an "oh really?" look. 
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Feb 24, 2008 05:35
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I really wish I had signed up before the Sopranos ended. I really enjoyed reading these threads after the episodes. Thanks for revitalizing the discussion. I don't necessarily have a favorite part, but I really, really enjoyed the symbolism of the final season. The whole beacon and light imagery was drat cool. I remember someone posted a really insightful analysis of what Tony meant by the "I get it!" line, but I neither have archives nor the patience to find it even if I did. It just felt as if they cranked up the philosophical and emotional themes at the end, and it really paid off. http://youtube.com/watch?v=4zFM00-rOMo - This has both the peyote scene and the "I Get It!" line. I can't find the coma, the Paris, or the car crash beacons. Jurispathic fucked around with this message at 08:54 on Feb 24, 2008 |
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Feb 24, 2008 08:50
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Pope Corky the IX posted:There is no spin-off film, unless they're going to do it without David Chase and especially James Gandolfini, who refuses to play Tony ever again. And Chase has said about as much in many interviews and the Sopranos book. I don't particularly care either way, for me the series ended perfectly, but I heard a lot of rumours about a spin-off film. If one was created, there's a lot left open that could make a spin off work.
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Feb 24, 2008 18:03
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Desdinova posted:I don't particularly care either way, for me the series ended perfectly, but I heard a lot of rumours about a spin-off film. But as I said, the sets have all been torn down, two of the locations no longer exist, and all the props have been sold off. As well as the two most important people involved stating that they are done with the show. Regardless of what storylines have been left open, which is debatable anyway, it would be impossible. I'm sorry to come off like an rear end in a top hat, but half the people that talk about the Sopranos now keep saying the same thing, "Oh, they just did that for the movie"
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Feb 24, 2008 19:27
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So did Hesh's girlfriend actually die of natural causes? I could never figure out weather Tony had a hand in that or not.
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Feb 24, 2008 21:05
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paulie walnuts posted:So did Hesh's girlfriend actually die of natural causes? I could never figure out weather Tony had a hand in that or not. I had a lot of problems with that episode, I will never watch it again if I can help it. But from what I remember, it was stated online that Hesh's girlfriend died suddenly, Tony had nothing to do with it. But it took that level of tragedy for him to give Hesh the money.
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Feb 24, 2008 21:50
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Pope Corky the IX posted:The only other scene from Christopher's acting classes I could find is his improvisation where he tells the guy reaching for his gun, "Whoa, what are you doin'? You're droppin' your fuckin' oranges!" Christopher Moltisanti was, for my money, the best character in a show full of amazing characters, and therefore possibly the greatest character in any TV show of all time. I just thought he was endlessly brilliant.
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Feb 24, 2008 23:40
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paulie walnuts posted:Good to see you back. And Ishmael, I figured maybe you'd like to add these to the OP. Sopranos Killings - Season 1 Sopranos Killings - Season 2 Sopranos Killings - Season 3 Sopranos Killings - Season 4 Sopranos Killings - Season 5 Sopranos Killings - Season 6.1 My only complaint is that a few of the murders in the season 1 compilation are out of order. Well, that and the fact that I couldn't find one for season 6.2. And of course, there's always "Get a mop"
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Feb 25, 2008 00:19
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Did they ever say how Paulie got the nickname "Walnuts"?
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Feb 25, 2008 00:35
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jerkstore77 posted:Did they ever say how Paulie got the nickname "Walnuts"? It's mentioned sometime in the first season, if I'm not mistaken. Paulie kept bragging about a truck full of electronics he was going to hijack, and when he finally got it back to the warehouse, it was full of walnuts.
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Feb 25, 2008 01:17
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Pope Corky the IX posted:And one of my favorite Christopher scenes is his intervention. I can't imagine many other shows that would've been able to pull off something like that so well. Tony: "You killed little Cosette. I oughtta suffocate you, you little prick." HOLY loving poo poo I LOVE THIS SHOW
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Feb 25, 2008 02:11
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http://www.youtube.com/watch?v=r4kgxbTqz_Y&feature=related Holy poo poo this guy is a moron. BLACK PEOPLE=GUNS=DEAD TONY
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Feb 25, 2008 07:27
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paulie walnuts posted:http://www.youtube.com/watch?v=r4kgxbTqz_Y&feature=related That is a pretty terrible loving theory. What I loved about the ending of the show is that we don't need real closure for Tony. We know how it ends; Tony will be die or go to prison. The series showed us with each death of a character how Tony could end up; he could suffer the same fate as Silvio, Johnny Sachs, Phil Leotardo, or Bobby. Even survival and freedom won't give him a happy ending; he could still end up like Uncle Junior. He and the audience both know their won't be a happy ending for made man like him; we just never get to see it happen.
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Feb 25, 2008 08:11
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To me, the last scene was all about tension and making the audience see this tension through Tony's eyes as he experiences it. He will have to look over his shoulder for the rest of his life very similar to how he was looking suspiciously at everyone who was entering the diner. Throughout this whole scene they kept panning the camera to everyone else in the diner making the audience feel like anyone could have been a potential assassin or fed. Whether it be the feds or a rival boss, Tony will never know when his time is going to come and the abrupt ending we got was used to give this feeling to the audience. To quote an often used line in the series: David Chase, "you've got SOME balls my friend" to end it that way, but I thought it was brilliant. I'm still not quite sure what the point was of focusing so much on Meadow trying to park the car during that scene. I actually thought there was a possibility that she was going to die ever since briefly hearing the ending music from Godfather 3 (from right after Mary got shot) in the episode prior to the finale. Also on that note, I've had Don't Stop Believin' in my head for the last 2 weeks ever since watching the finale. I can't get it out.
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Feb 25, 2008 19:16
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The Action Man posted:That is a pretty terrible loving theory. Well he could just end up like little Carmine, making porn in Florida.
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Feb 25, 2008 19:29
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jerkstore77 posted:I'm still not quite sure what the point was of focusing so much on Meadow trying to park the car during that scene. I actually thought there was a possibility that she was going to die ever since briefly hearing the ending music from Godfather 3 (from right after Mary got shot) in the episode prior to the finale. Whatever the reason it was brilliant, I was so tense I could barely breathe, every time she failed at parking the car I just figured something horrible would happen. I loved the ending, couldn't have imagined a better one.
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Feb 25, 2008 20:01
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worse trend now: I've tuned into some radio stations that play that Journey song, and then cut out abruptly to The Sopranos theme mid-way ala the finale.
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Feb 25, 2008 21:15
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jerkstore77 posted:To me, the last scene was all about tension and making the audience see this tension through Tony's eyes as he experiences it. He will have to look over his shoulder for the rest of his life very similar to how he was looking suspiciously at everyone who was entering the diner. Throughout this whole scene they kept panning the camera to everyone else in the diner making the audience feel like anyone could have been a potential assassin or fed. I felt exactly the same way the first time I saw it, but when I watched it again all the tension was gone because I knew what happened. I really believe that the tension I thought Tony was feeling was purely a projection of my own as I waited to see what was going to happen, and watching it again he just seems like a guy out at a diner with his family. All the looks I saw him giving the other guys in the diner don't seem paranoid to me anymore, he's just looking up because there's movement and he's expecting Meadow to arrive. That's how I feel anyway, and I love that the finale managed to ramp up the tension for the viewer, and think it ended absolutely picture perfect. What an absolutely amazing series, we won't see its like again for a long drat time, if ever.
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Feb 25, 2008 23:33
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I don't think the ending was trying to illustrate Tony's bleak future. The penultimate episode did that in a much more emotional way. Really, that Tindersticks song at the end was loving brilliant. If that was Chase's goal, I would have been more than satisfied leaving the series there. And besides, Tony really didn't seem too paranoid in that diner. Regarding the ending, David Chase had this to say: Chase says the New Jersey mob boss “had been people’s alter ego. They had gleefully watched him rob, kill, pillage, lie and cheat. They had cheered him on. And then, all of a sudden, they wanted to see him punished for all that. They wanted ’justice’... “The pathetic thing — to me — was how much they wanted HIS blood, after cheering him on for eight years.” http://www.msnbc.msn.com/id/21440301/ I'm sure many of you have seen this, and I apologize if this comment has been beaten to death in the last thread. Maybe I'm dead wrong, but this response struck me as stunningly condescending. It's as if we're supposed to be ashamed of even remotely relating to a character we've spent 10 years getting to know. Nor is it that case that we're all psychopaths who foam at the mouth any time blood appeared on the screen. Are we honestly to take the cut to black as some sort of punishment? Even time I think about this interpretation, though, I feel like I'm being too hard on the show. I just can't figured out how that ending fits into the themes of the series. Sure, you can read it as an attack on our culture, which seems obsessed with violence. Hell, the title of the episode ("Made in America") supports this view. However, this doesn't have any real emotional resonance does it? I've always felt the more powerful themes of the show to be the family relationships, the futility of change, and nihilism. Yet I can't figure out what this scene does for any of those thematic elements. Maybe that's the point. I've heard some people argue that there isn't meant to be any real resolution. That's just how life is. It's messy. Jurispathic fucked around with this message at 01:22 on Feb 26, 2008 |
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Feb 26, 2008 01:20
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Yeah, they should just do the same thing over again, but with a different cast, different plotlines, and such. Call it The Tenors or something. It would be different enough not to sour the original any and it'd still be better than 90% of TV today. Ok, maybe Paulie could be in it. He'd probably do it too since the cash would be better than the Denny's commercials he's been doing recently.
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Feb 26, 2008 01:20
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gently caress The Sopranos. It has ruined all other television for me because nothing will or ever can be as good as that show. I socked away Seasons 1, 2 and 3 last summer thanks to the library carrying them; here at school the library has 5 and 6 but not 4  So I'm just going to wait for that series edition DVD to come out and treat the hell out of myself. I'm amazed at how well I have been able to avoid having things spoiled for me so far (obviously I won't be reading most of the posts in this thread). God, what a great show.
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Feb 26, 2008 03:57
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Jurispathic posted:
Yeah, I hear you. I was unhappy with the ending when it happened, and haven't grown any warmer towards it with time, although I certainly respect its audacity. I think David Chase's comment is way off, though. I was not crying out for Tony's blood. In fact, it was the opposite. I desperately wanted to see some shred of hope for him, or if he did die, some kind of peace finally. I didn't want to see a bloodbath, I wanted to hear the last note of the song. And I don't feel like I should be chastised for wanting to see what it was all building to. It's like hitting stop right before the piano chord in "Sgt. Pepper". It's strong, and makes a statement, but its not satisfying. And as much as everyone says "it's life, it doesn't have nice wrap-ups", then why did each episode follow a standard plot structure? The Melfi rape episode was so strong because of the powerful ending, those closing moments in Season 5(?) where Tony and Junior sit on the couch, and Tony says "Why couldn't you say somethin' nice?", and Junior just cries quietly. Or the ending where Carmela had a vision of AJ as a little boy on his bigwheel - these were amazing ending moments, and it didn't make it seem any less like "life" because it had an ending. All that said, Chase has made sure that people will be talking about the Sopranos ending for years to come. My only big remaining complaint is that people ONLY seem to talk about the ending. 85.95 hours of the greatest drama on TV superceded by a ballsy editing gimmick. The ending was unique, it was interesting, it was infuriating and cool at the same time. Let's fuckin' drop it now.
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Feb 26, 2008 04:31
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paulie walnuts posted:Well he could just end up like little Carmine, making porn in Florida. That's what I liked most about Little Carmine; by the end of the show, he was the man Tony wanted to be. Little Carmine gave up on advancing in the mafia, and he still had money, prestige, but none of Tony's headaches. That discussion they had where Little Carmine tells Tony that all the trouble of being boss isn't worth it always stuck with me. Tony wants to divest himself of his responsibility and problems, but he can't. He can't retire, just like that fellow from Member's Only.
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Feb 26, 2008 06:54
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Pope Corky the IX posted:But as I said, the sets have all been torn down, two of the locations no longer exist, and all the props have been sold off. As well as the two most important people involved stating that they are done with the show. Regardless of what storylines have been left open, which is debatable anyway, it would be impossible. I'm sorry to come off like an rear end in a top hat, but half the people that talk about the Sopranos now keep saying the same thing, "Oh, they just did that for the movie" I didn't know anything about the sets and locations when I asked, and all I'd heard up until now was that "Sopranos Movie Is Possible". The series more than stands up on its own, but I'm used to companies really milking a cash cow when possible, which is why I asked. On another note, what's everyone's favourite episode? I guess I'm not alone when I say Pine Barrens. Steve Buscemi is a fantastic director (and actor) who really gets a feel for the drama.
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Feb 26, 2008 23:15
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Desdinova posted:I didn't know anything about the sets and locations when I asked, and all I'd heard up until now was that "Sopranos Movie Is Possible". The series more than stands up on its own, but I'm used to companies really milking a cash cow when possible, which is why I asked. From Where to Eternity Watching each character deal with death, dying, and survival in their own way was great. This episode made Paulie Walnuts my favorite character, and every scene he has in this episode is solid gold for me. The scene where Christopher describes Wiseguy hell is one of my favorite moments.
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Feb 26, 2008 23:42
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The Action Man posted:From Where to Eternity Watching each character deal with death, dying, and survival in their own way was great. This episode made Paulie Walnuts my favorite character, and every scene he has in this episode is solid gold for me. The scene where Christopher describes Wiseguy hell is one of my favorite moments. Oh man, I love that episode. Paulie throwing a chair at ghosts is just perfect. "Fuckin' QUEERS!"
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Feb 26, 2008 23:43
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I can't pick one. I'll take Whitecaps and Join the Club for the acting, Pine Barrens for the hilarity, and The Blue Comet for the jaw-dropping factor. My favorite scene of the entire series is easier to pick. For some reason the scene in the finale where Tony visits Uncle Jun really gets to me, especially this part. Tony: ...this thing of ours. Uncle Jun: I was involved with that? Tony: You and my Dad - you two ran North Jersey Uncle Jun: That's nice. Uncle Jun was such an rear end in a top hat. Why am I crying over his mental demise?
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Feb 27, 2008 00:46
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Ishamael posted:Oh man, I love that episode. Paulie throwing a chair at ghosts is just perfect. Paulie's mathematical formula for Purgatory get me every time. "Purgatory, a little detour on the way to Paradise... You add up all your mortal sins and multiply that number by 50. Then you add up all your venial sins and multiply that by 25. You add it together, and that's your sentence. I figure I'm gonna have to do about 6,000 years before I get accepted into Heaven, and 6,000 years is nothing in Eternity terms. I could do that standing on my head; it's like a couple a days here."
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Feb 27, 2008 00:53
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My favorite scene is from "Long Term Parking" in season 5, when Tony comes to see Chris after they killed Ade. When they first hug quickly and say she was a oval office, look at each other, and then hug for real and start crying because they both loved her so much. I think that's very powerful and I get sad every time I see it. Ade was truly the only good character on the show. She never hurt anyone and all she ever wanted was to be happy and start a family with Chris.
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Feb 27, 2008 01:42
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Iroqouiz posted:My favorite scene is from "Long Term Parking" in season 5, when Tony comes to see Chris after they killed Ade. I came here to post that episode. It's definitely up them as one of my favorites for sure. There's just so many great scenes in it. The whole car ride with Silvio is one of the most disturbing moments in the show's history, and they pull it off flawlessly. The way it dawns on you that she's finished is just so subtle and so heartbreaking. I also love when Chris drops her car off at the parking lot. It's such a beautiful shot. I especially like the announcer's voice: "This is LONG TERM PARKING ONLY." And then there's Tony looking out at the woods with a hint of regret. I don't know if it was intentional, but it seemed quite symbolic that Tony was trying to cover up her death with Carmela's spec house. It's interesting. Anyone remember a few seasons before that episode where Chris proposes to Ade? Ade's mother is there with them, and she warns Ade that the "next time you get into trouble, this door is closed to you." Pretty chilling.
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Feb 27, 2008 02:03
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Iroqouiz posted:My favorite scene is from "Long Term Parking" in season 5, when Tony comes to see Chris after they killed Ade. When they first hug quickly and say she was a oval office, look at each other, and then hug for real and start crying because they both loved her so much. I think that's very powerful and I get sad every time I see it. Ade was truly the only good character on the show. She never hurt anyone and all she ever wanted was to be happy and start a family with Chris. I'm not saying Adriana wasn't a nuanced or sympathetic character, but like almost every wife and girlfriend on the show, she was complicit, sometimes knowingly, in a lot of nasty violent poo poo. On that topic, something I never noticed until I rewatched the episode - Phil Leotardo's wife basically asks him to kill Vito. She talks about the family shame, and the way her church group is talking about Vito, and they share a look. It's all communicated in the coded way the wives talk with their husbands about their work, but it's there. I can't believe I didn't see it the first time, it makes Carmela look saintly and restrained by comparison.
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