He never had the makings of a varsity athlete

He never had the makings of a varsity athlete.

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RETIREMENT COMMUNIDY

Q U A S I M O D O

GARY COOPER

THE STRONG

SILENT

TYPE

I really like The Sopranos. Do you guys think I'm a dumb head?

FUCKIN QUEERS

youtube.com/watch?v=f-LYLRK2Y38

>IMA LOSIN MAH BALLS OVA HIEER

you know Quasimodo predicted all this

Cheese? Ova heer

SUN TA-ZU

>tfw you watch Whitecaps and remember the greatness of Gandolfini's performance and how he died too young

One of these days

I started this a few days ago, I'm almost on season 3.
You guys tricked me, I'm a little disappointed. I thought with how lauded this was, and the "authenticity" of it, being the best reviewed drama of all time, there would be more mafia stuff. Instead it's mostly Tony and his actual family, or just the guys talking. There's no tension or buildup really, it comes and goes very quickly and it just doesn't feel like any other show I've watched.
It's very good, but just disappointing that it could have been even better if they dropped all the kids crap, I guess a wife is a needed character but she gets so much screen time.

Breaking Bad is the best reviewed drama of all time. It's even in the world record books

OF ALL THE GIRLS IN JERSEY, YOU HAD TO FUCK HER.

shut the fuck up you honky cocksucker

>wants a mafia show
jesus christ there's no way you are serious, unironically: go watch Breaking Bad or Game of Thrones, you deserve those shows

There's no way a bunch of guys online would actually enjoy a show about crying to a therapist about not being happy and bickering with his wife. It's a chick show.

OOOoooh

hey tony, you believe the balls on this cocksucker?

madonna

shieet

Don't go in expecting a show that delivers non-stop action or cliffhanger suspense. The thing that makes The Sopranos so great is its subtlety. Much of the biggest developments lie in SUBTEXT. Over the show you see how things change Tony and how small interactions and things from his past constantly chase him. Especially his mother and Pussy. It's about Tony's psyche first and foremost. The writers nail it. It's similar to Mad Men in that respect. Change your expectations. As a post-9/11 show dealing with the American dream and how we are shaped by our environment, nothing else can touch it. Rewatching the series is so fucking satisfying.

thread theme

youtube.com/watch?v=euu3tU83ybo

ITS NOSTRAADAHMOUS

Small hands, that was his problem.

AYO, WHATCHA SEE? WHATCHA SAY? IM WATCHING THIS SHOW RIGHT FRIGGIN NOW AH- HAHA - HA

*takes a shit*

>not taking a WICKED shit

? But it's true

Never mention breaking reddit again

Good post

This

Any other portrayals of junkies as good as Chrissie's in season 3? He nailed all the mannerisms and slurred motions of a guy on smack constantly without going overboard.

Season 4 I mean.

You got your hunchback of norte dame, you got your quarterback of notre dame, its interesting, you telling me you've never pondered that?

I hate Chrissy so much. Like I didn't mind him when he was on screen and interacted with people, but the decisions he made about being a fucking degenerate junkie pissed me off.

Is this bait or are you just a young kid?

Gravy's good tonight.

OHHHHH GIRL

It's a sign of weakness and possibly a sign that you're a finook.

...

It's Paulie and everyone around him's fault he even relapsed. The dude was trapped in a life where the only guys he was close to didn't really love him. He was an earner. Him getting sober didn't mean shit to them because none of them as any empathy or understanding of how the program worked. I went through treatment. One of the most important parts of it is fellowship and having a support structure based on people who have been there. Chrissy didn't have that.

this guy was actually pretty hot shirtless

He wanted an arc

>that opening seven souls montage

It so clearly foreshadow the entire season, especially Tony dying.

this. he was in with a bunch of sociopaths, paulie being the worst of them all. he was doomed from the start.

>paulie siting alone in his underpants laughing his ass off at 40 year old tv shows.jpg

jv scrub

Sure he was, Johnny cakes.

YOU KNOW WHO HAD AN ARC? NOAH.

fuck off queer

First time I watched Sopranos it was insane how realistic Tony's sister and mom was. I've never seen a show with more realistic characters than those, tbqh.

hi vito

fanooks get out

CARMELLLLAAAAAA

WILL YOU PLEASE LET IN THE MOOOOOOOOOOOOOOORSSSS

he wasn't a better person than they were

Underrated characters GO GO GO.

Pic related, I knew some many guys growing up just like this kid. Very realistic and understated.

OH! Fuckin' Bishop Sheen over here!

I-I-IT'S A JOKE

STUPID-A FUCKING GAME

>mfw tony scares that nigger trying to date his daughter

I GOTTA TAKE A PISS. YOU WAN HALF A DAT, TOO!

No one ever mentions how much of a cunt carms mother is.

What would you have done differently in Vito's scenario?

then he fucks her

who? charcoal briquette?

the hasidic homeboy?

>i-i-i was going to punch him right in his face

Follow both of them to the parking lot and shoot them in the head

Old, smelly hags please go.

>When it's over, I think you're probably always blindsided by it. That's all I can say.

>It was my decision to direct the episode such that whenever Tony arrives someplace, he would see himself. He would get to the place and he would look and see where he was going. He had a conversation with his sister that went like this. And then he later had a conversation with Junior that went like this. I had him walk into his own POV every time. So the order of the shots would be Tony close-up, Tony POV, hold on the POV, and then Tony walks into the POV. And I shortened the POV every time. So that by the time he got to Holsten's, he wasn't even walking toward it anymore. He came in, he saw himself sitting at the table, and the next thing you knew he was at the table.

>Alik Sakharov, the DP, and I saw the location and talked about it a lot. I had a vision in my head when I wrote it, but when you move into a place you have to figure out how to shoot in that location. We wanted to be in the middle of the room obviously, so we could be on either side of the booth. We didn't want to be shooting against a blank wall on one side of the booth; we wanted it to be in the middle to give it depth all around. But there was a radiator unit in the only place where we would really have the room, so we had to build a booth over that radiator unit. It was very difficult. And we did not have much room to dolly or track around. So a lot of what we did in this scene came about after going to Holsten's. The vision has to coalesce with the real physical location.

>Tony's flipping through the jukebox; it's almost like the soundtrack of his life, because he sees various songs. No matter what song we picked, I wanted it to be a song that would have been from Tony's high school years, or his youth. That's what he would have played.

What did he mean by this?

This desu senpai. vito's already a killer.

He should've been smart enough to be way more discrete. Who goes to a gay bar?

>everyone around him's fault he even relapsed.
I get what you're saying and you're right to an extent but come on. It's Chrissy's fault. Of course struggling while everyone around him drank alcohol and other shit in front of him and even made fun of him when he refused to have a glass of wine or whatever didn't help at all. Of course they shouldn't go as far as making fun of him. Like that one trip they took to move a body or whatever when they're in that restaurant. Tony and Paulie teaming up to break his balls really hurt Chrissy. They shouldn't have done that desu, kinda dickish.

But at the end of the day it was Chrissy's fault. Even if the crew he ran with were terrible influences.

literally absolute kino

>When I wrote it, there were three songs in contention for this last song, and 'Don't Stop Believin'' was the one that seemed to work the best. I think it's a really good rock 'n' roll song. The music is very important to me in terms of the timing of the scene, the rhythm of the scene. The song dictates part of the pace. And having certain lyrics of the song, and certain instrumental flourishes happen in certain places, dictates what the cuts will be. I directed the scene to fit the song. The singing gets more and more strident and more invested as the song goes along. Musically it starts to build and build into something as it's just about to release. And when you look at the scene, you get that feeling.

>I love the timing of the lyric when Carmela enters: 'Just a small town girl livin' in a lonely world, she took the midnight train goin' anywhere.' Then it talks about Tony: 'Just a city boy,' and we had to dim down the music so you didn't hear the line, 'born and raised in South Detroit.' The music cuts out a little bit there, and they're speaking over it. 'He took the midnight train goin' anywhere.' And that to me was [everything]. I felt that those two characters had taken the midnight train a long time ago. That is their life. It means that these people are looking for something inevitable. Something they couldn't find. I mean, they didn't become missionaries in Africa or go to college together or do anything like that. They took the midnight train going anywhere. And the midnight train, you know, is the dark train.

>Tony hears the bell when the door opens and he's repeatedly looking up when he hears it throughout the scene. That rhythm is very important to the scene. The bell harkens back to the first episode [of the second part] of the final season called 'Sopranos Home Movies,' when Tony is out on a dock on this lake, and every once in a while a boat's bell dings and brings him out of himself and back to the present.

>when Paulie makes that "by then, she'll be working here" joke about Chrissy's daughter

>inserts pool cue up ass

GABA GABA GOOOOOOL!

>So here's the bell again, and sure enough, he looks up, and then he gets distracted, and there's the bell again. In my mind, it's like a meditation bell. Not to be thinking about the past, not to be thinking about the future, only about now. It's like the song 'This Magic Moment.' I used that at the end of 'Sopranos Home Movies,' and it's one of the songs he sees on the jukebox in this episode.

>My thinking about wanting to introduce A.J. and the guy together was that both the audience and Tony would not focus on the guy so much, they would focus on A.J. Tony would focus on his son, rather than the man who might be there to do him harm. A lot of the audience I gathered doesn't like A.J.; they think he's a useless, spoiled fool. But there's also something about him that is earnest. He's got his father's kind of questioning and kind of little boy innocence. When I see Tony reach across and grab his arm [when he arrives], it makes me feel really good. Not only that, I'll tell you who else is reaching across the table, that's Jim Gandolfini reaching across to Robert Iler in the last scene they're going to do together. I never talked about it with them, but I know for a fact.

>Cutting to Meadow parking was my way of building up the tension and building up the suspense, but more than that I wanted to demonstrate the lyrics of the song, which is streetlights, people walking up and down the boulevard, because that's what the song is saying. 'Strangers waiting.' I wanted you to remember that is out there. That there are streetlights and people out there and strangers moving up and down. It's the stream of life, but not only that, it's the stream of life at night. There's that picture called History Is Made at Night [from 1937]. I love that title. And that kind of echoes in my head all the time.

>I just wanted the guy to look over. I didn't want him to look particularly menacing. And he glances off Tony so quickly.

Sopranos threads will always be the best threads.

>you now remember that AJ wanted to be Trump's helicopter pilot

>75 posts
>0 shineboxes
There's no shines in my shinebox

how come there's never any Sup Forumstards in these threads?

Absolutely. If someone objected to him killing them later on, he could have defended himself by claiming he was collecting money from the fag bartender and the two fanooks he killed hit on him, or implied he's gay. He would be perhaps even percieved as much more ruthless after that.

I've been here the whole time, my dude.

yeah we got fucking robbed

at least he stuck around long enough to do his magnum opus

because these threads are actually worth staying on topic

>worries about a sociopath's fee-fees.

Eat a dick, faggot.

Too bad you're here to fuck it up reddit

What did they mean by this?

>fee-fees.
why do you 90's born faggots always talk like a bunch of queers?

hmmmmm...really makes me think

It's a nice place to visit...

You don't think at all you shit posting reddit fag

>worries about a sociopath's fee-fees.

>I get what you're saying and you're right to an extent but come on. It's Chrissy's fault.
>But at the end of the day it was Chrissy's fault.
Are you retarded or simply pretending? I'm calling Chrissy out for making shitty decisions and ultimately fucking everything up. Get some reading comprehension.

>I tried to build the tension and suspense as much as possible. That's why I could go back out to Meadow and her car-parking. I could use all that stuff to affect the pace. I think almost every director is thinking about the pacing. That's what directing is. I did want to create the idea that you would wonder if something was going to happen in there. Meadow is filled with nothing but very, very deep emotions about parking her car. But possibly a minute later, her head will be filled with emotions she could never even imagine. We all take this stuff so seriously—losing our keys, parking our car, a winter cold, a summer cold, an allergy—whatever it is. And this stuff fills our mind from second to second, moment to moment. And the big moment is always out there waiting.

David Chase confirms the meaning of the ending.

The human body is 86% water but Luis's last blood test she was 65% zeppole.

The implication being her ass is so big that a mole of that size could be removed from it.

>tfw grandma made the best zeppole

i miss her lads

i want reddit to leave

OHH

REPORTED

>Irina is 41 years old

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