TV NEWS: Did Tony Die At The End Of The Sopranos? w/ D. Chase response (Colin)

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'The Sopranos': David Chase reveals his favorite moment in the series finale

Sopranos creator David Chase singled out the scenes from "Made in America" that he loves. (And no, none of them involve Holsten's.)
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The Sopranos: David Chase reveals his favorite moments in the series finale

Sopranos creator David Chase singled out the scenes from "Made in America" that he loves. (And no, none of them involve Holsten's.)
By Kristen Baldwin
July 21, 2020 at 08:30 PM EDT



Almost everyone has thoughts on The Sopranos series finale. More specifically, almost everyone has thoughts on the famous last moment of The Sopranos series finale. Thirteen years after "Made in America" ended with a smash-cut-to-black shocker, all anyone wants to talk about is what happened to Tony (James Gandolfini) when the screen went dark.
But there were a lot of other great moments in "Made in America" — Tony's guys kill Phil! AJ accidentally kills his SUV! — including a few that creator David Chase still remembers fondly: "I loved the scene with Junior at the end. I loved everything with Junior, especially in that episode. When Janice tells Junior, 'Bobby’s dead,' and Junior says, 'Ambassador Hotel!' And she says, 'Your Bobby!' That was one of my favorite moments."


Speaking during the Television Academy's "Quaranstreaming: Comfort TV That Keeps Us Going" panel, Chase recalled another small detail from the episode that he loves, from a scene where Tony and his crew are hiding out at a safe house. "Something that nobody would care about was when they were going to the mattresses, there was a Twilight Zone episode playing about a TV writer. That was one of my favorites," he said. "That Twilight Zone, it was a critique and a slam of network television, and it was very funny." (The episode, by the way, was "The Bard," about a struggling TV writer who accidentally conjures up William Shakespeare. It originally aired in 1963.)
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As for those final few seconds of The Sopranos? While Chase declined to discuss it in any detail ("every time I talk about that ending, I get myself in deeper and deeper"), Sopranos director and star Steve Buscemi had no problem sharing his opinion. "I thought the ending was brilliant," said the actor-director, who appeared on the panel along with Sopranos star Steven Van Zandt. "It was so shocking, and like a lot of people, I thought something was wrong with my television set. In fact, I know a friend of mine who was out for the evening and he asked his son to DVR the show. And when he came home and he watched it and it went to black, he started yelling at his son for not getting it all."

Also participating in "Quaranstreaming" panel: The West Wing exec producer Thomas Schlamme and stars Dulé Hill and Richard Schiff, as well as Grey's Anatomy exec producer Krista Vernoff and stars Chandra Wilson and Kevin McKidd. You can watch the full panel on the Television Academy's YouTube channel.




ew.com

'The Sopranos': David Chase reveals his favorite moment in the series finale

Sopranos creator David Chase singled out the scenes from "Made in America" that he loves. (And no, none of them involve Holsten's.)
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‘The Sopranos’ Cast Reunites For Charity Table Read Of First New Material In 13 Years

'The Sopranos' Cast Reunites For Charity Table Read Of First New Material In 13 Years
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‘The Sopranos’ Cast Reunites For Charity Table Read Of First New Material In 13 Years
By Bruce Haring
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December 18, 2020 7:19pm
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The cast of one of the most memorable shows in television history, HBO’s The Sopranos, reunited tonight for a special table read to benefit actor and former fireman Steve Buscemi’s favorite charity, Friends of Firefighters.
Highlighting the gathering was a cast read of a brand-new sketch cowritten by series creator David Chase and longtime writer/executive producer Terence Winter.
Titled “Bada Bing, Bada Zoom,” the sketch had cast members reuniting for an online group therapy session with Dr. Jennifer Melfi, the therapist who coaxed Tony Soprano (the late James Gandolfini) through many difficult moments on the series.



The entire webcast, along with the sketch, is available online here.
The 2.5-hour reunion raised more than $100,000 for Friends of Firefighters, slightly more than its goal. There will be a follow-up gathering chaired by Buscemi later this month with some different celebrity friends (see below for details) for the same charity.

On hand for today’s Sopranos table read were Buscemi, Lorraine Bracco, David Chase, Edie Falco, Michael Imperioli, Robert Iler, Drea de Matteo, Tim Van Patten, Steve Schirripa, Jamie-Lynn Sigler, Maureen Van Zandt, Steven Van Zandt, and Terence Winter. The event was moderated by writer/director Kevin Smith.

Before the read, the cast reminisced about their days on the show, which ran for six seasons from 1999 to 2007 on HBO.
Topics touched on included auditioning for the show, which included Drea De Matteo’s one line (“Ow!”) and Steve Schirripa allegedly timing his audition to the lunch spread by Craft Services.

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There were also several fan questions. Among them: Why was the “real Boss,” aka Bruce Springsteen, never on the show? Steven Van Zandt, who played consigliere Silvio Dante on The Sopranos and is also part of Springsteen’s E Street Band, revealed that there was talk of having The Boss appear as Silvio’s brother, but it never came to fruition. Still, Van Zandt said, the band had tapes of the show delivered to them while touring, and all gathered as a group to watch.
One poignant moment came when David Chase was asked to talk about James Gandolfini, who died in June 2013. Chase appeared overcome with emotion and struggled to find words to describe their relationship. “I’ve said once that we were like brothers. And we didn’t even get along that well. I don’t know what else to say. I can’t…” He added later: “He never protected himself,” when asked to take an acting risk. “He would just do it. Not always happily. But he would do it.”



Chase also allowed that killing off any character on the show was tough, even though the cast joked about the fabled “Lunch of death” where Chase would break the news.
The cast was also asked to name their favorite character in the series. Aida Turturro, who played Tony Soprano’s wayward sister Janice, named her TV brother. Edie Falco, who played Carmela, the long-suffering wife of Tony, named “the one-legged Russian girl, Svetlana. And Jamie Lynn Sigler nominated Carmela and Uncle Junior (Dominic Chianese). “He was so funny. I didn’t realize how funny he was.”
Schirppa had the comment of the night on that subject. He named “Paulie Walnuts (Tony Sirico). “The wings are iconic. Him and Grandpa on The Munsters were the only ones.”
Steve Buscemi will bring together friends for what’s billed as a “Fireside Chat” with friends Judd Apatow, Julie Bowen, Dan Bulla, Tim Herlihy, Kevin James, Tim Meadows, Colin Quinn, Chris Rock, Adam Sandler, Jackie Sandler Rob Schneider, and Kenan Thompson on December 22nd at 4pm PT/ 7pm ET.

The live stream will be powered by online platform Tiltify. Donations can be made through Tiltify beginning today here.

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Drea de Matteo Answers All Our Questions About That Episode of The Sopranos

You know the one.
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Drea de Matteo Answers All Our Questions About That Episode of The Sopranos
By Mara Reinstein
Photo-Illustration: Vulture; Photo: HBO
Warning: Spoilers ahead for one of the biggest spoilers in modern TV history.
Her Emmy statue used to be displayed in a bathroom. “I was that guy who had to downplay everything,” Drea de Matteo explains. Then she moved it into her office and placed it on a stack of books on the floor, where it now resides. But honestly? All these years later, she’s still processing the whole thing. “It’s too big for me to wrap my head around it,” she says. “Like, how did I get this far? I was a mess of a kid and now I’m here with a fucking Emmy? Like, holy shit, when I won I almost died.”

Of course, mastering the art of the onscreen death is how and why de Matteo earned that 2004 Outstanding Supporting Actress in a Drama Series trophy in the first place. And it’s perfectly fine to admit that you’re still not over what happened. Her demise on The Sopranos, as seen in the episode “Long Term Parking,” remains the disturbing highlight on an iconic mob series that dispatched many of its characters with cruel regularity.
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The trouble starts when her big-haired, bighearted Adriana La Cerva befriends a fellow mall rat (Lola Glaudini) who happens to be an undercover FBI agent. Once under the thumb of the Feds, Adriana’s coerced into giving up information relating to her Mafia connections — which includes her fiancé, Christopher Moltisanti (Michael Imperioli), the made-man nephew of one Tony Soprano (James Gandolfini). The secrets come in dribs and drabs until Adriana gets entangled in a murder cover-up at her Crazy Horse nightclub. Her solution? Spill all to Christopher in the hopes that he’ll join her in the Witness Protection Program. This plan ends with our dear sweet Adriana scampering on all fours in the middle of the secluded woods as Tony’s consigliere Silvio Dante (Steven Van Zandt) squeezes the trigger. (The company line: She dumped Christopher and impulsively moved away; her car may still be loitering in Newark airport’s long-term-parking lot.)
“I’m really proud of it,” the actress says of her role. “We changed the history of TV with that show, and I know my character was iconic. My daughter once looked up what I did and told me, ‘Oh my God, Mom!’” Now 50, de Matteo — who, for the record, does not speak in Adriana’s unrefined New York dialect — has gone on to make her mark in the likes of Desperate Housewives, Justified, Shades of Blue, and, most recently, the Amazon series Paradise City. And yes, she’s beyond excited to see the upcoming Sopranos origin-story film The Many Saints of Newark, in which Christopher appears as an innocent cooing baby circa the mid-1970s. So we asked her to divulge all the details about her infamous TV exit.

Do you realize how painful it is to rewatch this episode, even for research purposes?
I know. She was a good girl.
She didn’t deserve to die!
I agree! Saint Adriana. She was the show’s sacrificial lamb.
So let’s do the math. Adriana meets the agent in an episode that aired in the spring of 2002. She dies two years later at the tail end of season five. When did you learn her days were numbered?
You know, I went to series creator and executive producer David Chase at the beginning of season five because I wanted to direct a film during the hiatus. He looked at me and said, “I’ll get back to you.” And I thought, “Am I effing myself?” Like, I hope he’s not mad at me now because I wanted to do something that was not Sopranos related. In a lot of ways, I was his baby. I came in as a day player, and the role grew because he loved the character and loved me and gave me the chance of a lifetime. I didn’t want him to think I was too big for my britches.
Then he lowered the boom?
I’ll never forget it. So everybody on the show who was about to get whacked always got brought into his office, and there’s a conversation and then he takes that person to dinner. Usually it’s the men. He’s like the Godfather in that sense. But in my situation, he sat me on a curb in between shooting the episode where Adriana is in a neck brace. He said to me, “I’m going to shoot it two ways: You escape in your car, and you get killed. Nobody will know how it’s going to end until the episode comes out because we have confidentiality issues on the show.” But the truth was that I was going to be killed. And they aired both scenarios in the episode because Adriana imagined that she was free.
What were your initial thoughts upon reading the script?
I remember thinking that I was going to be happy that I was not going to have to cry again and could relax. I was very burned out because back in those days I was very Method. I took things maybe too seriously. And shooting that season, I really lived with Adriana because I gave it my all and was in turmoil. But I have to say, the actual death scene was nothing for me at that point. The scene I really struggled with was the one where I confessed to Christopher.
Well, he responds by flying into a rage and punching you and almost choking you to death. What was your relationship with Michael like at that point?
Michael and I definitely hung out a lot. I always say that everything I learned about acting was from working so closely with him. When I came on, he was the easiest, most generous actor and so patient with me about hitting marks and all kinds of things not part of my repertoire. So I felt safe with him and was able to explore and become an actor. I mean, I remember in season one, David Chase came over to me at craft services and goes, “You know, people in the editing room think you and Michael are really a couple.” But we barely knew each other at that point! I said that maybe it’s because we both have enormous eyebrows.
How did you guys approach such an intense scene?
He had a hard time with a lot of the violence that season. One time he had to grab me by my hair and drag me across the room using a harness. But the harness broke. I was sitting on the floor and crying, because I’m in the moment, and finally told him, “I’m not going to sit here and wait. You’re dragging me by my hair and you’re going to be okay with it.” He said, “I can’t do that.” And I said, “Yes, you can.” And we did it. So for the confession scene, I told him, “I don’t want to do more than one take so you need to not be careful. I’ll kick you in the nuts as a signal if you need to get off me.” And he was like, “I can’t.” And I said, “Then don’t, fine.”
You’re saying it was all faked?
Well, the punch is a fake. But you can’t fake choking because they have a camera right on your face. So when he started choking me, I pushed my neck up into his hands as hard as I could to choke myself, so that my eyes would pop and my face would swell. It’s pretty good! The 50-year-old version of myself might not do that. But I loved that scene. It was like a cleansing because she finally just gets to say what she needed to say for so long.
That sight of Adriana alone in the driver’s seat of her car looking so peaceful is one of the most heartbreaking fake-outs in TV history.
There was a scene shot for that episode where Christopher is hysterically crying and tells Tony everything and Tony says, “I’ll handle it.” I went to the writers and said that you can’t air it because then everyone will know that Adriana is walking into her own death. We needed her to go out with a bang, and we owe her that much. Stevie backed me, but I’m not sure about Michael. And they took out the scene because they realized it was a better way to keep people on the edge of their seats and used the scene as a flashback in the next season.
When we do see the reality, Adriana is riding shotgun with Silvio and in tears. Is she crying because Tony told her that Christopher had attempted suicide or because she knew that he had betrayed her?
I think it starts one way because she is filled with guilt, and then she quickly realizes what is happening. The crying ramps up when he makes that turn off the interstate and she knows that her fate is sealed.
Drea, was there any way Adriana could have avoided that fate?
She didn’t know how to navigate the situation. She could have gone straight to Tony Soprano from the beginning and they could have played the feds together. That’s what his kids would have done. But she wasn’t savvy like that or some grand manipulator. But Christopher also shouldn’t have been so impulsive and thought it through a little bit!
Seriously! Why was she so loyal to that guy?
Adriana’s purpose on the show was innocence, and she was filled with love. You know, a lot of fans looked at the show from the aspect of the gunshot; they didn’t understand what was happening underneath the surface. I would be walking on the street and people were like, “You fucking rat, you junkie bitch, you deserve what you got.”
Is it true Steven Van Zandt didn’t want to drag you out of that car?
It’s fair to say that I held every male character’s hand who destroyed Adriana’s spirit. Nobody wanted to do it, but I needed my side of the street to be easy, and the only way to do this was for them to help me and just go for it. Stevie understood that in the end, but boy, he didn’t want to do it at all!
Do you take all this resistance as a weird compliment, in that they cared about you so much?
Well, that should be the norm in life! They did care about me, but a lot had to do with seeing the character go. Everyone knew this was going to change the trajectory of the show. These antiheroes that you’ve loved for so many years? You’re really going to see them for the monsters that they are. Subscribing to that school of thought was key to understanding the show.
Did David Chase take you out to a good-bye dinner like he did for everyone else?
I got nothing. Well, I got a pinball machine and lots of flowers. But no dinner. Maybe because I’m a woman, I don’t know. To be honest, dinner with David Chase and all the dudes? Like, it would be uncomfortable for all of us. I was so fucking shy that it was like pulling teeth even getting me to the read-throughs.
Was it weird to watch the rest of the series unfold? Christopher ends up marrying and having a baby.
It was weird. Like, Oh, this new woman gets to have a baby? I couldn’t have a baby! But when Tony kills him after a car crash, I saw it as karma.
What are your thoughts on Adriana’s legacy? Has it been a burden for you professionally?
It’s never easy after you come up with a huge show like that because the expectations are so high. It usually takes a long time for people to erase that from their psyche, and it hasn’t been easy for me to find the roles that I love. But now I just want to play a character like that all over again because it was the richest with the most layers. And that accent was the most fun.
I must say, it is a little disarming to hear you not pronounce the name as “Chris-ta-fuh.”
I hated saying it at the time because I thought it sounded forced! I even asked David Chase if I could just say “Chrissy” instead. But now when I sign autographs, I sign “Christopher” with like 80 h’s at the end.
 
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Sopranos Creator David Chase FINALLY Confirms What Actually Happened to Tony

David Chase, creator of HBO's The Sopranos, is finally breaking his silence about the fate of his antihero Tony Soprano, confirming the meaning of the fade-to-black scene at the end of the series finale in a sprawling interview with the Hollywood Reporter. Chase spoke with reporter Scott...
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Sopranos Creator David Chase FINALLY Confirms What Actually Happened to Tony
By Sarah RumpfNov 3rd, 2021, 2:05 pm
33 comments


Photo by Evan Agostini/Getty Images.
David Chase, creator of HBO’s The Sopranos, is finally breaking his silence about the fate of his antihero Tony Soprano, confirming the meaning of the fade-to-black scene at the end of the series finale in a sprawling interview with the Hollywood Reporter.
Chase spoke with reporter Scott Feinberg about a variety of topics, including how his own mother was the inspiration for Tony’s difficult mother Livia, his experiences growing up on the periphery of “connected” families in New Jersey, and James Gandolfini’s “off the rails” audition for the lead role.
But it’s Chase’s discussion of that infamous final scene in the show that — at last! — puts to rest one of the longest-running debates in this era of prestige television that The Sopranos launched.
The series finale episode “Made in America” first aired on June 10, 2007 (spoilers follow, but come on, the show ended over a decade ago), and ends with Tony meeting his family at a local diner as “Don’t Stop Believin'” by Journey plays. Tony’s daughter Meadow, the last family member to arrive, enters the diner, causing the bell on the door to ring. Tony looks up and the camera cuts to black, ending the show with several seconds of silence.
The ending shocked some viewers, who worried their cable had suddenly cut out at the worst possible time, and sparked countless articles debating whether the ending really meant “lights out” for Tony or if the Mafia boss lived on.
Chase has avoided settling the debate for years, refusing to answer direct questions — until now.
Drum roll, please: Tony Soprano, in fact does stop believin’, stop breathin’, and just stop livin’, period, at the end of The Sopranos.
Feinberg brought up a 2018 book about the show by two reporters for the New Jersey Star-Ledger, and how they had asked Chase about the series finale. In the interview for the book, Chase had referred the final moments as “that death scene,” and Feinberg got him to confirm that was not a slip of the tongue (Feinberg’s quotes in bold, as in the original):
They interviewed you and asked you to talk about the June 10, 2007, series finale with of course, “Don’t Stop Believin’” and the famous cut to black. You said, “Well, I had that death scene in mind for years before.” A) Do you remember specifically when the ending first came to you? And, B) Was that a slip of the tongue?
Right. Was it?
I’m asking you.
No.
No?
Because the scene I had in my mind was not that scene. Nor did I think of cutting to black. I had a scene in which Tony comes back from a meeting in New York in his car. At the beginning of every show, he came from New York into New Jersey, and the last scene could be him coming from New Jersey back into New York for a meeting at which he was going to be killed.
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Chase went on to describe how he had thought of the “notion” of how the show should end about two years beforehand, as he drove past a little restaurant near the airport, “and for some reason I thought, ‘Tony should get it in a place like that.’ Why? I don’t know.”
He added that he was surprised by how viewers fixated on the ending, and nothing else in the episode itself, describing it as “incredible” how it took over the news cycle.
“I had no idea it would be that much of an uproar,” said Chase. “And was it annoying? What was annoying was how many people wanted to see Tony killed. That bothered me.”
“They wanted to see it,” said Feinberg. “They wanted confirmation.”
“They wanted to know that Tony was killed,” Chase agreed. “They wanted to see him go face-down in linguini, you know? And I just thought, ‘God, you watched this guy for seven years and I know he’s a criminal. But don’t tell me you don’t love him in some way, don’t tell me you’re not on his side in some way. And now you want to see him killed? You want justice done? You’re a criminal after watching this shit for seven years.’ That bothered me, yeah.”
Listen to the interview below, or read a transcript at The Hollywood Reporter.
 
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