0:02

All right. Listen, before we get started today, we just want to remind everybody that our book woke up this morning.

0:09

The definitive oral history of the Sopranos is now available.

0:12

Everywhere books are sold.

0:14

It's over 500 pages of stories, pictures, and interviews that didn't make it into the podcast.

0:20

A lot of great stuff in there.

0:22

We think you're really going to love it. We've been getting a great response from the book and if you're a soprano fan, you're definitely gonna want to pick this up.

0:30

It's a hit book, Michael, and we, some places were sold out of sign ones.

0:35

We're going to be signing more.

0:36

They're on their way, but pick up this book, listen, I knew it was going to do well because it's not blowing our own horn, but we knew it was a great book and it's stored fantastic.

0:47

And you know, the verdict is in, it's a hit book.

0:54

Also, you still got time to get tickets for our live show, comedy and conversation with the Sopranos we're performing live this Saturday, November 20th at the, on the ammo showroom in Warren, Michigan.

1:07

You want to come to that Vinnie Pastore joins us for the show as well as Joey Kola.

1:13

Who's a very funny comedian.

1:15

So if you're in the area, please come on out.

1:18

Also, we're performing the live show on Saturday, February 12th, the only New York city show at the St.

1:26

George theater in Staten island, New York.

1:29

So tickets are going fish there.

1:31

So that one is definitely going to be a blast.

1:34

Just go to Tommy spreaders website, to see all the live dates we have coming up and info on how to purchase tickets.

1:41

All right, let's get into the show.

1:44

Hey

1:44

Michael,

1:44

how

1:44

you

1:44

doing

1:50

today? I'm good. How are you Feeling?

1:52

Pretty good.

1:53

What are we down to five?

1:55

Well,

1:55

I

1:55

don't

1:55

know

1:55

how

1:55

many,

1:55

five

1:55

more

2:00

episodes.

2:00

Yes,

2:02

fine.

2:02

I'd

2:02

like

2:02

to

2:02

say

2:02

that

2:02

it

2:02

went

2:02

fast,

2:02

but

2:02

it

2:09

didn't. No, it didn't Go fast.

2:10

Did

2:14

Not go fast. Was gone in a blink of an eye, but fuck it wasn't No,

2:19

it was not.

2:22

We've got a great guest, you know, you know what we've done?

2:25

I'm sure people know, but the last nine episodes we're bringing back some of our favorite guests that were with us earlier on in the podcast today, we have a great one.

2:36

One of the fan's favorites, one of the most interesting and talented writers and producers in the business.

2:44

If you don't know his story listened to episode 18 of talking Sopranos, and it is a fascinating story.

2:53

He is ready to produce episodes for over 30 different TV series, including final boardwalk empire.

3:00

Brooklyn rules nominated for 14 Emmys, Michael winning four, including one for writing pine barons.

3:09

A lot of people's favorite episode in the entire 86, it was nominated for an academy award for writing the Wolf of wall street.

3:20

His wife, Rachel was also nominated that same year for a four academy award.

3:27

He wrote 25 episodes of the Sopranos produce many others acted in three episodes, including my first one.

3:36

I told you that story and he directed one episode in the final season.

3:42

Please welcome our friend, Mr.

3:44

Terry winter.

3:48

Hey guys.

3:48

So

3:48

much

3:48

for

3:48

that

3:48

wonderful

3:52

introduction. You know, the last time I did a show, I felt bad cause I didn't have my own Curt.

3:57

And you guys have such a great cart behind you.

3:58

I went out and got my whole nice backdrop and it's good.

4:03

I, to believe it, it took me a while to pick it out.

4:07

I wasn't sure what I wanted to go with, but I decided something simple, but tasteful, I

4:13

like it.

4:14

I have an interior designer.

4:17

I did, it turned out the guy killed 60 Czechoslovakians.

4:20

We

4:20

had

4:20

to,

4:20

we

4:20

had

4:20

to

4:20

get

4:20

rid

4:20

of

4:24

them. I I'm coming to you from a hotel room.

4:28

As, as you guys know in Vegas enough said The

4:33

way we want to talk to you about the last season, which we still call season seven, the HBO called it six bullshit, bullshit reason.

4:45

That was, we still don't really know, Always

4:48

comes down to money. Doesn't it, You

4:54

know, going into the last, so the seventh season, you know, we, you know, we talked about, we were sad.

5:02

You know, we started to hit us.

5:05

It took a while. You know, it started hitting just the last time we're going to shoot here and shoot here and work with this guy and that guy and this girl, did you go into the final season?

5:16

How was your different writing for these last nine episodes?

5:21

Did you have that prepared earlier?

5:24

Did it just come about, how did that go down?

5:29

If I remember correctly, it was like any other season and, and w wishes to say like, by the end of the season, we'd jump on next year and start coming up with storylines this way we can hit the ground running when we'd come back in a couple of months.

5:43

And of course we never do that.

5:45

You have all these grandiose plans of how are you going to keep ahead and, you know, you know, get things done quicker.

5:51

And, you know, unfortunately I think, or which is part of the process until you're actually in the room and it's for keeps don't really, you know, you have a couple of notions about things, you know?

6:02

So I think we just sort of sat down like any other seasons, right?

6:04

What are we going to do now? Of course, knowing that, you know, you're coming to the end of the journey and you have to start wrapping storylines up.

6:11

And that's of course the challenge, you know, it's like, you know, you're taking this, you know, Hey, we did 86 episodes is this really long journey, you know, to the moon and that you've gotta stick the landing in one specific spot.

6:23

And you know, there's a lot of balls in the air and a lot of character development that needs to be wrapped up in, in a way that feels satisfying.

6:30

So that was always on our mind, you know, certainly as we got into the later episodes, but you know, we just sat down and I think we started talking, I think the Genesis of a soprano home movies, we had talked about an idea where there's a house party with a bunch of the guys and a fight breaks out and somebody gets murdered in front of one of the wives and that like, what, what do you do?

6:57

You know, holy shit, you know, and you know, obviously the buyers, the guys are what they are and they understand, you know what, this is what it happens.

7:06

It just gets out of hand. And one of the wives and subsequently then becomes a widow right in that room is now a witness to this.

7:14

And how do they deal with that, that morphed in to Serrano home movies.

7:20

Okay. What if it's, you know, who, who are these people will get into a fight and it happens in front of two wives, Janice and Carmella and, and it was baccala and Tony, but that, that was the Genesis of that idea.

7:31

Remember, which was, it was really interesting and exciting.

7:33

And we went down that road for a few days and then that morphed into the episode, which was one of my favorites.

7:40

Is there a lot of talk before you went into, while you were breaking down the last season, was there like overarching things of tone regarding like Tony's darkness kind of coming home to coming home to roost like his karma, you know, all this evil that he's done, kind of really starting to take root in his personality and psyche was that like intentional and it was that like developed, I'm

8:07

sure it was, I don't remember specific conversations about it, but based on the things that had come before, you know, Tony's, you know, just mental state and just the, the, the crumbling of his, his world and the crew and New York becoming a bigger presence in the mob world and his dissatisfaction, you know, with the development of his children, even though they were on, you know, by any measure successful, you know, they, weren't what he wanted them to be.

8:38

And even, even the idea that, you know, meadow ultimately goes to law school, which he's gonna, you know, she's talking about becoming a doctor, you know, which in his mind would have really been helping people.

8:46

Then she goes to law school, which you think, oh, that would be great, but she's ultimately going to be, he knows she's going to have the rubber presenting criminals like he is.

8:52

So, I mean, is that, that's the progress and family, you it's good.

8:55

And yet it's still not really contributing to anything.

8:58

And then, you know, of course, and then as the, the story develops developed, the whole world starts to come apart and th the whole destruction of, of everything.

9:05

And, you know, certainly haven't gotten shot, you know, gave Tony a new perspective on things, you know, each day is a gift, whether or not he actually did that or not, you know, that whole mindset was certainly weighing on him very heavily.

9:21

Terry, how early on, did you know what the ending was going to be?

9:26

The very ending, like the classic lacking at least a year in advance?

9:30

I, I, David that may dispute this, but I'm almost like 99% certain that David came in once and said, I about a year and a half earlier and said, I think I want to do a thing where we just, we just go out in the middle of a scene and he pitched it to me and Matt Weiner, we both, most of it was a great idea.

9:50

It was really different, you know, it had never been done before, and it just felt very daring and very unexpected.

9:57

The other thing, and David disputes, this, and I swear, it's true.

10:00

He had talked about the ending being junior shooting, Tony until end there's this scene that ends members only, or Tony's on the floor having been shot by uncle junior.

10:11

And he's trying to reach for the phone. And you're not sure if he does it going out on that at the end of this year.

10:15

I'm not sure if Tony lives or dies and whether or not uncle Jr killed him.

10:18

I know David pitched that as the potential end of the CS series.

10:22

And then it became the end of the season opener for whatever was that was that AOB six, eight or 60.

10:31

I don't even remember, honestly.

10:34

Interesting.

10:38

Were there people going to get whacked that didn't get whacked or vice versa?

10:43

Was there people that got a reprieve from the governor that you remember any of that, like, for some reason, like this guy with us killed, so, and so let's not kill him Probably.

10:56

And I can't remember what I do remember is that we started killing so many people we had to, it was always an infusion of new Chrome.

11:02

There's all these new faces, you know, suddenly like Walden was there and, you know, people we'd never, you know, w you know, honestly, a couple of actors.

11:12

Right. I, you know, when I go back and look at the show, I go, oh, right.

11:14

Yeah. Because we were running out of, of, there was so much cannon fodder, you know, among these crews were like, you know, we had to like, keep, keep casting, new people to fill in, fill in the crew is literally going to be like three people left.

11:26

So there were, you know, that gave opportunities for other actors to, to step up.

11:31

I mean, we had that one episode where I think it might've been in John's Johnny Sack's wedding with the character Perry, the big muscle-bound kid who's suddenly appears as Tony's driver.

11:41

You know, we had never really seen him before, but he, he came and went pretty quickly, but we just, again, needed more crew, you know, and we always assumed, okay, well, just because we're in the pork store with the main guys doesn't mean there are more people in the soprano crew that we haven't met.

11:56

They just haven't been, it's amazing when we cut away from the pork store, those guys happened to come in the back door and the camera wasn't there, but they were always around, you know, it's that kind of thing.

12:05

So we just had to, yeah, there's so much bigger crew.

12:06

We just don't feature everybody in it.

12:10

And besides what you mentioned with like a, a wife being witness to a murder, were there any other ideas, concepts, storylines that you thought were pretty cool that just didn't make it?

12:24

You know, we, we were pretty surprised by the ending.

12:27

We had a, a little board on the wall was kind of just random notions.

12:32

You know, we, for years bear terrorizes, soprano family was on that board and we could never figure out how to do it because we don't read these articles about bears wandering into yards in Northern New Jersey.

12:45

And David always said, there's something there. I just don't know what it is.

12:47

And eventually we figured it out, you know, with the episode where the no two Tony's.

12:51

So there was a lot of stuff on that board.

12:53

And I have to say, I think 90% of it was eventually used somehow, you know, we wanted to do something with an Italian feast.

12:59

We wanted to do, you know, the bear thing, stuff with Paulie's mother.

13:05

There's very few things we didn't get.

13:08

So I think we might have been talking about the last time, a couple of ideas that were developed in, and didn't make it, you know, for one reason or another, we want to do a whole episode about the, whatever we call it, the seventh floor in the hospital.

13:21

Whereas like the VIP floor that a lot of hospitals have that most people don't know about.

13:26

That's where, you know, celebrities go and Tony sort of finagles away and calls in a favor.

13:31

It gets, you know, just basically examining the inequities in the healthcare system and how rich people get treated differently and how Tony gets it.

13:38

But we felt like, you know what we got to get out of that hospital.

13:40

It was a great idea. A great concert was sure it would have been enlightening and funny, but it was like, we just can't go back to that hospital anymore.

13:47

And I think we did. That was a good decision.

13:49

I think you, Michael, we might've talked about this to you.

13:52

We developed a story where there was some crazy guy outside, the, the pork store who was obsessed with the pig.

14:00

Andrew.

14:00

He

14:00

said

14:00

that

14:00

he,

14:00

he

14:00

were

14:00

actually

14:00

wrote

14:00

she's

14:00

a

14:05

rainbow.

14:05

And

14:05

I

14:05

just,

14:05

you

14:05

know,

14:05

it

14:05

was

14:05

just

14:05

sorta,

14:05

but

14:05

we

14:05

were,

14:05

we

14:05

were,

14:05

I'm

14:05

telling

14:05

you,

14:05

you

14:05

know,

14:05

I've

14:05

been

14:05

on

14:05

a

14:05

bunch

14:05

of

14:05

shows

14:05

and

14:05

there's

14:05

a

14:05

lot

14:05

of

14:05

stuff,

14:05

you

14:05

know,

14:05

that

14:05

gets

14:05

tossed

14:05

in

14:05

the

14:05

can

14:05

and

14:05

you,

14:05

you

14:05

develop

14:05

it

14:05

and

14:05

it

14:05

doesn't

14:05

go

14:05

anywhere,

14:05

but

14:05

we

14:05

were

14:05

really

14:05

pretty

14:05

good

14:05

about

14:05

taking

14:05

something

14:05

as

14:05

sticky

14:05

with

14:24

it. I think it's a matter of really a patience.

14:26

You know, I'm really sorry. You know, it's, the story process is the hardest part of the writing, but not even close.

14:32

The writing is a pleasure.

14:34

And it's the, the tendency is to want to write the script and you just keep saying, oh, all right.

14:38

Yeah, I got it. I know what I'll do. And inevitably, not inevitably, but more times than not, you end up writing yourself into foreigner.

14:45

If you don't know where you going.

14:46

If I jumped in my car right now and I'm driving to New York and I just started heading east, eventually I figured it out.

14:52

Would it be a lot easier if I put the GPS in and I knew exactly where I was headed.

14:56

And that's what an outline is for writers.

14:58

And, but, you know, plotting out that story is, is so hard and you have tendencies to want you to Chuck it or just start writing.

15:07

And we would sit there for days on end.

15:09

And sometimes every season we would start the season and David, you know, he'd be on the couch or something, and we'd be talking for days.

15:16

And he'd say, it's, it's never this hard.

15:19

Why is it so hard this year? And I usually will be the one to say, it's always this hard.

15:23

And I don't know. Last, last season we added, we had two outlines by this point, I'd have to get the writers.

15:28

It says, what was the first outline we had?

15:31

No, that didn't come for six weeks. They really, yeah.

15:33

We're okay.

15:35

You know, and this was every year.

15:37

I mean, every year I was like, it can't possibly be this hard and it is that's, that's the job, you know?

15:42

And eventually you figure it out and hopefully, you know, the one thing I always, you know, I think gave him comfort and all of his comfort.

15:48

I said, here's the thing, too. If, if we don't have anything or what we have sucks, don't worry.

15:53

We're not leaving this room until it does suck.

15:55

We're not leaving his room, Phil. It's great.

15:57

So we're just going to figure it out.

15:59

So just strap in and let's just keep talking, you know, we'll get, we'll get there.

16:04

You know? So that was, that was how we did it.

16:08

Okay. A couple of things, John and I have you, all right.

16:11

I've talked to you about a few of these things.

16:12

What significance does mayonnaise have?

16:19

You know, it really doesn't have any significance other than it's funny, you know, it's almost, I hate to get, go, like, even like, you know, where's your, the K or funny pickle is a funny way.

16:29

It's just a funny thing.

16:32

You know, here's the thing, Paul, he's got the mayonnaise on his chin and Tony says, mayonnaise made us seriously.

16:38

He said, you got mustard on your chin mustard.

16:40

It's just not as funny.

16:42

I don't know why. It's just funny.

16:44

I don't know where else I'm assuming mayonnaise appears.

16:48

So,

16:48

I

16:48

mean,

16:48

I

16:48

know

16:48

there's

16:48

this

16:48

scene

16:48

where

16:48

Tony

16:48

was

16:48

like

16:48

eating

16:48

cold

16:48

cuts,

16:48

like

16:48

dipping

16:48

them

16:48

in

16:56

mayonnaise. And it's just, it's just such a, you know, it is too.

17:01

I think part of it is it's such an American thing.

17:04

It's such a white bread, American thing, you know, like, you know, Jews always say, oh, it's the white people eat mayonnaise.

17:10

And you know, I think part of, I think the idea of it is that the here's this Italian American who was so Americanized that he eats mayonnaise, like any other, you know, he may eat, eat mayonnaise on wonder bread, just like any other guy, you know?

17:23

So What's

17:26

the significance of Eggs.

17:28

I don't know that there is one, I think We

17:32

was making a exec pop up.

17:34

Right. Michael numerous times.

17:36

Yeah. People have to eat.

17:38

Steve, What

17:40

about Philly? A Tato coming out of the closet gay.

17:44

Now That was a, you know, probably yeah.

17:47

A visual joke that we did to help the suggestion that he may or may not be closeted, you know, but I mean, and know again, read into it what you will.

17:58

I mean, look, you know, we also did the cut, you know, I think Vito in his lover start to kiss.

18:05

And then we did the thing from what Hitchcock, where we, where the train is going into the tunnel at the end of the character, that was clearly an homage to that.

18:15

And also suggesting what might be happening back at Vito's place was a Catcher

18:25

Apparently. Yeah. So, you know what, it's funny, there were other things like, you know, that had no significance at all.

18:31

Like other than like Tony used to eat a bait bialy every morning, that was cause I used the EPL is every morning.

18:37

So I just wrote that. So then that became Tony.

18:39

I was, there was a time when Glenlivet was my drink, Tony used to drink Glenlivet.

18:44

That was just my thing. I like Arnold Palmer's Tony would order an all apart, you know, it's just, you know, you're writing, I'll just give him what I do.

18:52

And then it became this. There's no other significance other than, you know, I, Tony might like this too, But

19:00

also you're thinking, you know, by then you're so deep into this world as a writer, as a creator, Terry, that like, you're, you know, even though you're making a choice, it's from your life, but you know, somehow it's right.

19:12

It fits him.

19:13

Dan, the character, not nothing becomes arbitrary is what, Nothing

19:20

too weird. You know, it, from that didn't fit the character.

19:24

You know, it turns out, you know, Tony soprano and I, Jim and I were almost the same age.

19:29

Exactly. So I had, I in my own life had the same pop culture references.

19:33

He did. I had the same.

19:35

I grew up, he drove in New Jersey. I grew up in New York.

19:38

We have so many of the same references. So it was easy for me to put myself in the mindset of a Tony soprano.

19:43

I knew where he was in 1978.

19:45

He was exactly where I was, you know, reference a club or a, you know, a show music that he absolutely knows, you know?

19:54

So it was actually fun. So he probably, you know, the prevalence, certain similarities in, in other things too.

20:02

All right, Michael, this podcast is sponsored by our friends at better help online therapy.

20:07

They've been with us from day one.

20:09

It's been a great part of the ship.

20:12

We believe in them very much. And we talk about that.

20:15

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20:29

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21:06

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We have our other stuff in show business, whatever we're doing, but people have a lot on their plate personally, professionally, you know, whether you're young and you're going to school.

21:58

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24:00

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24:07

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24:48

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25:58

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26:21

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26:32

Exactly. I mean a great traveler.

26:33

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26:39

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28:00

How did you find a walk like a man, which is this episode, your first time you directed, how was that lesson intimidating?

28:09

Were you comfortable at that point where you, is that the only thing you ever directed It

28:16

is? Yeah. You know, it's funny, I've always had tremendous respect and still do for directors.

28:20

And it's funny, it's the one job in this business where you seem to have almost need no qualifications to do, even though it's the most important one by that name, people will say early on in my career, I'd write a script and somebody goes, oh, you're going to direct it.

28:35

And I go, no, why not?

28:37

So I'm not a director. I don't know how to do it.

28:39

I don't know the first thing about it. But basically the only thing you need to do to be a director and his business and say, Hey, I'm a director.

28:44

And then get people to give you money and then direct something.

28:47

It's okay. It feels like that you can actually just get the most important job by just declaring steak, planting your flag and saying, that's way I am.

28:55

I wouldn't do that. You wouldn't do that. If you were a DP or a costume designer.

28:58

And they said, well, what else have you cut anyone's hair before?

29:00

What are the most important job?

29:04

So David said to me, at one point, they said, Hey, there's some second unit stuff.

29:10

Do you want to direct it? And I was like, no, I was like panicking.

29:13

I was like, I don't know how to do this.

29:15

So years went by, you know, you know, all of the writers, somebody there's always a writer on set, producing the episode and we are producing, was creative producing in the sense of making sure that what's in the script is getting onto film the way we wanted it and working closely with the director.

29:31

I observed the greatest directors in TV for years on this show.

29:35

So slowly went, but I still wasn't particularly interested in directing.

29:38

And somebody said to me, somebody's going to direct something.

29:41

You write and screw it up. And that's going to make you want to direct and low ball that finally happened.

29:46

It was a movie I wrote that I was really proud of go get Richard.

29:49

I'd try. And, and without going into details, I was just very unhappy with how it turned, how the movie turned out, the movie ultimately bore almost no resemblance to the original script I wrote.

30:00

And I said, you know what? And it was literally right after that movie happened, I walked into David at the beginning of season six, a or B, whatever it was.

30:08

And I had a whole big speech prepared.

30:10

And I went into David, I knocked on his door and I said, God, I'd like to talk to you.

30:13

I said, I, I think I'd like to direct.

30:15

And he said, oh, okay.

30:17

You'd write the episode too. I said, yeah, he goes, all right.

30:20

What about episode five? And went, okay.

30:23

I said, do you want to hear my reasons you went?

30:25

Not really. I was like, okay.

30:27

And I turned around, I went out and went, oh my God, I got to do this.

30:31

Now.

30:31

Then

30:31

I

30:31

went

30:31

into

30:31

full

30:34

soap. The way I, you know, stave off that panic is just be super prepared.

30:39

So I just went into full director mode.

30:42

Like I started trailing everybody like now with a really keen eye toward what do I do?

30:48

How does this work really? And I was blessed to have Phil Abraham or brilliant cinematographer as my DP.

30:54

And then Phil directed that year as well for the first time.

30:57

So I had Phil and I had Tim van Patten helping me like just, we just scouting do everything.

31:02

So I was super, super ready and planned out the other day.

31:06

So I've told this story before, but it's, it's great.

31:08

And it, and it, and it really speaks to the love we had on his set.

31:11

So day one, 6:00 AM.

31:14

There's a scene. I think it's Michael, Christopher and Paulie maybe, or Christopher on somebody in a car, outside the hardware store, talking in a car.

31:21

I don't remember who it was. It might've been in quality.

31:25

And I S I say, okay, action.

31:28

And you guys do your Cottonelle. You do your scene.

31:30

And I watch it on the monitor and they say all the words, and it's like, holy shit.

31:35

If this is working, they're actually filming it.

31:37

And as soon as you stop talking, I go cut.

31:39

And then I realized immediately I cut too soon.

31:44

I should have let it drift a little. So I walked over to Billy Coleman, our camera operator, and I said, Billy, I fucked up.

31:50

He goes, I think I cut too soon.

31:52

And Billy said, I didn't cut.

31:54

He

31:54

goes,

31:57

listen. He said, he said, look around.

31:59

He said, you see all these people, they all love you.

32:01

You can't fuck this up.

32:03

We got you back. We're going to get this done.

32:06

It's going to be great. All you have to worry about is dealing with the actors and everything else is going to be done.

32:11

He said, you can't mess this up.

32:13

So just, just don't worry. We got you.

32:15

And I was like, holy shit, what a gift.

32:17

I mean, to be working with your friends and people who were that so good.

32:21

And it was a joy. I mean, from that, I wasn't nervous at all.

32:24

I had so much fun.

32:26

It w it was great.

32:28

And I think the episode turned out really well.

32:30

I got some amazing performances.

32:31

I mean, Robert Eiler in that episode, just, it was phenomenal.

32:35

And I remember even, you know, directing Robert and Jim and his estate to directing you those guys.

32:42

I mean, by this point too, I mean, I, you know, I'd have a couple of notes.

32:45

I'd have a couple of years, let's try this, let's try that.

32:47

But for the most part, you know, you just had to let them do their thing.

32:50

I remember one time Jake came up to me.

32:52

We were, we, we rehearsed a scene, a very pointed, intense scene between Jim and Robert Isler and Robert in the rehearsals, emotional.

33:01

And Jim came out to, he said, I don't know what you're planning, but if I were you, I would get his side first because I don't know how long any actor can get to keep that level.

33:09

I had thought the same thing. Well, let's get Robert done because he was so there, but it was great.

33:14

It was a, it was really, really amazing.

33:16

And it was, I'd worked really closely with Sydney.

33:19

Wilansky the editor doing the editing, the heckle awards.

33:23

So I got a very good shorthand with Sydney, so it was great.

33:28

I did my cut. I handed it to David and I'd say it was, you know, really close to what I gave, which was also very flattering because David, you know, has very exacting standards and he was really happy with it, you know?

33:39

And that said, it's like, I really enjoyed doing it.

33:41

But I work with so many incredible talented directors that I don't have the passion to, to have to direct things.

33:48

I probably, at some point in my life, we'll do it again, but I'm not, I'm so happy being a writer.

33:53

And I love that. And again, when I have Alan Coulter or Tim van Patten or somebody like that to direct for me, what I would never be that arrogant to go, no, I wouldn't be do it.

34:03

Like I got those guys to do it and I don't have to get up at four o'clock in the morning.

34:06

Grace, call me when you're only, when you were about to start shooting and I'll be there and they handle it.

34:12

So it's great. It was a really good experience.

34:14

I'm glad I did it.

34:16

I actually, So he loves that. You just cited the act, your experience with the Eckel awards as part of your education Editing,

34:25

you know, comedy, as you know is a lot of words, nanosecond I've seen, they would go crazy.

34:31

I'd be like, you gotta like cut hair right there and then cut to the, we we'd go.

34:36

That would go on those editing sessions while for days.

34:38

And that was very good.

34:40

Trope that out on YouTube.

34:42

Yeah. You need to put that out there.

34:45

I said that idea, really?

34:47

They were hilarious.

34:51

One thing I did that we should definitely put on, I did this thing one year, we did it.

34:55

Wasn't quite the ACLU awards, but I took footage.

34:57

It was the year, one of the last years.

34:59

What Michael, you were, you were the only cast member nominated for an Emmy that year, I think.

35:05

Or, or I think maybe you and Jim.

35:07

So I took footage from the show and then had the voices where he dumped.

35:13

So basically what it is, it starts with Michael showing up at Tony's house and he rings the bell and Jim answers.

35:19

And it's when he's, you're coming over to tell him about Adriana, but I revised Michael did the revoice and he came.

35:24

He's like, Tony, I got it. What's the matter. And then you go to the basement.

35:26

Michael says, I was the only one nominated for an Emmy and Michael's crying and richly shared Michael.

35:34

I was going to wear that shirt.

35:36

And

35:36

then

35:36

slowly

35:36

throughout

35:36

the

35:36

course

35:36

of

35:36

the

35:36

film,

35:36

it's

35:41

different. It's Christopher basically breaking the news to other cast members.

35:45

And it's, as it happened, we had ed crying.

35:47

We had Tony Sirico crying. So it's all Michael telling them that he was nominated for an Emmy and they weren't.

35:52

And then he starts crying and it works really.

35:54

It was really funny words really well, if I say so myself, the fans would love that.

36:00

Yeah. Yeah. I had to take that out.

36:03

And who was your favorite character?

36:07

It's really hard. I mean, I think I have to say uncle Jr.

36:09

Me too.

36:11

Me too. That's so fucking funny.

36:13

I mean, first of all, Dominick is such a joy.

36:16

It just in general, personally, and as uncle Julia, I mean, such a collegian.

36:21

So he's like, you know, he's like a cross between like Mr.

36:25

Magoo, Yosemite Sam, every cartoon character.

36:29

Who's just annoyed and pissed off at the world and such a sneak and petty.

36:33

And it always made me laugh.

36:37

And anybody with uncle Jr.

36:40

He, it just always was funny and such so fun to write for, because he was, you know, this old man who come out with these like antiquated expressions and just things I love to hear.

36:50

Like I just, you know, any kind of old timey references or the terms of a phrase, you don't get to write for young characters.

36:56

Well, apple Jr. Would just make me, they made a reference to judge crater.

37:00

I was like, what the fuck is that?

37:04

Or the Katzenjammer kids or, yeah, it was just, it was really fun to put yourself in that, in that head.

37:09

You know, I love him.

37:12

Christopher is amazing quality, Tony.

37:15

They were all, everybody was fun to write for.

37:18

And then, you know, you stayed at you and you and dominant together course was just gold.

37:22

Know once the first time you guys were together, we were like, in the, I think it was like the waiting room or something.

37:28

We were like, oh shit, this is like one of those combos that you throw Michael and Tony Sirico together.

37:33

You got another great combination.

37:35

Sometimes you just actors who just worked so well together.

37:39

And you Dominic immediately on the podcast.

37:43

I thought, Terry, we never clicked.

37:51

It's like Martin and Lewis.

37:53

You guys, you know, off stage, you know, you guys go your own way, but you know, you, you said to me early on during season two, when uncle junior was on house arrest, you called me up and you said, we haven't gotten out of this fucking house.

38:07

And I said, you don't want to get out of the house.

38:09

He said, what do you mean? I said, if he's in the house, he needs somebody to talk to.

38:12

You're the only guy in there. So I go, you gotta keep him in that house forever.

38:17

He goes, he leaves asking to talk to anybody.

38:19

He doesn't need you anymore.

38:21

He's

38:21

the

38:21

best

38:21

beautiful

38:26

guy. What, what do you think the legacy of the Sopranos is?

38:30

You

38:30

know,

38:30

it,

38:30

it,

38:30

it,

38:30

I

38:30

think

38:30

it's

38:30

a

38:30

high

38:30

watermark

38:30

and

38:30

I,

38:30

you

38:30

know,

38:30

I,

38:30

it

38:30

feels

38:30

really

38:30

awkward

38:30

talking

38:30

about

38:30

this

38:30

cause

38:30

obviously

38:30

we

38:30

were

38:30

involved

38:30

in

38:30

it

38:30

and

38:30

did

38:30

it

38:30

it's

38:30

it's

38:30

feels

38:30

very

38:30

self-serving,

38:30

but

38:30

I'm

38:30

talking

38:30

about

38:30

it

38:30

from

38:30

the

38:30

perspective

38:30

of

38:30

David

38:30

and

38:30

the

38:30

thing

38:30

he

38:47

created. It, it, it represents a high watermark in, in certainly in TV history and, and, and more so in, in the history of cinema, in a bigger sense, you know, even though it's not exactly film might look, these are morphing into, I don't even know that it matters anymore.

39:05

You know, it's all, you know, it's all sorta the same, but yeah, it really, it sort of represents a golden age in a, a period of transition in a medium where things just soared elevated to a new level.

39:22

I mean, where suddenly it was as good as anything that had ever been done in film and done in a long form over the course of 86 hours where it just, it just elevated an entire medium and the biggest media, maybe in America, I mean, TV was, you know, we all grew up watching a billion hours of it.

39:41

So it, it changed everything. And I think, I think people remember that, you know, it's interesting.

39:46

And again, it's the sounds, you know, I don't want to, I have to put it, you have to put it in context.

39:51

You know, when I talk to young film students about movies and stuff, and I always wrote citizen Kane always comes up and they watch it go.

39:58

Yeah, it was, it was good. It was okay.

39:59

Like, well, you have to put yourself in 1939 and watch citizen Kane.

40:04

It would never anything like that done before.

40:06

There was never a documentary, a fake documentary within a film that was supposed to be real and those tracking shots and those, those, those camera angles and the performances and all that stuff, you know?

40:18

So I think, you know, again, it's comparing some surprises, citizen gang sounds so douchey, but in the sense that it changed everything, you never had a TV series like this before.

40:29

I think the closest thing you had was in terms of groundbreaking.

40:32

So, you know, twin peaks, which only went on for a couple of years and you know, there are moments on Oz.

40:37

I remember watching for the first time, I'm like, oh my God, wow.

40:41

That's I can't believe they did that.

40:42

But I think super Hauser was different because it wasn't just shock value stuff.

40:46

It was, it really made you sink.

40:48

And it just felt so real.

40:52

You can make a direct line from the Sopranos to Al Pachino eventually doing a TV series.

40:57

I think the Sopranos was the catalyst for that to kind of come about.

41:02

I mean, people, I think people in the film world who realized TV was kind of the thing was a step down realizing, wow, you can do great work and know while it was on this ground.

41:12

It was a boardwalk empire. I can't, I, I can name five elitist actors and actors who reached out to me either personally or through their reps to say, I will do.

41:23

I am interested in doing a series a, I think of me, please think of me for things like that, that you're doing.

41:29

Because idea of, yeah.

41:31

I had one guy whose name, I won't mention it, but said, if I have to put on another spandex suit and run around, you know, against the green screen, I'm going to jump out a window.

41:40

I want to play a character and, and dig in and act and do that for three or four years, you know?

41:48

Yeah. Get it.

41:50

I told you not to mention this fan decks coming on, Man.

41:58

What the fuck, Andy,

42:04

Cut that out, please. Steve.

42:07

Right now.

42:09

Okay. Two things here.

42:11

The final scene David told us, we said about Jamie Lynn, you know, middle cook pork and all that, you know?

42:21

And

42:21

he

42:21

said

42:21

it

42:21

was

42:21

just

42:21

a

42:21

young

42:21

girl

42:25

parking. He wasn't building tension.

42:27

Do you believe that?

42:31

Well, I believe if he says it, I believe he wasn't intending to build tension, but he sure was.

42:36

I mean, it certainly had the effect of being tense.

42:39

Cause you keep, you know, you just like, God, what is, how is she going to park?

42:42

Is she not? Is somebody going to come up on her?

42:44

It works to build tension.

42:48

He's coming out again. And we're going to ask him again.

42:51

It was almost 10 o'clock that's the whole thing.

42:53

We know this is it.

42:55

Yeah. Whether it was intentional.

42:57

I have no idea, but it absolutely was tense.

43:00

So Tony

43:03

soprano alive or dead Terry and your opinion.

43:13

I swear to God. I don't know. I don't think about it in those terms, you know?

43:19

I all right. I guess if I had to be honest in the moments where I do think about that, and I don't know why I waste a fictional character for a TV show or used to work on, but in my mind, I do imagine it being alive.

43:33

I do think like, what would he be doing now?

43:36

But that's only because if I play that game the other way, if I said, oh, well, he's dead.

43:41

Then there's nothing to think about. There's no exercise there, but I go, yeah.

43:45

I wonder if the all caves Tonya were alive, what would he be doing now?

43:47

And that's as far as I've taken it.

43:50

So if that's an answer, then that's an answer. But I feel in the context of the show, I, you know, I just accepted it for what it was.

43:57

I think he's alive. Michael has gone back and forth.

44:00

I think he's not leaning. Rob Michael, he's dead.

44:04

Dead.

44:06

I think he, I, you know, I go back and forth with Jean thinking.

44:08

He didn't die.

44:09

That there's no answer.

44:12

Cause it just ends right there and he did die.

44:14

And I don't.

44:16

And so I hear David say different things at different times now.

44:20

Well there's no right answer. You know, anything, you know what I mean?

44:24

You know, maybe there's the answer.

44:26

I do not know.

44:28

Which is great. It's I really like it that way.

44:31

I mean, I used to love the ambiguity.

44:33

I love the ambiguity. Ultimately, you know, as much as I wanted to pay off the pine Barrens thing, I love the ambiguity of not knowing what happened to that guy.

44:41

You just don't know If

44:45

Tony Soprano's dead, his good possibility.

44:48

They killed the entire family.

44:50

And I don't want to think about it.

44:52

That's yeah. The last for sure. And that's something, you know, when, when in the uproar, after the episode, I don't remember if you said, well, what did you want to see that whole family killed?

45:01

Is that what you wanted? And people are like, no, no, of course not.

45:04

I go, okay, well, did you want to see Tony get killed in front of his family now?

45:07

Now of course, what do you want?

45:09

I don't know something else.

45:11

And then I guess it wasn't so, so many people I think ultimately came around, but it was months, months, and months later, sometimes years later, Nothing

45:21

that could have satisfied everybody.

45:24

Nothing. No, no way.

45:24

It's true.

45:28

Tony. If Tony killed all his enemies, that was victorious.

45:31

He got like, oh, what a bullshit ending.

45:33

So

45:37

yeah. I don't know that there's any, any looked finales of, of anything or are notoriously hard and ultimately leave people unsatisfied on some level.

45:46

Because I think part of it is it's just the sadness of ending the thing you love.

45:51

You don't want people start watching shows that I love or loved.

45:55

I get jealous because I go, man, you weren't for such a fucking ride.

45:58

You know, I recommended the, the singing detective, the original singing detectives mini series to somebody recently.

46:04

And I said, I, I love that so much.

46:07

You were in for such a tree. I wish I had something that I love.

46:11

I love that. Yeah, me too.

46:14

No, one of the best endings is blazing saddles.

46:16

Right? Cause they bust through. And then all of a sudden on Hollywood musical set, Harvey, Korman runs out of the studio gates and kales.

46:22

The cabin says, drag me off this picture.

46:25

I think it's one of the best brilliant.

46:28

Yes. Perfect. Yeah. Let's do a movie Theater.

46:29

So we'll see blazing Saddles.

46:32

Right. So great.

46:33

How

46:33

did

46:33

that

46:39

end? Well in the second new heart show, where were you on the, in the country?

46:42

In, in Vermont or New Hampshire or whatever he weighed, it cuts the black and he wakes up and he's in bed and he turns the light on and his wife, it sits up in bed and it's Suzanne Pleshette.

46:55

I think it was his wife in the original Newhart show when he was a psychiatrist.

46:59

And he says, I had the craziest dream that I owned to in back way.

47:05

And it was just, it was so great.

47:08

It was just literally the whole thing was a dream from his old TV show.

47:11

So Podcasts

47:12

is a nightmare. I'm having, You

47:16

guys are coming to the end of this. So it's sort of like what we were saying before, like how we started, you know, the last few episodes, it's gotta be as much as it's hard work.

47:25

And I know you guys can't stand each other, you know, it's gotta be a little bittersweet, you know, where you go, you know, I'm not gonna have anybody.

47:31

You're going to have to go back to fighting with you, dog, whatever, whatever, you know, you're not going to have They

47:39

bring it over. It's just establishing him as this sweetheart.

47:41

There's this Wrangler that delivers It's

47:46

a different dog. Every time I'm

47:53

just a fraud.

47:56

He hates animals hates Thank

48:01

you enough top in Vegas.

48:07

I appreciate your cat slowly will. And always a pleasure.

48:09

I never have this.

48:10

I, I, that such a great time watching this show.

48:14

I mean, I've learned so much about the stuff that went on behind the scenes from other people's perspectives, which was just great.

48:20

Just, just hearing and, and you guys have done so many amazing shows and what a great record of the time we had together.

48:29

And I'll certainly miss this and you guys just want to get together and do a zoom every once in a while.

48:34

Let's just do that.

48:36

We'll do With

48:38

you Terry alone.

48:41

God forbid you get arrested. I still got some people out.

48:44

I intend to, I'm going to go.

48:46

I'm going to take my middle of the show.

48:49

I'm going to take it off.

48:52

Let me know. I'm just a phone call away, man.

48:55

Absolutely. I'll just shine the big S in the sky in Vegas.

48:58

All right. Thank you so much.

49:00

Take care.

49:02

Thank you Terry.

49:07

They have it folks.

49:08

Always

49:08

a

49:08

great

49:11

interview. Always great talking to them.

49:13

Just

49:13

a

49:13

ton

49:13

of

49:16

information.

49:19

Yes. And now we have episode that he both wrote and directed, which we will break down after this.

49:26

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Wardrobing always

55:48

good talking to Terry.

55:49

It's got a lot of good information, rich stuff, good stuff.

55:53

He's very smart and hilarious and very talented gifted guy.

55:59

And here we go. Walk like a man She's

56:03

season seven episode five May 6th, 2007 was the first airing.

56:09

This is 17 out of 19 written by Terry the first and only that he directed, obviously the title comes from the four seasons song.

56:19

It's the second song named after a Frankie villain, the four seasons song, the first being a big girls don't cry.

56:25

The lyric, you know, it's, it's about a father telling his son to get over the woman who left him walk like a man talk like a man.

56:34

My son, no woman's worth crawling on the earth.

56:38

Tonda

56:38

refers

56:38

to

56:38

Adrianne

56:38

a

56:38

little

56:42

bit. She crawled on the earth maybe, but So

56:45

obviously with AIJ and Tony has gone through a bad breakup And

56:51

Christopher, I mean, this, this episode is another episode where you see really the scene we cut from AGA to Christopher, Christopher.

56:59

AIJ a lot. And a lot of it's about, you know, Tony being this kind of failed father figure to Christopher and him being a father to AAJ and, and Christopher being someone who didn't have a father and, you know, the effects of that, the repercussions of that, it's very clear, you know, the points in the editing and the way this is put together that that's, what's going on here.

57:24

It's pretty cool Know

57:26

Christopher

57:26

and

57:26

Tony's

57:29

relationship. And you see it in this episode has just gone south Really

57:35

south Bobby

57:37

kind of has taken kind of Christopher's place.

57:40

It's kinda, shall we?

57:44

Oh, and Bobby kind of cut.

57:46

Christopher, you know, is dropped in the pecking order.

57:50

It seems like, you know, and a part of it is cross to the sobriety.

57:55

She Pronto house, Tony wakes up, he walks down the stairs, he's singing a song.

58:00

What is that? A pig He's

58:03

singing comfortably numb, which in the next episode, when Christopher's in the car with him, you know, the last song that Christopher hears is that there's comfortably numb.

58:16

Let's go most foreshadowing Christopher's death in a way.

58:22

And Christopher is Dan and the next one, correct?

58:23

Kennedy and Heidi. Is that it?

58:27

No. Wait, there's a, which one is this number?

58:30

This is number five.

58:32

Yeah. Christopher Died

58:33

in six.

58:35

Yeah. It's the next episode?

58:38

Tony walks into the kitchen Aja.

58:40

So what are you doing up so early age, I couldn't sleep.

58:42

Carmella's making French toast.

58:46

He's watching Tom and Jerry.

58:47

Did

58:47

you,

58:47

did

58:47

they

58:47

have

58:47

cartoons

58:47

when

58:47

you

58:47

were

58:47

a

58:53

kid?

58:57

They had the books, you know, the books.

59:01

Did you like, I used to listen to radio shows.

59:06

Radio.

59:08

Did, did you like Tom and Jerry?

59:10

Absolutely. I used to love Tom and Jerry.

59:13

It's very clever. Very funny.

59:15

I was a big Guy.

59:20

I liked all those, you know, a Foghorn Leghorn, you know, I love show Vesta Bugs

59:30

bunny was my hero when I was a kid.

59:32

Cause he was, you know, courageous and funny.

59:35

Didn't give a shit.

59:38

I was a big Papa.

59:39

I like pop.

59:41

I like, you know, those cartoons are very funny.

59:45

All those Warner brothers cartoons, right?

59:48

I mean, you know that whole gang was great.

59:50

All those cats.

59:54

Yeah. Carmela was making a French nails.

59:56

It's comfort food. It'll make you feel better.

59:59

What the fuck? The guy, I mean, AJS kind of got a point here.

1:00:03

You know? I mean his girl left the guy guy's heartbroken.

1:00:07

She, she thinks French toast is going to make them feel better.

1:00:10

And he Snapchat her.

1:00:13

You know, it's hard to, you know, it's hard for you to believe food may not be the answer to every problem.

1:00:18

My fiance left me.

1:00:21

The job is all I got.

1:00:24

He said, and Tony says, neither is being a whiny ass bitch, Idiot, shitty ass pizza, job, French

1:00:33

toast, whatever, make you feel, Anyone who's ever gotten to a breakup understands what this kid's going through.

1:00:43

Really

1:00:46

exhausted. He's thinking and thinking and thinking and thinking and who she with and who she's with.

1:00:51

It's a horrible feeling and no one can fix it.

1:00:56

No one could make you feel better.

1:00:59

Only time. Time is the only thing that heals, that kind of wounds.

1:01:04

You're blue in the face time and going out and getting late, forcing yourself.

1:01:09

If you had to forcing yourself, even if you don't want yourself to go out and spend love the one you're with, you know, just honestly guy, girl, whatever that your Is,

1:01:21

that your model like your Life,

1:01:23

you know, you sit around moping, you thinking and thinking we've all gone to breakups in our life.

1:01:28

Some worse than others guys.

1:01:30

Some people never recover girl or guy.

1:01:34

They never recovered that devastated.

1:01:37

You know? And, and it happens, especially when you're younger, you know, this kid, it's his first love out.

1:01:46

He's fucked up. And he is thinking and thinking and thinking, you know, and he went all in.

1:01:52

He stopped hanging out with his friends and guys do that too.

1:01:56

You know, like, you know, you're, you're with a girl 24 7 and you kind of, you know what I mean?

1:02:03

You you've seen that. You have friends that do that, right?

1:02:06

And you don't see, no, you don't see your friends anymore.

1:02:08

And then he pops that he gets another girl and he's gone the shame shit.

1:02:14

She says that Carmela says better to have loved and lost.

1:02:17

That comes from Tennyson Tennyson who said, and then to have never loved at all better to have loved the Lawson Better,

1:02:29

To have loved and lost than to have never loved at all.

1:02:32

Which doesn't really when you're broken.

1:02:34

None of that helps.

1:02:35

If

1:02:35

you

1:02:35

love

1:02:35

something,

1:02:35

set

1:02:35

it

1:02:35

free,

1:02:42

Better free of it comes back. And then, you know, the bullshit, they was another bullshit one.

1:02:49

Yeah. There's another one. I'll think of it, you know, but they had them on the POLST.

1:02:52

Isn't in the cards and all that bullshit, philosophical stuff that does nothing.

1:02:59

And you said, love the one you're with, I liked that. Is that your personal Philosophy?

1:03:02

And

1:03:02

this

1:03:02

is

1:03:02

my

1:03:07

philosophy. Fucking you just listen.

1:03:09

Even if you don't want it, you just got to go out there.

1:03:12

That's what I did.

1:03:13

You know, college breakup.

1:03:15

If I could just go out there and just fucking go bang away as much as I could.

1:03:21

So Tony tells him, Tony tells him later on in the episode, go get a blowjob.

1:03:27

You know, you just gotta, you know, kind of force yourself to get back out there.

1:03:30

You may not have a one night stand as it's a consensual.

1:03:35

Foghat spent some time with somebody.

1:03:39

Yeah. I agree.

1:03:42

What are you going to do here? The hardware store, Christopher arrives.

1:03:45

Al's his father-in-law is Shiloh in the hot power tools, right?

1:03:51

That's Dennis Palladino who plays our Lombardo Kelly's father.

1:03:55

Christopher. Nice job.

1:03:57

Nice job. Yeah, he does it. I thought he was excellent in this role.

1:04:00

These are the power tools that they made the deal down in Florida with the Cubans, Tony and Paulie made down in Miami.

1:04:09

They got a miter saw that $600 usually to selling hot ones for 200 bucks.

1:04:14

They're lined about the door. There's caught.

1:04:16

A lot of them are caught Well through the cops because they know, you know, cops and fire him.

1:04:21

And they always have side jobs.

1:04:23

You know, a lot of different businesses.

1:04:25

They're lined up out the door.

1:04:27

Christopher comes in he's owl says a movie producer.

1:04:34

He calls him a movie producer producer.

1:04:36

So he's kind of proud of that.

1:04:38

Yeah. I mean, also obviously Christopher's doing this power tool thing, but one of the reasons why the relationship with him and Tony gone south went south is because Christopher's not his, head's not so in the game anymore, you know, he, I think he really wants to do other things.

1:04:57

It's not just keeping away from the being and the pork store because of his sobriety.

1:05:02

It's also, I think he got a taste of what he really wants to do.

1:05:06

And I think this kind of shit is boring.

1:05:09

Yeah. Got a big house. He's got a kid listen.

1:05:12

A lot of times kids really change people.

1:05:15

We've

1:05:15

almost

1:05:15

immediately,

1:05:15

you

1:05:15

know,

1:05:15

you

1:05:15

have

1:05:15

the

1:05:15

kid

1:05:15

and

1:05:15

you're,

1:05:15

you're

1:05:15

a

1:05:15

different

1:05:15

guy

1:05:15

or

1:05:15

a

1:05:15

different

1:05:24

girl. I mean, you gotta responsibility and, and it's just, sometimes you don't hope you sober up.

1:05:30

I got to take care of this kid.

1:05:31

Look what I brought into the world. I think Christopher has got some of that.

1:05:35

It's got a nice girlfriend.

1:05:36

He had Kelly's completely different.

1:05:38

Adriana was a nice girl.

1:05:40

She was also like a fucking mob wife.

1:05:43

You know, she played the whole game to, Kelly's not in like that.

1:05:47

You know what I mean? She doesn't, he's not in like that.

1:05:51

You know? And he doesn't want her in like that.

1:05:54

No, the bottom big Paulie, Christopher talk upstairs.

1:05:57

Poli those, you see Tony Sirico with this sheet.

1:06:02

Boom, boom, boom, boom.

1:06:04

He's got, he must've practiced that. And the mirror.

1:06:07

Yeah. The thing with the thing and the thing he did make some very, He

1:06:15

worked it out to the That's

1:06:18

harder to me.

1:06:18

That would be so hard to me to, you know, you know, when I say this word, I'm going to do this.

1:06:25

I really do that. I'm going to do this. I'm going to point.

1:06:27

I mean, that would be really hard for me to put all that together.

1:06:33

Yeah. I don't know how to do that either.

1:06:36

You know, turn your head. You, you know, It

1:06:39

worked for him. Christopher says you ain't seen this many cops lined up since the Centennial of Dunkin donuts he's gets 12 grand is Christopher's cut of this Cuddle.

1:06:55

Christopher has his own cut.

1:06:57

And

1:06:57

Paul,

1:06:57

he

1:06:57

says,

1:06:57

you've

1:06:57

been

1:06:57

a

1:06:57

real

1:07:01

drip. Can't you be normal?

1:07:02

Christopher said, it's hard for some of us to be normal.

1:07:05

When I was using drugs, I'm a disgrace.

1:07:07

Now I'm sober. Now I'm a drip.

1:07:08

And you know, this is some of the problems he's been facing as well, is that, you know, they don't understand this sobriety.

1:07:17

They just think have a drink once in a while.

1:07:20

Don't let it get out of control. They don't understand addiction.

1:07:22

This, You

1:07:25

know, I have my, my wife's cousin, like the older uncles and stuff, they kind of made fun of him.

1:07:32

What are you, what are you weak? You know, sign a weakness that you can handle this.

1:07:37

A lot of people think, you know, you do drugs or alcohol.

1:07:40

You're weak. And that's part of it too.

1:07:43

Now there's one thing that you don't toast.

1:07:46

What water? A lot of people believe that spanned lock.

1:07:49

You know that, right?

1:07:50

Oh yeah. Yeah. A lot of people do, unless you're both toasting with, unless everybody's toasting with water, then it's okay.

1:07:57

Club, soda, you know, he's breaking his fucking balls.

1:08:00

You know, like you said, I'm a disgrace when I'm fucked up and now I'm a drip.

1:08:05

What do you want from me? You know, they're out of line.

1:08:10

Then he says, come on, let's go have some prime rib.

1:08:12

He says, no, I'm going to pass.

1:08:13

Why you're watching your cholesterol too.

1:08:16

So, you know, he's in a no-win situation with these guys here, you know, and you know, the peer pressure, you know, Tony breaks his balls more than anybody.

1:08:26

What the fuck?

1:08:28

What

1:08:28

does

1:08:28

he

1:08:30

want? He could handle it. You know, the pork store, Tony walks over agent Harris, an agent, got it.

1:08:37

Agent Harris met Sevino, always great.

1:08:40

He loves them. Sandwiches loves, loves the heroes there.

1:08:47

Yeah. Their relationship is very interesting.

1:08:49

And he, Matt spoke about it when he came on our podcast, you know, he talked about the complex relationship between him and Tony, you know, anybody who's interested go back and look at that episode because it's a very good interview.

1:09:05

And, and Matt really thinks a lot into the character.

1:09:08

There's

1:09:08

a

1:09:08

mutual

1:09:11

respect. In some ways maybe Tony hates the feds, but he does kind of respect Asian Harris out of any of them.

1:09:18

It does have certain, they relate on a certain level.

1:09:21

Agent says I never liked Philly.

1:09:23

Tardo he tried to set up a rookie, a rookie FBI agent for, to be raped and beat beaten.

1:09:30

You know, he's got a, he hates Phil Leonardo as does Tony.

1:09:35

Yeah. You know, Tony is a murderer and he's all these things that wouldn't be something he would do.

1:09:43

He's not that guy, Tony, I'm

1:09:45

not a sadist.

1:09:46

He

1:09:46

is

1:09:46

a

1:09:49

killer. And he takes care of business. And does what, you know, obviously that's part of the life he leads, but I don't think he's Still sick.

1:09:57

Yeah. You saw, you saw where they did the veto.

1:10:00

Yeah. That was sick. Ralphie was a sadist.

1:10:03

Ralphie was sick. So it was Richie a prio.

1:10:05

Those, those twisted guys who want they enjoy people suffering.

1:10:10

Yeah. I don't see, I don't think Christopher was a flat-out murderer.

1:10:15

I think he murdered what? 16 people or something.

1:10:18

But I don't see Christopher being that guy either.

1:10:20

Christopher took care of business as Silvio.

1:10:23

Did you know what I mean? They just took care of business poorly.

1:10:26

I don't think he was that guy didn't get that much enjoyable.

1:10:30

It's pointed a job.

1:10:31

I think guys like Ralphie and Phil, they enjoyed it.

1:10:37

He sat on the bed and watch them, whatever they do with the pull shtick, shove it up vetoes.

1:10:41

But whatever he did There,

1:10:43

they tortured. He enjoyed it.

1:10:46

He watched that, you know, he's, Tony's telling them, I, you know, I ran into these guys.

1:10:52

They had talked about it early. If you see something, let us know.

1:10:56

And he tells him about Ahmed and Muhammad called.

1:11:02

I didn't really tell him anything. No. I mean, first of all, he says, Hey, if I do have info, what do I get for it?

1:11:09

Basically, do I get something? And he says, well, write a 5k letter, which means, you know, it talks about your cooperation and service.

1:11:16

Is that really a thing?

1:11:18

I imagine it is because You know, when I get in trouble, it sounds like, Yes,

1:11:23

absolutely. Cause when you do go for sentencing, your lawyer makes a case, Hey, he did try to help out.

1:11:31

But, but what does he say? He says the guys, he saw these guys.

1:11:34

They used to hang out at the Bing.

1:11:36

Then I don't see them. Then I see them, a guys with beers and beards and headgear, The

1:11:42

fundamentalist. She saw them with those guys.

1:11:45

They weren't doing It

1:11:48

doesn't mean they're fundamentalists.

1:11:49

It just means them devout.

1:11:51

They might not be, you know, I

1:11:54

understand. But he saw them in the bottom of being, being regular guys.

1:11:57

And now we saw this.

1:11:58

So he's just saying maybe there's something there he's reaching.

1:12:02

He doesn't know that. I said, you know what I mean?

1:12:05

And then they give the phone number he gave, it gives Akhmed and Muhammad's phone number (973) 555-0146.

1:12:17

For people that don't know out there, it's always 5, 5, 5.

1:12:22

That's the fake number. So whenever you see right on TV, they never have a real of, so he's fine.

1:12:29

'cause that? You know? Cause then people will call the number or whatever.

1:12:33

And So it's always, you know, 2, 1, 2, 5, 5, 5, you know, whatever it is.

1:12:38

And you know, people wonder, and those are real phone numbers.

1:12:41

It's just five, five, five.

1:12:42

Otherwise you put a real phone number up there.

1:12:45

You'll torture the person at death.

1:12:47

Right? Isn't that? What happened with, Put,

1:12:50

give, give the audience, your phone number and see what happens.

1:12:53

Watch just as an experiment, I

1:12:58

have a Really bad, some people would call you.

1:13:00

I bet some of the fans would call you.

1:13:02

I already got enough. Jack offs calling me.

1:13:04

I don't need more people.

1:13:05

You know, I was earlier, I don't know if we were doing the podcast yet, but I was at my house in California and I was trying to on Twitter, you know, I'm fucking useless.

1:13:19

You know, that technical, technical technology.

1:13:22

And I, I miss it.

1:13:24

Somebody, my phone number on Twitter, you know, you know, per DM, whatever you call it.

1:13:30

And it must was it private and I'm getting fucking phone calls on my phone from people.

1:13:39

Are you okay?

1:13:39

Are you okay? I said, the girl called me from London.

1:13:43

I said, yeah, I'm okay. I just want to make sure you put your phone number out there.

1:13:47

I'm scrambling. I got about twenty-five calls.

1:13:52

Oh. And I'm fucking in a panic.

1:13:54

And I called my deleted.

1:13:56

Yeah. She fixed it and you know, Hey, listen, I'm happy to talk to the fans as long as they're nice.

1:14:04

I don't have a problem, But

1:14:07

you don't want them calling you on your phone To

1:14:09

civilians. I'm not like you, I talked to On

1:14:11

the street. I do all the time. I'm not on the phone.

1:14:14

I don't want people calling me.

1:14:16

I put it on the phone that much.

1:14:17

No, you're not that big of four.

1:14:20

I'm a phone guy. You're not, No,

1:14:23

no. I'm not a phone guy. Oh my God. That's why like 10, If

1:14:26

I text, it takes me forever to fuck a text.

1:14:29

That's why when you texted me, I always say, just call me because I can't have a compensation texting.

1:14:35

I got to do A flip tone.

1:14:37

That's why Right

1:14:40

now. Yeah. Michael, I don't say how you doing.

1:14:43

I go call me.

1:14:45

Yeah, but you got a flip phone. If you had, if you had a, you know, something of the modern technological age, you could text much easier than that.

1:14:54

You also don't want to email, you know, your email for information.

1:14:57

If you want to go high with things, how's the family or they call me and I'll tell you, I'm not a 12 year old girl texted.

1:15:03

I'm a fucking grown.

1:15:05

It's old man.

1:15:06

12

1:15:06

year

1:15:06

old

1:15:06

girl,

1:15:06

not

1:15:06

grown

1:15:11

men. Okay. 12 year old girls and 55 year old guys as well.

1:15:16

They text to Construction

1:15:19

site. Here's another thing you don't do.

1:15:21

Aja walks with Blanca.

1:15:23

All right.

1:15:25

How you doing is a construction worker there.

1:15:29

He's talking to her, he's laughing.

1:15:30

And

1:15:30

he

1:15:30

goes,

1:15:30

what

1:15:30

are

1:15:30

you

1:15:30

going

1:15:30

out

1:15:30

with

1:15:35

them? AJS jealous. She's spoken to a guy at work.

1:15:37

And he says, well meet me for coffee.

1:15:43

It's such a big deal.

1:15:44

I don't even think it's a good idea.

1:15:46

Anyway, last time you started crying.

1:15:48

We had to leave Starbucks.

1:15:49

He breaks down crying.

1:15:52

He hugs. I love you so much.

1:15:53

Listen guys and girls out there.

1:15:57

Listen, uncle Steve.

1:15:59

When you break up your breakup, there's no way we're going to be friends.

1:16:05

There's no, let's play part amicably.

1:16:09

If one person doesn't want to break up, don't fucking hang around with them.

1:16:15

You're going to feel worse and worse.

1:16:19

Well, that's what happens here. And then she says it happened in Starbucks.

1:16:21

I guess they met at Starbucks.

1:16:23

She was crying and Starbucks.

1:16:24

He's hugging her and he's embarrassed.

1:16:26

It's just awful. So she doesn't want, You

1:16:30

know, it's just terrible.

1:16:31

And you know, you say, well, I could be friends.

1:16:34

Listen. I'm not saying being enemies.

1:16:36

He's heartbroken.

1:16:37

The more he hangs around with the less she's going to get over this fucking thing.

1:16:42

You got to cut it clean.

1:16:44

Don't

1:16:44

you

1:16:46

agree?

1:16:48

A hundred percent. You're absolutely right.

1:16:49

Good advice.

1:16:52

Steve.

1:16:55

Say that again? Good advice, Steve.

1:16:58

No, but seriously. I mean, this is somebody that I'm Serious.

1:17:00

I think it's good advice.

1:17:02

You know, what's the worst thing that you tell the girl you tell a girl, I love you.

1:17:06

She says, I don't love you, but I'm it.

1:17:08

I'm not in love with you, but I love you, but I'm not in love With

1:17:12

you. That's horrendous.

1:17:15

It's me. That's me.

1:17:17

That means get up.

1:17:20

Just get the fuck out. He should never see her again.

1:17:22

Look you wounds. Try to get back out there on the bicycle and fucking time.

1:17:28

We'll you know, we'll help.

1:17:30

You

1:17:30

know

1:17:30

what

1:17:30

I'm

1:17:33

saying? It was a metaphor.

1:17:35

Fuck

1:17:40

it. Smart ass. Now you get to know, I

1:17:43

don't know what you're talking about. Get back on the bicycle.

1:17:45

What do you mean?

1:17:48

But a big Tony stalk in a lorry, stripper That's

1:17:52

Natalie Walker. She was in, she was the stripper that he drove home.

1:17:57

She

1:17:57

went

1:17:57

down

1:17:57

on

1:18:00

him. He gave her some money, drove her home. That's the same stripper.

1:18:02

Natalie Walker, the song playing there.

1:18:05

If you've never heard this song, you should immediately go listen to it.

1:18:11

It's by hot chocolate.

1:18:12

It's called Emma.

1:18:13

It's written by Earl brown and Tony Wilson, a hot chocolate.

1:18:18

Warfin a fantastic band. I think their most famous song was used.

1:18:21

Sexy thing. They have a lot of great songs.

1:18:23

This is a really good one. It's about an aspiring actress.

1:18:26

It's a very, it's a very tragic song.

1:18:29

It's about a suicide, but it is just awesome.

1:18:32

So if you don't know it, listen to the whole thing.

1:18:34

Cause it's great.

1:18:36

Laurie says a man with a plan, the man with the erection, and then it gets a call from Carmela.

1:18:41

I need you to come home and say, Jay I'm worried Tony.

1:18:43

And he is just like, what the fuck?

1:18:47

He said, he had plans to go home with Laurie and screw around.

1:18:52

And now they are.

1:18:54

He's got to go home.

1:18:56

His wife calls and Adrian is laying in the bed in his bedroom.

1:19:01

Tony arrive. What's the matter of block us still.

1:19:04

I'm fucking depressed. She doesn't want to talk.

1:19:06

AIJ go leave, go away.

1:19:09

You

1:19:09

broke

1:19:12

up. How long you want to cry about it? She was my life.

1:19:14

You're 20 years old. You're barely have a life you're better off.

1:19:18

Anyway, you know this, she was cute.

1:19:22

But come on with another guy's kid, the boat.

1:19:27

Yeah. And he says, enough is enough is enough.

1:19:29

Don't know this is, you got to get over it.

1:19:31

He says the best thing that ever happened to me, he says it happens.

1:19:34

Everyone gets the blues. The music business is dedicated to that.

1:19:38

I know it feels like you're never going to love again, but there's millions of girls out there now.

1:19:42

Then he says, plus you're white.

1:19:44

That you're handsome. You're smart.

1:19:45

And you're white that's While,

1:19:49

Because she's not, I guess he's saying, Okay,

1:19:52

he spent better than her course of that.

1:19:56

I guess that's what he's saying now, which is, it's kind of weird and awful.

1:19:59

And then he says, go get a blow job.

1:20:02

And

1:20:02

then

1:20:02

he's

1:20:02

like,

1:20:02

who's

1:20:07

Listening. That's good advice.

1:20:10

And he's like, who's listening. You know, watch, watch what you say and why who's listening.

1:20:14

And he realized Carmella is out there and he flips out.

1:20:17

She won't, She

1:20:19

was listening was outside, which was not, which is wrong.

1:20:23

What was the fuck she's listening for?

1:20:25

He mentioned a couple of songs, tears on my pillow.

1:20:28

Mona Lisa said, songs, sad songs could get you in a funk.

1:20:34

You go on, you go on YouTube.

1:20:37

You put in, said song. If you listen to that and you get to a fun.

1:20:42

Yeah, definitely.

1:20:42

And then he says, leave me alone.

1:20:45

Carmella says I was glad when they broke up because of the culture divide.

1:20:51

Unbelievable. So with all her, you know, religious shit, she still, you know, got her own issues.

1:20:56

But now this is worse.

1:20:58

And Tony says something that's very, it's a very Sopranos, thematic statement, concept.

1:21:08

Everything turns to shit.

1:21:10

That's what he feels in some ways.

1:21:14

That's what this season's about.

1:21:17

That their relationship is engagement turned to shit aging.

1:21:21

Well, he's Saying everything turns to shit.

1:21:23

He's basically saying, you know, it's Like

1:21:25

the first time he said that, no, It's

1:21:28

kind of like what Terry was saying. You know how you know, he's dissatisfied with his family life, his kids, aren't where they were at the, you know, the job is and where he's at.

1:21:39

He's you know, it's like this dissatisfaction, you know, has reached big proportions in this last season.

1:21:48

Christopher's house co soprano hallway, Tony Carmela talk.

1:21:53

Right. Then we head out to Khrushchev his house, Christopher and Kelly are having a party.

1:21:59

All right.

1:22:01

It just seems like Christopher is trying to be something.

1:22:04

He's not like, he feels like he wants this and this is what he should be doing.

1:22:08

But it's just to me, it's just, I don't know.

1:22:12

It just It's

1:22:15

Kelly's idea. She's nervous cooking for everybody.

1:22:18

That's a lot of pressure.

1:22:20

A lot of people he's got the buck laws.

1:22:22

He's got Tony Carmella. He's got Tom and Barbara.

1:22:25

He's got Kelly's family.

1:22:27

It's a lot of people, A lot of people that have a lot of pressure.

1:22:31

It's just a first time doing it.

1:22:34

Right. She's never cooked for so many people.

1:22:37

Christopher comes out, he's gonna do the grilling.

1:22:40

You know, that's Tony soprano specialty.

1:22:43

He's watching Bobby and Tony talk business.

1:22:47

Doesn't seem like, you know, he's not involved in that.

1:22:50

Christopher does that.

1:22:53

Doesn't make them too happy. It looks like.

1:22:55

And

1:22:55

then

1:22:55

Tony

1:22:55

comes

1:22:58

over. He's given a point is it's funny.

1:23:00

Cause he keeps saying, turn this steak.

1:23:02

The river's done that.

1:23:04

You know, he's given them grilling point is while they're talking cruciferous, having a alcoholic beer, what you like, you enjoy Know

1:23:15

re in recent times they figured out how to make them because they used to suck.

1:23:22

Non-alcoholic beer used to just be fucking awful because the process, apparently they used to just heat it to burn out the alcohol.

1:23:33

So they make regular beer, boil it or whatever the fuck and boil out the alcohol.

1:23:38

But it would taste like crap and the body, the body of it was like, just not right now.

1:23:46

I guess there's some new process. Heineken makes double zero that's it's like you would, you can't tell that you're drinking non alcoholic.

1:23:53

You know, one of our favorite restaurants, Layla, our friend Murat, he owns Layla on 74th street, great restaurant west side.

1:24:03

They have a Turkish, non alcoholic beer.

1:24:06

That's awesome. I forget the name of it, but it's really good.

1:24:09

And back backs makes a good one too.

1:24:12

So now you can get non alcoholic beer.

1:24:14

That's delicious and you're not missing it.

1:24:17

I mean, I used to drink, you know, when we were doing the Sopranos, sometimes we drink it in the scene.

1:24:24

You know, if you had to drink beer in a glass and it was just gone, awful crap after tastes and kind of flat and like it would make it kind of gassy.

1:24:38

I know they have that.

1:24:40

Yeah, that, that ain't so good.

1:24:41

Never tried That you tried It.

1:24:43

I've tried it, but it doesn't. I don't think they've got that right yet.

1:24:47

There's a store in Manhattan.

1:24:49

Forgot

1:24:49

the

1:24:49

name

1:24:49

of

1:24:51

it. The whole store is non-alcoholic spirits, not just beer and wine.

1:24:56

Prosecco, champagne, non alcoholic gin, scotch whiskey, all that.

1:25:02

The whole store is dedicated to that. It's on the east side.

1:25:04

So I think it's on Madison avenue, but Dirk is non-alcoholic.

1:25:08

Beer is called F S E R E F S E F E S.

1:25:12

But this store is really cool.

1:25:14

I Wonder what?

1:25:19

I don't know if they have that. That's a good question.

1:25:21

Cause it's probably what tastes like water, but, but they have all kinds of, you know, because like you don't always want to, sometimes you feel, why do you drink it on a little bit?

1:25:33

Well, sometimes like if you're having, you know, a certain type of food, like sushi or something, you don't want just a water.

1:25:39

You don't want something sweet.

1:25:40

I don't always want soda.

1:25:45

Oh, nice. I've tasted the non alcohol beer.

1:25:48

It's okay. And I've taste that.

1:25:51

So Tony comes over, he makes a joke.

1:25:55

Non alcohol appeal it's really takes like is he's marketing for not drinking.

1:26:00

I

1:26:00

given

1:26:00

them

1:26:00

the

1:26:00

grilling

1:26:00

tips

1:26:00

and

1:26:00

Christopher

1:26:00

says,

1:26:00

you

1:26:00

know,

1:26:00

you

1:26:00

should

1:26:00

understand

1:26:00

how

1:26:00

odd

1:26:00

it

1:26:08

is. The human condition. It's a disease.

1:26:10

I inherited it from my mother.

1:26:12

He doesn't believe in that.

1:26:14

It's a disease. As a lot of people don't believe it's a disease.

1:26:18

And then he hits some with, let's be honest about the great Dickey or something.

1:26:23

My dad, your hero.

1:26:25

Was it much more than a fucking junkie Say

1:26:29

that he did Coke, drank vodka. He shoves stuff up in his arm.

1:26:33

But I mean, now we have the many saints in Newark which features Dick a Moltisanti and that doesn't seem to be an issue at all with, But

1:26:42

this is just a small period of, we don't see them over a span of 10 years.

1:26:48

So maybe Yeah. But it does.

1:26:50

It just does not seem to be part of his personality.

1:26:52

He seems like somebody who kind of has it.

1:26:55

Yeah. The one in control. Yeah. I agree with you.

1:26:57

But maybe like I said, people go through things, you know, you know, people go through things, you know, if you, if you're looking at them for 10 years, you know, maybe for two years he was fucked up and then he was okay, you know, maybe, you know, I don't know.

1:27:13

You know, I, I don't know. You know, I hear what you're saying.

1:27:17

You also, he says he did a lot of Coke.

1:27:18

You

1:27:18

know,

1:27:18

he

1:27:18

died

1:27:18

in

1:27:18

the

1:27:18

early

1:27:22

seventies.

1:27:22

I

1:27:22

don't

1:27:22

know

1:27:22

how

1:27:22

much

1:27:22

Coke

1:27:22

or

1:27:22

people

1:27:22

doing

1:27:26

that. How much like gangsters in Jersey, where they doing a lot of Coke in the late sixties, early seventies?

1:27:30

Probably not in the Early seventies, but in the late seventies, mid Dickie

1:27:35

died in the early seventies, he was saying, Christopher says something funny about Kelly.

1:27:41

She's getting her teeth wet with entertaining, which is, you know, either you get your feet wet or you cut your teeth trying something new.

1:27:50

He says, she's getting her teeth wet.

1:27:52

It's a very subtle, but funny line.

1:27:54

Tony says, we never see you like a ghost.

1:27:56

And then he says, how are it's hard to be around the being because of the strippers or Coke heads.

1:28:01

It's hard to be around Saturday hours because of the fridge full of beer.

1:28:05

And

1:28:05

Tony

1:28:05

doesn't

1:28:05

have

1:28:05

a

1:28:05

lot

1:28:05

of

1:28:05

sympathy

1:28:05

for

1:28:10

him.

1:28:12

Analogy of, you know, I can't eat a plant.

1:28:15

So I just stopped, you know, two different things.

1:28:18

I can't eat a plant because fuck up my stomach.

1:28:22

Well, you know, of course he got shot.

1:28:24

It does say no. He's basically saying, you know, you know, you know, you could drink, you know, you could still come around and not drink.

1:28:36

Yeah. I mean, he's a, I mean, he's somebody who's listen.

1:28:40

Does he think depression's a disease?

1:28:42

He

1:28:42

treats

1:28:42

it

1:28:42

like

1:28:45

Such you think alcohol ism as a disease.

1:28:51

It's how you, it depends on how you define the word disease.

1:28:56

Can you stop? I don't think the, I, you know, I'll be honest with you.

1:29:00

I don't, it matters what it is is how are you going to deal with it?

1:29:04

What, you know, I think the important thing is not why people talk about it as a disease is because usually they brand new as somebody of, you know, it's a moral failing or a weakness, which is not the case.

1:29:19

There is something, you know, it can happen to anybody.

1:29:21

He's a P sometimes there are people who function at the highest levels, but they're, you know, I'll

1:29:28

tell you this though. This is something that bothers me.

1:29:32

And I have a friend of mine whose wife was an alcoholic and horrible alcoholic and a horrible behavior, you know, horrible baby.

1:29:43

But that was always the out well, it's a disease.

1:29:46

So what, she gets a fucking pass, she gets a pass for acting and bothering people and ruining people's parties and weddings.

1:29:56

And The point of the point of calling it a disease is not to like, excuse drunken behavior.

1:30:02

It's to help the recovery process.

1:30:05

I understand that. But a lot of people use that, Hey, it's a disease.

1:30:08

What do you want her to do? Like, she has no control.

1:30:10

It's not cancer that you don't have control on.

1:30:15

And you want her to do, go get help, go to AA, go to rehab, go to a psychiatrist.

1:30:18

That's what you want to do.

1:30:21

Plus you know what I'm saying? You've heard that before.

1:30:24

I haven't heard that as like, just giving up and like, not, not, you know, you say get help.

1:30:29

I mean, it's like, listen, I E we have friends that deal with that shit.

1:30:34

And it's like, until you get, listen, you, you can't talk about other problems in your life.

1:30:41

If that's an issue, you know, it's like, I can't hold a job.

1:30:44

I can't own the relationship. I'm depressed.

1:30:46

Well, if you're, you know, have substance abuse problems, you can't fix any of that shit until you take care of that.

1:30:54

You see, you know, it's like, don't tell me about your relationships problems.

1:30:58

If you're an active drug addict.

1:30:59

Well, there you go.

1:31:04

Of Course. How can you, you know, if that's your addiction, you know, if you're in the grips of, you know, addiction like that and active, like how can you be?

1:31:13

You know, it's hard to be. People are functional, but assumptions going to go by the wayside.

1:31:17

That's for sure.

1:31:19

Al's hardware store adjacent a little poorly packed event with power source, valorize points a gun at them.

1:31:26

He has a silent alarm, goes off at his house.

1:31:29

So good.

1:31:30

And

1:31:30

Paul,

1:31:30

a

1:31:30

little

1:31:30

poorly

1:31:30

plays

1:31:30

it

1:31:34

off. My uncle didn't call you. These are for his friend that the union, you know, he's bullshit.

1:31:39

It's a mix up.

1:31:41

I don't pull the cold. You he's going to call out is going to call Christopher.

1:31:46

He's just the five of you. I won't make a problem where there ain't any giving them a veil threat.

1:31:51

The Alliant they're stealing our shit, which is just amazing that they would fuck around with Christopher.

1:31:57

His father-in-law. Yeah,

1:31:59

it is amazing. It's a bad move.

1:32:01

It's disrespectful, but they just feel like it's a, you know, he would've got it from Chris anyway.

1:32:09

So he's just doing it directly. But it's horrible.

1:32:12

They're breaking into the guy's store when he could have, you know, Paulie should've went to, Christopher said, I need this, give it to me.

1:32:18

Pizza, shop AJS work. And he sees a couple of kitchen.

1:32:21

You

1:32:21

know,

1:32:21

he

1:32:21

has

1:32:21

his

1:32:24

apron. He starts crying.

1:32:25

He gives it to take over Felix, I'm going home.

1:32:29

It's very funny As

1:32:32

Mondo Alvarado, who's actually an award-winning and very prolific playwright and filmmaker.

1:32:38

Really? Your guy plays the Felix.

1:32:41

Very good. It's a small scene, but very good.

1:32:43

AIG quits. He says, tell him, I'm sorry.

1:32:46

And he walks out crying, hysterical.

1:32:50

I mean, he is a bad shape.

1:32:52

He's very fragile. This kid, you know, she, you know, she thought so older, more experienced every which way.

1:33:01

Beautiful girl.

1:33:03

She rocked his world.

1:33:07

She rocked his world. Yeah. Without a doubt.

1:33:09

And, and I mean, my thing is that she felt he was just immature and you know, she's, she's used to, she wants someone in a life that's, you know, gonna be more, more mature, you know, take care of her and her kid.

1:33:23

You know, that's what she wants.

1:33:25

I bought a big Patsy meets with Tony.

1:33:27

He selling them, you know, my kids are running a bookmaker thing in college first.

1:33:35

I don't want him to go. I was against him going to college, but he could stay as long as he want.

1:33:39

So they're kicking up to him and he's kicking up.

1:33:42

The Tony patchy Talks

1:33:44

about his kids, their kids, Carlos kid, and Patsy's kids are in college.

1:33:49

They'd taken action To

1:33:52

Jason's extreme, like regular kids kind of spoiled.

1:33:54

Also they know their fathers, a wise guy.

1:33:57

So there they are frat boy, you know that she, you know, you know, the younger one and, and Tony sees, these are like two regular kids, two regular college kids doing what they're supposed to be doing, getting drunk, chasing girls.

1:34:17

Yeah. I know Tony talks to him. He's at the bar.

1:34:19

They're looking at the strippers.

1:34:20

You know, he's saying, Hey, you know, invite my son.

1:34:25

You know, guys, you know, he broke up with that girl call Aja.

1:34:31

I'd love to see you guys. He's trying to push in it a little Tony and his head is gone.

1:34:36

Why can't Aja be more like these two?

1:34:41

You know, it's funny. Most of them are named Jason and there's another Jason who was in the SEMA, Paulie, a little poli that playing Jason Molenaar.

1:34:49

That's a, a willing to mail Mayo three Jason's in this episode, Jason

1:34:54

is Michael Draya.

1:34:56

Really good active Joe Perino.

1:34:58

He did a blue bloods. Really good active.

1:35:01

Both of them. Nice guys, good actors.

1:35:03

And he, you know, he's saying, I wish my kid could be more like this.

1:35:10

What the fuck here?

1:35:11

Paulie's apartment crucifer arrived.

1:35:14

Great scene.

1:35:14

Christopher BOJ is in, they posted into a store.

1:35:18

Jeff acid reflux is acting up.

1:35:21

That's one of those little soprano things out of nowhere.

1:35:24

Does it mean anything?

1:35:25

He woke up Kelly poorly.

1:35:28

It's my fault. Your father-in-law's a cry baby, David in, Which

1:35:32

is what does that even mean? Of course, he's a good guy.

1:35:35

Broke into his store, took a shit. And Paulie thinks it's his stuff.

1:35:40

Fucking Paulie's lunatic poorly.

1:35:42

You know? And he yells, he says, when you suck the money out of my ass, get the fuck out.

1:35:48

Christopher looks at him sideways.

1:35:52

Yeah. He's not happy.

1:35:52

When are you going to pay me?

1:35:56

And he says, never,

1:35:58

got a big back room.

1:36:01

Tony Silvio, polio at the desk, talk a business.

1:36:05

Christopher. I got to talk yet. Urgent, fuck a bully.

1:36:09

And Tony doesn't want to listen.

1:36:12

And Bobby, so what's up, Christopher doesn't like that at all.

1:36:16

Bobby doesn't six is nowhere.

1:36:18

It doesn't belong there a little bit.

1:36:20

But like I said, he's kind of dropped down Christopher.

1:36:27

Yeah. And these guys are talking big money.

1:36:28

They're talking medical MRIs and whatever kind of scams.

1:36:31

And Christopher's just, you know, he's on the outs.

1:36:35

He's just not, he's not his head is not in this anymore.

1:36:38

And he says, you know what happened?

1:36:40

He says it ain't about the money.

1:36:42

And Tony's like, oh, well, and it's about the money with us.

1:36:47

It's a million dollar deal. You're talking to him about a pallet or drills.

1:36:49

Go get a lime Rickey.

1:36:51

You know, basically saying that Christopher's personal problems are not important.

1:36:58

Well, I don't know if this has the urgency, you know, listen, we all take our problems.

1:37:01

I need to hear that all the time.

1:37:06

That's the whole show. The Sopranos is like that all the time.

1:37:09

I mean, I'm guilty of that. It's not that big a deal, but I think it is that I fucking get on the phone and fucking, you know what I mean?

1:37:16

It's,

1:37:16

it's

1:37:19

important. The Christopher soprano vigil, Tony Kamala lay in bed metal comes in.

1:37:27

I need to talk to you guys. Not about Vaj, he's upset my friend at school, in the dorm.

1:37:32

She threw herself off the library balcony.

1:37:35

And

1:37:35

she

1:37:35

was

1:37:35

saying

1:37:35

these

1:37:35

exact

1:37:35

things,

1:37:35

you

1:37:35

know,

1:37:35

she's

1:37:35

kind

1:37:35

of

1:37:35

giving

1:37:35

them

1:37:35

a

1:37:35

heads

1:37:35

up

1:37:43

here.

1:37:46

Yeah. And again, here's, here's where we start.

1:37:49

You know, we're seeing a little bit of like the juxtaposition with Christopher and Aja, you know, Tony not caring about Christopher's problems and then dealing with his son and being there, you know, for a son he's saying to serving things, nobody gives a shit.

1:38:04

What's the point.

1:38:05

And

1:38:05

Tony

1:38:05

goes

1:38:05

down

1:38:05

to

1:38:05

be

1:38:05

a

1:38:05

father

1:38:05

to

1:38:05

his

1:38:09

son. He goes, they're watching the movie Annapolis, which is James Franco.

1:38:16

And your friend Donnie Wahlberg was in that movie actually Tyrese Gibson, 2006, did this movie.

1:38:23

And later on, he's watching a day watch John Wayne.

1:38:25

So very kind of masculine.

1:38:27

You know, I, I, I conic kind of, You know, I wasn't for a long time, but I do, like, I think he was probably a horrible human being.

1:38:42

Like he said some shit, some shit that is just fucking disgusting.

1:38:45

I

1:38:45

liked

1:38:45

him

1:38:45

in

1:38:45

the

1:38:49

Cowboys. W w which my friend Roscoe Lee brown was in with him.

1:38:54

I think that's a really good movie.

1:38:56

I

1:38:56

like

1:38:56

the

1:38:56

searchers

1:38:56

a

1:39:00

lot. I think he's good in that. I mean, and a true grit.

1:39:03

He's really good.

1:39:05

You know, you don't want to gave me a book.

1:39:07

You know, he has a whisky out whiskey brand, John Wayne, and a friend of mine sent me a bottle of his whiskey, which I don't drink.

1:39:16

And a book.

1:39:18

And in the book is a lot of his personal stuff, a copy of his driver's license.

1:39:22

It's kind of a, you know, it's a big picture book, like a coffee table book.

1:39:27

So, you know, I put the computer on, I need a couple of books to profit off.

1:39:32

So I just use the book to prop up the fucking computer, take a pick.

1:39:38

My wife takes a picture. I put it out there.

1:39:40

People are going to John Wayne and he sucks.

1:39:43

He's a re yeah, I know that.

1:39:44

I'm just using the book to fucking prop up the computer.

1:39:47

Does it mean I'm a John Wayne fan?

1:39:50

You know, he comes out years later.

1:39:53

He was a racist, a very big way In

1:39:56

white supremacy.

1:39:59

And they've talked, there's been talk about his, the, the county named after him, John Wayne input.

1:40:07

They're going to take his name off at all.

1:40:09

What we're thinking about it, you know, but I just use the book kind of like as a fucking prop, He

1:40:19

lived down There, fucking Ray, I'm not a racist fucking right.

1:40:23

They should goddammit.

1:40:26

I'm going to spearhead this campaign when I Die.

1:40:28

Come on, take care of that for me. What'd you Come

1:40:31

on, you Got it. Steve, you got a few things you got, listen.

1:40:35

We got to put our differences aside for the podcast.

1:40:39

I need to take care of a few things for me when I'm gone.

1:40:43

All Right. I know.

1:40:45

I know. I'm well aware.

1:40:51

I came in and tell you I don't serious that I've done.

1:40:53

Therapy's a, jerk-off Staring

1:40:56

at the statute from the first, very first episode, which is how this whole show started with that.

1:41:02

The way I was coming here to quit. I had it all planned out, but guess what?

1:41:05

My son's talking suicide.

1:41:07

So now I'm trapped here forever.

1:41:12

What is malfies last episode? I don't remember.

1:41:15

Blue comment. Number 12, a number number eight, number eight.

1:41:20

Next, the last one.

1:41:23

No fee. Would you like me to recommend someone wa like the in-company you sent metal to member that she sent, she sent metal to a bed Therapist,

1:41:33

played by Linda 11 Was

1:41:36

making things worse.

1:41:37

You

1:41:37

know,

1:41:37

friends

1:41:37

of

1:41:37

mine

1:41:37

have

1:41:37

sons

1:41:37

his

1:41:37

age

1:41:37

and

1:41:37

that

1:41:37

happy,

1:41:42

ambitious. My son's crawled up on the couch in a fetus And

1:41:47

the fetus position. When he should be banging co-eds I'm prone to depression.

1:41:52

I have a certain bleak attitude towards the world.

1:41:55

He's got miserable existence.

1:41:58

It's in, it's in his blood.

1:42:00

Rotten putrid genes has infected his soul.

1:42:03

That's my gift.

1:42:04

I hate this fucking shit.

1:42:06

After all the complaining, crying and all the BS is this all there is again, that's the theme of the show in a nutshell, in some ways, the whole show, you know, There'll

1:42:22

be is what you get out of it, what you put in it, you know, he thinks that they're going to have the answers to fix everything.

1:42:28

And I don't, I, I not a big therapy person, but I don't think that's how it works.

1:42:33

Well,

1:42:33

I

1:42:33

told

1:42:33

you,

1:42:33

I

1:42:33

try

1:42:33

every

1:42:33

thing

1:42:33

that

1:42:33

every

1:42:33

sponsor

1:42:33

that

1:42:33

we

1:42:33

have,

1:42:33

I've

1:42:33

tried

1:42:45

it. So I've called better help.

1:42:47

But before this podcast, were you in therapy?

1:42:52

Never have, I, I don't think I need therapy.

1:42:56

I'm just fine.

1:42:57

I

1:42:57

don't

1:42:57

know

1:42:57

what

1:42:57

I

1:42:57

would

1:42:57

talk

1:42:57

about

1:42:57

what

1:42:57

I

1:42:57

talk

1:43:07

about. Why, why am I angry?

1:43:09

Why does everything fucking annoying me?

1:43:12

Why do people fucking break my balls?

1:43:14

What do I talk about Exactly

1:43:17

that maybe Like

1:43:20

the day like this yesterday, I'm waiting to get picked up from work fucking jerk off in my building comes around the corner.

1:43:27

I'm coming off the elevator. He's got like a scooter.

1:43:29

He don't say fucking, excuse me.

1:43:32

I

1:43:32

wanted

1:43:32

to

1:43:32

get

1:43:32

fucking

1:43:32

put

1:43:32

his

1:43:32

neck

1:43:32

against

1:43:32

the

1:43:37

wall.

1:43:37

Eight

1:43:37

came

1:43:37

around

1:43:37

the

1:43:37

corner,

1:43:37

fish

1:43:37

in

1:43:37

the

1:43:45

building. Then I'm waiting outside.

1:43:47

And here comes a guy, slammed the door to go outside, jerk off rude, Inconsiderate.

1:43:56

Very much. So I say, excuse me, I'm sorry if something happened, I apologize.

1:44:00

I have no problem.

1:44:03

You think like, see, I think like being inconsiderate should be like, there should be like consequences.

1:44:08

Like, you know, like douchebags who blast their cell phones on the subway.

1:44:13

Like, like everyone needs to listen to their, whatever the fuck they're watching or listening to like that kind of shit or a lot of stuff not picking up after your dog.

1:44:24

I think, I think a lot of people also are looking for beefs.

1:44:28

You know, Michael, they like their, They

1:44:31

want to provoke. Some people do.

1:44:33

Some people are just clueless and inconsiderate.

1:44:35

I don't give a shit.

1:44:37

I'm getting on the elevator. And she's talking with ear buds in fucking loud, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah.

1:44:43

Call the fuck.

1:44:46

Quarter. The other side, go outside with there's nobody.

1:44:48

I don't talk on my cell phone like that, but it's not just that there's a million fucking things.

1:44:55

A million things. People, not everyone, a lot of rude motherfuckers, lots of rules and a lot of people with money then who the fuck they are?

1:45:09

You know, a lot of people that have money, you know, they, they, they really think they are elitist.

1:45:14

They really think they're better than everyone else.

1:45:18

I hate when people, you know, play shit on their phones, like when you're either in a, on a plane or in a train or whatever like that.

1:45:28

I mean, that's like, what's sad about like, you just clueless to everybody else.

1:45:33

Who's there. And what's the thing about like having you're in public and you have to have your phone on speaker and people have to hear both sides of your conversation.

1:45:41

What's sad about On

1:45:43

a plane before you take off, like these fucking businessman, blah, blah, blah.

1:45:48

Like this such fucking hot chats.

1:45:49

The fuck are you fucking jackets?

1:45:54

I agree with you, Steve. I really do well.

1:45:56

We should do something about it.

1:45:58

What do you want to do? Can name call them out on the podcast so-and-so from fucking Westchester is a fucking cocksucker.

1:46:08

This person in apartment 12, B is a mother fucking asshole.

1:46:14

And I give the address, but I want to start doing that.

1:46:19

Calling them out, get licensed police numbers.

1:46:22

It's guy. This girl was texting on the fucking highway when I was next door.

1:46:29

Yeah. That's good.

1:46:31

Start calling them out.

1:46:32

We'll come professional, snitches talking soprano, professional snitch company.

1:46:40

Yeah. I don't know.

1:46:42

No.

1:46:44

How about what a weight is pissed off at ya?

1:46:46

And they cover, they look, they dropped the plate down, like their meds.

1:46:51

What are you mad at me for?

1:46:53

They dropped the plate.

1:46:55

Like you don't want to say nothing because then it's going to ruin your dinner.

1:46:59

You know, you're going to get it, want to get a beef.

1:47:01

I'm going to then ruin my fucking night out is you let it go.

1:47:06

You let it go. But yeah, I

1:47:07

was at a restaurant. I forget. I think it was in Florida, you know?

1:47:10

And it's like, the staff kind of feels like you're, it's a privilege for you to be there to eat because everyone wants to go there.

1:47:17

So they throw the menus down. They're in a rush.

1:47:19

They throw it up. You know? It's like, I'm sorry, I don't give a shit.

1:47:23

What you're serving here.

1:47:26

You know, fucking hostess that rude, rude hostess, a whole fucking rude, you know, close.

1:47:34

It's the hot restaurant. Now, you know how it goes.

1:47:36

They want certain people in there.

1:47:38

People that look a certain way, they'll put them up front.

1:47:41

So the restaurant looks, I get, especially, you know, New York, LA, they're all about that fucking nonsense.

1:47:48

You know, some places, not All,

1:47:50

of course, not every one.

1:47:51

I'm not talking every place I'm talking to.

1:47:55

There are these fucker, places.

1:47:56

Fuck

1:47:58

it. So that's it.

1:48:00

He taught, he's saying it's a big jerk off.

1:48:02

I hate this shit.

1:48:03

It said and done all the planning, the crying and Peggy Lee, a great song.

1:48:09

Is this all there? Is you ever hear that?

1:48:12

You like Peggy Lee?

1:48:14

I do. Yeah. Is that all there is, There

1:48:17

is great salt. She Does a great, I'll be seeing you.

1:48:22

That's what my wife says all the time. Is that all there is, that's it, honey?

1:48:26

That's all I got. That Is all there is.

1:48:29

That's all there is.

1:48:29

Is that it?

1:48:31

I would ignite.

1:48:33

Is that all there is, that's it for 32 years.

1:48:37

You could say it is that all there is.

1:48:39

That's it?

1:48:42

Sorry.

1:48:45

But the key is to be happy with what's what it is.

1:48:48

And then you're okay.

1:48:49

You

1:48:49

say,

1:48:49

what

1:48:49

do

1:48:49

you

1:48:52

need? You need a sandwich.

1:48:54

Couple of good friends, couple of drinks, a good sandwich.

1:48:57

Take care of my family.

1:48:59

That's all you need is a sandwich Simple

1:49:01

and not so boy not subway sandwiches.

1:49:05

They got all okay. You know, at one point they were accused of putting the same material in their bread as rubber, rubber.

1:49:13

And then now there's a big controversy there to the sandwich.

1:49:18

They're saying it's not real tuner in the tuna sandwich.

1:49:21

There's no.

1:49:22

What is it?

1:49:24

I don't know all kinds of fish for tuna.

1:49:27

I'm

1:49:27

not

1:49:27

a,

1:49:27

that's

1:49:31

it. When I say well done in those places, there's so many good places here in New York.

1:49:37

Push still is one of the best sandwiches you'll ever have.

1:49:41

Leoni, great sandwich.

1:49:43

That's all I need. Michael.

1:49:45

I'm a simple man, simple man with simple.

1:49:49

That's all I, You

1:49:51

said that many times I could Live

1:49:54

in a tent. I could live in a tent on a blue, a bed.

1:49:59

What are you talking about? Living in a tent, Christopher

1:50:07

shares.

1:50:07

I

1:50:07

accused

1:50:07

you

1:50:07

of

1:50:07

an

1:50:07

alcoholic

1:50:07

drug

1:50:07

addict

1:50:11

boss. So what is Christopher coming off?

1:50:14

Like he's a salesman.

1:50:14

What did they do?

1:50:16

Christopher does for a living.

1:50:18

I guess he's saying he's a salesman.

1:50:19

He obviously can't talk about what he really does.

1:50:22

Seems a little bit not accurate.

1:50:25

I must say to AA, you're not supposed to cross talk in a, which means, cause there was this.

1:50:32

I want to go back to what Stan said about not being able to socialize.

1:50:35

You're not allowed to do that.

1:50:36

You're not, well, you're not supposed to do that.

1:50:39

I'm not. If you say something in an AA meeting, unless you're the speaker.

1:50:44

So usually in a they'll have a speaker, they'll talk for 15, 20 minutes.

1:50:48

You can refer to this, the speaker's story.

1:50:51

But if you're just sharing, I'm not supposed to refer to your share.

1:50:57

You're supposed to talk. And I talk about, I suppose to keep the focus on me, this guy, Stan played by Greg Connolly, who we know is a friend of ours, Interrupts Christopher and, and you never do that in AA.

1:51:14

That's wrong.

1:51:16

So this seems a little bit, not, not as accurate as it it's, it's not exactly how it is in AA.

1:51:24

I guess it's for dramatic purposes, they needed that kind of interplay and, and, and exchange.

1:51:30

But you know, you wouldn't do that.

1:51:33

People would really get down on you and the moderator would say, there's no crosstalk.

1:51:38

Really? You know, I knew a comic that used to go to AA to get stage time.

1:51:43

He would tell jokes.

1:51:46

That's pathetic. This is what that is.

1:51:48

He would Tell jokes. He would get up there and you know, say I'm blah, blah, blah.

1:51:52

All it.

1:51:54

That is just fucking pathetic.

1:51:56

That is so sad.

1:51:58

I can't even begin to say, oh, And

1:52:02

then they meet there in the, the, the, the, having a cigarette in the stairwell.

1:52:06

Christopher is an enabler.

1:52:08

The worst fucking guy, pause you a drink or one head judges you with the other.

1:52:12

If you take it out, Christopher

1:52:16

says, if I sat with him, I'd get much more money responsibility.

1:52:18

If I sat drinking with him, watching that scotch drool out of his fast, You

1:52:26

know, and Stan is saying, you know the same thing, the car outing, they get drunk.

1:52:31

You know, it's a good old boy syndrome, right?

1:52:33

They go on after work, you get drunk, you get, well, you know, blah, blah, blah.

1:52:38

Right? They do shop. There's not the worst.

1:52:40

The chapel, Nothing worse.

1:52:42

You know, here's what I was talking about with these intercutting cause you have Christopher in AA, then it cuts to the soprano house.

1:52:50

AIG's watching TV.

1:52:51

Tony comes down and wants him to put on John Wayne that's Hellfighters in 1968, another kind of macho movie.

1:52:59

He plays a, obviously a firefighter.

1:53:00

And then he tells him about Jason's party.

1:53:03

I don't know if I want to go.

1:53:04

I hate that shit, beer and strippers.

1:53:08

And he's kind of lays down the law and says, no, you're going to go.

1:53:12

You're going to shower, shave, get dressed and go no debate.

1:53:14

And he says fine, which is a little surprising.

1:53:17

And then we cut back to AA this time in the stairwell.

1:53:21

I think the point is really to show.

1:53:23

And there was another episode like this.

1:53:27

I think it was a fortunate son where kind of a similar scene, you know, went on here.

1:53:34

You know, he says, I have a happy marriage.

1:53:35

We used to be so tight, but there was a woman we worked.

1:53:39

He's getting close to talk it.

1:53:44

I sided with him. She was out of my life.

1:53:46

Okay, fine. You never appreciate it.

1:53:48

Give, give, give it's all I ever do related Poison.

1:53:55

Yeah. Stan is a stranger.

1:53:58

Not good. He does a good job, Greg Connolly.

1:54:00

He's a good guy, a friend of ours for a long time.

1:54:04

And, and this has gone south.

1:54:07

Their relationship has gone really gone south.

1:54:12

You know, he wants to go to Christopher as a son And

1:54:17

as an heir apparent kind of, you know, he tried to kind of really put a lot of the future in him and that's all done.

1:54:23

Good goodbye Hardware,

1:54:26

hardware. So out gets in his car, little poorly.

1:54:28

And Jason are watching.

1:54:29

They lie to the old man.

1:54:32

Mike, there's more drills in the back.

1:54:34

They fake calling out.

1:54:37

Yeah. These fucking guys are not they're out of line here.

1:54:41

They are out of line, a little poorly Jason into, you know, I know what you mean, how they didn't say nothing about picking anything up.

1:54:49

He pretends to leave out a voicemail, Great

1:54:53

riding in a scene. That's the way they lie.

1:54:55

The way they pretend they going to get it over.

1:54:57

I love, I love how this is how it's written Mayo

1:55:02

and Carl Kapito plays sort of poorly does a really good job here.

1:55:08

Then AIJ is going to see Dr.

1:55:14

Vogel.

1:55:16

And he played by Michael countrymen and he gets through, Have

1:55:20

you been feeling suicidal, Anthony?

1:55:22

A little bit explains a Wonka broke up with a, maybe it's because of family.

1:55:31

She comes from immigrants, which makes no sense.

1:55:35

He says there's no reason, but maybe it's because we have way more money.

1:55:39

And it's scared her, which I don't think is the case.

1:55:45

I think it's that you just tell he was immature And

1:55:49

somebody, you either care for them or you don't Right.

1:55:54

You want to make it work.

1:55:58

That's it. There's certain things you want to make it work.

1:56:00

Just like a girl while he didn't call, he's got to have a commitment issues.

1:56:04

All the bullshit. You know, guy says that a girl says it.

1:56:07

If he wants to be with you, if she wants to be with you, they'll find a way to be with you and have the fucking story.

1:56:16

Stop. Let's cut all the bullshit away, which there's a lot of bullshit and let's just get right to it.

1:56:23

Just like a long distance relationship.

1:56:25

Make

1:56:25

it

1:56:28

work. You know, if you want, not if you're on the other side of the world, but you know what I'm saying?

1:56:34

He suggests putting him on Lexapro.

1:56:35

The doctor suggest for AIG, for depression.

1:56:39

It's also for kleptomania body dysmorphia and OCD.

1:56:44

So kleptomania so you still things without even knowing you're stealing them.

1:56:49

So No, you just, you steal stuff because you have to many, you don't know it.

1:56:57

You just do it. It becomes a compulsion.

1:57:00

So even if it's like a, what was it on a Seinfeld uncle?

1:57:06

Never

1:57:06

the

1:57:06

uncle

1:57:06

Jerry's

1:57:06

uncle

1:57:06

you

1:57:11

sold. Oh yeah. Uncle Leo.

1:57:12

I think he won't.

1:57:14

He said he did it because he was old and he thought he could get over.

1:57:18

But people have that as like a, it's like a mental disorder where you're just, you don't have to, you know, you can buy as some people with money, do it.

1:57:29

You can buy whatever you need.

1:57:30

But

1:57:30

you

1:57:30

feel

1:57:30

a

1:57:30

compulsion

1:57:30

that

1:57:30

you

1:57:30

can't,

1:57:30

you

1:57:30

know,

1:57:30

like

1:57:30

it's

1:57:30

like

1:57:30

an

1:57:30

addiction

1:57:38

almost. You can't control it.

1:57:40

I don't see anything. I never steal.

1:57:44

No, no I don't steal. I did when I was young, I don't anymore.

1:57:48

And I think it has to be young, but I, I haven't, I don't see anything.

1:57:52

I don't want, I don't want any bootleg movies.

1:57:56

I don't want free cable.

1:57:58

I don't want the fire stick.

1:58:00

I don't want nothing I'll pay for.

1:58:03

I Don't take anything that doesn't belong to me.

1:58:08

I don't want nothing for free. What's the saying?

1:58:09

I told you No

1:58:11

free lunch And I don't want nothing for free.

1:58:14

I can't afford it.

1:58:17

Oh, that's a good one. Did you coin that Phrase?

1:58:19

I did not coin it.

1:58:21

Did you coin? No free lunch?

1:58:23

No, but I use it a lot and it's no truer words have been spoken and no good deed goes unpunished, no true awards.

1:58:35

We're all guilty of that show you all.

1:58:38

You've helped many a person and they turn around and fuck it.

1:58:44

Yes. But helping people is its own reward.

1:58:46

Steve. Well, Lucien, I've helped a lot of people and I'm happy to do it to turn around and screw me.

1:58:52

I've helped a ton of people.

1:58:54

Sometimes

1:58:54

it

1:58:54

just

1:58:54

don't

1:58:54

work

1:58:58

out.

1:59:00

Sometimes it doesn't. No We'll

1:59:02

get it. We'll get fucking Andy.

1:59:05

He's a bully now, you know, he turned around, he became a fuck, a bully.

1:59:11

He fame will do that to you. He Beats

1:59:13

us up fucking verbally.

1:59:14

Andy pizza, Saki.

1:59:18

He's got the Virta rats, his fan club.

1:59:20

They, they, you know, distorted his worldview, Got

1:59:25

a little taste, fucking a little tastes of celebrity.

1:59:28

And he went fucking hog wild.

1:59:30

This guy I've seen it before.

1:59:32

I've seen it with the other actors.

1:59:35

Suddenly they became, you know, a little notable and they just go off the fucking rails.

1:59:40

You

1:59:40

know,

1:59:40

people

1:59:40

like

1:59:45

that. Well, yeah, That'll

1:59:47

happen.

1:59:49

But a big back room made Jake talks to Jason.

1:59:51

I'll make it mad, fucking money to agent.

1:59:56

I'm not really good with bedding and percentages.

1:59:58

I got four 50 on my meds.

2:00:00

Sat AIJ gets a lap dance.

2:00:05

Can I dance for you? He says, yeah, I guess it's hilarious.

2:00:08

All these guys, they're all drunk and having fun and strippers, they were in the VIP room and they were drawing themselves and he's not, not at all.

2:00:20

No. And a bunch of scenes now with cutting between AAJ and Christopher and the difference, you know, in their lives and in their relationship with their father, father figure and result of having a father and not having a father.

2:00:37

A lot of these things happen. Yeah. We cut to this apartment building.

2:00:40

I think that's Williamsburg, Lorimer street, Benny, Dante, little poet playing cards.

2:00:45

Christopher comes in, Beats him up and throws them out the window.

2:00:51

Yeah. I agree. Really well edited scene because they really make the tension.

2:00:55

Now, how Did you tell me how you did that?

2:01:03

I think that, I

2:01:05

think was it a real apartment or?

2:01:08

I don't think so. I don't remember.

2:01:09

I don't, I don't. I think the stomach just kind of went out the window and then there was a dummy that flew out the window.

2:01:15

You know, he just started to go out.

2:01:17

I think it was shot in the studio.

2:01:18

He starts to go out the window and then they cut it with a dummy outside Hilarious

2:01:26

scene. I'd love. Christopher focus starts hating them.

2:01:29

They can't say nothing. Christopher's a made guy.

2:01:32

These guys, guys, they can't say stop.

2:01:35

They can't jump in.

2:01:37

They can't do anything.

2:01:38

You know, you know, a little pulleys are jokes that I thought was a big joke to Benny penny.

2:01:46

It's very funny. Very ch but he says what's that comedy?

2:01:50

What's

2:01:50

that

2:01:50

comedy

2:01:50

Mexican

2:01:50

Selah

2:01:50

always

2:01:50

fucking

2:01:56

good. I love max.

2:01:56

And Chris is pissed.

2:01:59

Comes in.

2:02:00

It's a great scene.

2:02:02

He throws him out the window. He's lucky.

2:02:04

He didn't, God forbid, you know, fall on his head, but he's fucked up.

2:02:08

That's a long way down.

2:02:11

A long way down. Yeah, man, he could've died.

2:02:14

Wow. Soprano bedroom come a little weak.

2:02:16

Sonia, you and she sell them.

2:02:18

You let her other age son go to a party at a strip club.

2:02:21

He got it three hours ago.

2:02:23

And he says, Christ sakes.

2:02:26

He's going to be 21 to two months.

2:02:27

I mean, what's her problem.

2:02:28

What's

2:02:28

your

2:02:28

kids

2:02:28

supposed

2:02:28

to

2:02:32

do? Yeah. I mean, exactly.

2:02:33

She's a little bit. And then she kind of realizes when he does say it got them out of the house, they're college kids or frat boys, you know, better than him moping over, you know, the, the relationship We

2:02:46

want to see him in his room, drink a cocoa, you know what noise me.

2:02:50

Another thing that annoys me about Comella, you know, he says, what time is it?

2:02:54

And she goes and opens the fucking curtains.

2:02:56

So the sun comes in.

2:03:00

He should wake up because My

2:03:02

wife never does that. I hate that.

2:03:05

No, no, no. I hate that too.

2:03:06

It

2:03:06

is

2:03:06

weird

2:03:06

that

2:03:10

right. He could be, you know, in the army and die in Iraq in a war, but he can't have a beer.

2:03:15

It's kind of, that's kind of a ridiculous, Can

2:03:18

I have a BS and worried about I'm a strip club, even she should be encouraging that.

2:03:23

So She

2:03:26

Should, and especially the get over this girl poorly scar, you see Paulie, he's pissed, he's driving, you know, very intense.

2:03:37

Paul hilarious. His face is just fucking hilarious.

2:03:40

Paul, Tony and Christopher talk.

2:03:43

He says, I did a stupid thing.

2:03:45

I won't deny it, but just his nephew got six broken vertebrae Christopher's house.

2:03:53

And he tears up the lawn, this beautiful lawn that we saw earlier, Christopher talking on the Snoop and his wife and baby were out a blanket and the front lawn.

2:04:06

It's a beautiful, beautiful lawn, beautiful landscape that cost a lot of money.

2:04:14

And he just tears the shit out.

2:04:18

And it's Scary.

2:04:20

Kelly and the baby are in the window.

2:04:22

You know, maybe she's going to crash right into the front door.

2:04:26

She does very scary.

2:04:28

This

2:04:28

is

2:04:28

the

2:04:28

second

2:04:28

time

2:04:28

all

2:04:28

the

2:04:28

flood

2:04:28

is

2:04:28

returning

2:04:28

to

2:04:28

my

2:04:34

face. It's my father-in-law. We're talking about my family.

2:04:37

Tony

2:04:37

says,

2:04:37

if

2:04:37

you

2:04:37

were

2:04:37

around

2:04:37

this

2:04:37

bullshit

2:04:37

could

2:04:37

have

2:04:37

been

2:04:37

handled

2:04:37

with

2:04:37

a

2:04:43

conversation. He says, yeah, I try to talk to you, but that wasn't a good time to talk.

2:04:48

They were doing business. And he says like, if you flouted as authority is another kind of a misuse of words.

2:04:55

Cause flout means disregard.

2:04:57

He's not disregarding his authority.

2:04:59

He's disregarding, Christopher's, you know, disrespect and Christopher, but it's kind of funny.

2:05:05

But if you around more, they had the finger out your finger on the policy.

2:05:10

We would have squashed us in the room while you could have left me a message.

2:05:13

And Tony's right. He says, what are you going to leave phone messages about the interstate hijacking?

2:05:18

What are we going to send emails and faxes.

2:05:19

This is a face to face business.

2:05:22

And he's right.

2:05:23

It

2:05:23

was

2:05:23

not

2:05:23

around

2:05:23

this

2:05:23

kind

2:05:23

of

2:05:27

shit. You know, if you're around more, you talk about it.

2:05:30

You know, it comes up now you gotta pay for the hospital bills.

2:05:33

Christopher

2:05:33

kind

2:05:33

of

2:05:33

feels

2:05:33

Tony

2:05:33

doesn't

2:05:33

give

2:05:33

a

2:05:33

shit

2:05:33

about

2:05:33

them

2:05:33

basically,

2:05:33

which

2:05:33

is

2:05:33

isn't

2:05:33

isn't

2:05:41

Sure. I think he's caring less and less about that's for sure.

2:05:44

Christopher's house fully finished.

2:05:46

Trashing the place really trashes it and leaves.

2:05:50

You

2:05:50

know,

2:05:50

it

2:05:50

goes

2:05:50

back

2:05:50

and

2:05:53

forth. It's the way they did it.

2:05:56

It was really good in Christopher goes home, cold Stony and the car tore up.

2:06:04

My fucking lawn drove his car right up.

2:06:07

I love the way you deliver this. You are great.

2:06:09

In this episode, by the way, drove his fucker car right up in the grass.

2:06:12

Just really I'm fucking relaxed.

2:06:15

I'm not going to do nothing. I mean the way he delivered it, because I love you.

2:06:19

You know, he's very, Christopher is fucking pissed.

2:06:25

I'm committed to my work. I'll sit tight, hold my tongue and not cause no problems for you.

2:06:30

40 grand and landscaping.

2:06:31

A lot of money out of money.

2:06:35

I think I gotta be honest.

2:06:37

I told Paulie is way out of line here.

2:06:41

Well, Christopher threw his nephew out the window.

2:06:43

Well, no, no. From the beginning with the power of the Beginning,

2:06:46

all totally a hundred percent.

2:06:48

And he doesn't do That. He's out of fucking line here.

2:06:52

Okay. A J stands away at the frat party.

2:06:55

AGA stands with Jason and Jason.

2:06:57

Victor arrives.

2:06:59

Victor is a guy who owes them.

2:07:01

Money is gambled.

2:07:04

Now he wants them to give him a, a thousand dollars at two and a half points.

2:07:09

My father sent in my check this week, small kid, father sends money to his kids, gambling these in deep to Jason and Jason.

2:07:17

And

2:07:17

then

2:07:17

he

2:07:17

get,

2:07:17

you

2:07:17

know,

2:07:17

they,

2:07:17

yeah,

2:07:17

if

2:07:17

not,

2:07:17

you

2:07:17

see

2:07:17

this

2:07:17

guy

2:07:17

right

2:07:23

here. It's Tony soprano Jr.

2:07:25

Once again, they using him like they did in the club, Tony soprano, Tony soprano, they use in that.

2:07:33

We got muscle.

2:07:34

Even though he's a little guy, you know, it's just Tony soprano son, all these kids know Tony Sopranos, you know, there's they're, they're these frat boys.

2:07:46

It won't be so tough.

2:07:47

Their fathers are all wise guys.

2:07:50

So the two Jason's, you know, they, they they're punks.

2:07:53

I'll be honest.

2:07:54

I see them fucking daddy.

2:07:59

You know what? When I was young, when you had these kids used to drive around with Cadillacs, they used to call them Danna lacks.

2:08:07

They would drive around like half a wise guy.

2:08:10

My neighborhood wise guy, sons, they had their father's Cadillac and you know, active.

2:08:15

They knew they could get away with it.

2:08:17

You know, you know, my father is, you know, my uncle is, it still goes on to this day and all that bullshit.

2:08:23

Soprano

2:08:23

kitchen,

2:08:23

Tony

2:08:23

comes

2:08:28

downstairs. Kamala gives him coffee.

2:08:29

Is he sleeping?

2:08:31

He's not home. He stayed with his friend. She's happy.

2:08:33

She smiles. He was playing cards.

2:08:36

She said, it's a pleasure not to have them laying around like a misery.

2:08:41

She's happy. You know, he's Playing

2:08:44

cards. That's what she, that's what she wants to believe.

2:08:48

She wants to believe. She doesn't really Care

2:08:49

about a big Carlo talks to Anthony Walden.

2:08:55

Walden is played by Frank John Hughes.

2:08:57

Who's done a lot of work.

2:08:59

He'll catch me if he can.

2:09:02

He was on 24. So Walden, which is a weird name for an Italian guy.

2:09:06

But it, where it comes from is Bobby Darren's real name was Walden.

2:09:13

Robert Cosato Bobby

2:09:16

Darin, a friend, John Hughes is a screenwriter.

2:09:20

He's written a bunch of stuff.

2:09:22

He's a jazz musician.

2:09:23

I just, he just texted me the other day.

2:09:27

He loves the podcast. Good actor, good fucking guy.

2:09:31

Very, very good actor. And our buddy Johnny, see Johnny, Johnny at tempo.

2:09:35

He plays Anthony MFA in this, You

2:09:39

know, Congo comes in, Chris tell, goes to Tony, I call salvage.

2:09:43

Or like you said, he's coming by this week.

2:09:45

Christopher seems relaxed.

2:09:47

He's going to, we saw the lawn.

2:09:48

It's kind of central relief.

2:09:50

He'll take care of it. So poorly.

2:09:52

We worked out a payment schedule.

2:09:53

So Paul is going to pay for the lawn that he did.

2:09:56

He fucked up.

2:09:58

He says, is he here?

2:10:00

He's over there. Christopher.

2:10:02

They apologize to each other.

2:10:03

Seems like they patched things up.

2:10:05

I remember when we shot this, Me

2:10:09

too. One of the big girls, that'd be all bad.

2:10:11

Really

2:10:11

that's

2:10:15

show. You know, maybe I did also.

2:10:17

It was me. It's possible.

2:10:19

But I know you've known me a long time.

2:10:23

You haven't known me that be, oh, I don't Know

2:10:25

if I'm living that close to you.

2:10:28

Let's keep it that way. Yeah. Let's give you that mood.

2:10:32

Indigo by Kelly Smith is playing during the scene.

2:10:35

He Christmases has a little boy.

2:10:37

He goes, he's fucked up, but he got your flowers, which you threw the guy out the fucking four-story window.

2:10:42

Got your flowers Guys.

2:10:45

Talk about Walmart. The ports, you know, Carlos is trying to explain the corporations.

2:10:49

Silvio

2:10:49

calls

2:10:49

Chris,

2:10:49

the

2:10:49

missing

2:10:53

link. Yeah. Christopher gives him an envelope.

2:10:56

Chris decides to have a drink to toast with Paulie, which is a big deal.

2:11:01

He hasn't been drinking.

2:11:02

He says, fuck it.

2:11:04

He's trying to figure out. Maybe this is better.

2:11:07

If he drink, you know, he's all confused to, you know, it's, it's a mistake, but he's thinking it's going to make life easier.

2:11:13

It's a good times.

2:11:14

They toast cut to AAJ, having a toast with his friends.

2:11:19

They're going to shake. And that connection between these two characters very clearly here, taco cutting from one toast to another toast.

2:11:27

Girl Kohl's is having a party. Victor, the guy that knows that money, they said, Hey Jay, you want to come?

2:11:33

He says, I'm just going to hang here. Now, come on.

2:11:35

It'll be fun.

2:11:35

They're

2:11:35

going

2:11:35

to

2:11:35

try

2:11:35

and

2:11:35

get

2:11:35

the

2:11:38

money. That's a Victoza.

2:11:39

Victor's been ducking them.

2:11:42

They get to the party. Victor gets up that Jason's following them.

2:11:45

They take them out. Physically.

2:11:47

They approach these guys at punk.

2:11:50

Guido's with little wood, their fathers, you know, AGA jumps in the car.

2:11:55

They, they shove the kid in the car and AJS.

2:11:59

They drag them out to the woods.

2:12:02

They beat them up. They hold them down and then they pull us to forecasts.

2:12:06

And on between his toes, We want to see what happened when you mix it with told Jim he's screaming, AJS, holding them down.

2:12:17

It's kinda tough to watch.

2:12:20

It's tough to watch, but AIJ AJS kind of getting a rush out of it.

2:12:26

It seems in a weird way.

2:12:30

Tough to watch.

2:12:31

Very strange.

2:12:33

I never heard of anyone doing this so far.

2:12:36

Guesses.

2:12:38

Yeah. That's pretty, pretty simplistic.

2:12:39

Not like that.

2:12:42

No. It's pretty sadistic cut to the bottom being Christopher's drunk.

2:12:46

Now he's talking about you look at your kid.

2:12:48

They look back at you. I mean, he's, he's getting drunk.

2:12:51

He's getting honest. He's talking about something that's meaningful and they just mock him.

2:12:58

How do I put myself up for adoption?

2:12:59

Yeah, she'll be working here in 2027.

2:13:05

Well, he's out of line here.

2:13:06

You got a line.

2:13:08

Fuck. Is he doing He's out of line.

2:13:10

He's been, everybody's Laughing.

2:13:11

Even Bobby had a stripper early.

2:13:14

I wonder if Bobby, yeah. Earlier had some strippers around.

2:13:20

Might've went nuts with the strip or something. You've kind of clicked Into

2:13:24

his Head. He got tired of Janis.

2:13:30

Maybe. I don't know. They do this slow Mo shot, which is reminiscent of the scene.

2:13:34

When Tony realized that everybody's laughing at him because he's the boss, a very similar shot and a great shot of Tony with smoke around him.

2:13:44

Almost like satanic.

2:13:45

Christopher's taking this all in.

2:13:48

Who the fuck are these people? Are these my friends, this guy's my uncle.

2:13:51

Look at this. You know, they're just fucking, Well,

2:13:55

Christopher is talking shit drunk and shit.

2:13:58

He's talking shit. But if they're his friends, they should've said, Hey, Hey, Hey, come on.

2:14:01

Let's sit down. Let's have, you know, I

2:14:03

hate that.

2:14:03

I hate going out and you either a friend or a guy at the bar and he's fucking drunk and he's talking bullshit.

2:14:12

I Don't

2:14:14

like that though. They poke religion.

2:14:16

They talk this, they stop the bullshit.

2:14:19

You want to talk? Talk when you're sober.

2:14:21

I hate that. Just go.

2:14:23

Have a good time. A few laughs.

2:14:25

I don't want any of that.

2:14:27

Getting deep bullshit then a middle bullshit.

2:14:30

I don't want to hear, I

2:14:35

want to relax and have a good time. If you're out drinking, I

2:14:38

want to hide in the corner. I want to fucking get a little fucking half in the fucking bag and leave me the fuck alone.

2:14:44

God dammit does that too much to ask Michael.

2:14:50

No, not at all. Steve J

2:14:52

T's apartment. Christopher is drunk.

2:14:54

He comes in knocks on the door And

2:14:59

he says, he's losing it. He's an, he is.

2:15:01

He's really kind of unraveling here.

2:15:03

He

2:15:03

wants

2:15:03

to

2:15:03

make

2:15:03

him

2:15:06

coffee. Call the sponsor. He says a sponsor's not around fucking Pauly.

2:15:09

You think he's your friend, all these pricks.

2:15:10

I got stories.

2:15:12

You know, he's talking about law and order J T J T seems like he's doing better.

2:15:18

He's got a good job.

2:15:20

Tim's greatness in a, you know, very well-written scene.

2:15:23

Tim Daly. Excellent.

2:15:25

So

2:15:25

Christopher

2:15:25

says,

2:15:25

I

2:15:25

got

2:15:31

stories. That'll make your head curl another weird it's your toes curl or HeadSpin he says head curl.

2:15:36

It's hilarious. He says, you got to work.

2:15:38

The program, go to a meeting. Christopher says you're a robot.

2:15:40

I'm osteophyte.

2:15:42

He's means he's ostracized.

2:15:43

My father abandoned me.

2:15:46

They thought your father was shot.

2:15:48

And then he says, if I wanted to these pricks, one phone call, the whole castle comes down.

2:15:54

Adriana, Ralph.

2:15:56

I know shit.

2:15:57

Gravano is living large on the government.

2:16:00

Tit. I like the son.

2:16:02

You know, he's really, I'd never heard this from him.

2:16:08

Yeah. He's he is very, very cocky too.

2:16:15

JT he's had enough.

2:16:17

He doesn't want to hear these stories. He knows the more he knows the, the worse it is for him.

2:16:22

And he's had enough for Christopher.

2:16:25

Well, again, it's like what you said before, you know, listen, you know what to do.

2:16:32

You have a problem. You're an addict.

2:16:34

Now you're drunk. Go to your meeting, talk to your sponsor, work the program.

2:16:38

You're not going to fix what can JT fucking do here?

2:16:44

Let me make you coffee. Christopher says it's an urban myth.

2:16:47

Is that true? Coffee doesn't work when you're drunk.

2:16:50

I

2:16:50

never

2:16:50

had

2:16:54

it. Never. I'm sure it can make you a little more alert.

2:16:57

I mean, other than if it makes you sober, but I

2:17:00

suppose crying, I pour my heart out to you.

2:17:02

He's talking about renting out.

2:17:05

He's talking about, I go into the program, he's saying way too much.

2:17:10

And then I do not want to hear this shit, Chris you're in the mafia.

2:17:16

He says that you're in the mafia and it really kind of hits Christopher where he there's some kind of realization that happens there.

2:17:24

You know, it almost like he looks almost like, look looking at himself in the mirror when he hears those words really affects him.

2:17:32

And then he realizes, he said too much.

2:17:35

It was, the shooting was shot really, really well.

2:17:39

The way they designed those shots, the way Christopher kind of moved In

2:17:44

the studio.

2:17:46

I don't know. Maybe, maybe not.

2:17:49

I'm not sure.

2:17:50

Just shot really well.

2:17:52

It kind of comes out of nowhere. Really surprising.

2:17:54

Boom, Very realistic looking.

2:18:03

Christopher uses the sleeve of his jacket too.