Like millions of faithful viewers, I've been suffering from Sopranos withdrawal ever since 2004 when the show went on, as they say in Hollywood, hiatus. The term usually means a show sucks and the producers order the writers to do something, anything, to make it better. To analogize, hiatus usually serves the purposes of a wake which prepares a show for burial. Not so for mobster Tony Soprano and his extended family.
So I was psyched last night when the first hypnotic bass notes thrummed the show's theme song, followed by the menacing opening lyrics, "Woke up this morning, found myself a gun, Mama always said you'd be the chosen one."
Just as "snow, followed by small boys on sleds," a prediction made in the clever lead of a weather story, barrels of ink and millions of pixels alike -- raves and bashes (haven't found any yet; please advise if you do) -- are certain to flow.
As a writer with one optioned script under my belt, I''m more interested in how creator David Chase and his writers create such compelling and irresistable drama. How do they get people to wait nearly two years?
Chase provided valuable clues in The Sopranos: Selected Scripts from Three Seasons. As I wrote in 2003, "What makes this collection invaluable for any student of the writing craft is the four-page introduction by Chase. In it, he reveals the writing process behind The Sopranos, a series that reflects Chase's love for "the foreign films I loved as a young adult for their ideas, their mystery and their ambiguity..."
With their process in mind, it was fascinating to watch the story unfold . For anyone anyyone interested in learning from some of the best, check out the column, "How I Wrote the Sopranos: Deconstructing the Stories Behind the Bada-Bing," and see how Chase and his writers followed their forulal in episode one of what we are told will be the final installments of a story that is at once horrifying , hilarious, and for me, hugely entertainment.
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