25 years ago, a New Jersey gangster suffered a panic attack and changed television forever. On January 10, 1999, HBO premiered “The Sopranos,” ushering in the latest golden age of television. Its creator David Chase (Mount Vernon, New York, 78 years old) actually wanted to make films, but ended up on television because he had to make a living. After “The Sopranos,” he was no longer on television. Last Thursday he gave an interview via video call to EL PAÍS from his home in Santa Monica, California, on the occasion of the anniversary of the premiere of his series. Although his words suggest that he has some contempt for the medium, he is television history.
Questions. Since the occasion for this interview is the 25th anniversary of “The Sopranos,” I wanted to first ask you about the origins of the series.
Answer. My mother was a weirdo, a strange person. My wife always told me I had to make a film or series about her. I had this idea about a gangster and his difficult mother, but my agents told me that movies about the mafia weren't interesting anymore, so I had it saved. In 1995 my old lawyer told me I should do a series and suggested The Godfather, but I didn't want to do it because it was already finished. Then I came up with the idea for a film about a gangster and his difficult mother.
More information
Q He took the series to the free-to-air networks and they rejected it. What problems did they have?
R. Everything was a problem for her. All. Everything was a little different. What they didn't like at all was the fact that he had anxiety problems and was taking antidepressants. They didn't care if he killed people, but they didn't like him showing weakness.
Q Although you worked as a television screenwriter, your real desire was to make films. Why didn't you like television?
R. Because television back then, with a few exceptions, was so unreal, so inhuman… TV channels were used to sell cornflakes and intimate hygiene sprays for women, they didn't broadcast anything interesting. The advertising was better than the shows.
Q Why were they so afraid of taking risks?
R. It's an old problem in Hollywood, and it still is. People think that if they take risks they can lose their job. If they fail, they can be fired. That's why they're afraid the product doesn't really interest them. It's capitalism.
Q At HBO they gave him unusual freedom. Because?
R. Their business model was different, they didn't rely on advertisers. And they also had more courage.
James Gandolfini, Edie Falco and David Chase, in an archive photo. Peter Jordan – PA Images (PA Images via Getty Images)
Q The Sopranos became a hit. I guess I would feel the pressure of high expectations as the series progressed. How did you deal with that as head of the series?
R. I put a lot of pressure on myself because HBO was a dream company to work for. I had no creative pressure from him regarding the content of the series. I've only had one argument, no, two arguments with the head of the network in, what, 10 years? The first reason was the name “The Sopranos.” They were worried that people would think it was about opera. The second was in the fifth episode of the first season. Tony kills a guy, a snitch and Chris Albrecht [entonces, presidente del área de producción propia de HBO] I believed that the audience wouldn't fit into a protagonist, that they would reject him. He told me that Tony Soprano was one of the most interesting characters of the last 25 years and that he was going to destroy him with this murder. And I answered this well: He's a gangster and this guy is an informant. If Tony didn't kill him it would be worse and people would reject it. In the end he agreed.
Q In what other ways did The Sopranos break the norms of television at the time?
R. In the language, the tempo was deliberately slower and we were able to pay more attention to the details. And of course without advertising it was a completely different life.
Q How important was James Gandolfini to the success of the series?
R. Oh, huge, huge.
Q How were you chosen to play Tony?
R. The casting directors brought him into the casting process. I had only seen him once. What you see in the series is what he did in the test. It was clear that it had to be him. It was going to be extremely exciting and extremely deep.
Q Did you have other options for the protagonist?
R. Yes, there was another actor, Michael Rispoli, a very good actor. And I was also interested in Stevie Van Zandt playing the main character. [finalmente, interpretó a Silvio Dante]. But with Stevie, it seemed a little strange to me that a person who wasn't a professional actor had the job of a professional actor. Also, HBO saw Jim once [James Gandolfini] And probably when Stevie saw him we all knew it had to be him.
Q I think this is a complicated question, but is there a scene or episode in the entire series that you like best or are most proud of?
R. I never saw the series again. I watched a few episodes or parts of them just to refresh my memory or look up an actor I had forgotten. But for the 25th anniversary I'm doing a lot of interviews and they want to do some screenings and I've seen some episodes. And maybe it sounds very self-centered, I don't want it to sound that way, but I am amazed at how well it has held up, especially the script and the acting. It is very difficult to choose a favorite moment.
Tony [Soprano] it is very unsafe. I had never noticed it, but this is the cause of many of his problems. And that's me too
Q And which character, other than Tony, are you particularly proud of?
R. Junior. It was so much fun, it was great. AND [el actor] Dominic Chianese did it. I'll tell you an anecdote. By the end of the first season, Tony had already taken over as head of the family, so it seemed like Junior didn't spend much time. HBO wanted to cut his salary in half. Instead of rewarding him for public praise, they wanted to cut his salary. I was very angry. I was on the phone with him and he said, “David, I'm a rock and you're the architect.” Place the rock where you need it and where you want it. “I believe in muses and that everything will be okay.” I had never heard an actor speak like that.
Q Is there anything of you in Tony Soprano?
R. [Piensa unos segundos] I would say a little, yes. Anger. And I've never said this before, it became clear to me a week ago: insecurity. Tony is very insecure. I had never noticed it, but this is the cause of many of his problems. And that's me too.
James Gandolfini and David Chase, in a picture from the filming of the series. getty
Q From time to time articles come out about the end of the series and I imagine he's tired of being asked about it. I won't ask you to explain, that's up to each individual, but at the moment when you decided that this would be the end, did you have any doubts?
R. Yes, of course. That's one thing I learned from directing this series. I have seen other people in positions of full creative power, and in the end you understand that you have to drown out doubts and not listen to them. Don't pay attention to your doubts because you can doubt anything. You can fear anything. When you have inspiration that ignites the flame, stay strong. You're a writer too, and you know it: you could spend all day rewriting everything. I'm going to say it like this, no, better this way, I should have put that other sentence in there… No, you can't do that. It takes courage, which has never really been my greatest strength.
Q Television has changed a lot since The Sopranos premiered. Do you think the series would be greenlit on any network or platform today?
R. No no. Today everything is streaming. The open chains are finished. I won't say his name, but a hugely successful free TV producer told me that he's scared because everything on TV is collapsing and that he's going to disappear. I do not believe it. There will always be room for mediocrity in this world. But they are also returning to regular television in streaming. They don’t want shows like “Mad Men,” “Breaking Bad” or “The Sopranos.” They don't want complicated series. Even the platforms contain advertising. The dream is over.
Q Even HBO doesn't think it would greenlight The Sopranos today?
R. Could be. We made a film with Michael Gandolfini [hijo de James Gandolfini] like young Tony. It's been almost five years, and they wanted to take The Sopranos and show him becoming the Tony Soprano of the show, a son of a bitch, a real gangster. But I didn't want to do it. I don't know, I doubt they would give the green light. However, they are very committed to celebrating the 25th anniversary, they spend money on parties, on screenings… I am very grateful to HBO. HBO saved my life.
Q Today, “The Sopranos” is still one of the most-watched HBO series in the world. Why do you think it continues to find new audiences?
R. Honestly, I don't know the answer, but I think it's as simple as it is good. Which is really good. At least that's what I'd like to think.
The platforms don’t want complicated series. They even contain advertising. The dream is over
Q During these 25 years he has given many interviews and taken part in many lectures. I don't know if being the creator of “The Sopranos” weighs too much, and at some point you felt like you were tired of talking and thinking about the series.
R. Yes, it tires me. The 25th anniversary was supposed to be the highlight and that was it, that was it. It's enough. I'm not saying this for you, but I'm tired of answering the same questions from journalists.
Q It's surprising that he didn't do any more series after The Sopranos. Because?
R. I'm not interested in episodic television. I spent 30 years there. It's enough, it's enough. I know it sounds ridiculous, but I came to Hollywood to make films, that's what I really wanted to do, but that never happened. I wrote a number of scripts and they were all rejected, so I stuck to television. I always felt like I should have quit and gone out and written films with no money, no financial support, no job. Maybe things would have worked out better for me.
You can follow EL PAÍS Television on X or sign up here to receive our weekly newsletter.
Get the TV newsletter
All the latest news from broadcasters and platforms, with interviews, news and analyses, as well as recommendations and reviews from our journalists
LOG IN