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Where did this new cable led quality television revolution come from How did themes like meth labs, philandering and deplorable but compelling protagonists come to show up on so many TV series How are shows like The Sopranos, Breaking Bad and The Wire changing the industry and the people who make them GQ correspondent Brett Martins new book Difficult Men Behind the Scenes of a Creative Revolution From The Sopranos and The Wire to Mad Men and Breaking Bad tackles those questions and more. Its just been released from Penguin Press. Buy it from Amazon here. Heres the prologue from the book, reprinted with permission from the publisher. You think its easy being the boss Tony Soprano. One cold winters evening in January 2. Tony Soprano went missing and a small portion of the universe ground to a halt. It did not come completely out of the blue. Ever since The Sopranos had debuted in 1. Tony anxiety prone dad, New Jersey mobster, suburban seeker of meaning into a millennial pop culture icon, the characters frustration, volatility and anger had often been indistinguishable from those qualities of James Gandolni, the actor who brought them to life. The role was a punishing one, requiring not only vast amounts of nightly memorization and long days under hot lights, but also a daily descent into Tonys psyche at the best of times a worrisome place to dwell at the worst, ugly, violent, and sociopathic. Some actors notably Edie Falco, who played Tonys wife, Carmela Soprano are capable of plumbing such depths without getting in over their heads. Blessed with a near photographic memory, Falco could show up for work, memorize her lines, play the most emotionally devastating of scenes, and then return happily to her trailer to join her regular companion, Marley, a gentle yellow Lab mix. Not so Gandolni, for whom playing Tony Soprano would always require to some extent being Tony Soprano. Crew members grew accustomed to hearing grunts and curses coming from his trailer as he worked up to the emotional pitch of a scene by, say, destroying a boom box radio. An intelligent and intuitive actor, Gandolni understood this dynamic and sometimes used it to his advantage the heavy bathrobe that became Tonys signature, transforming him into a kind of domesticated bear, was murder under the lights in midsummer, but Gandolni insisted on wearing it between takes. Other times, though, simulated misery became indistinguishable from the real thing on set and off. In papers related to a divorce ling at the end of 2. Gandolnis wife described increasingly serious issues with drugs and alcohol, as well as arguments during which the actor would repeatedly punch himself in the face out of frustration. To anybody who had witnessed the actors self directed rage as he struggled to remember lines in front of the camera he would berate himself in disgust, curse, smack the back of his own head it was a plausible scenario. It did not help that the naturally shy Gandolni was suddenly one of the most recognizable men in America especially in New York and New Jersey, where the show lmed and where the sight of him walking down the street with, say, a cigar was guaranteed to seed confusion in those already inclined to shout the names of ctional characters at real human beings. Unlike Falco, who could slip off Carmelas French tipped nails, throw on a baseball cap, and disappear in a crowd, Gandolni six feet tall, upward of 2. All of which had long since taken its toll by the winter of 2. Gandolnis sudden refusals to work had become a semiregular occurrence. His ts were passive aggressive he would claim to be sick, refuse to leave his Tri. Be. Ca apartment, or simply not show up. The next day, inevitably, he would feel so wretched about his behavior and the massive logistic disruptions it had caused akin to turning an aircraft carrier on a dime that he would treat cast and crew to extravagant gifts. All of a sudden thered be a sushi chef at lunch, one crew member remembered. Vmware Bios Serial Number more. Or wed all get massages. It had come to be understood by all involved as part of the price of doing business, the trade off for getting the remarkably intense, fully inhabited Tony Soprano that Gandolni offered. So when the actor failed to show up for a six p. Westchester County Airport to shoot the nal appearance of the character Furio Giunta, a night shoot involving a helicopter, few panicked. It was an annoyance, but it wasnt cause for concern, said Terence Winter, the writer producer on set that night. You know, Its just money. I mean, it was a ton of money we shut down a fucking airport. Nobody was particularly sad to go home at nine thirty on a Friday night. Over the next twelve hours, it would become clear that this time was different. This time, Gandolni was just gone. The operation that came to a halt that evening was a massive one. The Sopranos had spread out to occupy most of two oors of Silvercup Studios, a steel and brick onetime bread factory at the foot of the Queensboro Bridge in Long Island City, Queens. Downstairs, the production lmed on four of Silvercups huge stages, including the ominously named Stage X, on which sat an endlessly recongurable, almost life size model of the Soprano familys New Jersey Mc. Mansion. The famous view of the familys backyard brick patio and swimming pool, practically synonymous with suburban ennui lay rolled up on an enormous translucent polyurethane curtain that could be wheeled behind the ersatz kitchen windows and backlit when needed. A small army, in excess of two hundred people, was employed in fabricating such details, which added up to as rich and eshed out a universe as had ever existed on TV carpenters, electricians, painters, seamstresses, drivers, accountants, cameramen, location scouts, caterers, writers, makeup artists, audio engineers, prop masters, set dressers, scenic designers, production assistants of every stripe. Out in Los Angeles, a whole other team of postproduction crew editors, mixers, color correctionists, music supervisors was stationed. Dailies were shuttled back and forth between the coasts under a fake company name Big Box Productions to foil spies anxious to spoil feverishly anticipated plot points. What had started three years earlier as an oddball, what do we have to lose experiment for a network still best known for rerunning Hollywood movies had become a huge bureaucratic institution. More than that, to be at Silvercup at that moment was to stand at the center of a television revolution. Although the change had its roots in a wave of quality network TV begun two decades before, it had started in earnest ve years earlier, when the pay subscription network HBO began turning its attention to producing original, hour long dramas. By the start of 2. Gandolni at large, the medium had been transformed. Soon the dial would begin to ll with Tony Sopranos. Within three months, a bald, stocky, awed, but charismatic boss this time of a band of rogue cops instead of maosi would make his rst appearance, on FXs The Shield. Mere months after that, on The Wire, viewers would be introduced to a collection of Baltimore citizens that included an alcoholic, narcissistic police officer, a ruthless drug lord, and a gay, homicidal stickup boy.