Part of it though. This is dirty NYC before silicon, she looks like a streetwalker. All the girls look beat just like what real street level pros look like.
The Slim Charles scene is amazing. I'm sure most of you wire watching folk remember but that was exactly what Cutty did in the wire, believe Avon told the story. I just shot a nigga, come and get him.
Goddamn Slim Charles' had enough of this shit. I decided to watch the Walking Dead live for some reason.
Getting tired of what's his face (sobotka) playing characters that are oblivious. ("the fuck I do to her?")
James Franco has talked publicly recently about the idea that you intend to do three seasons of the show, with a big-time jump between each. Is that, in fact, the plan? Simon: Yes, that is the plan. When Leon shoots Reggie in episode 7, he says the same line that you attributed to Cutty on The Wire. What’s the real-life story behind that line, and why did you want to have Leon say it here? Simon: That was a little bit of homage on my part, a play to The Wire fans. But also I thought it was a great moment for Leon to have. The incident was Little Melvin Williams at the payphone booth, 1966, shot a guy named Danny Jacobs four or five times. Then he picked up the receiver of the phone, famously called the Pine Street Station and said that line into the phone, hung up the phone and walked away. He was charged in the shooting, but Jacobs survived, and famously wouldn’t testify against him, and it added to Melvin’s legend. So it’s a famous Baltimore story, and I wrote it into Cutty’s backstory. By the way, everyone always assumed he called them and then waited for the police. I don’t even know if I wrote that; that may have been an assumption. I thought it was just a story of how he shot a guy, called it in and walked away, and that would make you legend. It was just his bravado. I imagined the Melvin Williams version when I heard it, and I guess people took it that Cutty just waited for the police. Once I’d seen that interpretation of the line once we gave it to Cutty, I did think about (Leon) patiently waiting for the police in his diner. It felt great. And of course, Anwan plays it, all three of Anwan and Tarik and Olivia in that moment, it’s one of the best-structured scenes. The Wire usually had 12 or 13 episodes per season, Tremé had a variable length, and so have your HBO miniseries. How did doing eight feel for you, and what’s the plan for the episode count next season? Simon: Right now we’re working with eight, and that is what HBO wants. If I had to say, could we have done more work and found meaningful with ten, I think ten would have been a better number. There were certain storylines where they should have expanded by two or three or more scenes if we had the room. I felt the same way on many shows, which is to say you write to the resources you have, and make sure the most important things are retained, and the things that you can bear to lose, you lose. What’s an example of something where you wish you had those two or three more scenes? Simon: We had one sequence where we see Paul explore some of the pitfalls of the gay bar scene in the Village, with the mob ownership, with the raids. We see a little more of his interest in a club of his own, explored through his own travels. That sequence could not be achieved in the time that we had. It was what it was. You want to do more tell, don’t show. We didn’t have the production ability to get that done. And then we wrote a scene where he talked a little about what was going on, but then we realized we wrote a scene where he talked about what he’d seen, and it’s just laying there, and we can’t make this work. For this kind of storytelling, where there’s so much set-up and not much payout, 10 is better than eight, 12 is better than 10. At 12, it imposes just enough discipline that you don’t start to go slack. But these are decisions made above my pay-grade, and you get what you get and you don’t get upset. It’s already an extraordinary amount of money to make a television show, and have faith in it and advance it. I’m not saying this with any bitterness at all. You ask for what resources are available, and you do the best you can. http://uproxx.com/sepinwall/the-deu...inale-david-simon-george-pelecanos-interview/
The montage at the end pissed me off so much because I didn't realize tonight was the last episode of the season. Once the music started playing with the rotating shots it was 100% reminiscent of The Wire season endings and it crushed me.
I wish I could figure out how to upload that scene where Sobotka is talking about getting that stuff from "Summers Night dreams". Was fucking hilarious.
Frank: Susie the Oriental broad? Random guy: WTF 's going on with these walls? Frank: supposed to be a magic forest. It's from a play, Summer Night Dream. Black Frankie knows one of the stage hands over there and we got it for free. Mafia guy: Summer night Dream??? Frank: Yeah, it's like as fantasy story. I've even got some costumes in the back but it doesn't look good on a girl. Some fairy shit and a donkey head. Frankie: Some fairy shit, like homo? Sobotka: No, like fairy tale faries.
I'm stupid and have no idea what the mobster henchman was saying about the peep show with no window and why it was causing the take to be light.
Huge fan of sobotkas nod to the wire when coming out of the whorehouse.... "Jesus what the fuck did I do?!?"
He was explaining that the take at the other place is lighter since more customers where coming to the place where they can touch. I think
That first scene in the bus terminal was so good. Also really love Lori telling CC about the award ceremony and how things have "changed".
The way they are making all of the pimps the butt of the jokes is kinda getting stale to me, but still enjoying watching CC contend with his changing world.
Is this show worth watching still? Thread seems dead and I couldn’t get into the first three eps or so
i just realized Reggie Love was played by Black Thought. larry's first scene had me laughing my ass off.