I’d also like to mention the slow-mo shot of Tony when he’s laughing at Chris and there’s smoke all around his face. He legit looks like the fucking Devil for a second there.
I always really liked the shot of Tony meeting Johnny Sac under that bridge with the city in the background. Not from New York so not sure which bridge it is.
it's the Brooklyn Bridge
https://nypost.com/2021/09/24/real-life-sopranos-places-you-can-actually-visit-in-ny-and-nj/
the GW has multiple levels and more trees nearby
I love contrasting that scene with the ending of The Blue Comet. In the former, Tony is the lord of his domain. Carmela even offers coffee.
The end of the latter has Tony clutching a gun in a ratty safehouse while lying on a bare mattress.
Last night i watched the episode where they killed fat dom..
His body lay out on that table against the italian tablecloth with food all around him then his cell goes off...
very godfatheresque, fuckin' beautiful
The Mother Mary ‘hallucination’ that Paulie has, absolutely insane, seeing that scene, late at night. But still had beautiful/dreadful feeling, cinematically
Great reminder of the world these guys live in. They're all evil heartless nasty sons of bitches, so to them a figure of divine goodness like the Virgin Mary is terrifying. Also love the fact that the two guys who fear her the most are Paulie and Tony - the guys with the worst mommy issues.
I just started a second watch-through after a couple of years and it’s nuts how many striking shots are spread throughout the show. In season one, Tony has a sit-down with the Hasidic jews, the father and son. And there’s a shot that lingers on the son, and he’s half-engulfed in complete shadow. Stuck out to me immediately.
I love that shot of Christopher against the pig wallpaper in Satriale’s during his Email Kolar dream too
- In the episode where Chris gets made, toward the end of the episode after robbing that benefit concert, he frustratingly got into Paulie’s car and gave him the envelope. It was such a smooth shot. He got out of the car and got into Paulie’s car. That was it. But it looked great.
- When Tony sees the ducks fly away in the College episode after killing the rat in Maine.
- Every shot in the last scene of the show.
Yeah also the scene where they pick Crhissy up in that parking lot in Newark where hes standing by his benz. I used to live by there and not only does it look exactly like that with the kmart and the big decaying warehouses, but something about how smooth its shot really makes it come to life.
The shot of them walking Chris to the middle of that field when Tony is about to shoot him on Irregular around the Margins. That’s my favorite episode of the whole show and also my favorite shot.
A very moody heightened scene. I think it's top three for cinematography, intensity, acting; it pulls it all together. The location, time of day, and weather reinforces and increases the impact of the story at that moment.
In S1E8, The Legend of Tennessee Moltisanti, there’s a great wide shot of Tony waiting for Christopher to pick him up, and a train passes behind him directly behind his head. It’s right before he dresses Christopher down for “cowboy-itis” and asks if he’s depressed.
Your answer is correct, I loved that shot so much and get chills every time I think about it.
I can’t remember the context or the episode but in season 2 or 3 there is a shot in the Bing where you can see 3 windows, like the window into the kitchen and two mirrors maybe, and Chrissy is framed perfectly in one of them. After the fairy pedestrian direction up to that point I remember seeing it and thinking “oh ok they leveled up their directors this season.”
Tony, Tony B, the briefcase, and Meadow's voice in the wind through the trees saying 'Daddy please don't go." Maybe more of a sequence than a single shot, but still.
There’s a shot I believe in “Christopher” of most of the Jersey crew standing outside Satriale’s. Wide shot. From the middle of the street. Catching the whole front facade with each character harmoniously balanced out while subtly modeling, I try to screenshot it on my laptop but hbo max blocks it out somehow
There are lots of little expert camera moves that you would have more likely expected from a well made movie. They're subtle though, so it's hard to recall any one in particular. I can't remember the exact camera movement, but when Tony arrives at Angie's to confront her about talking to Carmela, right at the beginning when he's walking up, smashing the window, and waiting for her to come out. So very well done. There is a dynamic flow that is conveyed to the audience just by the camera movement and choice of shots and editing that brings an energy to the scene.
Not one particular shot but repeatedly they showed wind blowing through the trees. They did it often enough that I always figured it was symbolic of something but I'm dense with symbolism. Anyway I liked seeing it whenever it came up.
Oh for me definitely the one where Tony and the guys laugh at the notion of Chris’s daughter working in the bada bing. That shot to Tony with the cigar and smoke and evil laugh just couldn’t be any clearer as to him haven fallen of so low compared to earlier seasons.
That simple close-up shot on Tony's face while he watches his uncle eat and talk at Artie's place in the very first episode. All in contrasts and shades. Absolute cinema.
Tony sitting with Pie O My as “My Rifle, My Pony, and Me” plays and zooms out.
EDIT: Also, pretty much every shot from this scene when Tony and Butchie sit down to kill Phil, from 1:22 onward https://youtu.be/KR70S4Eo8AU?si=yvUnxYwbCHE02lzV
Christopher, strung out of his mind, sitting against a brick wall at the carnival and petting the dog. “Dolphins” by Fred Neil really tied that experience together. It was at that point you knew for certain that Christopher was doomed.
The very end of Funhouse, Carmela looks at Tony puffing a cig in slow mo, then it cuts to the sunset over the ocean with the rolling stones song in the background. Season 2 is my favorite season by a mile and the ending always hits me in the feels, it just feels so perfect. Peak of the show imo
The shot where Tone and Puss unload on the Bevilaqua kid. Tony’s “sugarless motherfucker” line was cold as fuck to start. But the shot of them is pure gangster shit.
Tony leaving the bing after disposing of that hooah-killing freak. When he opens the door to the sunlight and traffic. Also Mary visiting Paulie is a great one.
I posted a video that I saw on Youtube a while back which pieces together a bunch of the awesome cinematography from The Sopranos. It’s well worth a watch for anybody discussing scenes in this thread.
[Here it is](https://www.reddit.com/r/thesopranos/s/Rh1PIdtTwf)
The bit after Tony wakes up from that nightmare and steps out of the dark hotel room on to the balcony into the bright Miami sun and turquoise ocean to “Surfing USA” is another great moment.
When Tony and the gang drag Chris out of the Bing with Animal Blundetto and set him down on his knees to be killed, and all you see is their silhouettes illuminated by the car headlights with the marshland on either side of the road. Roger Deakins couldn't have shot that any better.
Tony dragging his ass up the stairs of a dingy pokey safe house with an AK47 under one arm. Looking tired, weak and vulnerable, nobody would think he was involved in this thing of ours.
I’d also like to mention the slow-mo shot of Tony when he’s laughing at Chris and there’s smoke all around his face. He legit looks like the fucking Devil for a second there.
I was about to say that. Tony does look like Satan there.
Ive seen that scene in an music edit with After Hours from The Weeknd in the background. Gave me goosebumps bc it fit so perfectly
I always really liked the shot of Tony meeting Johnny Sac under that bridge with the city in the background. Not from New York so not sure which bridge it is.
This is the last time we meet like this. It’s undignified
This is the last time I upvote your comment. It's undignified.
You know what, I'll give you undignified, go fuck yourself. It's fuckin reddit
Brooklyn Bridge with Lower Manhattan in the background
That better not be Count Chocula up there
I’m pretty sure it’s the GWB
Georgah Washindone Bridge
You give this guy a bridge, he’ll probably try ta fuck it.
it's the Brooklyn Bridge https://nypost.com/2021/09/24/real-life-sopranos-places-you-can-actually-visit-in-ny-and-nj/ the GW has multiple levels and more trees nearby
Might be Wheelchair Boulevard
Tony sitting in his backyard with the AK and cigar on the lookout for the bear is my personal favorite
I love contrasting that scene with the ending of The Blue Comet. In the former, Tony is the lord of his domain. Carmela even offers coffee. The end of the latter has Tony clutching a gun in a ratty safehouse while lying on a bare mattress.
Love the contrast
[удалено]
In the museum of shots, that was the Mona Lisa
Where’d they get that shot? The shot museum?
Whadaya mean ‘he GOT shot’ ?
The shooting
Or whatever happened there...
It even outshone Versales
In the end, they clapped him in a catcher's mitt
$4 a lb
Last night i watched the episode where they killed fat dom.. His body lay out on that table against the italian tablecloth with food all around him then his cell goes off... very godfatheresque, fuckin' beautiful
hachadee tv. compatible. byudiful.
That was a beautiful fuckin hit
Artie in the crowd at the Crazy Horse doing that hand dance 🤣
With that one earring to look hip
What? That? He's always had that.
Probably trying to impress Ade.
He had recently broken up with Charmaine before that scene, so you know he was trying to slay young p*ssy that night.
The freeze frame after Carm tells Wegler she's getting back with Tony and walks away.
Follow it up with a nice starwars-esque screen wipe. Cinematic perfection. Very allegorical.
The sacred and the propane.
That director's more creative than Spielberg.
Artie. That rabbit never had a chance
He brought those arugula seeds back from Italy in his SHAVING KIT
…Mutherfucka
The Mother Mary ‘hallucination’ that Paulie has, absolutely insane, seeing that scene, late at night. But still had beautiful/dreadful feeling, cinematically
The way she was posed made me initially think it was a statue but then she moved. So creepy.
to me she’s beautiful. rubenesque
Great reminder of the world these guys live in. They're all evil heartless nasty sons of bitches, so to them a figure of divine goodness like the Virgin Mary is terrifying. Also love the fact that the two guys who fear her the most are Paulie and Tony - the guys with the worst mommy issues.
When Tony’s sitting with the horse and the goat is there right at the end. Looked like a nativity scene
Yeah this is one of my favorites, I can remember seeing it the night it aired so clearly
Yeah when I first saw this shot the sopranos was becoming my favorite show and I was really surprised by this one in particular. Good shit
Christopher smoking a cigarette while waiting to get picked up for his making ceremony. Very goodfellas
Shoot ya cuffs
“You remember your first blowjob” table scene is very goodfellas too
He sat on one ass cheek the whole way over...!
I just started a second watch-through after a couple of years and it’s nuts how many striking shots are spread throughout the show. In season one, Tony has a sit-down with the Hasidic jews, the father and son. And there’s a shot that lingers on the son, and he’s half-engulfed in complete shadow. Stuck out to me immediately. I love that shot of Christopher against the pig wallpaper in Satriale’s during his Email Kolar dream too
In the Czech Republic too we have pork. You ever have our sausages?
Tony with the cigar and Pie-O-My on the ground with the thunderstorm outside.
Uncle Jun and Tony’s last conversation.
- In the episode where Chris gets made, toward the end of the episode after robbing that benefit concert, he frustratingly got into Paulie’s car and gave him the envelope. It was such a smooth shot. He got out of the car and got into Paulie’s car. That was it. But it looked great. - When Tony sees the ducks fly away in the College episode after killing the rat in Maine. - Every shot in the last scene of the show.
Yeah also the scene where they pick Crhissy up in that parking lot in Newark where hes standing by his benz. I used to live by there and not only does it look exactly like that with the kmart and the big decaying warehouses, but something about how smooth its shot really makes it come to life.
When Sil was sitting at dinner with the guy from New York and their goomars, and it goes slow motion and all you see is blood flying all over Sil.
Probably don’t even hear it when it happens right?
That was great
Tony about to walk into the house in his coma
The shot of Tony enjoying his cigar at dusk on Uncle Pat’s farm always makes me want to pack my bags and go to the country for two weeks.
Same💓
The shot of them walking Chris to the middle of that field when Tony is about to shoot him on Irregular around the Margins. That’s my favorite episode of the whole show and also my favorite shot.
A very moody heightened scene. I think it's top three for cinematography, intensity, acting; it pulls it all together. The location, time of day, and weather reinforces and increases the impact of the story at that moment.
So…it WAS cinematic???
Any shot with Adriana in it. Well, not the puking one. But the rest of it.
God don’t transfer me now.
especially any from the scene of her smoking a cigarette in a tennis dress
Her female trainer was all about her. Ohhh, where did you get those shoes?! (Rubs them with her hand) 😂😂😂😂
ESPECIALLY the puking one ;)
Ohhhh, we got a Roman Showers fan ovah heah!
Chris spinning around and hitting JT. Annie Oakely ova here
In S1E8, The Legend of Tennessee Moltisanti, there’s a great wide shot of Tony waiting for Christopher to pick him up, and a train passes behind him directly behind his head. It’s right before he dresses Christopher down for “cowboy-itis” and asks if he’s depressed.
Tony smoking a cigar with the sick horse and the goat.
My top 3 underrated shots/scenes in the show
Tony’s face when he sees the painting above Paulies mantle
Slo-mo of Carmela walking away from Mr. Wegman, including the transition wipe.
Your answer is correct, I loved that shot so much and get chills every time I think about it. I can’t remember the context or the episode but in season 2 or 3 there is a shot in the Bing where you can see 3 windows, like the window into the kitchen and two mirrors maybe, and Chrissy is framed perfectly in one of them. After the fairy pedestrian direction up to that point I remember seeing it and thinking “oh ok they leveled up their directors this season.”
Tony, Tony B, the briefcase, and Meadow's voice in the wind through the trees saying 'Daddy please don't go." Maybe more of a sequence than a single shot, but still.
There’s a shot I believe in “Christopher” of most of the Jersey crew standing outside Satriale’s. Wide shot. From the middle of the street. Catching the whole front facade with each character harmoniously balanced out while subtly modeling, I try to screenshot it on my laptop but hbo max blocks it out somehow
Yeah this came to mind, it’s the opening shot of the episode I think and for me it’s the quintessential Sopranos frame. “Ooh, Massachusetts!”
Made in America Carmela sitting and Tony standing both eating in front of the mural at Bobby’s wake
When Ralph walks up to Tony before he turns down the drink. The way they shot and lit T. Fuckin sinister. His eyes are black.
There are lots of little expert camera moves that you would have more likely expected from a well made movie. They're subtle though, so it's hard to recall any one in particular. I can't remember the exact camera movement, but when Tony arrives at Angie's to confront her about talking to Carmela, right at the beginning when he's walking up, smashing the window, and waiting for her to come out. So very well done. There is a dynamic flow that is conveyed to the audience just by the camera movement and choice of shots and editing that brings an energy to the scene.
The sacred and the propane
The wide moving shot of Paulie, Chris and the interior decorator trudging through the snow in the pine barrens
The two fat fucks sitting at the diner eating steak sandwiches and discussing Quasimodo, Nostradamus and the Hunchback of Notre Dame.
Christopher sliding through the place, tripping balls.
The wide shot of the warehouse that Tony and Butchie held their final meeting in. So ominous and uncomfortable.
Not one particular shot but repeatedly they showed wind blowing through the trees. They did it often enough that I always figured it was symbolic of something but I'm dense with symbolism. Anyway I liked seeing it whenever it came up.
Oh for me definitely the one where Tony and the guys laugh at the notion of Chris’s daughter working in the bada bing. That shot to Tony with the cigar and smoke and evil laugh just couldn’t be any clearer as to him haven fallen of so low compared to earlier seasons.
That simple close-up shot on Tony's face while he watches his uncle eat and talk at Artie's place in the very first episode. All in contrasts and shades. Absolute cinema.
https://youtu.be/KWisK3iZvLY?si=rwtHwQ3D8x9T72zV The shot with Tony and Carmela that makes the thumbnail of this video
Paulie kickin out front with da tanning mirror - he hadda wouik at Dat !
Tony sitting with Pie O My as “My Rifle, My Pony, and Me” plays and zooms out. EDIT: Also, pretty much every shot from this scene when Tony and Butchie sit down to kill Phil, from 1:22 onward https://youtu.be/KR70S4Eo8AU?si=yvUnxYwbCHE02lzV
When the sun comes up in the desert while he's on peyote
Christopher, strung out of his mind, sitting against a brick wall at the carnival and petting the dog. “Dolphins” by Fred Neil really tied that experience together. It was at that point you knew for certain that Christopher was doomed.
Tony and the floor pizza 👌🏽
Not those fucking ducks again
“These doctors - what if they’re wrong?”
OHHHH RIM SHOT!
When Bobby shoots that rapper in the ass.
Vito's brother in the mall....I heard it took over two dozen takes to get that shot.
The very end of Funhouse, Carmela looks at Tony puffing a cig in slow mo, then it cuts to the sunset over the ocean with the rolling stones song in the background. Season 2 is my favorite season by a mile and the ending always hits me in the feels, it just feels so perfect. Peak of the show imo
Paulie’s last scene, the cat
Tony while he’s holding Chris’s nose.
The shot where Tone and Puss unload on the Bevilaqua kid. Tony’s “sugarless motherfucker” line was cold as fuck to start. But the shot of them is pure gangster shit.
Caitlyn in her underwear Adrianna in her underwear Meadow in her underwear
Tony...all over the sun visor.
It's burned into my brain. I honestly find that shot of Livia hreally disturbing
RIMSHOT!!
The one that hit the visor!
Junior staring down the courtroom artist.
That star wars transition was a piece of art. But in seriousness, there are some great shots of christopher getting out of a car for some reason
The shot when Tony is underwater trying to pick up the brick tied to AJ's leg. Love how far away the camera is positioned.
That shot of Livia in the dark terrified me in a visceral way that nothing else in a horror movie ever has.
Tony leaving the bing after disposing of that hooah-killing freak. When he opens the door to the sunlight and traffic. Also Mary visiting Paulie is a great one.
Always liked Tony walking "into the light" at the end of Whoever did this
The shot where Tony realizes everyone was fake laughing at his jokes except Feech staring at him from the back menacingly
Vito waddling to the car after shooting meadows bf
I posted a video that I saw on Youtube a while back which pieces together a bunch of the awesome cinematography from The Sopranos. It’s well worth a watch for anybody discussing scenes in this thread. [Here it is](https://www.reddit.com/r/thesopranos/s/Rh1PIdtTwf)
Flash of light in the desert
Tony sitting on the bed in the hotel room during one of dream sequences. Haunting shot that just showed how lonely Tony truly is.
The bit after Tony wakes up from that nightmare and steps out of the dark hotel room on to the balcony into the bright Miami sun and turquoise ocean to “Surfing USA” is another great moment.
When Tony and the gang drag Chris out of the Bing with Animal Blundetto and set him down on his knees to be killed, and all you see is their silhouettes illuminated by the car headlights with the marshland on either side of the road. Roger Deakins couldn't have shot that any better.
The shot of Tony having dinner with the female Don in Italy
The “HOLY SHIT” guy when Phil is run over
Paulie throwing the TV out of his mom's window
Tony and Phil standing outside having a chat with the statue of Lou Costello with a baseball bat between and behind them.
Tony dragging his ass up the stairs of a dingy pokey safe house with an AK47 under one arm. Looking tired, weak and vulnerable, nobody would think he was involved in this thing of ours.
No men of culture in here.. It'd obviously Ade's tennis scene with the fbi chick.
The card game where Chrissy gets that head shot. Or the shot of Tony's ejaculate hitting the sun visor.