done with this, we don t want to see this anymore. and the me goes to jim parsing obviously we didn t go whole way. and i believe very strongly that the multi-camera, the way they are shot in front of the studio audience. you hear the other people laughing i think it ignites something that s innate and all of us that s very primal almost which is that desire to gather as a group. and hear a story hey lauren, look new york it s saturday so every generation has their favorite saturday night live, right? and it s usually the one that was on when they were in high school so the people that were in high school during the 2000s won the jackpot because over the course of that decade, you see some of the most extraordinary people come through that show we
school is not and they re in the glee club there s a lot of themes about not fitting in but be homophobia hi, i m three-way flagging by the one else as gay game was so specific so my childhood and like he ll ever thought that yeah. well, bunch of misfit show choir losers would come are global thing. i never did i think glee and ryan murphy really got the general public understanding that oh, there is a person behind this and there is a person s sensibility that is driving the show. now be like a sister this is the point at which the show runners are almost as famous or more famous than some of the people on their shows, because we care so much about the creative process still is that the drama and the story that usually comes first
i honestly couldn t quite believe it, that television was communicating something that you might only see in the darkest moments and accurate moments in cinema. [distant radio chatter] [mystical drum music] - you look at the year that american beauty won the oscar which is also the year that the sopranos debuted and almost immediately after that, the two mediums diverged. - i know what i must do, but i m afraid to do it. [epic music] - movies became much more focused on big tent-pole things that can bring in as much of an audience as you possibly can. meanwhile, tv, which had always been a big-tent medium, started going smaller and more interior and saying, all right, we want to tell stories for grown-ups that maybe don t get the biggest audience, but get a really passionate one. - i ll be home for christmas - i had an idea of doing a show about death.
- towards the end where their marriage is falling apart. - i used to [bleep] your husband. - you have made a fool of me for years with these whores. - her performance in that fight is stunningly good. - cause she s jealous! [bleep] [wails] - [grunts] - let go of me! [panting, sobbing] it mattered to people what this couple was going through, and i remember feeling a real sense of responsibility about that, and giving the weight to the scene that it deserves. - what? - [breath hitches] you know what i don t understand, tony? what does she have that i don t have? - suddenly, here s this tv show that everyone s talking about, but you have to pay to watch it. you know, that s how good the sopranos was: people were paying just to see that show. - the sopranos came along and completely reestablished what the bar was.
[distant sobbing and screaming] [screaming] - excuse me. - this was one of my first and maybe it was my first binge show, which was long enough ago that it was all on somebody had recorded it on vcr. - have you been watching mrs. romano? - yeah. i ve been watching her all night. are you thinking what i m thinking? both: casket climber. - [gasps] - i want to go with you! - mrs. romano, mrs. romano! - i want to go with you! - whoa, whoa, whoa, mrs. romano. - there s a whole new level of something going on on television. it was grittier than most shows you d ever seen before, and yet something magical about it. - i think what our strategy at hbo was, in terms of audiences: not everybody has to watch a show. - [yelps] [percussive music] - but if we have different shows for different people.