Piff Perkins
Veteran
It's definitely worth rewatching and a classic. Has a lot of thematic similarities to The Sopranos too.
The Sopranos Series - Re-Watch (Spoilers!!!)
- Thread starter jay211
- Start date
Nope never seen these.
Seen Godfather multiple times, one of my favorite movies. Seen Scarface probably twice.
Those are probably the only movies I've seen now that I think about it.
Donnie Brasco is based on a true story.
Erratic415
Superstar
Donnie Brasco is probably the least “glorifying” of the mafia movies. All the others show the violence but they also show the money, fast life, women, etc….
Donnie Brasco has a scene where a capo has a crew of guys stealing change from parking meters.
And the scenes of violence are definitely not “cinematic”
Donnie Brasco has a scene where a capo has a crew of guys stealing change from parking meters.
And the scenes of violence are definitely not “cinematic”
Piff Perkins
Veteran
Feel like this scene sums up a lot of mob/mafia characters.
Feel like this scene sums up a lot of mob/mafia characters.
no wonder this movie is 4 hours.
I had ChatGPT write a quick mock script for the opener of Season 7 (or 8) 
FADE IN:
EXT. SATRIALE'S MEAT MARKET - DAY
The familiar storefront of Satriale's Meat Market is seen as the camera pans to a film crew setting up equipment. AJ, now a successful producer for Little Carmine's production company, walks towards the crew with a sense of pride. However, as he takes in the surroundings of his dad's old stomping grounds, he becomes overwhelmed with emotions.
AJ (to himself) This was my father's place. I used to come here with him when I was a kid.
As AJ continues to work on the shoot, he can't help but feel the weight of his father's absence. The mafia life he tried to escape from is slowly taking hold of him again.
CUT TO:
INT. SOPRANO HOUSE - LIVING ROOM - DAY
Janice is sitting in the living room trying to mediate an argument between Meadow and Carmela. They both blame each other for Tony's murder.
MEADOW (angrily) Mom, you knew what dad did for a living. You should have warned him about the danger he was in.
CARMELA (defensively) I didn't want to get in the way of his business. It wasn't my place.
Janice tries to reason with them, but the tension is too high.
JANICE (voice of reason) Ladies, please. This is not the time or place to argue. We're all grieving.
Meadow and Carmela glare at each other as Janice exits the room, realizing that their rift runs deep.
CUT TO:
EXT. NEW JERSEY/NEW YORK BORDER - DAY
Paulie and Patsy meet with Butch, the new leader of the New York crew. They begrudgingly make amends and discuss the future of their organizations.
PAULIE (sarcastically) Looks like we're all that's left, huh?
BUTCH (calmly) We need to stick together now more than ever. The feds are breathing down our necks, and the last thing we need is infighting.
Patsy chimes in, agreeing with Butch.
PATSY (nodding) He's right. We need to work together if we want to survive.
As they shake hands, the camera zooms in on their faces, showing the wear and tear of a lifetime of violence.
CUT TO:
INT. SATRIALE'S MEAT MARKET - DAY
AJ is on the phone with Little Carmine discussing the next location for the shoot. He hangs up and looks around the meat market, imagining his father's presence.
AJ (to himself) I'm doing this for you, dad. I'm going to make you proud.
As the camera fades to black, the audience is left wondering if AJ's success will come at the cost of his soul.
FADE OUT.
EXT. SATRIALE'S MEAT MARKET - DAY
The familiar storefront of Satriale's Meat Market is seen as the camera pans to a film crew setting up equipment. AJ, now a successful producer for Little Carmine's production company, walks towards the crew with a sense of pride. However, as he takes in the surroundings of his dad's old stomping grounds, he becomes overwhelmed with emotions.
AJ (to himself) This was my father's place. I used to come here with him when I was a kid.
As AJ continues to work on the shoot, he can't help but feel the weight of his father's absence. The mafia life he tried to escape from is slowly taking hold of him again.
CUT TO:
INT. SOPRANO HOUSE - LIVING ROOM - DAY
Janice is sitting in the living room trying to mediate an argument between Meadow and Carmela. They both blame each other for Tony's murder.
MEADOW (angrily) Mom, you knew what dad did for a living. You should have warned him about the danger he was in.
CARMELA (defensively) I didn't want to get in the way of his business. It wasn't my place.
Janice tries to reason with them, but the tension is too high.
JANICE (voice of reason) Ladies, please. This is not the time or place to argue. We're all grieving.
Meadow and Carmela glare at each other as Janice exits the room, realizing that their rift runs deep.
CUT TO:
EXT. NEW JERSEY/NEW YORK BORDER - DAY
Paulie and Patsy meet with Butch, the new leader of the New York crew. They begrudgingly make amends and discuss the future of their organizations.
PAULIE (sarcastically) Looks like we're all that's left, huh?
BUTCH (calmly) We need to stick together now more than ever. The feds are breathing down our necks, and the last thing we need is infighting.
Patsy chimes in, agreeing with Butch.
PATSY (nodding) He's right. We need to work together if we want to survive.
As they shake hands, the camera zooms in on their faces, showing the wear and tear of a lifetime of violence.
CUT TO:
INT. SATRIALE'S MEAT MARKET - DAY
AJ is on the phone with Little Carmine discussing the next location for the shoot. He hangs up and looks around the meat market, imagining his father's presence.
AJ (to himself) I'm doing this for you, dad. I'm going to make you proud.
As the camera fades to black, the audience is left wondering if AJ's success will come at the cost of his soul.
FADE OUT.
I had ChatGPT write a quick mock script for the opener of Season 7 (or 8)
FADE IN:
EXT. SATRIALE'S MEAT MARKET - DAY
The familiar storefront of Satriale's Meat Market is seen as the camera pans to a film crew setting up equipment. AJ, now a successful producer for Little Carmine's production company, walks towards the crew with a sense of pride. However, as he takes in the surroundings of his dad's old stomping grounds, he becomes overwhelmed with emotions.
AJ (to himself) This was my father's place. I used to come here with him when I was a kid.
As AJ continues to work on the shoot, he can't help but feel the weight of his father's absence. The mafia life he tried to escape from is slowly taking hold of him again.
CUT TO:
INT. SOPRANO HOUSE - LIVING ROOM - DAY
Janice is sitting in the living room trying to mediate an argument between Meadow and Carmela. They both blame each other for Tony's murder.
MEADOW (angrily) Mom, you knew what dad did for a living. You should have warned him about the danger he was in.
CARMELA (defensively) I didn't want to get in the way of his business. It wasn't my place.
Janice tries to reason with them, but the tension is too high.
JANICE (voice of reason) Ladies, please. This is not the time or place to argue. We're all grieving.
Meadow and Carmela glare at each other as Janice exits the room, realizing that their rift runs deep.
CUT TO:
EXT. NEW JERSEY/NEW YORK BORDER - DAY
Paulie and Patsy meet with Butch, the new leader of the New York crew. They begrudgingly make amends and discuss the future of their organizations.
PAULIE (sarcastically) Looks like we're all that's left, huh?
BUTCH (calmly) We need to stick together now more than ever. The feds are breathing down our necks, and the last thing we need is infighting.
Patsy chimes in, agreeing with Butch.
PATSY (nodding) He's right. We need to work together if we want to survive.
As they shake hands, the camera zooms in on their faces, showing the wear and tear of a lifetime of violence.
CUT TO:
INT. SATRIALE'S MEAT MARKET - DAY
AJ is on the phone with Little Carmine discussing the next location for the shoot. He hangs up and looks around the meat market, imagining his father's presence.
AJ (to himself) I'm doing this for you, dad. I'm going to make you proud.
As the camera fades to black, the audience is left wondering if AJ's success will come at the cost of his soul.
FADE OUT.
Feel like this scene sums up a lot of mob/mafia characters.
That's my third favorite movie of all time
Right behind Godfather II
Whips-n-Chains
Chi
Gotti (1995) is massively underrated
OGBobbyJohnson
Veteran
Dominic Chianese(Junior) was in Gotti 1995 too. great film.
Whips-n-Chains
Chi
Anthony Quinn kills his role too. Some actual mobsters called Gotti 1995 the most realistic mob flick
I had ChatGPT write a quick mock script for the opener of Season 7 (or 8)
FADE IN:
EXT. SATRIALE'S MEAT MARKET - DAY
The familiar storefront of Satriale's Meat Market is seen as the camera pans to a film crew setting up equipment. AJ, now a successful producer for Little Carmine's production company, walks towards the crew with a sense of pride. However, as he takes in the surroundings of his dad's old stomping grounds, he becomes overwhelmed with emotions.
AJ (to himself) This was my father's place. I used to come here with him when I was a kid.
As AJ continues to work on the shoot, he can't help but feel the weight of his father's absence. The mafia life he tried to escape from is slowly taking hold of him again.
CUT TO:
INT. SOPRANO HOUSE - LIVING ROOM - DAY
Janice is sitting in the living room trying to mediate an argument between Meadow and Carmela. They both blame each other for Tony's murder.
MEADOW (angrily) Mom, you knew what dad did for a living. You should have warned him about the danger he was in.
CARMELA (defensively) I didn't want to get in the way of his business. It wasn't my place.
Janice tries to reason with them, but the tension is too high.
JANICE (voice of reason) Ladies, please. This is not the time or place to argue. We're all grieving.
Meadow and Carmela glare at each other as Janice exits the room, realizing that their rift runs deep.
CUT TO:
EXT. NEW JERSEY/NEW YORK BORDER - DAY
Paulie and Patsy meet with Butch, the new leader of the New York crew. They begrudgingly make amends and discuss the future of their organizations.
PAULIE (sarcastically) Looks like we're all that's left, huh?
BUTCH (calmly) We need to stick together now more than ever. The feds are breathing down our necks, and the last thing we need is infighting.
Patsy chimes in, agreeing with Butch.
PATSY (nodding) He's right. We need to work together if we want to survive.
As they shake hands, the camera zooms in on their faces, showing the wear and tear of a lifetime of violence.
CUT TO:
INT. SATRIALE'S MEAT MARKET - DAY
AJ is on the phone with Little Carmine discussing the next location for the shoot. He hangs up and looks around the meat market, imagining his father's presence.
AJ (to himself) I'm doing this for you, dad. I'm going to make you proud.
As the camera fades to black, the audience is left wondering if AJ's success will come at the cost of his soul.
FADE OUT.
this “script” just eased my fear of an an A.I apocalypse. Humans ain’t done yet.
The amount of effort you have to put into a prompt to make something seem nuanced is still up there. It'll take less effort as time goes on though
