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James. Gandolfini and Edie Falco star in the HBO series "The Sopranos,"
starting its third season on Sunday.

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Chase made Kessler an offer he
couldn't refuse: Come join the staff
of The Sopranos. And that's how a
former Cranbrook student came to
be writing dialogue for a bunch of
mobsters.
One of Kessler's first steps on any
Sopranos script is doing background
work. "We do a lot of research, like
Meeting with FBI agents," Kessler
says. So in this way, the shows are
realistic.
He also has spoken with members
of the Mafia, but what he can use
from their daily existence is limited.
"The reality is, .their lives are much
more boring than we could ever imag-
ine," he says. "We can't put that on
TV or people would just turn it off."
Life on The Sopranos is anything
but boring. Kessler explains: "In no
way are we trying to present this as
the way things really happen."
As writer/producer, Kessler is in
charge of much of the show, working
with producer David Chase on every-
thing from scouting locations to
shooting the program to helping on
the set during production to oversee-
ing the final editing. It's a job he calls

"a lot of work, but it's also fun."
He loves the actors and HBO.
"There's no censorship," he says. "We
can tell the stories we want."
The upcoming season's stories actu-
ally started in May as scripts were
completed. By August, the 2001 pro-
grams were in production. Unlike
most network television, each
Sopranos season is filmed in its entire-
ty, rather than week-by-week.
By March, it's all new to us but old
hat for Kessler, who says he has seen
each show "at least a dozen times"
before it's finally aired.
Usually, the actors, writers and pro-
ducers all watch each program just
before it hits the TV screen, and then
there's still the excitement when it
actually comes on.
"It's that charge," Kessler says.
"Every time the [opening] credits roll,
it's that feeling of 'here we go."' 111

The first two episodes of the
third season of The Sopranos air
back to back 9-11 p.m. Sunday,
March 4, on HBO.

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2001

